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Have you ever lost the joy in your creative work — that sense of fun you had when you were starting out, before the admin and the algorithms drained it away? How do mid-career creatives get it back, and what can a four-year-old teach us about play? Austin Kleon talks about productive procrastination, silly rituals, the case for paper reference books in an AI world, and how his newsletter went from a marketing cost to the day job that keeps the lights on. In the intro, Does social media still sell books? [Self-Publishing with ALLi]; Trial by algorithm [The Bookseller]; Publishing's AI Hypocrisy Problem [The New Publishing Standard]; ALLi AI survey for authors; Brave New Bookshelf Podcast, and Pics from signing at BookVault. Today's show is sponsored by ProWritingAid, writing and editing software that goes way beyond just grammar and typo checking. With its detailed reports on how to improve your writing and integration with writing software, ProWritingAid will help you improve your book before you send it to an editor, agent or publisher. Check it out for free or get 15% off the premium edition at www.ProWritingAid.com/joanna This show is also supported by my Patrons. Join my Community at Patreon.com/thecreativepenn Austin Kleon is the New York Times and international bestselling author of nonfiction books, including Steal Like an Artist, Show Your Work!, and Keep Going, as well as an artist, professional speaker, and poet. His latest book is Don't Call It Art: 10 Ways to Create Like a Kid Again. You can listen above or on your favorite podcast app or read the notes and links below. Here are the highlights and the full transcript is below. Show Notes Why Austin wrote Don't Call It Art now, and what his kids taught him about creative joy Productive procrastination, silly rituals, and treating writing like Lego Comedy as a philosophical position, and giving yourself permission to be bad in private Sharing process in the algorithm era, and why your whole life is the process Bibliomancy, paper reference books, and what AI can't give you that a dictionary can Style, the Taco Bell distinctiveness rule, and how Austin's newsletter became his day job You can find Austin at AustinKleon.com. Transcript of the interview with Austin Kleon Jo: Austin Kleon is the New York Times and international bestselling author of nonfiction books, including Steal Like an Artist, Show Your Work!, and Keep Going, as well as an artist, professional speaker, and poet. His latest book is Don't Call It Art: 10 Ways to Create Like a Kid Again. So welcome back to the show, Austin. Austin: Thank you for having me back. It's nice to talk to you again. Jo: You were on the show in March 2020, and at the time, your book was Keep Going, which was prescient considering the pandemic and politics. So I wondered, why this book, Don't Call It Art, now? Was this something you see in the creative community or your own life that made you want to write this book? Austin: Keep Going is a book about what happens when the world goes crazy around you and you're still trying to do your creative work. This is a book about what happens when inside has bottomed out. Keep Going is a book about the world bottoming out, and you're worried that your own creative work is going to bottom out too. How do you keep pushing through and keep making stuff? This book, to me, is about what happens when you bottom out inside—when you've lost that love and feeling for the thing that you wanted to do, and you're just not connecting with it in the way that you used to or the way that you want to. How do you get back? How do you return to that sense of joy and wonder and fun that we have when we're starting out? And for me, it was being around my little kids that taught me how to tap into that. My kids were natural—they didn't have any creative hangups. I would spend all day talking to people who had creative hangups, and then I'd get back in the house, and I'd just be around these beings who didn't have any of them. It was really instructive. I felt like, if I could bottle the energy of my kids when they were about four years old and try to put it in a book, I think it could really help a lot of the people that I run into, and the people with the kinds of problems I hear from. Jo: You mentioned bottoming out. How do people know when they've hit that point? Austin: You just don't want to do it anymore. You're kind of like, “This just isn't giving me back what it used to.” When we start with our creative work, that's the thing that juices us. We come away from it feeling full up. I think you hit a certain point where you start to feel drained after it. Or maybe you don't feel drained by the thing itself that you're doing—maybe it's all the stuff around it, which is more often the case. For example, if you're a mid-career writer like me, who's been publishing books for 16 years now, I still really like writing. I still really like drawing. I still really like cutting and pasting and putting things together. It's the admin around the work—the emails, the meetings, the running-a-business part of it—that's super draining for me, and that stuff can start to bleed over into the creative work. So it's really important for me to make sure that I'm having some playtime, some R&D, some research and development time, to make sure it's not just all business. When you take the thing that you love and you turn it into the thing that you make a living from, you can really run into a lot of problems. Jo: I'm at 20 years, so I know exactly what you're saying, and a lot of listeners are the same. We love writing books, but it's all the stuff that goes around it. So for those of us who do this for money as well as passion, what are some practical ways to have more fun with our creativity? Austin: Something I learned from my kids is that you really are your most creative when you're supposed to be doing something else. So one of the things I use a lot in the studio is productive procrastination. Whatever I'm supposed to be working on, I start another little project, and that's my little naughty fun time. When I first come into the studio, I try to do something that I'm not supposed to be doing—something that I won't have much to show for. That could be making one of my blackout poems. That could be making a collage in my notebook. It could also be sitting here. I have a bass in the studio now, so I can practise my bass guitar. Sometimes I'll do that for the first 15 minutes just to get in that headspace of, “Hey, what's it like to do something just for yourself? Just because you want to do it?” The juice that you get from that little naughty “I'm going to do what I'm not supposed to be doing right now” thing, that carries into the rest of the day. It's like a nice start to things. Jo: Do you think that play could be something different to what we make our money with? For me, writing novels and stories is great fun in one way, but it's also what I then publish and make money on. So writing stories is more serious, I guess, than playing with Lego or something. Austin: Right. So the trick is, how can you make writing your stories like playing with Lego? That's kind of been my whole career. I hate staring at Microsoft Word and that blinking cursor, taunting you like, “Come on, what have you got?” A lot of my creative life has been about trying to make it more playful, trying to make it feel more like a game. That's how I came up with my blackout poems. I take an article from The New York Times and I black it out until it only has a few words left behind. It sort of looks like if the CIA did haiku, for some people listening. That was one little exercise. Then weirdly, that side thing that I thought was just play, just fun—that turned into my first book. So then it's, okay, what else can I mess around with and play with? I do a lot of collage work in the studio, and I rarely actually use that for any of the books. Sometimes I use it for my newsletter to illustrate the newsletter. But it's always about trying to figure out, how can I make writing a game? How can I make it more playful? There are different things that I do to make it feel more playful. One of them's really stupid. I really believe in silly rituals because I think silliness is really powerful. People talk about their daily rituals—Mason Currey has that great book, Daily Rituals: How Artists Work. When I was reading that book, I realised it was really the silly stuff that I really liked. There was, I think it was Balzac counting out coffee beans or something before he got to write. Or Steinbeck sharpening 12 pencils or something goofy like that. So one of the things I like to do before I write is that I have these cigarette pencils. They're pencils that look like cigarettes in the studio. I put one in my mouth before I start writing, and I pretend to be some old '40s writer on a typewriter. I like doing goofy stuff in the studio because I think when you do goofy stuff—stuff that you'd be embarrassed if anyone else saw it—it gets you in that playful state. Jo: It's interesting. In your book, you have a section that says, “Don't take things too seriously.” For many of us, we write memoir for example, and that is very close to us. It's like the deepest expression of what we want to say in the world. It feels very serious. So how can we hold things more lightly and not take things so seriously? Austin: For me, comedy is actually a philosophical position. What I mean by that is, I think a lot of people set out with a tragic model of creative work. They think, “Oh, I have this special gift,” or, “I have this thing that I really need to do, and I need to put it out into the world, and I need to make the world look more like I want it to look.” They have this idea that, “Through blood and sweat and tears, I'm going to see this thing through, and I'm going to push it into the world, and I'm going to have my way.” I think there's another way of working where it's more like, “I'm just a normal person trying to play with my environment, and take my experiences and put them into something interesting. So I'm going to play and use my wits, and we're going to see what we come up with.” Those really are two modes of life. The pandemic taught me that it was really when we were keeping our sense of humour, when we were having a laugh and keeping our egos in check around the house and just acknowledging how goofy we all were and how ridiculous the situation was, that seemed to be when we were really thriving. Versus, “Well, we're in this tough situation. We've got to make it into what we want it to be.” That felt really bad. But when we cruised along and we were just improvisational, when we went at things with a kind of lightness, that worked. There's a great Italo Calvino essay about lightness in Six Memos for the Next Millennium. Lightness is really underrated. Even when we're going about heavy work, having a sense of lightness and play with it just makes the work better. That's a philosophical position of mine. I aspire to comedy. I aspire to a comic outlook on life. I'm just a creature with a body who's going to die, and I'm fundamentally ridiculous. Life is pretty absurd. You just make the best of it. Jo: There's certainly some truth there. Staying on a similar theme, you have a chapter in the book on permission to be bad. Many of the listeners also have your book Show Your Work, and it shaped many of us into sharing our work in progress. It feels quite dangerous now, in a world where judgment is much louder than it maybe was when you wrote Show Your Work. So tell us a bit about permission to be bad versus should we keep some of this private? Austin: Permission to be bad is about the making part of things. It's the private part. It's permission to be bad when you're in private, when you're actually doing the work. Show Your Work is a book about what you do after you've done the work, or while you're doing the work. It was never about putting up a webcam and running a 24/7 feed. It was more like, hey, what are the ways that I can connect with the kind of audience I can build while I'm making the work itself? So the way I see permission to be bad is, you really have to give yourself permission when you're not sharing, when you're off screen, to really be as bad as you want to be. It doesn't necessarily mean quality-wise. I think it also means letting yourself write stuff that you would never say on social media. Letting yourself read stuff that you wouldn't admit you were reading on social media. Letting yourself listen to stuff. Letting yourself really be that unfiltered, unhinged, private person that you want to be. Then when it comes to sharing, you put some time in between that input time, that making time, and the sharing time, and then you share what you think is going to be useful or helpful or interesting to other people. Jo: I think you wrote that book before TikTok, and how fast people are moving. Do you think people need to slow down a bit in what they share, maybe? Austin: I don't know. I obviously had a lot more faith in social media back then. I use all the principles from Show Your Work in my newsletter. Newsletters are very much the new kind of great thing. They're doing a lot of the work that social media used to do, in that you're still able to have this direct connection with the people that you're trying to reach. The big problem with social media now is that it's all algorithmically tuned, where the people that are following you don't see the stuff that you're doing most of the time. What you have to do now, if you want the people who are following you to see your stuff on social media, is you have to make stuff that the algorithm likes. That's a whole different thing. As far as the Show Your Work principle—which is share your process as much as your product—that carries over to any platform. In my newsletter every Friday, I share a list of 10 things that were going on behind the scenes here. It might have been what I was watching on TV, what I listened to, a new pen I was trying out, or something like that. The Friday newsletter is almost always process stuff. When I talk about process, my definition is actually very broad. For a lot of people, it's drafting, editing, whatever. For me, the process is the whole life. The process is almost everything except the finished thing. A writer's life is 24/7. My friends who have real jobs really are like, “What do you do all day?” And I'm like, “Well, what do you mean?” They're like, “Well, I see you out on your bike ride.” I'm like, “Yes, when you see me out on a bike ride, I'm thinking through something half the time.” If I'm watching TV, I'm thinking, “Hey, would this be good in the newsletter?” I'm never off. My whole life—everything is copy, as Nora Ephron said. That's part of the job. It's very hard to turn off. So I see the whole life as process, and the question becomes, what little bits and pieces of that life and that process can you share with people while you're making the things that you hope to sell them later? Right now, I'm in a cycle where I'm selling this book, but all these people have showed up because I've shared my process every week for the past seven years since I put out a book. Jo: It's funny you say that. I was at the dentist yesterday, and— My dentist literally asked me, “So where do you get all your ideas?” This is a common question for all of us, right? And it just becomes so hard to explain that to people who don't walk around in the world just constantly getting ideas. Austin: I can't believe I'm going to tell this story. I was getting my vasectomy after my second kid, and I was talking to this doctor just before the operation. He said, “So what do you do for a living?” I said, “I'm a writer.” He said, “Oh, that must be cool. You get to use your brain.” And I said, “That's everything that you want your doctor to say.” I was going to say, “Please use your brain,” before he's about to cut into you. He said, “Oh, no, no. What I mean is, I know what I'm going to do every day for the next 10 years.” He knew exactly what his day was going to look like. He said, “You have to use your brain. You've got to figure out new stuff.” I was like, “Oh, that's really interesting.” That's the trade-off, right? He's got the job security. He knows what he's going to do. Every writer has a moment where they have to talk to a normal person about what you do. Jo: I was going to say, I'm married to one. Austin: Now, my wife, on the other hand, grew up the daughter of a writer, so she knows exactly what it's like. Nothing ever phases her. She's totally used to it. She's used to me staring off into space, completely checking out of a conversation. She's used to me using lines on her that I'm going to put in a piece later. She's used to the whole rigmarole. It's very handy. I've been very lucky in that sense. Jo: Coming back to the book, you talk about your use of bibliomancy for inspiration. Since we're talking about that, tell us about it. I think all the book people listening will be happy. Austin: I'm a person who still keeps a dictionary nearby—a paper dictionary. I keep a big old American Heritage. It's just a big, thick book. When I really don't have any ideas, I will turn at random to the dictionary, close my eyes, stick my finger down the page, open my eyes, and just see what I come up with. Sometimes just that act will give me an idea. I also do that with books. I'll go around the studio, pick up a book, flip to a random page, and just see what it says there, or read an old piece of marginalia that