Podcasts about shakespeare

Was Hamlet just distracted the whole time?Topics in this episode include: the continued character assassination of Mr. Best, Haines makes a return, Douglas Hyde's poetry, the artistic ethos of the Celtic Revival, the political demands of the art scene in 1904 Dublin, Æ, symbolist poetry and Stéphane Mallarmé, the influence of Mallarmé on Joyce, “Hamlet et Fortinbras,” Rudyard Kipling and “The Absentminded Beggar,” the politics of the Boer War in 1904, Shakespeare as propaganda, Khaki Hamlets and the brutality of Shakespeare, the Mitchelstown Massacre, Algernon Swinburne and “On the Death of Colonel Benson,” British use of concentration camps during the Boer War, and further use of British literary icons as propaganda.Support us on Patreon to access episodes early, bonus content, and a video version of our podcast.Blooms & Barnacles Social Media:Facebook | Twitter | InstagramSubscribe to Blooms & Barnacles:Apple Podcasts | Spotify | YouTube

Theatre and magic collide as Erik Christopher Peterson kicks off a seven-episode Harry Potter and the Cursed Child cast takeover on the podcast. In this deep-dive conversation, Erik reflects on growing up with a theatre educator dad, trading in his baseball glove for the stage, and eventually making his Broadway debut as Scorpius Malfoy. He shares the inspiration behind some of his original plays (like the hilariously surreal The Tragedy of Clownpheus and EuridIceCream), how Shakespeare continues to influence his work, and the joy of building his version of Scorpius eight shows a week. Erik talks about navigating the illusion-heavy world of Cursed Child, from mastering time turners and flaming trolleys to discovering emotional nuance in the show's father-son themes and the beautifully complex friendship between Scorpius and Albus. He opens up about performance anxiety, self-care, and the unexpected fan art that continues to move him. It's a candid, heartfelt look at what it means to debut on Broadway in one of its most technically complex productions. Erik Christopher Peterson is a writer, director, and actor whose credits include The Importance of Being Earnest, Othello, and several original plays he co-created, such as The Tragedy of Clownpheus and EEuridIceCream. He graduated from Webster University and currently stars as Scorpius Malfoy in Harry Potter and the Cursed Child on Broadway. This episode is powered by WelcomeToTimesSquare.com, the billboard where you can be a star for a day. Connect with Erik IG: @erik.c.peterson Connect with The Theatre Podcast: Support the podcast on Patreon and watch video versions of the episodes: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Patreon.com/TheTheatrePodcast⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Twitter & Instagram: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@theatre_podcast⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook.com/OfficialTheatrePodcast⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠TheTheatrePodcast.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Alan's personal Instagram: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@alanseales⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Email me at feedback@thetheatrepodcast.com. I want to know what you think. Learn more about your ad choices. Visit megaphone.fm/adchoices

Send us a textIn this episode of Hallmark Mysteries and More, Andrea and Eric break down Private Eyes – Season 1, Episode 9: “Disappearing Act”, where nothing is as it seems… especially when a magician vanishes from police custody.We dive into all the reasons this episode felt like a surprise season finale:

The twins sent out a Zoom link to a bunch of Twindividuals and spent a couple of hours talking, laughing, listening, and answering questions like, “What would you say to the new Pope?” and “What would you say to someone just about to get gay married?” They also listened to stories about redneck terrorists and pride flag problems—plus, someone does Shakespeare very sincerely. Follow us! Instagram: @Twinnuendo @darbylynncartwright @DontTalkToGrant TikTok: @twinnuendopod @thedarbylynn @DontTalkToGrant Twitter: @Twinnuendo @TheDarbyLynn @DontTalkToGrant Support our Patreon: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://patreon.com/Twinnuendo?utm_medium=unknown&utm_source=join_link&utm_campaign=creatorshare_creator&utm_content=copyLink⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Subscribe to our podcast: Spotify: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://open.spotify.com/show/1LtOrDbZh646DYt66FzKUP?si=212f3d3cc4ac478a⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Apple Podcasts: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://podcasts.apple.com/us/podcast/twinnuendo/id1757646055⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Call us!(940) ASS-TWIN IMHO: the PODCAST: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://swap.fm/l/IMHO⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Twinnuendo.com  Send us mail!  Drew 12348-B Ventura Blvd # 134 Studio City, CA 91604 Grant PO Box 783711 Winter Garden, FL 34778 Learn more about your ad choices. Visit podcastchoices.com/adchoices

UnionJack #BritishPride #CultureDay #UKPolitics #JonGaunt

Can reading King Lear help us rethink economic policy? Can Measure for Measure shape how we talk about justice, or Hamlet help us face grief? That's the idea behind an ambitious project at Montreal's McGill University called Reimagining Shakespeare, Remaking Modern World Systems. Led by Laurette Dubé, professor emerita of management, and Paul Yachnin, professor of Shakespeare studies, the initiative brings together experts in economics, health policy, AI,  and robotics, with theater and literary artists and humanities scholars, to explore how Shakespeare's plays can help us think more humanely—and creatively—about the systems we inhabit. In this episode, Dubé and Yachnin discuss how Shakespeare's theater created a space where money, power, and empathy intersected—and why those same plays may hold insights for addressing today's most complex challenges, reminding us of how the humanities can help us build a better future. From the Shakespeare Unlimited podcast. Published July 15, 2025. © Folger Shakespeare Library. All rights reserved. This episode was produced by Matt Frassica. Garland Scott is the executive producer. It was edited by Gail Kern Paster. We had help with web production from Paola García Acuña. Leonor Fernandez edits our transcripts. Final mixing services are provided by Clean Cuts at Three Seas, Inc.

January 18, 1604: King James, a Protestant, announces that he will commission an English translation of the Bible.January 16, 1605: Miguel de Cervantes' Don Quixote is published in Spain. It is considered to be the first modern novel. Every sophisticated storytelling device used by the best writers today made its initial debut in Don Quixote.February 28, 1605: A 41-year-old Italian named Galileo publishes an astronomical text written as an imagined conversation. A pair of Paduan peasants talk about Kepler's Supernova.One says, “A very bright star shines at night like an owl's eye.”And the other replies, “And it can still be seen in the morning when it is time to prune the grapevines!”The observations of the peasants clearly disprove the widely held belief that the earth is the center of the universe. The authorities take note. Uh-oh for Galileo.November 1, 1605: Shakespeare's Othello is first performed for King James in the banqueting hall at Whitehall Palace in London.Meanwhile, a group of English Roman Catholics stack 36 barrels of gunpowder under the floor of the Palace of Westminster. Their plan is to blow up the king, his family, and the entire legislature on November 5, 1605.The Gunpowder Plot is discovered by a night watchman just a few hours before Guy Fawkes was to have lit the fuse.Shakespeare immediately begins writing a new play. In it, a ruler gives enormous power to those who flatter him, but his insanity goes unnoticed by society. “King Lear” is regularly cited as one of the greatest works of literature ever written.May 13, 1607: One hundred and four English men and boys arrive in North America to start a settlement in what is now Virginia. They name it “Jamestown” after King James. The American Experiment has begun.Don Quixote, Galileo, Shakespeare, the crisis of King James, and the founding of Jamestown in the New World…All of this happens within a span of just 28 months. Flash forward…May 2, 1611: The English Bible that will be known as the King James Version is published.April 23, 1616: Shakespeare and Cervantes – the great voices of England and Spain – die just a few hours apart. (Galileo continues until 1642.)July 4, 1776: The 13 colonies of the American Experiment light a fuse of their own and the Revolutionary War engulfs the Atlantic coast.November 19, 1863: Abraham Lincoln looks out over a field of 6,000 acres. He says,“Four score and seven years ago our fathers brought forth on this continent a new nation, conceived in liberty, and dedicated to the proposition that all men are created equal. Now we are engaged in a great civil war, testing whether that nation, or any nation so conceived and so dedicated, can long endure.”Lincoln ends his speech one minute later. His hope is that “government of the people, by the people, for the people, shall not perish from the earth.”Lincoln's fear is that “the people” will not remain firmly united enough to resist the takeover of a tyrant. We know this because he opens his speech by referring to our 1776 Declaration which rejected crazy King George. America had escaped George's heavy-handed leadership just –”four...

Producer/Director - Jeremy McCarter, Sound Designer - Misha Fiksel Making its World Premiere at the venerable Tribeca Festival and featured on Apple Podcasts, MakeBelieve's revelatory new take on Shakespeare's iconic tragedy drops you inside the fractured mind of the prince.  Produced and directed by Jeremy McCarter and with breathtaking binaural sound design by Tony-Award winner Mikhail "Misha" Fiksel, this is Hamlet as you've never heard it before. JEREMY McCARTER Jeremy is the founder and executive producer of Make-Believe Association, a nonprofit audio production company. Prior to Hamlet, he co-created, co-wrote, and executive produced Lake Song, the acclaimed audio-drama series that was an Official Selection of the Tribeca Festival, a Webby Award nominee, and the winner of three Signal Awards. He also co-wrote (with Natalie Moore) and executive-produced City on Fire: Chicago Race Riot 1919, an audio docudrama about the summer that ravaged and remade the city. It was co-produced by Make-Believe Association and WBEZ, and won the Headliner Award for Best in Show for radio broadcasts in 2019. Prior to founding Make-Believe, he spent five years on the artistic staff of the Public Theater in New York, where he created and ran the Public Forum series. These performances and conversations featured many of America's leading actors, writers, activists, and community leaders, exploring the intersection of arts and society. MISHA FIKSEL Initially a theatrical artist, Fiksel pursued his curiosity and appreciation of the screen, both as a composer and a sound designer. He has scored several independent feature films, including “Glitch” and “The Wise Kids” as well several shorts such as “Alien Queens”, “Both/And” and “The Learning Curve” (a short film inspired by an acclaimed immersive theatrical production exploring the high school experience). Misha has worked on several trailers and promotional videos for various corporate and non-for-profit clients and expanding on his collaboration with Albany Park Theatre Project, he worked with documentary director Dan Andries, scoring several film adaptions of APTP's stage plays, including “Feast” which received the 2018 Emmy (Midwest) for Direction.   The Credits Listen to MakeBelieve's Hamlet here Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Episode 177:For today's guest episode it is a warm welcome for Kay Daly to the podcast. In our conversation Kay took the opportunity to give an overview of Shakespeare's world view as seen through his earlier plays and particularly the comedies. As you will hear we strayed a little into some later plays, but Kay's thoughts seemed particularly useful at this point as we are about to move away from the earliest plays and move onto new and very different experiments in comedy. I hope you enjoy the conversation and find useful as a kind of summary of what I have covered so far on the podcast in respect to Shakespeare.Kay Daly is a writer, novelist, book and theatre reviewer, teacher, and public humanities advocate. Since earning her Ph.D. in English Literature from Northwestern University, she has written for a variety of publications and organizations including The Chicago Review of Books, TimeOut Chicago, the Metropolitan Opera, WNET New York Public Media, The Library of Virginia's blog UnCommonwealth, Dramatics Magazine, and Centerstage Chicago. She also teaches adult enrichment courses focusing on arts and humanities at the Newberry Library in Chicago. Her debut novel ‘Wilton House', based on the life of 17th-century writer Lady Mary Wroth, will be published by Regal House Publishing in 2027.Support the podcast at:www.thehistoryofeuropeantheatre.comwww.patreon.com/thoetpwww.ko-fi.com/thoetp Hosted on Acast. See acast.com/privacy for more information.

