Podcasts about Paul Rubin

In this week's episode, we interview narrator Hollis McCarthy, who has narrated over 300 audiobooks, including many of THE GHOSTS and CLOAK MAGES. She is also co-author with her mother Dee Maltby of the MAGIC OF LARLION series, which you can learn more about at https://deemaltbyauthor.com/. This coupon code will get you 25% off the ebooks in the Dragonskull series at my Payhip store: DRAGONSKULL25 The coupon code is valid through October 27, 2025. So if you need a new ebook this fall, we've got you covered! TRANSCRIPT Introduction and Writing Updates (00:00): Hello, everyone. Welcome to Episode 273 of The Pulp Writer Show. My name is Jonathan Moller. Today is October 17th, 2025, and today we have an interview with audiobook narrator Hollis McCarthy. Hollis has narrated many audiobooks, including numerous books from the Ghost and Cloak Mage series, so we'll talk with her about that. Before we get to our main topic, we'll have Coupon of the Week and then a progress update on my current writing projects. This week's coupon code will get you 25% off the ebooks in the Dragonskull series at my Payhip store, and that coupon code is DRAGONSKULL25. The coupon code is valid through October 27th, 2025. So if you need some new ebooks to read for this fall, we've got you covered. And as always, the coupon code and the links to my store will be available in the show notes. Now for an update on my current writing projects. As of this recording, I am 80% of the way through the first round of edits in Cloak of Worlds, so making good progress and if all goes well, the book should be out before the end of the month. I'm also 14,000 words into Blade of Shadows, which will be my next main project after Cloak of Worlds is published, which means I also have to write the outline for Elven-Assassin soon, and that will be the fifth book in the Rivah series. In audiobook news, recording will be underway next week for Blade of Flames. That will be narrated excellently by Brad Wills. Ghost in Siege is now out. It should be available at of all the audiobook stories (except Spotify) and it should be available there in a few days. And that is the final book in my Ghost Armor series that is excellently narrated by Hollis McCarthy. So that is where I'm at with my current writing and audiobook and publishing projects, which makes for a good segue into our main topic, our interview with Hollis McCarthy, which begins now. 00:03:56 Interview With Hollis McCarthy Hi everyone. I'm here today with Hollis McCarthy, who is a classically trained actor. Hollis has played leads in regional and off-Broadway theater, specializing in Shakespeare. On CBS. she's been a recurring guest star judge on Bull, the president of Ireland on Bluebloods, and a senator on Netflix's House of Cards. She's narrated more than 300 books for a variety of publishers and is the proud co-author of her mom Dee Maltby's epic fantasy series, The Magic of Larlion. Hollis, thanks for coming on the show today. Hollis: My pleasure. Jonathan: So to start, can you tell us a little bit about yourself and how you got into acting and performing? Hollis: That's a great question. I think it all started with doing my little brother's Sesame Street finger puppets. He's 10 years younger than me, so I mean, I got to reread all my favorite books with him and I started voicing the finger puppets to Burt, Ernie and Cookie Monster and all those guys in the backseat of the car and playing all the characters. And then my brother went into theater. My other brother's seven years older than me, and I used to go see his shows up at the college when I was in high school and kind of fell in love with it there. I absolutely meant to be an aeronautical engineer/physicist like my dad, but it didn't end up working out. I fell in love with theater and went to Stratford. I had a dual major because I was in an honors program, so I didn't have to declare a major until my fifth year of undergrad. But then I went to Stratford up in Canada and I saw two Shakespeare shows in one day and that was it. I had to do that. That was what I loved. Jonathan: Well, since we've had many audiobooks together, I'm glad it worked out that way. Hollis: Me too. Yeah, so I got my BFA in acting, and then I got my MFA from the University of Missouri-Kansas City in performance, and I was lucky enough to have some great coaches from the RSC and did a bunch more Shakespeare, and I've done that regionally a lot. And then I fell into audiobooks because I got tired of traveling, and I love to work from my home in my jammies. Jonathan: That is the dream. Speaking of that, could you tell us a bit more about how you sort of got into audiobooks or ended up doing a lot of that? Hollis: Yeah. Well, again, it starts with my childhood. My mom, who was a writer and an artist, she had, there were five of us kids and she would read out loud to us in the kitchen to keep us from fighting when we were cleaning up. So she started with Tolkien and Watership Down and Narnia and all of that. And then I got to, like I said, read to my little brother all my favorite books. And so I started doing all different voices for the characters and I always thought that was normal until, of course I volunteered to read in class in high school and people thought I was some sort of freak, but I always loved playing all the characters. And so when I started looking at staying home more and what could I do to work from home instead of being on the road for work, which was great for a long time, but then at some point you want to stay home and have a life as an actor as well as doing what you love. And audiobooks seemed a good fit. So my husband, who's also an actor, took a class from Paul Rubin here in the city in New York. We live in the New York area now. And he got a bunch of good tips from that that he passed on to me. And then my agent got me an audition with Audible and Mike Charzuk there. I came in and read a couple of pieces for him and he came back to the booth with a book he wanted me to start on. And from there I just kept building and got a lot of great indie authors through ACX like you. I don't know how many books we've done together now. Jonathan: It's over 30, I think. Yeah, 30 over the last seven years. So it's been a while. Hollis: And you're seriously, I mean, I'm not saying this because I'm on your blog, but your series are absolutely my favorites, especially because, yeah, the two series that I do, one is Nadia from the Midwest like me and then the other one with Caina, the epic fantasy world, which uses all my British and Irish bits and I absolutely love them. So yeah, I've just kept building up, getting in with a few more publishers now, which is harder to do and I just love it. Our first booth, when the pandemic hit, we had to build a booth at home and I had been going to studios in the city up until that point, but it hit pretty suddenly. It was obvious on St. Patrick's Day when it was like us going to the studio and people who were absolutely desperate folks were the only other ones on the street. We had to stay home. So my husband took our rapier blade (we fight with swords. We're actor combatants, like you said). He took two broadsword blades and a rapier blade, and he's handy with carpentry, fortunately. That's how he worked his way through school. He bracketed those to the wall and we ordered through Amazon before they kind of shut down too. We ordered packing blankets to hang over them and I ordered a new microphone and a new interface and it was trial and error for a bunch of days. And we had an engineer on call who talked us through how to run the software programs and stuff, how to set them up. And from there I've just kept recording at home. I sometimes still go into the studios when they have a budget where they can spring for a studio, but mostly they want you to work from home these days. So that's mostly what I do. Jonathan: Oh, building a recording booth out of swords. That's very Caina. Hollis: It's very Caina. I love Caina. Caina is me as a young woman. If I had been a superhero, I would've been a Caina. All my favorite roles in Shakespeare were the girl as boy ones. You asked, one of my favorite roles in theater was when I was at Alabama Shakespeare and I was playing Queen Elizabeth in Richard III and dressing in gorgeous gowns and being very seductive and very powerful and manipulative and all that. But in the earlier scenes, we did the three plays and in the Richard III and the Henry VI we did all three. And in the earlier scenes where Elizabeth wasn't in, I got to dress up and doublet and hose and I like stippled some stipple of beard on my face and climbed a siege ladder with a sword in one hand and did a spectacular pratfall running away from the bad guys and would slide on my stomach on the deck of the stage and I would come out into the lobby and the other guys who were playing my fellow fighters would be holding up rating cards for how far I'd slid that day. Jonathan: Sounds like very practical cardio. Hollis: Yeah, very. It was a lot of fun. That was probably my most fun I've ever done, though I also loved Beatrice and Much Ado, which I got to do twice because she's just so funny and witty and passionate. She's great, and Shakespeare, you know. Jonathan: Very good. So after all these audiobooks, what goes into preparing to record an audiobook? Hollis: That's a great question, too. It depends on the book, really. And I'm lucky enough to do a lot of series now, so when you're doing a series, it gets easier as you go along. I remember with the first ones I did for you, the first Caina, it probably took me an hour of prep to get through the first chapter. There were so many made up place names that I needed to figure out how to say, and then you have to be consistent. Even if they're made up, you still have to be consistent. So I really used my theater training there because I learned the international phonetic alphabet when I was in school, and so I can write down phonetic pronunciations and for each book, I'm old school with my prep, I'll keep a legal pad and I'll write down phonetic pronunciations, the word, page number, and the phonetic pronunciation for each word, so I have a record. You don't retain them from book to book. Pronunciations is a big part of what you do. Also, character voices, because again, you want to be true to the author's intent and you want to stay consistent. Again, for Caina, it became very complicated because you had to have Caina's basic voice, which is this [speaks in Caina's voice]. She started out a bit higher because she was younger. And then as she aged, she's gotten more medium pitch-wise, but then she was in disguise as various people. She was disguised as a cockney guy for a while, and she was an Irish guy for a while. And so for each of those personas, you have to notate for yourself in the script. Oh, now she has this accent. Now she has this one. And really for each chunk of dialogue, every time a character speaks, I'll put the initial of their name and if there are a lot of characters in the scene, I will have to differentiate between them pretty frequently. If it's two characters and I know them both very well, then I kind of have the shorthand in my head. So the different character voices I also put on my legal pad so I have a record, so Calvia sounds like this [speaks a line in the character's voice]. And sometimes I'll write down physical aspects of them so that I can just kind of feel the character. And after I do them for a while, the feel of the character will give me the voice and you write down everything that the author says about the character too. I'll just notate for myself that will oftentimes give you the voice. If it's a good author, which thank God you are, you write in different voices, which makes my job easier. Jonathan: The joke I sometimes say is I didn't do audiobooks for the first seven years I was publishing, and people would ask me, how do you pronounce this? I say, I don't care, pronounce it however you want. And then suddenly we started doing audiobooks and suddenly no, it matters very much how it's pronounced. Hollis: Yeah, exactly. It's funny, I'm just looking at my tablet. I have your Shield of Power up on my tablet. I've been reading that on the treadmill and at lunch. But yeah, we have to keep tabs. And when we have so many books now, I've started special folders just for the Ghost series and the Cloak series because a lot of times a character will show up from several books previous and I go, I remember them, but I don't remember what they sounded like. So I will have notated forward alto, slightly Irish or something like that for them. I have shorthand for all of it, and so I'll do that. Jonathan: Yeah, I spent a lot of time with Control + F searching through Word documents, trying to remember the first time I wrote this character and what they looked like. Hollis: Yeah, I bet you do. Some writers I guess do, well, if they don't do it all themselves. And if they have somebody who's like an administrative assistant, they have somebody who gives you, I've gotten these from authors before. Their assistant will send me a story log of characters with everything that's said about the character. I'm