Podcast appearances and mentions of Richard Rogers

Depois de cinco anos de negociações e estudos, foi assinado em Paris um acordo entre o Centro Georges Pompidou e o governo estadual do Paraná para a construção em Foz do Iguaçu da primeira filial das Américas do museu de arte moderna e contemporânea da França. Patrícia Moribe, em ParisO responsável pelo projeto do Centro Pompidou Paraná é o arquiteto paraguaio Solano Benítez, Leão de Ouro da Bienal de Arquitetura de Veneza em 2016, entre outros prêmios. Benítez é conhecido pelo uso inovador de materiais simples em construções sustentáveis. O trabalho tem a colaboração do arquiteto brasileiro Angelo Bucci.Solano Benítez nasceu em 1963, em Assunção, Paraguai, e é cofundador do estúdio Gabinete de Arquitectura. Seu escritório se destaca em explorar possibilidades de materiais simples, como o tijolo cerâmico e valorizar a mão de obra local. Seu trabalho é também é marcado pelo comprometimento social, aliando soluções de baixo custo e alto impacto arquitetônico.Um dos eixos do projeto, explica Solano Benítez, foi o tema da aprendizagem. Ele se mostra bastante animado em usar a sua disciplina, o seu ofício, em prol de um museu. “Em tempos em que tudo muda tão rapidamente, é difícil imaginar como será o futuro”, disse à RFI. Ele acha fascinante a possibilidade de dispor as pessoas de um aprendizado que possam utilizar no futuro. “Temos que fazer com que o ensino esteja acima e que estimule a capacidade das pessoas”, acrescenta.“Fazer um museu como uma oportunidade única de instrução é também coletar experiências que já é nosso capital, como receitas para se enfrentar o futuro, como uma oportunidade para lembrarmos a nós mesmos que somos nós que temos de construir o novo tempo”, diz o arquiteto.Benítez destaca também que o museu vai oferecer uma nova relação com a natureza, uma vez que vai ser instalado no limite exato onde começa a reserva florestal do Parque Iguaçu. “O museu pretende fazer interconexões diferentes com a natureza, estabelecendo novas pautas e relações”, sem esquecer que ao lado há uma “gigantesca fábrica de arco-íris que são as Cataratas”.“Os últimos anos viram um desenvolvimento excepcional de materiais de última tecnologia, lâminas de titânio, um material muito sofisticado, gerando uma admiração diante do que é vinculado a um bom fazer”, relata Benítez."Tudo ao contrário"“O que pretendemos é desandar e fazer tudo o contrário. Que a condição do extraordinário permaneça, mas se conseguirmos transcender e fazer com que a tecnologia de um material tão simples na aparência seja causa de admiração das pessoas, com um relacionamento cuidadosamente construído, então acho que teríamos condições de oferecer um futuro melhor a todos”.Solano Benítez nasceu em 1963, em Assunção, e formou-se pela Faculdade de Arquitetura da Universidade Nacional de Assunção (FAUNA). Ele é cofundador do Gabinete de Arquitectura, que desde 1987 se destaca por explorar possibilidades construtivas de materiais simples, como o tijolo cerâmico e por favorizar a mão de obra local, com comprometimento social e sustentável.Com o Pompidou Paraná, Benítez passa a fazer parte de um grupo de renomados arquitetos internacionais que assinam os projetos do museu, começando pelo italiano Renzo Piano e o britânico Richard Rogers, autores do Centro Georges Pompidou, também conhecido como Beaubourg, construído no local do antigo mercado municipal de Paris. A estrutura de tubos coloridos no exterior causou polêmica no início, mas logo se formalizou como um cartão postal da capital.A filial de Metz, França, foi assinada pelo japonês Shigeru Ban, além de Jean de Gastines (França) e Philip Guruchdjian (Reino Unido). O de Málaga, na Espanha, teve como arquitetos responsáveis Javier Pérez de la Fuente e Juan Antonio Marín Malavé, que trabalharam com a intervenção artística de Daniel Buren (França), na fachada.O Centro Pompidou x West Bund Museum Project, em Xangai, na China, foi projetado pelo escritório David Chipperfield Architects. Além do Pompidou de Foz do Iguaçu, há um outro projeto em desenvolvimento, do de Seul, na Coreia do Sul. O Centro Pompidou Paraná tem previsão de ser inaugurado em 2027.

"Pal Joey" is a 1940 Broadway musical with music and lyrics by Richard Rogers and Lorenz Hart.

Welcome to Season 04 Episode 4.14 - the "Gaudeamus" edition - of Notes from the Aisle Seat, the podcast featuring news and information about the arts in  northern Chautauqua County NY, sponsored by the 1891 Fredonia Opera House. Your host is Tom Loughlin, SUNY Distinguished Teaching Professor and Chair Emeritus of Theatre and Dance at SUNY Fredonia. Guests on this episode include: Mr. Jefferson Westwood, Director, Rockefeller Arts Center/Commencement Eve Pops Concert; Ms. Marcia Merrins/Art Trail; and Mr. Jeffrey Dietz/iXpress Art Exhibit. Notes from the Aisle Seat is available from most of your favorite podcast sites, as well as on the Opera House YouTube Channel. If you enjoy this podcast, please spread the word through your social media feeds, give us a link on your website, and consider becoming a follower by clicking the "Follow" button in the upper right-hand corner of our home page. If you have an arts event you'd like to publicize, hit us up at operahouse@fredopera.org and let us know what you have! Please give us at least one month's notice to facilitate timely scheduling. And don't forget to enter the giveaway for a $25 gift card from the White Inn, and 2 tickets to And The Tony Goes To....! Entries must be received by Friday May 23rd at 12 noon! Listen to the podcast for the question and answer. Then email your answer to operahouse@fredopera.org. Make sure you put the word "Giveaway" in the subject line and include your preferred contact information. Thanks for listening! Time Stamps (Approximate) 1:13 - Commencement Eve Pops Concert/Jefferson Westwood 17:50 - North Shore Arts Alliance Art Trail/Marcia Merrins 35:18 - Arts Calendar 37:38 - iXpress Art Exhibit/Jeffrey Dietz Media "Gaudeamus Igitur", traditional, performed by the Glasgow University Chapel Choir, June 2021 "The Sound of Music", from the 1965 film The Sound of Music, adapted from the Broadway musical by Richard Rogers and Oscar Hammerstein; performed by Julie Andrews, 20th Century Fox "Blossom Meadow", George Winston, composer and performer, from the album Winter Into Spring, Dancing Cat, 1982. "The Venice Dreamer", George Winston, composer and performer, from the album Winter Into Spring, Dancing Cat, 1982. "Cloudy This Morning", George Winston, composer and performer, from the album Forest, Windham Hill/Dancing Cat, 1994 "Gaudeamus Igitur", performed by the Orquesta Clásica Universitaria de Zaragoza; Carlos Gómez Ambrosi, director; May 2017 Artist Links Jefferson Westwood Marcia Merrins Jeffery Dietz North Shore Arts Alliance Art Trail Map Aspire of WNY iXpress Art Program Box Office at SUNY Fredonia Lake Shore Center for the Arts Main Street Studios Ticket Website WCVF Fredonia WRFA Jamestown   BECOME AN OPERA HOUSE MEMBER!

Through her “archaeology of the future” design approach, the Lebanese-born, Paris-based architect Lina Ghotmeh has firmly established herself as a humanist who brings a profound awareness of past, present, and presence to all that she does. In the two decades since winning her breakthrough commission—the Estonian National Museum in Tartu—her practice has taken off, with Ghotmeh swiftly becoming one today's fastest-rising architectural stars. Just a week after we recorded this episode of Time Sensitive, she was named the winner of a competition to design the British Museum's Western Range and, shortly after that, she was announced as the architect of the new Qatar Pavilion in the historic Giardini of Venice; she is also the designer of the Bahrain Pavilion at the just-opened 2025 Osaka Expo. Across her high-touch, high-craft projects, whether a brick-clad Hermès leather-goods workshop in Normandy, France, completed in 2023; the timber-framed 2023 Serpentine Pavilion in London; or the concrete-walled Stone Garden apartment tower (2020) in Beirut, Ghotmeh celebrates the hand.On the episode, Ghotmeh reflects on the long-view, across-time qualities of her work and outlines what she believes is architecture's role in shaping a better world ahead.Special thanks to our Season 11 presenting sponsor, L'École, School of Jewelry Arts.Show notes:Lina Ghotmeh[5:01] “The Shape of Time: Remarks on the History of Things”[5:01] George Kubler[5:01] Trevor Paglen[8:41] “The Long View: Why We Need to Transform How the World Sees Time”[8:41] Tim Ingold[11:15] “Windows of Light”[11:15] “Lecture: Lina Ghotmeh”[12:06] Beatriz Colomina[12:06] “Are We Human?”[19:58] Gaston Bachelard[24:04] Olga de Amaral[24:04] Cartier Foundation[24:04] Juhani Pallasmaa[24:04] “The Eyes of the Skin”[26:39] Luis Barragán[31:09] Stone Garden (2020)[31:09] Hermès Workshops (2023)[36:36] Peter Zumthor[36:36] “Atmospheres”[41:53] Khalil Khouri[44:51] Jean Nouvel[44:51] Norman Foster[44:51] Estonian National Museum (2016)[46:41] Renzo Piano[46:41] Richard Rogers[46:41] Maya Lin[46:41] Dan Dorell[46:41] Tsuyoshi Tane[50:45] “The Poetic, Humanistic Architecture of Lina Ghotmeh”[51:40] Rimbaud Museum[54:48] “Light in Water” (2015)[54:48] The Okura Tokyo[59:22] Les Grands Verres, Palais de Tokyo (2017)[59:44] Zero-Carbon Hotel Concept (2019)[59:42] Serpentine Pavilion (2023)[1:04:11] Osaka Expo Bahrain Pavilion (2025) 

The left is plotting to flip Congress before the midterms, starting with Wisconsin's Supreme Court race—if they win, they redraw the map and grab two extra seats. Dr. Richard Rogers breaks down what's at stake. Meanwhile, Trump is calling a recession on purpose, Fort Knox might finally get audited, and gold is vanishing from vaults worldwide. Phillip Patrick from Birch Gold Group unpacks the gold crisis and what it means for America's financial future.

Uma comitiva técnica da Secretaria de Estado da Cultura do Paraná (SEEC) está em Paris até domingo (16) para tratar do projeto de construção do Museu Internacional de Arte de Foz do Iguaçu, em parceria com o Centre Pompidou. O projeto da primeira filial do tradicional centro cultural francês no continente americano terá um investimento previsto de R$ 200 milhões e a obra deve ficar totalmente pronta em 2027, de acordo com o Governo do Paraná. A RFI Brasil conversou com Luciana Casagrande Pereira, secretária estadual da Cultura paranaense para saber mais detalhes sobre a iniciativa.  Maria Paula Carvalho, da RFI em ParisA comitiva brasileira desembarcou na capital francesa na segunda-feira (10) para reuniões, workshops e visitas técnicas com equipes do Centre Pompidou para troca de experiências, planejamento e diretrizes de concepção do novo espaço dedicado à arte no oeste do Paraná. As negociações com a instituição francesa começaram em 2022. O museu brasileiro será um espaço pluridisciplinar, abrangendo artes visuais, cinema, música e dança, consolidando-se como um centro cultural dinâmico no país.  “Para a gente, é uma grande oportunidade. É uma visibilidade para os nossos artistas. É uma entrada no circuito internacional de arte e é importante para a população ter acesso a esse acervo importante que o Pompidou tem, mas sempre dialogando com o nosso território”, destaca Luciana Casagrande Pereira, secretária da Cultura do Paraná. “Não é um Pompidou que chega exatamente como o da França e se instala na nossa região. O projeto científico foi concebido entre a nossa equipe e a equipe do Pompidou, mas ele nasce do zero. Sobre as exposições, o que vai ser apresentado, ainda estamos iniciando essa construção”, explica. O projeto arquitetônico da primeira sucursal de um dos mais famosos espaços de arte moderna e contemporânea de Paris na América terá a assinatura do arquiteto paraguaio Solano Benítez. “Ele é um arquiteto internacional, que já ganhou o Leão de Ouro na Bienal de Arquitetura de Veneza e que conhece a nossa região”, diz Luciana Casagrande Pereira sobre a escolha do autor. “Ele respeita muito o território, entende a nossa cultura, como nos comportamos ali”, acrescenta. “Tenho certeza de que será um orgulho não só para nós paranaenses e brasileiros, mas para os países vizinhos também”, completa. A ideia é de que a natureza seja um elemento central no conceito arquitetônico do edifício, que ficará a cerca de 10 minutos de carro do Parque Nacional do Iguaçu, onde estão as famosas cataratas do Iguaçu. “Solano Benítez tem um estilo. Ele trabalha com o tijolo, que é um material milenar, que não tem nada de inovador, mas a técnica que ele usa é muito inovadora”, revela a secretária de Cultura. “Nós não vamos importar material de nenhum outro país. Nós vamos construir com a nossa matéria-prima, que é a terra”, comenta. A construção será feita em um terreno de 24 mil metros quadrados cedido pela CCR Aeroportos, empresa responsável pela administração do aeroporto de Foz do Iguaçu. “Eu não digo que é complexo, eu digo que é desafiador, é instigante”, afirma Luciana Casagrande Pereira. “Tem o projeto arquitetônico, mas você tem a preparação da cidade, da região, a sensibilização das pessoas, da comunidade, para receber. Tem a questão jurídica, financeira, tudo que um projeto deste tamanho envolve. Mas temos obtido muito sucesso em todos esses desafios e estamos muito animados”, acrescenta. “É um projeto grande, de 10.000 metros quadrados e nós estamos planejando as inaugurações em algumas fases. Pretendemos entregar o museu completo em 2027, mas em 2026 nós já teremos uma algumas partes abertas”, antecipa. A secretária de Cultura explica por que Foz do Iguaçu foi escolhida para abrigar a nova sede do Centre Pompidou. “Eu acho que há o interesse pela região de tríplice fronteira. Além disso, o Paraná passa por um momento de muita segurança jurídica”, continua. “Nós somos o primeiro estado em educação, o que é bem importante. É uma região muito fértil, onde nós estamos plantando este projeto. Então, acho que é uma somatória de valores”, conclui. O avanço na concretização do museu acontece em um ano chave para o Centre Pompidou de Paris, que fechou as portas, na segunda-feira à visitação nas salas de exposição permanentes para passar por uma grande reforma que deve durar cinco anos. Até setembro de 2025, o local abrigará ainda pequenas exposições temporárias, antes de interromper totalmente o seu funcionamento para a realização de um projeto colossal de restauração, cuja remoção do amianto será a parte mais demorada. A previsão é de reabertura em 2030. “Neste período de metamorfose do Pompidou estaremos ainda mais presentes no Brasil e no Paraná, será um momento crucial para todos nós, estamos muito felizes com este projeto”, afirma Laurent Le Bon, presidente do Centre Pompidou, citado pela equipe paranaense presente em Paris.  Uma comitiva do centro de artes francês, incluindo o presidente da instituição, esteve no Brasil em julho do ano passado para conhecer o espaço e definir detalhes do projeto de construção. Na ocasião, também foi feita a assinatura de parceria de colaboração técnica para a construção do museu no Paraná. Para Alice Chamblas, chefe de desenvolvimento internacional do Centre Pompidou, o Paraná tem uma paisagem cultural muito rica, especialmente na capital Curitiba. “Mas entendemos que é um desejo do Governo do Estado equilibrar essa paisagem, fortalecendo a cultura em outras regiões e o projeto do Museu Internacional de Arte de Foz do Iguaçu vem exatamente a esse encontro”, afirma a francesa, também citada pela equipe brasileira.    Carolina Loch, diretora de implantação do Museu Internacional de Arte de Foz do Iguaçu, explica que o acervo do museu estará muito conectado ao território onde o prédio será construído. Porém, os visitantes irão encontrar peças importantes da coleção francesa. “O museu terá um foco muito grande na América Latina, em especial nos países da tríplice fronteira, ao mesmo tempo em que teremos trabalhos que já são apresentados ao público na Europa, a partir da coleção do Pompidou, estabelecendo novas narrativas”, explica Loch.       A vinda da missão paranaense à Paris ocorre em um momento simbólico, já que 2025 marca o Ano do Brasil na França e o Ano da França no Brasil. “Eu acho que dá mais destaque. Ele não foi pensado para isso. Mas certamente é uma grande ação, tanto para o Brasil quanto para França”, afirma a secretária de Cultura do Paraná.  Sobre o Centre Pompidou Mais do que um museu de arte em Paris, o Centre Pompidou é um complexo cultural efervescente, que abriga biblioteca, ateliê de escultura, cinema, dança e um centro de estudos musicais e acústicos. O edifício, localizado no coração da cidade, chama a atenção pelos traços da construção, como a tubulação colorida, escadas rolantes visíveis e vidro e aço que cercam a estrutura, com vista para diversos cartões postais da capital francesa. O projeto imaginado pelos arquitetos Renzo Piano e Richard Rogers, a pedido do então presidente francês Georges Pompidou, destoa do resto da arquitetura em uma região conhecida por seus prédios que datam de outro século e chegou a ser chamado de “máquina horrível” durante a sua construção.   Inaugurado em 1977, o Beaubourg, como é carinhosamente conhecido, possui um rico acervo de arte moderna e contemporânea de cerca de 140 mil obras, de 1905 até à atualidade. Considerado um dos principais espaços de exposição de arte moderna e contemporânea do mundo, o Pompidou compete com o MoMA de Nova York para saber quem tem a maior coleção do planeta. O complexo cultural abriga peças de artistas como Pablo Picasso, Joan Miró, Salvador Dalí, Frida Kahlo e Francis Bacon.  Com o fechamento temporário, uma parte de sua impressionante coleção será exibida no Grand Palais, também em Paris, assim como nas filiais do Pompidou fora da capital francesa, como na cidade de Metz, no leste da França, ou no exterior, como em Málaga, na Espanha, em Xangai, na China e, em breve, em Bruxelas, na Bélgica. Outra parte das obras será exposta em um polo artístico previsto para ser inaugurado em 2026, em Massy, a 30 minutos ao sul de Paris.   