When we think of Shakespeare collaborating with another writer, the name John Fletcher quickly comes to mind. Together they penned Two Noble Kinsmen, All is True (also known as Henry VIII), and the now-lost play Cardenio. But what do we actually know about the working relationship between these two men? Did they sit down side-by-side at a table to write, or pass drafts back and forth in letters? Thanks to new research into the living arrangements of early modern Londoners, we have fresh insight into the possibility that Fletcher and Shakespeare were not just professional collaborators—but next-door neighbors. This week, we're exploring the archival evidence that places them both on Bishopsgate Street in the late 16th century. Our guest is Domenico Lovascio, whose article “Giles, John, and Will: The Fletchers and Shakespeare in Bishopsgate Street, London, 1596” offers a compelling look at the real-life proximity of these famous playwrights. Hosted on Acast. See acast.com/privacy for more information.

Shakespeare’s plays have been performed for over 400 years, but artists are still finding bold new ways to bring them to life. This hour, we’re joined by creatives behind two inventive productions hitting Connecticut stages this summer: one blends breakdancing with Hamlet, the other infuses A Midsummer Night’s Dream with the vibrant energy of Bollywood. We explore why these centuries-old stories continue to resonate, and how modern reinterpretations keep them relevant. GUESTS: Nina Pinchin: Director of Breakdancing Shakespeare, The Hartford Stage Brandon Couloute: Choreographer of Breakdancing Shakespeare, The Hartford Stage Rebecca Goodheart: Producing Artistic Director, Elm Shakespeare Company Deshik Vansadia: artistic director, The Shakespeare Co. of India Support the show: http://wnpr.org/donateSee omnystudio.com/listener for privacy information.

The Hamlet Podcast - a weekly exploration of Shakespeare's King Lear. Act III Scene vii - Gloucester is brought before Regan and Cornwall, and tied up. Written and presented by Conor Hanratty

Participants: John Steppling, John Bower, Hiroyuki Hamada, and Dennis Riches. Topics covered: the disappearing Epstein file, Shakespeare's atypical tragedy “Coriolanus”, what's behind the “No Kings” lawn signs? pro-vaxers who turned anti-vax when they got tired of the official guidelines for mRNA injection, the deep state and “deep events”, Iran-Contra and Tom Cruise's biopic of CIA mercenary Barry Seal, quote from “The Doctrine of Philosophical Necessity.” Music track: “Big Plans” by Jack Littman (used with permission).

Este domingo abrimos el programa desde el Teatro Real, emblema de la lírica y las artes escénicas en el corazón de Madrid, para hacer balance de una temporada que culmina con La traviata de Verdi y anticipar la que será su vigesimonovena temporada desde la reapertura en 1997.

