Podcasts about pfft

When you struck out on your own to start your business, did you try to pinch pennies and spend the absolute bare minimum? Maybe you looked at the online programs, communities, and coaching and thought – “Pfft, I don't need that junk, who are these ‘experts' anyway?” If that sounds like something you'd say, let me tell ya – you're not the only one. This week's podcast guest, Krista Frahm, is an OT who stepped out of patient care and into copywriting. She tried to start her business using only freebies, grit, and problem-solving. You can probably guess how that worked out… or didn't. Let's just say she went from supreme skeptic to solid believer – all because of the wide array of benefits of coaching. Listen to this week's episode and share the love with a friend! Podcast resources and links: www.trishwilliamsconsulting.ca/podcast-resources

We are back after a brief unexpected hiatus due to some logistical problems. And what a crossword to come back to! Jean persevered, Mike went, like 7A, "... and it flopped", PFFT, as his usually near-eidetic memory when it comes to mid-20th century naturalists failed him ... the name was ADAMSON, not ALAMSON.  For all the gory details, we highly recommend you download, and listen up.

Coach Kelte rückt endlich mit der Sprache raus, Martin plädiert für Strafvereitelung und Coach Carsten? Pfft… als ob der was beizutragen hätte…

Trigger Warnings below the script, below. Two girls in very different times and places both make their way to the top - One finds exaltation, the other merely death. Cast List Tess - Beverly Poole Teza - Lyndsey Thomas Mom - Kris Keppeler Markie/Malque - Julie Hoverson Doctor/Trainer/Priest - Mathias Rebne Morgan Music:  Kevin MacLeod (Incompetech.com)         Josh Woodward (JoshWoodward.com)         Philippe Mangold [Music of Woodward and Mangold used under a Creative Commons license and available through Jamendo.com] Editing and Sound:   Julie Hoverson Cover Photos: Chris Gilbert     (courtesy of Stock Xchange.com)   "What kind of a place is it?  Why, it's a mother's heart.  Can't you tell?" **************************************************************** LONELY AT THE TOP Cast: Tess (F/16) Teza (F/16) Markie/Marquay (F/16) Mom (F/40) Priest/Trainer/Doctor (M/40)   NOTE:  the roles are deliberately doubled to present the same “people” in both girls' lives.  The “mom” speeches apply to both at the same time.   OLIVIA     Did you have any trouble finding it?  What do you mean, what kind of a place is it?  Why, it's a Mother's heart, can't you tell?   MUSIC MOM's MUSIC MOM    Darling, this is wonderful.  You can't imagine how proud I am of you!  I've always known you were special, but it means so much to have someone like that see what I have always seen! MUSIC OUT AMB MODERN MARKIE    I totally can't believe it!  You made the cut? TESS    It's not set in stone yet - It's just the semi-finals, but mom's about to wet herself, she's so excited. MARKIE    But Miss Modern Teen Model 2009!  I mean, even if you wash out on the semi-finals, that's still soooo cool!  I wish I was pretty. TESS    Puh-lease.  You're cute.  Cute lasts.  Beauty fades. MARKIE    Cute.  Yeah, that's my curse.  Not tall enough to be a model, not short enough to walk under turnstiles... [laughs a bit bitterly] TESS    Cute lasts.  I have to make the most of this while I can.  Besides, you have plans for your future - the scholarships are lining up.  MARKIE    Yeah yeah yeah, but brains don't get you dates. TESS    Brains last too. MOM MUSIC MOM    The idea that my daughter - my lovely child - could go all the way to the top.  That you could have the perseverance and willpower to do what has to be done to make it.  It will reflect so well on all of us! MUSIC OUT AMB AZTEC MARQUE    You are one of the chosen? TEZA    [laughs delightedly] Yes!  There is still a long path ahead of me, but I feel - it feels right! MARQUE    You are so fortunate!  I wish I was graced with beauty pleasing to the gods.  TEZA    Everyone's fate is different, my dearest friend.  I hear your parents have found you a husband! MARQUE    He is ... kind.  Not unappealing.  Not too old.  Yes, it is a promising match.  I could certainly do worse. TEZA    So you have as much to look forward to as I do! MARQUE    Could you ... do something for me? TEZA    Anything - you are my dearest friend and I love you! MARQUE    When you ... get there, could you petition the great mother Chalchihuitlicue [chal-chee-weet-lee-cue] to smile upon my first pregnancy?  That say that should you survive the first, the others are not so hard. TEZA    Not even a bride yet, and you worry about bearing?  Silly.  Let your time come when it may.  MARQUE    But-- TEZA    But!  But I will.  I will speak with every goddess in the heavens if it will help ease your burden. MARQUE    I love you! MOM MUSIC MOM    Don't be afraid honey, I won't let you fail.  I know you can reach any goal you set your mind on.  You simply must keep your focus.  Can you do that?  Eyes on the prize, sweetheart.  And you know what that means - giving up the things that don't matter to clear the way for the things that do. AMB MODERN MOM    What are you eating? TESS    What?  Ice cream. MOM    No, no, no!  You know what Mr. Dupree said - these last few days before the pageant, you need to stick to simple foods.  No sugar!  Nothing bloaty.   TESS    Chill mom.  I made it this far-- MOM    It just gets harder, honey.  Every inch of the way is like another huge step up the side of a mountain.  None of these steps are easy, but they're worth the effort, if only because of the view once you get up there. TESS    You're really stoked on this, aren't you? MOM    Yes honey, I'm stoked.  For you.  I want you to be able to get everything you can out of life - a model's life isn't easy, but there are plenty of rewards. TESS    [heard it a million times] and you have to get it while you can, because models are over the hill before they can legally drink. MOM    It's not funny, honey.  It's very serious.  Can't you give it just one year?  How hard is that - to push yourself, for just one year? TESS    I guess. MOM MUSIC MOM    When I heard that you had been chosen, that you were smiled upon out of all the girls, I nearly wept.  I was so pleased.  I've watched your sisters put themselves at the service of husband and children, and I wanted so much more for you.  You are my special, beautiful, darling. AMB AZTEC MARQUE    I'm sorry you will miss my wedding.  TEZA    It is set, then? MARQUE    Not the day, no, but it will be summer next, right after the sowing.  TEZA    A good time.  And I will be with you in spirit.  MARQUE    The midwife thinks I will be old enough, then.  [breaking a little] Oh, I will miss you!  Once you enter the grand temple, we can never speak again! TEZA    You will always be in my heart, as I know I will always be in yours.  I will watch over you and always hear you when you speak to me. MARQUE    It will be in the spring?  For you? TEZA    If I am selected to represent Chicomecoatl [chih-coe-me-coe-ah-tul].  It would be a great honor.  MARQUE    Your mother has been bragging everywhere.  She cannot be quieted.  TEZA    It's as if she was the one being considered. MARQUE    Never mind.  Regardless, we will be together through the winter, while you learn all you must know for the big day.  TEZA    And you learn all you must know for your big day. MOM MUSIC MOM    My dearest child, you don't know how my heart swells with pride when I think about you, up there in front of everyone, beautiful and serene, like a shining star, and knowing, deep inside myself, that I made you perfect. AMB DUAL [Both are speechifying] TESS    I am so pleased to be considered -- TEZA    --to represent our lady of corn on this most sacred of days.  I have always wanted-- TESS    --to be able to find a way to show the world what I have inside, what I have to offer.  And if I could do one thing-- TEZA    --I would like to make my mother, my family, and my people proud of me, for community is everything.  Without the people around us, we-- TESS    --would never have made it this far, this close to becoming the next to represent-- TEZA    --Lady of the corn-- TESS    --Miss Modern Teen Model 2019. AMB MODERN TESS    [crying] MOM    What the hell did you think you were doing in there?  They were laughing at you! TESS    [teary] What? MOM    That judge said you walk like a trucker with hemorrhoids! TESS    I don't know how I walk!  I don't watch me! MOM    [softening] Honey!  Sweetie!  Oh, come here.  It's not over - I promise you.  You were doing so well, I'm sure this one thing won't put you out entirely, as long as you don't give up.  TESS    I want to-- MOM    Shh. Shh.  We'll just find someone to do something about that walk.  No big deal. AMB AZTEC TEZA    [tears] It's all over! I know it! MARQUE    Why? TEZA    The rich merchant from Tenochtitlan - he has requested I marry him! MARQUE    But doesn't he know you are destined for the temple? TEZA    [scornful] Apparently he likes the idea of marrying someone perfect enough for the gods. MARQUE    That is - he is asking for something terrible to happen! TEZA    Well, I haven't been chosen yet - if I tried to step away then, that would be blasphemy.  But to drop out now... what a blow it would be to everyone.  And yet - my mother may consider his offer, since he is very prosperous.  It is not fair! MARQUE    No.   Do not worry.  I think this means as much to your mother - more even - than it does to you.  She wishes you to secure her a place in the high tables of the night.  And there is money from the temple as well - the position is a very prestigious one.  MOM MUSIC MOM    Your dreams are all that matters, my dearest child.  I will never try and stop you from getting everything you deserve.  You know you can count on my support every step of the way.  I will always be behind you to help you face forward, and will push you up every step, if that's what it takes.  AMB MODERN SOUND    VOMITING MUFFLED BY DOOR MOM    Honey?  You doing all right? TESS    [recovering] Just a minute. MOM    Quick rinse, dear - there's someone here to see you! SOUND    DOOR SHUTS, FOOTSTEPS MOM    She'll be out in a minute - fixing her face, you know. TRAINER    Of course.  Why don't work out my fees while we wait-- SOUND     DOOR OPENS TESS    [subdued] Hi. MOM    Oh, come on, show a little enthusiasm!  She's really much more excited than that. TRAINER    Don't worry - I understand.  So this is Tess.  [hmming noises] SOUND    FOOTSTEPS CIRCLE TESS TRAINER    Has she had any formal modeling training? MOM    She's been taking classes since she was nine. TRAINER    [disapproving]  Hmm. MOM    But she also studied ballet, tap, jazz, deportment, and has kept up a 3.7 G-P-A. TRAINER    [dismissive noise] TESS    And I- TRAINER    Shh!  How old is she? MOM    Fourteen.  TRAINER    We're starting it a bit late, but I see potential here.  Show me this walk... MOM MUSIC MOM    Think on this.  Think of the great ones - the ones we all idolize and hold in great regard.  Now picture your face there, among them, gracing the rest of us below.  Can't you see yourself?  Your perfect self? AMB AZTEC MOM    [whispered]  Don't they look grand in their feathers?  They hold our future - your future in their very hands. TEZA    Mother.  You will make me tongue-tied.  They are wise and all-knowing.  They will know if I am the one-- MOM    That you are the one-- TEZA    --the minute they lay eyes upon me. MOM    [gasp] Was that your name?  Did they call your name? TEZA    Yes, mother it was my name.  Pray for me. SOUND    ECHOING FOOTSTEPS PRIEST    You, child.  You aspire to represent the great lady of the corn? TEZA    [awed and respectful]  Yes, if it please the gods. PRIEST    You are lovely, but are you pure? TEZA    Yes, sire.  My mother can swear to it. PRIEST    Remove your shawl, show us your body.  Do not hesitate, child - nothing untoward will happen.  Your mother is right there watching. SOUND    HEAVY FABRIC FALLS TO THE FLOOR MOM MUSIC MOM    It's just skin, honey.  You have nothing to be embarrassed about.  You're lovely.  Think of yourself as a work of art, and they are objective observers.  They wouldn't be interested in you that way, anyway - you know that.  And I'm right here.  Tell me if you get nervous, and I'll make them stop.  All right?  You know every girl who has gone  before has been through this same thing. AMB MODERN TESS    [nervous, jittery]  Well, they haven't said no, yet. MARKIE    That's good. TESS    I guess.  I mean, I'm starting to wonder whether it's all really worth it.  I'm supposed to get good sleep, be rested, so I can look my best, but half the time I'm too damn nervous, or hungry, or...something.  I'm always trying not to think of things, like food, or having time to myself - I mean, what is it all for? MARKIE    Wow.  Maybe you should just tell your mom you want to stop. TESS    Tell my mom?  [laughs almost hysterically] Tell my mom?  Are you high?  She would toss me out on my ear.  She's got so into this - and besides, she's spent all this money - mucho dinero, you know - to get me this far.  How can I let her down - make her waste all that? MARKIE    But you have to think of yourself, right? TESS    I promised her I would do this for one year.  Just a year - I can do it.  [affirmations] I have the willpower to maintain, and the serenity to--[breaks into a sob] MARKIE    Have you eaten anything today? TESS    I can't!  The pre-judging is tomorrow. MARKIE    I have some tic-tacs-- TESS    No!  Don't tempt me!  Shit, Markie, you're supposed to be helping me! MOM MUSIC MOM    It will all be worth it, you know it will.  The purging, the special oils.  You will always be the most lovely one in the place - caught in that one special moment, when you shine above all others.  No one will ever forget you after that! AMB AZTEC TEZA    great and reverent master, what if I have doubts? PRIEST    Doubts?  What doubts, child? TEZA    I fear that I will not be worthy.  That I will falter in my steps and dishonor the crown of corn. PRIEST    I can look into your heart, child, and I see that you have the strength within you to bear this burden - to rise to the heights, and carry the name of Chicomecoatl with dignity and grace. TEZA    Do you? PRIEST    It is always the way of men and women to doubt themselves.  To worry that they will lose themselves in fear, or to ponder what life would be like had they not stepped out upon the path to greatness.  Ever and always. TEZA    But what can I do? PRIEST    Fast and pray, child.  I know you will see the correctness of your choice.  And when your day of glory comes, you will never know fear or doubt again. MOM MUSIC MOM    A boy?  What do you mean a boy?  You don't have time for - you're too young for boys.  All the boys you could possibly want will be at your feet, when the time comes, but right now - [hissed] it will ruin you.  AMB MODERN TESS    But Corey's on TV!  He could help my-- MOM    He could get you on the covers of a bunch of sleazy tabloids-- TESS    But you said publicity is good-- MOM    Not that kind - that will make sure everyone knows your name, but you will never be high class again!  Save that kind of exploitation for when your looks start to fade. TESS    Yeah, like when I'm 17. MOM    You knew going in this was a short hard run, missy.  There is no free ride.  You wanted this as much as I did! TESS    Well I don't want it any more!  I want to have a normal life! MOM    Fine.  We can go back to living a normal life.  You and me and your dad - oh, wait.  Where should we live, hun?  We sold the house when we came on the road with you - to finance your headshots and your spa treatments.  I suppose if you quit school-- TESS    [muttered] I can't concentrate anyway. MOM    --and get a job in fast food, we three between us could make enough to [ramping up, each statement a dagger] live in a crappy little apartment and eat junk food all the time and get enormously fat and covered in  acne, and then as soon as you're old enough, you can run off with some high school drop out who wants to start a band-- [sliding down, into her own misery] but of course you love each other and he ends up driving Greyhound and you lose the last vestige of your waist when you have the first three children, but the fourth child - your fourth child, she might just be perfect enough to live the good life - the beautiful life - at least until she ruins it! TEZA    You gave me the choice mother, and I accept my fate. MOM    I always knew you were just too good to live.  You are an angel, honey, a perfect angel. TESS    Yes, mother. MOM    Sweetie.  [all business] Now here's your pills from Dr. Gustavson - he said don't take them on an empty stomach, so go grab a cracker and some diet soda. MOM MUSIC MOM    There is nothing wrong with wanting more for your child than you had.  Wanting to guide her and make sure she gets the advantages instead of making the same stupid mistakes you made.  Is there?  Isn't all of life - at least the lives of parents - the effort to make a better life for your children? AMB AZTEC MARQUE     And is he very handsome, the chosen vessel of Tezcatlipoca? TEZA    Don't be silly - he is perfect.  They wouldn't have chosen him otherwise.  [sigh] but of course, we are set upon different paths. MARQUE    Perhaps you will meet later.  Beyond the sun. TEZA    Perhaps.  But he has been given four wives who are all perfect as well.   MARQUE    And you are the Lady of Corn - none can shine brighter than a candle in the sunlight when you are in the room.  I swear you get more beautiful every day.  This suits you. TEZA    Thank you - my mother says so also.  [beat]  We are to meet at another function - what if he talks to me again? MARQUE    Talk is all well and good, but do not be alone.  It is so humiliating to prove that you have not fallen into temptation. TEZA    ugh [shudder]  I could go my whole life without ever feeling that again.  [bucks up] And I shall.  I may talk to him, but I will never step out of the sight of the priests.  We will both remain perfect. MARQUE    Very good. TEZA    I wish you could have come with me...but the temple handmaidens are devoted even earlier than we. MARQUE    Well, I have news for you as well.  My husband to be, [pleased] who has meals with my family more often than custom requires -hmm? - is really quite an amusing man.  And very fond of me.  I may not have my moment in the center of the universe, but I will have a good life. TEZA    I am so pleased.  And I will remember to   petition for you. SOUND    [hug noise] MOM MUSIC MOM    Unhappy?  How can you be unhappy?  You have everything you could possibly want - your face in front of everyone, men at your beck and call, and attending all the best celebrations!  What could you possibly be missing?  [wheedling] you know I'm only doing this for you!  You want this as much as I do!  You've finally made it, honey, what more could any girl want?  Every girl out there looks at you and cries herself to sleep wishing she could trade lives with you.  That is enough to make anyone happy, isn't it?  To be envied?  How could you possibly be unhappy enough to do this? AMB MODERN DOCTOR    Now take two of these every eight hours, to prevent infection, and change the dressings every 4 hours or so.  MOM    I'll keep her on schedule, don't you worry.  And...this won't get out? DOCTOR    It's hardly likely that people won't notice the change, even with the recuperation period, but I certainly don't keep in business by revealing personal info about my clientele. TESS    Mom? MOM    Don't worry, dear.  Momma's right here. TESS    You said I wouldn't feel it. MOM    Does it hurt, honey?  Here, doctor, can she have something for the pain? DOCTOR    That's in the bag too, but do go light on them - you don't want to become dependent.  MOM    And when the scars heal, and everyone sees  how lovely you are, with your new curves, you will be the envy of even more of the world. TESS    [dully] Of course, mother. MOM MUSIC MOM    Even perfection can be improved on.  Beauty is pain.  That which is prized most is always hardest to come by.  If it was easy to be beautiful, everyone would want to be ugly instead.  You cannot be special if everyone can easily achieve what you have.  You must stand out.  You must shine.  Look into that mirror, dearest child, and tell me you don't love yourself even more each day as you come closer and closer to perfection. MUSIC - BOTH TEZA    Life is pain TESS    Beauty sucks. TEZA    I am being remade in the image of the goddess.  TESS    Who decides what I should fucking look like? TEZA    Painted and pierced.  Smoothed and scented.  I am treated like a queen. TESS    If I have to have one more operation, I'll pee stitches. TEZA    I bite the stick and let the pain carry me away as they mold my flesh. TESS    I cry all night, silently, so my mother won't come and comfort me. AMB AZTEC TEZA    See my new ear plugs?  They made them larger again, and heavy.  They almost touch my shoulders now. MARQUE    Don't they hurt? TEZA    Of course, but pain won't last forever.  I rather coveted a nose piercing as well, but that is not suited to the lady.  I am being remade in her image. MARQUE    I really admire your hair.  Such elegantly styled coils and plaits! TEZA    Smell!  Only the finest oils must touch me.  Everything is moving so quickly - such a short time left before the day I ascend to the top of the sky. MARQUE    Too bad it is not sooner - my sister will start her labor soon, and she could use a blessing from the lady of rivers.  TEZA    I can still burn offerings, like anyone else. MARQUE    True, but I can't help but feel the word of the corn lady will be heard so much louder than mere mortals such as we. TEZA    [laughs ruefully] I can ask any one of a legion of priests to guide me in my prayers, and they will gladly help - for it is goodly for the lady of the corn to look after those with child.  MARQUE    Would you? TEZA    Yes.  And the priests - well their voices will carry as far as they need to go. [they laugh] MOM MUSIC MOM    The day is set, my child.  You have reached the height.  This can never be undone and leave you a nobody ever again.  Everyone will see your face, and know - they will know - that you are the center of the universe. AMB MODERN TESS    Who the hell am I? MOM    What?  Sweetie, you're-- TESS    I used to know!  I used to be Tess, a pretty and I dunno - slightly talented, maybe - high school student, and now--[sob catches] MOM    Now, you're the most beautiful woman in the world - the magazine said so.  It showed your absolute perfection-- TESS    Not my perfection, mother - that's complete crap.  I'm like - I'm like Mr. potato head, and you stuck hair and makeup and a pair of boobs on me - None of this is me!  Who the hell am I?  Did you ever ask?  Did you ever care? MOM    Honey!  It's just icing on a wonderful  cake.  You like cake, don't you?  [ingratiating] And isn't it better with frosting? TESS    [through gritted teeth] I don't GET cake, mother, not unless I want to taste it both ways [eating and throwing up].  I don't even know if I could hold it down if I tried. MOM    What the hell has got into you?  TESS    You couldn't even leave me my own name, could you?  "Tess" just isn't supermodel material.  And you didn't even choose it - you let a marketing firm do a survey and took their suggestions. MOM    You got to pick one of the three they came up with-- TESS    There isn't any me left under all this, mother!  Nothing.  I'm hollow.  Empty. MOM    Where are you going? TESS    To find something to fill me. MOM MUSIC MOM    Purpose.  Purpose is enough, isn't it?  You are moving forward, ever forward.  The search for perfection is a road, not a destination.  There is nothing wrong with embellishing the beauty you were born with. AMB AZTEC MARQUE    [crying]  It was horrible. TEZA    I'm so sorry.  I did what I could. MARQUE    I know.  She is with the gods, now, but it was so awful.  I - I'm so scared. TEZA    Why? MARQUE    Watching her - watching the blood and the pain, hours and hours of it - and the baby died too!  How can I ever choose to go through that? TEZA    It is what women do. MARQUE    You won't ever have to. TEZA    [teasing a bit] I have to give life to the whole world.  [serious] But I feel for you.  And for your sister, and her baby.  It is a tragedy. MARQUE    Is there anything in life that doesn't hurt? TEZA    Flowers.  Chocolate.  Love. MARQUE    You know what I mean - important things. TEZA    What is more important than Love? MARQUE    [sniff, then a tiny sad uh-huh] MOM MUSIC MOM    Only a few more days.  Nothing must go wrong.  You must be so very careful not to harm yourself, even a scratch or a nick will show.  Only the most skilled may come to do your hair, massage, and dress you in the most beautiful garments.  Nothing is left to chance.  Nothing.  Do you hear me?  Nothing will go wrong, even if I have to hurt someone. MODERN AMB MOM    I see you're feeling a little better? TESS    [dull] Yes I took my medicine. MOM    Good.  Nothing like seeing a smile on my little girl's face again.  And there's nothing wrong with using science to combat unhappiness. TESS    Yes mother. MOM    Unhappiness isn't natural.  Especially for beautiful people. TESS    Beautiful. MOM    Dear.  Don't frown.  You don't want to get wrinkles! TESS    Why don't I just lie here like a blob?  That way I can't break a nail. MOM    Are you sure you took your pills? TESS    [sigh] MOM MUSIC MOM    It is always darkest right before the dawn.  And it is always tensest the night before the main event.  You hold your breath and pray for dawn, the watch the shadows crawl across the ground, feeling like the final moment will never come.  And once it arrives?  Pfft.  It is over.  AZTEC AMB TEZA    I'm happy you could sit vigil this night with me, mother. MOM    How could I do otherwise, my darling chosen one? TEZA    [teasing] You must relinquish your claim to me, since I am now the Corn lady. MOM    [fondly, almost in tears]  My lady of corn.  I will never forget that I was able to contribute to the glory you represent. TEZA    Without you I would not be here - would not be able to bring life to the crops for another year. MOM    And yet it is a melancholy time as well.   Knowing that the great lady will ascend to heaven tomorrow. TEZA    I told Marque I will watch over her.  I can watch you both.  I have two eyes. MOM    Can Teza give her mother a final kiss before the Corn lady must take her walk? TEZA    Of course.  [kiss noise] MOM MUSIC MOM    And this is it.  The end.  What we have worked so hard for.  I know it is a sad time.  I feel sad too, but the triumph, the glory, the joy will outweigh the sorrow.  MODERN AMB MOM    What the hell do you mean, she's gone?  TRAINER    She was here for the opening - the talent portion is about to start, and she's not in the dressing room.  MOM    Have you checked the bathroom? TRAINER    I asked every girl in there, and between yarks they said they hadn't seen her. MOM    How could she do this to me? TRAINER    Worse - her opening number gown is gone too, and it was a rental. AMB - MIXED [Tess is down, Teza is filled with joy] TEZA    I gaze up the endless stairs TESS    Knowing this will be my last trip BOTH    I feel my sandals shift beneath my feet as I take the first step. TEZA    With each step, the roaring grows louder TESS    The voices in my head just won't shut up! TEZA    I must go slowly, for while I cannot falter, neither can I look down. TESS    My head is so heavy TEZA    My crown is so weighty. BOTH    I feel all those eyes upon me. TESS    [shriek] They won't leave me alone! TEZA    [ecstatic] They love me! TESS    They hate me! TEZA    Each step takes me higher.  Closer to the heavens. TESS    I haul myself up, one step at a time. TEZA    My ears still ache - the pain reminds me of what I leave behind. TESS    The pain of what I have become will never leave me. TEZA    The scent of a thousand flowers, thrown by the crowd, surrounds me. TESS    The hallway smells of puke. BOTH    Only a few more steps.  TEZA    I thrill with fear and longing, yearning for the gods. TESS    Please god don't let me fuck this up. TEZA    The priests await me, stern and welcoming. TESS    I see a face and don't recognize myself until I realize it's a mirror. TEZA    The name me Chicomecoatl, and I know I have become the Lady of the corn. TESS    I stare into the eyes in the mirror and have no clue who she is. BOTH    I take up the cup. TEZA    The drink warms me, and I love everyone. TESS    I drink slowly, timing the pills - too fast and I'll barf it all up before it can work. TEZA    My mind floats. BOTH    I can't feel anything anymore. TEZA    They gently lay me on the altar. TESS    The bathroom tile is cool under my cheek. TEZA    The knife above me catches light from Huitztipotchli's glory. TESS    Everything is getting dark TEZA    The knife falls and I transcend. TESS    Everything goes black. OMINOUS SILENCE CLOSING MUSIC SLOWLY CREEPS IN **************************************************************** T R I G G E R W A R N I N G S   [TW - mature language and situations, extreme dieting, non-gender related body dysmorphia and modification, depression, suicide, human sacrifice]