like, oh, well, that's very organized and helpful, but I would think it would be massively time consuming. Jonathan: It is. I did hire someone to help me with that this year. It was getting to be too much to go back and search through things and it is a very time consuming project, but once it's done, it's very helpful because it's quite easy to find things and look things up and refresh your memory. Hollis: I bet so. When I was working on my mom's books, we hired an editor and she did a spreadsheet, a database kind of different terms and characters and what was said about them. And I go back to that and amend it all the time now that I'm trying to write book eight. Jonathan: Yeah, that kind of thing is very helpful. But on a related topic of preparation, since you've done audiobooks, stage, and TV, how would say narrating audiobooks is different from the experience of doing theater or TV? Hollis: The major thing and the hardest thing for me when I was starting out was you can't move around all the time. I had an engineer at Audible. It was just, and a lot of times the chair is very important because if you move, what you're bound to do, if you're producing your voice correctly, you need to sit up and you need to use your hands to express yourself, and you have to have an absolutely silent chair. And the chairs at Audible at that time, were not absolutely silent. So every time I moved, the chair would squeak and we'd have to stop and start again. So that was very, very hard for me. In fact, I've been doing so much audiobooks now, and I also do TV and film, but that's gone to all for auditioning for that. It's all self tape, which means it's just like head and shoulders, so still you're just kind of using a little part of your body. And I had a theater callback for Pygmalion in the city the other day, in person, in a studio, in a rehearsal room. The day before, I used to do those all the time, and that's so rare now for them to do in-person auditions since the pandemic. But I put on my character shoes and my skirt and I practice just being bigger, opening my body up and doing all this stuff I learned to do in school and that you do when you're on stage to own the space because the space is the back wall of the theater. And that's a big difference between theater, film, TV, and audiobooks is the scope of it. When I did Beatrice, I was in an 1,100 seat unamplified stone amphitheater outdoors in Colorado. So you can imagine the scope physically and vocally is so big. And then for TV, film and you have to what they say, reach the back wall of whatever space you're in. Well, for film and TV, the back wall is the camera. It's right in front of your face a lot of the times. And the back wall is really kind of the inside of your head. It's almost like you have to have internal gaze so that the thoughts are just happening. You don't have to project them, you don't have to project your voice because all the equipment comes right to you, and all you have to do is feel the feelings and think the thoughts and the camera and microphone picked that up. Similarly with audiobooks, I'm just in a little tiny padded booth. My microphone is just a few inches from my face, and so I could be very, very intimate and everything gets picked up, and you have to do a lot less work for the emotion to come through. Again, really all you have to do is kind of feel the emotion. And for me, that's always for me is being in the moment and feeling the moment and letting that dictate the pace and the vocals and everything. I guess I'm pretty Method. I'm very Method, but that's how I trained. It's what works for me. Not every narrator is like that. There's a million different proper ways to narrate, and that's just my take on it. But everything is right there. So it's just kind of keeping it much smaller and more intimate. And in fact, when you want to be big like [character name's said in the character's] voice and he was yelling a lot, and I would have to pull back from the microphone to let his scope come out. Jonathan: Well, after 30 audiobooks together, I can say that method definitely works. Related to that, as we mentioned earlier, you're now at over 300 titles on Audible over the last 12 years. Congratulations for that. What would you say is most surprising or unexpected things about audiobooks you learned during that time? Hollis: Oh, well, it was very surprising that we could make a booth out of sword blades and blankets. That surprised me. Yeah, that's a great question. It's surprising to me how simple I can be. I went back and I had an author recently who wanted me to do a new chapter to begin and end a book that I had done like 2014, something like that, shortly after I started. And I thought at the time that I was really filling these voices and what I did was fine. You're always your own worst critic. But what I've discovered now is the more you do it, the more you record, the more you use your instrument every single day for 300 some books, the more effortless it becomes and the more depth you can bring to it. And as a young actor, we always resist that. My acting coach used to say, age and experience. There's no substitute for it. I'm like, yeah, yeah, but talent and hard work, that's something. But it's really true that just the repetition, there's no substitute for it. Those chapters that I did, they were the same voices basically. But when I went back and listened to the original, I was like, oh, it surprised me how without really changing anything mechanically, the work has just gotten deeper, more effortless, but it sounds better at the same time. Does that make sense? Jonathan: It does. Because you've probably noticed I've redesigned the covers for the Caina series like seven times over the last 10 years. And every time you think this is it, this is it. I'm done. This is good. And then with more practice, you look back and think, well, maybe I can improve this again, though. I suppose that's not often something that happens in the audiobook world where you get to go back and revisit something you did previously. Hollis: That is one of the hardest and most surprising things about audiobooks. And I've heard people say that this happens to every young narrator when they're starting out, you get through the first two chapters of a new book and you go, oh God, now I get it. I want to go back and start again. Well, there's no do overs with audiobooks. With audiobooks, “done is good” is what they always tell you when you're starting out. So even in film and TV, which you don't get much rehearsal for, you get a couple of run run-throughs, but with audiobooks, you got your prep. Not everyone does, but I always read the whole book before I start if possible, because otherwise you get surprises. But you get your one read through, your prep, and then you go and yes, you can stop. You can punch and roll, edit over. If you make a mistake, you go back half a line, you start again there. But there's no evolution of the work, which is what's great about series too, I think, because with the series you get, yeah, Caina was here last time I did her and now she's going through something new. And then the character grows and it becomes less and less effortful, but it also becomes like someone you really know so that it gets so much deeper and it's so much more fun to play with. Jonathan: That makes sense. 12 years really is a long time to have done audio narration or anything. So what do you think is the key to sticking it out for audiobooks for the long term? Hollis: Well, a lot of things make a difference. I didn't do it before this interview, which is why my voice is kind of rocky, but I always warm up in the morning when I'm setting up a session. I always do a vocal warmup. You got to get a good night's sleep, you have to drink water every couple of pages. I have a tea that I drink that keeps my stomach quiet because stomach gurgles is another bad thing about audiobooks. You have to eat very carefully and drink tea to keep your stomach quiet. You don't want to have to stop every time for that. And a lot of training, a lot of vocal training. I had Linklater training and the Lavan training, and Linklater to me is the most useful. And a lot of the stuff that applies to Shakespeare applies to audiobooks too. You warm up, you get yourself breathing, you warm up your resonators, your sinus, your mask resonators, the back of your head, your chest resonators. For the men [imitates male voice], you really have to have your chest warmed up, get the vibrations going here. And so I get all that kind of going before I sit down in the booth. And that also keeps you, then you keep your throat open so you're not hurting yourself. You have to have good posture so that the air can move from your diaphragm up to your throat and have it be open. And then optimally, like with Caina, Caina has a lot of mask resonance. Brits do; they are very far forward. So you really have to have all that warmed up and then that has to have no impediments between the front of your face all the way down to your diaphragm where the breath originates. And if you can do all that, then you could be an audiobook narrator. Also diction. I warm up my diction to everything from [imitates several vocal exercises] in just to get your mouth moving. You don't want lazy mouth with, there's a lot of enunciation in audiobooks that's important. But I also don't like, I really hate when you hear people enunciating. I don't like that. And with Caina, even though she's upper class, she's not like that. She's not pretentious. And certainly Nadia, you want to be able to understand what she says, but you don't want her to be enunciating. That be weird. So all of all that stuff I worked on in grad school and did all the Shakespeare plays, I would always get to the theater an hour early. You have to be there half hour for makeup and check in, but I would always get there an hour early and do at least 15 to 20 minutes of physical and vocal warmups. And so those habits have really helped me. I think I have pipes of iron, fortunately. I'm very lucky. So all that stuff really matters with audiobooks. Jonathan: It's amazing in how many different fields of life the answer seems to boil down to do the things you're supposed to over and over again forever. Hollis: Exactly. That's really true. When are we going to get old enough that we don't have to do that anymore? [laughs] Jonathan: Just one side question. What is Linklater training? I don't think I've heard that term before. Hollis: Oh, Kristen Linklater is, she's probably the biggest American vocal coach. She has a lot of books out there about voice and the actor and all of her training stems from allowing the breathing to drop in as she calls it, not forcing it to drop into the diaphragm, and then creating a pool of vocal vibrations that go from the diaphragm through an open throat to the resonators. And you can use every resonator in your body to project that sound. When I was doing Beatrice and Gertrude at Colorado Shakes in that unamplified stone amphitheater in the foothills of the Rockies, there was winds that would come down out of the mountains when we were on stage, and that theater was known for eating women's voices. And I had to thank God the vocal coach that summer was a Linklater coach, which is the method that I trained in, and he helped me work with even resonators. If you can imagine in your back, just using the whole chest box and shaking the vibrations through your body so that basically you're making your whole human skeleton an amplifier for the vocal energy coming from your breath. And that's Linklater. She's fascinating. If you ever want to study voice, you can't do better than Linklater, to my mind. Cicely Berry is another one I studied. She's the British guru for the RSC and the Royal Shakespeare Company and all those people, and she's great too. Jonathan: Well, that's just exciting. I learned something new today. Hollis: That's always good. Always learning from your books too about Medieval combat. Jonathan: We always want to learn something new every day, whether we like it or not. Hollis: Right. Jonathan: So to turn it around a little bit, what advice would you give a new indie author who is working with a narrator for the first time? Hollis: Oh yeah, I actually, I made some notes. I thought that was such a good question. Make sure that your narrator knows what you expect from them upfront. If you go through ACX, they have this great thing called the first 15 where your narrator is, if you're new to this author, you record the first 15 minutes of the book and you put that on ACX for your author to listen to and approve. You don't have to approve it if you don't like it. And in fact, if you don't like it, it's very important you don't approve it and you tell your narrator specifics about what you need them to change before they go on with the book. Because what you can't really do is once a book is recorded, say, oh, I really don't like it. I'm not going to pay you for it. I need you to go back and do it again. That's not acceptable and it will make narrators never want to work with you. But what's great about the first 15 is you have that chance to say, well, this voice was, she was