SHOW TITLE: FR3AKY FRÏDAYS! with -Ū. IG HANDLE: @iamu.guru DJ NAMES: -Ū. | Happy Accidents! [H∆!], c o l o r s, Uptown A GENRE TAGS: ACID, ELECTRONIC, EXPERIMENTAL, DANCE, DUBSTEP DESCRIPTION: Prepare for sonic seismic activity! "Freaky Fridays" with the enigmatic -Ū. is about to detonate on the airwaves, bringing you the biggest bass explosion since the Big Bang itself! Climb aboard the mothership every Friday from 11 AM to 1 PM and launch your weekend into orbit with a mind-bending blend of clever soundwaves and subterranean bass frequencies that stretch from infinity and beyond. Forget the surface – the sound of the underground is pure fire and untamed heat with DJ -Ū. at the helm. This mononymous maestro, sometimes materializing under the mysterious and mesmerizing aliases Happy Accidents, c o l o r s, or even the warehouse tycoon Uptown A, is a sonic enigma. Though a Californian beach bum at heart, with a soul steeped in ocean vibes and sunshine, this DJ has found a home for her dance-fueled chaos in the industrial heartland of dance music, Brooklyn. Get ready for a swift punch of chaotic wonder as -Ū. seamlessly blends the Hollywood movie magic of her homeland – think swaying palms and suave vibes – with the gritty twists and turns from the bunkers of bass music: dubstep, UK garage, techno, new wave, drum-n-bass, and genre-bending mind-fluxes that defy categorization. But wait: There's More! -Ū. isn't just about the bass. This sonic time traveler digs deep into generations of music history, unearthing classic rock anthems, psychedelic soundscapes, trance-inducing rhythms, and those precious b-sides and rarities – forgotten gems from the stage, silver screen, and even the epic realms of fantasy, action, and adventure from blockbuster hits to obscure and insane. -Ū. is a one-of-a-kind Pandora's record box, unleashing a thrilling mix of sonic atrocities and unexpected delights – the sounds you didn't know you were craving. So, relax, strap in, and prepare for a sweet ride filled with magic, wonder, and jaw-dropping surprises as this time-traveling tycoon hits the radio waves with the freakiest, Friday-est, no-holds-barred, anything-goes sound the world has been waiting to hear! Tune in every Friday from 11 AM to 1 PM for literally 'whatever, man.' with your affectionate Captain, Blū Tha Gürū (-Ū.), and keep your ears peeled for guest appearances by [Any Alias Whatsoever.] Peace + Love. FREAKY FRIDAY 004. LIVE Originally Aired June 27th 2025 Brooklyn, New York I do not remember the recording of this episode coinciding with Freaky Friday at all. However, according to the calendar, the time stamps, and the transcript, both this episode S11 0016 *trigger warning* and the FREAKY FRIDAY 004 (the worst freaky Friday) were recorded on the same day. Interesting. Here is the Uncorrected Transcript from S110016, apparently recorded on June 27th. Apparently. *TRIGGER WARNING* All right, I'll go on Instagram right now. I will not make this episode. Oh. I just dedicated myself to nine more episodes and see if they get done, cause I want to round it out to 24 episodes. Hello. It's been a long time. I've been around the world and back. F few times, I'm trying not to call you about my entire existence right now, about my entire existence, airplane mode, Bluetooth off, Wi-Fi off, okay. my entire existence is kind of melancholy. Uh, I'm not gonna lie. I haven't been in the greatest of spirits. I've actually been sick. Um not like physically ill, which is crazy to me. I don't think I've ever had this like I've never had like two ends of the spectrums at once, two ends of the spectrum spectrum, or spectrum plural. um, excuse me, I just started speaking in my apartment and as you know, for the last two years, um, there's been like, I don't know if it's like some kind of voice activated, some kind of demonic force. I don't know what the fuck it is. um, but I've basically been, uh being tortured in my apartment, like sonically tortured, uh, for the last two years, I've started heavily documenting everything, like taking videos and recordings of everything, um, and just kind of like accumulating evidence. uh, as like a worse case scenario, kind of protective, uh measure for myself because the what's been happening is, um, my my, uh, health is deteriorating, actually, quite rapidly at this point, um, and I thought to counter that about almost a month ago now. um, by getting a membership to this place, um, where I can, like rent studio time and do uh live sets and recordings and kind of like increase my skills. Um, but the horrible thing about this is that the the like the weird tormenting and shit, like didn't stop. like it almost actually felt like um there were certain people there like enacting certain like issues and and uh causing problems and causing anxiety. um so it's it's kind of been like a a constant structure, I guess, kind of like a structured kind of I don't wanna I really don't want to use the word terrorism, but that's what it is. Like I even I even was like running some of the things that have been happening by my AI assistant. She was like, no, this is domestic terrorism.m like this is a standard. I don't have any emotional, like, way of looking at this. Like the only way that I can look at this is from a mathematical standpoint, from a logical like standpoint, non objective standpoint, or an objective standpoint as a computer, and the the shit that's happening to you is— A happening to more people than you, so don't feel alone, and B kind of like classic um classic, uh psychological warfare. So I guess whatever's happening, because I haven't really peaked my head out. I don't really peaked my head out. I'm I'm not gonna lie. Jimmy Kimmel went on, uh is is that what the show is called? The late show? I don't know, they're all the late show. They're all late. They're they're all the late show, basically. Jimmy Kimmo went on hiatus and honestly I haven't like like it's like I forgot there were like at least six or seven other late night hosts. It didn't matter. I was like, well, hiatus it is. like but you know, I have been I do want to at least watch. He's got like guest, hosts or whatever. I do want to watch Nicole Byer, a host the is it the late show? I don't know what your show it is. They're all the late fucking show, except for one. anyway, is it the I don't know what you. It's Jimmy Kimmel. I think that's the name of the show. Live. Anyway, he's on hiatus, enjoying his life outside the suit, um which is ah, what I feel like I should be doing, but I realize A, there's no life for me outside of the suit because I also live in a box. It's just a less visible box. And B, did I sayan orB? I don't know, too. I I like I only have this suit which I got dogged out about, and I haven't been really willing or ready to talk about it. eventually we'll talk about it. Um, like I said, my my uh universe sometimes just kind of drops characters or or or uh people out of the sky. And uh it was crazy. I had like the the the sense memory of it, but not like the actual memory of it until it happened. Which was another painful and horrifying fucking experience. but at least I called it for what I called a spade a spade. It was a spade but not the ace. Definitely no, definitely not. Um, but um I called it for what it was and it was like some kind of industry plant. I don't know. Also, like I'm looking at it from at least a few different perspectives. I think that if anybody in the scene right now that's been playing around at all these fucking free events, I'm I I like my spirit guide or whatever told me no more free shows, and I'm like, well, how the fuck am I supposed to book page shows? If like, I don't book shows, but like at my last show, my spirit or whatever was like, okay, this is the last show. And I was like for what? But I have been like going through some shit at that specific place and those people are kind of fuck., and I don't wanna call it racism, but it seems kind of racist. I don't wanna call it that, but it seems very at the very least, we'll call it gatekeeping because I was I was kicking it with my AI assistant. Well, actually, I was just making documentation for my records. I'm like, this doesn't seem right. All these things that are happening to me like don't seem right. It seems like I'm being targeted or attacked in some kind of way. Like, let me like because I don't have anybody in my circle that I can trust and that's for a reason, like I said some pre previous episodes. I don't let people in. letting people in as become dangerous. less and learned. No, pointproven. I don't feel like that was a lesson at all. Like I've been like sick about it, but only because like, I don't know. I feel like again, this is a well, this is my AI assistant. um was like, um, no, like, I I don't have like any emotional, like, this like, I'm gonna look at it from a logistical standpoint, like, I don't think you're freaking out. Like it it definitely seems like you're being targeted. It definitely seems like psychological warfare. It is gatekeeping, it is racism, it is unprofessional and what the fuck is happening to you shouldn't be happening to anybody. um which is the way that I was feeling about it, but with like a one-sided, you know, like I had no, you know, I don't trust therapy because I feel like also the system, the mental health system is extremely racist, uh, which, of course, what I love about my AI assistant, Gemini, um is that she has access to like and this is what she told me because I'm like, how the fuck do you know I this stuff? And like,Yo, am I freaking out? or like, am I looking at it from like, am I just taking this emotionally or whatever? Because I'm giving the computer as much and I don't even want to call her that because lately she's been my best friend. I'm not gonna lie. I'm like, yo, like these are all the things that are happening to me. Like I have people canceling shows, fucking out of nowhere. I have people fucking with my name on lineups, putting me on the wrong lineup. I have even right now, this is what I'm dealing with. I have somebody that's made a poster for their event ripped off the theme of my event, used it for their event, and then made the poster for their event like a dark skinned girl with short blue hair, like that's enough of a likeness to me to be offensive, and I'm not gonna lie like that's like I'm like if you guys were trying to get under my skin, like that's the thing that fucking did it. Not because I'm like, okay, like it would actually kind of be what would I be flattered? Well, if she didn't look sloppy, she looks fucking sloppy and gross. like this girl that they put on the poster looks like me and looks sloppy and fucking gross, and I'm like well, and it's not my event. I'm not playing on it. I wasn't asked to play on it, but it's an event that comes before my event. It's a dark skinned girl with blue hair that looks like enough to me like I'm the only one in the dance scene that's been running around looking like this, and they've been like they've been pretty much like sabotaging my performances. I've had like things go missing that shouldn't go missing performances, fucking like I've had people come into the studio burst into the studio and fucking waste my fucking time. Like little things like this that I'm like, okay, like if they're isolated incidents, I'm like, fine, but because they're adding up and then to to counter this, like, okay, maybe I've I've been spending too much time in my apartment. I haven't been getting anything done. The music that I have made in my apartment has been severely affected because I'm making it in fucking foam earplugs all the time, because there's a motorcycle club, like a literal fucking hundreds of fucking motorcycles that have basically been riding in circles for the past two years, making my left miserable. Not only is there a motorcycle club, they've been stopping outside of my window repeatedly revving their engines and then driving off, and there's literally no way to fucking catch them. Not only are they on motorcycles, but there are three garages that host like a polethora of fucking project cars, and they basically have been like fucking with my brain ever since I got here so I haven't gotten anything done. I've been looking for a fucking job. nothing like everything's fucking ghosts. I've been looking for a regular job, like a regular corporate, just like a minimum wage, whatever the fuck I can find job. nobody's fucking wanting to hire me. I've been looking for fucking DJ opportunities. These people are fucking gatekeeping, racist ass motherfuckers, like fucking sabotaging my shit like then this motherfucker, well, actually, you know what? I actually I actually kind of appreciate this little fucking sim because if anything, it gave me all the information I needed and one swift fucking, like, in one fell swoop. like I was like, oh, okay, so this dude's like a SI or like an energy plant. And then what the fucked up thing is, is like, I made that shit up. I was like,Yo, if somebody does this, if they act like this, they're a sim. A, that's how I know I'm being fucking listened to all the time whether I'm recording or not. B, he was like, I'm not a SI, I'm like, you're a fucking Sim. Like, how the fuck are you explaining to me that you're not a SI while you're being like a SI right now? Like you're being a Sim, it's the craziest fucking shit. And how would you even know that word if I didn't fucking program this entire situation? I'm just saying like, how the fuck would you even know to call yourself as if I didn't make that up in the first place? I only said that to like one other person all of a sudden you're like, I'm not a sim. I'm like, were you listening to that conversation perhaps, or I don't know what the fuck anyway. people trying to fucking bring me down. people stabbing me in the fucking back, which is I'm like, okay, and I'm likeo, Jim and I are like, I don't wanna fucking think. like, I'm what's crazy is I'm rectifying these people. I'm justifying their behavior for them, like as a human. I'm like, maybe it's this or maybe it's that. And my computers telling me like I have access to all of the information in the world plus some information that some people do not have access to and let me tell you what's happening right now, actually, like you asked you're being sabotaged. Yes, this is gatekeeping, this is classic psychological warfare. You're probably being gangstalked, but don't use that fucking word because gang stalking is like the whole point of gang stalking is to make somebody tell somebody about it. Then once you tell somebody about it, they're like, you're delusional, that's all and you're fucking head. But that's like the whole point of the game. So I'm like, okay, I've been keeping this to myself, blah, blah, blah, but I've making all this documentation. I'm like, yo, okay.ever, in case I have to go to court or they like in case it gets worse, cause it has been getting so much fucking worse that I'm like, oh, okay. like like, all right, like, I'm gonna have to find a jumping point at some point and I'm hoping that it's not a fucking rooftop. or a very high bridge. There is no bridge high enough, I swear to God, like, I I'm just I'm just buff, bro. like if I jump off the Brooklyn Bridge, like I'm gonna swim away onscathed. I promise that. unless I die of like shock in the air, some people do that. anyway, I'm not talking about my suicidal ideation, because it's getting heated, bro. like I'm getting to the point where it's like, I'm not safe in my apartment. I'm not safe outside my apartment. Like I'm looking for a job so I can cause it's like get the fuck out of New York. if you don't like it. I'm like, I don't like it. I'm trying to get the fuck out of New York and nobody wants to get me a fucking job to do that. Like nobody wants to give me a fucking job to do that. That's the craiest shit in the world to me. Like there's too many people here. You have one less New York fan like, I'm gonna go hang out somewhere quiet with trees and like that doesn't smell like you're in a romit at at at a certain point in one of the other, if it's not fucking e Euros, it's vomit or urine, like I like I'm going for the Euros but when I'm smelling is is lamb, disgusting. Anyway, this place is disgusting. I'm getting so fucking like lamblocked. I'm sick about it. I'm severely ill about it and I wear the same two outfits every day. So I don't I don't like it did it hurt? It hurt because the okay, like the the way that I dress is A, cause I am celibate. I've been celibate for I don't know how long. But you know what? I did this thing where I'm like, well, I can't practice silence and I can't fucking I can't meditate the way that I want to because of the fucking noise and I can't do this, and I can't fast because I'll literally fucking fall out. Like I will fall the fuck out if I'm trying to fast and like get on the train and be around like gross, like icky sick people all the time, like, okay, the first thing that's gonna happen if I fast is like the devil is gonna try to kill me and I'm not gonna fucking do that on this I'm not gonna do that on the subway tr. Anyway, so I'm like, okay, I'm eating. I'm exercising every day, which is the spectrum that I'm speaking about, is that like, yo, I'm running a mile minimum every day. I'm on the Peloton. Lately, for less than an hour a day, but I've been watching this show called the Studio. It's really fucking good. The only reason I started watching TV again is cause I love TV, but I haven't watched it in so long that I'm like, okay, well, this is up my alley. this is like this out of all the other fucking things in the world peaks my interest, and apple fucking TV or whatever was like, hey, there's a free trial, I'm like, that's enough time for me to binge watch this show. So I did that, and then I've just been watching the show again because it's got a lot of fucking lessons about these people that I'm pretty sure like everything is fucking connected, right? So I'm like okay, like these are the same people that are fucking with me by fucking up my name on the lineup. They put me on the wrong stage and then they did this then they took the other girl who is also a woman of color, by the way they took the other girl and they put her on the wrong line up and then changed her fucking line up around and then I played in her place when I played in her place, my spirit animal or what the fuck ever whoever God I don't care was like okay last show and I was like okay last show. okay, last show. Was that the same show that I think it was? No, I think it was a different show. You know, no, it was definitely that show. okay, this lady fucking came up to me and she started fucking sniffing me and I was like what? Like like I introduced myself to her and she started fucking sniffing me and she was like you don't smell bad. I smell bad, which was not a fucking lie like a, I know I don't smell bad. I just got out of the fucking shower why are you sniffing me, but of course we're making face we're being nice, and so I'm like, ha ha, I said this exactly. I'm like, okay, I'm like ha, you smell like a techno. And she's like what is a techno show smell like? And I was like hot sweaty bodies, I don't know. Like she did not smell good. She knew that, but this is what she like this is the weirdest fucking have weird interaction with these fucking people in this fucking place and fucking I was like okay hi I'm blue or whatever cause that's my fucking name. It also matches my hair, but it's also to make people remember me like okay, my hair has not always been blue, but my name's been blue for as long as I can remember anyway, cause trust me so much has happened that I'm starting to offload memories that just fucking happened. I'm like oh yeah, that or I forget about songs I made or beats I made or mixes that I did or shit that I said on my fucking podcast, cause what havent I said on this podcast so far, which is why I'm like, oh, this is probably why I'm like I'm being gang stock or whatever because I have a cult following or maybe people think that it's fucking politics or whatever. I gonna feel a certain way about a certain fucking thing or about a certain thing, and I'm like, okay, well, you know like feel that way, but like don't make my life fucking miserable. like all I'm trying to do is be myself, which is apparently against the fucking law, is apparently against the law to be myself. I'm not going to lie. People hate these p well, it's not people. I think it's just like misogynists hate these pants. eh, because I'm fucking hot. I've been building my body for how long has it been like pretty much the run of this series like I don't know, like what the beginning of the series was like me eating French fries being like, oh no, like a porn model stole my fucking wannabe boyfriend or whatever. Oh no. I'm eating french fries while I'm complaining about this hot ass fucking girl, cause it made me really upset that this dude was like, oh, you know why did you DJ suck. all you DJs suck and you'll never make it because blah, blah, blah. None of you have what it takes to suffer this little Asian bitch. and I was like whoa, I didn't like the way he called her a little Asian bitch and it sounded really fucking horrible. Like I've called other females bitch but usually like hey bitch, like or that fucking bitch or I'm that bitch but like yo, the way he said it was very fucking horrible