I've left in a book. I believe deeply in the power of bibliomancy, and I think it's a case for paper books. I'm one of those people that still really believes in reference books. I've started collecting more and more of them. I have an old, big dictionary that's always open on my desk, and I look up words. I learned from John McPhee, the writer, that you should look up words that you think you know. That was the first time I'd ever heard anyone say that. So I look up words that I think I know. Instead of reaching for a thesaurus when I need a different word, I actually just look up the definition of the word that I already have. That's another McPhee tip. The other thing that happened that I thought was really interesting is, I got a Roget's for the first time—a thesaurus. I don't think most people know what an actual thesaurus is. Most people think of a thesaurus as a synonym finder, and that's not actually what a thesaurus is at all. A thesaurus is more like an encyclopaedia, weirdly. You look up things based on big concepts, and then it gives you a bunch of words to look up later. It's a very strange thing. It's not what most people think it is. I have a couple of editions of Roget's in here. I like the really old Roget's from the 1900s because they actually have opposing ideas facing each other on the page. Do you have an old-school Roget's? Have you ever looked through one? Jo: I don't have one now, but I certainly grew up with them. I was literally just thinking, I wonder if there are ones for Americans and ones for British people, because so often we say different things and mean different things. I always hear Americans say, “Oh, that's a doozy,” or something, and it means the complete opposite thing here. Austin: Like if you say “fanny pack” over there. That means something very different than it means here, right? Chips or fries, that kind of stuff. So I wonder if there are different ones for different cultural references. Jo: I don't know. Austin: As people, with ChatGPT and all these LLMs and stuff, people are like, “Why would you ever pick up a paper reference book?” And I'm like, “I actually like the friction.” I like having to move in space and go over to my dictionary. I like flipping the pages. I like having to scan a page for the word I'm looking for, because— This marvellous thing happens when you're looking for the word, where you bump into all these other words. If you're a word nerd, you get to start thinking about the root of the word—oh, why is this word next to this word? Well, it's because they share the same root. Then you're going down all these fun rabbit holes. The thing that I'm trying to do as a writer and a creative person is, I'm trying to get to the thing that I didn't know I was looking for. The thing that people misunderstand about AI, I think personally, is that it's a great tool if you know what you're looking for. If you're like, “Find me this thing. I want exactly this. I want to see a picture of a dog wearing a king's costume,” or some crap like that, then it can spit that picture out for you. Or, “I want to know what happened on this day,” and whatever. It can do that. But that's not actually what I'm doing most of the time when I'm writing or making something. I start with an idea, but what really happens—the magic of writing and the magic of making stuff in general—is when you discover something that you didn't even know you were headed for. That's the real magic for me. Sometimes I have an idea and I want to articulate it for people, but more often than not, there's something that bothers me or something that I want to talk about, and I sit down and write, and I figure out what it is that I actually have to say and what I actually think. Every writer really knows this, and that's why the dictionary, stuff like that, those are ways of training you to get in that discovery mode. “Well, let me—oh, I bumped into this. I went looking for this one thing and then I ran into this other thing.” That's why I love the library. I don't know what system you use over there, but you look for one book in the Dewey Decimal System over here, and then, okay, here's all these other weird books next to it. Then you end up with three other books other than the one that you were looking for. That's the magic. To me, that's the magic of creative work, discovering what you didn't know you were looking for. That was particularly important for me when I was writing this book because we discovered that my wife has a condition called aphantasia. It's very rare in the population, about 2 to 3% of people. There's probably some people listening to this right now who are like, “What is this? Tell me.” Jo: Aphantasia actually more common in the creative industries. Austin: Yes. What it is, is that you don't see—when I say close your eyes and picture an apple, you don't actually see the apple in your head. You can think about an apple and the qualities of an apple, but you don't actually see it. Some people, and it's a matter of degree—some people like me, I can close my eyes, I can tell you what the apple looks like, I can tell you what colour it is, I can tell you where the shading is. Someone like my wife doesn't see the apple. She can tell you what an apple is. It's really interesting because she has a degree in architecture, which is known as a very visual field. But the thing you discover about aphantasia is, it doesn't keep people from becoming artists. In fact, it's the opposite. Someone like Ed Catmull, who co-founded Pixar, writes about it in his book, and so many of the great animators at Pixar are actually aphantasics. The reason is that they learned that they had to draw in order to see things. When you don't have a picture in your head of what you want something to look like, things appear in the drawing, and you find things that you couldn't even picture. A lot of writers actually are aphantasics. John Green discovered recently that he has aphantasia. It turns out that it's a superpower for writers, because if you don't have a picture in your head, then you don't have to translate that picture into words. A lot of writers talk about thinking in radio, like they have a constant narrator. My wife—she's probably going to kill me for talking about her this much—when she describes it to me, she's like, “Oh, it's like a radio in my head. I'm constantly hearing a voice, and it's a narrator.” I was like, “Holy shit, that would be really helpful to me.” I don't have anything like that in my head. I read Mrs Dalloway for the first time, and I gave it to her and I said, “You've got to read this book. I think this must be what it's like in your head.” And she said, “Oh my God, it is.” Part of the thing that I took away from that experience—this is a long-winded way of getting here—is that I take a lot of inspiration from people with this condition. Most of the people I know in the arts or the creative fields, they set out with this grand vision, and then they start working on the thing and it's nothing like what they had in their head, and they get really depressed: “This isn't what I had in mind.” Whereas if you set out without a picture in your head, and you just start manipulating things and you see what appears, that's more of the comic mode I was talking about earlier. What would happen if we just sat down with our materials and we started playing and we saw what appeared on the page? What if we started typing and saw what appeared, and then we played with that? That's the kind of joy. That's more like how kids operate. Kids are better at that. They're better at reacting to what's actually in front of them, instead of having these grandiose visions about what they're trying to achieve. Jo: Just coming back on the longevity of a creative career. Your books are very distinctive. You have a very distinctive visual style, your handwriting and the way the books are done. I wondered if another part of the ennui, perhaps, or the draining of the later career is that we get trapped into doing something that feels like it looks the same. Or we have a voice, and we're happy in that voice, but sometimes we want to do something completely different. For authors, we have different names. I write under two different names, and that helps. But equally— How do you define author voice, and do you ever feel like doing something completely different to your normal style? Austin: Style, in a lot of ways, is self-plagiarism. Style is the repeated things that we notice in people's work. Hitchcock talked about this in films. Wes Anderson is someone like that—Wes Anderson has a style. I'm sure that he gets really sick of it too sometimes, but you also can't help it in some ways. I thought a lot about this because people worry about style so much. A lot of the time, what we call style is what Adrian Tomine one time said: “Style is just the distance between what's in my head and what comes out of my hand.” I really like that definition. With this book, I was trying to think, “Okay, if I do another book in this series, how can I push things a little bit?” And then I was reading this article about Taco Bell. You guys have Taco Bell over there, don't you? Do you have Taco Bell? Jo: No. Austin: So Taco Bell, for people who don't know, is this American Mexican chain, and they have tacos and burritos and stuff like that. They're well known for making these really insane… it's so American, this company. They make a taco with a Doritos as a shell. Doritos are crisps, I guess. Jo: Yes, we have Doritos. Austin: Okay. I spent time in England, I just don't remember if I ate Doritos when I was in England. Anyway, I was reading this article about Taco Bell. It was really funny. They have an innovation kitchen at Taco Bell, and they have a rule about new products. The rule is called the distinctiveness rule, and the rule is: you can change the flavour or you can change the taste, or you can change the form, but you can't change both at the same time. I got really obsessed with this concept because I thought, “Well, this could be kind of interesting.” If you're someone who's had success and you're known for something, this presents an interesting thing. You could do a complete break and do something completely new, or you could try the distinctiveness rule. Okay, well, what if I play with this idea of taste versus form? What if I change the taste and keep the form? So the idea for Don't Call It Art was, what if I do another one of these books, but the taste is more like if my kids made it? It had the texture of kids' art, it had lots of scribbles in it, it was loose and messy. That was kind of the idea. The actual book ended up being more like the other books. It ended up looking like an Austin Kleon book, because I just can't help that. The thing you said about having multiple names that you write under, that's kind of what I do with the newsletter. I think of the newsletter as very different from the books. The newsletter is this twice-weekly thing where I can be a little bit more of myself. In the books, I'm this very helpful, happy version of myself. It's me, but it's me on my best day. I'm really helpful and interesting for you. The newsletter is still a highlight reel in a sense, but it's a little bit more of my weird everything-I'm-into. It's more of the unclipped version of me. The newsletter becomes a place where I can do a lot of the weird stuff that's much different from the books. I have these little projects going all the time. Sometimes I'll make a bunch of prints and put them online. Sometimes I'll make a bunch of zines on a topic I haven't covered in the book. Sometimes I'll do a mixtape. As someone who's interested in a lot of different forms and genres and just different modes of output, having something like a newsletter has been really creatively fruitful for me. It's kept me from getting too bottomed out with the books because the books do a certain thing for the reader, and as much as I'd love to do a book that was radically different, I also think I've been given a real gift with the form of my books, in that I kind of own the way that they feel and look. There aren't a lot of books that look like those books and feel like those books, and so I like playing with that form. It would be hard to get rid of it now. The pseudonym for me is kind of like the newsletter in a sense. The newsletter is a little bit more of where I get to be wild and wacky. Then the books are a little bit more of a chiselled thing. Jo: The books are perfect examples of the form, as you say, but it's interesting about the newsletter. You mentioned at the beginning that we can be drained by the admin around the work. For many people listening, a newsletter becomes admin. So how does the newsletter fit into your business? The books are traditionally published, they're very professional. How do you have your independent side, and how does all of that work together in your business? Austin: Thank you for asking that question. I run the whole show at the newsletter. The newsletter is just me, and then my wife edits it, and no one else is involved. I don't have an assistant. I don't have a team. It is just me, and that's why I love it. I control everything. I pick who gets in there. I pick everything. I love that. I grew up watching David Letterman over here, and Letterman had a nightly show, and I always thought that was killer. I thought, “Man, what a fun job. You have a show every night where you have a new guest, and you have all these wacky things going on.” It was like a variety show. I always thought that would be really fun, so the newsletter is my version of that. I started the newsletter in 2013, and it was just a Friday newsletter. It quickly became a list of 10 things I thought were worth sharing. I had a friend, Hugh MacLeod, who was like, “Hey, I have a newsletter. It's bigger than any conference you've ever gone to.” He was talking about South by Southwest here in Austin. He's like, “I have a newsletter now, and it's bigger than South by Southwest.” Jo: Oh, I remember him. Austin: He would say, “Every time I have a new print, I put it out, and there's a button, and then they buy it.” He was like, “You've got to get it. This newsletter thing is killer.” This was in 2011 or something. Jo: Yes, I still have his books. Blogging in Your Underwear or something. Austin: Totally. So Hugh's a whole different story, but I was just like, “Oh, I should really get a newsletter.” Letterman always had a top 10 list on his show. I just always thought a 10 list was really fun. And of course the books are lists of 10 too. So it just worked to have a weekly list of 10. It felt good, and it felt like an infinitely repeatable format. What I'm looking for as a creative person is an infinitely repeatable format that can go on and on and on and be new every time. So the list of 10 is something that people know the form of. It goes back to the Taco Bell thing. They know the form, but they're not sure what's going to go inside. They know it's going to be a burrito, but they don't know what's going to be in the burrito, and that's the exciting part. The newsletter, business-wise, was always a marketing cost for about the first eight years of its existence. I paid MailChimp to send it out. Then in about 2021, when I hadn't done a book for a while, my agent said, “You know, you should really think about doing a paid tier of your newsletter.” And this is to his credit, because he doesn't make anything off the newsletter. He said, “There's this thing called Substack now that makes that really easy.” So we moved to Substack in 2021 in October, and I started doing a Tuesday edition of the newsletter that was just for paid people. That grew enough that it's gone from a marketing cost to something that's almost—it's not quite as much as I make on my books, but it's close. And to be candid, my books sell pretty well. So suddenly the newsletter has become this really healthy income stream. The newsletter to me is actually the day job now. The newsletter is what really keeps the lights on. It's also the perfect mix. It's the day job, it's the thing that keeps income coming in on a regular basis, but it's also the thing I like to do the most. I'm not like a traditional writer who likes to just get lost in their book and take years and years and go away. I'm someone who loves to be doing a lot of different things. The newsletter is a perfect format for me. I'm talking myself into not quitting, actually. It's funny. It's gone from this thing that was a marketing cost to now it's a significant part of our income. That journey—such a bad word, journey—that trip has been very interesting. It's been really cool. But I'm also just lucky. I've been really lucky, and I think part of my thing is, I'm always just trying not to squander my luck. Jo: Well, the book is fantastic, and I know people are going to love it. And the newsletter, of course. So tell us— Where can people find you and your books and newsletter online? Austin: The easiest thing to do is to just go to AustinKleon.com, and that has links to everything—the books, the newsletter. I do actually keep an old-school blog still. I'm one of the few people that still maintains their blog and keeps it up to date. I'm hedging my bets because I think in the end everything will come back to a self-hosted website. I think in the end everyone's going to just go back to their little websites, or at least I hope so. Jo: Well, that was great, Austin. Thanks so much. Austin: Oh, thank you. The post Don't Call It Art: Rediscovering Creative Joy With Austin Kleon first appeared on The Creative Penn.