a little higher than I wanted. I hear her in my head more as an alto because for me as a narrator, what I want to do is I want to take what you, Jonathan, hear your characters being as you're writing them in your head. I want to take that and translate that into an audiobook for you. So the more you give your narrators information about your characters, the better they're going to voice it. Also, if there's a style in your head, like with Nadia books, there's a little touch of noir there. It was a dark and stormy night kind of feel. If there's a style you kind of hear in your head, that would be a good thing to give them. But ACX has also, I think a character sheet where you can tell them about the different characters. You can fill that out for your narrator. That's tremendously helpful, age of the character, if you hear a vocal pitch range, soprano, alto, tenor, bass, any dialects, they need to know that. The narrator's nightmare is you finish up a book and you shouldn't do this, you should read ahead, but you get to the last line: “I love you, darling,” he said in his beautiful French accent. Jonathan: It explicitly shows up there for the first time. Hollis: Exactly. And then for the narrator, it's like, oh my God, I have to go back and rerecord everything this guy said, which is hours and hours and hours of work for you and your editor who will kill you. But yeah, let them know about all the character traits that you can and just, I think it's on the narrator too, to, I've been lucky with my authors, we always have a good give and take. I come from a theater background and you want to collaborate. You want to realize the author's vision and you want to be a partner in creating that. So try to be partners and give them more information than you think they need and use that first 15. It is totally acceptable to send it back and say, I'm going to need you to do this again, and I'm going to need these changes. And then once you get that ironed out, then you'll probably be ready to go ahead and have a book. And when you get the book, you won't be shocked and you'll be happy (hopefully) with the read. Is that helpful? Jonathan: It does. New authors, if you're listening to this, listen to that advice. Hollis: Yeah. Jonathan: Now for a slightly different topic, can you tell us about the Magic of Larlion books and how you ended up publishing that series? Hollis: Yeah. The Magic of Larlion is an epic fantasy adventures series seven, almost eight volumes. I'm working on finishing book eight now. The first book, Wizard Stone, my brilliant mother Dee Maltby started years and years ago, probably, gosh, maybe 20 years ago now, I think when my little brother moved out from home and she had an empty nest and she had more time to write, and she wrote Wizard Stone, and she sent it out a few places, and that was the only way you could get published back when she wrote it and didn't pursue it, she got discouraged, I think, by rejections from publishers, sat in her drawer for a while, and my sister-in-law, Dana Benningfield, who's also an actor, and she was my best friend even before she married my brother. I introduced them. So yeah, that was all me. She was an editor professionally for a while, and when she moved to Ohio where I'm from and was living with my brother and my parents lived right across the orchard, I told her about this book. And she wasn't editing at the time, she was kind of done with it, but she asked mom if she could read it. So she read it and edited it, and then it became a much better book and really encouraged my mom to keep writing, which I had been telling her to do for years. But hearing somebody who wasn't family, somehow giving her that input that it was really something special, changed her perspective. So she kept writing and she and I started, I was on the road doing Shakespeare a lot. We started trading chapters. She'd send me a chapter a week and I would edit it and send it back. And so Wizard Stone evolved from there into its current form, and then she started the next book, Wizard Wind and Wizard Storm. And we went that way through five and a half books. And my dad finally, when he retired from being a physicist, said he was going to, I always told you I'd get your published Dee, I'm going to take it down to the print shop and get a hundred copies made. And by this time I was working with you and a bunch of other great indie authors who were letting thousands of happy readers read their books through an independent platform. And I said, well, wait a minute. I could do better than that. So I convinced them to hire an editor that I had worked with, and I did the rewrites and got it through the pre-production process and hired a cover artist, very talented artist. And you and Meara Platt, another of my authors, gave me so much information and help. And we got it published in 2022, I believe. We had three ready to go. And we published those all within a month of each other. One a month for three months, and then four and five, and then six came. And I co-authored five, six, and seven because my mother was losing her sight and her hearing at that point. We got those done. We had six out and a lot of people reading them and loving them and reviewing them before my mom passed. And I think it's probably one of the most satisfying things I've done in my life, because not only do I love the books, and they're just a rip roaring, fantastic adventure-filled epic trip through this incredible world my mom invented. But when she was about to, one of the last things she said to me was, I told her how many people had read her books. I just went through the Kindle numbers and thousands of people in different countries and all over the world were reading and loving her books. And I told her that, and she said, that's all that matters. And she felt such a sense of pride in herself and accomplishment because they were being received for what they are, which is a brilliant creative flight of fancy, this magical world in the tradition of all the books she loved, always Tolkien. And so I promised her I'd finish it. So after she died, I published six and seven and I've got eight about 90% written now, and I'm hoping to bring that out by the end of the year, although I've been too darn busy with narration to really spend the time. I've got the big climactic Jonathan Moeller type battle at the end sketched in my head and on an outline, but I got to write that. And then we can get that out there and finish that too. Jonathan: Will you stop with eight or keep going after eight? Hollis: My feeling is that this series will culminate with book eight. It's been a long saga of Beneban, this young wizard who kind of gets flung off a mountain by his evil wizard master and has to master his fledgling wizardry powers and his magical sword to win his love Laraynia, a powerful sorceress, and save the kingdom. And that's book one. And there's ice dragons, and then they have kids, and then the later books have become much more about their kids. And the more I write, the more it's become about young women fighting with swords. Jonathan: Well, they say write what you know. Hollis: Defeating the bad guys. Plucky young women, overachieving, competing with men. And so I think that's all going to come to a head with book eight, and that will be the end of that series. But I do think I'm going to spin it off into possibly more on the younger characters. I don't know if it's going to be YA per se, I think it'll still be for adults, but more of a YA feel to it, the younger characters of the ice dragon riding school of battle and the wizarding school. I don't know if I want to make it schools necessarily, it might limit you too much. And that's kind of been done too. But I do think the ice dragons are going to figure largely in it. Oh, and I don't know, there's a plot point I probably shouldn't give away, but my mother's full name was Willa Dee Maltby. She writes under Dee Maltby and there is a character, a very magical character named Willa that shows up in this book eight. So I think Willa will be a big character going forward and the younger generation of women and some boys too. I like boys, I do. Jonathan: Well, I suppose if people want to know more, they will have to read and find out. Hollis: Yes. And please go to the website is deemaltbyauthor.com and everything you want to know (well, maybe not everything), but everything you can know for now is there. Jonathan: Well, I was going to ask you what you would say was the most rewarding things about publishing the books, but I think you covered that pretty well. On the flip side, what was the biggest unexpected challenge in publishing them? Hollis: The PR is hard. You seem to be great at it. I even did PR professionally to work my way through undergrad and then in between grad school and undergrad and after I graduated and I had an assistantship in it at my university. But the book world specifically is a whole different kind of PR and learning Amazon ads and Facebook ads and it's a lot. It's a lot. And again, you have been so helpful with it. And I mean, there are a lot of online resources out there too, which is great. But what I'm really finding, trying to do it part-time is overwhelming. You really need a full-time block of time to not only write the books, but then to publicize them the way they deserve to be publicized. Jonathan: Yeah, the tricky part is, as you said, book advertising is very different from anything else. I was talking with a guy who is an Amazon reseller for various toiletries and hygiene products and makes a good living doing that. I was telling him how much I pay per click on Amazon ads. He's just appalled. It's like, you can't make any money doing that. And then the flip side of that too is that Internet marketing is so different than any other form of PR, so it's just sort of constant challenge there. Hollis: I know, and I know I actually signed up for a TikTok account and I just don't, again at the time. Plus every time I turn it on, I'm like, I don't want to watch that. I'm allergic to the format. You'd think being an actor, being used to being on camera, I could come up easily with little things to do for the books and I probably could for TikTok. But again, just learning the platform and then applying yourself to it is just such a big time hack that I don't have that amount of time. I know that narrators are now more and more marketing themselves by recording themselves on camera narrating and putting that out there, which I can do, I guess. And that's why I got this ring light and everything. I can do that now. I haven't done anything with it, but I guess if some of the book work dries up, I'll be more motivated to do it. Jonathan: Well, that's how anything works. You try it and if you enjoy it and it works, keep doing it. And if you don't enjoy it and it doesn't work, no point in carrying on with it. Hollis: I think that's true. And you just have to keep learning too, as we know with everything. You got to keep learning new things. Jonathan: Well, this has been a very enjoyable interview and thank you for coming on the show. Hollis: My pleasure. Jonathan: Let's close out with one last question. You've obviously done a lot of theater, so what, out of all the productions you've done was the one you would say was your favorite or that you enjoyed the most? Hollis: I think I have to go back to Beatrice probably. I mean, the Alabama Shakes getting to play a man thing, that was a lot of fun. But Beatrice, we did a Wild West Much Ado about Nothing at Colorado Shakespeare. The premise was that I was the niece of Leonardo, who is the tavern keeper, the bar keeper in this Wild West world. And there was a bar fight opening this Wild West production, and I entered through a swinging tavern door with a six shooter in one hand and a bull whip in the other. And I shot the pistol and cracked the bull whip and broke up the fight and then got to do Shakespeare's incredible Beatrice and Benedict story from there. It was so much fun. Jonathan: It almost seems like the soundtrack could have been “I Shot the Sheriff.” Hollis: Yeah. Yeah, it really could. It was a heck of a lot of fun. Jonathan: Well, speaking of fun, it was good talking with you, and thank you for taking the time to be on the show. Hollis: Yeah, I am excited to start the next Cloak book soon. So I was going to offer to do a little snatch of you want the introduction for Cloak here? Jonathan: Oh, I think we'll save it for the Real Thing. Hollis: Oh, okay. All right. Well thank you, Jonathan. It's been a pleasure. Jonathan: It's been a pleasure. And see you soon for Cloak Mage #10. Hollis: Alright. So that was our interview with Hollis McCarthy. Thank you for coming on the show and giving us a very informative and entertaining interview. A reminder that the website with the Magic of Larlion books is deemaltbyauthor.com. So that is it for this week. Thank you for listening to The Pulp Writer Show. I hope you found the show useful. A reminder that you can listen to all the back episodes on https://thepulpwritershow.com. If you enjoyed the podcast, please leave your review on your podcasting platform of choice. Stay safe and stay healthy, and we'll see you all next week.