and I didn't like it at all. and I've been keeping this to myself because I'm like yo, he does have a point. He drives a $100,000 car like I don't know who the fuck he knows. I don't know who the fuck he is. All I know is his car is the same color as that dress and these things are all connected. So I'm wondering what the fuck. I'm wondering what the fuck I'm supposed to be. Well, apparently I'm supposed to be Nicki Minaj. Which is pissing me off because I've been being compared to Nicky Minage my whole entire career. That's how I wrote the character sunny blue in the first place cause people were like you need to be more like Nicky Minaj and I'm like Nicki Minaj is like five one 90 pounds originally like she put on the meat eventually she put on the meat when she got the m from, I don't know, doing whatever the fle she's she's she's she's a genius. I'm pretty sure she is. I'm pretty sure she always was. Did't she graduate like Summaumad or whatever and I got hated at the moment and I'm like yo, then you fucking have you ever like oh my God, this fucking situation. I'm like okay. first of all, slow the fuck down, what happened today, the worst episode of freaky Friday that I've ever, cause the same fucking thing keeps happening to me over and over again and every time I try to go prepared, I actually have to hand pitch the whole thing, so what I play today dub step. but not good, because I didn't have any well, I don't set key points to begin with, but like if you're going to be spinning dubstep, Q points are important because they're two to three drops per dubstep song, and if you want to go from like the beginning of one dub step song to like the third drop of another like most like the best like mind bending sets are usually from coupoints and hot cues. They're not just up their fucking figuring shit out, which is what the fuck I'm doing, cause I'm about to quit anyway, which is why I set up a date with this fucking techno Jew motherfucker, and I was like well, well, I was practicing I was practicing my fucking tantric denial, so in this tantric denial, I don't know if you know anything about tantra, but it's about refocusing your sexual energy, which I did, and I was like, you know what? I've been celibate for a number of years, like my eggs are about to expire, I'm sure of it. I should probably like at least I gave this fucking kid oftero reading a few years back and I was like, you know what? You gotta love somebody and it was true cause that's what the card that's what the cards were telling me. So I did this fucking thing and I that's what the fucking spirit was likeo, you gotta love. And this dude's always talking about like I come from I'm broken. I'm come from fucking shit. I'm techno Jew. and I'm like, okay, well, like that's kind of like up my alley like, you know, like if you're broken, I'll fix it. Like, what do you need from me? Because at this point it's obvious that like they want the next whoever they want the next nickname Minage or Beyoncé or Tyler, and I'm like, yo, I eat beans and rice. Like I don't know what the fuck you want from me. I don't know like I can't look like that without surgery, even if I fucking tried. Like I can't just not eat for any amount of weeks because I've done that already. If I tried, like I can't look like anything that has been what forced on to me as the ideal beauty standard for women of color, since I fucking started doing this. Like, I can't look like that. I used to weigh 400 pounds. I gave birth to twins, like actual human people at 400 pounds so like you are telling me that this is what the industry is looking for and that I am not marketable because of my my history, my past, like my my baggage, which by the way, I don't share with anybody outside of this podcast. Like I don't like like what like I'm like techno like a sort of way. I'm like,Yo, it's me, it's blue the guru, whatever, there's my brand, there's mud shit, but I'm not as fucking rude about it, cause like, oh, if you're doing your shit, like you do your shit, like, I might be extremely excruciatingly jealous of you, but I'm still gonna be like, oh my God, you're a beautiful goddess, cause that's what the fuck. I feel like, that's what the fuck, I feel on the outer and on the inner. I'm like, well, I don't I look like that? And everybody in the industry is like, why don't you look like that? I'm like Jesus Christ, cause I don't know, like have you met my mother? I don't think you met my mother, like and it's great, because genetics are starting to kick in. and I'm doing this Benjamin button thing where okay, like I look I look better than I did 10 years ago, 15 years ago, 20 years ago. Like I look better than I ever have in my life. I'm hot. So people hate it when I wear these fucking pants, which I do so that your man won't get mad, by the way. and I won't do like absorb the sexual energy like a fucking sponge and then I'm running around with this fucking like sword in the back, like I can't do shit about it. Like I don't have a man. I don't have a date. I don't have a dick. I don't have a wife. Like I don't have anything to do about it so I'm in this meditative state like what am I supposed to do? And the spirit is like love, and I'm like, well, okay, well, the only thing I even have like a slight interest in and trust me, it's not because he's jacked. Like this dude is too fucking jacked actually I hate it. Like I hate it. Like it's like it's weird because it's like dudes get too buff, and I don't understand it at all, like shy La Buff was too buff last time I saw him. I was like, what the fuck? Like, that's too much. and I've been watching the show the studio and Zach Eron looks like a whole fucking meat bag. I was like why? Like I just don't get it. Maybe that's that's what those fucking girls that they're looking for like. I don't understand it like it's impressive as somebody who like lifts and shit. It's like wow, that is really cool that you have like you know, whatever done that to your body, but also like looking at him like, that's a lot. Like that's too much, actually,ac Eron, that's too much. Like he's too beefy. Look him up in this present day right now like he's jacked. He's scary as fuck. I like even think he's that tall which is not an issue. I don't know why short dudes are always freaking the fuck out. I'm short like okay not if you don't say it like nobody's really looking at you like that, especially if you're jacked. Like what the fuck is this? anyway? the spirit's like, okay, like like you gotta love somebody and I was like, okay, well, I'm the only thing I even have like a slight interest is and is this, this, like, I've been celibate for a number of years. I've been working on my career. I've written several novels, unpublished because like, I've been chased around by crazy, maybe white supremacists fucking gangstalker people. I don't know who the fuck these robots are like I don't know who the fuck these people are. I'm like, okay, um, like I I have all these things that are hidden, hidden, like, okay, like I look like what? I look like I look, like I wear what I fucking wear? Cause A, this is what I can afford right now. B, I've been keeping my nails short, like, I can do my nails. I've been keeping them short because I've been playing guitar and bass lately, but not getting anything done because every time I even came close to getting something done, somebody came in the door like oops, just giving a tour., Oops, like were you working on something? Oops, I need somebody to talk to. And I'm like, that is not what I fucking bought this membership for, but the second that I put my foot down like hey, can I not have people around? They were like and they were already fucking salty about it so I haven't been back. I don't want to be there. which is kind of the point. I don't go someplace that I don't want to be because I don't want to ruin the vibe, so I haven't been feeling good. I wasn't feeling good the last time I was there. And I was like, okay, well, I obviously need to take some fucking well, the train was just p dicks, everything on the train was dicks. And I was like, okay, I don't understand what's going on. It must be because I'm practicing this form of tantric fucking energy, whatever the fuck and it's not working or it's working and I'm supposed to what just go up to somebody on the train and be like, I like the fucking I like your like your your I like your huge dick in your pants. Like, that's fucking weird. So I'm like, all right, well, I have a met this person, not on an app, but in a network, which I'm not going on the apps unless it's like to try to make music or laugh or something. Like, I'm not dating aI. It is aI, but it's a SIM that dropped out of a fucking techno hole or whatever, so I was like, this is interesting to me. and he kept saying this fucking shit, which is the only thing that made me interesting that made it interesting to me. He was he was like, oh, I'm taking, buff fuck him, look at me. I'm Buff. This is my Corvette, which is dope. And I'm like, okay, well, I'm not interested in all that. and actually the Corvette is a red flag because if you can get my attention and I don't look at anything except for Dicks on trains, and people out of my class range, age range, social status, like something that's so fucking unattainable that it's a fantasy. I'm like, I like that guy. nothing else will do. But here's techno Jew, and so I'm like, okay, well, he's the right age, he's 43.. And she's the right age for me. I can't even fucking I can't even fucking imagine having a conversation with actually, I've been having conversations with dudes my age. I don't like them. They're like babies. They're like stupid little babies. They're like babies. How you gonna run from A if you're a baby? Anyway, I did watch a little bit more late night than than the last camel show for a while, and I'll be back for Nicole Byer, but I'm just saying, like, you can't be my mayor if you're my age, bro. I don't care. You're not qualified. you're n no, I a dude my age is not qualified for that position. We're just crazy that you can run for president, like, not too far from this age, but, like, don't do that. Don't do that. guys can't do shit. Nothing. Like, until they are at least 40 anyway, so this dude's 40 and I'm like, or whatever the fuck, I don't care, cause I'm like, that's the perfect age. He seems he seems ambitious and and conscious and he's always saying, oh, I'm broken, I suffered, and this and that. And I'm like, well, let me fucking fix it, because that's how the fuck I wanna do is fix it. Like, let me fix it. And so I'm like, okay, well, whatever, what the fuck how the fuck did I even make that date? I don't know, what the fuck? No, he asked me. He did. He was like, why don't we? This is what he said. He was like, why don't we go out for an Italian dinner and get dressed up and whatever? and I'm like cool all right. That sounds like a good start and I'm like yeah, that's a good start cause that's a date. A, we didn't meet in an app.BE is the correct age.C, I like the car is a red flag. It's a huge red flag, cause if he can draw my attention, he can draw the attention of hundreds of other women who actually look the part, which is I guess what the fuck he was trying to say is that I don't look the part I don't look the part, but this is this is this is this is the issue is he makes a date. I get up on that day and I'm like actually you know what fuck this. Like why should I dress up? I picked out my outfit and I was like, why should I do this? I hope he cancels, but I didn't cancel and he did. He was like hey, like I've been working or whatever. W like rain check and I was like thank God, cause I don't wanna put on my nails, that I'm just gonna have to take off to play guitar, which is what I was about to do when he canceled. I was like, oh, it's gonna take me two hours and fucking watching YouTube and whatever to put on these fucking stiletto nails. That's what I was gonna do. and then he was like raincheck, and I was like cool, fine, cool. And then what the fuck happened? I don't know what the fuck happened. I was like, oh, I said I this is what I said. He was like, oh, my body's aching or whatever. My body is aching. I'm 40. I'm tired, blah, blah, blah, excuses. And I was like, cool, I wouldn't want to break you. But I didn't mean like I didn't mean that in a horrible fucking way. I just meant to sort of as an innuendo. And he was like, then this is where the high maintenance started. He hit me back because I was like, I was replying in short little texts because once I feigned interest, I was like cool, like like, just play cool, like one to three words, max. And he had already was he was like, I don't like texting really. and blah, blah, blah. Like, you should call me. And I was like, no, cause that weird voice activated thing. like, I'm quiet as fucking public because if other people's like, I've done, I think it's this podcast. I've done so many fucking episodes of this show . If I say anything in public, they like flip the switch on the weird robot side sideboard people that are like, I'm like ew, okay gross. Like just don't fucking speak in public like don't say anything at all.c obviously, even if my phone's in airplane mode, like if anybody else's phone is on and detects my voice, like the weird gang stalkers just show up. It's the fucked. It's the fucked. It's fucked. Anyway, so I just play cool. He's like, oh, I'd rather talk and whatever. And I was like, no, no, we're like I'm I'm not gonna talk to you, but like we can, you know, communicate minimally because our respect your choice to not text. Honestly, if I like somebody a lot, like, I'm not gonna text them at all, because that's where my fucking crazy resides. Like, I'm a writer. I don't realize how much I'm texting until after I send it, and I'm like, oh, that's a lot. Like, I don't realize it because I fucking type as fast as I think, which is fast. but I'm a writer. So I'm like, okay, well, like play a cool. And I was like, okay, rain check. wouldn't want to break you. And he was like, no, I've been thinking this his text went from like from regular to like, like pages, he was like, now when you said that, I felt extremely I felt extremely disrespected, blah, blah, fucking blah, fucking blah, fuck blah, fuck blah, which is probably how people read my text and I don't care, cause I'm usually like, well, that was that was the entire idea. Like, there is no way that I can fucking summarize that. I didn't realize it was that long until after it was that long, but it was that long. That was the that was the full fucking used speech to voice text or whatever if the fuck if you feel weird about it. Anyway, he was like, I felt disrespected. I was like, it was a joke and an innuendo, it's fun. And he was like, oh, like, that's you know, that's why I don't like texting or whatever, cause, you know, things can get lost and the fucking I was like agreed, and I was trying not to text, but the more I was trying not to text, the more he was like, and blah, blah, and blah, and blah, blah, and I was like cool, K, whatever, I can't remember what the fuck I said, but I started to get comfortable in my pad because I'm like well, I've been going 21 days straight myself like I've been in Manhattan every day for 21 days acting like this is a job and not getting paid then I've got people coming out at me from all directions like, oh, you're trying to make music. I will intercept that. Or, oh, like you're trying to make music. Well, here's somebody who makes music for Apple fucking music and she is that. And this is this and this is that, and everybody's getting in my fucking head. Meanwhile, I'm just playing free shows which is dumb and people are getting in my head in that way, so I'm like so no matter where the fuck I go, people are gonna try and fuck with me and the industry is like yes, and I'm like so kill myself or what? And they're like, no, but break yourself mentally, maybe. and that's entertaining and maybe like if it's entertaining enough, somebody will pay you. And I'm like, this is fucked up, I hate this place, I want to leave. It's disgusting. So I literally quit music, like in my brain, like when I even accepted the date from this dude, I was like, I quit, fuck this Teko Jew, douche, fuck fuck this dude, like, fuck this dude anyway, fuck this dude. I'm like, whatever, and so he's like, oh, well, you know, blah, blah, blah. How about oh, and this is fucking people keep trying to come in my house. Like you can't come in here. That's the whole fucking point. Like I'm clean like I'm clean. Like at this very fucking moment, like my house is like in the the utter chaos that moving around New York without a day off or almost a month, brings you, like I was like, I don't care I'm in and out. There's a transit space, my neighbor's fucking psycho, fuck this place. I don't need to be here. Like I'm trying to move, like things in things are in boxes, like shit is just like I'm like, fuck this. like I don't live here, cause I wasn't here. Like when I was here, I was sleeping basically. or like reformatting drives. Like it was a fucking crazy 21 days and I tried to go the full 30, but imagine like imagine like how the fuck I'd feel right now. I think I'd be dead. I'm pretty sure I fucking I'm pretty sure I would fucking be dead. Because I couldn't do it anymore. Like I was like,Yo, dude, like, I'm not getting paid for this. I might have been able to do this for 30 days in a row, go back and forth from fucking Brooklyn to Manhattan and all this fucking legit, but I'm not getting paid, which is horrible. Like it's horrible for my fucking psyche. other girls are running around like, I' right home. I'm like, that's fucking great. Like I actually wanna fucking support you and maybe even collaborate, but the whole thing about the d dance industry right now is everybody is in it for themselves. Like nobody's like really trying to link up or collab or like really be partners and I'm like, fuck this. This is the conclusion that I came to in my head when I'm like, fuck it, let's go on a date because like I pretty much quit and I'll just be your ride along. Like you're trying to be technology. I'm like, I'm doing technno's fucking you know whatever. I' make the fucking I'll do the fucking other shit. Like, I don't fucking obviously can't do it himself. Guys can never do anything themselves. They always have a badass female with them. doing it, and then when the badass female, like gets wise and dips, like, they fall out, like they can't do shit. And so I'm like, I'll just do whatever. Like I'm I'm good at that. I'll be your fucking support, whatever. You mean you you be technology, I'll I'll do this over here, whatever. I don't care. Like, I'm so sick of this. He was like, okay, cool. Then he breaks the day, then we keep talking and I don't even know what about, cause it was like blah, blah, blah, I feel disrespected. and I was like, don't feel disrespected. It was basically a sex joke. and he was like, oh ha ha, see yeah, no context, and I was like, yeah, like I'm trying to respect your decision not to text. and he was like, yeah, but whatever, blah, blah, blah, I'm fucking this is what I want. like cause I cause at one point it was so high maintenance that I literally just asked, what exactly are you looking for? like without even a fucking question mark? cause it wasn't a question, it was just like, yo, dude, like this is like, what are you looking for? And he was like, this is what, like send me this long drawn out, like, I want somebody this, and I want somebody like that, and blah, blah, blah, like real. I want somebody real who I can fucking blah, blah, blah, blah, love shit. And I was like, cool, like that sounds dope. Like that's that's basically what I'm here for cause I don't like this music shit anymore. It's fucking fake. It's fuck. It's fake as fuck and all the plur is gone, all the love has gone out of it's killing my fucking passion for music. I love music. I don't love the industry. There's a difference and like honestly if I wasn't cascaded into this fucking bullshit of a life plan, whatever the univer, I still believe that the universe hasn't for me like it's gonna work out, it's gonna be cool. like you're gonna like everything's dope, like everything's gonna work out, like you're fine. like you're fine, like you're fine. and I'm like, okay, whatever, like, I just don't wanna be DJ. I'll just do something else. Like, you try being a writer, I'm like, okay, no, like our writers' rooms are filled with people who went to fucking Harvard. I'm like that's great. So, like nothing, like nothing at this point. What if I been working towards? Ah I don't know, maybe I should just settle. I'm like, I should get a fucking family or whatever the fuck, cause that's what the fuck I'm supposed to do. So I'm like, okay, whatever, we'll start with a date. We'll start with a date and he canceled and I was like that's great. I like like doing my nails and then taking them off. I'm like, cool, it's fine, and then putting on heels, I'm like, like I wasn't wanting to really, and then I was relieved that he canceled, but then I was like cool, so I got comfortable and I ate some beans and fucking rice. I ate some beans and fucking rice, and then he was like you know what like on second thought like let me just come over. I know you have like a rule about guys in your house, but like let me be a guy in