In May 2016, I surprised my daughter for her 18th birthday with a getaway to New York City to see her favorite play, Hamilton, in the Richard Rogers Theater with the original cast. We would fly out for a day and then fly back. It would cost way too much money, I'd get my wallet stolen, but I only had one daughter, and you only turned 18 once.We were both obsessed with Hamilton. We knew every word of every song. It lived inside of us. It wasn't just that it was brilliant, funny, moving, inventive and original. It also reminded all of us what this country's founding principles were about. Best of all, it made learning history fun and cool. It was Schoolhouse Rock for a new generation.When taking long road trips, we would blast the soundtrack, screaming every word. We'd start at the beginning and run through the entire play. Our inside jokes were witty asides from the play that we'd quote to each other so often that we had to force ourselves to stop because, after years of this, it was getting old.By casting so many diverse people to play historical figures and making it a hip-hop musical, Hamilton was a bridge to the Black communities that were so often excluded from the Broadway experience and elite culture in general. Hamilton was for everybody, I thought. That was eight years ago.As a devoted Obama supporter and, in 2016, a Hillary Clinton loyalist, I was overjoyed at the prospect of the first woman president to follow the first Black president. Heading into the election, I wrote this piece:I wrote:The election of Hillary Clinton is one of the most important battles in the war between two Americas. One America was built and maintained exclusively by and for white men. That demographic has awakened extremists on the left and right. The other America redeems the promise of possibility for everyone, no matter their status or skin color or class. That America has produced the nation's first black president who not only lasted one term, but two, and who now promises to make history by helping elect another Democrat to follow his two terms. Electing Hillary Clinton doesn't just say, “We're electing a woman for the first time in our country's history.” It also dares to say the first black American president was so successful he did the impossible by electing his chosen successor.I didn't notice back then that the Clinton campaign rented the entire Richard Rogers theater as a fundraiser. Tickets start at $2,700 a pop. I would never have thought twice about it. We were on the right side. It was an “all-of-society” effort to stop Trump. We were the good guys fighting the good fight, so why wouldn't Hamilton be used that way?Lin-Manuel Miranda's entire career exists only because of Barack Obama. 15 years ago, in 2009, in Obama's first year in office, Miranda performed this at the White House:Over the years, Obama would co-opt the reputations and careers of major artists like Bruce Springsteen, Tom Hanks, and, yes, Lin-Manuel Miranda. They would become ride-or-die for the president, which wasn't something I would have noticed back then.As Miranda's play exploded and became instantly profitable and popular, we all took that to mean that everyone wanted to be included in our America. It was the better, cooler America. But that changed when Trump won. Now, all we could see was a hostile country that just rejected us.Even when the cast called out Mike Pence during the performance to protest the Trump administration, I never thought about whether it was bipartisan or not. I knew it wasn't and I agreed with it. I couldn't see the line between art and propaganda.But now I can. All it took was this statement by the producer of Hamilton, Jeffrey Seller, wherein the play cancels itself, hiding behind the usual gaslighting and rationalizations so common on the left:Notice right off the language here. He is doing what all establishment Democrats and Republicans have done for eight years: ignore the voices of the people. Trump defeated them not once but twice. If you believe in the founding principles of this country, you must respect their voices. But they don't. The message they give is not for all Americans. It is only those Americans who agree with their ongoing delusions about Trump.What they can't stand is that Trump is now saying this culture does not belong only to them anymore. It belongs to all of us, even the unwashed masses all of them abandoned years ago and continue to demonize in films, in plays, in comedy, in journalism, in all of their award shows. We're to accept that this only goes one way. That they have a right to decide what our culture will be and Trump and his supporters do not.You did this. YOU did this. You forced Trump and his supporters to beat down the walls of the castle to be included in America's culture. This is YOUR fault. You politicized it. You pushed propaganda on all of us for years. And now, you can't stand it that you no longer control it, can you?Trump's second win was a complete and total humiliation and repudiation. They still refuse to learn that lesson. They refuse to move aside and allow this country to evolve into whatever it will be now. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit sashastone.substack.com/subscribe

Tom Nelson is a pianist, composer, arranger and bandleader. He is a busy freelance musician, performing with some of the top jazz and classical musicians in New York City. He is also the house pianist at the University Club. Tom performs all styles of music ranging from classical to jazz to rock to Broadway, but is especially fond of the Great American Songbook repertoire featuring such composers as George Gershwin, Cole Porter and Richard Rogers.Born in Logan, Utah, Tom received a Bachelor's of Jazz Studies from the University of North Texas and a Master's of Jazz Composition from the Manhattan School of Music. He has composed works for string quartet, jazz orchestra and chamber jazz ensemble, songs for soprano, violin and piano and composed for small jazz ensemble as well. Tom is also active as a Musical Director on the New York cabaret scene and works as a rehearsal pianist and dance accompanist. He lives in Manhattan with his wife and two daughters. www.tomdnelson.com

You won't believe this one: over 20 million Christians sat out the 2020 election! But guess what? Dr. Richard Rogers from AFPI is here to drop some bombshells about 2024—and it's not what you think! He's got the data, the strategies, and the surprising truths about how faith voters across the entire country could tip the scales. From coast to coast, this election is shaping up to be a game of inches! Trust me, you don't want to miss this one. It's time for all of us to get off the sidelines!

durée : 00:20:36 - L'interview de 9h20 - par : Léa Salamé - L'architecte Renzo Piano, concepteur du Centre Pompidou à Paris ou encore de The Shard à Londres, est l'objet d'une rétrospective autour de ses bâtiments parisiens à la fondation Seydoux-Pathé à Paris jusqu'au 23 novembre. Il revient sur son parcours, sur l'architecture au micro de Léa Salamé. - invités : Renzo Piano - Renzo Piano : Architecte italien, constructeur notamment, avec Richard Rogers, du Centre Pompidou à Paris

durée : 00:20:36 - L'interview de 9h20 - par : Léa Salamé - L'architecte Renzo Piano, concepteur du Centre Pompidou à Paris ou encore de The Shard à Londres, est l'objet d'une rétrospective autour de ses bâtiments parisiens à la fondation Seydoux-Pathé à Paris jusqu'au 23 novembre. Il revient sur son parcours, sur l'architecture au micro de Léa Salamé. - invités : Renzo Piano - Renzo Piano : Architecte italien, constructeur notamment, avec Richard Rogers, du Centre Pompidou à Paris

President of Free Chapel College, National Director of Faith Engagement for AFPI (America First Policy Institute) and Senior Fellow of the Center for American Values, Dr. Richard Rogers joins The Jim Bakker Show today! Dr. Rogers addresses the issues of indoctrination in education and the omission of history, paid agitators on campuses, abortions provided near the DNC, and the failure of the church to register and vote! Dr. Rogers asks the question, “Which version of America do YOU want to live in?”

The VRChat world Suku took home the Best Art World prize at Raindance Immersive 2024, and it's by Durk van der Meer who is a freelance digital artist, character artist, and VR world builder based in Curaçao. Suku blends together elements of Caribbean culture and geography with Dutch colonial architecture combined with a sort of psychedelic Studio Ghibli twist that gives the overall experience a sense of surrealism and magical realism. https://twitter.com/DurkatWork/status/1805274104460722464 I had a chance to catch up with van der Meer to speak about his 3D artist pipelines and workflows primarily focused on Gravity Sketch, but we also cover some of his other tools like Google Blocks and Adobe Substance 3D Modeler (formerly known as Oculus Medium). We also talk about focusing all of his creative artistic side projects into the process of VRChat world building within Unity as a vast open world that also leverages the World Creator Professional plug-in. I also had a chance to go on a guided tour of the world with van der Meer where he added a lot of additional context for his creative process, some stories and myths about the history of Curaçao, but also other elements of the darker side of Dutch colonial history by featuring a slave house and plantation house that was transformed into an immersive art installation. There's also other elements of the Caribbean culture of Curaçao that van der Meer integrates that he himself started to wonder if it bordered on a form of cultural appropriation. His intention was to explore his own creative imagination, and he did not intend this world to be in any way educational or a historically accurate elaboration of the darker side of these colonial histories. He considered adding some additional context to the world, but ultimately decided to not add any other additional information about any of the symbols or architecture featured within the piece. Many of these aspects only came up within the context of the guided tour, which was part of the Raindance Immersive exhibition. But the allusions by van der Meer to the dark colonial history of Curaçao was definitely a part of the experience that stuck with me, and we have a chance to dig into a little bit at the end of our conversation, and I dug into a few additional references at the end of the podcast as I was wrapping everything up. Kirby Ferguson's Everything is a Remix YouTube series is probably one of the more compelling counter argument to worries about cultural appropriation as he argues that the core of remixing is "to copy, transform, and combine existing materials to produce something new." Ferguson argues that all art and cultural production is ultimately borrowing from a wide range of different sources from different cultures, and that nothing is actually truly original. Legally fair use in copyright law dictates four different factors measuring fair use that including "the purpose and character of your use, the nature of the copyrighted work, the amount and substantiality of the portion taken, and the effect of the use upon the potential market." That's the legal side of the argument, but concerns around cultural appropriation are more ethical and moral rather than strictly legal. I dug into some references on cultural appropriation from Google Scholar, which pointed me to this 2006 article titled "From Cultural Exchange to Transculturation: A Review and Reconceptualization of Cultural Appropriation" by Richard Rogers, which has over 700 citations. Rogers defines cultural appropriation pretty broadly by saying that it's the "use of one culture's symbols, artifacts, genres, rituals, or technologies by members of another culture—regardless of intent, ethics, function, or outcome." He goes on to define four different categories that include exchange, dominance, exploitation, and transculturation across a spectrum from reciprocal exchange all the way to transnational corporations commodifying cultural art...

Hoy, nos adentramos en un oscuro y perturbador caso que ha dejado a la sociedad estremecida. En este episodio, exploraremos la historia de Richard Rogers, un hombre cuya aparente normalidad esconde una serie de cri­menes horribles que desafi­an toda comprensión. Acompañanos mientras desentrañamos los detalles de este escalofriante relato, analizando los motivos detras de sus acciones y reflexionando sobre las lecciones que podemos aprender de este impactante suceso. Enlaces: https://www.lavanguardia.com/sucesos/20210611/7521138/richard-rogers-afable-enfermero-desmembraba-hombres-gays-last-call-killer-caras-mal.html https://www.crimelibrary.org/serial_killers/predators/richard_rogers/biblio.html https://darkdowneast.com/fredericspencer/ //Nos Puedes Encontrar en estos lugares: Mi Lista de Amazon https://www.amazon.es/hz/wishlist/ls/11MB382F78KC6?ref_=wl_share Telegram Grupo : https://t.me/LosSabadosMandoYo Facebook: https://www.facebook.com/Lossabadosmandoyo Instagram: http://www.instagram.com/lossabadosmandoy Twitter: @SabadosMandoYo Spotify : https://open.spotify.com/show/7JMeLxFHMtWHEVRGRCY4KO?si=o_HA9s7DR6KFXF_1RRK8KQ Apple Podcast : https://podcasts.apple.com/es/podcast/los-sabados-mando-yo/id1479960558 Ivoox : https://www.ivoox.com/podcast-sabados-mando-yo_sq_f1774095_1.html Feed : https://www.ivoox.com/sabados-mando-yo_fg_f1774095_filtro_1.xml

Discover how ordinary people are being called to extraordinary roles in governance and the church's pivotal role in shaping our nation's future. Join Lance and Dr. Richard Rogers as they delve into the spiritual and political challenges facing America. This episode is packed with insights on mobilizing faith, engaging in politics, and the power of individual action in critical times.

In the heart of the American Midwest, "Oklahoma!" unfolds with romance, rivalry, and the promise of a new frontier. Set in the early 1900s, the musical follows the love story between cowboy Curly and farm girl Laurey, amidst a backdrop of community tension and the challenges of the Oklahoma Territory. Rogers and Hammerstein hit the nail on the head for a series of upbeat singable show tunes, and Shirley Jones and Gordon McRae belt out the beloved songs in a funny, unforgettable musical!https://www.instagram.com/realoldreels/

Vi pratar klart om Richard Rogers eventuella kopplingar till mordet på Jack Franklin Andrews, och kommer sedan in på den fascinerande historien om matteläraren Harry Christ Manos. Idag, 2024, är Harry Christ Manos det sista kapitlet i berättelsen om kastreringsmorden.Manus, inläsning, klippning och produktion av David Oscarsson. Vill du att Olösta mord ska fortsätta att komma ut varje vecka? Du kan påverka genom att dela podden med alla du känner som kan tänkas vara intresserade och/eller sponsra via Patreon; https://www.patreon.com/olostamord Välj valfri summa du vill sponsra med per avsnitt på Patreon.Har du teorier om vad som hänt i fallen som vi tagit upp i podden? Skicka dem till: zimwaypodcast@gmail.com så kommer vi ta upp dem i kommande avsnitt. Vill du höra ett specifikt fall i podden? Önska dina fall i det här formuläret: https://docs.google.com/forms/d/e/1FAIpQLSfDlQxf9SgZyeGS-qFPaB4BP-L59lQhs7BbZACfwk7xSs-AFw/viewform?fbclid=IwAR0astYAY_SJLcst89FwKaPIeHHV9zlfAxEz6Cmrh37bbMwvMHGc8z5cwg4Det här är en podd av Dan Hörning och David Oscarsson.Följ Dan Hörning här:Twitter: @danhorningInstagram: https://www.instagram.com/dan_horning/?hl=enYoutube: https://www.youtube.com/channel/UCV2Qb7SmL9mejE5RCv1chwgMail: zimwaypodcast@gmail.comFacebook: https://www.facebook.com/Olostamord/ Stöd oss med 20 kronor + moms i månaden och i gengäld slipper du all reklam i podden. Lyssna helt reklamfritt direkt! https://plus.acast.com/s/olostamord. Hosted on Acast. See acast.com/privacy for more information.

This week, we're traveling to the Big Apple to talk about murders that happened in New York! We're looking at the city this time, and not the state, but we still have more than our fair share of cases to choose from, and they are all doozies! From famous murders to serial killers, this list runs the gamut, and then some! So tune in and enjoy, and even if you live or visit the amazing city that is NY, do your very best to stay off of this list!Cases Covered:1. Richard Rogers2. Romona MooreCheck out our website! www.twistedlisterspod.comJoin us on Patreon: www.patreon.com/twistedlistersFollow us on Instagram: @twistedlisterspcastTiktok: @twistedlistersOutro Music by Lady X/YSources:https://en.wikipedia.org/wiki/Murder_of_Romona_Moorehttps://fr-ca.findagrave.com/memorial/79285585/romona-moorehttps://en.wikipedia.org/wiki/Richard_Rogers_(serial_killer)https://mashable.com/article/last-call-killer-true-crime-explainer

In this episode, we discuss the holiness of God and the call for his people to be holy (Leviticus 19:2; Isaiah 6:1-7; Luke 5:1-10). Notes: New Heart Treasures R&C Patreon Geerhardus Vos on God's holiness (see page 187 of the PDF) Holy Helps for a Godly Life by Richard Rogers

Le Centre Pompidou a été construit par deux jeunes architectes, Renzo Piano et Richard Rogers, les lauréats d'un concours envoyé à 20 000 architectes du monde entier.La construction de ce grand musée d'Art moderne et contemporain a redonné à Paris sa place de capitale artistique.Mais sa réalisation ne s'est pas faite sans difficultés. Le bâtiment a d'ailleurs évolué depuis ses premières propositions de plans.Aujourd'hui ce monument est reconnu et plébiscité par des milliers de visiteurs qui y viennent chaque jour.Découvrez dans cette épisode les coulisses de la création de ce monument et découvrez quelques oeuvres d'art contemporain emblématiques du musée.Le programme des activités pour les enfants et les familles se trouve ici Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

durée : 00:30:00 - À voix nue - par : Camille Juza - Le Renzo Piano Building Worshop a achevé à ce jour 110 projets et 26 sont en cours de réalisation. Des musées, des campus, des bibliothèques, un aéroport. Comment construit-on dans des contextes tous différents ? Comment ne pas se répéter d'un projet à l'autre ? - invités : Renzo Piano Architecte italien, constructeur notamment, avec Richard Rogers, du Centre Pompidou à Paris

durée : 00:30:01 - À voix nue - par : Camille Juza - En juillet 1971, le concours anonyme pour un centre d'art à Beaubourg désigne deux architectes qui n'avaient quasiment rien construit. Débarqués dans la France pompidolienne, Renzo Piano et Richard Rogers imposent en face de Notre-Dame un centre d'art qui ressemble plus à une usine qu'au Louvre. - invités : Renzo Piano Architecte italien, constructeur notamment, avec Richard Rogers, du Centre Pompidou à Paris

durée : 00:29:57 - À voix nue - par : Camille Juza - Le 14 août 2018 s'écroulait à Gênes le Pont Morandi, un pont en béton des années 60, tuant 43 personnes. Renzo Piano se met à la tâche pour réparer sa ville natale, qui l'a vu grandir dans une famille de bâtisseurs où on respirait l'air des chantiers de père en fils. - invités : Renzo Piano Architecte italien, constructeur notamment, avec Richard Rogers, du Centre Pompidou à Paris

durée : 00:30:14 - À voix nue - par : Camille Juza - Renzo Piano est tout sauf un architecte qui dessine et laisse les clefs à des exécutants. Il aime par-dessus tout expérimenter, inventer au sein de son « atelier de construction ». La méthode Piano, c'est probablement ça, des collaborateurs fidèles et une manière de faire de l'architecture ensemble. - invités : Renzo Piano Architecte italien, constructeur notamment, avec Richard Rogers, du Centre Pompidou à Paris

durée : 00:31:25 - À voix nue - par : Camille Juza - Renzo Piano a commencé sa carrière avec Beaubourg, dans le monde du pétrole et de l'abondance. Architecte à l'envergure internationale, comment envisage-t-il son métier l'heure de la raréfaction des ressources ? - invités : Renzo Piano Architecte italien, constructeur notamment, avec Richard Rogers, du Centre Pompidou à Paris

Michael Miller from Tactile Knife Company joins Bob "The Knife Junkie" DeMarco on Episode 487 of The Knife Junkie Podcast (https://theknifejunkie.com/487).Tactile Knife maintains the culture of high-quality, small-scale manufacturing started at Tactile Turn Pen Company. Tactile Knife manufactures nearly all parts in-house in Garland, Texas, including screws and pivots for their debut knife, the Rockwall. The Rockwall is an ideal EDC with a 3" blade in various super steels, smooth ceramic bearing flipper action, intricately milled/turned titanium frame, and a classically clean design. The Bexar is Tactile Knife Co.'s slim and classy slip joint with a tightly milled pattern and clip point blade.Tactile has worked on collaborations with some of the industry's most lauded makers and designers, like Richard Rogers, Christensen Knifeworks, and now TJ Schwarz. The collaboration with Schwarz is an ultimate CNC-machined knife of titanium and magnacut, called the Archer Hyper Knife.Find Tactile Knife Company online at https://tactileknife.co, Instagram at https://www.instagram.com/tactileknifeco, and in their private Facebook group at https://www.facebook.com/groups/tactileknifecogroup. Be sure to support The Knife Junkie and get in on the perks of being a patron, including early access to the podcast and exclusive bonus content. Visit https://www.theknifejunkie.com/patreon for details. You can also support The Knife Junkie channel with your next knife purchase. Find our affiliate links at https://theknifejunkie.com/knives.Let us know what you thought about this episode and leave a rating and/or a review. Your feedback is appreciated. You can also call the listener line at 724-466-4487 or email bob@theknifejunkie.com with any comments, feedback, or suggestions, and let us know what you'd like to hear covered next week on The Knife Junkie Podcast Supplemental Edition.To watch or listen to past episodes of the podcast, visit https://theknifejunkie.com/listen. And for professional podcast hosting, use The Knife Junkie's podcast platform of choice: https://theknifejunkie.com/podhost.