Alex spoke to Paul Rubin, Executive Director of Camp Good Mourning, about the bereavement camp programs. They are looking for counselors and they have a training program starting soon!

Alex spoke to Paul Rubin, Executive Director of Camp Good Mourning, about their annual Wing Eating Contest on Feb 2nd which raises money for scholarships to their children's bereavement camp.

This podcast episode features an exciting announcement about the integration of Nomad Go's innovative inventory management technology with PAR Technology's Data Central platform. David Greshler, CEO of Nomad Go, and Paul Rubin, Chief Strategy Officer at PAR, discuss how their collaboration aims to revolutionize the restaurant industry's approach to inventory counting. With Nomad Go's solution, operators can count their inventory more efficiently and accurately using just an iPhone or iPad, significantly reducing the time and effort traditionally spent on manual counting. The conversation highlights the challenges faced during the integration process and emphasizes the importance of data integrity and reliability. Listeners will gain insights into the future of restaurant technology, the benefits of frequent inventory checks, and the impact of emerging technologies such as AI and augmented reality on the hospitality sector.Takeaways: The integration of Nomad Go with PAR Technology significantly simplifies the inventory counting process for restaurants. Using augmented reality and AI, Nomad Go enables users to count inventory with a simple scan. Both companies emphasize the importance of accuracy and time savings in inventory management for restaurants. Frequent inventory checks can lead to better management of food waste and theft detection. The partnership between Nomad Go and PAR Technology reflects a growing trend of technological collaboration in the restaurant industry. Customers can expect enhanced data insights and operational efficiency from the new integration. Links referenced in this episode:gainadvisors.comnomadgo.comskipkimpel.commagicgate.comCompanies mentioned in this episode: Growth Advisors International Network NomadCo PAR Technology Corporation Nomad Go PAR Data Central Brink

Can a camp really change the life of a grieving child? Join us as we welcome Paul Rubin, the visionary behind Camp Good Mourning on Long Island, a haven where children aged 7 to 17 find solace and community after losing a parent or sibling. Paul shares his heartfelt journey from volunteering at a similar camp in New Jersey to establishing this indispensable resource on Long Island. You'll hear about how Camp Good Mourning's unique overnight stays forge deeper connections among campers, and how the initiative has flourished since its inception in 2018, even adapting creatively during the COVID-19 pandemic.Throughout our talk, Paul opens up about the meticulous volunteer screening process and the impactful stories of campers who have found a sense of family and belonging at Camp Good Mourning. We dive into the camp's structure, which balances support group sessions with recreational activities to create a nurturing environment for grieving children. Highlighting the importance of ongoing connections, Paul discusses how the camp ensures that kids continue receiving support beyond their camp experience, leveraging social media to keep the bonds strong.We wrap up with a light-hearted Q&A session where Paul reveals some personal quirks and heartwarming anecdotes, making for a truly engaging conversation. From discussing the complexities of talking about death with children to celebrating the camp's 50% return rate, this episode offers a comprehensive look at how Camp Good Mourning is changing lives one child at a time. Don't miss this heartfelt episode as we explore the profound impact of community and support in the healing journey of grieving children.PAUL'S LINKS:Email: paul.campgoodmourning@gmail.comWebsite: https://www.campgoodmourning.org/Facebook: https://www.facebook.com/CampGoodMourningNATIONAL ALLIANCE FOR CHILDREN'S GRIEF:https://nacg.org/DONATE TO CAMP GOOD MOURNING: https://www.campgoodmourning.org/wish-list NICK'S PERSONAL FACEBOOK PAGE: https://www.facebook.com/nick.gaylord.50/GIVE THE SHOW A 5-STAR RATING ON APPLE PODCASTS! FOLLOW US ON APPLE OR YOUR FAVORITE PODCAST PLATFORM! BOOKMARK OUR WEBSITE: www.ourdeaddads.com FOLLOW OUR DEAD DADS ON SOCIAL MEDIA: Facebook: https://www.facebook.com/ourdeaddadspod/ Instagram: https://www.instagram.com/ourdeaddadspod TikTok: https://www.tiktok.com/@ourdeaddadspod Twitter / X: https://x.com/ourdeaddadspod YouTube: https://www.youtube.com/channel/UCmmv6sdmMIys3GDBjiui3kw LinkedIn: https://www.linkedin.com/in/ourdeaddadspod/

Can you imagine the unimaginable—losing both parents within a week during a global pandemic? This episode promises an empathetic and raw conversation with Jocelyn Bates, who shares her harrowing experience and the journey of processing such an immense loss. We unravel the bravery it takes to face profound grief, the struggle against anger and frustration, and the crucial importance of openly discussing these intense emotions. Jocelyn's story is a powerful reminder that even in the darkest times, there is strength to be found and a community ready to support those who are grieving.We then explore the deep emotional ties of family and the transformative power of forgiveness. Listen as we recount the evolving relationship between a father and child, marked by the father's struggle with PTSD and his commitment to being an exceptional grandfather. The narrative captures the poignant moments of reconnection and the devastating impact of losing loved ones during the pandemic. We reflect on the emotional toll on families dealing with hospital trauma and burnout, recognizing the compassionate efforts of medical staff and the solace provided by hospice nurses.Lastly, we venture into the intricate landscape of healing through grief and connection. Discover the realities of dissociation, the therapeutic impact of practices like Yoga Nidra and EFT tapping, and the importance of emotional validation. We also discuss breaking the cycle of emotional repression and the generational trauma that shapes our responses to loss. Join us as we highlight stories of resilience, practical strategies for navigating grief, and the uplifting work of individuals like Paul Rubin, who dedicates his life to helping bereaved children find a path to healing.JOCELYN'S LINKS:WEBSITE: https://www.jocelynbates.net/FACEBOOK: https://www.facebook.com/jocelyn.bates.5INSTAGRAM: https://www.instagram.com/soulsessionsbyjocelyn/Check out "Ungovernable", the podcast that Jocelyn and her husband Matthew Struck (who will be my guest on an upcoming episode) produce and host together. Available on Apple, Spotify and podcast platforms everywhere!GIVE THE SHOW A 5-STAR RATING ON APPLE PODCASTS! FOLLOW US ON APPLE OR YOUR FAVORITE PODCAST PLATFORM! BOOKMARK OUR WEBSITE: www.ourdeaddads.com FOLLOW OUR DEAD DADS ON SOCIAL MEDIA: Facebook: https://www.facebook.com/ourdeaddadspod/ Instagram: https://www.instagram.com/ourdeaddadspod TikTok: https://www.tiktok.com/@ourdeaddadspod Twitter / X: https://x.com/ourdeaddadspod YouTube: https://www.youtube.com/channel/UCmmv6sdmMIys3GDBjiui3kw LinkedIn: https://www.linkedin.com/in/ourdeaddadspod/

We know a lot of landfill space is taken up by plastic waste. When shopping for groceries up to 33% of the total cost of most items covers the plastic packaging which ultimately ends up in landfill space, destroying our precious earth. What can consumers do differently in their daily lives to play their part in protecting the environment not only on World Environment Day but every day? Just ahead of World Environment Day this week, plastic-free grocery store NUDE FOODS has further invested into zero-waste and launched a next-generation Smartfill IoT dispenser at their Cape Town branch. Paul Rubin, Founder and owner of NUDE FOODS shares more now  See omnystudio.com/listener for privacy information.

Economist, professor and author Paul Rubin joins Tim to talk about the impact of socialism on the future, particularly among young people who tend to be the most supportive of it, but who stand to lose the most because of it. This is the focus of his new book called, “A Student's Guide to Socialism: How it will trash your lives.” This episode was first released January 4, 2021. https://traffic.libsyn.com/secure/shapingopinion/157_-_What_They_Wont_Tell_You_About_Socialism.mp3 If you want to see where socialism has been tried and failed, you don't have to look far. Venezuela is one current-day example. The country sits on one of the world's largest deposits of oil, yet people in that country have to wait in long lines for gas, the prices for gas are high and the quality of life is among the lowest in the world. Or, you could look toward history, from the Soviet Union, to Cuba, to countries from Eastern Europe to South America and Africa. The examples of socialist failure are many.  But if you look for examples of where socialism has been successful, you can look, but you won't find many if any. The effects of socialism aren't just a poor standard of living, but massive human misery, that history has shown, has led to the establishment of dictators and small rich oligarchies who rule the masses under the thumb of socialism. At the same time, the concepts of socialism have long had a certain appeal to young people and oppressed peoples. Socialism has a certain seductive quality for some. Paul Rubin has spent decades teaching young generations about basic economic principles, and has spent no small amount of time educating young people on the risks of socialism. Links A Student's Guide to Socialism: How it will trash your lives, by Paul Rubin (Amazon) Paul Rubin, The Independent Institute How are socialism and communism different?, History.com Capitalism v. Socialism, PragerU.com About this Episode's Guest Paul Rubin Paul H. Rubin is the Samuel Candler Dobbs Professor of Economics Emeritus in the Economics Department of Emory University and a former Professor of Law and Economics at the School of Law. He served as editor-in-chief of Managerial and Decision Economics. In addition, he is associated with the Mont Peleron Society, the Independent Institute, and the American Enterprise Institute, and a Fellow of the Public Choice Society and former President of the Southern Economics Association. Professor Rubin was Senior Economist at the Council of Economic Advisers under President Reagan, Chief Economist at the U.S. Consumer Product Safety Commission, Director of Advertising Economics at the Federal Trade Commission, and Vice-President of Glassman-Oliver Economic Consultants, Inc., a litigation consulting firm in Washington. He has taught economics at the University of Georgia, City University of New York, VPI, and law and economics at George Washington University Law School. Professor Rubin has written or edited several books, and has published over one hundred articles and chapters on economics, law, and regulation. Much of Professor Rubin's writing is in law and economics, with a focus on tort, crime and contract issues. His areas of research interest include law and economics, industrial organization, transaction cost economics, government and business, public choice, regulation and price theory, and evolution and economics. His work has been cited in the professional literature over 11,100 times. He has consulted widely on litigation related matters, and has addressed numerous business, professional, policy and academic audiences. He has testified three times before Congress, and has served as an advisor on tort issues to the Congressional Budget Office. Professor Rubin is the author of the well-known paper “Why Is the Common Law efficient?” Journal of Legal Studies, 1977, which has been reprinted eight times, in English, Spanish and French. B.A. 1963,