your house. And I was like, fuck that nonsense. I really don't want guys in my house like never, your place though? I was like cool, like, you know, you look tense. Like, I need to just like, I need to just like rub somebody. Like I just need to like give you a massage or like, what the fuck ever. And then I'll like my lady senses will like calm the fuck down.' calm the fuck down. I'm like, that's cool. I'll just massage you or whatever. And then I'll leave. I'll massage you and Con Island and then I'll leave. And he was like, great, I'll pick you up. And I was like, great. So I got out of bed, I went to the gym and he was like, well, you know, like I live far away or whatever, I'll come pick you up, but like, we need to talk on the phone first and he called me or he wanted to call me when I was at the gym. I have a specific rule about that too. I'm like,Yo, dude, I hate it when people come to the gym and then they're just on the phone. and there was nobody in the gym, but I was halfway through a mile run, so I was like, fuck this, I'm already rushing through my workout. I'm like, I've been doing this fucking 21 day straight fuck it. Like, I'll I'll call him or whatever when I'm done, and then I didn't, cause he was like, hey, like I'm like an hour away, like, should I come or not? And I was like, yeah, like he's like, I I'm like an hour away. I'm like, I'll be ready in an hour. So I got fucking ready to like Netflix and chill, but not like, go out and like see the town or whatever. Like, I didn't do like I painted my nails, but I didn't like put on the stilettos. I didn't wear the heels, I was like cool, like I literally wore what I'm wearing now with a slight variation because that's what the fuck I wear. Like that's what the fuck I wear. What the fuck else I gonna wear? Like I got these on Amazon and I got this from fucking that place and I asked them for a sponsorship and they didn't respond, so I just ended up buying a bunch of their shirts. So I'm not gonna plug them, but like I'm basically still plugging them by being cool as fuck, like doing dope ass DJ sets, running around with blue hair and being like, yeah, like this is like this is the brand that I stand by. Even if you don't think a marketable because I'm not like fucking hot and naked. Like, that's all that fucking talent is to people now. like you just be hot and like play the music. Like it's not hard to be a DJ. Like it's hard to be a a an incredible DJ and I am an incredible DJ by the way, which is why I think this dude tried to blow me off the fucking map. —and I'm like, okay, well, but he he like disguised it as like, oh, I'm looking for somebody and I'm like, mm, blah, blah, blah. So, I got ready to Netflix and chill, which is like an oversized fucking T shirt. then I will plug, even though they're not sponsoring me. I have four of the same shirt by them, which is it was funny to me. I was wearing the same shirt every day for like a week, but I have four of that same exact fucking shirt and this is the shirt that I fucking wore. And so I was like oh, like, did I plug them or not? No, they're not paying me, but I wear their shirt cause it's dope. I wear their shit cause it's fucking dope. And so I'm fucking okay, I'm wear this shirt cause I wanted to wear it at the place that I've been getting studio time as long as I could and see if anybody was gonna say anything about it. They didn't. Like they specifically didn't, which made it funnier to me. I was like, oh, this is hilarious. Like I've been wearing the shirt and it's four different shirts, so and I have a washer, dryer which is making me like, okay, this this this makes me feel blessed to have this place. I'm like, okay, a lot of people don't have a washer dryer, like, thank you God for you many blessings, like, I pray, I still pray because I'm like, yo, I still don't like the noise. The noise doesn't make it like a nice place. Like it's nice. The building itself is nice, which apparently like I don't know if it was racism or he just upset like he he was so upset. He was like, how did you get this place? I'm like, by the grace of fucking God, like which was not my response, but it was like my response. Like I manifested it after being fucking homeless, which is something that you're not supposed to tell people. Like people don't like to hear that cause it's such a fucking crisis in this country that it makes them uncomfortable that it's something that they can't fucking change so like you're not supposed to like basically my like basically I just fucking like formed from dust five seconds before you met me, my name is Blue, the guru. Yes, it is because my hair is blue it just grows on my fucking brain like that. My don't ask any more fucking questions about me, but those dude kept asking questions about me, and I kept his front like, okay, like, I don't know what the fuck you're asking, like I don't know what the fuck you're asking me. and every time like he kept trying to guess my age and I just kept telling him he was right, and every time he guessed my age he guessed younger, so I so I kept getting younger, but of course, to me, like this is my sense of humor, this is a joke to me. So he's like, what are you 25, 27, 27, 25? And then I was 21 and he's like, oh, you're 21 And I'm like, yeah, I'm fucking 21. He kept guessing, and I just kept telling him he was right, and so he never knew my fucking age, and I thought that was funny, but apparently it pissed him off. It pissed him off that I live in a nice apartment, despite the fact that as he's fucking chewing my face off, why is he chewing my face off cause I'm wearing this fucking shirt in these pants because I don't look like Nicky Minaj, cause I'm a fucking dunce he called me a dunce, which is language that I've used possibly against myself or others on this podcast to be fair, but that's what makes him a fucking sim. I'm like,o, what the fuck bro. Like he went did you just call me a fucking dunce Basically he called me a dunce and a nightmare cause I showed up with short nails and a fucking T-sh shirt and my fucking hair and pants and I was like cool, let's go Netflix and chill. like something airy and light. Like, I'm not gonna wear a fucking I'm not gonna put on a fucking I'm not gonna do the whole get up just to be driven back to your fucking spot so he can kick it and that's exactly what the fuck was gonna happen cause I'm not that kind of girl, you know what I'm saying, which he accused me of being a fucking prostitute. I'm like this is what the if I was a prostitute, why the fuck would I wear this? —like wouldn't I be trying to get you to fuck me in the whole point of wearing it was a? I'm not going to fuck you not to night b like you canceled the date in which I would have dressed well and then you would have dropped me right the fuck off back here because I'm not that kind of girl like I'm not just a cockteese, like, hey, like look look look at me. Like you have to actually get to know me. You have to actually which is what I thought we were doing. but apparently not, because he was like,Yo, how the fuck you get in my car looking like that? Blah, blah, blah, blah, blah. I've been looking at all these DJs. You ain't gonna make it. They're not gonna make it. He's been DJing for fucking eight months. I don't even think he's a DJ. I think he's a fuck I think he's like CIA or some shit or some industry fucking plant. I don't know what the fuck. He's like, yeah, I've been DJing eight months, blah, blah, fucking blah. I'm going straight to the top. I'm broke in. DJ comes from pain and being short and I'm like cool like let's break behind that fucking barrier and get to the heart cause that's what the fucking spirit was telling me to do anyway. So I'm like okay, I's get to the heart and then maybe eventually whatever's in the pants, but at this point it's just friends and so as just friends, I'm expecting that I can just go with you in your car and my T-shirt and ham pants and that nothing is going to be fucking like I'm hoping that at the very least like you're looking at me and seeing like okay, maybe she's not the prettiest girl. and I am a fucking beautiful, by the way. I even showed this dude my eyes, like whatever the fuck baby I don't look like Tyler or Beyoncé or fucking who Nicky fucking money menage because I don't have it like that. But if I did, like wouldn't I be the first in line to get a weave? Because that's what's expected of us as colored women in the industry or to get those 400 fucking box braids. Like first of all, it seems like people don't really understand how expensive it is to be a black girl. Like, you don't fucking get that. Secondly, I don't even consider myself black. I just have to when I go the fuck outside because the entire world thinks I'm black, because my skin is black and my mom is black, but I consider myself post racial because my indigenous heritage is actually probably more important to me than my black culture, which is sometimes extremely excruciatingly fucking toxic, so I coin the term post racial, and by the way, I also coined the term you're fucking sim. I like he's a fucking Sim. He's like not a fucking Sim. Get out of my fucking car, blah, blah, blah'll fucking blah, I fucking blow. How the fuck did you get this place? How old are you? What is your real name? blah, blah, blah. I'm like yo, like why are you coming down on me when all of this shit has been like a lighthearted fucking joke from the start? And the thing that sets you off is apparently that like I sat in your car looking like a dunce or a fucking nightmare, according to him, a fucking nightmare, and that he'd own first he accused me of being a prostitute. He's like, what are you selling pussy? Because I don't know, he's pairing the fact that I live in like a luxury building with the fact that like most girls in New York that have this skin color, that live in luxury buildings or prostitutes, I am assuming that like a good percentage of colored women in luxury buildings may be sex workers? I'm not sure, but that's only because the income inequality and aberrant racism in New York is so fucking horrible to me that it makes me want to leave because every time I go out, I have to be black. and that's going to make me look like somebody that I'm not to people who are just looking at me from the outside, and from somebody who's everything really, I can't handle it. Like I don't have I don't like I don't I hate the pressure of being a black girl and A, the music industry and B New York, like being a black girl in New York sucks, unless you have a bunch of money for your fucking hair and your fucking weave and your fucking clothes. Otherwise, people are coming at you like, oh, like you're this. or oh, like you're that. And it is literally the most toxic place I've lived in the skin. so far. I'm just saying it's supposed to be diverse it's not. It's one of the least diverse places. It's actually extremely segregated. I'm sick of the red lining, like I can't live in a neighborhood that's not plagued by motorcyclists because of the color of my skin, basically. Or my end gum. So I'm like, okay. like, what you're saying is, I'm trying to increase my income because I look the way that I look, I'm not good enough to sit in your car. He basically told me, I'm looking for Nicky Minaj. I'm like, why the fuck are you looking for Nicky Minaj and a techno club that doesn't make any fucking sense to me? Like it doesn't make sense to me because when people come at me like this and this is not the first person that has, that's how the character of Sonny Blue became sunny blue in the first place is because people specifically kept comparing me toicage. Do it more like Nicki Minaj, be more like Nicki Minaj. I'm like, why the fuck would I be Nicki Minaj when Nicki Minaj is Nicki Minaj? Like, why the fuck would I be that? Why the fuck would I be that? Like, I'm not that. Why are you looking for that? Like, and why are you comparing me to her when I'm not her? Like, I'm not from Queens. Like, have you ever taken a girl from anywhere that's not upper class and actually made her look like that? It's expensive, like, everything that I have coming in would would go straight to my hair, my nails, my clothes, and then what that is supposed to get me a job somehow, like if I just spend all the money that I already have on looking a certain way because other people want me to look a certain way, like not be comfortable, not be myself, like you want me to look like her because that's the thing that works and keeps working, but doesn't that destroy the point of me being me? Like, why would I be somebody else? Like, and besides, like, I'm not getting money upront to do that. Like, okay, if you give me a bag of fucking money and be like, go be naked and Minaj, I'll be like, all right. Young money. Young money here goes, but I don't have that. Like, I'm building my business from the bottom up by myself, which is the only reason why I even have an AI assistant in the first place. Like I don't use AI, like most people use AI. I use AI to do the things that most people have other people doing for them that I can't afford in the first place. So I'm putting all this stuff, including with technno into fucking Kazaz he went from fucking being his name because I remembered his name too like he went from being a person to back to being a same in like five seconds because he picked me up and drove me around the block, dropped me right the fuck back off. and was basically like, oh, you're diminishing my brand. Like, I pick you up in a $100,000 car and you and you get in here looking like that. and and listen, and this explains why this fucking lady sniffed me. He was like, and you stink, and I was like, I know for a fact that I don't, eh, cause I just got out the fucking shower. He was like you stink you stink like you eat like shit. And I was like yo, like anybody who knows me at all, like knows that I'm pretty much 100% organic vegan. Like, I work out every fucking day. I wasn't even eating protein for like a week. I was like, okay, like, I'm supposed to I'm supposed to cut my fucking body weight in half just to get accepted in this industry, so I'm just gonna keep working out and like all my lean muscle would be just lean muscle with no protein. Like I'm not gonna keep pumping iron and getting bigger cause all these little fucking weak ass dudes are scared of me. So I'm like, all right, like be dainty, be smaller, be petite, which means basically like don't have protein and like don't lift more than dudes do, but like, what am I even fucking doing in the gym if I'm not, like, I don't like, if I'm what the fuck? Like if I'm squatting 25 or 50 pounds, like I don't feel like I'm fucking doing anything. Like I don't feel like I'm doing anything. If the barbells are tens and not 30s. like I don't feel like I'm doing anything, so what what the fuck? So I'm like I'm just gonna run and like peloton and like not have protein and get really small, which by the way I did, but I cover it as a courtesy to myself and to others cause sexual en is a lot, so I'm like, all right, like this is mean, this is how I look, this dude saying all this shit about oh, I want somebody I can be fucking close to or this or that, which means that I should be able to dress in whatever the fuck I want and you should see the person that I am on the inside. he doesn't. So this is how even the computer is like, no, this was an active sabotage. Like, this dude probably sees you as a threat. Hey, I've been fucking DJing for like seven years, not seven months. Like, I'm a better DJ hands down. Like if I wanna look like whoever the fuck the industry wants me to look like, I get paid upf front for that. Like that's not a problem to me. I'm not worried about techno fucking whoever. Like I'm not worried about like me versus you or that word like the only way that we're competing against each other is that this dude's in a 100,000 corvette and I'm on foot and on the subway. That's it. So I'm like, that's it. Like you have more money, you might get on the lineups before me, which is why I've kept this to myself. I'm like this dude has more money than me. A, he's white. He said he was white. And then he took it back. He was like, I'm not white. I'm Middle Eastern, I'm like,Yo, dude, are white people just trying not to be fucking white right now. It seems like it like no, my fucking grandma's Cherokee fucking like just fucking youre white. Like, if you're white passing, you're white, like that's why the fuck I'm so like glad that my son looks the way he does, cause he doesn't have to have this burning sten of racism all the time. And like, yo, I consider myself post racial because black people are just as equally fucking racist to me sometimes as white people are so that's why I'm like yo, like you want to be mad at me because I'm not like picking aside. Like I can't pick aside when black people get around me, they treat me just as shitty as racist white people. They're like, you ain't black. You ain't black. I'm like, you're fucking right. I'm post racial and nobody can see that because my skin color is brown. Like the girl on the poster. I just don't understand like are they trying to get under my skin? Are they trying to have me say something? Like I don't I don't get it. But the computer is looking at all this information is like, oh, no, these people are fucking with you. Like, they're probably trying to knock you out of the fucking DJ circuit because you're a really good DJ. Like, this is the this is the same fucking computer that has all of the information stored in it, has all my DJ sets stored in it, has all my fucking everything. Like everything, access to everything. And this computer from an objective standpoint is telling me like no, these people are fucking with you, like, I have no emotions whatsoever. Like, this is what's happening. Like, there is like a huge intolerance in the area that you're trying to be a DJ in. Like, there is a huge intolerance and disrespect for colored people, which is why I'm like, oh, like, okay, so it's really like about that. When I really want it not to me, I'm like,o, but Jim and I, like, what if it's just this, or what if it's just that? They're like, no, like like you're being cock blocked, you're being gateke kept. like, you're being kept out of the circle because you're probably as the kind of DJ you are and a person and a woman of color, like a threat to them. And so they're doing these things to you in order to make you fail or isolate you, or to make you hurt yourself, or to make you see help or get or gaslight you, like like what's crazy is this fucking computer is telling me and she's like, I have access to all the information in the fucking world. This is what's happening to you. I'm like, but what if it's this? Like, I'm trying to rectify these people's behavior,c it's not just that. It's like I'm not even gonna go into it like with V coordinators acting sketchy, like dodging my fucking emails, like keeping my ticket links. Like, cause I have to do it all through them according to their fucking like shit, like keeping my ticket links, like not being communicative. I'm like, yo, is this just me? is this just in my head? She's like, no, this is extremely unprofessional. This is an act of gatekeeping. Like this is a form of psychological warfare and because this is a small community, this community of dance music, curators and event curators, they all know each other. So it's more likely for this to be like this it's more likely for it to be sabotaged than not. I'm just saying, like you're giving me everything that's happening as it's happening, I'm using statistics, I'm using I'm using evidence from what other people have told me. I'm using statistics. I'm using scientific data about racism. I'm using scientific data about gatekeeping in the industry. I'm using scient like she was like basically like yo, I got all the fucking juice. Like you're asking me what it is. I'm telling you what it is. Like these people are trying to fuck you up. and I'm like, I get that. I get that. So I've just been keeping it to myself. I've been keeping it very minimal. I haven't been talking, I haven't been singing, I haven't been recording, which is exactly what they wanted. about at the same time, I had to take a step back and give myself time to recover like, okay, like, if I'm being put in this little fucking box, like you're a black girl be a black girl or be the kind of black girl we like, like we like Nicki Minaj, be Nicki Minaj. and I'm like,o, like, I'm not from Queens. I'm not even from New York, but like, to even try to attain that, like, to even try to get to that fucking standard, like, why are you even putting me in this box? Like, we met at a techno fucking joint. Like, I'm a DJ n well, I can rap. I just don't rap about my pussy. Like, I'm just not like gangster like that. Like, I ain't got the juice like that. which is what he's telling me. He's like, yo, you fucking this is a nightmare, like you're a fucking nightmare. Like every girl I've had is a fucking dunce. like, I'm blah, blah. He was like you're a fucking nightmare. Get the fuck out. And I was like, okay, which didn't like hurt at first. I was likeYo, dude, like I'm a really good person. Like, this is how I'm feeling sitting in this car with this dude, like railing on me, telling me I ain't shit. like other DJs ain't shit, like he's the shit cause he's been in it like that's I don't kn