Meg explores the discreet gay bars of Sutton Place and finds a Staten Island interloper, Richard Rogers, The Last Call Killer. Jessica remembers the establishment of MLK Jr. Day and the proud New Yorkers who helped make it so.Please check out our website, follow us on Instagram, on Facebook, and...WRITE US A REVIEW HEREWe'd LOVE to hear from you! Let us know if you have any ideas for stories HEREThank you for listening!Love,Meg and Jessica

Christ, son of David and the Son of God is the meticulous, precise Bible interpreter and also the meticulous, precise Savior. - SERMON TRANSCRIPT - I. A Precise God Speaks a Precise Word Turn in your Bibles to Mark 12. We're looking this morning at verses 35-37. Anyone who knows me knows I have an esteem for church history. I love church history. One of my favorite people to study are the Puritans who were English Christians in the 16th, 17th century. They were remarkable people who accomplished far more than most ever do because they knew the God they believed in, and they sought to orchestrate every aspect of their lives in conformity with what they read in Scripture. They were meticulous and precise in the way that they lived. They were precise in their doctrine, very careful in their doctrine. They were precise in their public worship. They were precise in their Sabbath observances, in their family lives, in their private prayers, in their secular employments, in their politics. They tied everything to the perfect truths they saw in the Word of God. One Puritan pastor, Richard Rogers, ministered in Essex and was told by a wealthy nobleman in his parish, "Mr. Rogers, I like you and your company, your group very well, but I find that you are too precise." Rogers replied, "Oh, sir, I serve a precise God.” We serve a precise God, and evidence of the precision of God surrounds us every moment in the universe that we live in. We see in His meticulous, in His careful creation, evidence of His precision. Advances in science over recent centuries have shown how just precise the universe really is. I was reading a book recently by Eric Metaxas called Is Atheism Dead? He argues that recent advances in science have made atheism more and more unreasonable. In it, Metaxas talks about arch-atheist evolutionist and enemy of the gospel, Richard Dawkins, who is relentless in his hatred of Christianity. He goes all over the world to ridicule and to debunk Christianity, but in an unguarded moment was asked, "Of all of the arguments for the existence of God, which do you find most difficult to overcome?" He said, "That's easy. The evidence of a finely tuned universe, that the universe has physical constants that are so precise, if they deviated even a tiny, tiny amount, life would be impossible. Actually, existence would be impossible, and there's a stacking up of these that makes it difficult to refute the evidence of a precise God who made them all." Classic example of this is what's called the “Goldilocks” planet that we live on. You remember the story of Goldilocks and the three bears, how this wanderer comes into a cabin and finds some porridge, and the first bowl is too hot and the second bowl is too cold, the third bowl is just right. The same thing happens with the chair and with the bed and all that. Earth is like that, it’s the Goldilocks planet. The distance from the sun, Venus is too close, so it's too hot, Mars is too far, so it's too cold. The earth is just right. Also the gravitational force of the earth, the power of gravity is just right to retain the gases in the atmosphere necessary for life. The atmosphere itself is just right. When it comes to oxygen, 21% of the air you breathe is oxygen, 78% is nitrogen. If there were more oxygen, things would be igniting all the time around us, burning, combusting. If they were too little, we would have trouble staying alive. So it is with water. Water is weird. I know we're used to it, but it's just a weird substance. It's got some amazing attributes. For example, simply the fact that the solid form of it floats in the liquid form, ice floats. Because of that, then ice floats to the top in lakes and ponds and rivers and doesn't descend to the bottom where the sunlight could never reach it. And eventually, it would quench out life because of an ice age. So it is with the genetic code of every cell in your body, the DNA, the string of proteins. They are so meticulous and precise that if anything were deviated at all, life would be impossible. These are examples of a precise God and His precision in creations around us all the time. This precise God also had a precise plan for human history and for our existence. All the days ordained for each one of us were written in God's book before one of them came to be. That's true not just of us individually, but it's true of the entire flow of human history. God ordained a precise sequence of nations and empires, kingdoms and smaller nations to rise and fall in exactly the way He ordained. In Acts 17:26, it says, "From one man, He made every nation of men, that they should inhabit the whole earth." He determined the time set for them in the exact places where they should live. That's a precise God orchestrating all of human history. "This precise God also had a precise plan for human history and for our existence. All the days ordained for each one of us were written in God's book before one of them came to be. That's true not just of us individually, but it's true of the entire flow of human history." At the center of that precise plan by this precise God was a plan for the salvation of sinners like you and me from every tribe and language and people and nation. Peter in preaching on his great Pentecost sermon said this in Acts 2:23, "This Jesus was delivered up according to the definite plan and foreknowledge of God. And this one you crucified and killed by the hands of lawless men." That's a precise plan concerning Jesus, that He would be born, as Galatians tells us, in the fullness of time at just the right time in history, and according to this plan, He was killed. This precise plan was predicted in a precise book. This is the precise book, the Bible, and in it is a set of precise prophecies meticulously laid out in the Hebrew language, in Hebrew letters in the Old Testament. This morning we're going to see the precise son of God, Jesus making a surprising observation and drawing a stunning conclusion from one verse in scripture, a psalm, actually based on one word in that psalm actually based on one letter, the ending letter of that one word. Everything comes down to that one letter. That's the precision of Jesus and the argument He's going to make today. Jesus spoke about the precision of scripture and His esteem for it in the Sermon of the Mount in Matthew 5:17 and 1, "Do not think that I have come to abolish the law or the prophets. I have not come to abolish them but to fulfill them. For truly I say to you, until heaven and earth pass away, not an iota, not a pen stroke will pass from the law until all is accomplished." KJV has “jot and tittle”. But it's just an iota, which is a Greek letter. But Jesus was actually referring, I believe, to the Hebrew letter, the yod. You can see in Psalm 119 the shape and some of the English translation, the shape of the various letters. It's hard to see the relative size, but the yod is the smallest Hebrew letter. It looks like an apostrophe, like the apostrophe as like the possessive that we use, apostrophe. It's like a little apostrophe. It's pronounced ye, like a Y sound. That's what a yod is. The pen stroke refers to the way that the letters are shaped, like the finishing of a letter, what some printers will call a serif. On the end of a letter, it gives a shape of a letter. Jesus is saying, "Until heaven and earth pass away, not a single yod will disappear and not a single pen stroke will disappear from the law until everything that God ordained in the scriptures is fulfilled." Actually, He said that His own words would outlast heaven and earth. "Heaven and earth will pass away. My words will never pass away." This meticulous Scripture gave rise to a very meticulous Jewish culture. The Jews were very precise over the written word of God. They knew that there were 613 commands in the Pentateuch, the first five books of the Old Testament: Genesis, Exodus, Leviticus, Numbers, and Deuteronomy. 613 commands. They knew that 248 of them were positive and 365 were negative. Doesn't it make you wonder what they did with their time? They're there walking through and categorizing that, that’s what they did. The Scribes also counted letters in each of the books that they copied. They meticulously counted the letters. They knew the middle letter of each book and they knew, indeed, the middle letter of the Pentateuch. I bet you're wondering what it is. It's a vav, which is a W in the Hebrew word for belly in Leviticus 11:42. That's the middle Hebrew letter, and they would count forward and count back, and if they didn't arrive at that vav, they knew something was wrong somewhere. That was the precision. Jesus applies this kind of meticulous precision to prophecy in Psalm 110. In Psalm 110 in verse 1, His entire argument comes down to a single letter in the Hebrew. Actually, it is the letter yod, the one I mentioned earlier, the little ye sound, the little apostrophe. With that closing letter in the way the Hebrew words are formed, the word adon, which means Lord, is turned, possessive, adoni, my Lord. The whole thing comes down to that. How is it that David, writing that, called Messiah, His son, my Lord? It all comes down to one letter. That's the precision here. What is the goal? What is Jesus' goal? The goal is the same goal that there is in Scripture. He's not trying to ensnare or trap people or prove His intelligence or His meticulous nature; none of the above. He wants to save sinners. It's salvation; that's His goal. For that is the purpose of scripture. 2 Timothy 3:15 says, “The holy scriptures are able to make you wise for salvation through faith in Jesus Christ.” II. The Central Question: Who Is Jesus? The whole thing comes down to the identity of Jesus. Who is Jesus? That is the focal point of this conversation. Jesus brings it up. It is the final week of Jesus' life. It is the Wednesday of Holy Week. Jesus' enemies are coming at Him in waves trying to trip Him up. They want to condemn Him to death. They're coming at Him concerning His sense of His own identity. That is essential also to our own salvation. All four Gospels, I believe, are written for the same purpose as the Gospel of John. John 20:31 says, "These are written." You can put that on all four Gospels: Matthew, Mark, Luke, and John. "These are written that you may believe that Jesus is the Christ, the Son of God," or perhaps God the Son, "and that by believing that, you may have life," that is eternal life, "in His name." It all comes down to the identity of Jesus. Jesus' enemies are openly challenging Him concerning His identity and His authority. Back in the previous chapter, Mark 11:27, 28, while Jesus was walking in the temple courts, the chief priest, the teachers of the law, the elders came to Him. "By what authority are you doing these things?" they asked. "And who gave you authority to do this?" They're asking Him His authority to cleanse the temple or to teach. Who do you think you are? This brings us right to Jewish conceptions of the Messiah, the Christ. Throughout history in Jesus' day, even up to our own time, Jewish people have conceived of the Messiah as purely human and only human. He would be a ruler, powerful, mighty in battle, able to defeat Israel, Gentile foes and conquer their lands, bringing in a worldwide Jewish empire of immense power and worldly wealth. That was what He would be. Then, having conquered all the Gentile foes of Israel, He would sit on a throne in righteousness and justice in Jerusalem and rule to the ends of the earth. But it was purely a human conception. He would be militarily powerful and He would bring in worldly wealth to the Jewish nation. Mighty, yes, powerful in battle, absolutely, wise in rulership, of course, but human only. Their fundamental answer, which they give in the text, and we'll walk through that in a moment, is the Christ, the Messiah, is the son of David, which in their mind basically meant another David. What David was, that's what the son of David will be. Maybe better, maybe more powerful, maybe wiser, but still just a human king. That's all. That's how they conceived of it, another David. Certainly not a savior of souls before a wrath-filled holy judge. They didn't think they needed that. As the book of Roman says, they sought to establish their own righteousness by the law. They didn't think they needed any help. They didn't conceive of the Christ, the Messiah being a savior from sin. They didn't think they needed it. They certainly didn't conceive of the Jewish Messiah being a savior for Gentiles so that there would be, in the end, one new people, Jew and Gentile together in one beautiful, worldwide kingdom. They didn't conceive of any of that. The Jewish leaders are there, and they hate Jesus. They're opposed to Him. They're fighting Him. The Scribes, Pharisees, elders, chief priests, teachers of the law, they all banded together in overt hatred of Jesus. Why is that? Jesus had assaulted their concept of religion, He had assaulted their conception of their own righteousness, He openly challenged their interpretations of the laws of Moses, especially on Sabbath regulations He exposed their hypocrisy. He called them lost. He called them blind leading the blind. He said their righteousness was like whitewashed tombs, which look beautiful on the outside but inside full of corruption, so they hated Him with a passion. Furthermore, He had openly exposed their financial greed, how the whole religious system that they ran there at the temple made them a den of thieves. They were jealous of His popularity with the crowds. The crowds were wildly in love with Jesus, and they were jealous of that, so they hated Him. They especially despised His claims to be divine. He said, "Before Abraham was born, I am." They picked up stones to stone Him. When they're questioning Him healing on the Sabbath, Jesus said, "My Father is always working to this very day, and I too am working." They hated Him all the more because He made Himself equal with God, claiming to be God. They considered His claims to be God to be open blasphemy, and they wanted to kill Him. They come on this final week of His life, the Wednesday of Holy Week, with a series of questions, one after the other, wave upon wave. The Pharisees banded together with the Herodians to ask their most devious and dangerous question about taxation. Is it right to pay taxes to Caesar or not? They figured they had Him either way. If He said, "No, we shouldn't pay taxes to Caesar," then Caesar will hear of it and, through Pontius Pilate, put Him to death. But if He says we should pay taxes, then they will look on Him as a collaborator, like a tax collector, and they'll hate Him. He'll lose the patriotic Jews. They figure they have Him either way. But Jesus, with His supernatural wisdom and knowledge, gave an answer they couldn't deal with, render to Caesar the things that are Caesar's and to God the things that are God’s. Then the Sadducees banded together, they who deny the resurrection. They come with that ridiculous test case about seven brothers married to one woman, et cetera, and thus proving they thought by the law of Moses that resurrection is impossible. Jesus exposed their error. You're in error because you don't know the Scriptures or the power of God, and proved the resurrection. Then some other Pharisees get together to ask them which law or which commandment is the greatest? The problem was the one they chose you ask actually wanted to know the answer. He actually yearned to know the truth. They have a much more favorable exchange in Mark's Gospel than you see in the other Gospels. Jesus told the man, "You're not far from the kingdom of God,” because the man genuinely wanted to know the answer and wanted to live it out. But now the time has come for Jesus to turn the tables. "You're asking me a series of questions. I have a question for you." He brings up this question. He's not doing it to try to trap them, He's not doing it to try to trick them or to show His superiority, He wants to save them, He came to seek and to save the lost. God has no pleasure in damning souls to hell. Ezekiel says very plainly in Ezekiel 18:23, “'Do I take any pleasure in the death of the wicked?’ declares the sovereign Lord, ‘Rather, am I not pleased when they turn from their ways and live?’" That is the spirit of Jesus. "I don't enjoy condemning people to hell. I would love for you to turn from your wicked ways and live and find salvation." That's His motive. This is exactly why that same week He wept over Jerusalem, as depicted in Luke 19, “As Jesus approached Jerusalem and saw the city, He wept over it and said, ‘If even you had only known on this day what would bring you peace, but now it is hidden from your eyes.’" Jesus is giving all of them one last invitation to believe in Him as He really is. III. Jesus Makes His Case From Scripture: Psalm 110 So He makes His case from the Scriptures, constantly pointing to scripture as its proof of His identity and His mission. In this case, it's Psalm 110. If we combine Matthew's account from Mark's, we get the whole flow. There's a little more detail in Matthew, so I'll be leaning on both, but you could just listen or follow along in Mark. In Matthew, Jesus raises the question. Matthew 22:41, 42, “While the Pharisees were gathered together, Jesus asked them, ‘What do you think about the Christ? Whose son is He?’" They, in Matthew's account, give the answer, an easy answer. “‘Son of David,’ they replied.” That's how it begins in Matthew. In Mark, it reads this way, “While Jesus was teaching in the temple courts, He asked them, ‘How is it that the teachers of the law say that Christ is the son of David? David himself, speaking by the Holy Spirit, declared, ‘The Lord said to my Lord, ‘Sit at my right hand until I put your enemies under your feet.’ David himself calls Him Lord. How then can He be his son?” That's the whole account in Mark. You get the reactions a little different in Matthew than in Mark. In Matthew 22: 46, it says,"No one could say a word in reply. And from that day on, no one dared to ask any more questions." He's silenced his enemies in Matthew 22:46. They don't know what to say. It's extremely significant that these Jewish experts in the law didn't have an answer to Jesus' question, therefore there isn't one other than the right one. Over the centuries, the Jews have had a chance to look at this question and answer it. There is no answer other than that which points directly to the deity of Christ. But unfortunately, as Paul talked about in Corinthians, the veil covers their faces when they read these scriptures and they can't see the truth, but there's no answer. They have no answer. Mark focuses on the delight of the crowd. Look at verse 37, “The large crowd listened to him with delight.” They're like, "Wow. I never saw that before." Can I just tell you in general, the Bible says more than you think it does. I'm going to give you just a principle for the rest of your life. There's more in the Bible than you think there is, so just keep studying it. There's always more to learn.They were amazed. They're like, man, "I never saw that. I've been reading Psalm 110 my whole life, and I never asked that question." What's going on? Jesus raises a question. Does Jesus answer the issue? No, He doesn't. He raises the question. How can David, speaking by the Spirit, call his own son his Lord? We're putting it simply. How can David's son be David's Lord? Do you have an answer? What's going on there? This is what Greg Koukl would call in his book, Tactics, putting a rock in someone's shoe. What does that mean? Ask them a question they can't answer. Something that jars them, something that keeps them up at night. If you were to die tonight and you were to stand before God and He were to ask, "Why should I let you into heaven?" What would you say? That's the Evangelism Explosion question. That's a rock in someone's shoe. Are you ready to die? Sometimes we feel like as evangelists, we need to kind of clinch the deal. We need to seal the deal. Sometimes all you need to do is put a rock in someone's shoe. In this case, it's this question, how can David's son be David's Lord? The Jews obviously were partially right. The Messiah, the Christ is the son of David. If you go back to, 2 Samuel 7, David has a desire to build a temple for God. He thought the Tabernacle's temporary tent wasn’t sufficent, it was time to build a temple. He wants to build one. Nathan, the prophet, comes with the word of God saying, "You are not the one to build the house for me. But a son coming from your own body will build a house for me." 2 Samuel 7, 12-14, "When your days are over and you rest with your fathers, I will raise up your offspring to succeed you, who will come from your own body. And I will establish His kingdom. He is the one who will build a house for my name. And I will establish a throne of His kingdom forever. I will be His father and He will be my son." It's called the Davidic Covenant. We know the immediate fulfillment is David's biological son, Solomon, who built the actual physical temple. But we know that the words go bigger than this because the real, final, permanent temple of God in which God dwells by His Spirit is the church of the living God that He builds with living stones through evangelism missions. Jesus is the one who's going to build the eternal and final dwelling place for God. We know that there’s immediate fulfillment and long-term fulfillment. But there is this Son of David theme right from 2 Samuel 7. It just continues on throughout many, many passages in the Old Testament, picking up on this. For example, Psalm 89, 3-4, "You said, I have made a covenant with my chosen one. I have sworn to David, my servant. I will establish your line forever, and I'll make your throne firm throughout all generations." Or probably the most famous, the most well-known is Isaiah 9: 6-7, "For to us, a child is born, to us a son is given, and the government will be on His shoulders. And He will be called wonderful counselor, mighty God, everlasting Father, Prince of Peace. Of the increase of His government and peace, there will be no end." Listen. "He will reign on David's throne and over His kingdom, establishing and upholding it with justice and righteousness. From that time on and forever, the zeal of the Lord Almighty will accomplish this." Isaiah 9 is a powerful prediction of an eternal kingdom of David. In Jeremiah 23: 5-6, “'The days are coming,’ declares the Lord, ‘when I will raise up to David a righteous branch, a king who will reign wisely and do what is just and right in the land.'" This is centuries after David had died, but, "I'm going to raise up to David a branch, a king who will reign wisely and do what is just and right in the land.” “In his days, Judah will be saved and Israel will live in safety. This is the name by which He will be called the Lord, our righteousness." That's so beautiful, the Lord is our righteousness. That's His name. That's a gospel. Jesus is our righteousness, Jeremiah 23. Or again, Ezekiel 37: 24-26, "My servant, David, will be king over them. And they will all have one shepherd. They will follow my laws and be careful to keep my decrees. They will live in the land I gave to my servant, Jacob, the land where your father's lived. They and their children and their children's children will live there forever, and David, my servant, will be their prince forever. I will make a covenant of peace with them. It will be an everlasting covenant. I will establish them and increase their numbers and I'll put my sanctuary among them forever." Again, this is centuries after David had died. It means the Son of David will reign on a throne in David's name forever. They weren't wrong. The Gospels prove it as well. The very first fact told us in the New Testament, it's the simplest, shortest genealogy. If you have a desire to memorize a genealogy, may I commend Matthew 1:1, it’s a very good abbreviated genealogy. "The record of the genealogy of Jesus Christ, the son of David, the son of Abraham." My friends, that's the first fact the New Testament tells us about Jesus. He is, in fact, the Son of David. Then Matthew gives a comprehensive genealogy to prove that Jesus was biologically descended from David through Joseph, His earthly father, Joseph. Luke has a different genealogy, but again, most scholars believe that's Mary's genealogy, also a descendant through David. Again and again in the Gospel, Jesus is called Son of David. He doesn't reject it, He accepts it like the two blind men in Matthew 9:27, “As Jesus went on from there, two blind men followed Him, calling out, ‘Have mercy on a son of David.’" Or that Canaanite woman, she cried out, "Lord, son of David, have mercy on me. My daughter is suffering terribly from demon possession,” son of David. Blind Bartimaeus, Mark 10:47, when he heard it was Jesus of Nazareth, he began to shout, “Jesus, son of David, have mercy on me." Even just recently, at his the triumphal entry, they're all shouting, "Blessed is the one who comes in David's name. Blessed is the coming kingdom of our father, David, Hosanna and the highest." David, David. David, and He accepts it. He is, in fact, the son of David. The Messiah, the Christ, was truly the son of David. IV. What You Must Believe To Be Saved But friends, this is the point. That's inadequate, that’s not enough. You have to think greater thoughts than that to be saved. First of all, over the centuries, David had lots of descendants. There were lots of descendants of David. Joseph was called by the angel, son of David. Joseph isn't our savior, but he is a son of David, and the angel calls Him, son of David. That's not enough. Jesus wants to expand your conception of Himself. If I can just tell you, I believe that will go on for all eternity. Your conception of Jesus will keep growing and growing and growing and growing forever and ever. Jesus will never run out of new ways to show you His glory. But He's pushing at us now by the Scripture and by the Spirit to expand your conception of the greatness of Christ. All of us underestimate Jesus, so He's going to Psalm 110 to reason. He wants to challenge them, He wants to push at them. Let's look at His key exegetical assumptions, the keys to Jesus' argument, and let's walk through it. Key number one is the Davidic authorship of Psalm 110, it’s key to everything. If David didn't write Psalm 110, we're finished. But Jesus asserts it. "How is it then that David, speaking by the spirit, calls him Lord? For he says, "The Lord says to my Lord, if then David calls Him Lord, how can He be His son?"" This is the key to the argument. David wrote Psalm 110. If David did not write Psalm 110, the whole argument falls apart. If Psalm 110 was written some centuries later by some pious Jews, there would be no problem with those pious Jews writing about the Messiah being called “my Lord”. It's no problem. The author of that psalm would have no problem, and it's not an issue. But if it's David, now we have an issue here. Jesus clearly asserted that David was the author of the Psalm, and therefore he wrote the words, “my Lord.” Key number two, David wrote the Psalm under the inspiration of the Holy Spirit. This is key to everything we do here at First Baptist Durham, the inspirational authority of the Bible. We believe every single word in this is written, was inspired by the Holy Spirit, and therefore is free from error. Jesus openly ascribes the statement to the Holy Spirit through David. How is it that David, speaking by the Spirit, calls Him Lord? That guards David when he was writing Psalm 110 from error. He didn't make a mistake. It was really the Spirit that wanted him to say, "My Lord.” The Lord said to my Lord, "Sit at my right hand until I make your enemies a stool for your feet." Assumption number three, the fact that Psalm 110 was Messianic, that it's talking about the Christ, the Messiah. Jesus asked, "What do you think about the Christ, the Messiah? Whose son is He?" The one you're all waiting for, the expectant savior that's going to come, the Davidic son. What do you think about it? We're talking about the Christ. How is it then that David, speaking by the Spirit, calls Him the Christ Lord, and then they quote Psalm 110? The Jews didn't stop them there and say, "Oh, whoa, wait. That's not even talking about the Christ." They knew it was. It was a messianic psalm. If so, the psalm itself doesn't make much sense. Who's he talking about? “The Lord said to my Lord” what? "Sit at my right hand until I make your enemies a footstool for your feet." If that's not the Messiah, then there's some other great personage that we would want to know about. Who are we talking about here? A couple of verses later, the Lord has sworn and will not change His mind. "You are a priest forever in the order of Melchizedek”. The author to Hebrews just works on that for a whole chapter. Who are we talking about? If that's not the Christ, who is it? Someone who sits at the right hand of God whose enemies God crushes, and he is a priest forever in the order of Melchizedek. Who is this? It's Messianic. This is the Messiah. That's key to the argument. Assumption number four, the fact that under the laws of Moses, a son is never greater than his father, especially when it comes to kings and princes. In the 10 commandments, sons are commanded to honor their fathers. Furthermore, a king sitting on a throne, his son, we would call in English a prince. Is there a difference between being the king and being a prince? There's a big difference. Suppose the prince wants to be king. We'll read about it with the rebellion of Absalom. He has to kill his father to do it. Even when at the end of David's life Adonijah wants to usurp and grab, and he makes Solomon his heir, David's not going to be calling Solomon “my Lord.” That isn't happening. Actually, it's the other way around. They say, "My Lord," to him even though he is on his deathbed. Then interesting, like you're all supposed to say to a king, "Oh king, live forever." If you want to be King Solomon, you're hoping that doesn't happen. But at any rate, the fact is you're never going to have the father calling the son, “my Lord.” They knew that. That's the final assumption David calls him “my Lord.” That's the little squiggle, the little yod after the word adon, adoni, “My Lord.” It all comes down to that one pen stroke. If then David calls Him Lord, how can He be His son? That's an interesting question. How can David's biological son be also David's eternal Lord? There's only one answer to that, and that is the mystery, the Christian mystery of the incarnation; that Jesus is both fully human and fully God. Like John the Baptist, David himself could say, "He who comes after me is greater than me because he preceded me." David's son preceded Him. Jesus is, therefore, unique of all human beings that ever lived in that He chose to enter the world, He chose to be born. He told Pontius Pilate that, "For this reason, I was born. And for this, I entered the world to testify to the truth.” Like John the Baptist said, "He who comes after me is greater than me because He was before me." Chronologically, He was born after me, Jesus was born after John the Baptist, six months after, but He preceded him. John knew that because He's a son of God, He's incarnate. He existed before He was human. This is an infinite mystery, the incarnation. 1 Timothy 3:16 says this, "Beyond all question, the mystery of godliness is great. He appeared in a body, was vindicated by the spirit, was seen by angels, was preached on among the nations, was believed on in the world and was taken up in glory." But look at what in the verse almighty God invites David's son to do. "The Lord said to my Lord..." What did he say? "Sit at my right hand until I make your enemies a footstool for your feet." This is quoted eight times in the New Testament. That's how significant this verse is, “Sit at my right hand.” Jesus is exalted. After His death on the cross and after His resurrection, He passed through the atmosphere, He passed through the sky, He passed through the heavenly realms until at last Ephesians 1 tells us He was seated at God's right hand, far above all rule and authority, power and dominion, and given every title that can be given, not only in the present age, but also in the one to come. God placed all things under His feet and appointed Him to be head over everything for the church, which is His body, the fullness of Him who fills everything in every way. That's what “sit at my right hand” means. That's what He's invited to do. David's son, His biological son, is invited by Almighty God to share His glory and His sovereign throne. It's also a threat, isn't it? Don't be one of Jesus' enemies because the verse says, "God says to Jesus, ‘You sit at my right hand and I will crush your enemies.’" If you are Jesus' enemy," the text says, "God is going to destroy you." Psalm 2 makes that plain. If you fight against the Lord and His Messiah, He will destroy you. God will put His sovereign power against you. He'll make all of His enemies a footstool for your feet. This is the most sublime and infinitely complex mystery of Christian theology. Jesus is fully God and fully man, biologically descended from David but Almighty God in the flesh. And before Him, every knee will bow, every tongue will swear that Jesus is Lord, that means God, to the glory of God, the Father. That includes David right now, who I believe is absent from the body and present with the Lord. What do you think he's doing up there? Is he not on his face worshiping his greater son, worshiping the glory of Jesus? That's what's going on. Jesus is the radiance of God's glory. He is the exact representation of His essential being. Anyone who has seen Him has seen the Father. In his death, all the attributes, the perfections of God were put on display for all eternity. The justice of God, the love of God, the power of God, the wisdom of God, these attributes are on display in the death of Jesus. That's who Jesus is. If you believe in him, someday you will see His glory with your own eyes. You will see Him face-to-face. You will see Him exalted and radiant and glorious. And you, yourself, will share in His glory because you will shine like the sun in the kingdom of your Father. Yes, son of David, but He's infinitely more than that, He is the son of God. "This is the most sublime and infinitely complex mystery of Christian theology. Jesus is fully God and fully man, biologically descended from David but Almighty God in the flesh." You have to believe this. You have to believe this to be saved. If you confess with your mouth- what? -Jesus is Lord. What does that mean? It means Jesus is God. That's what it means. And believe in your heart that God raised Him from the dead, you will be saved. Or if you can make Thomas' confession. Thomas said very plainly when he saw the evidence of Jesus' resurrection from the dead, "My Lord and my God." That's what David means under the inspiration of the Holy Spirit. "The Lord said to my Lord and my God, sit at my right hand." That's what he's saying. Can you make that confession? Can you look at the incarnate Jesus, read about him in Matthew, Mark, Luke, and John, look at that personage and say to Him from your heart, "My Lord and my God." If you can do that, you'll be saved. Your sins will be forgiven. V. Applications I began talking about a precise God, meticulous God. The God who made this universe and all the physical constants and all that. That's interesting to some people, to other people not because they’re not into science. I get it. But know this: This precise God, someday you're going to stand before Him and give an account for your life. You're going to be assembled together with all the nations and you're going to give an account for everything you've ever done in the body. It says in Revelation 20:12, "I saw the dead great and small standing before the throne and books were open. Another book was open, which is the Book of Life. The dead were judged according to what they had done as recorded in the books. And Jesus himself said, ‘I tell you, you'll have to give an account in the day of judgment for every careless word you have spoken.’" That's the precise God you're going to stand in front of. I remember I was sharing the gospel with a coworker once, and I quoted that verse talking about Judgment Day. He said, "I don't remember everything I've said." I said, "That's fine. God's written it down, He remembers." And his eyes got big. That is the precise God that we serve. He remembers everything you've ever done, and you have to give Him an account. No one can survive that without Jesus. It's impossible to survive Judgment Day without faith in Jesus Christ. Imagine on the other hand what it's like to have Jesus own you as one of His own and say, "My righteousness is her righteousness, his righteousness. My name is around him or her. This is one of my sheep. I'm extending. Welcome to this person. Come into the kingdom prepared for you from the foundation of the world by your Father." That's what you need. This is a tender warning. "Sit at my right hand," the text says, "until I make your enemies a footstool for your feet." Don't be Jesus' enemy. Flee to Christ, and He will be not just your friend but your brother, He will be the lover of your soul, He will be your Lord and your God. We have opportunity to witness this week. I would suggest find someone and put a rock in their shoe. Ask them a question that they can't shake. I was on an airplane, and woe to people who sit next to Andy Davis on an airplane. Who knows where that conversation's going to go? But I remember we had reached a certain point and I felt like there was nothing more I needed to do in the conversation. The person wasn't ready to come to Christ. I actually said this to this person, who's a businessman. I said, "I'm going to pray that tonight you'll be unable to sleep because of the things we've talked about." And I think that's good. Sometimes all God wants you to do is put a question in someone's mind that they can't shake that they need to think about. Close with me in prayer. Father, we thank you for the opportunity we've had today to study your word, to walk through Jesus' incredible question that He asked His enemies. Lord, I pray that we would not be your enemies, I pray, I thank you that in Christ we are adopted, we are loved. We're part of your bride. We are delighted. But we know that we don't deserve any of those things; it's only by your grace. Father, this week as we assemble with family and friends, as we have the chance to be together, help us, oh Lord, to just give thanks to you, knowing that we don't deserve any of the blessings we have, but ultimately to give thanks for Jesus, our savior of whom we can say by the working of the spirit in our hearts, my Lord and my God. In your name we pray. Amen.