LinksBilly Preston: That's The Way God Planned It Official Trailer - YouTubeThe Paragons - "The Tide Is High" - YouTubeBlondie - The Tide Is High - YouTubeThe Number Ones: Blondie's "The Tide Is High" (Stereogum)I've Never Seen A USB-C Charger This Good! - YouTubeIt's Always Sunny in Philadelphia - Chirping - YouTubeOff Menu_ podcast - Lucia KeskinLinksys WRT54G: The Router That Accidentally Went Open Source (Tedium)Aldus Pagemaker - The Interface Experience: Bard Graduate CenterDesktop Publishing: The PageMaker Revolution (Computer History Museum)https://www.computerhistory.org/revolution/personal-computers/17/306Butterick's Practical TypographyLibrary of Congress Classification - WikipediaMLA Style CenterThe Chicago Manual of StyleThe Remarkable Story of Roget's Thesaurus (Merriam-Webster)Guardian style guide: A | Information | The GuardianDavid RemnickDavid Remnick once suggested 'reconsidering' New Yorker's diaeresis! - The Washington PostEustace TilleyThe True History of Eustace Tilley (The Comics Journal)The Elements of Style, by William Strunk--A Project Gutenberg eBookThe Elements of Style PDF

In this episode of The Impostor Syndrome Files, we talk about experimenting with your own growth. My guest this week is Jen Wilson, a coach and consultant whose nontraditional career path has taught her that confidence doesn't come from perfection; it comes from trusting yourself to handle whatever happens next.Jen shares how she built her career through unexpected twists and turns, including co-founding innovative schools, burning out and then reinventing her work on her own terms. We explore why self-trust matters more than fearlessness, how small, low-risk experiments can rewire long-held patterns of self-doubt and practical ways to pause, observe your triggers and create new neural “tracks” that support courage and authentic action.About My GuestJennifer Wilson is a consultant, coach, educator, activist, and author. She founded New Leaf Coaching and Consulting in 2006 to partner with world-changing organizations, such as The Obama Foundation and NRDC, that are committed to social and environmental justice. As an abuse survivor, she uses both her pain and resilience to support others in their own healing.Jennifer earned a Masters in Counseling and Educational Psychology, leading to a career in community social work with youth and families before holding multiple roles within K12 public schools and higher education in Wisconsin. After co-founding two high schools serving marginalized urban youth in Milwaukee, she shifted her focus to working for transformational change within higher education and the nonprofit sectors to ensure that future generations live on a healthy planet in just societies.Jennifer has had a lifelong love affair with words and writing. She had her first byline in 4th grade, reporting the 4-H club news for her local paper, and the first book she bought with her own money was Roget's Thesaurus. When she's not reading or writing, she heads outside for inspiration, across her home state of Wisconsin and around the world. ~Connect with Jen:Book - Waking Up to Your Worth: https://consultnewleaf.com/waking-up-to-your-worth-ten-touchstones-for-overcoming-imposter-syndrome/ Website: https://consultnewleaf.com/ LinkedIn: https://www.linkedin.com/in/consultnewleaf/ ~Connect with Kim and The Impostor Syndrome Files:Join the free Impostor Syndrome Challenge:https://www.kimmeninger.com/challengeLearn more about the Leading Humans discussion group:https://www.kimmeninger.com/leadinghumansgroupJoin the Slack channel to learn from, connect with and support other professionals: https://forms.gle/Ts4Vg4Nx4HDnTVUC6Join the Facebook group:https://www.facebook.com/groups/leadinghumansSchedule time to speak with Kim Meninger directly about your questions/challenges: https://bookme.name/ExecCareer/strategy-sessionConnect on LinkedIn:https://www.linkedin.com/in/kimmeninger/Website:https://kimmeninger.com