In need of gift ideas for those hard-to-buy people in your life? Listen to this episode of the Pub Date podcast for our 2021 book list.  We cover it all! Self-help, amazing women, secret Greek societies, queer voices, murder, alcohol, and nuns. Listen to the episode or start shopping the list here: https://bookshop.org/lists/the-2021-gift-list-from-the-book-broads And no, it's never too late to buy that special someone a book they'll love. Pfft! Gift them a digital edition and deliver it asap. #lifehack #bookbroads #holidaygiftideas #2021bestbooks

Martha Stewart has some pro tips for holiday party success... gee she's just like us! Pfft. Also, Sandy wastes money on a terrible Cameo video... or did she?

In this episode: Instagram is now using video selfies to make sure you are who you say you are Samsung Galaxy A33 leaks, shows yet another mid-range phone is inbound 120W charging? Pfft. 150W is on its way Tech Byte airs daily on Monday to Friday. For the latest tech news, be sure to follow Stuff on Twitter, Facebook and Instagram or head on over to our website.

Why do we have to prepare to get an extra hour of sleep? Lame. Also, the perfect temperature for the office seems too hot to do anything except nap, and Marcus likes crab for Thanksgiving dinner for some reason.

Venom: Let There Be Carnage - 19:41SPOILERS for Venom: LTBC - 39:26 - 1:01:44Halloween Kills - 1:01:44SPOILERS for Halloween Kills - 1:13:57 - 1:35:00Xander and David saw both Venom: Let There Be Carnage and Halloween Kills this weekend. Were any of them good? Pfft. I dunno. Let's find out...Podcast Linkshttps://linktr.ee/filmmeinpodDramatic Death LinksWebsite - https://www.dramaticdeath.co.uk/YouTube - https://www.youtube.com/channel/UC78wh_UWyMLZK3XM3zt1mgADavid's LinksInstagram - https://www.instagram.com/its_david_french/?hl=enYouTube - https://www.youtube.com/channel/UCqFQRwM4U4ap86crtvvnQAg

Sam “speaking”. Allow me to unlatch the portal to my mind. But before I do, let's evaluate why that sentence has uncentred you somewhat. Firstly, the image of a portal on a latch lacks form. You don't quite know what to picture. Secondly, it's not "a" portal. The "the" has necessarily transcended it beyond the figurative. It's "the" portal. It, like, exists. Finally, I'll be the first to admit that commencing a "communication" with a forthright invitation into one's mind, perhaps especially mine, can be distressing. I know. I wish I too could live in blissful ignorance. Woe is me. In a culture of omni-pathologising and self-diagnosis, my Sam-assigned disorder is obsessive-compulsiveness. I'm sooo OCD. Most who would utter as much typically do so because they maintain a to-do list. These people are charlatans. To-do lists? Pfft. I alphabetise essentially everything I own, I feel a pressure to delete (potentially) inutile files as soon as humanly possible, I tap out syllables with my feet and when I clean, I clean EVERYTHING. I am also someone that yearns for a freedom from constraints. In speech, in expression, in time. It's a wacky brew. I tell you this because this puff needs content and a simple "Hi, please listen, thank you" is, alas, simple not. For me, anyway. I know it would be more than adequate for you. But I also tell you for some behind-the-scenes... sure, insight. These blurbs/descriptions/desperations are tailored to the character count of Instagram. YouTube, Facebook, iTunes and Spotify have wider boundaries. So I COULD respond accordingly and adapt to the vagaries. I say I could. But I can't. Because there must be CONSISTENCY. And so the ongoing challenge I face in fingering these tracts is the ongoing challenge I face in life. How can I be as free as possible whilst abiding my very specific limitations? It's a dolorous habitat, perching me permanently mid-seesaw, sweating to balance the balance. Well, that was a unique form of therapy. The kind where the therapist is asleep. Or just not there. They were never there. To whom am I talking? Is anybody out there? Can somebody relieve me of my burden? Help.