Brace yourselves as we pull back the curtain on the life of renowned comedian Phil Hartman. This episode of Everything Scary is a candid exploration of Hartman's illustrious career and a behind-the-scenes tour of his intimate world. From his successful collaborations, his struggles, and the tragic end, the journey is a gripping rollercoaster ride of laughter, tears, and eyebrow-raising revelations.We kick things off with a deep look into Hartman's professional life, including the cherished moments from his work on Pee Wee Herman and Saturday Night Live. Discover how Hartman's self-awareness and empathy played a pivotal role in his skyrocketing career. There's also a side of Paul Rubin's theatre incident that you might not have heard before. We then navigate through the intricacies of Hartman's personal life, shedding light on his complicated relationships. The dynamic between Hartman, his ex-wife Lisa, and his third wife Brynn is a rollercoaster ride of emotion, tension, and drama. But the spotlight doesn't stop there. As we reach the heart-wrenching climax of this journey, we piece together the events leading up to Hartman's tragic demise. Delve into the turmoil of his post-SNL life and guest roles on Third Rock From The Sun. The impact of his untimely death on his loved ones and the entertainment industry is a poignant reminder of the man behind the laughter. Buckle up for an emotional ride that has you laughing one moment and tearing up the next. This is Phil Hartman, raw and unfiltered.Support the showIf you're interested in receiving bonus episodes, early release dates, an everything scary sticker and ‘thank you' as well as a shout out on our regular feed! Please join at Patreon//everythingscarypod571

Brian Eftenoff was a bit of a douche. He was arrogant. Self centered. Controlling. But when he met a young Judi Harding at a bar in Phoenix, he laid on the charm. Judi was smitten. Soon, Brian and Judi moved in together. They got married. They had two children. Judi confided in her friends and family that Brian was abusive. So, when Brian discovered her dead one morning, he became a prime suspect. Then Brandi tells us about a woman whose psychic vision helped solve a crime. Etta Smith didn't know Melanie Uribe, but when she heard about the young mother's disappearance, Etta had an unexpected vision. She saw that Melanie was in a canyon, surrounded by shrubbery. Etta worried that police wouldn't take her seriously, but she went to the police station anyway. She couldn't shake the possibility that perhaps Melanie was still alive, and in desperate need of help. And now for a note about our process. For each episode, Kristin reads a bunch of articles, then spits them back out in her very limited vocabulary. Brandi copies and pastes from the best sources on the web. And sometimes Wikipedia. (No shade, Wikipedia. We love you.) We owe a huge debt of gratitude to the real experts who covered these cases. In this episode, Kristin pulled from: “Til Death Do Us Part,” by Paul Rubin for the Phoenix New Times “A Deadly Dose” episode of American Justice “The Final Straw,” by Paul Rubin for the Phoenix New Times “The Jerk” episode of Reasonable Doubt  “Reasonable Doubt: The Murder Trial,” by David Kohn for CBS News In this episode, Brandi pulled from: “Suddenly Psychic” episode Psychic Investigators “Etta Smith Claims a Psychic Vision Showed Her the Location of a Murder Victim's Body” by Nik Young, medium.com “Premonition Of Murder” segment Unsolved Mysteries “Psychics Helping Police Solve Crimes” Larry King Live Transcript, cnn.com “Three Young Suspects in Custody” upi.com “Adult Trial for Youth, 17” The Los Angeles Times “Police sued, false arrest main issue” by Associated Press, Napa Valley Register “False arrest might be movie material” by Richard Varenchik, Daily News “Psychic ‘Vision' Suit Settled” by Jan Klunder, The Los Angeles Times YOU'RE STILL READING? My, my, my, you skeezy scunch! You must be hungry for more! We'd offer you some sausage brunch, but that gets messy. So how about you head over to our Patreon instead? (patreon.com/lgtcpodcast). At the $5 level, you'll get 46+ full length bonus episodes, plus access to our 90's style chat room!  

Faylene Grant's death could have been many things. It could have been an accident. It could have been a suicide. It could have been cold-blooded murder. It could have been the result of emotional manipulation at the hands of her husband, Doug Grant. It was difficult to say for certain what led to the drowning death of 35-year-old Faylene Grant. But when her husband remarried just three weeks after Faylene died, it raised some eyebrows. Then Kristin tells us a truly vomitrocious story. At its peak, the Peanut Corporation of America produced peanuts, peanut butter and peanut powder for major food conglomerates like Sara Lee, Kelloggs and General Mills. They supplied peanut butter to hospitals, nursing homes and schools. Over the years, their profits soared. But their factories were unsanitary. Their workers were badly paid. Worst of all, the people in charge didn't care about whether the food that they sent all over the country was safe to consume. And now for a note about our process. For each episode, Kristin reads a bunch of articles, then spits them back out in her very limited vocabulary. Brandi copies and pastes from the best sources on the web. And sometimes Wikipedia. (No shade, Wikipedia. We love you.) We owe a huge debt of gratitude to the real experts who covered these cases. In this episode, Kristin pulled from: The episode of American Greed, “From Peanuts to Sick Millions” “The rise and fall of a peanut empire,” by Lyndsey Layton and Nick Miroff for NBC News “PCA prison terms put industry on notice about accountability,” by Kathy Holliman for foodqualityandsafety.com “Praise for an unlikely whistleblower,” by Darin Detwiler for Food Safety News “Michael Parnell's attorney paints him as the ‘little guy' in the PCA case,” by Dan Flynn for Food Safety News “Unprecedented verdict: Peanut executive guilty in deadly salmonella outbreak,” by Moni Basu for CNN “Former peanut executive sentenced to 28 years in prison,” by Brady Dennis for the Washington Post In this episode, Brandi pulled from: “A Divine Death” episode A Wedding and a Murder “Fatal Visions” episode Dateline “Mormon Widower Doug Grant Wasn't Counting on a Murder Rap When He Followed His Late Wife's Instruction to Marry His Ex-Lover” by Paul Rubin, Phoenix New Times “Doug Grant Gets Five Years After Slain Wife's Sister Pressed for His Conviction Based on a Dream” by Paul Rubin, Phoenix New Times “Grant v. Grant” casetext.com “Woman sues over mom's 2001 drowning” by Gary Grado, East Valley Tribune YOU'RE STILL READING? My, my, my, you skeezy scunch! You must be hungry for more! We'd offer you some sausage brunch, but that gets messy. So how about you head over to our Patreon instead? (patreon.com/lgtcpodcast). At the $5 level, you'll get 45+ full length bonus episodes, plus access to our 90's style chat room!  

In Episode 216, I converse with Paul Rubin, Founder and Executive Director at Camp Good Mourning!, a Long Island-based 501c3 nonprofit that provides FREE bereavement camp programs for Long Island children who are coping wit the death of a a parent and/or sibling. Paul Rubin has a Bachelor of Arts in Communication Arts from Hofstra University and a Masters in Science and Advanced Certificated in Counseling from LIU Post. We speak about his thoughts on Searching for Bobby Fischer, impulse control, mindfulness, ways to get involved with Camp Good Mourning!, and more. 

1988 - Paul began his flying career with the company "Flying By Foy", where he became Peter Foy's protege.  ​ 1995 - After 8 years of service, feeling he had reached his full potential, Paul became one of the founders of the fledgling company ZFX, Inc. This is where he truly began to carve a niche for himself as an aerial choreographer / designer. Paul's passion, creativity, artistry, and ability to communicate with directors, designers, and performers kept him in high demand.  ​ 2004 - Now known as "The Fly Guy," Paul realized his corporate obligations were beginning to take him away from his true passion.  He knew it was time to spread his wings and fly on his own.  ​ 2008 - Paul celebrated his 20th year in the flying industry! He had now choreographed over 300 productions of Peter Pan in 8 different countries and numerous Broadway and Off-Broadway productions including such favorites as Wicked, Fiddler on the Roof, and Curtains. ​ 2010 - Glenn Casale approached Paul to discuss a reimagined production of Disney's The Little Mermaid. He wanted to add the effect of simulated swimming to the mermaids to make them look more realistic as they swam underwater. The show opened in 2011 in Holland. Due to its success, another production opened in Moscow six months later. (Currently there are two productions running in Japan.) ​ 2013 - The Light Princess ​ 2016 - Tuacahn  Ampitheatre  ​   ​ ​

Paul Rubin flew in to speak to Wyatt about his work on Broadway, across the country, and around the world. Widely regard as the best in the business Paul has flown Peter Pans, "Wicked" witches, Mermaids, and more. He shares the story of his start as a magician and he and Wyatt get into some favorite myth mashups, how mishaps are less funny when people are flying, and a SUPER SECRET "Thank You, Five" exclusive about a lifetime achievement award being given to a certain supercalifragilisticexpialidocious Nun who hung out in Camelot...  It's Julie Andrews y'all. Paul choreographed a flight sequence where a performer dressed as Mary Poppins will present Julie Andrews her lifetime achievement award from the American Film Institute. No big deal. But you did hear it here first!!Check out ALL his stuff at www.theflyguy.com 

In this episode we talk to The Fly Guy. If you ever wondered who is the person who makes Mary Poppins, Peter Pan, & spider man soar across the stage and many others, Paul is the guy. He has toured across the world working in amazing stage productions and creating magic. He is even responsible for making magicians fly although due to secrecy agreements he isn't able to say. This was a really fun episode that will get you thinking about different theatrical performers and those who work behind the scenes. Wesiseli.com Patreon.com/wes_iseli

Sometimes we just have to leave the witty descriptions for another episode and tell you that this is a MUST LISTEN because you need to all support organizations like this. Uncle Dave sits down with the founder and executive director of Camp Good Mourning!, a Long Island-based 501c3 nonprofit that provides FREE bereavement camp programs for Long Island children who are coping wit the death of a a parent and/or sibling. Listen and support them at their next event, please. Follow Camp Good Mourning here: https://www.campgoodmourning.org/about Follow Paul Rubin here: https://www.linkedin.com/in/paulrubin1/ I would really enjoy hearing from you. If you would like to connect, you can find me, your host Uncle Dave, David Chametzky here: https://www.davidchametzky.com  Find me on social media as David Chametzky, or on the Facebook page for Peace, Love and Bring a Bat, on Twitter @goofyjaam Peace Love and Bring a Bat is produced by Launchpad 516 Studios. For show ideas, guest inquiries or general feedback, drop an email: peacelovebringabat@gmail.com For sponsorships and media inquiries, drop an email: peacelovebringabat@lp516.com If you are enjoying hearing this and want to support either the podcast OR more importantly Goons for Good please feel free to click on the Patron link below to support and for a shout out and a half hour one on one session of Havening(R) https://patron.podbean.com/PeaceLoveandBringaBat Pink Cans for Cancer http://recycling4acure.org/pink-cans-4-cancer Subscribe to Peace Love and Bring a Bat on Apple Podcasts and get notified of new episodes, every Thursday! https://podcasts.apple.com/us/podcast/peace-love-and-bring-a-bat/id1552738547 (c) 2021 On the Path LLC. All Rights Reserved and Enthusiastically Protected.