Download Episode 1073 – We’ve got Wilbert Roget, II, the incredible award winning composer behind some major franchises, on THIS show(?), so let’s talk!The show kicks off with Pernell Vaughan, Chris Taylor, Andy Sperry, and Aki all on hand to welcome the one and only Wilbert Roget, II to the show to chat all about his incredible composing career. From his early beginnings growing in up Philadelphia to the fact that he literally beat himself for an award, TWICE, and the fun stories behind the wins and the slight bit of awkwardness around them. We also chat about the recent release of Helldivers II on Xbox and the new music he created for the latest update, Star Wars Outlaws, Mortal Kombat talk, indies that never released, and tons more! Plus the stamp collecting tips and tricks you’ve grown to love from us and a batch of reviews!0:00 - Intro/Wilbert Roget, II Interview1:04:03 - SHUTEN ORDER - Nelio, Too Kyo Games, Spike Chunsoft (Aki)1:14:24 - The Riftbreaker - EXOR Studios, Surefire. Games (Andy)1:24:51 - Quartet - Something Classic Games (Pernell)1:32:55 - The Nameless: Slay Dragon - The Nameless Epic, WhisperGames (Chris)1:45:54 - Otherskin - Game Atelier, FDG Entertainment (Aki)1:54:46 - Fresh Tracks - Buffalo Buffalo (Pernell)2:06:04 - BOULDER DASH 40th Anniversary - BBG Entertainment (Chris)2:19:07 - OOLO - Riddle Master Productions (Pernell)The show ends with some Helldivers II music, composed by the wonderful Wilbert Roget, II and covered by our good friends in The Tiberian Sons to rock your face off, all in the name of DEMOCRACY!2:29:18 - The Tiberian Sons - A Cup of Liber-tea (Helldivers II)http://www.rogetmusic.com/https://bsky.app/profile/wilbertroget.bsky.socialhttps://www.arrowheadgamestudios.com/https://shuten-kyodan.com/https://tookyogames.jp/https://www.spike-chunsoft.com/https://www.exorstudios.com/https://surefire.games/https://www.somethingclassic.net/https://store.steampowered.com/app/2410170/http://www.whisperinteractive.com/https://www.game-atelier.com/https://www.fdg-entertainment.com/https://bsky.app/profile/buffalobuffalo.bsky.socialhttps://bbg-entertainment.com/https://riddlemasterproductions.com/https://www.thetiberiansons.com/https://ocremix.org/https://itunes.apple.com/us/podcast/the-sml-podcast/id826998112https://open.spotify.com/show/6KQpzHeLsoyVy6Ln2ebNwKhttps://terraplayer.com/shows/the-sml-podcasthttps://bsky.app/profile/thesmlpodcast.comhttps://www.facebook.com/theSMLpodcast/https://thesmlpodcast-shop.fourthwall.com/ALL REVIEWED GAMES HAVE BEEN PROVIDED FOR FREE FOR THE PURPOSE OF ANY COVERAGE ON THE SHOW

After 17 years of communicating to readers as a newspaper wine columnist with a side gig online, the ground shifted, the medium and the stylistic conventions of the message changed.As a newspaper writer, the style leaned toward formality and objectivity, even though a newspaper column is more personal than a formal newspaper story. For instance, in the beginning of the column's life, when I expressed an opinion not supported by facts or other sources beyond my personal perspective, the convention was to phrase it as “in this wine writer's opinion.” A bit arch, yes, but it followed the canon of objective news writing.As the column evolved, I became more comfortable with the grammatical first person: use of subject pronouns—I, me, mine, myself, my. By that time, the column had become a discussion with readers rather than a news story about wine. There was more freedom, but there remained awareness that as a newspaper wine columnist, my first job was to inform people about wine. If I entertained them as part of the formula, well and good. But entertainment and personal discourse was value added, not Job One. My primary assignment was to interest people in wine, a product sold by supermarkets and wine-liquor stores advertising in the paper, thus paying for the newspaper and my work.In 2024-2025 there was a sea change in newspaper wine writing. In major publications such as the Washington Post, the Oregonian, the Seattle Times, the Los Angeles Times, and my position as nationally syndicated by Gannett/USA Today in hundreds of smaller newspapers ended. Declining newspaper circulation and resulting budget cuts and declining wine sales were the reasons. It was a cold-water-in-the-face reminder that nothing lasts forever.Fortunately, during the 17-year newspaper run I invested in establishing an online presence. First at my website, which I controlled, and on Facebook, which was easy. Then came Twitter/X, Substack, Linkedin, Bluesky, Apple podcasts, and Vocal. These initially existed as adjuncts to the print work. Today, they are my only platforms.Writing to my online audience is different from writing for a newspaper reader. Online is more intimate and personal. After all, the online audience is engaged with me and my work without distractions of other coverage. The newspaper writing was, in part, to provide editorial content to support advertising. Particularly in the beginning, my column anchored the front page of the “Food Section” of the newspaper, chock full of ads from grocery stores and wine and liquor stores that sold wine.Now my work stands alone. You come to it because you want to be entertained and educated by my content of words and pictures. You made a conscious decision to click on the specific link or open the email. You did not just open a newspaper thrown on your front lawn. The online medium is more intimate. The connection is more a conversation with a friend—in the case of the podcasts, an actual verbal communication. I am comfortable with the new challenges.The change also affects the dynamics of creation. Gone is the tyranny of a 450-word requirement to fill a specific space in a print hole. Gone is the tyranny of a weekly deadline—in my case, I submitted all four or five of a month's columns together at one time at least a week prior to the first column's deadline. Frazzled editors loved that, but it meant I wrote weeks ahead of publication.I intend to strive to post every week, but now I can slide if exigencies interrupt or opportunities present for more than once a week. And, beyond columns, there remains my near-daily tasting notes, plus the extra bonus wine time humor material. My trepidation is providing you with too much content.If you have read this far, I thank you for being part of our wine and humor adventure together. The online platform you are reading or listening to is my only communications link. I would appreciate your help in recruiting others who you believe might enjoy or be entertained. Hit the “share” button or mention me in a chat or email. Almost all content is free and signing up is made as easy as possible—as is unsubscribing if things don't click.I'll be seeing you on the internet.Tasting notes• Ricardo Santos Bodega y Viñedos Tercos Malbec, Mendoza, Argentina 2022: Amiable, soft-tannin, red fruit expression of Mendoza malbec. No palate challenges, depth, or complexity, but easy choice when you want an affordable, no-drama dram. $14-15 https://www.gusclemensonwine.com/ricardo-santos-bodega-y-vinedos-tercos-malbec-mendoza-argentina-2022/#more-20691• La Mascota Vineyards Unánime Chardonnay, Argentina 2022: Consistently good value that blends Old and New World approaches to chardonnay. Not sharp and angular, also not a buttery fruit bomb, reasonable alcohol (13.5%). $15-22 https://www.gusclemensonwine.com/la-mascota-vineyards-unanime-chardonnay-argentina-2022/#more-20797• Domaine St. Laurent Rosé de Pinot Noir Block One Rouge Valley, Oregon 2023: Delicate, elegant, showcases light red fruits. Versatile, easily can be enjoyed on its own or paired with lighter fare. $25 https://www.gusclemensonwine.com/domaine-st-laurent-rose-de-pinot-noir-block-one-rouge-valley-oregon-2023/#more-20675• Ricci Curbastro Franciacorta Brut NV DOCG: Textbook Franciacorta—balanced, elegant, refreshing, clean. Classic quality from Italy's premier bottle-fermented wine region. $38-47 https://www.gusclemensonwine.com/ricci-curbastro-franciacorta-brut-nv-docg/#more-20878• Grgich Hills Estate Chardonnay, Napa Valley 2021: Delightful celebration of Napa fruit and winery skill by makers that put Napa chardonnay on the world map. Crunchy, full bodied, delicious from a vintage that encouraged ripeness and depth. $45-50 https://www.gusclemensonwine.com/grgich-hills-estate-chardonnay-napa-valley-2021/#more-20853• McGrail Vineyards Graduate Cabernet Sauvignon, Livermore Valley 2019: Burly example of dark fruit Livermore Valley cab. Not for everyone, but works for those who crave a take-no-prisoner bold red to pair with hunk of sizzling beef fresh off the grill. $65 https://www.gusclemensonwine.com/mcgrail-vineyards-graduate-cabernet-sauvignon-livermore-valley-2019/#more-20850Last roundA truck loaded with thousands of copies of Roget's Thesaurus crashed yesterday losing its entire load. Witnesses were stunned, startled, aghast, taken aback, stupefied, confused, shocked, rattled, paralyzed, dazed, bewildered, mixed up, surprised, awed, dumbfounded, nonplussed, flabbergasted, astounded, amazed, confounded, astonished, overwhelmed, horrified, numbed, speechless, perplexed.Wine time.This is a reader-supported publication. Please consider becoming a paid subscriber ($5). No matter how you subscribe, I appreciate you reading.Links worth exploringDiary of a Serial Hostess Ins and outs of entertaining; witty anecdotes of life in the stylish lane.As We Eat Multi-platform storytelling explores how food connects, defines, inspires.Dave McIntyre's WineLine Longtime Washington Post wine columnist now on Substack. Entertaining, informative.Email: wine@cwadv.comNewsletter: gusclemens.substack.comWebsite: Gus Clemens on Wine websiteFacebook: facebook.com/GusClemensOnWine/posts/Twitter (X): @gusclemensBluesky https://bsky.app/profile/gusclemensonwine.bsky.social .Long form wine stories on Vocal: Gus Clemens on VocalApple podcasts https://www.google.com/search?client=safari&rls=en&q=apple+podcasts+gus+clemens+apple+p…&ie=UTF-8&oe=UTF-8.Linkedin: Gus Clemens on Wine This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit gusclemens.substack.com/subscribe