This is Part Two of Episode 115 covering the Spanish galleon Santo Cristo de Burgos (or, The Beeswax Wreck) Sources referred to in Part 1: Sources:Borao Mateo, Jose Eugenio. “The arrival of the Spanish galleons in Manila from the Pacific Ocean and their departure along the Kuroshio stream (16th and 17th centuries).” Journal of Geographic Research, no. 47La Follette, Cameron, Dennis Griffin, and Douglas Deur. “The Mountain of a Thousand Holes: Shipwreck Traditions and Treasure Hunting on Oregon's North Coast.” Oregon Historical Quarterly, vol. 119, no. 2, Summer 2018, pp. 282 - 313. La Follette, Cameron, Douglas Deur, and Esther González. “The Galleon's Final Journey: Accounts of Ship, Crew, and Passengers in the Colonial Archives.” Oregon Historical Quarterly, vol. 119, no. 2, Summer 2018, pp. 210 - 249 Lévesque, Rodrigue. “The Odyssey of Captain Arriola and His Discovery of Marcus Island in 1694.” The Journal of Pacific History, vol. 32, no. 2, Dec 1997, pp. 229 - 233. “The Myth of the Pacific Pirate Ship.” Drain the Oceans, Season 6, Episode 4, National Geographic, 2023. Tremml, Birgit M. “The Global and the Local: Problematic Dynamics of the Triangular Trade in Early Modern Manila.” Journal of World History, vol. 23, no. 3, Sept 2012.Williams, Scott S., Curt D. Peterson, Mitch Marken, and Richard Rogers. “The Beeswax Wreck of Nehalem: A Lost Manila Galleon.” Oregon Historical Quarterly, vol. 119, no. 2, Summer 2018, pp. 191 - 209. Support the show

Popular weight loss drugs Ozempic and Wegovy have been linked to an increased risk of severe stomach problems, including pancreatitis and stomach paralysis. CBS News' Elaine Quijano reports on the new JAMA study.Political rising star Lina Hidalgo leads one of the most-populated areas of the country, which includes the Houston, and she stunned constituents this summer when she took leave to seek treatment for depression. First on CBS Mornings, Hidalgo opens up to CBS News Senior White House and Political Correspondent Ed O'Keefe about what led to that leave and how she hopes to help others.Richard Rogers endured his first tragedy as a 23 year old, when his father took his own life. Years later, Rogers nearly died after being struck by lightning. His second chance at life propelled him into a life of giving. Now he runs a successful stove company and gives away grant money through his Just One More Foundation.CBS game show host Wayne Brady's talents include acting, singing, dancing and improvising. Now the multi-Emmy-winner and host of "Let's Make a Deal" discusses coming out as pansexual with "Entertainment Tonight" co-host Nischelle Turner.Country music star Darius Rucker is out with a new album, "Carolyn's Boy." It is his first album in six years and is named after his late mother. Rucker says his mother believed in him when no one else did, but she died before she ever got to see his success. CBS News' Jan Crawford sat down with him at his home in Nashville to reflect on his career and why he feels this is his most personal work yet.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

On this episode, Payton discusses the brutal attacks and murders that happened on the vast I-80 roadway. Investigators find dozens of murders in multiple states that all appear to have one common theme, and it's shocking! https://linktr.ee/bingedpod truecrimeguy.com/the-cruel-writer en.wikipedia.org/wiki/Violent_Criminal_Apprehension_Program en.wikipedia.org/wiki/Castration_serial_murders en.wikipedia.org/wiki/Randy_Kraft en.wikipedia.org/wiki/Richard_Rogers_(serial_killer) en.wikipedia.org/wiki/Murder_of_David_Stack medium.com/@Charlie_OBrien/the-unsolved-murder-of-david-stack-9502ab144a20 findagrave.com/memorial/22540411/wayne-leigh-rifendifer findagrave.com/memorial/139379415/marty-james-shook newstimes.com/news/article/Slain-New-Milford-teen-s-brother-We-never-6446538.php charleyproject.org/case/amadeo-vigil charleyproject.org/case/david-vernon-lovely trib.com/news/opinion/blogs/coldcase/family-continues-to-search-for-missing-19-year-old-last-seen-in-wyo/article_8517cc24-4c7d-11e3-9f63-0019bb2963f4.html portal.ct.gov/DESPP/Division-of-State-Police/Public-Information-Office/_Your-Help-Is-Needed/Western-District-Major-Crime/Cold-Case--Jack-Andrews Google News newspaper archive sources: news.google.com/newspapers?id=AIVEAAAAIBAJ&sjid=J7UMAAAAIBAJ&dq=wayne%20rifendifer%20murder&pg=2563%2C1725026 Newspapers.com Learn more about your ad choices. Visit podcastchoices.com/adchoices

This episode features two segments. In the first, Rebecca Rand speaks with Alina Leidinger, a researcher at the Institute for Logic, Language and Computation at the University of Amsterdam about her research- with coauthor Richard Rogers- into which stereotypes are moderated and under-moderated in search engine autocompletion. In the second segment, Justin Hendrix speaks with Associated Press investigative journalist Garance Burke about a new chapter in the AP Stylebook offering guidance on how to report on artificial intelligence.