Adapted by Julie Hoverson from the story "The Canterville Ghost" by Oscar Wilde [Family friendly] In the late 1800s, an American family moves into an old English castle, only to find that the fixtures include an ancestral ghost... Cast List Sir Simon de Canterville - Cole Hornaday Lady Eleanor - Julie Hoverson Mr. Otis - Michael Faigenblum Mrs. Otis - Megan Lane Mrs. Umney - Lyndsey Thomas Washington - Jasper Loovis Virginia - Beverly Poole Cecil, Duke of Cheshire - Powers Chandler The Twins - E. Vickrey, R. LeBoeuf   Music:  Kevin MacLeod (Incompetech.com) Editing and Sound:   Julie Hoverson Cover Photo:  Peer Kamphuis (courtesy of Stock Xchange.com) "What kind of a place is it?  Why it's an Olde English Castle - where else would you find an ancestral spirit?" *********************************************************** The Canterville Ghost Who doesn't love the classic Oscar Wilde satire "The Canterville Ghost"?  It's a story about a traditional horrific British spirit haunting a traditional British Manor, who runs afoul of a very modern (for the late 1800s) American family who has no respect at all for tradition.  This has always been one of my two favorite classic comedic ghost stories, the other being "The Water Ghost of Harrowby Hall", which I will probably get in here soon, just because of the season. I had so much fun adapting this, playing with the practical, unflappable, and often gormless Americans.  I did make one major change in the cast, which was not entirely original to me.  I added the ghost of Lady Canterville to pester and haunt Sir Simon - and also give him someone to rant to, complain at, and plan with, since otherwise all his best bits would either be pages of soliloquies or just left out (like they usually end up being left out when this story gets made into films).  I really really tried to keep as much of the descriptions of Sir Simon's various semblances and costumes in the dialogue as I could.  They're so much fun, along with the descriptions of whom he terrified with them.  I crammed it as full as possible, without going completely off the deep end. I recall when I was in grade school, I read a novelization someone had done based on The Canterville Ghost where they added Lady Canterville as a ghost, but I specifically didn't go back and find that book again before writing this, so I wouldn't accidentally usurp any other ideas from it - I have a good memory, but it has been decades since I read it (more then 2), so I should be pretty safe.  Including her is a logical step, anyway, since if HE haunts the house because he was murdered, why shouldn't SHE also haunt it because HE murdered HER? When I set about to cast this, I was still pretty much working with friends and locals, and not yet to the point of recruiting or auditioning people on line.  And while I knew I wanted Cole as Sir Simon  - and of course myself as Lady Eleanor, since I wrote the role for me (a big advantage of being a writer/producer), I had no particular idea who else I wanted in there.  So I got Beverly Poole (who was at the time in high school) and said "Cast all the living characters from your high school drama class."  In response, she rubbed her hands together gleefully (and a bit evilly), grinned, and said "Ooh!  The Power!" Of all the special effects in this story that were hard to make or find, considering it has rattling chains and moans and all the classic ghost noises, the most awkward turned out to be "knocking small bottle to floor" and "throwing pillow across room". *********************************************************** THE CANTERVILLE GHOST Cast: OLIVIA The English: Sir SIMON de Canterville, (300+) Ghost Lady ELEANOR de Canterville, (300+) his dead wife UMNEY, (60) housekeeper CECIL, (17) young Duke of Cheshire MOVER (any) The Americans: HIRAM Otis, (40) American Minister Lucretia OTIS (36) his wife WASHINGTON Otis, (18) know-it-all VIRGINIA Otis, (15) sweet young thing GROVER and OSCAR Otis, (12) the twins   NOTE:  The Americans are the classic annoying Americans of a previous century, very self-assured at all times and never bothered. OLIVIA     Did you have any trouble finding it?  What do you mean, what kind of a place is it?  Why, it's an English Castle, can't you tell?  Where else would you find an ancestral ghost?  MUSIC   SCENE 1.  MAIN HALL SOUND    HEAVY FOOTSTEPS, LOW MOAN OF EFFORT, HEAVY SOMETHING BEING DROPPED [play up as if a ghost, then] MOVER    Ow!  Leave off!  Now, on two... one-- [grunt of effort] SOUND     HEAVY FOOTSTEPS GO OFF.  THE OTIS FAMILY IS MOVING IN. HIRAM    [self satisfied]  Yes, that - that will do nicely. SOUND    SHARP FOOTSTEPS AMONG THE HUBBUB MRS. UMNEY    [nervous] Mr. Otis, Sir?  HIRAM    Yes, my good woman?  MRS. UMNEY    Sir, where are the Canterville portraits?  HIRAM    Those?  I'm returning them to his Lordship.  I'm quite sure he didn't mean them to go with the house.  They're rather ugly old gewgaws, to be perfectly frank.  Out with the old, in with the new. MRS. UMNEY    [muttered] These are the ugly new gewgaws, then? HIRAM    [didn't hear her] Hm? MRS. UMNEY    [louder] This is your family, then, sir? HIRAM    What is your name, my good woman? MRS. UMNEY    Mrs. Umney.  I've been housekeeper here at Canterville Hall for-- HIRAM    Oh, yes, we did take on all the fixtures.  Well, Madam, we Americans don't hold with all this "sir" nonsense.  You can call me Mister Otis, just like anyone else. MRS. UMNEY    [servile] Of course, Mr. Otis.  Certainly Mr. Otis. HIRAM    Stop with the curtseying, it's bad for your knees.  Ask my wife - she's campaigned against it, you know. MRS. UMNEY    That would be Lady - pardon - Mrs. Otis in the portrait with you? HIRAM    Yes - lovely woman, though she does tend to look a bit cross-eyed when she's forced to sit staring into a lens for time on end.  Still it's a lovely shot.  This is the children.  Washington, in back - he's even taller now.  Must remember to get another study taken.  They grow so fast, don't they? MRS. UMNEY    Yes sir.  Mr. Otis, sir. HIRAM    The twins, Oscar and Grover - like weeds, as well - are going to Eton.  They'll be home with us until the school year begins. MRS. UMNEY    And the young lady?  HIRAM    [with warmth]  Virginia.  She is just the perfect doll - smart as a whip.  Takes right after her mother that way.  And the way she rides - she raced old Lord Bilton twice round the park and won by a length and a half.  That Cecil [he prnounces it incorrectly, as SEEsel] fellow, Duke of Cheshire[chehSHYER], proposed for her on the spot, but they're both much too young, and we Americans don't hold much with titles. MRS. UMNEY    [muttered]  Tell that to the Vanderbilts.  [out loud]  And this must be... your father? HIRAM    [laughs uproariously]  Ho-ho!  No, that's President Cleveland, our country's leader.  You know, a bit like your British Queen Victoria, except that we choose ours.  [pause]  And they don't carry on quite so long. MRS. UMNEY    [disapproving] Ah. SOUND    DOOR OPENS, FOOTSTEPS ENTER MRS. OTIS    Dearest, can you do something with the twins, they've gone quite mad in the conservatory.  HIRAM    Boys will be boys.   SOUND    HIS FOOTSTEPS LEAVE, DOOR MRS. OTIS    Mrs. Umney, why what's the matter? MRS. UMNEY    Ma'am?  I'm ... just not used to your American ways, I expect.  MRS. OTIS    I'm so sorry for you.  Well.  SOUND    FOOTSTEPS START TO LEAVE, HESITATE MRS. OTIS     [suddenly remembering] Oh, there is something you could help with - there's a terrible stain near the fireplace in the library.  Would you be a dear and see that it gets cleaned up? MRS. UMNEY    [ominously]  The bloodstain? MRS. OTIS    How horrid!  I don't at all care for blood-stains in a library.  It cannot possibly be hygienic. MRS. UMNEY    [ghoulish, enjoying every minute] It is the blood of Lady Eleanor de Canterville, murdered on that very spot by her own husband, Sir Simon de Canterville, in 1575.  Sir Simon's guilty spirit still haunts the Chase, though HIS body has never been found.  [Umney clearly expects to scare her, but gets no response.] MRS. OTIS    It must be removed immediately-- MRS. UMNEY     The blood-stain has been much admired by tourists, and cannot be removed. MRS. OTIS    Nonsense.  [calling]  Washington!! MRS. UMNEY    [mood broken] What?  Ma'am? SOUND    THUNDERING FEET COMING DOWN STAIRCASE WASHINGTON    [entering] Yes, mother? MRS. OTIS    Do you have some of that new cleaning solution in your kit? WASHINGTON    [eager] Pinkerton's Champion Stain Remover and Paragon Detergent?  I'll fetch it directly. MRS. UMNEY    [trying to be spooky again] The blood stain cannot be cleaned, ma'am.  It is proven fact.  Many have tried.  Many more have faced the ghost and were never the same again. MRS. OTIS    Ah, but this is a patented formulation.  MUSIC   SCENE 2. SOUND    OUTSIDE.  TWO HORSES' HOOVES MOVING SLOWLY, AN OCCASIONAL WHINNY CECIL    I'm frightfully pleased you're so nearby, Miss Otis.  I mean, we can... go riding together... often. VIRGINIA    [she pronounces it correctly - seh-sel] Cecil.  Or... I'm so sorry, I've forgotten, what does one call a Duke? CECIL    It's Your Grace, but you needn't-- VIRGINIA    But I should at least KNOW.  And an Earl? CECIL    [quietly]  I would rather you thought of me as more than merely a tutor. VIRGINIA    [musing] How DO you keep them all straight?  [catching up] What? CECIL    [earnest]  You know how I feel. VIRGINIA    I also, which is why this is all particularly important.  Just in case... In case... [gasp] BOTH    [Take a breath, as if about to speak, or possibly kiss, then check themselves] [SLIGHT PAUSE AS THEY BOTH CALM DOWN A BIT, CLICK TO THE HORSES, ETC.] CECIL    Oh, Virginia, I hate the thought of you living in this blasted old pile. VIRGINIA    [pleased]  You called me Virginia. CECIL    My apologies, Miss Otis. VIRGINIA    Silly.  Cecil, I've been trying for ages to get you to call me--  [by my first name] CECIL    It's the ghost! VIRGINIA    The ghost's name is Virginia? CECIL    No.  Your father cannot have heard about it, or he'd never have put you in such danger.  VIRGINIA    While he's not actually against them, father generally avoids spirits.  [joke - "spirits" as in alcohol] CECIL    [ominously, admitting]  My own grand-uncle once bet a hundred guineas that he would play dice with the ghost, and was found the next morning on the floor of the card-room in such a paralytic state that, though he lived to a great age, he was never able to say anything but "Double Sixes." VIRGINIA    Backgammon, was it? CECIL    It isn't important!  It's simply not safe! MUSIC   SCENE 3. AMB    BEDROOM, GETTING READY FOR SLEEP MRS. OTIS    [exasperated] It's simply not safe, I tell you!  That housekeeper fainting all about the place - and all over cleaning up a silly bloodstain. HIRAM    Hmm... SOUND    RATTLE OF A PAGE TURNING IN A BOOK MRS. OTIS    What if it happens again?  What if she's holding crockery?  What do you do with a woman who faints? HIRAM    Yes, dear. MRS. OTIS    [sweetly] Dearest, your nose has fallen off. HIRAM    Oh, has it?  Good. MRS. OTIS    You're not listening to me! HIRAM    Gracious!  Do you hear that? MRS. OTIS    What, over the sound of my own voice?  Heaven forbid! HIRAM    Shh. SOUND    MUFFLED, AND SLOWLY GETTING CLOSER, HEAVY FOOTFALLS AND CHAINS RATTLING. THEY CONTINUE UNTIL NOTED HIRAM    Now that is just too much. SOUND    BEDCLOTHES FLUNG ASIDE, SLIPPERED FOOTSTEPS. HIRAM    We'll see about-- SOUND    DOOR IS FLUNG OPEN SOUND    HEAVY FOOTSTEPS AND CHAINS ARE NO LONGER MUFFLED.  SIMON    [off - low moaning] HIRAM    Now see here! SIMON    [moan interrupts] MRS. OTIS    [unworried, off] Is it the twins? HIRAM    I don't think so.  SIMON    [insistent ghostly moaning] HIRAM    No, it's certainly not the twins.  Hold it right there. SIMON    [moan interrupts quizzically] SOUND    SLIPPERED FOOTSTEPS, DRAWER PULLED OUT, RUMMAGING MRS. OTIS    Should I join you? HIRAM    No need.  Though he is quite a curiosity - looks like a scraggly old feller all done up in chains and ragged old-style clothes. SIMON    [off - moaning again, suppressed fury] HIRAM    Now where did I - Aha! SOUND    RUMMAGING STOPS, SLIPPERED FOOTSTEPS HIRAM     My dear sir, I really must insist on your oiling those chains, and I have brought you for that purpose a small bottle of the Tammany Rising Sun Lubricator.  SIMON    [moaning stops, grumpy noises] HIRAM    It is said to be completely efficacious upon one application, and there are several testimonials to that effect on the wrapper.  I shall leave it here for you, and will be happy to supply more, should you require it. SOUND    SMALL BOTTLE SET DOWN, LIGHT FOOTSTEPS, DOOR CLOSES DECISIVELY SIMON    [bellow of rage, then moaning until noted] SOUND    BOTTLE SLAPPED, ROLLS ACROSS TABLE, CLATTERS TO FLOOR. SOUND    TWO HEAVY FOOTSTEPS, HEAVY THUD ON WALL ACCOMPANIED BY CHAIN RATTLING OSCAR    Get em! SOUND    PILLOW FLIES THROUGH THE AIR, HITS THE WALL GROVER    Did I score? SIMON    [one last shriek, and out] OSCAR    Tsk. Nope. MUSIC    SPOOKY   SCENE 4. AMB     GHOST'S GARRET SOUND    AGITATED PACING, ROCKING CHAIR SIMON    [bellowing and outraged] A Pillow!  At my HEAD! ELEANOR    [complacent but needling]  I suppose it's a good thing you were wearing it, then. SIMON    Not if they'd hit me!  I'm not certain I fastened it on completely.  It's never been an issue! ELEANOR    You've gone without a challenge for far too long. SIMON    A challenge!!  A challenge!  Who needs a bloody challenge when I have you to torment me? ELEANOR    Every time you get frustrated you turn the argument on me.  If you didn't want me haunting you, you should've never killed me.  SIMON    Tcha! ELEANOR    Ruined my favorite bodice, as well. SIMON    Oh, your bloody bodice.  ELEANOR    Precisely. SIMON    Hush!  These ... people... Have no respect for artistry.  When I think back on the Dowager Duchess, frightened into a fit; the four housemaids, who went into hysterics when I merely grinned at them through the curtains; old Madame de Tremouillac, who woke to find me, as a skeleton, seated by the fire reading her diary, and was confined to her bed for six weeks with brain fever-- ELEANOR    [dry] Yes, yes, you're quite handy with the ladies. SIMON    Shut up, wife!  What about wicked Lord Canterville, whom I left choking on the knave of diamonds because he had cheated by means of that very card, so I made him swallow it.  That was justice! ELEANOR    Oh, yes, justice for men and torment for women.  So like a man.  What did poor Lady Stutfield, ever do to you?  You left her obliged to wear a black velvet band round her throat to hide the mark of five fingers burnt upon her white skin.  SIMON    [pleased]  She drowned herself at last in the carp-pond at the end of the King's Walk.  ELEANOR    Did she cheat at cards as well?  SIMON    [grudgingly]  No. ELEANOR    Admit it, you just like the attention.  Women are so much more -- SIMON    Biddable? ELEANOR    I was going to say demonstrative.  I know how you adore an appreciative audience.  Women are allowed hysterics, while men are limited to "good god!", a little gibbering, and then shooting themselves in the pantry.  There's simply not much in between. SIMON    [sulky]  Or offering you oil for your chains!  Oh, what impertinence!!  ELEANOR    What do you plan to do about it, my lord? SIMON    Aha!  I was thinking of reprising my costume as "Gaunt Gibeon, the Blood-sucker of Bexley Moor," and playing ninepins with my own bones upon the lawn-tennis ground.  ELEANOR    Perhaps Americans do not play ninepins? SIMON    No?  I think the point will not fail.  It is bones...  [thinking]  Or perhaps ... Oh, yes!  "Reckless Rupert, or the Headless Earl." ELEANOR    Oh, my lord.  You know that one takes hours to put on.  Do you even know where both horse pistols are? SIMON    Bah!  I am an artist.  I laugh at complex preparation.  [chuckling]  I haven't pulled out old Rupert for some fifty years-- ELEANOR    Seventy. SIMON    Seventy?  Really?  Where does time go?  [warming up again]  Not since the night I frightened pretty Lady Barbara and she broke off her engagement with Lord Canterville's grandfather, and ran away with Jack Castleton, declaring that nothing would induce her to marry into a family that allowed such a horrible phantom to walk up and down the terrace at twilight.  ELEANOR    [bored]  ...and then he was shot in a duel. SIMON    [running over her]  Poor Jack was afterwards shot in a duel by Lord Canterville ELEANOR    [bored]  You sound like the social pages. SIMON    [trying to drown her out] --and Lady Barbara died of a broken heart, so, in every way, it was a great success.  ELEANOR    Yes, yes, yes.  You recall I was present.  SIMON    I am merely reiterating-- ELEANOR    Reiterate away.  I shan't return until you are quite through. SIMON    Oh, if I only could believe that, I would never stop.  ELEANOR    Just as big fish eat little fish, my own good lord, ghosts are never truly alone. MUSIC   SCENE 5. SOUND    GENTEEL BREAKFAST NOISES MRS. UMNEY     [off, screams] VIRGINIA    Oh no! WASHINGTON    What? MRS. OTIS    Good gracious, she's at it again. HIRAM    I'll just go and see-- MRS. OTIS    No, no.  You finish your breakfast, Hiram, dear.  I shall see to the household. SOUND    WE FOLLOW HER AS SHE LEAVES THE ROOM, ENTERS THE LIBRARY MRS. UMNEY    [praying, slightly hysterical]  ...deliver us from evil for thine is the power and the glory-- MRS. OTIS    [coming on]  What is the matter now? MRS. UMNEY    [spoooooky]  Look!!!  The bloodstain!  I told you that it could never be removed! MRS. OTIS    [mildly bemused] Oh.  How unusual.  I wonder if there is a leak somewhere.  [calling] Washington? SOUND    EAGER FOOTSTEPS APPROACH WASHINGTON    Yes, Mother? MRS. OTIS    I thought you said you had dealt with this? WASHINGTON     Well, now doesn't that just take the cake? MRS. OTIS    Pray don't be vulgar. MRS. UMNEY    [muffled snort] VIRGINIA     [coming on]  What's going on? WASHINGTON    Mother, I give you my solemn oath - that stain was gone.  I guess I'll just have at it again. MUSIC    TIME PASSES   SCENE 6. SOUND    GENTEEL BREAKFAST NOISES [the blood stain keeps re-appearing, and they're finding it amusing] HIRAM    Shall we?  I made a particular point of locking the door last night, so there can be no chance of outside interference. MRS. OTIS    Yes, let's. SOUND    DOOR OPENS OSCAR    Me first! GROVER    No, me! SOUND    SCUFFLE, RUNNING FOOTSTEPS GROVER    It's back! MUSIC    TIME PASSES   SCENE 7. SOUND     RAIN, GENTEEL BREAKFAST NOISES WASHINGTON    [listing the colors the bloodstain has come back in] ...that's crimson, rust, burnt sienna, and maroon.  So far.  Anyone? HIRAM    Perhaps the color changes like leaves in the fall?  I think I shall lay odds on pumpkin. WASHINGTON    I am more inclined to believe, father, that there is a scientific basis for the inconsistent pigmentation.  Some chemical interaction between the nature of ectoplasm and Pinkerton's Champion Stain Remover.  All I need to do is find another, similar ghostly stain and compare the results. HIRAM    Sound thinking, my boy. MRS. OTIS    Well, I'm in the mood for a bright cherry red myself, on such a gray day.  Virginia? VIRGINIA    [subdued, almost sulky] I have no opinion on the matter. SOUND    DOOR SLAMS OPEN GROVER    It's green!! OSCAR    Emerald green! VIRGINIA    [very quiet wail, then going off]  Oh, no!   MUSIC   SCENE 8. AMB    GHOST'S GARRET SOUND    RUMMAGING THROUGH PILES OF CLOTHES SIMON    [off, muffled]  Have you seen my red slouch hat? ELEANOR    It is no longer my responsibility to look after your garments, husband. SIMON    Hmph.  SIMON    Which winding sheet do you think will be most effective, the ones with the ruffles at the cuffs, or the hideous brown stains? ELEANOR    My lord - those aren't your brown stains.  I believe a mouse has littered in your sheet. SIMON    Eugh.  SOUND    FABRIC FALLS TO FLOOR SIMON    Well, aren't you even curious?  I mean about what I intend to do? ELEANOR    Not really.  [sigh]  Pray enlighten me.  If you must. SIMON    You'll be singing a different tune when you hear-- ELEANOR    Begin, my lord - we haven't all day. SIMON    Very well.  [dramatic] See this rusty dagger? ELEANOR    Yay, verily.  One rusty dagger.  Noted. SIMON    [dramatic] I will make my way quietly to Washington Otis's room, you know Washington - the interfering knave who repeatedly cleans my bloody--  well... bloodstain. ELEANOR    My bloodstain.  Bright boy.  SIMON    Shush.  Here, you be Washington. ELEANOR    I haven't the height. SIMON    [angry] I mean, you stand in and I shall show you what I intend!  [back to glee] I will gibber at him from the foot of the bed, and stab myself - once, twice, thrice! - in the throat to the sound of low music.  Having reduced the reckless and foolhardy youth to a condition of abject terror...  [prompting] Terror! ELEANOR    [flat]  Oh, terror!  SIMON    [sigh]  I will proceed to the bedroom of the parents.  Now, you are Mrs. Otis. ELEANOR    To do that I shall have to secure some exceedingly plain underclothes. SIMON    [growl]  Woman!  I will place a clammy hand on Mrs. Otis's forehead-- ELEANOR    [flat]  Oh, clammy. SIMON    --while I hiss into her trembling husband's ear the awful secrets of the charnel-house.  ELEANOR    He'll probably tell you of some new patented method for charnelling.  I suppose that poor girl will get the worst of it, since she's the only one even a mite sympathetic? SIMON    I... [almost sheepish]  I ...don't think so.  She's done nothing at all to annoy me, even though she could easily... [he's been stealing her paints, as she mentions later - so she could unmask the bloodstain]  A few hollow groans from the wardrobe will suffice. ELEANOR    You're becoming soft in your old age. SIMON    I am merely saving my best efforts for [snarling] those wretched twins... ELEANOR    Shall I be one of them? SIMON    No need. ELEANOR    Oh, prithee my lord.  I wish to realize the full impact of your cunning plan. SIMON    Truly?  Well, go ahead then. ELEANOR    I shall be Grover.  He has the sweeter disposition. SIMON    Be whichever you wish to be, but be quiet!  [deep breath]  I will enter the room, in the form of a green, icy-cold corpse-- SOUND    WHOOSH THUMP OF A PILLOW ELEANOR    Ha-ha! [aping the twins' laughter] SIMON    WOMAN!!!! MUSIC    STING   SCENE 9. AMB    BALLROOM MUSIC    WALTZ CECIL    You are so brave.  And so lovely tonight. VIRGINIA    You dance divinely, Cecil, but this must be our last waltz, or people will talk.  CECIL    My cousin says your brother is an excellent partner as well.  VIRGINIA    Oh, yes.  He is well suited for diplomacy. CECIL    I wish we could dance all night and you never need return to that moldy old pile. VIRGINIA    Fainting aside, Mrs. Umney is a fine woman.  CECIL    Tomorrow is the anniversary of Lady Eleanor's death.  The ghost will certainly leap upon the propitious moment. MUSIC   SCENE 10. AMB    ECHOEY HALLWAY SIMON    [soliloquizing]  Ah!  The propitious moment!  The clock strikes the quarter-- SOUND    CLOCK STRIKES THE QUARTER SIMON    The moon hides her face behind a cloud.  All is in readiness, and the night holds its stygian breath.  SOUND    STEALTHY THUMPING FOOTSTEPS SIMON    And now Washington, screw your courage to the sticking point you may, but I shall have you unstuck!  [begins a moan] SOUND    TWO MORE STEPS SIMON    [moan become a shriek of fear] MUSIC   SCENE 11. AMB    PARENTS BEDROOM HIRAM    [snoring] MRS. OTIS    [waking up] Huh?  [matter of fact] Hiram!  Wake up! HIRAM    Yes, dearest? MRS. OTIS    Do you hear ...something? HIRAM    Is it that ghost fellow again?  [listens]  No, I cannot say I actually hear anything. MRS. OTIS    [already falling back] Hmm.  Must be the twins. HIRAM    [snoring] MUSIC   SCENE 12. AMB    GHOST'S GARRET SOUND    AGITATED PACING, ROCKING CHAIR THROUGHOUT ELEANOR    [flatly amused]  A ghost? SOUND    CRUMPLING OF PAPER IN SIMON'S HAND SIMON    [terrified]  YES!  A Ghost!  Its head was bald and burnished, its face round, and fat, and white.  From the eyes streamed rays of scarlet light, the mouth was a wide well of fire, and a hideous garment, much like mine own-- ELEANOR    Lacking the mouse insults. SIMON    --like to mine own, swathed its Titan form.  On its breast was a placard with strange writing in antique characters-- SOUND    RATTLE OF HEAVY PAPER SIMON    Doubtless some record of wild sins, some awful calendar of crime, some-- ELEANOR    Why not read it and see? SIMON    [voice cracking] See? ELEANOR    See what it says. SIMON    [hesitates]  No. ELEANOR    Why take it, then? SIMON    [mutters something] ELEANOR    Speak up, my lord. SIMON    [through gritted teeth] I found I had just clutched it as I left.  I have no need to know-- ELEANOR    Afraid? SIMON    AFRAID!  [unconvincing]  No. ELEANOR    Perhaps because he is the more terrifying ghost?  SIMON    Nonsense!  I have merely never chanced to SEE a ghost - except in a looking glass. ELEANOR    Give it me, ninny.  I shall read it. SIMON    You dare-- ELEANOR    I'll call you coward in an instant-- SIMON    I WILL READ IT!  [muttering as he reads, then a sound of outrage!] ELEANOR    So very wicked, my lord? SOUND    PAPER BEING VICIOUSLY CRUMPLED SIMON    [grim] Those damned children!  They made it! ELEANOR    Made a ghost?  I should have thought murder was a bit outside their purview. SIMON    AAArghh!!  SOUND    PAPER BEING SNATCHED AWAY ELEANOR    Argh, indeed.  [reading]  YE OTIS GHOSTE, Ye Onlie True and Originale Spook, Beware of Ye Imitationes.  All others are counterfeits.  SIMON    No more games!  [bellowing] When Chanticleer [rooster] has sounded twice his merry horn, deeds of blood will be wrought, and murder shall walk abroad with silent feet! ELEANOR    That would be you? SOUND    ROOSTER CROWS - ONCE. [PAUSE, WAITING] SIMON    [muttered]  Come on.  ELEANOR    Perhaps you should go frighten it. SIMON    [muttered]  Once more - for daddy. ELEANOR    It's not going to happen. SIMON    Nonsense, it always happens. ELEANOR    [pause]  Nay.  I hear nothing. SIMON    Perdition seize the naughty fowl, I have seen the day when, with my stout spear, I would have run him through the gorge, and made him crow for me an 'twere in death!  [a bit whiny]  Every time, throughout all known history, that such an oath has been sworn, chanticleer has sounded his blasted horn twice.  Where is its respect for tradition? ELEANOR    Perhaps, dear husband, it is an American rooster. MUSIC   SCENE 13. AMB    OUTSIDE SOUND    TWO HORSES REINING IN FROM A GALLOP VIRGINIA    [laughing]  I let you win! CECIL    [teasing]  Nonsense.  Good breeding. VIRGINIA    So your blue blood makes you faster? CECIL    Not mine.  The horse. VIRGINIA    [chuckles] SOUND    HORSES WALKING CECIL    Have you been well since I saw you last? VIRGINIA    Yes, very.  No ghost. CECIL    None? VIRGINIA    I warned everyone about the anniversary, but nothing - well - a turnip ghost was found in the upper hall, but I am quite certain that can be attributed to my brothers.  CECIL    How ... remarkable. VIRGINIA    Cecil, would you do me a tremendous favor? CECIL    Anything... Virginia. VIRGINIA    Would you--  Could you take my horse to the stable?  I fear I've torn my habit and want to get upstairs before anyone spies me.  MUSIC   SCENE 14. AMB    BACK HALLWAY SOUND    [OFF SLIGHTLY] LIGHT ECHOEY FOOTSTEPS SIMON    [gusty sigh] SOUND    [COMING ON] FOOTSTEPS CONTINUE VIRGINIA    Hello?  [gasp]  You! SIMON    [gasp] You! VIRGINIA    [anticipating being scared]  Ahh! [pause, nothing happens, confused]  Oh! SIMON    Pfft.  Don't fret yourself, girl.  I cannot seem to gather myself for the effort.  This is the one room where I can truly be alone.  My wife haunts me in every other chamber. VIRGINIA    Should I leave you--? SIMON    Stay a moment. [overly casual]  If you wish. VIRGINIA    My brothers are going back to Eton tomorrow, and if you behave, no one will annoy you. SIMON    Behave myself?  Absurd.  I must rattle my chains and walk about at night.  It is my only reason for existing. VIRGINIA    That is no reason at all.  SIMON    Why else would I be here? VIRGINIA    Mrs. Umney told us - you killed your wife. SIMON    It was purely a family matter.  My wife was very plain, never had my ruffs properly starched, and knew nothing about cookery.  VIRGINIA    [adamant] It is very wrong to kill anyone. SIMON    Oh?  Her brothers starved me to death.  VIRGINIA    Oh, Mr. Ghost -- I mean Sir Simon - I have a sandwich in my case, would you like it? SIMON    I never eat anything now; [beat, softening] but it was very kind of you.  You are much nicer than your horrid, rude, vulgar, dishonest family. VIRGINIA    Stop it!  It is you who are rude, and horrid, and... and as for dishonesty!  You stole my paints for your ridiculous bloodstain.  First you took all my reds and I couldn't do sunsets, then it just got ridiculous - who ever heard of emerald-green blood?  SIMON    [meek, sulky]  What was I to do?  It is very difficult to get real blood.  Your brother began it all with his Paragon Detergent, so I saw no reason why I should not have your paints.  VIRGINIA    [annoyed, decisive]  Good evening!  I will go and ask papa to get the twins an extra week's holiday. SIMON    Please!  Don't go, Miss Virginia.  I am so unhappy, and I really don't know what to do.  I want to sleep and I cannot. VIRGINIA    That's quite absurd!  It is very difficult sometimes to keep awake, especially at church, but even babies know how to sleep, and they are not very clever. SIMON    I have not slept for three hundred years, and I am so tired. VIRGINIA    Have you no place where you can sleep? SIMON    [wistful]  Hmm.  Far away beyond the pine-woods, there is a little garden.  The grass grows long and deep, with great white stars of hemlock flower, and the nightingale sings all night long.  The cold crystal moon looks down, and the yew-tree spreads out its giant arms over the sleepers. VIRGINIA    [awed]  You mean the Garden of Death. SIMON    Yes, death.  Death must be so beautiful.  To lie in the soft brown earth, and listen... to silence.  To have no yesterday, no to-morrow, to be at peace.  [eager] You must help me.  You can open for me the portals of death's house, for love is always with you, and love is stronger than death.  VIRGINIA    How could I--? SIMON    You must weep with me for my sins, because without remorse, I have no tears; and pray with me for my soul, because I have no faith.  Then, perhaps, the angel of death will have mercy on me.  [pauses, waiting, then sighs in despair] VIRGINIA    [deep breath, courageous but shaky]  I am not afraid, and I will ask the angel to have mercy on you. MUSIC - LONGER   SCENE 15. AMB    FRONT HALL HIRAM    Virginia is nowhere to be found.  Even the [rustics] are helping search for her.  Washington, my boy?  [confidential]  The fish-pond? WASHINGTON    Nothing. HIRAM    Good.  Don't tell your mother we checked.  The poor woman is already nearly prostrate. CECIL    It is the ghost.  I know it!  He was jealous of our happiness and spirited her away!  If only you had allowed our engagement, sir, none of this would have-- HIRAM    Balderdash, Cecil [mispronounced see-sul].  First thing in the morning, I will engage Scotland Yard-- SOUND    CLOCK STRIKES TWELVE - LOUD CRASH SOUND    VIRGINIA STEPS OUT OF A SECRET DOOR CECIL    Virginia! HIRAM    Goodness Gracious! WASHINGTON    [excited] A secret door! HIRAM    Good heavens! child, where have you been?  Cecil and I have been riding all over the country looking for you, and your mother has been frightened to death.  VIRGINIA    I have been with the ghost. CECIL    [rather melodramatic gasp]  How did you escape? VIRGINIA    Oh, Cecil, he is at peace, now.  He had been very wicked, but he was really sorry for all that he had done, and now-- [almost a sob] SOUND    DOOR FLUNG OPEN, FOOTSTEPS MRS. OTIS    My own darling!  Thank God you are found; you must never leave my side again!  [mmm - like a big hug, then] What is this? VIRGINIA    Sir Simon gave me this box before he died. WASHINGTON    But he's been dead for centuries. VIRGINIA    Only half dead, I think, would be more accurate.  Now he's entirely dead.  Finally able to sleep. GROVER    What's in the box? OSCAR    Yeah!  Open it! HIRAM    Your sister can open the box or not as she pleases.  She's not to be ordered around by monkeys like you two. SOUND    SMALL WOODEN BOX OPENS MRS. OTIS    Goodness!  MRS. UMNEY    The long-lost Canterville jewels!  Aaah. SOUND    BODY DROP MRS. OTIS    [exasperated sigh] She's fainted again. MUSIC   SCENE 16. AMB    VIRGINIA'S BEDROOM SOUND    GENTLE GIRLISH SNORING ELEANOR    [coming on, exasperated ghostly groans] SOUND    LADYLIKE CHAINS VIRGINIA    [waking] Huh?  Sir Simon? ELEANOR    [somewhat annoyed] No.  You've seen to that, so now I have nothing better-- VIRGINIA    Are you Lady Eleanor? ELEANOR    [surprised] Yes.  He-- he told you--? VIRGINIA    He gave me something for you.  SOUND    DRAWER PULLS OUT VIRGINIA    There. ELEANOR    A handkerchief? VIRGINIA    Open it. ELEANOR    But there's nothing-- VIRGINIA    Look closer. ELEANOR    A spot? VIRGINIA    A tear. ELEANOR    [stunned]  He ... cried--? VIRGINIA    He said he was very sorry for having killed you.  ELEANOR    [skeptical] Oh?  He did, did he? VIRGINIA    And for ruining your best bodice. ELEANOR    [believing] Oh! VIRGINIA    He hoped you could forgive him now and move on as well.  He wants you to join him, where the nightingales sing, and he can give you a bouquet of white flowers. ELEANOR    Yes.  [sigh]  I could do with some sleep.  MUSIC - rise and out CLOSER OLIVIA    Now that you know how to find us, don't be a stranger - we have enough of those already...    