The second of Poe's Auguste Dupin detective stories, “The Mystery of Marie Roget” follows Dupin and his biographer as they unravel the case of a missing perfume worker, found dead in the river. Written by James Comtois, and directed by Alex Zavistovich. Music and sound effects by James D. Watson, featuring the voices of Adam R. Adkins, David Hanauer, Jimi Kinstle, Melanie Kurstin, Jennifer Restak, and Alex Zavistovich. Learn more about your ad choices. Visit megaphone.fm/adchoices

The second of Poe's Auguste Dupin detective stories, “The Mystery of Marie Roget” follows Dupin and his biographer as they unravel the case of a missing perfume worker, found dead in the river. Written by James Comtois, and directed by Alex Zavistovich. Music and sound effects by James D. Watson, featuring the voices of Adam R. Adkins, David Hanauer, Jimi Kinstle, Melanie Kurstin, Jennifer Restak, and Alex Zavistovich. Learn more about your ad choices. Visit megaphone.fm/adchoices

I mean, you've got'a laugh, aintcha! Nitrous Oxide made “a picaresque journey from laboratory to lecture hall, variety palace to dentist's chair.” A substance that does not exist in nature, it fairly blew the minds of the radical scientific community in the late 18th Century when it was isolated and synthesised. Some of them couldn't decide whether it was more remarkable medicinally or recreationally. What they did know was that it was a wonderful product of a modern scientific sensibility. It is a story that takes in Joseph Priestley, Erasmus Darwin, Samuel Taylor Coleridge, Robert Southey, Humphrey Davy, Peter Mark Roget (yes, that Roget), James Watt, and at its centre, … Continue reading →

durée : 00:25:36 - Guillaume Roget, 2 étoiles pour Ekaitza - Guillaume Roget, chef du restaurant Ekaïtza à Ciboure, vient d'obtenir sa deuxième étoile Michelin. Entre surprise et humilité, il reste fidèle à lui-même, alliant exigence, passion et respect des équipes. Une belle histoire humaine au cœur de la gastronomie basque.

This week in history: the first edition of Roget's Thesaurus is published, and a tweak to the harpsichord becomes the world's first piano. The post History Matters: History, The Past, The Old Days, Once Upon A Time appeared first on Chapelboro.com.

In this episode of CASAT Conversations, we are honored to welcome Nancy Roget, Executive Director of CASAT, whose decades-long career has been dedicated to advancing substance use and mental health services. From her early days as a direct care provider to her leadership in workforce development and training, Nancy has remained steadfast in her mission to improve healthcare systems, challenge the status quo, and foster a culture of excellence and compassion.Under her leadership, CASAT has grown into a multi-million dollar, grant-funded center that provides invaluable resources for academic programs, prevention services, and professional development. Beyond her impressive achievements, it is Nancy's unwavering dedication to mentorship and innovation that has left a lasting impact. Whether supporting student-led initiatives or shaping the next generation of professionals, she continues to inspire those around her to push for meaningful change in the field.Now, Nancy reflects on her career, sharing insights on workforce challenges, emerging trends, and the critical need for training and support in behavioral health. She also offers invaluable advice for young professionals and discusses the legacy she hopes to leave behind.In this episode, Nancy discusses:The key experiences and pivotal moments that shaped her careerChallenges and gaps in the behavioral health workforce todayInnovations and trends that excite her for the futureThe growing importance of telehealth and hybrid service deliveryHer advice for young professionals entering the fieldWhat keeps her motivated after years of dedicated serviceThe lasting impact she hopes to leave on the field of substance use and mental healthJoin us for an inspiring conversation about leadership, innovation, and the enduring commitment to improving lives through behavioral health services.Key words: mental health, telehealth, healthcare leadership, prevention services, young professionals, compassion, legacy in healthResources: https://casat.org/academic/tele-behavioral-health-services-certificate/

This 2022 episode covers Peter Roget, a doctor and scientist who really liked putting things into classification systems. His life was very dramatic well before he came up with the book that is his legacy.See omnystudio.com/listener for privacy information.

Language and expression, featuring poems by Stephen Cribari, Carolyn Moore, Laura D. Weeks and Keli Osborn.Support the show