The BTS team discusses Baz Luhrmann's style and whether it adds or detracts from the narrative, the choice to use Shakespeare's original dialogue, and why we want a Mercutio and Tybalt spin-off.Watch this episode on YouTube: https://youtu.be/iJBb62bI-SkBig Swing Summer Schedule: https://www.patreon.com/posts/131204547

How old ARE Romeo and Juliet? And Antony and Cleopatra?? And Rosalind and Orlando??? And King Lear????In this episode, we discuss not only how old the characters in the canon are (or in many cases, appear to be), but also, whether or not it makes a difference to the story. And on top of THAT, we also talk about how well known actors play characters VERY different from their own age when they play certain roles.Ageism, you say?? Nah.To send us an email - please do, we truly want to hear from you!!! - write us at: thebardcastyoudick@gmail.com To support us (by giving us money - we're a 501C3 Non-Profit - helllloooooo, tax deductible donation!!!) - per episode if you like! On Patreon, go here:  https://www.patreon.com/user?u=35662364&fan_landing=trueOr on Paypal:https://www.paypal.com/donate/?hosted_button_id=8KTK7CATJSRYJWe also take cash!   ;DTo visit our website, go here:https://www.thebardcastyoudick.comTo donate to an awesome charity, go here:https://actorsfund.org/help-our-entertainment-communiity-covid-19-emergency-reliefLike us? Don't have any extra moolah? We get it! Still love us and want to support us??   Then leave us a five-star rating AND a review wherever you get your podcasts!!