Who said you can't have a sense of humor and work in the shed industry?  Pfft!!!  There are plenty of laughs available on this episode.  Listen and laugh at the stories from Chayson Co-um-cof-huh-hmm-cough-man as he sat down with the Geeks at the 2021 Shed Builder Expo.  He told us all about his trials as he worked tirelessly parading around on the mule at the instruction of his iron fisted bossman, Jason Kauffman.  On another note, we got Jason to sit in as well after he sent Chayson back to work, and it was worth the wait.  Jason has worked so hard to establish, and maintain momentum for the annual Shed Haulers Bash for 3 years in a row alongside his hard working, shed hauling comrades.  If you haven't had a chance to meet him, and his mule helper, listen today, and you be plum full of  laughs for the week!For more information or to know more about the Shed Geek Podcast visit us at our website.Follow us on Twitter, Instagram, Facebook, or YouTube at the handle @shedgeekpodcast.To be a guest on the Shed Geek Podcast visit our website and fill out the "Contact Us" form.To suggest show topics or ask questions you want answered email us at info@shedgeek.com.This episodes Sponsors:High Barn: The Shed AppMini Barn: Newfound RentalsMini Barn: shedsforsale.com

Alright we did it folks! We just can't get enough witchering in our lives so this week we watched the animated fantasy movie about magic, monsters, and mayhem, that's right, it's The Witcher: Nightmare of the Wolf! It's the movie mash-up of medieval class struggle and monster eugenics you never knew you wanted. How else are the Witchers supposed to stay in business if the monsters are dying out other than making more monsters? What would you expect them to do, figure out another way to stay relevant in a changing world? Pfft! Ridiculous!

People who do not truly know what Leadership is and cannot get away from their own personal interest/ ego should not be Leaders. Especially among the governing body of our Nation and responsible for the better good/ lives of citizens.Our Nation's Leadership is a joke. It is failing our country. From local &  state through Congress and upwards.

We Make Books is a podcast for writers and publishers, by writers and publishers and we want to hear from our listeners! Hit us up on our social media, linked below, and send us your questions, comments, and concerns for us to address in future episodes. We hope you enjoy We Make Books! Twitter: @WMBCast  |  @KindofKaelyn  |  @BittyBittyZap Instagram: @WMBCast  Patreon.com/WMBCast Mentioned in this episode: Unfettered Hexes Kickstarter Infomocracy Redbubble Shop dave-ring.com neonhemlock.com neonapothecary.com dave is @slickhop on Twitter and Instagram Neon Hemlock Press is @neonhemlock on Twitter and Instagram VOIDMERCH Neon Hemlock's Threadless shop Riddle's Tea Shoppe Hailey Piper Glitter + Ashes anthology Matthew Spencer, illustrator This is How We Lose the Time War Tracy Townsend Dancing Star Press Transcript (by TK) [Upbeat Ukulele Intro Music] Rekka: This is We Make Books, a podcast about writing publishing and everything in between. Rekka is a published Science Fiction and Fantasy author, and Kaelyn is a professional genre fiction editor. Together, they'll tackle the things you never knew you never knew about getting a book from concept to finished product, with explanations, examples, and a lot of laughter. Get your moleskin notebook ready. It's time for We Make Books. R: Let's see what happens if you drape the oracle cloth over top. dave: I have a thousand of those. R [laughing]: Yeah. Kaelyn: Speaking of SWAG. d: Does that help? R: Exhale. d: [wheezing] R: Yes. K: Yes! R: It's not just good for laying your cards out on. K: [laughing] d [overlapping]: [laughing] R: Okay! I'm gonna have to leave this in. d: [laughing] K [overlapping]: [laughing] R: dave, why don't you introduce yourself to start, and then we'll get going? d: My name's dave ring, I'm a writer and editor of speculative fiction. I'm also the managing editor and publisher over at Neon Hemlock Press. Which comes with a bevy of other, like graphic design layout, and - K: [laughing] d: - products, placements, whatever else I've come up with lately! K: Many, many other hats in different shapes and sizes. R: So the reason I wanted to have dave on the podcast was because it occurred to me that something that comes up pretty frequently, especially around conference season when we're meeting in person and around book launches as well, is that authors wanna know like ‘do I need a bookmark? How do I do a bookmark? What else can I do?' K: ‘Do I need swag?' R: Yeah, so swag. Swag - Kaelyn, I'm just gonna cut in to your definition and say that swag is an acronym for Stuff We All Get. So - K [overlapping]: [laughing] R: To that point, this is not going to be all free swag. K: Yes. R: Swag implies that it is free, that you'll pick it up as you visit the author's signing table, or that you'll get it in the mail for preordering, or some little bonus bit like that. The person that we are speaking to today has taken book tie-in items and - what would you wanna call it? I don't wanna say paraphernalia, but I love that word, so there. You've taken it to a whole new level. And a lot of it has to do with Kickstarter, would you blame Kickstarter for this? d: Maybe some of it. And I like paraphernalia, the word that I am often drawn to is ‘ephemera,' but I like both. Depending on the particular object, maybe one is more appropriate than the other. But I blame Kickstarter for a lot of things in terms - R [overlapping]: [laughing] d: - of connecting with a lot of the people who are buying the books that Neon Hemlock's been putting out. R: So it's hard to say ‘blame' in that sense. d: To [unintelligible] - blame. K: [laughing] d: Yeah. But some of that's been driven from that, and some of it's been driven from just sort of nerdish excitement over different things. And then because I'm the one in charge, no one says no to me, so - K [overlapping]: [laughing] d: I just keep having ideas and doing the thing! K: Let's talk about some of the different kinds of swag, of paraphernalia, of - oh I just lost the word now - ephemera! I didn't really know that book swag was a thing until I started going to conferences. Like obviously I've been to book signings and things, and there's like bookmarks and maybe a pencil or something that they give out. K: But then I'd get to these conferences and I was like ‘wow there's a lot of stuff that authors are handing out, or publishers' - like everything from those bookmarks, pins - enamel pins are a big thing. I've seen people that showed up with special printed editions of the book that they only had like 10 of them and they were just handing them out at the conferences and that was it. If you didn't get them there, you were never gonna get this. It's interesting that this is something that comes around books, because you think well the thing you get out of this is the book. Why does the book have accessories that come with it as well? But I think you kinda hit the nail on the head, this nerdy-dorkiness of like ‘I love this so much I want to be able to have it with me at all times, not just on my Kindle.' d: Book lovers are already in this spot where you can - maybe you've read the book on your Kindle, but you want to have the physical book as well. So there's already that feeling that people have, and then sometimes it sort of extends to further things. Like I remember Dancing Star has made a lot of beaded earrings that match the covers of their books and some other popular speculative books. Of course you don't need to wear a particular pair of earrings in order to enjoy a book, but there is something sort of satisfying about - R: When you really enjoy the book, and then suddenly you need the earrings. d: [chuckling] K: Look at anything from TV shows to movies to video games, like there's all sorts of things that we wear and little accoutrements that we have that's sort of like a signal nod-and-wink to somebody else that's like, ‘ah yes, I also like that thing.' I was wearing a pair of my Sailor Moon socks recently at a house party and I'd taken my shoes off, and somebody was like ‘is that Sailor Mercury on your socks?' I was like ‘it is, yes. Yes.' R: And that's how you know your people. K: Exactly. Yeah but it is this thing of like, that's one of the - it's a signal, it's a secret language of how we identify each other. R: And this is speaking from more like the fan side of why you would want to display these things, in whatever way they are meant to be displayed, whether they're earrings or whether they're a pin, whether they're a sticker, a patch, something. I know that when I first started thinking of swag, I was thinking of things I have to give away for free, that are going to keep me in mind in a potential reader who isn't ready to pick up the book or not in a position where they can buy the book. R: Like I meet someone in a coffee shop and we're waiting for our coffee and we end up talking and somehow it comes up that I'm a science fiction writer and they wanna know about it. If I carry bookmarks in my purse, it's a book-related item, and it can have the sales copy on the back of the bookmark, or a blurb from another author promoting the book. And then you have some of the cover art on the other side and the title and my name, and therefore they have everything they need to find me later. And, if nothing else, they've got a bookmark that maybe they'll hang on to, ‘cause the art's cool, and then later they find it and they go ‘oh yeah,' and it's kind of like putting my branding in front of them multiple times. Every time they come across it, it might be one step closer to them buying the book. R: So that's one thought I had and why I chose bookmarks, ‘cause 1) they're relatively cheap, paper is or at least was a relatively cheap material, and so if your swag is made of paper it's not a huge upfront investment. You can maybe get 500 bookmarks for $75 or something depending on your printer. Book swag seems to have really - K: Oh the game has been stepped up. R: Yeah. I remember Tracy Townsend giving out little plastic-covered notepads with a pen built in, neat little binder, and I still have it by my bed. So I can't imagine that that was anywhere near the price of a bookmark. There's gotta be a level at which we go ‘okay this cannot be free anymore.' And some of that is related to the publisher, like is the publisher funding some of this? R: This Is How We Lose the Time War had pins, and they were giving them away with proof of preorder, and you picked your side, red or blue, and you got the pin. But the publisher I believe, and I may be incorrect, it may have been self-funded, but - the impression I got was that the publisher was providing those. And so I'm curious, ‘cause dave, you charge for some things, and some things are thrown in the box when you send out something. So like between stickers, bookmarks, and whatever else, what's your thought process of where it becomes a merchandise item versus a promotional item? d: Hm. You're making me think I need to have a thought process. R: Sorry. [laughing] K: [laughing] d: No I mean anything that's more than a couple dollars to make usually is in the… either I bundle it with something else or it's charged for on its own. Maybe one thing that slightly is confusing is I have this thing called Club Serpentine, where folks sign up ahead of time for everything I published in a given year, and those folks I give all the swag to for free basically, so. But in other cases like these tarot altar cloth-slash-bandana, depending on your perspective, slash microphone dampener - K: [chuckling] d: - those, I'm gonna give those away to the authors in Unfettered Hexes but I'm gonna also sell them on the website. And then like, I made an oracle deck, which is similar to a tarot deck, for Unfettered Hexes, and we're using the interior illustrations from the anthology as part of that deck. So again I'm giving those away to the authors but everyone else is paying for them. And there's a, I'm calling it an oracle coin, but there's a coin that also goes inside that deck, that comes with the deck, but otherwise you can also buy it separately. d: So the writers or folks that are part of Club Serpentine are getting things for free as it were, but they've either written a story for me or they've invested. So it's not really for free, it's still being part of the project in some capacity. Whereas stickers for me maybe is where the line is drawn. Stickers, I just like making them, there's a website I pay attention to that every once in a while will list a 50-stickers-for-20-bucks, and so I just get those every time it comes up so that I can dish them out like candy. R: They are very much like candy, I have quite a few stickers from both Neon Hemlock and Neon Apothecary. d: We like stickers, yeah. [chuckling] Especially when they make the luminescent ones, we're like yeah we like that deal! We like those a lot. K: [laughing] d: Maybe Rekka's right and it's also like Kickstarter campaigns because with the most recent novella campaign, I was like ‘oh I wonder if I can incentivize folks to back us on the first day.' So I had what I was calling Launch Day Loot, which I commissioned this artist I work with a lot, Matt Spencer, to make a print of a character from each of the novellas, and so I'm sending that to everybody and I also used that print to make bookmarks as well, out of pretty paper. d: So I am slightly regretting this, because it means that I can't use my fulfillment center to do book shipment, it means I have to mail them all myself. So I'm surrounded by piles over here on my side. So those are the first time I actually thought, these are like swag in the traditional sense, like this is free stuff that I'm gonna give you if you buy it on a given day. Whereas the stickers nobody actually expects those, I just have been getting them and sending them to people. K: Nobody expects the book stickers. … Monty Python? No? Okay. d: [laughing] K [overlapping]: [laughing] d: It made me think of the ‘Nobody's gonna know.' ‘They're gonna know.' ‘No one's gonna know!' K [overlapping]: [laughing] ‘No they're totally gonna know!' So let me ask this then, this is a lot of work, this is a lot of effort. Why do you do it? Apart from [laughing] - R: That's a nice smile, dave. d: [laughing] K: Yeah for those listening at home, dave has a lovely smile on his face right now. Yeah it's - completely, for joy, for getting things out there that show people enjoy your books and what you publish, that I think is fantastic. I'm sure it's delightful to run into somebody who's got something, a sticker or a bookmark or something from one of your publications or something that you did a special run of, but - How do you think it benefits not just you as a publisher, but then also authors? There's like you, who you're gonna do it on behalf of what you're publishing, or authors, who might do it on their own behalf. Why would you recommend book swag? d: I don't know that I have a metric or anything that would say that they categorically increase sales by x percentile or anything like that. But there is a sort of impression that I have that, just folks get excited by stuff? And giving people something to be excited about feels nice. There's something especially about writing where it often doesn't have a physical form that often, so. Like yeah you have a cover you can point to sometimes. Short stories often don't have their own art. It's nice giving things physical shape. K: I agree. Yeah. d: Like I'm not making a fortune over here making bandanas, I haven't become a bandana empire quite yet - R: It'll happen. K: Give it time, give it time. d: Maybe next year. R: [laughing] K [overlapping]: [laughing] R: So what was your progression? Did you start with stickers and then you just sort of said ‘oh I could also do this, and then I can also do this, and I can also do this,' and now you have oracle decks and bandanas and coins. d: Honestly, Unfettered Hexes, this anthology has really fed all of my most rabbithole impulses. Because it's all related to witchery, it's really - like the accessories are great - Any time I think of one it's hard to say no to. We went for an enamel pin, more than 40 illustrations in the book - These tarot cloth, the oracle deck, the coin, I think I stopped there. Well I made stickers, too. And then I made these mini prints from the cover, so. Part of it is I can't get out of my own way, and I just keep making things. And part of that too, maybe because I've got the interest both in the editing side and in the design side, there's no one here to tell me otherwise. I just keep making up - R: But you are working with artists for pretty much every little item that you come up with. d [overlapping]: Yeah. I do the design part but I don't do the illustrations. R: Right. d: Yeah. R: So the oracle cloth in front of you has some line art illustration, the coin itself I assume needed to be 3D - d: Oh the coin I made actually though. R: Okay. d: But I designed that with someone who then 3D-ified it. R: Yes. d: That's the technical term. R: It is. [chuckling] Yes. So you say you don't get out of your own way. I do wonder, do you go to any sort of ledger and say ‘Can I do this, with the budget I have?' d: Oh no. R: [laughing] K [overlapping]: [laughing] d: No. R: That gets in the way of the joy. d [laughing]: Yeah I only work with feelings, I don't work with numbers. R: [chuckling] d: No but two-thirds of these ideas are during an active Kickstarter, and I'm saying I'll do it if I reach this goal. So there was some math there. We just barely hit the oracle deck stretch goal. Because we hit $12,000, and then I said we wouldn't do the deck unless we had $18,000 and then we did, so. Whereas before I had lots of little stretch goals. R: Yeah the oracle deck is not a small project, as you said. Lots and lots of illustrations. Now if you hadn't gone with the oracle deck, were you still going to have the interior illustrations or were those the same item? d: Well, no they were different. So Matt Spencer, who did the illustrations for the oracle deck, he was on board to do some interior illustrations, but it was probably going to be like a chapter heading, maybe a couple of spot illustrations here or there, like we had a few things worked out. R: Mhm. d: And then once we hit the oracle it was like hey, what if instead, we just use every single one of these. R: [laughing] d: And you don't do the other illustrations. K: Since we've mentioned it a few times here, can you explain what the oracle deck is in relation to, and why you ended up making these cards? d: Sure, so an oracle deck is like a tarot deck. Rather than being a set number of suits and major and minor arcana, it has however many cards you decide. So we made this deck to go alongside the stories from an anthology called Unfettered Hexes: Queer Tales of Insatiable Darkness. K: A certain podcast co-host here may or may not have contributed to that. d: Yeah, and as my penultimate story in the anthology. R: I'm happy because I also love the world ‘penultimate.' K: [chuckling] d: I'm actually not 100% sure because after, you're technically the last story, but then there's a poem after you. So you're the penultimate… K: Entry? d: Entry? Mm, yeah… [thinking noises] R: Hmm… K: Contribution? d: But you have two illustrations, right? R: Yeah. d: You've got both your oracle card one and then a two page color illustration. R: Somebody's playing favorites here and I love it. K: [laughing] d: I - y'know, we could say that. But also, it's a really good story, and it perfectly hit one of the themes I really wanted from the book, which was basically friendship in space. [chuckling] K: [chuckling] d: It just nailed it perfectly, and so it was a perfect tie-in for the end of the anthology. So I couldn't resist making all these pictures of it. R: I appreciate your inability to resist your impulses. d: [laughing] R: It has served me well! d: [unintelligible] R: So the oracle cards, as you said there's - what is it, 23? 24 stories? d: Ah, don't make me say a number right now. I think we just totally made it up - R [overlapping]: Okay. I - d: We'll say 24. And then… yeah, 24 that are directly inspired by the stories themselves, two each for each of the story games that are in the book, four related to the characters on the cover, and then four related to different Neon Hemlock themes. I don't know if this is that interesting, sorry. K: It is! No, it is. d: [laughing] R: You broke my math brain, so I was trying to follow along and get the total. d: I told you, I don't do numbers. R [overlapping]: Yeah, okay - d: So if those don't add up to 40, just - R: 92! Got it! Okay. K: [laughing] d [laughing]: Just roll through it! R: Yeah. So you commissioned all this artwork. You had an artist create individual, unique pieces for you. You also have the cover, you also have two interior color illustrations. I have also seen chapter art designs, a textured placeholder page. I think you said this is like 200 pages longer? d: It's a beast, yeah. R: Compared to Glitter + Ashes - d [overlapping]: Glitter + Ashes, yeah. R: - it is. d: It's like 160 pages longer. K: Wow. R: But it really seems like a project that came out of great enthusiasm, which is delightful. d: Yeah, glee, even. It's just - [chuckling] So we'll see if - I don't even know if I can recreate this excitement with a future project, ‘cause it just has been really exciting. Although, my problem with making things is already going further with - I won't tell you the exact - K [overlapping]: Oh no. d: - nature of it. K: Oh no! [laughing] d: But the next one will involve 3D printed figures. K: Wow. R: Oh my gosh. d: So we're already going out to left field again. R: Yeah. K: Okay. R: You can't not outdo yourself. It's like every published book is a stamp in history, and you look back and you go ‘Pfft, that guy. [scoffing] I can beat that.' d: [chuckling] R: So given everything you've learned, having gone through these processes, for sourcing objects that are not typical - like, okay, a lot of authors could probably tell you where to go to find somebody who will make an enamel pin for you. But a bandana, for example, or oracle cards, a printed coin. You've obviously had to figure things out, do some research on your own, and get creative about things. d: I also had to marry a chandler. R: That's true! And we all appreciate that sacrifice. [chuckling] d: [laughing] R: I have a lot of Neon Apothecary candles around me just so you know. d: I just needed to make sure I could lock that down for future projects. K: [laughing] R: Yeah there are candles to coordinate with the stories in Glitter + Ashes, in the novella series that you put out. Aside from ‘there's no reason you can't do anything' - you can't use that as the answer - what advice do you have for somebody that's into all this left field kind of paraphernalia and ephemera, and wants to do something for a book? Either as a self-published author, an author that's promoting their work and it's all on them versus the publisher contributing to this, or to a small press, or even a Tor.com? What words of sage wisdom would you pull from your oracle cards to give them? d [laughing]: The new moon would tell us that - K [overlapping]: [laughing] d: Well, I think it's about scale, right? So I've definitely looked up different projects and then realized that they weren't feasible for me based off of my maybe modest scale. Depending on the project I'm looking to make like 100, 300, or 1,000 units of something, right? Which is small beans for a lot of projects. But, it's also far too many for some others. So like one writer, Hailey Piper, she just put out a horror novella. And her press did a limited-edit, handbound version that you could preorder at not a cheap price. d: But they only made those for those preorders, and then they're not gonna make any more. And that's something that, I know a local press in Baltimore that's since folded, but they handbound all of their special editions too. And that's something that is pretty special, and when you have it you know that you're only one of 20 that has one, so something like that could be an option for people. I think handcrafted things in small batches can be pretty meaningful. K: I have some experience with that, and yes. [laughing] d: Maybe you have to do it via raffle or some other way, maybe it's not a mass-produced thing. With the bandanas I had to price four or five of them, and the first three were like ‘what is this question you're asking? ‘Cause you're not really asking this very well.' [chuckling] K: [laughing] R [overlapping]: [laughing] d: And eventually I figured it out, and then took the price from one and brought it to the more ethical company and asked them if they'd match it and things like that. If anyone ever wants to reach out to me and hear about how I made a particular product I'm happy to talk people through it. With enamel pins, Juli Riddle of Riddle's Tea Shoppe walked me through that at every step of the way. The candles, again, the husband, so I cheated that. R: [chuckling] K [overlapping]: [laughing] d: And the coins I can talk to people, it's all just sort of been shots in the dark. Reaching out to people and then either asking dumb questions or having someone who already asked them tell me the way to do it so I can get through them. R: It's a lot more communicating with people who have done something similar figuring out how you would do this thing, as opposed to like pick your merchandise and upload your graphic. d: That's what I meant about scale, too. Like the minimum number of coins I can make is a thousand, you know? R: Yeah. K: Yeah. d: So you can't do that on a whim, right. So there's different mediums that are harder. Although it's funny, I realized I'm wearing my fictional show t-shirt that's based off of fictional bands in a novella that I published. K and R: [laughing] d: And I have that available through Threadless, which is sort of like halfway between those swag sites and a custom thing, where it feels kinda nice but it is an image that I uploaded and put on there. K: I mean I remember when I did vests. Just to buy the vests is expensive, but we ordered just one, because I just wanted to make sure this was not gonna look like garbage before I ordered 200 of them. And I had to convince the manufacturer to just make one. He's like ‘you know it's gonna cost like $50 to make this one vest, then plus you need to buy the vest?' I'm like ‘yeah that's fine, I'd rather spend $70 now and have it not look right than spend 5,000 down the road and it's terrible.' d: A lot of places now will give you a cheaper deal for - I can't think of the right word, it's not prototype, it's similar. R: Like a proof? d: Proof, thank you. Yeahyeahyeah. Like with coins they charge you for the molds either way. So those start already at like 300 or 400 bucks, depending on the kind of thing. Whereas at least with bandanas, they didn't do a proof for me there, but they can do a really nice mockup ‘cause it's only one color. And they will sort of make sure that you know that bandanas are not perfect squares, and - R [overlapping]: Yes. d: - and your image will be slightly off, those little kinds of things to make sure that you understand. K: Have there ever been any pitfalls you've come across, anything where you're just like ‘oh my God, this is not at all what I should've done here,' and can you look at things now and go like ‘ah yes, I have come across this problem before, I should go down a different path'? d: I mean… yeah? But also, even when you think you've got something figured out completely, like I just had a miscommunication with my printer where they didn't get my proof approvals, and two of my books are like three weeks late. So… things will happen either way, I think it's more getting a sense of timelines and knowing that you don't need something ready two weeks beforehand, you need it ready like a month and a half beforehand at least, so that then you're building in a little bit more buffer. Always build in more buffer. K: Anything that you've ordered or tried to design or something and got it and gone like ‘this is not at all what I wanted this to look like, or what I expected it to look like,' or? You seem like you're pretty methodical and thorough along the way. d: Oh, oh no. No no no. K: [laughing] d: I have a box full of ruined prints where they - even though I proofed an image that was fully spread, they sent me one that was with four inches of white space on every side. And then you just have to email them and say ‘this isn't like my proof' and so, even when you think you've got things figured out they still can kinda get screwed up. R: So you mentioned scale, and there are, just to name the ones that come to mind are CafePress and Redbubble, that you have the option to create one-offs, or to create a store without putting in any overhead other than the time to set it up. So that is an option, but it doesn't create that immediacy of like ‘I'm going to send this to you as a special treat,' or ‘this is part of our relationship as author and reader or publisher and reader,' so it allows you to create things without having to go through printers, without having to go through all the proofing processes. I mean you might wanna order one for yourself anyway just to make sure, ‘cause some of those shirts, the printing quality on them is better or worse depending on the fabric, but - K: Some of the fabric is better or worse too. [laughing] R: I mean there are options for people who don't have the ability to invest a little bit up front, or a lot up front. d: Well that was how I started using Threadless artist shops, because I had like three or four shirts from Void Merch - I don't know if y'all know them - and then I was like wait, they're making these on Threadless artist shops. And I commissioned like a metal band version of my logo for Neon Hemlock, and I was like I want this on a shirt! And like at this point I feel like 60% of my wardrobe is Neon Hemlock tank tops, so. I'm not only a client, I'm also the president. K: [laughing] R: Yeah. d: Yeah. R: Yeah so I mean there are ways to do this from small to large, you can put up a CafePress shop. I have actually, I forget who I saw recently was putting up merchandise online through one of these print on demand shops, and people were getting excited - oh it was Malka! Malka Older. Dr. Malka Older. She had Infomocracy related t-shirts and coffee mugs and all that kind of stuff and people were like ‘what! Where's the link?!' and getting excited about it on Twitter. I'm sure that resulted in a few sales. R: And then there's printing or having your own SWAG made, and you take it to a conference and you hand it out as part of rubbing elbows with the readers and the book-signing group kind of thing. And then there's Kickstarter rewards where you kinda have to - I don't know who started the stretch goals, but you gotta love them but you also kinda wanna hunt them down and throttle them. Because now people go ‘well this is exciting! But they're out of stretch goals, so I guess they're happy now and they don't want any more money for their campaign.' d: I think that's like a fundamental misunderstanding with Kickstarter though. Like I've had plenty of people, like I've sent them a link to a Kickstarter and be like ‘oh well you made your goals, so you don't need me to pre-order.' And it's like ‘but I'd still really like it if you did!' K: We could use more money. [chuckling] R: If you support this now, you won't forget to buy it later when it comes out. d: Well it also means you have the money to print it beforehand - R [overlapping]: Yeah. d: - which is pretty critical. R: Yeah, exactly. ‘Cause dave's books are very well produced, they are not POD one cover texture, they are not the typical POD interior pages either, like the paper quality is - dave is hand-selecting these things, and proofing them, and showing them to his friends in the morning writing Slack. K: [laughing] d: We do a lot of show and tell. R: We had show and tell this morning, it was great. d: I keep trying to see if people can see like, can you tell it's embossed? R: [laughing] K: [laughing] R: So there's lots of stages. I don't want anyone to feel pressured to generate oracle coins right out of the gate. d: But I'd buy them. R: But dave's ready to buy them, along with your band t-shirts. [chuckling] And if you want inspiration, just check out the Kickstarter stretch goals for Neon Hemlock, the tie-in merchandise for the anthologies that he does. And it's always nice and cozy to think of a publisher that is enjoying the stories as much as the readers will, and feeling inspired by them to create stuff, and then having the authority for that to be official stuff is also really cool. But yeah, an author, a publisher, small press - K: It's very doable. It just depends on how much you wanna do. R: How much you feel comfortable doing what you're excited to do, and if you're not excited by a thing I would say don't do it. K: Yeah. Definitely. ‘Cause it's not gonna get better once you start. R: And it's not cheaper if you don't love it. d [chuckling]: And like I said, if anyone ever has questions about how to get started and wants to reach out, I'm happy to at least give you the initial walk-through. K: Well along those lines, dave, where can everyone find you? d: Neon Hemlock's at neonhemlock.com, and also just neonhemlock all one word at all the socials. And then my personal Twitter would be, it's SlickHop. S-l-i-c-k-h-o-p. Oh and I'm at dave-ring.com. R: So thank you dave so much for coming on! d: Thanks for having me. R: And all those links will be in the show notes in the transcript and everything. K: Check out dave's upcoming projects, ‘cause Rekka is in a couple of them. R: That's not the only reason to do it though. There's a lot of people - I am - d: [laughing] K: Absolutely not the only reason. R: I am thrilled to be on this table of contents. It's a very good table of contents. K [overlapping]: [laughing] R: And the oracle deck I cannot wait to hold in my hand, I cannot wait to spill it out over this bandana which is actually an altar cloth, and flip that coin, and all the good stuff. I am really looking forward to seeing all these things that you've teased on camera in person, and I can't wait to see how you're gonna top it for the next anthology! d: Aaaaaah! Pressure! K [overlapping]: [laughing] R: Well with the 3D figures that you've already - d: These are secrets! No one tell anyone, that's a secret. R: Okay we won't tell anyone, we promise. d: [laughing] K: Everyone who listens to this, you're not allowed to tell anyone. d: Shhhhh. R: Forget everything you heard. Except the good advice. K: Yes. R: Alright. d: And maybe my website. R: Yes. dave-ring.com, neonhemlock.com, and, hey! neonapothecary.com while you're out there. d: True. R: Give that chandler his due. d and K: [laughing] R: We will have a new episode in two weeks, and in the meantime you can find us at @WMBcast, you can find us at Patreon.com/WMBcast, and you can leave a rating and review on your podcast apps because we basically exist to breathe those in and smell the scents and not be creepy about it at all. K: That's a candle we need. R: Rate us highly please, and we will talk to you next time. Thanks everyone for listening!