This week we tell Part 1 of the tale of the Manila galleon Santo Cristo de Burgos - alternatively referred to as 'The Beeswax Wreck' for reasons that will be made apparent. This episode sets the background and historical context for Part Two, which will feature an interview with a special guest involved with the story of the wreck. Sources:Borao Mateo, Jose Eugenio. “The arrival of the Spanish galleons in Manila from the Pacific Ocean and their departure along the Kuroshio stream (16th and 17th centuries).” Journal of Geographic Research, no. 47La Follette, Cameron, Dennis Griffin, and Douglas Deur. “The Mountain of a Thousand Holes: Shipwreck Traditions and Treasure Hunting on Oregon's North Coast.” Oregon Historical Quarterly, vol. 119, no. 2, Summer 2018, pp. 282 - 313. La Follette, Cameron, Douglas Deur, and Esther González. “The Galleon's Final Journey: Accounts of Ship, Crew, and Passengers in the Colonial Archives.” Oregon Historical Quarterly, vol. 119, no. 2, Summer 2018, pp. 210 - 249 Lévesque, Rodrigue. “The Odyssey of Captain Arriola and His Discovery of Marcus Island in 1694.” The Journal of Pacific History, vol. 32, no. 2, Dec 1997, pp. 229 - 233. “The Myth of the Pacific Pirate Ship.” Drain the Oceans, Season 6, Episode 4, National Geographic, 2023. Tremml, Birgit M. “The Global and the Local: Problematic Dynamics of the Triangular Trade in Early Modern Manila.” Journal of World History, vol. 23, no. 3, Sept 2012.Williams, Scott S., Curt D. Peterson, Mitch Marken, and Richard Rogers. “The Beeswax Wreck of Nehalem: A Lost Manila Galleon.” Oregon Historical Quarterly, vol. 119, no. 2, Summer 2018, pp. 191 - 209. Support the show

Recently retired Mount Prospect Trustee, Richard Rogers talks about his life and participation in local politics. 

In which we memorialize the great Anchor Brewing who hath left us with only limited supplies of Christmas Ale and to wander alone. WALK ON, MORTALS!! Featuring the great Bill Larkin on the epic keys and vocals. I'll be LIVE at Kulak's Woodshed July 29th and tickets are goin fast so get on it and then at Alma's Cider and Beer on July 30th so get in here! Recorded LIVE at Chicago's Historic Green Mill Lounge on July 15th 2023 courtesy of Jeppson's Malört: The Official Drink of the Apocalypse.Come find me in all your favorite places including my Discord! Featuring “Promises” by the Barrerracudas and a snippy of “The Wasteland” courtesy of Ross Bugden Twitter: Instagram For commissions/scores: bugdenross@gmail.com and a totally live performance of "Im Himmel Gibt's Kein Bier" composed as a movie score for the film Die Fischerin vom Bodensee, 1956, by Ernst Neubach and Ralph Maria Siegel (English lyrics by Art Walunas) and “You'll Never Walk Alone” by Richard Rogers and Oscar Hammerstein IIPLEASE RATE AND REVIEW and as aways: Teach CRT, go to Drag brunches, say “Gay”, “Period”, “Black Lives Matter” eat the rich and save me some sides.

Richard Rogers was respected in his job by patients and colleagues he often blended into the background by the patrons at the bars he frequented. He was also a serial murderer. Strictly speaking, Rogers is not a serial killer. He was convicted of killing two men, suspected of killing two others. He also killed another man almost 20 years before the murders in New York and New Jersey in the 1990s. Rogers was quiet and unassuming. He worked for years as a nurse in the children's ward at Mount Sinai Hospital, one of the great hospitals in the world where he was respected and liked by patients and colleagues alike.  His quietness hide a volcano of anger that would play out with older men whom he met in Manhattan. Called the last-call killer because he targeted men who drank a lot and by closing time were easy to lure back to his home.  The one surviving victim said he was given orange juice and when he came to he was bound with hospital id bracelets up and down both arms. He managed to get away and went to the police. The case went to trial and Rogers's mask of respectability got him acquitted as it did in the 1970s after murdering his college roommate with a hammer, suffocating him, and hiding his body. No one could quite believe this quiet guy was a killer.  An advancement in fingerprint technology would allow police the evidence they needed in the murders of two men. In 2005, Richard Rogers was found guilty of the two murders as well as hiding the body parts. He remains the prime suspect in the murders of two of the other men let's hope technology helps solve their murders as well.  Michael Pierro A friend of 12 years said of Rogers ''He is a lovely fellow who likes antiques and everything that has to do with money,'' Mr. Henry said. But, he said, Rogers never got beyond ''the outskirts'' of the circle of friends he sought. At times, his friend said, Rogers had pretended to be the descendant of an aristocratic New York family. But he added that Mr. Rogers was a do-gooder who volunteered to shop for homebound men with H.I.V. and was considered thoroughly trustworthy by those who knew him. ''He was the kind of guy you could trust with your A.T.M. card.'' 

INTERVIEW - Le 10 mai 2023, la ministre de la Culture, Rima Abdul Malak a annoncé que le Centre Pompidou fermera ses portes pour travaux à partir de 2025. Sa réouverture est prévue pour 2030. Pour parler de l'histoire de ce musée d'art moderne et contemporain emblématique de la Capitale, Virginie Girod reçoit Bernadette Dufrêne, professeure des Université à Paris 8 et spécialiste des questions de communication culturelle. Inauguré en 1977, Beaubourg voit le jour sur proposition du Président de l'époque, Georges Pompidou. Ce dernier se disait “frappé par le caractère conservateur du goût français en matière d'art. Son objectif est de réconcilier l'art vivant et la société” explique l'historienne. Pour choisir les architectes, un concourt international d'architecture est lancé en 1970, remporté par le projet de Renzo Piano et Richard Rogers. “Ce qui retient l'attention du jury, c'est ce que le poète Francis Ponge résume parfaitement : cet aspect “moviment”, plutôt que “monument”. Ce monument est lié à l'idée de fête, de joie, d'une culture accueillante.” Pourtant, le projet a reçu de nombreuses critiques dès sa présentation : “Ce qui est rejeté, c'est le fait que ce bâtiment et la conception de la présentation de l'art, font que l'art est désacralisé, présenté dans un cadre qui n'est pas celui du musée temple, ou du palais.” analyse Bernadette Dufrêne.    "Au cœur de l'histoire" est un podcast Europe 1 Studio. Ecriture et présentation : Virginie Girod - Production : Europe 1 Studio- Direction artistique : Adèle Humbert et Julien Tharaud - Réalisation : Clément Ibrahim - Musique originale : Julien Tharaud - Musiques additionnelles : Julien Tharaud et Sébastien Guidis - Communication : Kelly Decroix - Visuel : Sidonie Mangin

Content Advisory Warning: This week's episode contains disturbing themes of violence, including sexual violence against the LGBTQ+ community. Please use discretion when listening to this episode.   Britney Daniels, nurse advocate and author of Journal of a Black Queer Nurse, is our guest host for this week's episode! A series of gruesome murders in the early 90s causes alarm within the LGBTQ+ community as it becomes apparent that middle-aged homosexual men are being targeted within the New York area. The case would remain unsolved for nearly a decade before a seemingly "average" appearing nurse was declared a suspect. We are excited to feature our guest host Britney as our Good Nurse! Britney shares how her journaling routine led to her becoming a published author, and how she was recognized by a peer as being a good nurse!   Please support our show by supporting our sponsors below! Thank you to Trusted Health for sponsoring this episode. Please go to https://www.trustedhealth.com/gnbn and fill out a profile to help support our podcast and see what opportunities are out there for you! Thank you to our sponsor CBD Stat! If you use CBD oils, please try CBD Stat and get 30% off high-quality CBD available at http://www.cbdstat.care/goodnursebadnurse Thank you to our sponsor Eko! Please visit them at https://ekohealth.com and use promo code GNBN for $50 off your purchase of the new Littmann Cardiology IV stethoscope with Eko technology! Thank you to our new sponsor, UC Irvine! Head to http://nursing.uci.edu/ to take the next step in your nursing career.      Sources for this week's episode can be found below! Richard Rogers, Staten Island Nurse And Last Call Killer, Dismembered Gay Men | Crime News (oxygen.com) What Really Happened With the 'Last Call' Killer Who Terrorized NYC's Gay Nightspots in 1980s and '90s? - A&E True Crime (aetv.com) STATE OF NEW JERSEY v. RICHARD W. ROGERS :: 2008 :: New Jersey Superior Court, Appellate Division - Unpublished Opinions Decisions :: New Jersey Case Law :: New Jersey Law :: US Law :: Justia

Two more great and unforgettable Broadway shows from Richard Rogers and Oscar Hammerstein.

For Ruth Rogers, home is at the very heart of everything. Her legendary London restaurant, the River Cafe, is founded on community, friendship and home cooking. Her iconic house in Chelsea, which she co-created with her architect husband, Richard Rogers, has been the backdrop to family life for forty years and has influenced a generation of homeowners to live with light and space. Ruthie invited me in to discuss her extraordinary life through the lens of the homes she has lived in. She describes with great poignancy how her house provides her with comfort following Richard's death. She talks about growing up in the Borscht Belt near New York, and a chance encounter with Bob Dylan in Woodstock. Having personally co-founded a business in an industry I knew nothing about, I can relate to Ruthie's inspiring story of starting the River Cafe with no restaurant experience and making things up as she went along. She tells me about how the restaurant has become a home from home, and why it's been a breeding ground for some of the world's most celebrated chefs, including Jamie Oliver, Hugh Fearnley-Whittingstall, April Bloomfield and Allegra McEvedy. She talks about the influences behind her Chelsea home, from the Maison de Verre in Paris to the Italian piazzas of Pienza and Montepulciano, and why a rather special set of coloured pencils is one of the first things she would save in a house fire. This conversation was recorded in person at Ruth Rogers' home in Chelsea, London. For more on Ruth Rogers:Watch our film at the home of Ruth and Richard Rogers Visit the River Café Listen to Ruth's podcast, Ruthie's Table Four For more from Matt Gibberd and The Modern House:Sign up to our newsletter for weekly interior inspirationSubscribe to our YouTube channelFollow us on InstagramCheck out Matt's latest book, A Modern Way To LiveExecutive Producer: Kate Taylor of Feast CollectiveProduction: Hannah PhillipsMusic: FatherGraphic Design: Tom Young Hosted on Acast. See acast.com/privacy for more information.

Multiple murders, violent assaults, and a new forensic fingerprint technique. In today's episode we visit the killings, the acquittals, and eventually the conviction of Richard Rogers, a cold-blooded serial killer whose suspected crimes span from 1973 to 1993, and whose final victim count may never be known. "Crimes of the Centuries" is a podcast from the Obsessed Network exploring forgotten crimes from times past that made a mark and helped change history. Follow us on Instagram and Twitter: @centuriespod Episode Sponsors: Lomi - Turn your food waste into dirt with the press of a button with Lomi. Use the code COTC to save $50 at lomi.com/COTC Ritual - Synbiotic+ and Ritual are here to celebrate, not hide, your insides. Visit ritual.com/COTC to get 10% off during your first 3 months. Blissy - Get better sleep now with Blissy and use COTC to get an additional 30% off at blissy.com/COTC  Alo Moves - For a limited time, Alo Moves is offering my listeners, a free 30-day trial PLUS –get this -50% off an annual membership. But you can only get it by going to ALOMOVES.com and using code COTC in all caps.

Matthew Ryan's passion is building companies that tackle socio-economic issues through entrepreneurship. He strongly believes in the ability of the private sector to solve society's most complex problems and that entrepreneurs are the foundation of it all.Main Points:The late Richard Rogers, a renowned architect, once said, "We need to rediscover the classical order of things, where there was a mix of rich and poor. There are two problems tearing the world apart, and they are climate change and the gap between the rich and the poor. We need dense, mixed cities that open doors instead of closing them." Bullet Points: How did we start and what did we start with, and why: Value-add investingWhy did we stop this? What would be the next steps?How we stumbled into co-living/ micro apartments and the why behind itJust how big is the opportunity for co-living/ micro-apartments?What can investors do to get in on this growing trend?Connect with Matthew Ryan:https://mattryan.as.me/matt.ryan@re-viv.com8034775729https://re-viv.com/https://www.facebook.com/revivrealestatehttps://www.linkedin.com/company/re-viv/https://twitter.com/revivrealestatehttps://www.youtube.com/channel/UCmXbHUfFsDIskCs7zgGdO3Q

Michael Mann and I met through architecture. On a trip to London about 25 years ago, he asked to visit the Lloyd's Building, designed by my husband, Richard Rogers. For us, it was an honour. For if Michael was a fan of Richard's architecture, Richard was a huge fan of Michael's movies. In fact, when watching Ali, Miami Vice or Collateral, my arm would be constantly squeezed. Not due to a dramatic moment of fear or tension or mystery, but at the way the buildings, streets, airports, bridges and interiors, even elevators, were portrayed on screen. Over long dinners, Richard and Michael often compared making a movie to making a building. Michael once said, ‘Well, at least, Richard, in a building, you can say to a client, if you remove a column, the building will fall down. Try saying that about a scene to a producer.'  Of all the movies Michael has made, though, the one that I consider the greatest is 60 seconds long, shot entirely underwater in a swimming pool. Michael and his wife, Summer, with their children, swimmingly, wishing a happy birthday to Richard. No architecture in this movie—just love.See omnystudio.com/listener for privacy information.