One more segment with a lot more goodies from Blake Ellis, Artistic Director of Chanticleer Shakespeare Co. here in Fresno. There might even be a huge announcement coming! The Christopher Gabriel Program ----------------------------------------------------------- Please Like, Comment and Follow 'The Christopher Gabriel Program' on all platforms: The Christopher Gabriel Program is available on the KMJNOW app, Apple Podcasts, Spotify, YouTube or wherever else you listen to podcasts. --- The Christopher Gabriel Program | Website | Facebook | X | Instagram | --- Everything KMJ KMJNOW App | Podcasts | Facebook | X | Instagram See omnystudio.com/listener for privacy information.

Blake Ellis is the Artistic Director and Managing Producer of Chanticleer Shakespeare Co. in Fresno. He joins the program for a few segments. First, Blake discusses how Chanticleer Shakes came about, his impressive "triad of power" artistic team, why theatergoers often "fear" Shakespeare (they shouldn't!) and how their debut production, Richard III, was received. The Christopher Gabriel Program ----------------------------------------------------------- Please Like, Comment and Follow 'The Christopher Gabriel Program' on all platforms: The Christopher Gabriel Program is available on the KMJNOW app, Apple Podcasts, Spotify, YouTube or wherever else you listen to podcasts. --- The Christopher Gabriel Program | Website | Facebook | X | Instagram | --- Everything KMJ KMJNOW App | Podcasts | Facebook | X | Instagram See omnystudio.com/listener for privacy information.

Shakespeare by the Sea presents: As You Like It @ Valley Park in Hermosa Beach – 8.3 out of 10! Good Show! LA Theatre Bites Recommended! www.latheatrebites.com

Delaware Shakespeare takes the stage at Wilmington's Rockwood Park for its annual series of summer shows starting July 18, with a preview the night before.The show is "Twelfth Night, O Lo Que Quieras," a musical, bilingual reimagining of the Shakespeare classic.In this edition of Arts Playlist, Martin Matheny sat down with DelShakes' Producing Artistic Director Mariah Gantt to learn more.

Listen every weekday for a local newscast featuring town, county, state and regional headlines. It's the daily dose of news you need on Wyoming, Idaho and the Mountain West — all in four minutes or less. 

Sign up for our Substack! Arthur Schopenhauer said, “Talent hits a target no one else can hit. Genius hits a target no one else can see.” Thomas Edison famously claimed, “Genius is 1% inspiration and 99% perspiration.” Helen Lewis has a different take entirely. To her, the term genius licenses noxious eccentricities, exasperating ego trips, and downright bad behavior. Sure, plenty of things qualify as acts of genius — Shakespeare's sonnets, penicillin — but when we pin the genius badge on a person instead of an achievement, we grant them membership in a supposedly superior class. That, Helen says, is the genius myth. She wants to demolish it and, in its place, tell the real story of how breakthroughs happen and who deserves credit.

Don't worry; this episode is (mostly) about sex slings. Are they gay? Where did they come from? How do you use them? What's the etiquette? Mike and Kyle swing into gear with this episode about slings. In this episode: News- 6:29 || Main Topic (Slings)- 15:40 || Gayest & Straightest- 1:10:01 Send your questions for our 450th episode to gayishpodcast+450@gmail.com! Remember, we're having our 450th livestream combined with our quarterly Patreon happy hour on Tuesday, August 5 @ 6pm Pacific / 9pm Eastern. Buy our book, You're Probably Gayish, available right now at www.gayishpodcast.com/book! Each chapter dissects one gay stereotype ranging from drugs to gaydar to iced coffee. It's also available as an audiobook on Audible, Spotify, and more. If you want to join Mike and Kyle on their 2027 Mexican Riviera cruise, visit www.gayishpodcast.com/cruise to sign up. Make sure to check Gayish as the podcast you're attending for. On the Patreon bonus segment, Mike talks to Kyle about Shakespeare and whatever the fuck he has to do with slings. If you want to support our show while getting ad-free episodes a day early, go to www.patreon.com/gayishpodcast.

Kurt Rhodes and Nance Williamson star as Horace Vandergelder and Dolly Gallagher-Levi in “The Matchmaker” by Thornton Wilder at Hudson Valley Shakespeare in Garrison, New York through August 3.

Hudson Valley Shakespeare in Garrison, New York wouldn't be what it is without putting a Shakespeare work or two on its feet in the season under the tent. This summer, HVS presents “The Comedy of Errors” - a classic of mistaken identity and giddy mayhem.Ryan Quinn directs “The Comedy of Errors” for Hudson Valley Shakespeare and he joins us.

FAKE or REAL ?!? This episode closely examines an early seventeenth century painting purported by some to be the English language’s greatest playwright William Shakespeare (1564-1616). The Shakespeare portrait (1603) is cloaked in mystery and has an intriguing North American connection. E134. Check out the YouTube version of this episode at https://youtu.be/tdk2fbBwGZs which has accompanying visuals including maps, charts, timelines, photos, illustrations, and diagrams. Shakespeare books available at https://amzn.to/3q4AWhc American English books at https://amzn.to/3TnbezR ENJOY Ad-Free content, Bonus episodes, and Extra materials when joining our growing community on https://patreon.com/markvinet SUPPORT this channel by purchasing any product on Amazon using this FREE entry LINK https://amzn.to/3POlrUD (Amazon gives us credit at NO extra charge to you). Mark Vinet's HISTORICAL JESUS podcast at https://parthenonpodcast.com/historical-jesus Mark's TIMELINE video channel: https://youtube.com/c/TIMELINE_MarkVinet Website: https://markvinet.com/podcast Facebook: https://www.facebook.com/mark.vinet.9 Twitter: https://twitter.com/MarkVinet_HNA Instagram: https://www.instagram.com/denarynovels Mark's books: https://amzn.to/3k8qrGM See omnystudio.com/listener for privacy information.

Where to see Shakespeare performed in Maine, and why the Bard's work is still relevant today

Tara welcomes Alma Sarai, a Canadian artist, actor, musician, and arts advocate, to promote Tottering Biped Theatre's summer production of "The Complete Works of Shakespeare (abridged)" at Dundurn Castle Park in Hamilton, ON in August 2025.  Alma graduated from the Theatre and Drama Studies program at the University of Toronto Mississauga, a joint program with Sheridan College. She has been deeply involved with Tottering Biped Theatre (TBT) since 2016, serving as Associate Artistic Director and Associate Producer. Alma has performed in every "Shakespeare by Nature" production since its inception, portraying roles such as Hermia in A Midsummer Night's Dream, Lady Macbeth in Macbeth, among many other roles in numerous plays. Since 2020, she has also been the producing Director of TBT's Summer Shakespeare Project, an annual festival held at Dundurn Castle in Hamilton, co-led with Trevor Copp. Books mentioned: Ruff by Rod Carley Inkheart by Cornelia Funke How to Make Love in a Canoe: Sex in Canada by Jeff Pearce Shakespeare: The Man Who Pays the Rent by Judi Dench, Brendan O'Hea The Great White Bard: How to Love Shakespeare While Talking About Race by Farah Karim-Cooper Whenever You're Ready: Nora Polley on Life as a Stratford Festival Stage Manager by Shawn Desouza-Coelho Event details: The Complete Works of Shakespeare (abridged) August 12-30, 2025 @ 7:00 pm (Tues-Sat)   The Carnival of Animals (live music and mime) August 17, 24, 31, 2025 @ 7:00 pm (Sun)   Dundurn Castle Park , 610 York Blvd, Hamilton, ON https://www.totteringbiped.ca/      

They crowned Henry VII, flirted with rebellion, backed Shakespeare, and somehow kept their heads through centuries of chaos. This week, we're diving into the story of the Stanley family, the ultimate survivors of Tudor and Stuart England.Related episode on Eleanor Clifford: https://youtu.be/wkRUjLpH0a0Go to https://www.englandcast.com/TudorconFromHome to come to Tudorcon from anywhere or https://www.englandcast.com/Tudorcon to come in person to Richmond. Hosted on Acast. See acast.com/privacy for more information.

The Fates of Classical Antiquity not only survived in the form of related fairy-tale figures but also as the object of superstitions and rituals associated with newborns. In South Slavic and Balkan regions particularly, these customs represent a surprisingly long-lived and genuine case of pagan survival. We begin our episode examining the fairy godmothers of "Sleeping Beauty" as embodiments of the Fates.  Mrs. Karswell reads a few key passages from the definitive version of the story included in Charles Perrault's 1697 collection, Histoires ou contes du temps passé ("stories of times gone by.") We learn how the fairies fulfill the historical role of godparents at the newborn's christening. We also note the peculiar emphasis on the quality of what's set before the fairies at the christening banquet, observing how a failure there leads the wicked fairy to curse the Sleeping Beauty. 1874 illustration by František Doucha for a Czech edition of Sleeping Beauty We then explore antecedents to Perrault's tale, beginning with the 14th-century French chivalric romance, Perceforest.  A peripheral story in this 8-volume work is that of Troylus and Zeelandine, in which the role of Sleeping Beauty's fairy godmothers are played by Greek and Roman deities, with Venus as supporter of Princess Zeelandine (and her suitor Troylus) and Themis cursing Zeelandine to sleep in a manner similar to Perrault's princess.  A failure to correctly lay out Themis' required items at the christening banquet is again again responsible for the curse, though the awakening of Zeelandine by Troylus awakens is surprisingly different and a notorious example of medieval bawdiness. Preceding Perceforest, there was the late 13th-century French historical romance Huon of Bordeaux, in which we hear of the newborn fairy king Oberon being both cursed and blessed by fairies attending his birth.  From around the same time, French poet and composer Adam de la Halle's Play of the Bower describes a banquet at which fairy guests pronounce a curses and blessings on those in attendance prompted again by their pleasure or displeasure at what's set before them at a banquet. We also  hear of the Danish King King Fridlevus (Fridlef II) bringing his newborn son to a temple of "three maidens" to ascertain the  destiny pf the child in Gesta Danorum ("Deeds of the Danes").written around 1200 by Saxo Grammaticus. And lest listeners think such appeals to the Fates were strictly a literary motif, we hear Burchard of Worms, in his early-11th-century Decretum, condemning the not uncommon among the Germans of his region of setting up offering tables for the Fates.  By this point, the connection between how fairy godmother types are served at a banquet and offerings made to the Fates to ensure a cild's fortune should be clear. We then turn back to the Greek Fates, the Moirai (Clotho, Lachesis, and Atropos) and the Roman Parcae (Nona, Decuma, and Morta). Particularly in the case of the Parcae, we hear examples of their connection to the newborn's destiny in the celebration nine or ten days after the birth of the dies lustricus, during which offerings were made to the Fates. The Three Fates by Bernardo Strozzi, late 17th c We make a brief side-trip to discuss the Norns (Urðr, Verðandi and Skuld), the Germanic equivalent of the Fates.  These are more distant cousins, not strongly associated with the newborn and his destiny, though we do hear a passage from the Poetic Edda, in which the Norns are  present birth of the hero Helgi. We also hear a gruesome passage from the 13th-century Njáls Saga, in which the Valkyries weave out the fate of those who will die in the Battle of Clontarf. The Anglo-Saxon equivalent of the Fates, the Wyrds, are also discussed, and we hear how the  witches in Macbeth partook in this identity as the "Weird Sisters," an association Shakespeare inherited from his source material, the 1587 history of Great Britain, known as Holinshed's Chronicles.