"Experts" say you only really need 3 to 4 minutes in the shower. Pfft, I'm going to need a lot longer than that to ponder my life choices. Plus, Marcus is a science experiment, and Sandy goes crazy in Napa... by watching The Golden Girls?

Whaaaa? Pfft! Mhmm... Mhm? Huh? Huh.. Hmm.. Ooo!This silly combination sounds tells a story. Tune in to learn what, and go on to retell it yourself!

Pfft.

Ever felt you had to be someone else? You had to be a certain way, cook certain meals, wear certain clothes, talk and show up a certain way to be accepted, to define you, to be taken serious... Pfft what a load of shit hey? You are different just by being you. You're not the first or last one to cook a certain dish, to work in your industry and sell a program, to be a working mum that has a side business and juggling all the balls..... Point is there is room for everyone even if you do not see or believe it... Showing up and being you no matter what you love to eat, preach, speak, watch, or hang out is all the things that make you unique. We humans love to complicate things and it doesn't have to be that way. This week's podcast episode "How to be different" I had the honour to be guest on my very own mentor's show @pattydominguez_ positioning to profit. We chat all things standing out of the crowd, how being you is being different, why some of us connect with certain people online, what makes you unique, how authenticity is craved now more than ever, being in a community with like minded people makes you feel at home. When creating recipes for you in my monthly Cucina planner it is so important to incorporate recipes that have homage to my cultures (yes there is a few there haha) but when you cook these meals they will make you feel like a a warm hug. You can also join the FREE FB community group "The Woo In Food" here If you're feeling like a flustered hot mess thinking wtf to cook for weeknight dinners my monthly Cucina meal subscription can help you by taking the thinking and overwhelm out of weeknight meals and re ignite that love and passion for cooking with a twist of my multi heritage here --- Send in a voice message: https://anchor.fm/marylin-rossano/message

Grab your tickets to see Plumbing the Death Star Live at the Comedy Republic on July 1th here!Sign up to our newsletter here. Join our facebook group here or join our Discord here.You can physically send us stuff to PO BOX 7127, Reservoir East, Victoria, 3073.Want to help support the show?Sanspants+ | Shop | TeesWant to get in contact with us?Email | Twitter | Website | Facebook | RedditOr individually at;Jackson | Duscher | ZammitTheme music by the wonderfully talented Benny Davis! You can find all his stuff at his website or check out his YouTube channel. See acast.com/privacy for privacy and opt-out information.

Pfft, schedules are for idiots. We've switched to releasing new episodes at random intervals, so you never know when you're gonna get slapped around the ears with our demanding, wet voices. (Sorry, things have been especially intense these past two weeks, please bear with us while we arrange our disorderly ducks). In this one, Joe Skrebels debases himself for a coin, and Steve has a visit from his ancient friend Paco Rabanne. Neon Laser Horizon by Kevin MacLeod Link: https://incompetech.filmmusic.io/song/7015-neon-laser-horizon License: https://filmmusic.io/standard-license Hard Boiled by Kevin MacLeod Link: https://incompetech.filmmusic.io/song/3857-hard-boiled License: https://filmmusic.io/standard-license