Tune in as Michael Jamin talks with his good friend, actor Rick Negron who plays King George in Hamilton. Discover what he has to say about being the first Latino King George, doing his first show in his home country of Puerto Rico alongside Lin-Manuel Miranda who was acting as Hamilton, and his overall Hamilton touring and acting career experience.Show NotesInstagram: https://www.instagram.com/rick_negron/?hl=enIMDB: https://www.imdb.com/name/nm0624508/?ref_=nmmi_mi_nmIBDB: https://www.ibdb.com/broadway-cast-staff/rick-negron-107348The Spokesman-Review: https://www.spokesman.com/stories/2022/apr/28/youll-be-back-in-playing-king-george-iii-in-hamilt/Michael's Online Screenwriting Course - https://michaeljamin.com/courseFree Screenwriting Lesson - https://michaeljamin.com/freeJoin My Watchlist - https://michaeljamin.com/watchlistAutomated Transcript:Rick Negron (00:00:00):That's still the case nowadays for a lot of young dancers and, and musical theater types. They go to New York and they take dance classes and they take voice lessons, and they take acting classes, and they get that picture and resume ready, and they go to open calls. And if you're talented and you're lucky sometimes you, you get an equity show, a, a union show from an open call. It's tough. And you have to, you have to hit that pavement. And sometimes, you know, getting to know, being in the right place at the right time. I, I, I was mentioning to you before that I, I booked this H B O commercial and I met more a dancer on that show who said, Hey, you'd be right for the show. And one of the guys is leaving the show and they're having auditions at the theater, and you should go. And that's how I got my first Broadway show.Michael Jamin (00:00:50):You're listening to Screenwriters. Need to hear this with Michael Jamin.Michael Jamin (00:00:58):Hey everyone, it's Michael Jamin. Welcome to Screenwriters. Need to hear this. If you are an aspiring theatrical actor, I got a present for you and we're gonna unwrap him right now. And his name is Rick Negron. And he's been my buddy for many years. He's at my wedding. We go back, Rick. Now Rick is most famous for probably, he's done a ton of stuff though, but he's probably most famous for playing the role of king George in the touring company of Hamilton, which he's been doing for four years. But he's done a ton of Broadway stuff. We're gonna talk about him. He's also done voices. I didn't know this, but he was also he does vo he did some voices in Red Dead Redemption as well as grand Theft Auto, which I wanna know all about that as well. But mostly I wanna talk about his incredible theatrical acting career. Rick, thank you so much. Thank you so much for . ForRick Negron (00:01:47):What? Michael Jamin? I'm in the room. I'm, I'm in the room where it happens, man.Michael Jamin (00:01:52):, this is the room. This, what people don't realize is that I recorded some of this and I bone, I didn't, I didn't record, so, yeah. And this is, this is part two of our interview. I had a record over cuz I wasn't recording. StuffRick Negron (00:02:03):Happens. And you know what, Michael, you, you and I can talk till the cows come home. This is not a problem.Michael Jamin (00:02:09):This Rick's great guy, and he's gonna tell us all about. I, I, I had, so there's so much I wanted to get outta you, but first of all, what I, we were talking about is, you've been doing Hamilton, you've been King George and Hamilton, the first Latino King George, I might say, which is a big deal. And so yeah, you've been touring the country from city to city, and I kind of really wanted to talk to you about like, what is your, what is your day like when you go up on stage, you know, what are you doing before, what you're doing all before that, before you got on stage, because it's a, you've been done. How many performances have you said you're done? This,Rick Negron (00:02:44):I'm over 900 easily. I'm close to like nine 50. I, I, I don't count 'em, but every time the, the company management has like, oh, this is our 900th performance, I just kind of go, well, I've only missed maybe about between vacations and days that I've been sick. Maybe I've missed 30 at the most over a four year period. , that's, I've, I've done a lot of performancesMichael Jamin (00:03:11):And, and we were talking about this and your character, like I, I've, I hate to make you repeat it, but how do you get, like, how do you get psyched up before each show when you do that many shows? How are you, what's your process before you, you run on stage?Rick Negron (00:03:27):Well, this, this character is a real gift in the sense that it's beautifully written. Mm-Hmm. , it's just three songs. honestly, Uhhuh . I'm on stage for a little over 10 minutes, but it's so well written that if I just hook into the words of, of the songs, I got 'em. Uhhuh you. I, I, I can, I can hook my myself into that myself, into that character very easily, just with the words. But the other gift is that I have time to get ready. So when every, when the show, when we are at places and the show starts, that's when I get my wig on. Mm-Hmm. I still have 15 minutes to do some vocal warmups and get dressed. And are youMichael Jamin (00:04:12):To being like tea with lemon? What are you sit, what are you doing that day?Rick Negron (00:04:16):Nah, nah. I, I mean, I'm not a huge tea guy unless, unless I'm having some vocal distress. And then I do like a nice warm tea with honey and lemon if I'm, if, if my voice is a little wonky or my throat's a little sore. But the main thing for me for vocal capacity is sleep. If I get less than seven hours, my voice suffers. If I eat a lot of cheese and dairy, that's gonna be a lot of gunk on the vocal courts.Michael Jamin (00:04:45):But if you're nervous the nightRick Negron (00:04:46):BeforeMichael Jamin (00:04:47):Hmm. But if you're nervous, if you have, if you get stage nerves and you can't sleep the night before , right? I mean, no. Are you, are you beyond that?Rick Negron (00:04:55):Yeah, I'm beyond that. I mean, I've been in the business long enough that, that I, I get nervous. Uhhuh and God knows, I was nervous the first time I did the show in front of an audience in Puerto Rico of all places. Right. That's where we opened, right. With Lynn Manuel Miranda back in the role of Hamilton after being a away from it for a few years. That was a dream job because I'm from Puerto Rico and I literally went back homeMichael Jamin (00:05:23):To a heroRick Negron (00:05:23):Welcome star and one of the biggest shows on Broadway with Lynn Manuel Miranda and me playing the king. Yeah. I was born like four blocks away from the theater that we were at. It was just crazy sauce. So yes, I was incredibly nervous opening night. And there was my wife, my sister-in-law, in the audience you know, yes. Really nervous. But did I lose sleep the night before? No. I slept like a baby. No, really? My nerves don't really hit me until I start putting on that costumeMichael Jamin (00:05:51):. Really? Yeah. I see. I would imagine to me, I mean, I know it's a big deal to be star of a movie, but to me this to me seems like a bigger deal. What you, what you're doing in terms of, it seems like a you are lead in this giant freaking play that, I mean, one of the biggest plays, you know, of our, of our time on. Seriously. Yeah. Yeah. And you are these, you play this character who the minute he walks on stage, the place goes nuts cuz you hit a home run and then you walk out, you're the home run guy. Exactly. Bye. Hello. No. ExpectRick Negron (00:06:21):Bye. And by the way, no expectation. I'd literally walk on stage and the place goes bananas. And I haven't saidMichael Jamin (00:06:26):A word. Right. They love you before. You haven't even said anything. I mean, what a huge, I don't know. I just think this is like, I don't know, if I were an aspiring actors, that would be the part. I don't see how you, I don't know how, where you go from here, Rick Rick Negron (00:06:41):. It's all downhillMichael Jamin (00:06:43):.Rick Negron (00:06:45):No, I guess listen, it, the beauty of it is also that I've had this really long career mm-hmm. and, you know, I started out as a chorus boy on Broadway and then worked myself into understudy and then did some roles. And then finally at, at a ripe old age. I've gotten this great job and I've really, I'm at the point in my life where I'm really enjoying it. Yeah. I'm enjoying the process. I'm enjoying the traveling cuz I, I, I've toured some, but I haven't toured a lot. And this tour has been to some really great cities all on the west coast up and down the west coast. Yeah, the mountain west. In the winter I got some snowboarding in, in Salt Lake City, Denver. I,Michael Jamin (00:07:33):Where are you supposed to do that with you if you break your leg?Rick Negron (00:07:36):Yeah, I'm not supposed to do that. Can we delete that from the podcast? ? We can take that out. . It's in the past. I don't care. Okay. I, I stayed on the bunny slopes. I Right. I really took it easy. But then we spent summer in Canada, which was amazing. I was up in Calgary in the summer and went up to band for the first time in my life. And my wife, Leslie, who you know well, came up to visit and we stayed on Emerald Lake and I just spent two months in Hawaii. So this tour has just been amazing. Well, it started out in Puerto Rico, as I said, right. For a month with Manuel Miranda. And then we went to San Francisco and sat for a, a year in San Francisco. So I got to live in San Francisco Right. For a year and experienced that incredible city until the pandemic. And then we shut down for a year and four months before we started up again.Michael Jamin (00:08:27):And then, and then So how did you start? We, how did you start? Like, you know, take me back. I know you, I know you were, take me back to when you were a child. Did you, I mean, this is, did you dream of being a Broadway star like this? Like, what happened? Who, who dreams of that? Like who, how, I mean, you all dream of that, but who achieves it, I guess?Rick Negron (00:08:46):Well, a lot of people do. A lot of people do. And, and, and not everybody has the path that I had, but some of us get bitten by the bug early on. And I got bitten by the bug when I was 10. Right. And my mom was the drama teacher at school. And I guess I blame her for everything. But this mustMichael Jamin (00:09:06):Be the be like, you must be the, the crowning achievement in her, in her in her life.Rick Negron (00:09:12):Yeah. She's, but I did, she's pretty proud. And I have ano another sister who also went in into theater and and so the whole family kind of w it was the family thing we all sang. Right. we all did mu mu musicals in the local community theater and children's theater. So it was a family thing for us growing up. But I'm the one that sort of got bitten hard. And then I got involved, like at 14 mm-hmm. a choreographer. I was doing a, a mu a children's theater show, said, Hey, you've got some talent as a dancer. Come take, I'll give you a scholarship at my little dance school. And so after school at 14, I would go take ballet, jazz, tap and acrobatics after school with Susan Cable, who luckily was a great dance teacher. She had been a, a chorus person on Broadway.(00:10:05):Wow. And, and, and that's what, how I started in my dance career. And then it kind of took off. And by the time I got to college I thought I was gonna be a, a concert dancer. I was in college, I was sort of groomed to, to, to possibly go into the Paul Taylor Dance company. And I actually was not on scholarship. I was a intern with a Paul Taylor dance company for a while until I realized I'm making no money. I'm working super hard and I've always wanted to be on Broadway. That was my realMichael Jamin (00:10:42):Dream. So those people don't interchange those concert dancers. Don't, they don't.Rick Negron (00:10:46):Some do it. Usually the concert dancers, if they can sing.Michael Jamin (00:10:52):Right.Rick Negron (00:10:54):Will, will sort of move into the musical theater world and sometimes move back into the concert dance world. One of the great concert dancers of all time who I met when he was super young, Desmond Richardson mm-hmm. he was a lead dancer with the Alban AI company for many, many, many years. I mean a God in the dance world. And now he owns his own owns, he runs his own dance company, complexions. And he's a great choreographer. And he was in the bad video with me back in the day with Michael Jackson. Right.Michael Jamin (00:11:30):So Rick was in the, I should say for the, I don't wanna gloss over this. Rick. Rick was in the a dance for, in the Michael Jackson's bad video directed by Martin Scorsese. Yeah. Was Quincy Jones produced?Rick Negron (00:11:41):Yeah, 1985. I was, I was a chorus dancer at the time. I was in I was doing my second Broadway show. The mystery of Evan, Dr. My dance captain was Rob Marshall. went on to direct Chicago, the movie and many other movies since then. And, and while I was doing the show, there was this audition for the bad video and yeah, it was, it was really surreal. I took vacation from, from the Broadway show to do the video and, and, and got to meet Michael who was really sort of like, it was two people in that body. I mean, he was super shy and, and sort of very reserved, but the minute the cameras went on it, he was, he became somebody else. Right. And he was a perfectionist. 25 takes sometimes e every setup. And Scorsese was famous for just burning through film. Easy 20 Takes the video was supposed to shoot for two weeks, and I think it went for four. And this is a music video. It was the first SAG music video at the time, by the way.Michael Jamin (00:12:44):Really?Rick Negron (00:12:45):Anyway, Desmond Richardson was a young dancer at the time. There were a lot of young New York dancers in, in that show. And he famously went into the Avid Ailey company, but then he also worked on Fosse the Musical. And he also worked on Chicago. The, the movie with me. I, I got to work on Chicago, the movie cuz I had this great relationship with Rob Marshall and, and I was invited to audition. I didn't get, the dancers don't usually just get the job. You still have to come in and audition. Right. But even though, you know, the people involved it just is the way it is. And, and there was, and, and Desmond and, and I, we bump into each other all the time and we have so many memories. You know, going back 20, what is that, 85? 1985 was the bad video.(00:13:35):And I, I still bump into 'em. I I've been into 'em at the opening of the new USC school a few years ago. The School of Dance there at usc, the Kaufman School of Dance, I think it's called. But anyway yeah, people go in in from the dance world into musical theater and they go back and forth. Not a lot. Actually. We have one member of our, our of our of our Hamilton company, Andrew who was a modern dancer in the dance world and then moved into musical theater. And,Michael Jamin (00:14:04):But you were telling me how, and this is kind of important cause people are gonna be like, well, how do I break in? And you were, I mean, what, as you were explaining, it's like, it's basically you had this, you were just, you were in the circle, you were just there, and then things le one thing leads to enough simply because you put yourself there. Right. So how did you, what was your first break? How did you get that? I mean,Rick Negron (00:14:24):Every, everybody, everybody has a, a different story about first breaks. And when I was starting out, it was really different. Things have changed, you know, in all these years. Now, if you go to the right school, you can get into the right you know casting director workshop. And they see, oh, really? You, and, and maybe you get an agent out of that workshop and, and you know, it's, it, when I started out it, that wasn't the case when I started out. You go to New York, you start taking dance class at all the big dance studios where all the other Broadway dancers are taking dance class mm-hmm. . And then you pick up Backstage. Mm-Hmm. newspaper, and you go to the open equity calls for every show. I remember my first open equity call was for cats, the national tour, right after Cats had opened on Broadway.(00:15:14):And I, I had four callbacks. I got really close to booking cats, but I didn't. And and I just kept going to open calls. And that's still the case nowadays for a lot of young dancers and, and musical theater types. They go to New York and they take dance classes and they take voice lessons and they take acting classes and they get that picture and resume ready and they go to open calls. And if you're talented and you're lucky sometimes you, you get an equity show, a a union show from an open call. It's tough. And you have to, you have to hit that pavement. And sometimes, you know, getting to know, being in the right place at the right time. I, I, I was mentioning to you before that I, I booked this H B O commercial and I met one, a dancer on that show who said, Hey, you'd be right for the show. And one of the guys is leaving the show and they're having auditions at the theater and you should go. And that's how I got my first Broadway show by somebody suggesting that I go audition and I showed up at the theater and auditioned. And that night I got the job. And that's how I got my first Broadway show. The moreMichael Jamin (00:16:24):People, you know, the more you work, the more you hear andRick Negron (00:16:27):The more you Exactly. Yeah. You're in the mix. You have to in be in the mix and you have to network. And nowadays that involves, as you know social media and getting, getting followers and, and and, and putting out videos of yourself, singing and putting out videos of yourself, dancing and putting out videos of yourself, acting. I mean there's all that stuff that's going on now that wasn't going on when I started. But is, is is the new reality of how do you get into the business really. Okay. And, and when young, when young people ask me how, you know, how do I get started? And I say, well, in your hometown, get involved. Do the, do the school musicals, but get involved with the community theater. In any way you can. If, if you want to be an actor, but you know, there isn't a role for you do the work on the sets.(00:17:19):I worked on sets in community theater. Mm-Hmm. , I helped my mom. She, she was makeup artist too. And so I helped with makeup and I, I did lights. I, you know, I did all kinds of stuff just to be in the room. Right. Just to see other people work, to, to network, to meet people. And and I'm glad I did because I kind of know my way around all the different elements of theater. You know, I know what Alico is. I know, you know what all the different microphones are that they use in theater. And I, I always, I always befriend the crew. I think , as an actor, we can tend to be insular andMichael Jamin (00:17:57):Oh reallyRick Negron (00:17:58):Hang out with just the actors. I hang out with the crew. The crew knows what's up. Uhhuh , the crew knows where the good, the good bars are in town. They, you know, the crew is, and, and they're the ones that watch your back. When you're on the road.Michael Jamin (00:18:13):Now you were explaining to me the, and I didn't know the difference between, cuz you as the king, king, king George, you have two understudies, but there's also swing actors. Explain to me how that all works.Rick Negron (00:18:24):So in the show, you usually, you have the ensemble, which is what we used to call the chorus. Yeah. And then you have the leads. And in the ensemble you usually have two male swings and two female swings. So those individuals are not in the show nightly, but they literally understudy all the f the, the females understudy, all the females and the males understudy. All the males. And that's usually a case. They have two male and two female. In Hamilton, we have four female swings and four male swings. I think I'm right. Three or four. We have a lot. And that's because Hamilton is such a, a beast of a show. It's so hard. Physically. People get injured, people get tired.Michael Jamin (00:19:06):It's like being a professional athlete. It's no different.Rick Negron (00:19:08):Yeah. Yeah. And you're doing it eight times a week. And after a year it's repetitive motion for a lot of dancers. Oh. So I always tell those dancers, don't just do the show. Go, go and do yoga. Go do a dance class cuz you have to work your muscles a different way. Otherwise you're gonna get repetitive motion injuries. Wow. You know, like the same person that that screws on the, you know, back in the day when they screwed down the, the toothpaste cap every day that those muscles every day, all day long are gonna get messed up.Michael Jamin (00:19:37):But do they have like a trainer or doctor on set at all times?Rick Negron (00:19:40):We have a personal train PT, physical therapist right on tour with us. Most heavy dance shows will have that on tour. Because they need, they need the upkeep. The dancers, especially in this show work so hard. They, they need somebody to help them recover from injury. And, and just keep their bodies tuned up.Michael Jamin (00:20:04):And so let's say you get, you're in Hamilton, let's say you're, you're a swing or whatever, but, and then you're on tour, they what, give you a per diem? Or do they put you up in housing? How, like what is the, what is that really like to be?Rick Negron (00:20:15):So let me I'm, I'm gonna finish the whole understudy thing because Oh yeah. You have the swings and then you have the understudies, which are people in the chorus who understudy the leads. But then you also have standbys. And the standbys aren't in the show. Right. But they're backstage and they understudy anywhere between 2, 3, 4, 4 different characters. And so at the drop of the hat, they can say, Hey, you're on tonight for Burr, or you're on tonight for Hamilton. It, it can happen five minutes before the show. You can know way in advance cuz you know that character's going on vacation and stage management has told you, oh, you're gonna do the first five of, of, of the, of the vacation or the first four and somebody else is gonna do the other four. So you may know ahead of time and you can ask or tell your friends and family to come see you do that role. Right. Cause you know, ahead of time. But many times you, you find out last minute that somebody is sick or, or doesn't fe or hurt their knee or whatever. Or even in the middle of the show, sometimes somebody will twist an ankle and boom, we have a new bur in act two. It, it's, it's happened not a lot, but it's happened often enough that the understudies come in, warmed up and ready to go.Michael Jamin (00:21:26):But you explained to me even before every performance, even though you've done the same freaking songs for 900 times, you still mentally prepare yourself. You go through, you rehearse each, each song that you go through. So you walk yourself through it. But I can't even imagine if, like, if you, how do you prepare yourself for four different roles possibly. You know, like how do you do that? It's like you, it'sRick Negron (00:21:49):Crazy. Yeah. They, they, I know some of them will go over like difficult passages in the show because there's, there's moments in the show, like for Lafayette he's got in guns and ships. He's got some, some rap that are so fast. Yeah. That I, I know the understudies will go over those, what, what we called the, the, the moments when you can trip up. You go over those moments before you go on, but the rest of you can't go through the entire show. Right. Just pick and choose those moments where you can like go backstage and just go over your words and make sure they're, they're, you know, under your belt. I go over my words because I sing the same tune three times, but with different lyrics. Right. And the, and the trap is to sing the wrong lyric in the wrong song, which I had done. And it's, there's nothing more embarrassing and gut wrenching than to sing the wrong lyric in the wrong song. And you just have to find your way back. And it, they call it walking into the white room. And because literally what does that will happen and your mind will, your mind will explode, your armpits will explode with sweat. Your eyeballs will get this big, your throat will dry. It is flight or flight or flight moment.Michael Jamin (00:23:07):Yeah. AndRick Negron (00:23:08):It's so hard to, to like try to grasp the right lyric. And, and you're in, you're literally in a white room. Yeah. And you're going, oh shit. How, how do I get back?Michael Jamin (00:23:20):Right.Rick Negron (00:23:21):And for me it's a little easier cuz my song is nice and slow, but can you imagine being Hamilton and you're rapping a mile a minute and you go into the white roomMichael Jamin (00:23:29):And do you guys talk about that? OhRick Negron (00:23:32):Yeah. Yeah. Famously on Broadway, there, there, there was a something called Burst Corner. Uhhuh which was, I, I forget who started it, but I think , they, they told 'em not to do it anymore. It was something where they post on Instagram or Facebook. Oh. so-and-so, you know, said this instead of what they should have said, you know, basically coming out and, and owning your faux PAs during a live show. Right. I remember when I did Manda La Mancha with Robert Gole on tour. He used to make up lyrics sometimes. And we, and one of the guys in the show started jotting them down. And at the end of the tour, they basically roasted him at a, at the closing night party with all the lyrics that he made up throughout, throughout the entire thing. And he was not amused.Michael Jamin (00:24:20):He was not amused. I was gonna say, IRick Negron (00:24:23):Was not amused with that one. Okay. But my favorite faux pod of his was we were in Nashville and he started singing Impossible Dream. And he's sang to dream the Impossible Dream to fight the unat of a fo to carry Moonbeams home in a jar.Michael Jamin (00:24:41):And there was like, what?Rick Negron (00:24:44):That's a big Crosby song. Oh, funny. Carry Moon Beams Home in a Jar. It's an old Bing Cosby song. And he just pulled that lyric outta nowhere and inserted it into the impossible dream. And everybody backstage just went,Michael Jamin (00:24:59):What do he say? Oh my God. That's hilarious.Rick Negron (00:25:03):But you know, I I'm, I'm, I might be roasting Robert Gole at the moment, but everybody's had those moments. Yeah. Especially in Hamilton, it happens cuz the, the words are coming fast and furious and boy, if you miss that train or you screw up, oh, it's hard to get back on.Michael Jamin (00:25:18):And I imagine ifRick Negron (00:25:20):You do, everybody does. Everybody, if youMichael Jamin (00:25:21):Do it one too many times, are you looking at unemployment?Rick Negron (00:25:24):Mm-Hmm. ? No. Really? No. Yeah. I mean, nobody does it one too many times. Uhhuh, . I mean, some understudies have more bumps in the road than others. Uhhuh. . But you, you, you know, we give them a lot of grace because being an understudy is really hard. Yeah. And so when somebody's honest and understudy you, everybody has their, their, their side view mm-hmm. just because they, they might be in the wrong spot in a certain moment or cross a little differently than the usual guy. So you just have to have some grace. Don't get upset if they're in the wrong spot. You know, just maybe nudge them a little bit or pull them or, or, or just watch out for them and don't bump into them because, you know, somebody is on. I, because I've understudied so many in so many shows, I have a lot of empathy for, for understudies and swings and, but I, I, I don't, in my experience, and I've been in a ton of shows, I haven't been around somebody who's messed up so much that they've got gotten fired. Usually when somebody's not up for the task creatives know during rehearsals that they're not cutting it. Uhhuh . And then so somebody will get, will get let go. Right. the only other time I, I remember somebody lost their voice and, and took time off and came back and lost their voice again. And it was just a situation where they couldn't do the job. Their voice just, wow. Their voice just couldn't ha hack it. And so, you know, those are tough and difficult moments. They don't happen often, but it happens.Michael Jamin (00:27:09):Wow. Yeah. And now you were also telling me, which I thought was fascinating, is that your character, because he's the king, you were talking, you know, how, how your character has evolved, you playing the same exact part has evolved over, over all these years of you playing it.Rick Negron (00:27:24):Yeah. It's, it's been a gift. I'm, I'm, you know, I've realized early on that theater really is my thing. Even though I did some TV and film when I moved to la I, I didn't, I didn't really love the work. Right. It sort of felt a little bit empty just in the sense that, you know, you sit in a trailer for hours and hours and then you get a couple of rehearsals and you shoot and you're done. And that's it. You know, and it's on, it's out there for posterity and you walk away from the, from the gig going, oh, I could have done this, I could have done that. But in theater, you get to redeem yourself every night. You know, if you screwed up the night before, you, you make it better the next night. And I love that about theater.(00:28:07):And and so for, for me I just get better over time and people say, oh, but don't you get tired eight times a week a year. I don't. I I like to, I like to tell people that it's, it's almost like being a potter. You have the same, you know, square block of clay and you're making that same pot. But every time you're doing something a little bit different and you're learning from the, the, the, yesterday when you made that pot, today you're making the same pot, but you learn something new, you discovered something new, making this pot, it's still the same pot, but you're, you may be doing a little filigree or a little curve here, or a little something different. So every night you get to shape this pot a little bit differently. And that's, for me, that's the, the beauty of it.