Tracklist: 1 - Crustation – Purple (Freestylers Remix) 2 - Plump DJs – The Push 3 - Fluppy – Blue Horizon 4 - Paul Rubin – Party Going On 5 - Music Instructor – Supersonic (DJ Icey Remix) 6 - Azzido Da Bass – Dooms Night (Timo Maas Remix) 7 - Novy vs. Eniac – Pumpin’ (Re-Edit) 8 - KayCee – Escape (Electro Mix) 9 - Agnelli & Nelson – Everyday (DJ Icey Remix) 10 - DJ Godfather – First Contact 11 - DJ Icey – Chain Reaction 12 - Orbital – Nothing Left (Tsunami One Remix) 13 - DJ Icey – Low Tide (Stripped Down Mix) 14 - Reactor 7 – The Realm 15 - DJ Icey – Minimal Machine 16 - Sabres Of Paradise, The – Smokebelch II (David Holmes Mix)

Find my “extra” content on Locals: https://ScottAdams.Locals.com Content: New DOJ policy on criticism of school officials Instagram, more dangerous than fentanyl? Paul Rubin on woke, primitive economics Corruption? FDA rapid testing long delay Government mandated behavior Bank transactions over $600  If you would like to enjoy this same content plus bonus content from Scott Adams, … The post Episode 1521 Scott Adams: Probably the Best Coffee With Scott Adams of All Time appeared first on Scott Adams Says.

My new book LOSERTHINK, available now on Amazon https://tinyurl.com/rqmjc2a Find my "extra" content on Locals: https://ScottAdams.Locals.com Content: New DOJ policy on criticism of school officials Instagram, more dangerous than fentanyl? Paul Rubin on woke, primitive economics Corruption? FDA rapid testing long delay Government mandated behavior Bank transactions over $600 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ If you would like to enjoy this same content plus bonus content from Scott Adams, including micro-lessons on lots of useful topics to build your talent stack, please see scottadams.locals.com for full access to that secret treasure. --- Support this podcast: https://anchor.fm/scott-adams00/support

Camp Good Mourning! is Long Island's ONLY nonprofit organization that provides FREE, overnight, weekend bereavement camp programs for children, ages 7-17, who are coping with the loss of a parent/guardian, and/or sibling.Paul Rubin, Founder and Executive Director of Camp Good Mourning!Empathic bereavement support group leader with significant experience serving youth, adults and seniors coping with the death of a loved oneAward-winning educator and engaging classroom facilitator recognized by Suffolk County officials for Community Education and unwavering commitment to children, adolescents, and teensTrusted source for information on bully and cyber bully prevention and intervention, internet safety, sexting, and sexual harassmentEngaging public speaker with exceptional communication and interpersonal skills Tune in for this sensible conversation at TalkRadio.nyc or watch the Facebook Livestream by Clicking Here.Segment 1The first segment begins with a question about what drew Paul to the kind of work he does. Paul shares that he has always felt drawn towards service work with children. He describes different volunteering opportunities he's been involved with over time. He then shares a story about a volunteer experience at a children's bereavement camp in New Jersey. While volunteering there, he shared a special connection with a little boy whose family survived 911. The impact of this experience later inspired him to start an overnight bereavement camp in Long Island.Segment 2 The second segment begins as a continuation of the conversation in segment 1. Paul discusses his observation for a need for an overnight bereavement camp in Long Island; although Long Island did offer bereavement camps, at the time,  none of them provided overnight services. Paul found that overnight camps allowed for opportunities for more bonding and connections to form between children and camp staff. Paul discusses the unique services offered by his non-profit organization which also includes services for grieving parents such as support groups. Segment 3 This segment begins with a discussion about volunteer work within the organization. Paul describes the stringent volunteer recruitment process which ensures the camp children are in the best possible hands. He then discusses the one-on-one buddy system in which volunteers work one-on-one with camp children.Next, Paul discusses how he has created and sustained his nonprofit organization. Pro-Bono services have helped him to get the organization started and his organization is supported by grants, donations, and sponsorships. Finally, Paul discusses how camp services and processes are adapted to boost the wellbeing of the children involved.Segment 4In the final segment, Paul highlights his organization's goal to fill in the gaps in bereaved services offered in Long Island. Paul also discusses the organization's need for male volunteers and support group leaders. His team offers education and training for dealing with grief so that volunteers are prepared to serve in their designated role. Paul shares that the camp and volunteer applications can be found on the organization's website and he shares the organization's contact information. Finally Paul shares his organization is interested in growing their board and working with organizations with similar goals.

NPV 100 WWC 8 - 14 (1) Paul Rubin CAMP GOOD MOURNING by JVC Broadcasting

In this episode, we talk to Candice Mostert. She is the South African founder of Waste-ED, a waste education project with the aim to reconnect people with wasted materials and send less to landfill. Waste-ED is researching and using the Ecobrick as a tool to transform waste systems and re-learn sustainable building practices  During this episode, we talked about Ecobricks. How they are used and the impacts they are making with raising awareness of unrecyclable items and finding better solutions.   Links from the episodes: https://mamaearthtalk.com/episodes/098/ (Episode 98 with Frank Solomon regarding the street surfers) https://mamaearthtalk.com/episodes/031/ (Episode 31 with Nude Food founder, Paul Rubin). Where can people find Candice? https://www.facebook.com/WasteEDSA/ (Facebook) https://www.instagram.com/candiwrappa (Instagram) https://www.youtube.com/channel/UCi1zQhunlzgJLdcXHguDolQ?view_as=subscriber (YouTube) https://waste-ed.co.za/ (Website) KEY TAKE AWAY“Looking at every little aspect and seeing if there's a reusable option for it”

Kevin Gregg & Paul Carganilla discuss creativity and inspiration with this week's special guest: Paul Rubin.Paul Rubin is a flying sequence choreographer and designer who has designed some of the most memorable flying sequences from the Tony Award-winning Broadway musical Wicked to Cathy Rigby’s Tony-nominated Peter Pan. Paul is a proud member of The Academy of Magical Arts (The Magic Castle) and I.A.T.S.E. Local 720.Broadway credits include the Tony Award-winning Frozen, The Pirate Queen, Saturday Night Fever, Dance of the Vampires, Doctor Zhivago, The Green Bird directed by Julie Taymor,Some television credits include Kevin Can Wait, Entertainment Tonight, The Tony Awards, The Rosie O’Donnell Show, CNN, and A&E’s Emmy-winning Peter Pan starring Cathy Rigby.Some of the talented performers Paul has given wings to include: Kevin James, John Rhys-Davis, Adam Lambert, Michael Crawford, John Turturro, Neil Patrick Harris, Tony Danza, Howie Mandel, and David Hyde Pierce

Economist, professor and author Paul Rubin joins Tim to talk about the impact of socialism on the future, particularly among young people who tend to be the most supportive of it, but who stand to lose the most because of it. This is the focus of his new book called, “A Student's Guide to Socialism: How it will trash your lives.” https://traffic.libsyn.com/secure/shapingopinion/Socialism_Rubin_auphonic.mp3 If you want to see where socialism has been tried and failed, you don't have to look far. Venezuela is one current-day example. The country sits on one of the world's largest deposits of oil, yet people in that country have to wait in long lines for gas, the prices for gas are high and the quality of life is among the lowest in the world. Or, you could look toward history, from the Soviet Union, to Cuba, to countries from Eastern Europe to South America and Africa. The examples of socialist failure are many.  But if you look for examples of where socialism has been successful, you can look, but you won't find many if any. The effects of socialism aren't just a poor standard of living, but massive human misery, that history has shown, has led to the establishment of dictators and small rich oligarchies who rule the masses under the thumb of socialism. At the same time, the concepts of socialism have long had a certain appeal to young people and oppressed peoples. Socialism has a certain seductive quality for some. Paul Rubin has spent decades teaching young generations about basic economic principles, and has spent no small amount of time educating young people on the risks of socialism. Links A Student's Guide to Socialism: How it will trash your lives, by Paul Rubin (Amazon) Paul Rubin, The Independent Institute How are socialism and communism different?, History.com Capitalism v. Socialism, PragerU.com About this Episode's Guest Paul Rubin Paul H. Rubin is the Samuel Candler Dobbs Professor of Economics Emeritus in the Economics Department of Emory University and a former Professor of Law and Economics at the School of Law. He served as editor-in-chief of Managerial and Decision Economics. In addition, he is associated with the Mont Peleron Society, the Independent Institute, and the American Enterprise Institute, and a Fellow of the Public Choice Society and former President of the Southern Economics Association. Professor Rubin was Senior Economist at the Council of Economic Advisers under President Reagan, Chief Economist at the U.S. Consumer Product Safety Commission, Director of Advertising Economics at the Federal Trade Commission, and Vice-President of Glassman-Oliver Economic Consultants, Inc., a litigation consulting firm in Washington. He has taught economics at the University of Georgia, City University of New York, VPI, and law and economics at George Washington University Law School. Professor Rubin has written or edited several books, and has published over one hundred articles and chapters on economics, law, and regulation. Much of Professor Rubin's writing is in law and economics, with a focus on tort, crime and contract issues. His areas of research interest include law and economics, industrial organization, transaction cost economics, government and business, public choice, regulation and price theory, and evolution and economics. His work has been cited in the professional literature over 11,100 times. He has consulted widely on litigation related matters, and has addressed numerous business, professional, policy and academic audiences. He has testified three times before Congress, and has served as an advisor on tort issues to the Congressional Budget Office. Professor Rubin is the author of the well-known paper "Why Is the Common Law efficient?" Journal of Legal Studies, 1977, which has been reprinted eight times, in English, Spanish and French. B.A. 1963, University of Cincinnati Ph.D., 1970, Purdue University  