01:17 - Tamsin’s Superpower: Recognizing Songs Within Seconds 05:08 - Outside the Charmed Circle (https://www.amazon.com/Outside-Charmed-Circle-Exploring-Sexuality/dp/073876132X) (Tamsin’s book about gender, sexuality, and spirituality) * The Pagan Community (https://en.wikipedia.org/wiki/Modern_Paganism) * “Necessarily Brief” 09:09 - Consent in the Mentor/Mentee Relationship (Master/Apprentice) * The Universal Attribution Fallacy * Access * Power Dynamics * Conflicts of Interest * The Word “Politics” - how we negotiate power between groups of greater than one 16:57 - Using Certain Phrases (i.e. “Identity Politics,” “Cancel Culture”) and Divisiveness * Obfuscation * We Hate You Now: The Hardest Problem of The Aftertimes (https://medium.com/surviving-covid-19/we-hate-you-now-d0fca14e3b82) * Social Contracts 23:46 - What Is A Person? Individuality & Personhood * Plato (https://en.wikipedia.org/wiki/Plato) & Aristotle (https://en.wikipedia.org/wiki/Aristotle) * Women, Fire and Dangerous Things: What Categories Reveal About the Mind by George Lakoff (https://www.amazon.com/Women-Fire-Dangerous-Things-Categories/dp/0226468046) * Hegemonic Norms, Privilege & Power 30:01 - “Fringe Communities”; Subcultures and Intersection * How Buildings Learn (https://www.amazon.com/How-Buildings-Learn-Happens-Theyre/dp/0140139966): Edge Cities * The Queer Community * Using the Word “Queer” * Gatekeeping * Fear of Powerlessness * The Relationship Between Radicals and Reactionaries * “Outside The Charmed Circle” * Gayle S. Rubin: Thinking Sex: Notes for a Radical Theory of the Politics of Sexuality (https://sites.middlebury.edu/sexandsociety/files/2015/01/Rubin-Thinking-Sex.pdf) 44:30 - Individual Experiences Are Not Universally Applicable * Getting People to Care About Other People * Teaching Empathy * Less Hubris, Gatekeeping, and Self-Reinforcing Superiority Reflections: Jamey: Conceptualizing that other people are having a different experience than you. Rein: What are the interactions in a community that empathy leads to and how can we promote those? Helping. Helping by Edgar H. Schein (https://www.amazon.com/Helping-Offer-Give-Receive-Help/dp/1605098566) Tamsin: The dynamics at the heart of any subculture you care to name really aren’t that dissimilar from one group to another. This episode was brought to you by @therubyrep (https://twitter.com/therubyrep) of DevReps, LLC (http://www.devreps.com/). To pledge your support and to join our awesome Slack community, visit patreon.com/greaterthancode (https://www.patreon.com/greaterthancode) To make a one-time donation so that we can continue to bring you more content and transcripts like this, please do so at paypal.me/devreps (https://www.paypal.me/devreps). You will also get an invitation to our Slack community this way as well. Transcript: JAMEY: Hello and welcome to Episode 232 of Greater Than Code. I’m one of your hosts, Jamey Hampton, and I’m here with my friend, Rein Henrichs. REIN: Thanks, Jamey. That is a lot of episodes. I’m here with our guest, Tamsin Davis-Langley who is a white, queer, nonbinary trans femme from a multiethnic family who grew up poor. They spent most of their adult work life as the tech-savvy person in a non-technical office, and are now pursuing a career in digital communications. Their academic path began in liberal arts, detoured through computer science, and ended with a degree in Gender, Women, and Sexuality Studies from the University of Washington. Their work explores the ways subcultural communities intersect with non-normative expressions of gender and sexuality. They've written about how the problems of abuse and predation in subcultures are linked to the power dynamics inherent in those groups. Under their nom de plume, Misha Magdalene, they're the author of Outside the Charmed Circle, a book about gender, sexuality, and spirituality. Tamsin, welcome to the show. TAMSIN: Thank you so much! It’s a delight to be here. REIN: So you know what we’re going to ask you. [laughter] What is your superpower and how did you acquire it? TAMSIN: My superpower is that I can, with a relatively high degree of accuracy, listen to the radio and identify the song that's playing within 5 seconds, or so if it was recorded within a specific window of time and basically falls under the very broad umbrella of Western pop music. This happened because I was bitten by a radioactive record store employee back in the 80s and since then, I've been able to go, “Oh yeah, that's Won't Get Fooled Again by The Who. It's on Who's Next released 1972. Produced by Glen's Johns,” blah, blah, blah, blah, blah, and this is a delightful party trick for getting people to suddenly realize they want to talk to someone else at the party. JAMEY: I was about to ask – [overtalk] REIN: How do you remember all of that? TAMSIN: How do I remember all of that? I have no idea. I literally could not tell you what I had for dinner last night and I'm in the midst of training sessions for a position that I'm pursuing in digital communications and half the time I'm going, “What was the command to do the things so that I can function?” But I can literally tell you the brand of bass guitar that Paul McCartney played in The Beatles, or the kind of keyboard that Kate Bush used when she was recording her albums in the late 70s and early 80s was a Hohner, a violin-shaped bass, and a Fairlight synthesizer, respectively. [chuckles] JAMEY: I can relate to this because I often think about how many other things I could know if I freed up all of the space in my brain where I kept the names of all the Pokémon. TAMSIN: Right, right. I want to defrag my own brain and just throw out huge chunks of permanent storage, but no. JAMEY: Do you use your superpower for good, or for evil? TAMSIN: In finest, strong, bad tradition, I try to use my powers only for good, or for awesome. I have actually used it to further my career. I did work for a little while at a Musicland, back when those existed, and later at a Tower Records, back when those existed. For younger listeners, those were both brick and mortar stores where you could go in and buy music on physical media and occasionally, accessories that were associated with bands, or musicians that you liked and people would walk in and say things like, “I'm trying to find a CD by this band and I don't know the name of the band, or the name of the song, or any of the lyrics, but it's got this bit in it that goes “Duh, duh, duh, duh, duh, duh, duh, duh” and I went, “Bad to the Bone, George Thurogood & the Delaware Destroyers. Here's their Best Of. Thank you.” So that's the extent to which my superpower operates for good, or for awesome. REIN: That reminds me, there was a librarian who worked at The London Library, which has about a million books, for 40 years and could do a very similar thing where they knew what book someone was looking for better than that person did. TAMSIN: Yeah. That kind of talent always delights me when I find it out in the wild where I'm like, “Yeah, I was looking for this book. It kind of was about this thing and I remember it had sort of a teal cover. Oh, here you go.” Yeah, it's kind of an amazing and wonderful thing to see, but then I do it and I feel really self-conscious, so. [laughs] REIN: So, speaking of books, graceful segue. TAMSIN: Yes. Speaking of books. REIN: Tell us a little bit about the book that you wrote. TAMSIN: I can, yes. So when I was finishing up my degree at the University of Washington in Gender, Women, and Sexuality Studies, I spent a lot of time thinking about how to apply the concepts and the tools that I was learning in my degree program to my actual day-to-day life. It's all well and good when you're in the ivory tower of academia to talk about intersectionality and hegemonic norms of sexuality, or gender, but how does that actually play out in your work life, or in your family dynamic? Or if you are a person who practices some form of spirituality, how does that play out in your spiritual communities, or really, in any subcultural communities that you're a part of? As it happens, one of the subcultural communities that I'm part of is what's generally referred to as “the pagan community,” I'm going to throw a lot of quotes around that because pagan is not a commonly agreed upon term and we could get into a great argument about how much of a community it is. But all of that to the side, one day I was sitting there probably having coffee at the coffee shop on campus and I thought, “Hmm, I wonder what would happen if you took this intersectional feminist lens and turned it on the pagan community?” I thought about it a moment and then I think I literally said, “Oh no,” out loud because I realized that was a book and 2 and a half years later, 3 years later, it was published by Llewellyn worldwide as Outside the Charmed Circle. It's a book about how gender and sexuality are expressed, explored, repressed denied, or whatever other ways engaged within the subculture of modern pagan polytheist, or magical “practice.” It's a book I had a lot of fun writing, which is really strange to hear myself say out loud because there were moments when I absolutely wanted to bang my head on the keyboard, or just fold the laptop up and smack myself in the face with it like the monks in Monty Python. But it's a book that I really enjoyed writing because I got to spend long hours researching and talking about a bunch of my favorite stuff: gender, sexuality, embodiment, philosophy, Van Halen and their impact on Western culture and I say that, and people are like, “Oh, that's really funny,” and I'm like, “No, no, I'm being really serious.” As far as the question that just came up in the chat here: is there something I cut from the book that I wish I could have put in? One of the things that I said in the very last chapter is that the book I wrote is necessarily brief. Each chapter in that book could have been its own book. There's a chapter on embodiment. A chapter on gender and theory – I believe the chapter is actually called Gender and Theory in Practice. There's a chapter, or a couple of chapters on consent and how consent works in these communities. There's so much more that can be said about these topics. There's so much more that I could have said about any of these topics. But 300 pages, I felt like I'd run on quite long enough. Consent in the mentor-mentee relationship also just came up in chat. That's actually a topic that I touch on in the book and it's something I have really strong feelings about. Especially in the pagan and polytheists communities, there's often a lot of stress on the teacher-student relationship, sort of master-apprentice, if you want to get all scythe about it and well, there's a lot of unspoken disagreement about what the appropriate dynamic between those two parties should be. There are people who will cheerfully say, “Oh, well, teachers and students should always have this kind of relationship and should never have that kind of relationship.” Yeah, and by that kind of relationship, we're usually talking about a sexual and/or romantic relationship. And then there are people who are perfectly happy to say, “Well, that's true in most cases, but this situation is different,” and often what they mean is, “my situation is different.” So when I was writing the book, I had the less than enviable of saying, “Dear sweet summer child, no, your situation isn't different. It's not any different. It is never any different. Teachers and students just shouldn't have those kinds of relationships while they are ensconced in that power dynamic of teacher-student, or mentor-mentee.” REIN: Of course, thinking that your own situation is different is quite common. Common enough that we have a name for it and that is the universal attribution fallacy. TAMSIN: Yeah. Not to be super political, but it goes back to the phenomenon that you see quite often in modern sociopolitical discourse where people will say, “X is always immoral and wrong, except when I do it,” and X could be getting an abortion, being in a same-sex relationship, any number of things. “Well, that's always bad and wrong, but my circumstances are different.” JAMEY: One thing I think is interesting about what you're talking about with teachers and students is that the concept of a teacher-student relationship is nebulous in a lot of ways. Like, how would you draw the line here between this is an actual teacher and student relationship and therefore, inappropriate as opposed to “I have this relationship with someone and I'm learning something from them,” which I learn from all people all the time, including my partner and other people? Where is the line between “This is a great person in my life that I'm learning” from versus “I'm in this hierarchical relationship with them”? TAMSIN: The short answer would be access—access to knowledge, access, to experience, access to opportunity. If you are a teacher and I am coming to you saying, “I want to learn this thing,” and your response is not “Okay, sure, I can take you on as a student and teach you this thing,” but instead, “I can take you on and teach you this thing if X, Y, or Z,” that becomes a really sketchy kind of dynamic where if I want whatever it is that you have the ability to give me the knowledge, the opportunity, the access, I am essentially being required to behave in ways that I might not otherwise. REIN: It seems like there are maybe two important things here. One is power dynamics—which always exist; they never don't exist—and the other is more narrowly conflicts of interest. TAMSIN: Right, and one of the things that I ran into, with talking modern practitioners of pagan and polytheistic spirituality, is that a lot of people want to talk about power, very few people are comfortable talking about power dynamics. In part, because in my experience, a lot of people don't want to see themselves as being people who have power to impact others in a negative way. Will they, or nil they? There becomes this attitude of deniability where it's like, “Well, I can't possibly be in an oppressive position. I can't possibly be an abuser because I'm coming to this from just as much a place of powerlessness as the next person,” and that's not always true, of course. REIN: I think sometimes talking about groups in that way is vulnerable to that counterargument and I try to talk about the dynamics as being every relationship between two people has an element of power. TAMSIN: Absolutely, and one of the arguments I often get into with people is about the word politics because people, especially in our current social climate, tend to think that politics means a turf war between these two groups, or parties. My response is that politics is just the word to describe how we negotiate power between groups of greater than one. Politics is how we talk about the policies. There's the whole word police meaning city, politics, policy. It's a thing. Politics is how we arrange policies and laws and agreements so that we can all basically move forward doing the same kind of thing. Yes, from the chat: “framing politics between two groups is very American.” It really is. So I have often been criticized for bringing politics into spirituality and I'm going, “We're sitting around talking about power all day long, pretending that politics isn't a part of that is a way of getting out of having to be accountable for the politics that's actually going on.” That maneuver is as present in any subculture you care to name as it is in the pagan community. I mean, that's certainly not unique to witches, Druids, modern polytheists, and whomever. JAMEY: Yeah. Everything we've been talking about in the pagan has made me think of the tech community, too. My question earlier about mentorship, I was thinking that and when you were talking about “Don't bring politics into” – such a common thing that we talk about in tech, also. TAMSIN: Oh yeah. Why do you have to bring politics into this? Why do you have to bring identity politics, or diversity politics into this argument? We work in tech; this is a meritocracy and the sound of a thousand palms slapping into a thousand foreheads echoes across the land. JAMEY: I know you said it to illustrate that point, the phrase, identity politics, I just have such a visceral physical reaction to. [laughs] TAMSIN: Oh, it's great. Isn't it? It's like, there are certain phrases that in modern discourse have become so completely alienated from their original context that they're almost devoid of meaning. Identity politics is one. Cancel, or cancellation, or – [overtalk] JAMEY: Cancel culture. I just saw a whole conversation about this today because Andrew Cuomo said it in his press conference. It was a whole thing. TAMSIN: Oh God. [laughter] JAMEY: I’m sorry for bringing up Andrew Cuomo. I take it back. [laughs] TAMSIN: Verbal equivalent of keyboard smash right now. [laughter] Yeah, I feel like when people start throwing terms like that around, this is all an attempt at obfuscation. It's an attempt at getting away from having to talk about what's actually going on and, in many cases, what's actually going on is that somebody, or somebodies are doing some shady things that they don't necessarily want to be held accountable for. REIN: People say, “Keep politics out of X.” That statement is incomplete and what they really mean is “Keep politics that don't matter to me out of X.” TAMSIN: Right. “Keep politics that I don't have to think about.” REIN: “Things that don't impact me in any way, I don’t care about those.” TAMSIN: Exactly. Yeah. But if politics suddenly means that I can't get the right chip for the motherboard to run the gaming machine that I really want to set up, suddenly politics is real important. That's the point where I start getting that glassy-eyed thousand-yard stare at somebody and going, “So politics and power dynamics matters when it's something that impacts you personally. Is that what you're saying?” Maybe from there, we could, I don't know, extrapolate that other people who, and this is a galaxy brain moment here, actually exists, have the same relationships [chuckles] to the things that matter to them. Like, I don't know, housing, or healthcare, or to be a little dark, I guess, not being hatecrimed to death. REIN: This is the one of my favorite tweets: “I don't know how to convince you to care about other people writ large.” TAMSIN: Yeah, exactly. We talk a lot lately about how divisive things are and how divided the country is. There's a Medium article that I read recently with the delightfully bracing title of, “We hate you now.” It was an article about the potential going forward into a post-COVID-19 world where all of the people who've been wearing masks when they have to go outside, washing their hands, staying home unless absolutely necessary and who've, essentially, felt that they've been held captive in their own homes for over a year now are looking at the people who've been going to weddings, pool parties, restaurants, barbecues, and two weeks later, half of the attendees are sick, or dead and having, what I would say, are some pretty justifiable feelings of “We were doing all the right things and you selfish, entitled fill in your profanity of choice, have been doing exactly all the wrong things that have perpetuated this situation, such that we're still in lockdown and still in lockdown. We kind of hate you now and there's a real possibility of that we're always going to hate you.” To me, that's the divide I'm seeing in our culture going forward. Things like that. Then again, I am speaking as someone who shares custody of my daughter with my ex who lives in California and what that means, operationally, is that I have not seen my daughter in-person since March 8th of 2020 and so, I'm a little head up under the collar. Wow, that just kind of went off into a really dark place. [laughs] REIN: No, this is good stuff. Very normal for us. This is why I don't have an issue going on record as saying that ethical systems based on naive individualism are bankrupt. TAMSIN: Absolutely. One of the things that came out of my degree program with—and I will point out that I did go to a state university in the notoriously liberal state of Washington. But one of the things that I came out of my degree program with was a healthy and deeply ingrained respect for the concept of the social contract and for social contract theory as a venue of study, especially when you're looking at power dynamics in groups. What I found is that explaining the social contract to people is really easy if they actually want to understand it and utterly impossible, if they're opposed, because if they're opposed, what's really going on isn't that they don't understand. They get it perfectly; they just don't want to agree. I can say the social contract is that you don't punch me, I don't shoot you; we maintain a basic air of non-violence and go on about our day. That's a contract. You don't hurt me. I don't hurt you. We move on. It's as simple as that, or as complicated as, “Hey, look, we have a civilization.” That is a marvelous quote in the chat: “No, thank you. I'd rather pretend I invent the entire universe every time I make an Apple pie.” REIN: This gets all the way like the turtles go all the way down to what does it mean to be a person and what is the person to relationship to society? TAMSIN: And if we are going to dive that deep into philosophy, I'm going to need some whiskey at least. [chuckles] I'm kidding. But as far as what is a person, philosophers have been trying to work that one out for quite literally thousands of years, at this point. When I was writing Outside the Charmed Circle, I wound up necessarily having to go back and read some amounts of Plato and Aristotle because they are, in many ways, part of the groundwork of Western philosophy and as well, part of the groundwork for Western notions of spirituality and magical practice. As you know, pagans are polytheists, or magicians. One of the things that I was horrified to discover and shouldn't have been really—I should have expected this—was that Plato and Aristotle didn't think too highly of women. There are these marvelous quotes that I included in the book and by marvelous, I mean tragic, frankly referring to the distinction between men, and women and other animals. That was text I saw on my screen and looked at and went, blink, blink, blink, What?” REIN: This reminds me of George Lakoff's book, Women, Fire, and Dangerous Things, so titled because there is a language with a category that includes those things in the same category. TAMSIN: Wow. That's great. That's neat. REIN: I think I can respect women being in the same category as dangerous things, to be fair. TAMSIN: I think depending on how we're defining dangerous, anybody of any gender can be dangerous, but I have to admire the hustle of putting that as your title, that's pretty great. But the question of who counts as a person? What is a person? If you look at some of the classical Greek philosophers—Aristotle, Plato—they would say a person is a human male individual who fulfills these criteria and anyone who doesn't fulfill those criteria isn't really fully a person. REIN: The human male citizen. TAMSIN: Right. REIN: Which is also how the US defined it. TAMSIN: Shocking. Yeah, and then if you look at these philosophers as laying the groundwork for how Western culture defines, or describes personhood individuality, the next big cultural movements come along was of course, Christianity. I'm not here to bash on Christianity, but I will note that if you look at Christian philosophy around identity and individuality, especially if you're looking at gendered identities, a lot of that would be drawn from the work of Paul who wrote most of the epistles in the last two thirds of what's called the New Testament, the Christian Bible. Paul had some less than awesome views about women and they're pretty much in a direct line of descent from Plato and Aristotle. You look at the things Paul was saying and it's like, oh, okay so he's basically just importing Greek philosophical misogyny into this new religion, which made a lot of sense because at that point in time, Greek philosophy was, I've called it the groundwork for Western philosophy and the Greeks were considered the de facto mainstream philosophers of that era, and everyone was rolling around speaking Greek, even the Romans. So this notion of individuality and of personhood being something that we specifically define by how you match an established hegemonic norm and by hegemonic, I mean a norm that is imposed by a power above you and it's this established hierarchy. When I was learning about hegemonic norms in my degree program, someone in the class asked, “Okay, so hegemonic norm, how does that apply to us in modern Western American 21st century culture?” It's like, well, it's real easy. Who has the privilege? Who has the power? If you're white, you have privilege and power that you don't have if you're Black, or Brown, or Asian, or what have you. If you are a cisgender person, you have privilege and power that you don't have if you're trans or non-binary. If you are a cis male, you have privilege and power that you don't have if you are a non-cis male, and so on. That's hegemonic power, that's hegemony in action and a lot of those hegemonic norms come directly down from the classical Greeks through the norms established by Christianity. I spend a lot of time talking about this in a book which is at least extensively about witchcraft, paganism, and magic because they're hobby horses that are really important to me and they seemed to tie in. So I was like, “Yeah, let's do this. Let's just throw it all in there.” REIN: So you have these fringe communities and fringe only relative to the dominant normative culture, right? TAMSIN: Right. REIN: But then they start to intersect on the edges of that hegemonic, cultural conglomeration, whatever you want to call it. It reminds me of – so this is an analogy that I'm going to see if it lands so let me know. There's a book called How Buildings Learn and, in that book, one of the things that he talks about is what are called edge cities, where historically cities have been built around a port, or railroad, or some other thing. But what's happening in modern cities, there's a lot of the action is happening at the edges of the city where the highways intersect and so on. There's also a lot more possibility to build out there because the city center has been made pretty rigid by the buildings are large and they're probably not going anywhere, the codes, the building and zoning codes are very rigid, and so on. So actually, a lot of the most vital growth that happened in modern studies is happening at the edges. I wonder if it's like that as well in these fringe communities and if that term has baggage that you want me to avoid, let me know. TAMSIN: Oh no, I'm fine with the term. I think there's a lot of traction there. One of the hobby horses that I drag out and bang on a regular basis is the notion that subcultural communities reiterate and reinforce a lot of the same core assumptions as the over culture in which they are ensconced. There is this attitude of, “Well, we're different from outsiders. We're smarter, we're better, we're more spiritual. We're more accepting. We're more,” whatever the virtue, or the value that they want to see themselves as having is. But they frequently don't stop to realize that, in many ways, they are just reenacting a lot of the same attitudes that the mainstream culture, of which they are a subculture, is enacting all over the place. I think when you look at the fringes of subcultures, the places where they start to rub up against other cultures, or other subcultures, where they start to intersect and get some new ideas and some new, interesting stuff going on that can be really valid, valuable, and healthy for the community as a whole. I also think that that is a place where there can be a lot of tension and a lot of fear. I've seen that in the pagan community, where there are a lot of people who I think would position themselves very much at the center of the little circle of pagan community and they look at someone like, for instance, me, who's kind of out on this fringe edge here, rubbing up against the queer community, or the trans community, or whatever other communities that I'm part of. They may see this idea, or that idea and go, Well, that's not how we do things. That's not us. That's like some of your weird queer trans stuff,” and I'm going, “No, but wait. It's really cool and it informs what we do over here in this really useful way. And why are you walking away? Come back.” And then occasionally, it's like, “Oh, you were walking away to get a torch and a pitchfork. No, no, no, don't come back.” [chuckles] JAMEY: When you were talking about that with the fringe communities, I was thinking about the queer community as well, even before you brought it up, because I think that what Rein was saying about exciting things happening in that space is definitely true. But I also think that you have a problem in the community sometimes like, people who are younger, or more newly out and don't know as much about queer history trying to roll things back. That's why we have this argument about why younger people, who think that the word “queer” is not okay for anyone to use, coming in and saying, “Oh, we can't do this,” and older people saying, “There has been a lot of discourse, progress, and things that have happened over the course of history that you need to know about before you can have an informed opinion on it. [laughs] TAMSIN: You need to scroll back up in the chat before you start talking. [laughter] JAMEY: Yeah. You need to scroll back up like a bunch of years in the chat. [laughs] TAMSIN: Right. Yes. That is a huge issue in the queer community and it's one that – I'm 47 years old and I have found myself in conversations with people who are 19, 20 who wants to tell me, “Oh, well, you shouldn't use the word queer because queer is a slur,” and I'm going, “Ah, ah, ah, ah, ah, red flag, hold on. Queer has been used as a slur, absolutely yes. But in the 80s and 90s, there was an awful lot of work done to reclaim that word. I know, I was there.” And today, now the primary driver behind the notion that queer is a slur is trans-exclusionary radical feminism. It's transphobes who are like, ‘Yeah, no, no, no, no, no, no. Queer gives too much leeway for all of these trans people to sneak into this community. So uh oh, we can't be having with that.” So I find myself basically having to strike the compromise of okay, I'm never going to tell you that you have to call yourself queer, but you don't get to tell all of us queers out here that that's not our word and if that means you don't want to come sit at our table, or come to our parties, that's okay, too. The problem of gatekeeping in the queer community, as in every subcultural community, is real and it's real bad. The extent to which some quorum within a community wants to enforce little boundaries inside the larger community. So it's like I have my little walled garden in the queer community, and you can come in if you perform gender, or sexuality, or identity in these specific ways that I am dictating. It's too much headache. It's funny how I talk about these problems in the queer community, or in the trans community, or in the pagan community and I have friends who work in the tech world and they're going, “Huh, this all sounds eerily familiar.” JAMEY: It's almost as if people act the same, TAMSIN: No matter where you go. [chuckles] Yeah, it is. These are not problems unique to any one subcultural community. They are human problems and I'm often tempted to say that the solution is to stop dealing with people, but I like people and I like doing things with people. One of the reasons I'm so mad about this stupid pandemic is that I miss people, hanging out with people in-person and being able to drink coffee with them. But I think that a lot of these problems of gatekeeping, these enforcement of boundaries, these power dynamic issues that we have all fundamentally come back to, at least in many of the cases I've seen, issues around power and the fear of powerlessness, the fear of being disenfranchised, or of losing what you see as power, or opportunity, or access, or privilege that you're entitled to. I mean, that's certainly what seems to be one of the things that's at the core of these ridiculous ideas like white genocide. White people are being crowded out and we're being outbred by all of these other people of color and white people have to band together and blah, blah, blah! All of this garbage is all rooted in fear and under that ignorance. Much wiser and more experienced minds than mine have written at great length about those issues and how best to combat them. I have a lot of hope in that regard, but at the same time, I look at the news app on my phone every morning and that hope dies a little. So it's kind of a tidal thing; it rises and falls. REIN: The relationship between radicals and action areas, I think where it's a relationship to a particular preferred state of affairs and whether you think you need to go forwards, or backwards to get there. REIN: Right. We used to call that the difference between a liberal and a conservative view, but those words have been so battered and worked out of utility that you can't even bring them up anymore. But it, again, goes back to that idea of you have the circle that is the community and the people at the center, who are perhaps most emblematic of its baseline core ideas and ideals, and then the people out on the fringes of things, who are bringing in new information and new ideas, or sending their ideas out to other communities and sharing with them. I think that can all be really healthy and part of a wholesome ecosystem of subcultural engagement and interaction. I also think that when people get scared, they start doing things that are really not in their best interest. They start making really bad choices and that way lies dissent, dissension, and conflict. But a lot of that is why I titled the book I wrote Outside the Charmed Circle because it comes from an essay by a cultural theorist named Gayle Rubin. This is an essay that she wrote called “Thinking Sex” and in this essay, she posited that you can look at ideas like sexuality and if you picture it as two circles, one inside the other divided up like a dark board, pie wedged shapes. The inner circle, the charmed circle is the stuff that society basically all approves of: heterosexuality, monogamy, sex for the purposes of procreation, and so on and so forth. And then outside the charm circle are what Gayle Rubin called the outer limits. Those are the things which society doesn't approve so non-monogamy, having sex for reasons other than procreation, because it's fun, or to make money, or whatever reasons. Each of the things in the term circle has its counterpart in the outer limits, its counterpart outside the charmed circle. Ah, see what I did there? So things like homosexuality, or bisexuality, or asexuality, or demisexuality, or, or, or—these are all outside the term circle because they are fundamentally alien to the hegemonic norms of culture and I just realized I'm throwing a lot of this jargon around, wow. REIN: I think it is interesting as a metaphor here because it implies both, at the periphery and also, a sparseness, or lack of structure. TAMSIN: Yeah. I think that there's value to be found both, at the core and on the edges, on the fringe. [laughs] REIN: What’s [inaudible] is that some of these groups on the edges seem to be reproducing structures that are found in the core. TAMSIN: Oh yeah, absolutely. The structures that you find at the core of a group are really comfortable. They're really comforting if they're built for you. To pick one, for example, the structure of being cisgender is really comfortable. You’re cis if you were born and you were assigned a gender at birth and you grew up and you're like, “Yeah, that's me. That fits me like a glove because it's tailored to who I am. I don't have any objections to this.” But if you take that same glove and put it on someone else, it's going to be too big, too small, it fits in the wrong ways, it's no, this is wrong. These structures of being cisgender don't fit for someone like say, me. That's not to say being cisgender is wrong. It's perfectly fine and that's okay. Just not for me. JAMEY: This is certainly coming back to what you were saying earlier about “Oh, I care about these issues that affect me,” and we have to extrapolate that they affect other people because you'll see people are like, “Oh, but this is so comfortable. Why wouldn't you want this great comfortable thing?” And I can't extrapolate that other people are having a different experience. TAMSIN: One of the real problems that we as human beings have is not understanding that our individual experiences are not universally applicable. It's like handing someone a strawberry ice cream cone and they taste it and they're like, “Oh, thanks. Not for me,” and you're like, “Well, what's wrong with it? It's delicious. It's a strawberry ice cream cone,” and they're like, “I don't like strawberry ice cream.” Like, “Well, how can you not? I like strawberry ice cream.” “Yeah, but I don't taste this strawberry ice cream with your tongue. Your taste buds. Mine are wired differently.” That's just a random example pulled out of the air; I actually like strawberry ice cream fine. Not my favorite, but it's fine. But individual experience isn't universally applicable and to come back to that question of how do we define the individual person as against a larger culture, or community? I think past a certain point of defining an individual, or a person as a self-aware consciousness, I really don't want to try and define personhood at all. If I can acknowledge that someone is sapient and sentient, that's good enough for me and if at some point down the road, we get to a place of developing actual artificial intelligence, like Turing capable AI. If it tells me it's sentient and sapient, I am more than happy to sit down and have a coffee with it and I think that's as much as I want to get into well, how do we define a person? Because once you go any further than that, inevitably it winds up with oppression, slavery, and genocide. Again, pretty grim. [laughs] JAMEY: No, it’s good. REIN: Again, how do we get people to care about other people? TAMSIN: Oh, if I had the answer to that, I could write another book. It would be a bestseller and I would never have to try and get another job. I think that the answer, and I am totally cribbing from my partner here—who is an amazing human being and a developer at a local software company up here. My partner would probably suggest that the answer is you teach empathy and you start teaching empathy by going back to you have this relationship to this issue, or this thing that happened. It made you feel a certain way. How do you think that issue impacted that person? Experiences aren't universal, but the condition of experiencing things is universal. So I'm not going to have the same experience that someone else has with any given issue, but I can acknowledge that they are having an experience and that their experience is as meaningful to them and their lives as mine is to me and my life. Once you've done that, you started the building blocks of developing empathy, which leads to compassion, which leads to, “Oh, maybe we should get kids out of those cages on the border, maybe we should find a way to feed people, and restore the power grid in Texas so elderly people aren't literally freezing to death in their homes in the 21st century in America.” REIN: I think there's a Swedish word for the realization that everyone on this street that you're walking down has just as rich, deep, and complex an inner mental life as you do and I think we need more of that. TAMSIN: Yeah, we do. We do. Now I totally want to go and look up that Swedish word, but that acknowledgement that everyone around us is actually a person. They have an interior life, they have hopes and dreams of their own, and their hopes and dreams don't have to be relevant to me. One of the things that I think those of us who are ensconced in subcultures sometimes struggle with is – well, it's the inverse of another problem so let me, let me try and rephrase this. Those of us who are in subcultural communities—whether it's the tech community, or the queer community, or the trans community, or the pagan community, or what have you—we all struggle with these feelings of our interests and our passions being incomprehensible to people who aren't part of our communities. I am not a developer. I am not even really much of a coder, but I know enough about coding from having been in a CS program for a hot minute to be able to grasp what's cool about really elegant code, what's really cool about this thing that my partner comes to me and she's like, “Oh, I did this thing and we blah, blah, blah, blah, blah, blah, blah, blah, blah,” and I'm like, “I understood about one word in three, but it was barely enough to hang on with my fingernails,” and that is really cool and awesome. But that's not a conversation that she could have with, for instance, my Mom. My mother, who is a brilliant woman and has a degree in nursing and is a medical professional and does all these things, my Mom would do just glaze over a little and go, “Okay, cool. I'm glad that the good thing happened for you,” but it does reinforce this idea that these things we're into are relatively esoteric. So it in turn reinforces this seclusion of our little subcultural communities into their enclaves and we become this little technocratic priesthood, but that can turn into another problem, which is not only are we weird and different, but we're better. The taking of pride in the cool, awesome thing that we understand and love can turn into, “If you don't understand the cool, awesome thing we're into what's wrong with you?” Oh, well, pfft users. I've heard that exact sentiment expressed by people in the software industry and it always baffles me because I'm like, “You realize that you are making tools for people to use, right?” The people that you're going “Pfft users” about are literally the reason you have a job because otherwise, all of the tippy-tappy you do with the keyboard is an intellectual exercise. Great, you created this incredibly elegant piece of software that no one is going to use. At that point, you may as well just be building a matchstick cathedral in your backyard and then lighting it on fire. What I would really like to see from all of our communities is a little less hubris and a lot less gatekeeping and a substantial amount less of a self-reinforcing sense of superiority about people who aren't inside our particular charmed circle. What I want to see is our subcultural communities, having pride in who we are and what we do, and the cool things that we make, or the cool things that we do, or the cool lives that we lead, or whatever it is that is part of our community without turning that into, “And that's why we're so much better than the normies, the mundanes, the muggles—to use Voldemort's word. That's why we're better than people who don't do this cool stuff that we do.” Because I feel like that need to be better than the people who make us feel kind of weird and like we don't belong is again, just reiterating the same power structures that got us into this problem in the first place. The over culture thinks it's better than these weird freaky fringe communities because they're nerdy, or they're awkward, or they're cringy and the fringe communities in return think they're better than the basic, boring, mundane, mainstream, normie culture and nobody gets to have any fun. I would much rather have a mainstream culture that respects and appreciates the awesome things that fringe communities bring to the table, the innovations that they provide, the new ways of thinking and approaching problems and have subcultural communities that understand that they are ensconced in an over culture, which is the reason that they can exist and that's how I'm going to solve world peace. JAMEY: So we’re coming up to the part of our show where we like to let everyone give a reflection about what we've talked about for the past hour, or so. This is something that is going to be on your mind, or a call-to-action, or just something that stuck out for you. I'm going to go first. What's something that stuck out for me was the conversation that we had actually a couple of times about conceptualizing that other people are having a different experience than you and how that's so hard for people. Because I think that you see this, even on a microlevel within these subcultures, and I think that suggests to me that it's such a natural human thing to do and I think that I get that because it does feel good to have things in common with other people and to celebrate the things that we have in common. I guess, I'm thinking about this specifically in the trans community where they're like, “It feels great to be able to be like, ‘We have this thing in common and I feel so good about that,’” but there are still a lot of different kinds of people in the trans community and this is how you end up with people saying, “Oh, the universal trans experience is loving being a girl when you take your estrogen,” and I'm like, “That's definitely not.” [laughs] You could probably keep making that thing that you're saying smaller until it's true for everyone in your little group that it's true for. But we have this desire to categorize ourselves in that way and I think that the reason I'm talking about this and saying this is, I think that it's really good to keep in mind the ways that all of us probably also do this on smaller levels. So I guess, my call-to-action is I'm going to try and think about catching myself if I'm doing this. REIN: Well, I'm going to attempt to stay in my lane here with my reflection. I was thinking about one of the first things that came up, which is mentor-mentee relationships, and I was thinking about what you said about empathy. One of the things that – I’ve changed a little bit, even in the last few years in terms of how I think about empathy, which is, I think empathy is good, but I don't think it's very actionable because empathy is an internal thing that happens in individual people's heads. No one else has access to it. What Russell Ackoff says is that systems are not the sum of their components, they're the product of their interactions. So what I started to think about was what are the interactions in a community that empathy leads to and how can we promote those? What I've started to focus on is the interaction called helping. Edgar Schein wrote a book called Helping and it's a study of the social process, or phenomenon where people help each other. How does it happen? Why does it happen? One of the things he noticed that that was pretty interesting is that helping is mostly notable when it doesn't happen and there's an expectation that it should have. So you think here are things like that's not helpful and what I think that we should try to do is focus more on positive affirmations when it does happen. So that's why when I do retrospectives with teams, we leave that with appreciations. I want to make helping remarkable. I want people to talk about helping and get better at it as practice. I guess, that's my solution to how do you get people to care about each other? It's how do you build empathy and I think it's by the practice of helping. TAMSIN: I like that a lot. That's really good. One of the thoughts that has recurred over the course of this conversation for me is that the dynamics at the heart of any subculture you care to name really aren't that dissimilar from one group to another, whatever their special interest happens to be. That was the thing I didn't understand growing up. It was a thing I certainly didn't understand through much of my adult life and now, crawling into my late 40s, I'm finally starting to wrap my head around this concept, that in a lot of ways, these groups are really all the same. That's because well, as we've alluded earlier, they're all made up of people and people all tend to be kind of the same in terms of the patterns that they enact, the approaches that they take, the things that they fundamentally want. Again, not universal experiences, but we all have the shared commonality of having these experiences. We all have the shared feature of wanting things and wanting to be understood. Wanting empathy, or compassion, even if we are ourselves not terribly good at giving it. That's certainly something that's been true with me. Even within the course of this conversation, I brought up the Medium article about the pandemic and how it's really easy to want to be furious with the people who are, in a very real way, responsible for the fact that I haven't seen my daughter in over a year. At the same time, at least some of those people were acting in ways that I don't have to think are rational or correct, but they had some reason they did the things they did and if I can understand why they act the way they do and I want to spend the effort and the energy to meet them where they are, perhaps I can find ways to work with them to be different, to be what I would consider better. More in line with a social contract that means that we don't have 600,000 people dead by the summer, but that is work that's on me to do, because I can't ask somebody, who's already living in a state of fear, to suddenly magically have cool, calm rationality descend upon them. REIN: The last thing I'll mention for folks who are listening, who are on software development teams and so on, is that a team is literally definitionally a group of people who help each other. TAMSIN: Yes, yes, it is. JAMEY: This was really great. Thank you so much. TAMSIN: Thank you. I had a wonderful time. This was a blast. JAMEY: And I should say that anyone who wants to have further conversations like this with us, we have a Slack community and we're all there, all of our guests are there, and lots of other really interesting people. You can join our Slack community if you back us on Patreon, patreon.com/greaterthancode, even like a dollar. REIN: These episodes are successful because we co-create them with our guests. We're helping each other make cool episodes. So thank you for helping us to make a cool episode. TAMSIN: It has genuinely been my pleasure. It’s been a delight. Thank you so much for having me. Special Guest: Tamsin Davis-Langley.