(00:28:59):That's the challenge. I remember early on with, with this, with this character, I was in rehearsals and the the associate director Patrick Vassell said, you know, Rick, this is interesting. Most guys come in with a really large, over the top take on the king. Mm-Hmm. , you're coming in with a very spare low-key take on it. I mean, we're gonna build you up, which is usually not the case with this character. And build, build him up. Not make him bigger, but just give him more depth. Okay. And that was the rehearsal process for me. And then when I started working with Thomas Kale the, the director of Hamilton right before we opened in Puerto Rico, he said, the trick to this guy is to make him, make him as simple and as small as possible because the king can, with one finger kill a whole community. Right. Know, he just has to say, those people are gone and they're gone. So he doesn't have to do much. He has all this power. So that, that was like the best bit of information for me. And so the challenge is over time is to do less.Michael Jamin (00:30:14):Right. AndRick Negron (00:30:14):Still with all the homework that you've done and the character work that you've done, but do less. And I, and I was telling you this before, that you walk out on stage Yeah. And the audience goes crazy. And, you know, there's all this expectation and sometimes you get suckered in by this adoring audience to do more. Right. But you have to fight that feeling and do less. And that's,Michael Jamin (00:30:38):It sounds like though you got conflicting notes though. No. They directed the eight. Well,Rick Negron (00:30:43):I think because in rehearsal I was still sort of finding my way with him. Uhhuh . And instead of making this broad fabish character, which is how somebody who starts with King George and thinks, oh, I'm just gonna do this and make him big and fabish. Right. that's sort of a two-dimensional view of, of the king. And I came in with a lot of research about the guy and thinking, I, I, I don't wanna make him this two-dimensional caricature. Right. I really wanna make him a, a guy who is number one dangerousMichael Jamin (00:31:21):Uhhuh ,Rick Negron (00:31:21):Who has a lot of power and who, who is feeling jilted, but won't allow you, you can't break up with me. Right. I'm breaking up with you. You know, that kind, that kind of dynamic in this, in the first song specifically. And so I came in with that and he said, that's great. Now we're gonna just work and put more layers on him, but not necessarily make him bigger, but just give him more layers.Michael Jamin (00:31:52):Let me ask you the, because when you're in, when you say, you know, you're the analogy of making a pot, are you going into the performance thinking, I wanna try this today? Or are you so into character you forget and, and somehow it it organically arises?Rick Negron (00:32:10):I try to stay in, in the more organic realm.Michael Jamin (00:32:13):Uhhuh, ,Rick Negron (00:32:14):Because I think that's where the really good stuff is. The stuff that just pops out of you.Michael Jamin (00:32:20):But you can't make that happen. That's the problem. Yeah.Rick Negron (00:32:23):If, if, if I plan somethingMichael Jamin (00:32:26):Mm-Hmm.Rick Negron (00:32:26):, I, I feel like it, it feels fabricated a little bit. Right. And so I, I try not to, but sometimes I'll get a note from, we have a resident director that travels with us, and also sometimes the director or the associate director will show up to whatever city we're in and will watch the show and give us notes and say, you know, in this moment, maybe try this or try that. And so I really pay attention to those notes and I try to implement them, but I try not to I try not to quote unquote fabricate them or, or, or think too much on it. I try to, maybe, maybe the best thing that I can say is I'll tr I'll try on my own four or five different ways to achieve that note. Mm-Hmm. . Okay. I can, I can, I can make it more dangerous in this section if I lean into this word or if I, you know, take a pause or whatever it is. I'll come up with four or five different ways to get the note across and then let whatever which one pops out pops out when it, when I do the performance. So I give myself some choices. So I don't, so I don't get, I don't pigeonhole myself into a specific choice, which then feels fabricated and fake.Michael Jamin (00:33:51):Right. But do you ever get into the part and then n notice, oh, I, I just slipped out of it. I, I'm, I'm, I'm observing myself now. I'm not in the partRick Negron (00:34:00):Happens all the time.Michael Jamin (00:34:02):And what do you do? How do you get back inRick Negron (00:34:04):The words the text will save you for every writer out there. Thank you. Because the text will save you. You have to get back into, into what it is you're saying. When, whenMichael Jamin (00:34:16):You, but the words are in your head that you don't, you're not reading something, they're in your head.Rick Negron (00:34:19):You're in your head, but in your head. I've been doing this so long that I can be in the middle of my performance and going, Hmm. That wasn't good. Right. Like, I'll be criticizing myself while I'm doing it,Michael Jamin (00:34:31):But that's not good. Now you're out of character.Rick Negron (00:34:33):Now I'm out of character. Now I'm in my head. Right. And the first thing that I'll do is I'll, I'll bite something. I'll bite a word or I'll, I'll make a gesture. Or basically I'll snapped my myself out of that.Michael Jamin (00:34:47):Do it.Rick Negron (00:34:48):I guess. I didn't silence my phone.Michael Jamin (00:34:51):That's okay. So,Rick Negron (00:34:52):Interesting enough. That's, that's the resident director of Hamilton just texted me.Michael Jamin (00:34:57):. He can wait. It's not important.Rick Negron (00:34:59):No. She, she, luckily this is she. Yes. Better. Sherry Barber. Amazing director.Michael Jamin (00:35:05):So we that's my next question though. I wanna talk about that. But, so, all right. So you snap so you, you, you get back into it with a physical, something physical, a gesture or something.Rick Negron (00:35:14):Physical or, or, or, or vocal. Yeah. Or some different intention. Yeah. Just mix it up. Right. Mix it up. Yeah. Do something different that, that's gonna get you outta your head.Michael Jamin (00:35:27):Right. I mean, I mean, I would think that we, that way my fear is going up, going up, forgetting, oh, what, what's my line? Line? Oh,Rick Negron (00:35:34):It is, that's every actor's fear. And, and, and if anything keeps me nervous, it's that, it's the fear of, of messing up. But the, and people say, oh, how do you get over being nervous? And I always say, you, how, how do you get to Carnegie Hall? Yeah. Practice, practice, practice. Confidence comes from being, I can sing that song with another song, playing over a loud speaker. That's how well I know that song.Michael Jamin (00:36:04):Really. With another song playing. There'sRick Negron (00:36:05):Another song playing over the loud speaker. And I can sing my song while that song is playing. That's how much in the bones in my cell that song is. See, I just have to, I, I rehearse, rehearse, rehearse, rehearse, rehearse.Michael Jamin (00:36:18):Do you think it's possible to over rehearse?Rick Negron (00:36:21):Yeah.Michael Jamin (00:36:22):Uhhuh. . Yeah.Rick Negron (00:36:24):But I mean, for me, you know, every actor's different. For me, my comfort, what gives me my comfort zone is, and, and gives me confidence, is feeling like I, I know this inside out, left, right. I, I know ev Yeah, I know this. I got this Uhhuh . That's how I getMichael Jamin (00:36:46):There. But, but you don't feel that way in opening night cuz you haven't done it 900Rick Negron (00:36:49):Times. No, no, no. You haven't done it 900 times. So you just, you you, I go back to my yoga and I, I I do some deep breathing mm-hmm. and I try to focus on the intentions of the character. What is he trying to do?Michael Jamin (00:37:05):Do you, do you sometimes kick yourself? Like, do you feel like, oh, I wasn't in the Tonight Show. I was, I tried. I wasn't in it. I wasn't in it. OhRick Negron (00:37:14):Yeah. I walked out, I walk off stage sometimes and go, Ooh, that was terrible. Or whatev, you know, I'm, I'm my worst critic. Right. And sometimes I walk away and go, oh, that was good.Michael Jamin (00:37:26):Right. Because you're justRick Negron (00:37:27):Lost. I don't pat myself on the back as often as I should. Uhhuh , I'm usually more critical of myself. And, you know, and now I try, I try to not beat myself up as much as I used to. I try to be a little kinder to myself, but yeah, I totally walk away sometimes going, oh, that was, that was not your best.Michael Jamin (00:37:46): . And, and so these, these directors, like, what do they, what's their job? Because they didn't direct the show. The show has been choreographed. It's been directed. Now they're just jo they're just there every night to make sure it doesn't go off the rails.Rick Negron (00:37:59):Yeah. PrettyMichael Jamin (00:38:00):Much tune things.Rick Negron (00:38:01):Yeah. And the really good ones, like, like sh like our our resident director Sherry they're there to keep it fresh. And so she's constantly feeding you ideas. Hey, what, what if we do this? What if we do that? How about, how about, you know, and, and that's, she, she's great at bringing new ideas to something that we've been doing for four years,Michael Jamin (00:38:27):But I'm not sure how much I would wanna hear that if I were you. Like, you know what I'm saying? Like, oh, I love it. This is what I You love that.Rick Negron (00:38:34):I love it. I love trying new stuff. I love messing about with that pot that I'm creating. Oh, what about, why, why don't you do a lip on, on, on the top? Oh, yeah, yeah. Do it. We'll curl out the lip on the top. I've never done that before. Right. Why don't we do that? You know, I did something a few months ago at the end of the song, the song I famously go, famously I should say the, the king famous famously says, and no, don't change the subject. And he points at somebody in the audience and he gets, he, it's a rare moment where he gets upset. Uhhuh . And that's, and, and if you've seen the Disney Plus, Jonathan Gruff famously just spits all over the place. It just is, it's, it's an explosion of saliva. And it's, it's a brilliant moment. I think. I think his take on the king is, is wonderful and he sings it so well. And and I usually point, they want you to usually point in sort of the same area of the, you can point anywhere, but they, they usually take point over here. And I always point over there, and one night, man, this is maybe about four or five months ago, one night at the end of the song, I went, I went,Michael Jamin (00:39:45):I'm watching youRick Negron (00:39:46):Uhhuh . Like, I pointed to my eyes and I pointed to that person who I had pointed to earlier in the song. And no, don't change the subject as if that's my one nemesis in the room. And I'm just saying, I'm watching you . And it got such a reaction, right. That I kept it, it's been my new little bit until I, until I decide I don't want to, or until, you know, the associate director walks in and goes, you know what? I don't like that thing that you do at the end, cut it. And I'm like, okay, it's gone. Right. Well, think of something else. You know, unless there, there's always, there's always something right. That I can think of. And that's, that's the fun part that I can always improve it, I can always make it better. I can always have fun with it.Michael Jamin (00:40:29):Hey, it's Michael Jamin. If you like my videos and you want me to email them to you for free, join my watch list. Every Friday I send out my top three videos. These are for writers, actors, creative types. You could unsubscribe whenever you want. I'm not gonna spam you and it's absolutely free. Just go to michaeljamin.com/watchlist.Michael Jamin (00:40:53):I'm surprised you, I mean, I, I would wa I'm curious like, but you allowing yourself to watch, you know, Jonathan Grots version as opposed, you know, is that, are you, do you, you know, what's that like, you know, cause character yoursRick Negron (00:41:08):Now. Yeah. I saw him do it originally on Broadway when I saw the show in previews. And then of course I saw him do the Disney Plus version. And then when we were in rehearsals in 2018 for our company, we were the third national tour to go out when we were in rehearsals, they said, oh, you you know, you can go stand back in the, at the back of the house at the Richard Rogers and watch the Broadway company. And at that point, the king was Ian I'm forgetting Ian's last name, but he's, I think he's still the king right now. He's been there for a long time. He's brilliant. Uhhuh as the king. And I watched him play the King while I'm in rehearsals for the King. Right. And for me, I wish I could see all the kings really? Because really they all do something different. And, and you, and, and the stuff that's really good. You wanna steal it, man. You wanna, but can you, I mean, love that,Michael Jamin (00:42:00):But can youRick Negron (00:42:00):Take it from the best baby steal from theMichael Jamin (00:42:02):Best stuff from the best.Rick Negron (00:42:04):Interesting. Yes. I mean, you gotta make it your own. You can't do the exact same thing. Right. But, but it, for me, it feeds me as an actor. I'm like, oh, what a cool idea. I should, I can do a version of that or Right. Or so. Oh, that makes me think of something else. You know, I, I I, yeah. I I love it. DoMichael Jamin (00:42:20):You get together and talk with the other kings at all? Yeah.Rick Negron (00:42:23):I've met the king that's on on Zoom, actually. I haven't met him in person, but the guy Peter Matthews who, who does the Angelica tour and he's been doing it for a while. Most of the Kings. It's a, it's a nice gig. So yeah, you stick around right. As long as you, you know, want to, or as long as they'll have you. Right. And Hamilton's been really great about, you know, letting us stay. But Peter Peter's really a funny guy and I haven't gotten to see his king because obviously I'm doing it at another part of the country while he's doing it. But I would love to see him play the King. Really. yeah. And Rory O'Malley, who played it here in la, he did the first national, he I think Tony Winter for book of Mormon. Fantastic guy. I met him in San Francisco when he came to see our company. I'd love to see his cane cuz he's a great singer and, you know, everybody's got their, their their take on him. And I, I find it fascinating to see what somebody does with, with this character.Michael Jamin (00:43:25):Right. Cuz there's so much, there's so much. Yeah. That's so much how much constantly reinvented fun,Rick Negron (00:43:29):Fun role and,Michael Jamin (00:43:30):But by still, but you still gotta remain true to what the words are and what the intention of the words. But it still can be interpreted while still being true to thoseRick Negron (00:43:38):Words. Which, which is the beauty of, of, of, of Hamilton and, and I give a lot of credit to the creative team, is that yes, you have to sing the words and sing the melody, but you get a lot of creative license to, to make it your own Uhhuh . And so if you see our company of Hamilton and then you see the Broadway company of Hamilton, it's almost like two different shows. Right. It's the same show. But because you have different actors in those roles, it's pretty remarkable the difference in the companies.Michael Jamin (00:44:10):And tell me a little bit more about some of the other Broadway and traveling, because you've had such a resume, man, such a resume.Rick Negron (00:44:17):. Well, you know, I, I started back in the eighties as a, as a Chorus Boy and, and doing some really cool shows. Man La Mancha, the Goodbye Girl, theMichael Jamin (00:44:27):GoodbyeRick Negron (00:44:27):Girl leader of the Pack. I, I did, I did In The Heights on Broadway Right. For a couple of years. That's when I, I actually did a workshop of In the Heights in 2005 with Li Manuel Miranda and the whole gang, and I got to meet them back then. So they've been good loyal friends since then. Yeah. And, and have kept me employed for many years. I hand, you know, hats off to them . Oh, I do have hair by the way, but it was kinda messy. So I put on my, my hat. YouMichael Jamin (00:44:58):Could have worn your wig, your powdered wigRick Negron (00:45:01):. Oh yeah. IMichael Jamin (00:45:02):Used to wear, Hey, I'm always in characterRick Negron (00:45:04):. Yeah, A actually I have I'm, I have a few weeks off right now, which is why I'm home in la Right. Because we just did Hawaii and, and the show had to pack up and, and be put on the ship to come back to the us So they shipped, the show changed and that's how we, how it got to Puerto Rico too, which is why it makes it kind of difficult to send those shows to the, the Islandss because they have to ship it.Michael Jamin (00:45:29):But even still, how long does it take to set up for them to build, you know, build the set?Rick Negron (00:45:36):Well the shipping of it took a, takes about two weeks.Michael Jamin (00:45:40):All right. But once you're,Rick Negron (00:45:41):But then once it all gets there, our crew can, can put the set up in day and a half.Michael Jamin (00:45:47):Wow. Okay.Rick Negron (00:45:48):It's, it's like, it's all been carefully crafted. It's like Lincoln Logs, everything fits together, butMichael Jamin (00:45:54):Stages are different sizes. That's what I don't understand.Rick Negron (00:45:57):Well, they ahead of time, the, the production management and, and, and, and company management, they sit together and they go, okay, these are the cities that we're doing, which is the smallest theater we're in Uhhuh , that, those are our dimensions. We can't, we can't get bigger than that.Michael Jamin (00:46:15):But you can put a smaller on a bigger, on a stage, you can put a small,Rick Negron (00:46:19):Yeah, yeah. And the show, I mean, the show was made for the Richard Rogers, which is a pretty small theater. I mean, it's an old 1920s Broadway theater, Uhhuh , that seats about 1300. So it's pretty small. And the stage backstage is kind of small too. So most of the theaters that we do on, that we go to on the road are much bigger than the Richer Rogers. Okay. So they just, you know, they just do black baffling on the sides and just make it more of a letter box. And it works. It works. As long as we're not in a place that's smaller than our set. And some shows have what they call a jump set, which means that while we're in one city, we have a, a second set that goes to the next city and gets built. And so that we close in, in Boise on a Sunday and we open in Salt Lake City on a, on a Tuesday, you know, but let's say one day.Michael Jamin (00:47:13):But let's say that you're doing a dance number and the stage is this big and your's, the dancer, you know. Okay. Six pace steps to get my next mark on a bigger stage. It's, isn't it more steps or No,Rick Negron (00:47:23):No, no, because you're, you're, regardless of the size of the stage you are set. It remains the same.Michael Jamin (00:47:30):Okay. So no one will go out of that.Rick Negron (00:47:32):Yeah, no. Yeah. We'll, we'll we'll never stretch it. Right. The set itself never gets stretched. If anything, the, the theater will come in with, with black you know what the, what they call the legs, those are, you know, a break a leg comes fromMichael Jamin (00:47:48):No,Rick Negron (00:47:48):Literally they, you know, break a leg is good luck. But it literally means the legs are those black drapes that come down in the front and also in each wing.Michael Jamin (00:47:59):Okay. SoRick Negron (00:47:59):When you, when you, when you go on stage, sometimes you have to move that drapery to get on stage or to, if you're gonna go in front of the, the, the in front of the curtain, you, you, you move it with your arm, you break the leg.Michael Jamin (00:48:15):So you're not, so you're not literally break. Okay. So you're,Rick Negron (00:48:18):You're not literally breaking the leg, you're not breaking anything. Parting, parting the drapery to go on stage.Michael Jamin (00:48:23):Oh. So this is very interesting. This is gonna be, yeah.Rick Negron (00:48:25):Yeah. It's a little theater trivia for Yeah. The, the folks out there.Michael Jamin (00:48:30):Fascinating. Now. Okay, so on a regular day, you go to a town, your new, your your new city or whatever, and they give you a per diem to Yeah. Goodbye lunch and get out apartmentRick Negron (00:48:42):Diem. The union sets a weekly per diem. And that is for you to spend as you wish. Uhhuh, . And then also company management way ahead of time will say we have three or four different hotels that we've negotiated a special deal for and choose which one you want to stay in. And these are the prices and these are the amenities and people choose from that list of hotels. But a lot of people nowadays are doing Airbnb, especially on a tour where you sit in a city for four weeks, five weeks, six weeks. The shortest stays we've ever had have been two weeks. But we've, we've done six weeks. And so a lot of people do Airbnbs cuz you have a kitchen and you have a washer dryer and more, you know. But isMichael Jamin (00:49:26):It, is staying in a hotel more fun? Is that dorm living, is that more fun for the cast?Rick Negron (00:49:31):Some, no, I don't think it's more fun for them. Some stay in the hotel cuz it'll be right next to the theater. And that's convenient. Yeah. Especially if we are in Denver and it's seven degrees outside. Being, you know, li living right near the theater is really cool when it's, when the weather's bad. But most people, a lot of people nowadays, they're getting Airbnbs and they're rooming together. So three or four people can get a really cool house.Michael Jamin (00:49:57):But I'm picturing Rick Negron (00:50:00):And, and they save money because they're rooming together. Right. So, you know, the rent, their ability to pay rent, I mean now they can use their per diem to live on, not just for their place to stay. They canMichael Jamin (00:50:12):Have you shared, have you shared apartments or No. Does the king, does the king have his own place now?Rick Negron (00:50:16):, I'm too old to have roommates. You're tooMichael Jamin (00:50:18):That crap.Rick Negron (00:50:18):I had roommates in my twenties and thirties. I'm done. But the only roommate I have is my wife. And CauseMichael Jamin (00:50:24):You're right.Rick Negron (00:50:24):But she's not really my roommate. SoMichael Jamin (00:50:26):My like, my naive opinion of what it must be like is like in high school when you're in the play it's like, you know, or even at a high school, you know, community, you are like, Hey, it's the, we're all the, it's the group, we're the gang, we're doing everything together. But once you become a pro, that's not the way it is. Huh? It's not likeRick Negron (00:50:45):It is at first it is, it's the honeymoon phaseMichael Jamin (00:50:49):Real. Okay. Where you're like hanging out togetherRick Negron (00:50:51):Where we all just meet and Oh, I know that person. We did a show together a long time ago. And so we become a little bit of a clique and then the, the cliques start happening early on. But we're one big happy family. Right. And we have opening night parties and you know, and all that occurs early on. But then the clicks really start creating Right. You know, the, the peop certain people start to hang out together. We had the, an our, our company's called an Peggy cuz each separate tour has a different name. There's the Angelica tour, the Philip Tour. These are characters in the show. Right. And Peggy is the third Skylar sister. So we became the third company. So we are called the An Peggy tour and we're, and there's a group of us we're called the, an Peggy Alpine Club. And literally, literally a bunch of us who like to hike and, and do outdoorsy stuff. We went snowboarding and skiing a lot in the winter. We, a lot of us got scuba cert certified for our Hawaii stay. Wow. And we've done incredible hikes all over the place. So that's our little clique. But also, you know, people that have, are married and right on tour together or have ki there's a few people that have kids on tour. They get together a lot.Michael Jamin (00:52:07):So and they bring their fam, they bring their kids on onto tour with them.Rick Negron (00:52:10):Yes. There's some people that do that. Yes. But some, some, someMichael Jamin (00:52:16):Like little kids are like high school age. Like you can't be like a high school-aged kid.Rick Negron (00:52:20):No. Most, most of 'em have young kids. You gotta understand. I, I'm working with a bunch of 20 and 30 year olds. Right. And I'm the oldest guy by far in, in, in, in, in the, in the company.Michael Jamin (00:52:30):What's that like being the oldest guy in the company?Rick Negron (00:52:33):Oh, I love it. Love. I used to be the youngest guy then I was, you know, in the same age as everybody. I love it because I as a king too. I, I have plenty of time to sort of mentor everybody. Yeah. And so I've become a little bit of, I, I'm the cheerleader. I check in on everyone and say, how you doing? I'm, I used to be a ma massage, massage therapist. So a anytime peop people are having issues. I, I'm close friends with our, our physical therapist that tours with us. So we work on people sometimes together in tandem.Michael Jamin (00:53:03):What is it they're worried? What is it they want mentoring at the, the career strategy? Like what, youRick Negron (00:53:08):Know, that this career strategy, sometimes it's just dealing with personalities in theater sometimes there's some, some headbutting. Um-Huh. sometimes people are just having problems with a, a particular, an understudies having a problem with a new character that they're understudying or, you know, there's issues on stage with somebody who doesn't quite know where they're supposed to stand at a certain point. Right. And all that is internal stuff that should be worked out with the dance captains and the stage management and, and the resident director. But you know, unfortunately, actors, you know, we have huge egos and, and they're also very fragile egos. And so there's a, a, a bit of nuance involved and people get their, their panties in a twist. And I'm, I'm usually the guy that comes around and, and talks people off the ledge sometimes. AndMichael Jamin (00:54:02):I would imagine we be very hard even, especially for the new guy or the new woman coming in, youRick Negron (00:54:06):Know? Yeah. And I, I I, I, I tend to be the welcome wagon too. Right. You're the new ones. Come on, I'm the king. You know, I'll show you the ropes.Michael Jamin (00:54:13):Wow.Rick Negron (00:54:14):So, so that's, I, I like taking that mantle, not just because I'm the king, but also because I'm sort of the senior member of the Right. And I've been around the block and people have asked me, you know, I'm sick and tired of show business. I want to do something else. And I'm like, you know, that's, I hear that I've, I've had that conversation many, many times in my career.Michael Jamin (00:54:34):Interesting. So why, yeah. I would think, see, right, you've made the touring company of Hamilton, it's pretty much the peak, you know, like, you know, forRick Negron (00:54:41):A lot of 'em want to do Broadway. So they're, you know, they're still focused on doing that Broadway show. And some of them have done Broadway, have done the tour, and, you know, they wanna settle down and meet somebody and have a Right.Michael Jamin (00:54:53):So they want to, is that, is that what the problem is? They, you know, they're done with the business. What, what's the problem?Rick Negron (00:55:00):Well, I mean, you know, you, we've got the new kids who are just starting out who wanna know about, you know, how do I get my, my foot in Broadway? You know, and there's those kids, and then they're the ones that have been around for a while who wanna maybe transition out of, out of the business and, and want some there was one girl who was interested in massage therapy. Oh, wow. And I said, you wanna become ao? Okay. Well, this is what you need to do. And matter of fact the union has something called what is it called? Career Transition for Dancers, which is a, a, a program where you can get grants to do some further education. So if you wanna learn how to be a massage coach, wow. Get a grant through the union. And, you know, I know some of this stuff so I can impart some of that knowledge. And for the young kids who, you know, I wanna get on Broadway, I'm like, okay, well, to get on Broadway, you have to be in New York. And while you're on tour, you know, can't do that. It's hard to get into that audition for that Broadway show. ButMichael Jamin (00:55:57):Are you still in those circles? I mean, it seems like you, I don't know. It seems like you must know. I don't know. You're, I, I guess I'm completely wrong. If you were you know, a dancer on the touring company, Hamilton seems like it wouldn't be that hard to, to find out about an audition on Broadway. And certainly wouldn't be that hard to get a job, because you're obviously really good.Rick Negron (00:56:18):Yeah. and we've had a few people leave our tour to go do a Broadway, Broadway show. I mean, actually, we just lost like two or three people to, one Girl is doing Bad Cinderella. She left our show to Do Bad Cinderella, which is a new Broadway show, a new Andrew League Webber show. Mm-Hmm. . Another guy just left our show to do the, the Candor Nbb, New York, New York that's opening on Broadway soon. So that does happen luckily with the advent of auditioning remotely via video that's helped things out a lot nowadays, so that if you're in Portland on tour, you can send in an audition via video for something back in New York.Michael Jamin (00:57:02):Even dancing. You can, like, you pull the camera back and you do some dance steps. I mean,Rick Negron (00:57:06):Is that what you do? Yeah. Or sing a song or, or, or, or read a scene. Okay. depending on what's needed. And sometimes you, you are able to take a personal day and fly back to New York and audition for something. Right? Yeah. Michael Jamin (00:57:23):Cause I would think, and I, I don't know. Obviously, I don't know it, I would think that if you're in Ham, the touring company of Hamilton, you're practically on Broadway and it's like, it's almost the same circles, except this is where the job is, you know?Rick Negron (00:57:34):True. But if you've been on tour for a year, you'd like to settle down and stop living out of a suitcase. I It'sMichael Jamin (00:57:39):Hard to be on the road.Rick Negron (00:57:40):Yeah. Or you've been doing Hamilton for a while and you just wanna do something different. Yeah. There's those, those kids, you know, they're hungry, they wanna do different stuff. Yeah. They don't wanna be on tour on Hamilton for four years like I have, but I've done a lot of stuff andMichael Jamin (00:57:53):Yeah. What, let's talk about what other, what, yeah, let's talk about some other, we, we, I think we got off track of your other Broadway shows and, and Off Broadway and not touring shows, rather.Rick Negron (00:58:01):Well, you know, I started, I started out young in the biz at 10 cuz my mom was a drama teacher. And then I sort of worked my way through community theater and children's theater and all that. And, and then I was a concert dancer in college and studied for who? Well, I, in college I studied modern dance in, in ballet. But when I got outta college, I, I was an