The Spark is hosting its annual book-as-gifts- guide. We spoke with Catherine Lawrence, co-owner of the Midtown Scholar Bookstore in Harrisburg, Travis Kurowski, (Ph.D) an assistance professor of creative writing at York College of Pennsylvania, and Carolyn Blatchley MLIS, Executive Director of Cumberland County Library System. The Midtown Schloar Bookstore recommendation can be found here. The Cumberland County Library Systems recommendations can be found here. Travis Kurowski Recommendations list below: NONFICTION Heartbreak Is the National Anthem: How Taylor Swift Reinvented Pop Music By Rob Sheffield I just ordered this book because I am in love with a woman who is the biggest Taylor Swift fan I have ever met. As it happens, I have only recently realized the most obvious thing about Swift's music: It's mostly about heartbreak. Our American Shakespeare of longing and distance, of regret and revenge, Swift's oeuvre is analyzed from first album to last by best-selling Rolling Stone journalist Rob Sheffield in this new book. From the publisher: “Heartbreak Is the National Anthem: How Taylor Swift Reinvented Pop Music is the first book that goes deep on the musical and cultural impact of Taylor Swift. Nobody can tell the story like Rob Sheffield, the bestselling and award-winning author of Dreaming the Beatles, On Bowie, and Love Is a Mix Tape. The legendary Rolling Stone journalist is the writer who has chronicled Taylor for every step of her long career, from her early days to the Eras Tour. Sheffield gets right to the heart of Swift and her music, her lyrics, her fan connection, her raw power.” The Message By Ta-Nehisi Coates Baltimore native Ta-Nehisi Coates's new book of nonfiction takes a risk in being human. I've been following Coates since his days reporting for The Atlantic where he made national attention making a persuasive case for reparation. Since then, he's published a best-selling works of fiction and nonfiction, even written for Marvel Comics. This latest book from Coates is an analysis of how myths and stories shape cultures and nations, from Senegal to the ongoing war on Gaza. From the publisher: “In the first of the book's three intertwining essays, Coates, on his first trip to Africa, finds himself in two places at once: in Dakar, a modern city in Senegal, and in a mythic kingdom in his mind. Then he takes readers along with him to Columbia, South Carolina, where he reports on his own book's banning, but also explores the larger backlash to the nation's recent reckoning with history and the deeply rooted American mythology so visible in that city—a capital of the Confederacy with statues of segregationists looming over its public squares. Finally, in the book's longest section, Coates travels to Palestine, where he sees with devastating clarity how easily we are misled by nationalist narratives, and the tragedy that lies in the clash between the stories we tell and the reality of life on the ground.” Lovely One: A Memoir By Ketanji Brown Jackson The election was hard for everyone—every national election has been in recent memory. Memoirs from people behind the scenes in spaces shaped by such elections have always been popular, more recently they seem to be a source of sustenance. I cannot see the new memoir by Justice Ketanji Brown Jackson—the first black woman and first public defender to serve on the U.S. Supreme Court—as anything else. From the publisher: “With this unflinching account, Justice Ketanji Brown Jackson invites readers into her life and world, tracing her family's ascent from segregation to her confirmation on America's highest court within the span of one generation.” FICTION The Vegetarian By Han Kang 2024 Nobel winner for Literature, Han Kang also won the 2016 Booker Prize for her most widely read novel, The Vegetarian, a short novel I read in a gulp years ago when it was first translated from the Korean into English by Deborah Smith. The power of The Vegetarian is ineffable, which is an odd thing to say for a book—that it is beyond words—but that is the power and experience of great art.     A perfect introduction to Kang's work. From the publisher: “Before the nightmares began, Yeong-hye and her husband lived an ordinary, controlled life. But the dreams—invasive images of blood and brutality—torture her, driving Yeong-hye to purge her mind and renounce eating meat altogether. It's a small act of independence, but it interrupts her marriage and sets into motion an increasingly grotesque chain of events at home. As her husband, her brother-in-law and sister each fight to reassert their control, Yeong-hye obsessively defends the choice that's become sacred to her. Soon their attempts turn desperate, subjecting first her mind, and then her body, to ever more intrusive and perverse violations, sending Yeong-hye spiraling into a dangerous, bizarre estrangement, not only from those closest to her, but also from herself. Celebrated by critics around the world, The Vegetarian is a darkly allegorical, Kafka-esque tale of power, obsession, and one woman's struggle to break free from the violence both without and within her.” All Fours By Miranda July There has been no other book I've heard about as much this year as filmmaker and fiction writer Miranda July's latest novel All Fours, about what happens when we ignore our desires—by which I mean, ignore our very selves—and the confusing struggle it might be to ever find ourselves again. The conversations I've had about this book have been as rich and meaningful as the book itself, conversations I hold dear and have changed me forever. From the publisher: “A semi-famous artist announces her plan to drive cross-country, from LA to NY. Thirty minutes after leaving her husband and child at home, she spontaneously exits the freeway, checks into a nondescript motel, and immerses herself in an entirely different journey. Miranda July's second novel confirms the brilliance of her unique approach to fiction. With July's wry voice, perfect comic timing, unabashed curiosity about human intimacy, and palpable delight in pushing boundaries, All Fours tells the story of one woman's quest for a new kind of freedom. Part absurd entertainment, part tender reinvention of the sexual, romantic, and domestic life of a forty-five-year-old female artist, All Fours transcends expectation while excavating our beliefs about life lived as a woman. Once again, July hijacks the familiar and turns it into something new and thrillingly, profoundly alive.” Playground By Richard Powers Richard Powers won the 2019 Pulitzer Prize for fiction for his previous novel The Overstory, arguably the single most important American novel ever published about our relationship to the environment, all told through the lens of our human relationship to trees. Powers's latest novel, Playground, is about artificial intelligence and the ocean. And I expect nothing less. From the publisher: “Four lives are drawn together in a sweeping, panoramic new novel from Richard Powers, showcasing the Pulitzer Prize–winning author of The Overstory at the height of his skills. Twelve-year-old Evie Beaulieu sinks to the bottom of a swimming pool in Montreal strapped to one of the world's first aqualungs. Ina Aroita grows up on naval bases across the Pacific with art as her only home. Two polar opposites at an elite Chicago high school bond over a three-thousand-year-old board game; Rafi Young will get lost in literature, while Todd Keane's work will lead to a startling AI breakthrough. They meet on the history-scarred island of Makatea in French Polynesia, whose deposits of phosphorus once helped to feed the world. Now the tiny atoll has been chosen for humanity's next adventure: a plan to send floating, autonomous cities out onto the open sea. But first, the island's residents must vote to greenlight the project or turn the seasteaders away. Set in the world's largest ocean, this awe-filled book explores that last wild place we have yet to colonize in a still-unfolding oceanic game, and interweaves beautiful writing, rich characterization, profound themes of technology and the environment, and a deep exploration of our shared humanity in a way only Richard Powers can. COMICS Future By Tommi Musturi I saw this book while browsing with my daughters and close friends at Lost City Books in Washington, DC—a bookstore I cannot recommend enough for its curation, display, and overall artistry in the selling of books—and it actually took my breath away. I saw it from across the room, huge and bold in color and design. Almost the shape and size of a small board game, this absolutely thrilling collection of Mutsuri's is so stunning it feels unbelievable it exists and, more than that, was somehow published. It's an atomic explosion of creativity fracturing the very medium of comics. Few art experiences in the world give such a rush. From the publisher: “A graphic, genre-mashing magnum opus from one of the most restlessly creative voices in comics. Tommi Musturi's Future traps the reader into a web of stories happening in different timespaces, providing perspectives on the possible futures of mankind through imaginary future worlds, current events, historical references, utopias, and ideals. Future is a mash-up of the familiar and the terribly alien: quotidian existence, sci-fi spectacle, utopian fantasy, AI dystopia, and other worst-case scenarios. Richly philosophical and allegorical, Musturi gives us alcoholic magicians, guerrilla art squads, mutant reality television hosts, and incel archaeologist-astronauts, among many others. Weaving between a variety of styles in illustration and narration that transform and reflect our constantly changing reality, Future is an impassioned graphic novel for our times that renews the medium of comics—a vital and multifaceted work of art.” Here By Richard McGuire Now a major motion picture starring Tom Hanks and Robin Writing, Richard McGuire's 2014 graphic novel Here is almost made small by calling it a graphic novel. It is, certainly, a work of fiction, and so technically then a graphic (comic) novel (fiction), but it's also one of the strangest and most beautiful works in the comics medium ever made. Every page of the book is a drawing of the same corner of the same room across 300 million years of history. Yes, the same space, variously drawn, across 300 million years. And seeing that space across time, stories do emerge, but only in the same way they do in the reality within which we all exist—because we construct them. Since the first pages of the book concept were published in 1989, its impact has rippled throughout the comics world, and continues to. From the publisher: “From one of the great comic innovators, the long-awaited fulfillment of a pioneering comic vision: the story of a corner of a room and of the events that have occurred in that space over the course of hundreds of thousands of years.” POETRY By Fady Joudah There are few contemporary issues as important as the well-being and fate of the Palestinian people, and few voices in American literature as important and prominent in this area as Palestinian American poet and physician Fady Joudah. The book's strange title, […], is a pictogram, a symbol evoking meaning: silence, perhaps, or erasure. The brackets for what has been omitted, the internal ellipsis for all that remains unsaid. Joudah wrote the poems in […] between October and December 2023, a time of much suffering, ceaseless since. From the publisher: “Fady Joudah's powerful sixth collection of poems opens with, ‘I am unfinished business,' articulating the ongoing pathos of the Palestinian people. A rendering of Joudah's survivance, […] speaks to Palestine's daily and historic erasure and insists on presence inside and outside the ancestral land. Responding to the unspeakable in real time, Joudah offers multiple ways of seeing the world through a Palestinian lens—a world filled with ordinary desires, no matter how grand or tragic the details may be—and asks their reader to be changed by them. The sequences are meditations on a carousel: the past returns as the future is foretold. But ‘Repetition won't guarantee wisdom,' Joudah writes, demanding that we resuscitate language ‘before [our] wisdom is an echo.' These poems of urgency and care sing powerfully through a combination of intimate clarity and great dilations of scale, sending the reader on heartrending spins through echelons of time. […] is a wonder. Joudah reminds us ‘Wonder belongs to all.'” Wrong Norma By Anne Carson I've been following Canadian poet Anne Carson's career since I picked up a copy of her wildly experimental and stunning 1998 book, Autobiography of Red—" richly layered and deceptively simple, Autobiography of Red is a profoundly moving portrait of an artist coming to terms with the fantastic accident of who he is”—while living for a summer at the home of potter Jim Romberg in southern Oregon, details that may seem insignificant, but that's not how art works on us. Carson is one of the world's—the world's—most experimentally stunning poets who somehow still reaches the depth of human emotion. A classicist who has translated the Greek Tragedies for the stage, along with the most stunning book of Sappho's poetry I've ever read, Wrong Norma is a sampling of the same erudition and emotion we have for decades expected from the poet. Oh, and she's incredibly funny. I haven't read this book yet, but I will, because I agree wholeheartedly with the late Susan Sontag about Carson: “She is one of the few writers writing in English that I would read anything she wrote.” From the publisher: “Published here in a stunning edition with images created by Carson, several of the twenty-five startling poetic prose pieces have appeared in magazines and journals like The New Yorker and The Paris Review. As Carson writes: ‘Wrong Norma is a collection of writings about different things, like Joseph Conrad, Guantánamo, Flaubert, snow, poverty, Roget's Thesaurus, my Dad, Saturday night. The pieces are not linked. That's why I've called them ‘wrong.'”Support WITF: https://www.witf.org/support/give-now/See omnystudio.com/listener for privacy information.

In the latest episode of The Film Scorer podcast I'm joined by Wilbert Roget, II (Star Wars: Outlaws, Helldivers 2, Mortal Kombat). While Wilbert is best known for his work scoring video games, including recently receiving a Grammy nomination for Star Wars: Outlaws, our focus is on something a little different. Wilbert has just made his first foray into scoring for tv, with the limited series Gundam: Requiem for Vengeance! As such, we dig deep into his score for the six-episode series, including building out the eclectic sonic palette, working closely with the Japanese team, being the first non-Japanese composer to score a Gundam project (and the pressures that come with that, and plenty more. He even lists some of his favorite Gundam series, both in terms of overall show as well as primarily for their score. We also drive down other avenues, such as his work on other games, scoring 48-hour game jams, and how Japanese music his significantly impacted him. Wilbert's score, and much of his other music, is available on all major platforms. Gundam: Requiem for Vengeance is currently on Netflix (at least in most territories). You can find out more about Wilbert on his website.

Wilbert Roget II, lead composer on the much anticipated open-world video game Star Wars Outlaws, explains how he went about composing a soundtrack that was fresh while still incorporating core elements of the franchise's music. He also delves into his creative process, and teases what fans can expect from the game's music and audio.