Episode 37Season 2 the moon!!The most underrated video game ever made? Listen to the cold open to learn what it is.The secret to wealth? Don’t listen to the episode to learn what it is.A Segment:Dogen disses Pearl. Does she respond? Does she call him up on Instagram to tell him she has no respect for him and that he goes for low hanging fruit? Of course she doesn’t. Pearl is a bully and won’t attack anyone with more internet value than her.Sharla disses Pearl. LOL, bad week for the girl. What is it about? Who knows, sounds like the Jvloggers are doing a lot of misquoting and passing on misinformation as usual. Check it out. So much nonsense, we can’t even keep track.Segment B:The KoKs discuss crypto and how to be wealthy in Japan. Have you got bling? Have you got Doge? Have you got Bitcoin? Have you got KoKoin? No? Pfft. Loser. Call us when you have some funds.The most solid advice: don’t listen to ALTs on how not to be broke.Listen to the end for a secret song!

Tale as old as time. True as it can be. Barely even friends. But then somebody bends. In fatality. SIKE! You thought we were doing the new Mortal Kombat movie?!? BRO that ain't even out yet. What do you think we are, some super chosen one individuals who have to fight in a mythical tournament in order to save the planet and all mankind? Pfft. That's ludicrous. After all, it is called Mortal Kombat for a reason. We may not know that reason, but neither does Johnny Cage. Or maybe he does? The only one who really does is Raiden, the White Portuguese, but he's to busy saying "sorry" to tell anyone what's up. When it's all said and done, love conquers all. And what the world needs now is love. Especially when a scary skully samuraiy guy is looming over your hidden fortress when you thought you had just saved the world and were gonna be able to take the weekend off. Just let him some love, and maybe he'll change his mind. Theme by Avery Yerlan Twitter: https://twitter.com/pacinopod Email: pacinopodcast@gmail.com https://anchor.fm/al-pacino

How much do you love classic horror films? WE DO WE DO!! We loved our interview with one of the most iconic horror actresses of all time. PFFT.. no she wasn't one of the women that did the, "aahhhhh...please don't", she was the one to make you scream!! Sha and Victoria from E.P.G.P. are happy and ecstatic and overwhelmingly ...ahh you get the point, to have the female Cenobite2 herself, BARBIE WILDE!!! It was a great show filled with fun, serial killers, laughter, serial killers, and g.e.e.k.yness!!! Did we say #serialkillers? So tune it Wednesday 3/3/21 & 3/10/21 to hear parts 1 and 2 of our very serial.. *ahem* great show! Tune in on #paraxradionetwork to hear it first or go to #exploringtheparanormalwithgeeksparanormal website and enjoy it a week and a day......or two... maybe 3.. hell when Sha can get it up within that week because let's face it... life happens and ya never know but it will go up!

How much do you love classic horror films? WE DO WE DO!! We loved our interview with one of the most iconic horror actresses of all time. PFFT.. no she wasn't one of the women that did the, "aahhhhh...please don't", she was the one to make you scream!! Sha and Victoria from E.P.G.P. are happy and ecstatic and overwhelmingly ...ahh you get the point, to have the female Cenobite2 herself, BARBIE WILDE!!! It was a great show filled with fun, serial killers, laughter, serial killers, and g.e.e.k.yness!!! Did we say #serialkillers? So tune it Wednesday 3/3/21 & 3/10/21 to hear parts 1 and 2 of our very serial.. *ahem* great show! Tune in on #paraxradionetwork to hear it first or go to #exploringtheparanormalwithgeeksparanormal website and enjoy it a week and a day......or two... maybe 3.. hell when Sha can get it up within that week because let's face it... life happens and ya never know but it will go up!

Ein romantischer Sonnenuntergang, man trägt Kleidung farblich abgestimmt auf seinen Hund, der Hund schaut einen innig an und freut sich einfach darüber mit einem laufen zu dürfen. Natürlich ist er frei und hört aufs Wort. Beim Einsteigen ins Auto riecht es nach frischen Blumen, zu Hause wartet die helle, saubere Couch auf eine gemütliche Kuscheleinheit. Es wird ein wenig Trockenfutter in den Napf geworfen und dann schläft der Hund glücklich und zufrieden ein. Na? Kommt euch das bekannt vor? Nein? Oh je, dann läuft vermutlich so einiges....GANZ NORMAL bei euch. Pfft, nach Blumen riechendes Auto!? Das wir nicht lachen!!! :D Zeigt uns eure realsten Momente mit Hund! Egal, ob Kotzfleck auf dem Teppich, Schlammbad im Matsch, dreckiges Auto. Wir wollen sie alle sehen. :)

Wheel, snipe, celly boys. Crushin' sandos. Superstar power poses? Pfft. I could run a clinic on this, boys. The flow, and the snow. That's it, tarps off boys! You looking for a tilly, buddy? It's time for a donnybrook! Ferda.Games Played Last Week:01:17 -Crystal Palace (Carsten Lauber, Feuerland Spiele, 2019)08:21 -Schotten Totten 2 (Reiner Knizia, IELLO, 2020)11:04 -Blackout: Hong Kong (Alexander Pfister, eggertspiele, 2018)15:20 -Cthulhu: Death May Die (Eric M. Lang & Rob Daviau, CMON, 2019) 17:14 -Anachrony: Fractures of Time (Richard Amann, Viktor Peter, Dávid Turczi, & Mindclash Games, 2020)23:38 -Scape Goat (Jon Perry, Indie Boards & Cards, 2020)26:33 -The Court of Miracles (Vincent Brugeas & Guilhem Gautrand, Lumberjacks Studio, 2019)29:07 -Res Arcana (Thomas Lehmann, Sand Castle Games, 2019)30:03 -Medina (Second Edition) (Stefan Dorra, Stronghold Games, 2014)31:47 -Pandemic Legacy: Season 0 (Rob Daviau & Matt Leacock, Z-Man Games, 2020) News (and why it doesn't matter):31:47 Glorious return of Pandemic Legacy Patreon show The C.U.R.E. Files32:24 Black History Month at Boardgamegeek33:26 Core Worlds: Empires33:58 Metal Gear Solid board game reverts to Matsuuchi, future uncertain34:41 Stroganov by Andread Steding35:14 More Great Western Trail(s)35:58 Let's Role on Kickstarter--online tabletop roleplaying 36:37 Concordia Solitaria37:08 Feature Game: Trick Shot (Nikita Krylov & Artyom Nichipurov, Wolff Designa, 2021)

What up juggalos? Who is ready to kick it with our new homie Dustin?! Pfft, who you fooling? You ain't ready mother fucker! We talk geek shit up and down the block. Of course, there's plenty of clown love to go go around though! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/what-is-a-juggalo/message

Bloomberg's Austin Carr and Mark Gurman write, "Trade war? Pfft. Trump? Please. Antitrust? Zuck’s prob. (Ditto privacy.) Revenue? Endless." Hosts: Carol Massar and Tim Stenovec. Producer: Doni Holloway.