Economist, professor and author Paul Rubin joins Tim to talk about the impact of socialism on the future, particularly among young people who tend to be the most supportive of it, but who stand to lose the most because of it. This is the focus of his new book called, “A Student’s Guide to Socialism: How it will trash your lives.” https://traffic.libsyn.com/secure/shapingopinion/Socialism_Rubin_auphonic.mp3 If you want to see where socialism has been tried and failed, you don’t have to look far. Venezuela is one current-day example. The country sits on one of the world’s largest deposits of oil, yet people in that country have to wait in long lines for gas, the prices for gas are high and the quality of life is among the lowest in the world. Or, you could look toward history, from the Soviet Union, to Cuba, to countries from Eastern Europe to South America and Africa. The examples of socialist failure are many.  But if you look for examples of where socialism has been successful, you can look, but you won’t find many if any. The effects of socialism aren’t just a poor standard of living, but massive human misery, that history has shown, has led to the establishment of dictators and small rich oligarchies who rule the masses under the thumb of socialism. At the same time, the concepts of socialism have long had a certain appeal to young people and oppressed peoples. Socialism has a certain seductive quality for some. Paul Rubin has spent decades teaching young generations about basic economic principles, and has spent no small amount of time educating young people on the risks of socialism. Links A Student’s Guide to Socialism: How it will trash your lives, by Paul Rubin (Amazon) Paul Rubin, The Independent Institute How are socialism and communism different?, History.com Capitalism v. Socialism, PragerU.com About this Episode’s Guest Paul Rubin Paul H. Rubin is the Samuel Candler Dobbs Professor of Economics Emeritus in the Economics Department of Emory University and a former Professor of Law and Economics at the School of Law. He served as editor-in-chief of Managerial and Decision Economics. In addition, he is associated with the Mont Peleron Society, the Independent Institute, and the American Enterprise Institute, and a Fellow of the Public Choice Society and former President of the Southern Economics Association. Professor Rubin was Senior Economist at the Council of Economic Advisers under President Reagan, Chief Economist at the U.S. Consumer Product Safety Commission, Director of Advertising Economics at the Federal Trade Commission, and Vice-President of Glassman-Oliver Economic Consultants, Inc., a litigation consulting firm in Washington. He has taught economics at the University of Georgia, City University of New York, VPI, and law and economics at George Washington University Law School. Professor Rubin has written or edited several books, and has published over one hundred articles and chapters on economics, law, and regulation. Much of Professor Rubin's writing is in law and economics, with a focus on tort, crime and contract issues. His areas of research interest include law and economics, industrial organization, transaction cost economics, government and business, public choice, regulation and price theory, and evolution and economics. His work has been cited in the professional literature over 11,100 times. He has consulted widely on litigation related matters, and has addressed numerous business, professional, policy and academic audiences. He has testified three times before Congress, and has served as an advisor on tort issues to the Congressional Budget Office. Professor Rubin is the author of the well-known paper "Why Is the Common Law efficient?" Journal of Legal Studies, 1977, which has been reprinted eight times, in English, Spanish and French. B.A. 1963, University of Cincinnati Ph.D., 1970, Purdue University  

From the Tony Award winning Broadway production of Wicked to Cathy Rigby's Emmy Award winning DVD of Peter Pan and everything in between, aerial choreographer “The Fly Guy” Paul Rubin has created some of the most memorable aerial performance pieces of the last 3 decades. We discuss his journey from starting at Flying By Foy and then co-founding ZFX Flying Effects, to his current role as an aerial choreographer where we talk about the challenges of creating flight beyond just the hardware of rope and pulleys. The Fly Guy web site - https://www.theflyguy.com/

LIVE with Paul Rubin of Camp Good Mourning! (Long Island, New York) for Children's Grief Awareness Month. -=-=-=-=- Find all episodes of the Widowed Parent Podcast & widowed parenting resources: https://widowedparentpodcast.com Tips for widowed parents: https://jennylisk.com/top10 Tips for allies of grieving people: https://www.jennylisk.com/allies  

Paul Rubin, author of "A Student's Guide to Socialism" joins WRFH to discuss the book. It asks the question, “What will my life be like if I live under socialism?” From 10/14/20.

Fingers talks with Paul Rubin, the Founder and Executive Director of Camp Good Mourning!, which provides free bereavement camp programs for Long Island children. Their Virtual Fall Camp runs from September 24th to 27th. If you know a child who could benefit from Camp Good Mourning!, go to campgoodmourning.org.

Ally Ali talks with Paul Rubin, Founder and Executive Director of Camp Good Mourning, a children's bereavement camp in Huntington. They discuss the the camp's history, programs offered, and their Bowling Fundraiser on February 29th.

In this episode, Paul Rubin, the world’s leading expert on cooperative capitalism, discusses his new book, The Capitalism Paradox: How Cooperation Enables Free Market Competition. Rubin explains how we should think about markets, economics, and business and makes a case that this book is an indispensable tool for understanding and communicating the vast benefits the free market bestows upon societies and individuals. Moderator Susan Dudley's review of the book may be read here.Featuring:- Prof. Paul H. Rubin, Samuel Candler Dobbs Professor of Economics Emeritus, Emory University- Moderator: Prof. Susan Dudley, Director, GW Regulatory Studies Center & Distinguished Professor of Practice, Trachtenberg School of Public Policy & Public Administration, George Washington UniversityVisit our website – www.RegProject.org – to learn more, view all of our content, and connect with us on social media.

In this episode, Paul Rubin, the world’s leading expert on cooperative capitalism, discusses his new book, The Capitalism Paradox: How Cooperation Enables Free Market Competition. Rubin explains how we should think about markets, economics, and business and makes a case that this book is an indispensable tool for understanding and communicating the vast benefits the free market bestows upon societies and individuals. Moderator Susan Dudley's review of the book may be read here.Featuring:- Prof. Paul H. Rubin, Samuel Candler Dobbs Professor of Economics Emeritus, Emory University- Moderator: Prof. Susan Dudley, Director, GW Regulatory Studies Center & Distinguished Professor of Practice, Trachtenberg School of Public Policy & Public Administration, George Washington UniversityVisit our website – www.RegProject.org – to learn more, view all of our content, and connect with us on social media.

Paul Rubin is the Executive Director of Camp Good Mourning!, a 501c3 nonprofit organization that provides FREE bereavement camp programs for Long Island children who are coping with the loss […] The post Camp Good Mourning with Paul Rubin appeared first on Open to Hope.

At The National Alliance for Grieving Children, 23rd Annual Symposium on Children’s Grief; Paul Rubin talks about the benefits of grief camp for kids. 3,729 total views, 4 views today The post How Grief Camp Helps Kids with Paul Rubin appeared first on Open to Hope.

At The National Alliance for Grieving Children, 23rd Annual Symposium on Children’s Grief; Paul Rubin talks about the benefits of grief camp for kids. 3,739 total views, 1 views today The post Why Go to Grief Camp with Paul Rubin appeared first on Open to Hope.

Scott Falater killed his wife — that much we know is true. He stabbed Yarmila dozens of times, then held her underwater. Afterward, he hid the murder weapon and his bloody clothes. When police arrived on the scene, Scott was dazed. He said he wasn’t sure what had happened. He didn’t remember a thing. He would never have chosen to kill his wife. So he must have committed the murder while he was sleepwalking. Right? Then Kristin tells us about a phone call that a self-proclaimed police officer made to a McDonalds in Mount Washington, Kentucky. A man who called himself “Officer Scott” told assistant manager Donna Summers that he was investigating a theft. A McDonald’s employee had stolen a customer’s purse. He described the suspect, and Donna offered a name. It had to be Louise Ogborn, the 18-year-old high school senior. Donna brought Louise into the office and followed Officer Scott’s increasingly odd instructions. And now for a note about our process. For each episode, Kristin reads a bunch of articles, then spits them back out in her very limited vocabulary. Brandi copies and pastes from the best sources on the web. And sometimes Wikipedia. (No shade, Wikipedia. We love you.) We owe a huge debt of gratitude to the real experts who covered these cases. In this episode, Kristin pulled from: “A hoax most cruel,” The Courier-Journal by Andrew Wolfson “Appeals court upholds $6.1 million strip-search verdict against McDonald’s,” The Courier-Journal “Ogborn awarded $6.1 million in suit against McDonald’s,” The Courier-Journal “Ogborn, first set of lawyers involved in fee dispute,” The Courier-Journal “Acquittal in hoax call that led to sex assault,” MSNBC “Strip-search case closed?” ABC News “Judge: Company must pay legal fees,” The Courier-Journal “McDonald’s didn’t warn workers, suit says,” The Courier-Journal “Ex-McDonald’s worker wins lawsuit over strip search,” Associated Press “McDonald’s Corporation v Ogborn,” findlaw.com “Strip search phone call scam,” Wikipedia Clip of 20/20 episode on YouTube In this episode, Brandi pulled from: “Walking Terror” episode Forensic Files “The Big Sleep” by Paul Rubin, Phoenix New Times “A Killer Sleep Disorder” by Paul Rubin, Phoenix New Times “Husband Admits He Killed His Wife —In His Sleep” Desert News “Sleepwalking Given As Defense by Man In Killing of Wife” Associated Press, The New York Times “Woman Stabbed, Drowned by ‘Sleepwalking’ Husband” by Joe Enea, ABC 15 News “‘Sleepwalker’ Guilty of Murder” by CBSNews.com Staff, CBS News  

Bill Horan and NCC Student Zac Turkel talk to Paul Rubin, Founder and Executive Director of Camp Good Mourning. He is also a Clinical Mental Health Counselor-LP specializing in grief and loss. For the past 16 years, Paul has been supporting children, parents, and families in a variety of different roles. As a Crisis Counselor for Hurricane Sandy survivors, he was recognized by the Nassau County Executive and Project Hope. Paul has also been honored for educating students about bully/cyberbully intervention and prevention, internet safety, sexting and sexual harassment.

Paul Rubin's career began in 1980 as the courts/police reporter for the Sierra Vista Herald/Bisbee Daily Review in southeast Arizona, and he spent most of his career as the senior reporter at the weekly Phoenix New Times, where he became one of Arizona’s most celebrated journalists. During his 27 years at New Times, he was selected as Arizona’s Journalist of the Year three times and was runner-up eight other years, including 2012--the year that the paper laid him off for economic reasons. He founded Paul Rubin Investigations founded in January 2016 after spending the previous three years with Rich Robertson’s R3 Investigations, a prominent Mesa-based firm. Paul also was the six-time winner of the Arizona Press Club’s Don Bolles Award for investigative reporting.