This is one of the most horrific serial killers in history that has only recently begun to gain notoriety with the mainstream media. Richard Rogers preyed on gay men in New York City throughout the early 90s and showed now signs of slowing down until police finally banded together to hunt down the elusive "Last Call Killer". Follow Us- Instagram-@beerswithqueerspod Facebook-Beers with Queers: A True Crime Podcast Sources "Last Call" By: Elon Green- https://www.amazon.com/Last-Call-Story-Murder-Queer/dp/1250224357 Opening Theme- "Horror Express" John Cacavas

This week's episode is a special conversation as we remember the loss of my sister, Bethany, which took place two years ago. I'm so grateful to have GriefShare facilitators, Richard Rogers and Donnel Schmidt, join me to share their experience with loss and grief. We remember their daughter, Tracie Lynn Hester, and the profound impact her life and death have had on countless lives. We chat about the power of community in grief, healthy versus unhealthy ways to process our grief, and finding ways to honor the life of a loved one we've lost.If you are walking through loss, you can find community and resources for the journey at griefshare.org. We all deal with different losses in life that have a profound impact on us. Wherever you find yourself today, I hope this conversation will be a source of encouragement and hope for you.Check out our website https://creativeimpactpodcast.com for the full show notes and additional links mentioned in this episode. You can be sure not to miss a Creative Impact conversation by subscribing through your favorite podcast app.  We are so grateful to have you as a part of the Creative Impact community and would love it if you would share the show with your friends!Support the show

For the American-born chef and restaurateur Ruth Rogers, owner of the Michelin-starred River Cafe on the north bank of the Thames in London's Hammersmith neighborhood, food is a portal: to memories and cultures. To conversations. To meaningful connections. Since Rogers, who goes by Ruthie, co-founded the celebrated Italian restaurant with Rose Gray in 1987, it has become a well-trod stomping ground for a bevy of artists, filmmakers, writers, actors, architects, and other movers and shakers—many of whom have appeared on her podcast, Ruthie's Table 4, including the director Steve McQueen, British Vogue editor-in-chief Edward Enninful, and the artist Tracey Emin. Similarly, many highly regarded chefs have come up through the River Cafe's kitchen, including Jamie Oliver, April Bloomfield, and Jess Shadbolt and Clare de Boer of the New York restaurants King and Jupiter. Rogers's latest project, The River Cafe Look Book (Phaidon), captures her true spirit; that of the restaurant as a whole; and that of her late husband, the Pritzker Prize–winning architect Richard Rogers, to whom the book is dedicated. A book as much about looking as eating, it encourages, in Rogers's wonderfully joyful way, engaging the full body and mind as a cook. On this episode, Rogers talks with Spencer about her journey in food and cooking; her 35 years at the helm of the River Cafe; and the rigorous culture of kindness and openness, paired with toughness, that she has built at the restaurant, both in and out of the kitchen.Special thanks to our Season 6 sponsor, L'ÉCOLE, School of Jewelry Arts.Show notes:Ruthie Rogers[03:32] The River Cafe Look Book[03:51] River Cafe 30[13:21] The River Cafe Cook Book[29:17] The River Cafe[41:53] Ruthie's Table 4

Book Vs. Movie: Freaky FridayThe Mary Rogers Children's Classic Vs. the 1976 & 2003 Disney AdaptationsIn December (because we have covered just about every holiday-themed Christmas, New Year, Thanksgiving, and Hannukah film we can find)! The Margos turn our attention to all things Disney, and this year we begin with the classic Freaky Friday by Mary Rogers, which has been adapted a few times since its 1972 publication. Rogers, whose father was composer Richard Rogers, had a full career as a composer, screenwriter, and children's novelist with successes on stage like Once Upon a Mattress which ran on Broadway in 1959 and later toured the world. In 1972 she contributed to the Marlo Thomas album Free to Be You and Me (William's Doll) before completing Freaky Friday. The story of 13-year-old Annabel Andrews, who switches bodies with her mother only to discover being a parent is much harder than it looks. Annabell finds out her father is sexist and runs her mother ragged with demands on home life. Ultimately, she discovers that it was her mother the whole time who caused the body switch to show Annabel that she has her best interests in mind. The 1976 film stars Jodie Foster as Annabel and Barbara Harris as her mother, Ellen, with a screenplay by Rogers. One big difference is that the movie takes place in California versus New York City. Oh, and the racism casually featured in the book. (It's a big yikes there!) It was a huge hit that garnered several Golden Globes Awards nominations. In 1995, Shelly Long and Gaby Hoffman lead in the second adaptation. The 2003 film stars Jamie Lee Curtis and Lindsay Lohan and was a huge hit that is problematic today. So between them all--which did we like better? Have a listen to find out!Kensington Books and the novel Colorado Country by Diana Palmer sponsor this episode!New York Times bestselling author Diana Palmer takes readers to Christmastime in Colorado with two of her celebrated novellas in one collection featuring solitary, silent cowboys who find their restless hearts tamed by women of uncommon grace and strength. This a gift for readers who love heartwarming contemporary romance, gorgeous rugged cowboys, and fans of Carolyn Brown, Linda Lael Miller, and Delores Fossen. Meadow Dawson is struggling to manage the enormous ranch she just inherited. Too bad she's not on speaking terms with the one man who can help her out. Cattleman Dal Blake wishes Meadow's dog would quit digging under his fence—and that his pretty neighbor wasn't just as good at getting under his skin. . . Widowed schoolteacher Katy is starting over with her young daughter, and she knows the perfect place—her grandmother's Colorado ranch. A runaway Palomino brings reclusive horse wrangler Parker to her door. Parker knows all there is to know about horses, but with Katy, he's learning about the gift of family.Diana Palmer is the author of over 100 books and was voted one of the top 10 romance writers with over 40 million books in print. She is known as the “queen of desperado quests for justice and true love” (Publisher's Weekly) You can find her at Diana Palmer.com. In this ep the Margos discuss:The interesting life of the author Mary RogersThe casual racism in the story and how it differs from the various adaptationWhich version do we like best?The 1976 cast Jodie Foster (Annabel,) Barbara Harris (Ellem,) John Astin (Bill,) Patsy Kelly (Mrs. Schmauss,) Dick Van Patten (Harold Jennings,) Sorrell Booke (Mr. Dilk,) and Sparky Marcus as Ben. The 2003 cast Jamie Lee Curtis (Tess Coleman,) Lindsy Lohan (Anna Coleman,) Harold Gould (Alan Coleman,) Chad Michael Murray (Jake,) Rosalind Chao (Pei Pei,) Mark Harmon (Ryan,) Stephen Tobolowsky (Mr. Elton Bates,) and Willie Garson as Evan.Clips used:“I Wish I Could Change Places with You” 1976Freaky Friday 1977 TV AdAnnabelle & Ellen switchAnnabel in the diner with her friends1976 car chase sceneFreaky Friday 2003 trailer2003 Pei Pei “Let's Hit Her!” Tess and Anna in the car (french fries)Music “I'd Like to Be You for a Day”Book Vs. Movie is part of the Frolic Podcast Network. Find more podcasts you will love Frolic.Media/podcasts. Join our Patreon page to help support the show! https://www.patreon.com/bookversusmovie Book Vs. Movie podcast https://www.facebook.com/bookversusmovie/Twitter @bookversusmovie www.bookversusmovie.comEmail us at bookversusmoviepodcast@gmail.com Margo D. @BrooklynFitChik www.brooklynfitchick.com brooklynfitchick@gmail.comMargo P. @ShesNachoMama https://coloniabook.weebly.com/ Our logo was designed by Madeleine Gainey/Studio 39 Marketing Follow on Instagram @Studio39Marketing & @musicalmadeleine

After four horrific murders, a joint task force was no closer to identifying the Last Call Killer. But improvements in crime technology allowed them to send the killer's fingerprints to law enforcement nationwide. The one murder Richard Rogers got away with in Maine wound up putting him behind bars for his other murders. Parcasters, we have exciting news! Our first book hits bookshelves July 12th. Don't miss this chilling summer read that takes you deep into the darkest sides of human nature. Learn more at www.parcast.com/cults! Learn more about your ad choices. Visit podcastchoices.com/adchoices

Before he became a cardiac surgical nurse, Richard Rogers killed his grad school roommate and got away with it. Twenty years later, he turned local NYC watering holes into his hunting ground.  Parcasters, we have exciting news! Our first book hits bookshelves July 12th. Don't miss this chilling summer read that takes you deep into the darkest sides of human nature. Learn more at www.parcast.com/cults! Learn more about your ad choices. Visit podcastchoices.com/adchoices