Bloomberg's Austin Carr and Mark Gurman write, "Trade war? Pfft. Trump? Please. Antitrust? Zuck's prob. (Ditto privacy.) Revenue? Endless." Hosts: Carol Massar and Tim Stenovec. Producer: Doni Holloway. Learn more about your ad-choices at https://www.iheartpodcastnetwork.com

Trade war? Pfft. Trump? Please. Antitrust? Zuck's problem. (Ditto privacy.) Revenue? Endless. By Austin Carr and Mark Gurman Learn more about your ad-choices at https://www.iheartpodcastnetwork.com

First episode of the new year and nick and nil decide to strike up a conversation about pooping, farting, and where they've been. As you can see nothing has changed.

lo-fi & lovely On this Kaplowitz Radio. Podcast: it’s just me. Just me, running straight thru. No segments. About 45mins. Want more? Stay tuned to the end for a Kap +1 re-broadcast w/ Phil Kurut. Want less? Don't. See i I care. Pfft. Kaplowitz Radio. is a podcasting network consisting of the/its titular Kaplowitz Radio. podcast, the disILLUSIONE dePROGRAM, Coffee Conversations miniseries, & Kap Plus One. It is brought to you by Kaplowitz Media. SEND $$$. kaplowitzmedia@mail.com ::: very :::

As 2020 comes to a close we often reflect on the year.  Pfft! Reflecting on this one is a roller coaster of emotions and energies, isn't it?  What have you learned from this year? What has surprised you? What has you still trying to wrap your head around? Other than the whole Global Pandemic thing.  Have you found that memories come bubbling up from long ago? Have you found that your dreams have been more intense or stranger?  Are you house cleaning more than you have in previous years? There is a big energy of that right now, not just physically cleaning but spiritually and energetically cleaning and clearing of energies.  Lets chat about this and more! Guided Imagery to balance the chakras  

Pfft, and you thought Christ's resurrection was magical. During some pre-Thanksgiving cleaning, our wonderful producer/engineer, Will Scovill, found an old episode from July of 2019 that we thought was lost to the universe. Originally unusable because we "forgot" to hit record Tirumari (who else), Will managed to cobble something together because he's Sexy Will, the Pharaoh Wizard, and here it is in all its glory! That said, enjoy this classic format debate regarding two medical-grade hilarious sitcoms -- "House" and "Scrubs!" Whether you're in the ER or on some BS, always be ready to RAGE!Hosted By: Marc AbrigoSpecial Guests: Natasha Vinik, Dane Fox-McGraw, Stephen Ku, and Tirumari Jothi---Produced by Komedio ComedyFind more episodes of Nerd Rage! The Great Debates at NerdRagePodcast.comTo stay informed on Komedio live shows and podcasts visit Komed.io✉️ e-Mail us at KomedioComedy@gmail.com (put “Nerd Rage” in the subject line)Find us @NerdRageTGD on Twitter or follow us on Facebook for more updates.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Roasting Motivational speakers.

We got thrills! Chills! Kidnapping! Genital Removal! So g! Dance! Deal with it!

Hello and welcome back to week number 19 of the podcast. This week to finish out the Halloween season we have a film chosen by Sterling "Hotel Transylvania". This movie even though it is a animated film it still has the charm of a Adam Sandler movie that Sterling likes so much and that Lee can tolerate sometimes. Listen to this weeks episode to find out why this is Lees favorite movie chosen by Sterling so far. As always please rate, review and share the podcast. We hope you have an amazing week and enjoy the episode. 

Welcome back for another spooky October episode!! Niki (finally) finishes up The Wolfman by Johnathan Mayberry in a blaze of glory. (Pfft.) Then Tyler comes along and blows our MINDS with Resident Evil 7: Biohazard (part one!) We hope you enjoy this spooktacular episode. (I know, I know, corny.) Source: residentevil.fandom.com Follow us: Twitter: @TurnandMashPod Instagram: @pageandbuttonspodcast Facebook: Page Turners and Button Mashers Podcast Email Us: pageandbuttonspodcast@gmail.com Support us: Patreon: patreon.com/pageandbuttonspodcast Buy us a coffee: buymeacoffee.com/pagenbuttons MERCH!: Teepublic.com- Search Pageturnersandbuttonmashers --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/pageandbuttonspodcast/message Support this podcast: https://anchor.fm/pageandbuttonspodcast/support

The boys are back following an unscheduled week off to get their teeth stuck into the Project Big Picture debate! As well as that, we have the debut of our new game Home or Away, and plenty of chat about international football. Don't forget to give us a follow on Twitter @Hairdryer_Pod.

The death of “e.g.”. Brendan can’t “Pfft”. Balloon Fest ’86. The Springfield Vacuum Cleaners. Learn more about your ad choices. Visit megaphone.fm/adchoices

Episode 12 - "Respect your opponents by playing your best" - One school in Singapore took that to the extreme. Elsewhere, a really stupid scammer makes the headlines and Charles speaks in admiration of an epic scam from the annals of his brain. We then deliberate over the Boon Tat Street stabbing, and to round things up, we examine Delane Lim and his rant about how "Singaporeans are not hungry for a job". Pfft.Support the show (https://www.instagram.com/middleoftheroadpodcast)

Climbing the social ladder? Pfft, try more like the spiritual ladder. Look within and live your life on the edge of two worlds. A reality where you find true understanding of who you are. Take the step into the unknown with Alexander McCaig and Jason Rigby as they explore the thinly veiled world of consciousness, spirit, and the human condition. Join them in embodying the oneness of all. Walk the cliffs edge between the seen and the unseen realities. Welcome to Higher Density Living. www.higherdensityliving.com Everything existing in nature and in the universe and within the Creation itself, consists in the striving, in fundamental and ground-breaking (like a germinating seed) form, in the striving – in the striving for the future, in the striving for the higher things, for evolution, for the highest possible Absolutely-full-development. A development where we as a spirit rejoin with that when we came. Furthermore no stage of evolution, learning, or development can be skipped. Therefore we would recommend not skipping this episode because it's a whopper of a spiritual teaching. Look within and live your life on the edge of two worlds. A reality where you find true understanding of who you are. The learning is done. Become the teacher in embodying the oneness of all. Become a Higher Density Being. Instagram Facebook Twitter Youtube Pinterest

Apa apa konten, apa apa konten. Pfft. Lama lama muak sama influencer norak nggak tahu situasu sama sekali.

Pfft

Download MP3 ８月の４週間は、恒例の「超濃縮！やさしい英語会話」です。この12年間に配信した359本の「やさしい英語会話」よりエピソードを厳選し、毎回４本分を濃縮してお届けします。ナチュラルスピードの会話をスクリプトとともにお楽しみください。今回は"Battle of the Sexes"というテーマで、異性をめぐるあれこれにまつわるエピソードを集めました。 　 *** Script *** やさしい英語会話 (287) What is Love? M: Ah! It hurts! W: What does?! M: Not knowing what to do with everything. W: Um… please elaborate. I have no idea what you're talking about. M: You see, I went to see a psychiatrist. I felt like I'm going crazy! W: About what?! You need to be more specific than that! M: I said it felt crazy. Then again, maybe it was supposed to make you feel like that. W: I can't believe I have to ask this again. What is IT? M: The thing that hurts! There's something inside me, right smack in the middle that just aches sometimes. W: Your chest? You have chest pain? Um… what do you call it: Heartburn? M: It sounds like it, but not quite! Yes, yes… something about my heart, and a burning sensation. Am I dying? W: What? Why did you go to a psychiatrist instead of a cardiologist then? M: Because she said I have to talk it out, or else I just might suffer from a heart attack! W: And did you talk it out? What did she say? M: She gave me a medical prescription. W: What did she prescribe for you? M: She said she prescribes the person who makes me feel this way. W: WHO did that to you? Let's get him or her!! M: Well, that would be… YOU. (Written by Bea Jianne Roque) やさしい英語会話 (303) How to Get the Girl (In the library) 　　 M: (shouts) Hey, you! I need you! W: (harsh whisper) Hey, keep it down a bit! This is NOT the place to get all ballistic. I'm trying to study here! M: Sorry. Just got carried away. I've been hooked on this crazy book, and I had to say that line out loud to feel fine. It's like… when you really want it to end already, but no, you can't let it go just yet? Actually, I'm still halfway done, but it's all so crazy. I think I don't have enough energy to continue reading. W: But you have the strength to shout? Inside the library? M: I needed it. I told you! Almost had a cardiac arrest, if I didn't do it. Besides, it's a good thing you're the only one who heard. W: We're the only people in the room! M: Exactly! Which is why I yelled. To get your attention. W: I told you: I'm studying right now. Maybe some other time. M: But this is the only time I can get you alone! That makes all the difference. W: I... I don't understand. M: I've been seeing you here for the past two months and I know you read plenty of books around here. And, obviously, you remember me, because we had eye contact just last Monday. Then I managed to smile a little on Tuesday, but you didn't notice. Wednesday, I waved from my corner over there; still not effective. Thursday, I tried walking past your usual desk, and you're quite… oblivious. From Friday till the weekend I was trying to think of what to do. I figured reading this could get you to notice. W: I, uh, was merely trying to be polite. And you haven't really read the book. I may be "oblivious" but I can tell one thing: You've been reading the book upside down. Haha! M: Ah! I blew it. Um, Can I…try again next week? (Written by Bea Jianne Roque) やさしい英語会話 (314) Life Is Tough for Girls, Too W: I don't know what's wrong with me these days. M: What happened? W: This morning I told myself I'm going to try and be happy and not let anything *get me down. A few minutes later, I fell! M: What? How? Where did you fall? W: Right across from *the Student Plaza when I was about to go left. Ha ha. To think: I was on the way to the gym! M: Were you hurt? Any *bruises? W: Yeah. I think I was *bleeding internally. M: That's terrible! Are you OK now? Does it hurt? W: A bit. M: You didn't go to the gym after that, right? I mean you went to the health office to get it treated, yes? W: Of course I went to the gym! Who do you think I am? *Skipping my gym routine because of a little pain? Pfft. I even ran on the *treadmill for an hour! M: Hey, you said you were bleeding internally. That's something more serious than a bruise, I *reckon?! W: Well, nothing to worry about. Surprisingly, gym is medicine. I'm fine now. M: I've never heard of such a thing. Hey, can we make this clear? You fell? And WHAT actually did you *hurt? W: My heart, friend! I saw the guy I *had a crush on for months. He was with another girl! They both looked all *clingy and sweet together! I just couldn't take it, so I went exercising! M: Ah! Why did we have this conversation? (Written by Bea Jianne Roque) やさしい英語会話 (327) Changing Sexes (In the beginning, each person is in a different place.) M: Where… where am I...? Wait. I feel… different… My skin feels so rough… Oh, NOT good. (looking in the mirror) Ahhhh…. Wait. I… I changed… into a man?? Oh, my god! W: Hey, where am I…? Wait. I feel different… My chest feels… heavier… (looking in the mirror) Ahh… What? I’m a woman?? Ah!! M: Oh, good that I found his student ID card. His name is… Yamamoto? A 2nd-year student in the Engineering Department at Hiroshima University. Gosh, what should I do? First, I need to find myself! Hope he doesn’t make a mistake with MY BODY. I’d hate to be pregnant now! W: Wait, how do I put on this bra? Oh, this is her student ID card! Let’s see… Akari, a 3rd-year student in the Faculty of Literature. Where should I go? Ah! I’ve got to find her. Shoot! It’s so freakin’ hard to wear women’s clothes! (Both of them heading towards the campus) M: I hope he didn’t go to the class ahead of me. Where are you!! (They pass each other) M, W: Wait!! Stop!! W: Aren’t you Akari? I’m Yamamoto, the original owner of your body! Please give me back my body! M: Yeah, I’m Akari. Wait! What’s that messed-up make-up on your face? You also didn’t put on a bra? You’re ruining my body! Oh no!!! W: I’ve never done any make-up in my entire life. Ah! The class bell’s going to ring soon. Akari, don’t forget to submit my fluid dynamics report. M: Hey, I don’t even know what fluid dynamics is! I’m so sorry! By the way, I have a seminar about Shakespearean sonnets, so be ready for that! W: Oh, no! I don’t know ANYTHING about Shakespeare, or literature! Why did it turn out like this… Why did our bodies get swapped!!? M, W: Oh god!! Someone please save us!! (Written by Kyoung Jo)

What's the bloodiest cult of all time? Jim Jones? Nope. David Koresh? Pfft. Amateur. Nope, it's the Taiping Heavenly Kingdom which sprang up in nineteenth century China when one aspiring civil servant failed his exams and decided he was the brother of Jesus Christ. Confused? You will be. You will be. (Yoda). Check out the CTDEA WEBSITE for articles, episode transcripts and news. Be sure to get in touch with questions and comments. In the follow up episode, we'll be talking to BBC Radio 4's "Chinese Comedian" star Ken Cheng. Follow us @CTDEApod on Twitter and give us a like on Facebook.

Siste episode før vi tar en liten sommerferie. I denne episoden har Håkon fått besøk av Trond Sinfour Borgersen og DagV for å snakke om Battletoads til NES! Du syntes Dark Souls er et vanskelig spill? Pfft.. Da har du ikke prøvd Battletoads!! Enjoy, og god sommer!

“Abraham, Sarah, and the angel,” Jan Provoost, 1520's Genesis 18:1-15, 21:1-7Series: “Back to Basics”Sermon: “The Absurdity of Grace”Preacher: Rev. Ryan SlifkaToday we're continuing with our short stint through a few of the foundational stories in Genesis, the first book of the Bible.And today's foundational story begins in chapter 18. Here we have three angels in the guise of weary travellers. They come seeking the hospitality of Abraham and Sarah, two very old people.When these angels in disguise arrive at their campsite, Abraham and Sarah show the most incredible hospitality. They give them water to drink and a shady place to rest. Cakes made of their finest flour and to cap it all off, for the main they butcher their finest calf. And they do all of this without the faintest clue as to who these holy guests actually are. This story is part of the core curriculum teaching Christian hospitality to the stranger. The book of Hebrews in the New Testament interprets this passage as saying that in welcoming the stranger we may be “entertaining angels unawares.” Treat a stranger well, the teaching goes, because for all you know this person could be God in disguise. Abraham and Sarah pass the test.The test they don't pass, however, is in how they receive the news that these angels come to deliver. How Sarah receives the news, specifically.Abraham and the guests are hanging out, sharing their succulent veal under a shady tree. Together the guests ask him where his wife Sarah is and Abraham points to the tent. Little do they know that past his finger Sarah's got her ear shoved up against the canvas, eavesdropping on their conversation.And this is where one of the guests shares a startling revelation. “I will surely return to you in due season,” he says. “I will return to you and your wife Sarah will have a son.” By the time I head back here in nine months, he says, y'all are gonna be proud parents of a newly delivered baby boy.Now, you'll remember, though, that Abraham and Sarah are old people. Like, really old people. In their nineties, in fact. God promised that her and Abraham would have more descendants than there are stars in the sky. But so far no luck. Now Sarah's a half-century or so late on the biological clock. So as she overhears the angel's familial forecast, she does exactly what you or I would do. She laughs. She has herself an inward chuckle. He's old, I'm old. We're both worn out, physically and spiritually. And here this guy wants us to put on our party hats and start planning a baby shower. Ha ha. Very funny.Even funnier though, in my mind, is how God's suddenly there in the next sentence, talking away. Sarah's laughing suddenly ceases and God's like “why'd Sarah laugh?” And Sarah's like “nuh uh.” I mean, the last thing you wanna do is laugh at God. But God's like “yeah you did. I know it, being God and all. I know it might sound crazy,” God says. “But is anything too crazy, is anything too wonderful for the Lord? This time next year I'll be back and Sarah's gonna have that baby.”It takes a few chapters, but that's exactly what happens. Nine months later, little baby boy. Right around the time of Abraham's hundredth birthday. What a gift. And there's more laughter, but it's a different kind this time around. They decide to name the baby Isaac, which in Hebrew means ‘laughter.' “God has brought laughter for me,” she says. “God's brought me laughter, and everyone who hears'll laugh with me.” Whoever woulda thought that a woman in her nineties would ever need an appointment with a lactation consultant. Might as well name the baby hee hee haw haw because when anyone else hears this story laughing's what they're gonna do. Cuz it's ridiculous. It's crazy. But nothing's too wonderful for the Lord. Apparently.Now, our first reaction in hearing this story is probably like Sarah's. Pfft. Yeah right. Like that could happen. It's as hard to believe in nonegenarian pregnancies now as it apparently was back then. Can stuff like that really happen?Maybe it could. I mean, strange stuff happens all the time. Life's far more mysterious than modernity has had us believe. So I like to keep an open mind.But the issue at the heart of this story is not so much the miracle itself. No, there's something more, something deeper at stake. It's more about what the miracle represents. What it points to.You see, for Abraham and Sarah this baby doesn't represent a childhood dream of parenthood. It doesn't represent the innate need for a species to reproduce. For ancient people like them children not only represent a legacy. They're the only way your life could extend past the present one. Children are the closest you can get to immortality. Children are literally their future. God promised them that they'd one day have more babies than the stars of heaven. But here they are, in their nineties. No kids, no legacy, no future. The first time she laughs at God for suggesting such a ridiculous thing. The second time she laughs at herself. And her own cynicism. Sarah laughs the first time, because the angel prophecies a future when all evidence suggests that their lives are at a dead end. She laughs the second time out of pure joy. That the future she thought was impossible's somehow now a reality. She'd given up. But it comes to her as an absurd gift of grace. So the issue at heart here is not the proposition that “ninety-year old women can get pregnant.” Or “Your great grandma better make room in her pension budget for diapers.” What this text is doing is delivering us good news, getting back to one of the basic messages of Christianity.Like Abraham and Sarah, we see the world a certain way. As fixed, as determined. A rigged game. No room for the miraculous. No room for newness.In our personal lives we're confined by past mistakes. We're imprisoned by our inability to forgive others, or to receive forgiveness ourselves. Bad childhoods, failed marriages. Depression, anxiety. Addictions to drugs, sex, money, stuff and so much more. And in our world we've not only got a pandemic that we just want out of, we're burdened by massive inequalities. By the ever-lingering sinful power of racism, and the prospect of climate catastrophe. All seemingly insurmountable obstacles. Our future prospects can just seem so impossibly grim that sometimes, like Sarah we gotta laugh just to keep from cryin'.But this text, along with the broader witness of the Bible, tradition, and our own experience, tells us that the universe is neither closed nor as fixed as we always imagined. In fact, the cross, the core symbol of our faith is a testimony to God's power to bring a future when the present doesn't have a chance. That in weakness there is strength. That in loss there is gain and that in death there is resurrection. For every worn down Sarah whose given up and given in, there's an Isaac waiting to be born. There's joy… there's laughter on the way. So take this good news to heart. When our lives hit a wall, when your life is at the end of its rope. When our world looks like it's worked its way into a dead end, the good news is that God makes a way out of no way. Meaning we don't have to give up. It means we don't have to give in to the way things are. Instead of snickering cynically at the prospect of changed lives and a better world, we can laugh it up like fools who've been let in on some great divine joke. That not only is there a God. But that there is a God is God who is faithful to the point of absurdity. And because of who God is it means the future that you'd already given up on, the one you think is impossible, wrote off as ridiculous… it's already in utero. Already on the way. Just waiting to be born.So if you're gonna laugh, you might as well laugh for joy. For there is nothing too good or too beautiful. There's nothing too wonderful for the Lord.Amen.