Our guest today is the founder of Nude Foods the first plastic-free grocery in Cape Town, South Africa. Crazy birds, without any further ado, I would like to welcome, Paul Rubin. Episode Highlights[01:00] How did your sustainable journey start? [03:50] That has really been the feedback from many of our customers, that exact point that they feel a lot more connected to their food or products that they buy. [04:18] We currently have about 300 SKU’s or products and we source as much of those products locally. Wherever products are available locally we will give preference to those suppliers. [04:57] We also have a zero waste lifestyle range because everything from your reusable coffee cup, to your reusable straws, dry produce bags, your fresh produce bags, your stainless steel lunch boxes, all that really useful products that help to live a zero waste lifestyle more easily. [06:35] We are trying to make whole foods and earth-friendly products more affordable and therefore more accessible to a wider range of the South African community. [08:04] Other than being package-free what would you say sets you apart from regular grocery stores? [10:55] What happens to expired food items? [11:25] We have partnered with an organisation called Streetscape, which upskill homeless people and teaches them how to grow or to tend their own fresh produce. All our unsold fresh produce are then send the Streetscape and is added to their existing compost. [11:59] What has been the feedback so far from your clients? [16:42] What is next for Nude Foods? [18:15] What has been one of your most important decisions that you have made around mama earth? Final Five1.What is one social media platform that you follow?   (https://zerowastehome.com/) 2.What is your hope for mama earth going forward?  I think mother earth as a planet is going to be just fine, she will probably still exist long after. My concern is more for the human race. I think as humans we are a bit more endangered as the planet. My hope is that the consciousness shifts from consumerism that we are seeing more and more of and reaching a tipping point much sooner than later.   3.What advise can you give our crazy birds this week to help out mama earth?  People are still sending organic waste to landfill even though the name implies it is a waste it is actually a great asset. All of our compostable waste should really be composted.  4.What is one sustainability fact that you like to use in a room with people not yet on a sustainability journey?  Every piece of plastic ever created still exists on earth.  5.Where can people find you? (https://www.facebook.com/plasticfreegrocery?_rdc=1&_rdr) (https://www.instagram.com/nudefoods.co.za/) (http://nudefoods.co.za/) Key Take Away“ Every piece of plastic ever created still exists on earth. “ This is indeed a very scary fact and it makes me want to try even harder to refuse single-use items that are really not required. This way we would be able to slowly reduce the demand for items that we do not require.

Neal and Rich discuss the US economy with:Adam Michel,Policy Analyst, Thomas A. Roe Institute for Economic Policy Studies, Heritage FoundationElaine Parker, President,Job Creators Network Foundation- Women doing great in Trump economy Paul Rubin, Samuel Candler Dobbs Professor of Economics, Emory University- The importance of teaching economics to young adults

The concept is not new, or a hipster fad. The Money Show’s Bruce Whitfield interviews Nude Foods founder Paul Rubin.

In May 1920, wealthy womanizer Joseph Elwell was found shot to death alone in his locked house in upper Manhattan. The police identified hundreds of people who might have wanted Elwell dead, but they couldn't quite pin the crime on any of them. In this week’s episode of the Futility Closet podcast we'll review the sensational murder that the Chicago Tribune called "one of the toughest mysteries of all times." We'll also learn a new use for scuba gear and puzzle over a sympathetic vandal. Intro: The Dodgers, Yankees, and Giants played a three-way baseball game in 1944. Avon, Colorado, has a bridge called Bob. Sources for our feature on Joseph Elwell: Jonathan Goodman, The Slaying of Joseph Bowne Elwell, 1987. Joseph Bowne Elwell, Bridge, Its Principles and Rules of Play, 1903 "J.B. Elwell, Whist Expert and Race Horse Owner, Slain," New York Times, June 12, 1920, 1. "Seek Young Woman in Elwell Mystery," New York Times, June 13, 1920, 14. "Scour City Garages for Elwell Clue," New York Times, June 14, 1920, 1. "'Woman in Black' at the Ritz Enters Elwell Mystery," New York Times, June 16, 1920, 1. "Two Men and Women Hunted in New Trail for Slayer of Elwell," New York Tribune, June 16, 1920, 1. "Housekeeper Admits Shielding Woman by Hiding Garments in Elwell Home," New York Times, June 17, 1920, 1. "Mrs. Elwell Bares Divorce Project," New York Times, June 17, 1920, 1. "Swann Baffled at Every Turn in Elwell Mystery," New York Times, June 19, 1920, 1. "'Mystery Girl in Elwell Case Is Found," Washington Times, June 19, 1920, 1. "Elwell, Discarding Palm Beach Woman, Revealed Threats," New York Times, June 20, 1920, 1. "Elwell, the Man of Many Masks," New York Times, June 20, 1920, 12. "Elwell Traced to Home at 2:30 on Day of Murder," New York Times, June 21, 1920, 1. "'Unwritten Law' Avenger Sought in Elwell Case," New York Times, June 22, 1920, 1. "Think Assassin Hid for Hours in Elwell Home," New York Times, June 23, 1920, 1. "Admits Breakfasting With Von Schlegell," New York Times, June 23, 1920, 3. "Officials Baffled by Contradictions Over Elwell Calls," New York Times, June 24, 1920, 1. "Housekeeper Gives New Elwell Facts," New York Times, June 25, 1920, 1. "Pendleton, Amazed Awaiting Inquiry in Elwell Case," New York Times, June 28, 1920, 1. "'Bootlegger' Clue in Elwell Case Bared by Check," New York Times, June 29, 1920, 1. "Elwell Rum Ring Bared by Shevlin," New York Times, July 2, 1920, 14. "Viola Kraus Again on Elwell Grill," New York Times, July 3, 1920, 14. "The People and Their Daily Troubles," Los Angeles Times, July 6, 1920: II2. "Says Witness Lied in Elwell Inquiry," New York Times, July 7, 1920, 11. "Whisky Is Seized in Elwell Mystery," New York Times, July 10, 1920, 10. "New Elwell Clue Found by Police," New York Times, July 11, 1920, 16. "'Beatrice,' New Witness Sought in Elwell Case," New York Tribune, July 11, 1920, 6. "Says He Murdered Elwell," New York Times, July 14, 1920, 17. "Quiz Figueroa Again in Elwell Mystery," New York Times, July 17, 1920, 14. "Chauffeur Quizzed in Elwell Mystery," New York Times, July 20, 1920, 8. "Elwell Evidence Put Up to Whitman," New York Times, April 2, 1921, 11. "Confesses Murder of Elwell and Says Woman Paid for It," New York Times, April 7, 1921, 1. "Admits Elwell Murder," Los Angeles Times, April 7, 1921, I1. "Confessed Elwell Slayer Identifies Woman Employer," New York Times, April 8, 1921, 1. "Confessed Slayer of Elwell Is Sane, Alienist Declares," New York Times, April 9, 1921, 1. "Harris Admits His Elwell Murder Tale Was All a Lie," New York Times, April 11, 1921, 1. "Elwell and Keenan Slayers Are Known," Fort Wayne [Ind.] Sentinel, Oct. 17, 1923, 1. "Elwell's Slayer Known to Police," New York Times, Oct. 21, 1923, E4. "Fifth Anniversary of the Elwell Murder Finds It Listed as the Perfect Mystery," New York Times, June 12, 1925, 21. "Elwell Cut Off," New York Times, April 12, 1927, 19. "Murder of Elwell Recalled in Suicide," New York Times, Oct. 15, 1927, 21. "Joseph Elwell Murder in 1920 Still Mystery," Chicago Tribune, Feb. 21, 1955. David J. Krajicek, "Who Would Want to Kill Joe Elwell?" New York Daily News, Feb. 13, 2011. Douglas J. Lanska, "Optograms and Criminology: Science, News Reporting, and Fanciful Novels," in Anne Stiles et al., Literature, Neurology, and Neuroscience: Historical and Literary Connections, 2013. Kirk Curnutt, "The Gatsby Murder Case," in Alfred Bendixen and Olivia Carr Edenfield, eds., The Centrality of Crime Fiction in American Literary Culture, 2017. Listener mail: Paul Rubin, "Burning Man: An Attorney Says He Escaped His Blazing Home Using Scuba Gear; Now He's Charged with Arson," Phoenix New Times, Aug. 27, 2009. Michael Walsh, "Autopsy Shows Michael Marin, Arizona Man Who Was Former Wall Street Trader, Killed Self With Cyanide After Hearing Guilty Verdict," New York Daily News, July 27, 2012. "Michael Marin Update: Canister Labeled 'Cyanide' Found in Arsonist's Vehicle, Investigators Say," CBS News/Associated Press, July 12, 2012. Ed Lavandera, "Ex-Banker's Courtroom Death an Apparent Suicide," CNN, July 11, 2012. At the guilty verduct, Marin put his hands to his mouth, apparently swallowed something, and collapsed in court: https://www.youtube.com/watch?v=fWO_O4ScAsg Alex Papadimoulis, "Suzanne the 1000th Malone," The Daily WTF, Jan. 15, 2008. Oxford Dictionaries, "What Are the Plurals of 'Octopus', 'Hippopotamus', 'Syllabus'?" "Octopus," "Ask the Editor," Merriam-Webster. This week's lateral thinking puzzle was contributed by listener Oliver Bayley. Here are some corroborating links (warning -- these spoil the puzzle). Please visit Littleton Coin Company to sell your coins and currency, or call them toll free 1-877-857-7850. You can listen using the player above, download this episode directly, or subscribe on iTunes or Google Play Music or via the RSS feed at http://feedpress.me/futilitycloset. Please consider becoming a patron of Futility Closet -- on our Patreon page you can pledge any amount per episode, and we've set up some rewards to help thank you for your support. You can also make a one-time donation on the Support Us page of the Futility Closet website. Many thanks to Doug Ross for the music in this episode. If you have any questions or comments you can reach us at podcast@futilitycloset.com. Thanks for listening!

En este episodio Pepe nos canta un adelanto de Billy Elliot, hablamos acerca de Eugenio Derbez como Se;ora Presidenta, robos en Bellas Artes y una entrevista con el coreógrafo aéreo Paul Rubin.

The aerial choreographer, Paul Rubin, creates flying sequences for the stage from start to finish. During a rehearsal of a new production of "Joseph and the Amazing Technicolor Dreamcoat", Rubin shows the equipment used. He also talks about his background as a magician/illusionist, and the highlights of his experience working on "Peter Pan" with Cathy Rigby, "Wicked", and "Curtains" with David Hyde Pierce.

The aerial choreographer, Paul Rubin, creates flying sequences for the stage from start to finish. During a rehearsal of a new production of "Joseph and the Amazing Technicolor Dreamcoat", Rubin shows the equipment used. He also talks about his background as a magician/illusionist, and the highlights of his experience working on "Peter Pan" with Cathy Rigby, "Wicked", and "Curtains" with David Hyde Pierce.