Když se řekne Star Wars, všichni si představí velkolepé melodie Johna Williamse. Nová hra Star Wars Outlaws, podobně jako například seriál Mandalorian, ovšem dokazuje, že se hudební doprovod dá uchopit úplně jinak a pořád to bude znít jako hudba z milované předaleké galaxie.  Je to zásluhou Wilberta Rogeta II., který se na hrách ze Star Wars universa podílel už dvě dekády nazpět. Jeho příběh a kariéra krásně ilustrují, jak barvitou dráhu může herní skladatel mít. Někdy dělal v týmu, jindy sólo, pokaždé ale trochu jinak a teprve v posledních letech se dostal do pozice výrazného skladatele. Proto jsme mu věnovali tento díl podcastu Retro noty. A jeho příběh tím zdaleka nekončí, vzhledem k nízkému věku se od něj bezpochyby dočkáme dalších skvělých melodií! Podívejte se na ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.retronation.cz⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ na skvělé výlety do herního retra!

In this episode of Biographers in Conversation, Joshua Kendall chats with Gabriella about the choices he made while writing The Man Who Made Lists, his biography of Peter Mark Roget, the eighteenth-century polymath who created the legendary Roget's Thesaurus.  Here's what you'll discover in this episode:  Why Joshua felt compelled to write The Man Who Made Lists.  The meaning behind the book's title.  Why Joshua decided to open the biography with a tragic scene involving Peter Roget.  How Joshua crafted a deeply nuanced portrait of Roget's that conveys his complicated personality, relationships and behaviour. How Joshua navigated the complexities of portraying mental illness.  Why Joshua began each chapter with an exhaustive list of synonyms. Joshua's research strategy given Roget lived two centuries ago. How Joshua corroborated the fragmentary evidence he discovered in the archives.  How Joshua reconstructed scenes from Roget's life that overflow with accurate historical details of famous people, events and settings. The literary devices Joshua borrowed from novelists to create a captivating narrative.  https://biographersinconversation.com Facebook: Share Your Life Story Linkedin: Gabriella Kelly Davies Instagram: Biographersinconversation

Join us for an exclusive interview with Wilbert Roget II, as we explore his creative process and reveal behind-the-scenes tales of Mortal Kombat 1's music. Subscribe and turn on notifications to catch this incredible episode! --- Send in a voice message: https://podcasters.spotify.com/pod/show/realmkast/message Support this podcast: https://podcasters.spotify.com/pod/show/realmkast/support

Peter Mark Roget waited until retirement to compile his personal collection of synonyms into a book for publication: the first edition of Roget's Theasurus, released on 29th April, 1852.  Despite initial scepticism from critics, who couldn't grasp its practical brilliance, the public embraced the new format - despite its unconventional organisation, in which synonyms were categorised by conceptual threads, rather than in alphabetical order. In this episode, Arion, Olly and Rebecca explain how Roget drew inspiration from the systematic brilliance of Carl Linnaeus; discover literary references to the book in J.M. Barrie and Sylvia Plath; and question whether Roget's work was an entirely positive development for journalism… Further Reading: • ‘Roget and His Thesaurus' (The Saturday Evening Post, 2023): https://www.saturdayeveningpost.com/2023/01/roget-and-his-thesaurus/ • ‘Peter Mark Roget, the Keeper (See: Steward, Caretaker) of Synonyms' (The New York Times, 2008): https://www.nytimes.com/2008/04/18/books/18book.html • 'Eulogy at a Roget's Thesaurus Funeral - Johnny Carson' (NBC): https://www.youtube.com/watch?v=PSYzLJiSZzM Love the show? Join

It is time to dive deep into another composer, this week we’re diving into the amazing and active composer Wilbert Roget II. The man who started out at an early age playing the piano, who fell in love with the interactive music in video games and tunes from Animes such as Cowboy Bebop. We look [...] Inlägget Gameable Audio #032 – Who is Wilbert Roget II dök först upp på Videospelsklubben.

durée : 00:24:58 - Henriette Roget, Concerto sicilien - par : Anne-Charlotte Rémond - Aujourd'hui dans Musicopolis, nous vous emmenons à Paris le 27 janvier 1946 pour l'audition du « Concerto Sicilien » d'Henriette Roget. - réalisé par : Claire Lagarde

This week Shauna and Dan pass the podcasting test "with flying colors"! We explore flags, heralds, banners, and even liveries to find the origins of this phrase. Bonus: Synonyms with Roget, Crowsnests with Ensign Crusher, and Georgian Portia's with Miss Ferguson. #BunnyTrails Copyright 2023 by The Readiness Corner, LLC - All Rights Reserved

Release Date: July 18, 2013Auguste Dupin investigates the murder of a young woman found floating in a Paris river.Original Air Date: December 14, 1953Support the show monthly at patreon.greatdetectives.netSupport the show on a one-time basis at http://support.greatdetectives.net.Mail a donation to: Adam Graham, PO Box 15913, Boise, Idaho 83715Take the listener survey…http://survey.greatdetectives.netGive us a call 208-991-4783Follow us on Instagram at http://instagram.com/greatdetectivesBecome one of ourfriends on FacebookFollow us on Twitter@radiodetectivesThis show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/5901852/advertisement

Aaron Rodgers season and Achilles over in 3 plays, NFL panics, Jets miracle win, Matt Ryan to the rescue? Braves can clinch in Philly, Matt Olson's monster season, Kyle Wright back, Charlie Morton in 2024? Dodgers remove Urias locker, Falcons hot start, AI football fans, CFB strangeness, AP Top 25 poll, Mel Tucker vs woman accuser, Art Briles to be drawn and quartered, Draft Kings goes a bridge too far with 9/11 parlay, Djokovic & Coco dominate U.S. Open, facebook censors Atlanta Crackers, woman goes around the world (on a bicycle), Cy Young vs Christy Mathewson, Jesse Owens bday, Angel "Fat Bastard" Cabrera, Roget's Thesaurus also was Roget's slide rule and Roget's pocket chessboard, WWI veteran cricketer, Willie Mays enters hospital for nervous exhaustion, Duke Snider begs Mets to trade him, Denny McLain's career ends as a Brave, Harry Caray nearly commits hari kari while making fun of Hideo Nomo, plus Pete's Tweets and This Day in Sports History 

A $17 cookie, blink-182's Apple Shampoo lyrics, Liver Guy, bull semen, magazine covers, feeding a family on a $3k/week salary, Roget's Thesaurus, dental hygienists, blackout rage gallons, free lunches, Walmart versus Target, Never Have I Ever, accidental incest, a 2,000-year-old sex toy, a 1998 Ford Escort, missing biscuits, a kissing device, a giant squid statue, spreadable coffee, and more odd news stories. Double X Quantimino A $17 Chocolate Chip Cookie Dude Ranch, Apple Shampoo, Dance Hall Crashers Liver Guy Follow-up Story Bull semen - She tells you to take a shot right before coitus. Your fake magazine cover Plug In & Hate - A mother of two explains how she feeds her toddlers with her $3k/week salary. A truck loaded with thousands of copies of Roget's Thesaurus crashed yesterday losing its entire load. Witnesses were stunned, startled, aghast, taken aback, stupefied, confused, shocked, rattled, paralyzed, dazed, bewildered, mixed up, surprised, awed, dumbfounded, nonplussed, flabbergasted, astounded, amazed, confounded, astonished, overwhelmed, horrified, numbed, speechless, and perplexed. "What does that make you?" Borgs - blackout rage gallons Arthur the Freegan Walmart Never Have I Ever - Retro Edition This Is The Newz Australia worried 'prolific' sperm donors could lead to 'accidental incest' This Well-Worn Wooden Object Was Unearthed In A Roman Fort — And Scientists Believe It's A 2,000-Year-Old Sex Toy Man wins $10K lottery prize, but state instead claims he owes them money Woman goes viral for buying a 1998 Ford Escort for $289 a month for the next 84 months Georgia woman crashes SUV into Popeyes after her order was missing biscuits ‘They missed a whole bomb in my bag,' woman says at FLL, landing her in jail Spirit Airlines flight makes emergency landing after battery fire An airline provided a single banana as the in-flight 'meal' for one vegan passenger This Chinese kissing device lets you smooch over the internet Burrito's Nippon Newz Japanese town that spent 25 million yen in COVID money on giant squid statue says it paid off big Japanese monkey-hunting team shoots woman with tranquilizer dart Spreadable coffee to put on your toast going on sale in Japan After Party - Dental hygienists can tell. Deepfake Sponsors: Julio Tejas, Booba Gettz The Crazy One, Thicccum Farmz Slam City Radio 24/7 x https://slamcity.co/scr247/

This week, Gilly is with Niki Segnit, the award-winning author of The Flavour Thesaurus, Lateral Cooking, and now The Flavour Thesaurus: More Flavours, The original Flavour Thesaurus published in 2011 has been called “a masterpiece” and is widely seen as a modern classic with its flavour pairings format inspired by Roget's Thesaurus. This sequel is all about plant-led pairings, giving us imaginative and ingenious ideas to make our plant forward diets so much more exciting. Hosted on Acast. See acast.com/privacy for more information.

This episode contains: Devon doesn't feel the valentine's spirit this week. Ben's kid loves Trailmakers, Ben used barter.vg to trade for the game. "Are we back to bartering?" asks Steven. Did we ever stop? Steven knows about bartering thanks to Fallout 1. Devon & Ben watched the Superbowl. Steven went to a SB party but didn't watch it. Steven is really enjoying Hogwarts Legacy. Steven recognized Ben was way too stressed out over debt in our Traveller game. Ben learned that he had more fun in an RPG by making it a "yes day." We don't want to be Murder Hobos in RPGs. Context around the term "murder den" is helpful. This Week in Space: Ring discovered around dwarf planet Quaoar confounds theories. There's a ring around the dwarf planet Quaoar just outside the solar system. How is the dwarf planet Quaoar pronounced? Devon tries his best. Quaoar has rings further away from the planet than we thought possible. The Roche limit is the zone where a planetary ring can be created. Scientists discover planets by observing their gravitational pull. https://www.theguardian.com/science/2023/feb/08/ring-discovered-around-dwarf-planet-quaoar-confounds-theories#:~:text=Astronomers  THE YEAR 2000! I mean 2038: Remember the year 2000? Destiny's Child was huge. Y2K was a thing. Is Y2K behind us? Maybe! Y2K38 is upon us. It's the Epochalypse! Unix time started 00:00:00 UTC on 1 January 1970. What's a Unix system? Got an iPhone or an Android? You have a Unix system. Watch out! The Epochalypse bug will happen 03:14:07 UTC on 19 January 2038, and all 32-bit systems will crash! When was Unix first created? Development started in 1969. We can solve the Epochalypse by going 64-bit, and give us 292 billion years more time. In 2038, do you think Destiny's Child will make a comeback? https://en.m.wikipedia.org/wiki/Year_2038_problem The Back Half: Devon encourages our Patrons to keep doing what they're doing. We talk about some feedback we got from a Patron! You know Ben has a Merriam-Webster's unabridged dictionary. Silly Ben said Roget's Thesaurus, meant Merriam-Webster's unabridged dictionary. The Big Question: Is technology making many jobs obsolete? If so, should we have a universal basic income? We talk the iterative nature of societal development. Are white collar jobs becoming obsolete too? YEP! Should government slow the pace of tech to ensure worker's can keep up? No. We talk about how cool universal basic income would be. Ben grew up a welfare kid: his parent's had govt support, and Ben is grateful. Ben's family had the benefit of society helping people, and made Ben who he is. Steven talks about how life changed after getting laid off. Life would have been easier for all of the hosts with universal basic income. Do you think less people would be willing to work with universal basic income? The 1980s concept that more money = happy life is not true. A good emergency can financially derail anybody. Is there a solve? Just because some people leech off a system, does it mean we shouldn't have nice things? Is offering help with conditions really offering help? Is it fully altruistic? Which other social programs would be superceded by universal basic income? How can we fix the inflation problem with universal basic income? Minimum wage is not a living wage. Would universal basic income be a living wage? Will Devon go to the robot-run McDonalds in Texas? Time will tell. Kurzgesagt Universal Basic Income video: https://www.youtube.com/watch?v=kl39KHS07Xc    Patreon Only: Patreon-only pre-show: "Up is go!" The Lost in Space movie has a cool level of 1 million, says Ben.  Devon has trouble with embedding websites in Notion, and he's frustrated. Devon doesn't know what a fuzzy search is. Even if you're a boomer on TikTok, you can say "get off my lawn" to mean gatekeepers. Ben is happy to be a house spouse. Patreon-only mid-show: Have you guys heard about bit flips from cosmic rays? Devon has. Steven: Player's Guides are trash, now that we have the internet. Next week we'll be recording in person! All three of us! Maybe talk Quantumania. Patreon-only post-show: We talk Klara and the Sun by Kazuo Ishiguro. So touching. Devon likes the book Anxious People. There's a reason for the different zombies in The Last of Us. That new Flash trailer looks fun. Ever wanted to know why Ben is pissed at a Star Trek novel?

From Elanor Welsh Casey Theater in Weston, MA with host Richard Sher Stereo Left: Carolyn Faye Fox, Arnie Reisman, Paula Lyons Stereo Right: Tom Kemp, Francine Achbar, Barry Nolan Music: The International String Trio   Rounds Played: Round 1: Common Misconceptions Round 2: Bluff (semple) Round 3: Roget's Revenge Spotlight Round: U.S. Capital Cities Round 4: Bluff (dap) Round 5: New Music  

Roget Chahayed's work is nominated for six Grammys this year, including Album of the Year for Mary J. Blige's “Good Morning Gorgeous (Deluxe).” That's not bad for a kid from the valley. When you buy something that has an “organic” label on it, can you trust that it is? The USDA is implementing new rules to protect the integrity of the organic supply chain, and build consumer and industry trust. In the last year, there have been more calls for workers' rights and higher wages. Locally, Assembly Bill 257 would raise wages and ensure safer environments for lower-paid food service workers.

On this day in 1779, English thesaurus author Peter Mark Roget was born in Soho, London.See omnystudio.com/listener for privacy information.

Welcome to January 18th, 2023 on the National Day Calendar. Today we celebrate having a way with words and silly old bears. You may not immediately recognize the name Peter Mark Roget, but chances are you've read his book. Or at least parts of it. In 1852, he published his Thesaurus of English Words and Phrases, which is still in use today. Over the years, Roget's publication has been a lifesaver for writers trying to avoid overusing the same words. And oddly enough, the word “thesaurus” is derived from the Greek word for “treasure.” Others have published thesauri over the years, but on National Thesaurus Day we celebrate the original tome. Marlo: Did you say tomb? Anna: No, no, no, no; "tome." You know, like the writing or the publication. Marlo: Oh, okay I got you. John: Is a "thesauri" a kind of dinosaur? Marlo: I wonder if anyone ever went up to Peter said, "Hey, I've read your entire book!" Anna: What's another word for cretin? Marlo: Good question. Alan Alexander Milne was born on this day in 1882. His father ran a private school where one of Alan's teachers was H.G. Wells. The boy would grow up to be an author himself, though not in the science fiction genre favored by his teacher. Alan tried his hand at playwriting but found his true calling in children's books. Inspired by visits to the London Zoo, he discovered his most loveable character through a black bear named Winnie. His son, Christopher Robin named his own teddy bear Winnie and the charm of this 1926 series was born. Today the books have been translated into more than 50 languages! On National Winnie the Pooh Day we celebrate the classic legacy of the gentle adventures in the Hundred Acre Woods. I'm Anna Devere and I'm Marlo Anderson. Thanks for joining us as we Celebrate Every Day!  Learn more about your ad choices. Visit megaphone.fm/adchoices

Todays Topic : How to build powerful relationships & the importance of creating a powerful network Instagram.com/musclebullyFacebook.com/xdogvestYouTube.com/xdogtvwww.xdog.com

From the Salt Lake Public Library in Salt Lake City, UT, with host Richard Sher Stereo Left: Carolyn Faye Fox, Arnie Reisman, Paula Lyons Stereo Right: Tony Kahn, Francine Achbar, Barry Nolan Music: Brass Tacks   Rounds Played: Round 1: What's The Difference? Round 2: Bluff (oojah) Round 3: Addenda Round 4: Bluff (poncif) Spotlight Round: Fit To Be Tidal Round 5: Roget's Revenge

Andrew Nicholls joined me to talk about taping The Tonight Show; early English children's TV; The Flintstones; Monty Python; meeting Darrell Vickers; writing The Blob as a musical; trying to write a book depicting the real life of a comedy writer; how TV is like any other job in some ways; TV being a collaboration - both good and bad; We're Only Joking; how working in Canada gave him and Darrell a full tool kit for writing comedy; the many jobs in comedy he had; Alan Thicke buys some jokes but uses all that were sent; Thicke of the Night; teaming up writers to save money; Wayne Kline; how poorly the show was run; SCTV's parody; babysitting a young Robin Thicke; didn't sit in the audience of the shows he worked on so he has a different experience; writing for Mickey Rooney; working on the pilot Apartment 2C with George Carlin; finding scenes from the Canadian sitcom Flappers co-starring Martin Short on You Tube; SCTV still holds up; Jimmy Neutron's notes flummox fans; sending a first draft away being like sending finely crafted sausage to a pack of dogs; network notes and suits; David Birney on St. Elsewhere; writing a sample package for Johnny Carson that two agents said wasn't good enough but got them the job; how Shelly Cohen got their package to Johnny; 13 week cycles of firings; Johnny saw their output and they stayed; Johnny firing everyone but them after 1988 Writers strike; meeting at Johnny's home in Malibu weekly; Check it Out; Don Adams; Art Fern, Telescam, Aunt Blabby; Teresa Ganzel; show only stopped tape twice; Overlaying Billboards; my favorite episode from 1990; George Carlin; people who died jokes; Johnny's theory, "If people laugh, it's funny"; Roget's Eulogy; two sketches that were nixed: Tongue Twister Magazine and Limerick Bank Robbery; doing remotes from Kentucky; Dominoes Deliverymen Falling; Sniveling Weasel Awards; Worlds Longest Limo; Johnny did not want to do remotes; remotes dubbed over by Johnny; George Carlin Show; Pearl; consulting on sitcoms; The Magic Hour and Howard Stern; British TV

Wilbert Roget, II is an award-winning American video game composer who provided the goosebump-inducing “A Matter of Time” main theme and breathtaking cinematic soundtrack to Mortal Kombat 11's expansive Story mode. Having once worked for LucasArts on a number of Star Wars titles until their acquisition by Disney, Wilbert later broke free and went independent. He would later work on a number of blockbuster titles including Lara Croft and the Temple of Osiris, Call of Duty: WWII, and most recently Call of Duty: Mobile. — FOLLOW WILBERT ROGET, II — Website: http://www.rogetmusic.com Twitter: https://twitter.com/WilbertRoget Facebook: https://www.facebook.com/RogetMusic

Another week, another podcast.This week, we are joined by Stephan Roget of CanucksArmy, and Rick Dhaliwal of Donnie and Dhali. Dhaliwal gives us the actual latest information on the Elias Pettersson and Quinn Hughes contracts, and has some advice on how to use Twitter.Support the show (http://patreon.com/canucksconvo) See acast.com/privacy for privacy and opt-out information.