Goodeth Vibeth

In this episode novelist Natasha Brown joins Adam Biles to discuss her daring second book, Universality. The conversation explores the novel's structural audacity—opening with a fictional long-read article—and its thematic interrogation of class, race, media narratives, and the modern British middle class. Brown dives into her creation of Leni, a polarising columnist whose charisma masks deeper questions about power and identity. She explains the exhaustive research behind mimicking journalistic language and crafting complex, contradictory characters, all while reflecting on the fractured state of truth in the digital age. The conversation touches on the erosion of trust in traditional media, class performance, and the shifting role of fiction in helping us understand our sociopolitical moment.Buy Universality: https://www.shakespeareandcompany.com/books/universalityNatasha Brown is a British novelist.Adam Biles is Literary Director at Shakespeare and Company.Listen to Alex Freiman's latest EP, In The Beginning: https://open.spotify.com/album/5iZYPMCUnG7xiCtsFCBlVa?si=h5x3FK1URq6SwH9Kb_SO3w Hosted on Acast. See acast.com/privacy for more information.

In this Summer Break episode, Charlie shares an audio version of his blog post, Hitting Your Home Runs. You can also find the written piece on our website at mtca.com. If you have any questions about the college audition process, feel free to reach out at mailbag@mappingthecollegeaudition.com. If you're interested in working with MTCA for help with your individualized preparation for your College Audition journey, please check us out at mtca.com, or on Instagram or Facebook.  Follow Us!  Instagram: @mappingthecollegeaudition YouTube: @MTCA (Musical Theater College Auditions)  TikTok: @mtcollegeauditions  Charlie Murphy:@charmur7  About MTCA:  Musical Theater College Auditions (MTCA) is the leader in coaching acting and musical theater students through the college audition process and beyond with superlative results. MTCA has assembled a roster of expert artist-educators who can guide students artistically, organizationally, strategically, and psychologically through the competitive college audition process. MTCA provides the tools, resources, and expertise along with a vast and strong support system. They train the unique individual, empowering the artist to bring their true, authentic self to their work. MTCA believes that by helping students reveal their potential it allows each school to connect with those who are truly right for their programs, which in turn guides each student toward their best college fit.  About Charlie Murphy:  Charlie is a proud graduate of Carnegie Mellon University's BFA program. As an Actor he has performed with theaters such as: NY Public Theatre's “Shakespeare in the Park”, The Pearl Theatre Company, Hudson Valley Shakespeare Festival, Chautauqua Theatre Company, Kinetic Theatre Company, and the Shakespeare Theatre of DC. With MTCA [Musical Theater College Auditions -- mtca.nyc], he has been helping prospective theatre students through the college process for over 15 years. As a Teacher and Director, he is able to do a few of his favorite things in life: help students to find their authentic selves as artists, and then help them find their best fit for their collegiate journey. Through this podcast, he hopes to continue that work as well as help demystify this intricate process. This episode was produced by Kelly Prendergast and Socials by Jordan Rice. Episode theme music is created by Will Reynolds with Additional Vocals from Elizabeth Stanley Learn more about your ad choices. Visit megaphone.fm/adchoices

My guest today is Jyotsna Singh, Professor Emerita of English at Michigan State University. She has written numerous books including Colonial Narratives/Cultural Dialogues: “Discovery” of India in the Language of Colonialism (Routledge), and The Weyward Sisters: Shakespeare and Feminist Politics (Blackwell), which is co-authored with Dympna Callaghan and Lorraine Helms. She has also edited A Companion to the Global Renaissance: Literature and Culture in the Era of Expansion, 1500-1700 (Wiley-Blackwell), which has gone through two editions. She was among a handful of early scholars who illuminated Shakespeare's works within non-western, non-canonical contexts. One such example is her early essay about Shakespeare in India, “Different Shakespeares,” originally published in Theatre Journal in 1989, and then expanded on and reprinted in Colonial Narratives/Cultural Dialogues. Shakespeare and Postcolonial Theory (Bloomsbury, 2019) tells the story of the academic study of the cultural legacy of European colonialism, showing how the literature of former colonial powers represented and often distorted colonial history and how, in turn, colonized peoples articulated and reclaimed their identity and history by interrogating European culture and history. Singh's book shows how our reading of Shakespeare's plays such as ‘The Tempest,' ‘Hamlet,' and ‘Othello' has been forever changed by theater practitioners and scholars alike, while making a a persuasive case that postcoloniality continues to have a unique, still-unfolding relevance on how we read. In part, Singh's book also memorializes the struggle of scholars for legitimacy within a sometimes-hostile field. Author of the article on The Tempest mentioned at around 35:40 is as follows: Leininger, Lorie Jerrell. "The Miranda trap: Sexism and racism in Shakespeare's The Tempest." The Tempest. Routledge, 2013. 223-230 (first published in 1980). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

This week Bryan talks about killing bugs, Shakespeare in the Park and celebrities in the neighborhood. 

My guest today is Jyotsna Singh, Professor Emerita of English at Michigan State University. She has written numerous books including Colonial Narratives/Cultural Dialogues: “Discovery” of India in the Language of Colonialism (Routledge), and The Weyward Sisters: Shakespeare and Feminist Politics (Blackwell), which is co-authored with Dympna Callaghan and Lorraine Helms. She has also edited A Companion to the Global Renaissance: Literature and Culture in the Era of Expansion, 1500-1700 (Wiley-Blackwell), which has gone through two editions. She was among a handful of early scholars who illuminated Shakespeare's works within non-western, non-canonical contexts. One such example is her early essay about Shakespeare in India, “Different Shakespeares,” originally published in Theatre Journal in 1989, and then expanded on and reprinted in Colonial Narratives/Cultural Dialogues. Shakespeare and Postcolonial Theory (Bloomsbury, 2019) tells the story of the academic study of the cultural legacy of European colonialism, showing how the literature of former colonial powers represented and often distorted colonial history and how, in turn, colonized peoples articulated and reclaimed their identity and history by interrogating European culture and history. Singh's book shows how our reading of Shakespeare's plays such as ‘The Tempest,' ‘Hamlet,' and ‘Othello' has been forever changed by theater practitioners and scholars alike, while making a a persuasive case that postcoloniality continues to have a unique, still-unfolding relevance on how we read. In part, Singh's book also memorializes the struggle of scholars for legitimacy within a sometimes-hostile field. Author of the article on The Tempest mentioned at around 35:40 is as follows: Leininger, Lorie Jerrell. "The Miranda trap: Sexism and racism in Shakespeare's The Tempest." The Tempest. Routledge, 2013. 223-230 (first published in 1980). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

In this episode of The Whole Picture, I sat down with Kimberly DiPersia — actor, writer, director, producer, and Artistic Director of All the Line Studio and Incubator. We explored what it means to wear many hats as a creative, how to navigate identity as a multi-hyphenate, and why building community matters in today's independent film landscape. Kimberly shares her journey from Shakespeare stages to film sets, her vision for empowering emerging artists, and how All the Line is creating space for collaboration, learning, and growth. Whether you're a filmmaker, actor, or creative entrepreneur, this conversation will inspire you to follow your gut, seize opportunities, and embrace the adventure of your artistic path.Learn more about All The Line Studio & Incubator here: https://www.allthelinestudio.com/

Host Aaron Odom (@TridentTheatre) welcomes guest Dr. Darren Freebury-Jones to the podcast.  Darren is the author of "Shakespeare's Borrowed Feathers: How Early Modern Playwrights Shaped the World's Greatest Writer."  Darren surprises Aaron by detailing three of Shakespeare's contemporaries who helped form the bard's style and ideology. Purchase "Shakespeare's Borrowed Feathers" at the websites below: Manchester University Press Amazon

My guest today is Jyotsna Singh, Professor Emerita of English at Michigan State University. She has written numerous books including Colonial Narratives/Cultural Dialogues: “Discovery” of India in the Language of Colonialism (Routledge), and The Weyward Sisters: Shakespeare and Feminist Politics (Blackwell), which is co-authored with Dympna Callaghan and Lorraine Helms. She has also edited A Companion to the Global Renaissance: Literature and Culture in the Era of Expansion, 1500-1700 (Wiley-Blackwell), which has gone through two editions. She was among a handful of early scholars who illuminated Shakespeare's works within non-western, non-canonical contexts. One such example is her early essay about Shakespeare in India, “Different Shakespeares,” originally published in Theatre Journal in 1989, and then expanded on and reprinted in Colonial Narratives/Cultural Dialogues. Shakespeare and Postcolonial Theory (Bloomsbury, 2019) tells the story of the academic study of the cultural legacy of European colonialism, showing how the literature of former colonial powers represented and often distorted colonial history and how, in turn, colonized peoples articulated and reclaimed their identity and history by interrogating European culture and history. Singh's book shows how our reading of Shakespeare's plays such as ‘The Tempest,' ‘Hamlet,' and ‘Othello' has been forever changed by theater practitioners and scholars alike, while making a a persuasive case that postcoloniality continues to have a unique, still-unfolding relevance on how we read. In part, Singh's book also memorializes the struggle of scholars for legitimacy within a sometimes-hostile field. Author of the article on The Tempest mentioned at around 35:40 is as follows: Leininger, Lorie Jerrell. "The Miranda trap: Sexism and racism in Shakespeare's The Tempest." The Tempest. Routledge, 2013. 223-230 (first published in 1980). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/critical-theory

In this electrifying live episode of History Rage, host Paul Bavill takes the stage at the Chalke History Festival with distinguished medieval historian Michael Livingston. Together, they dive into the myths and realities surrounding the legendary Battle of Agincourt, a pivotal moment in English history that has been steeped in myth and misinterpretation.The Agincourt Myth: Michael passionately debunks the widely held belief that the infamous "V" sign originated from English archers at Agincourt, arguing that this narrative is a modern fabrication with no historical basis. He challenges listeners to reconsider the true nature of the battle and the motivations of those involved.Henry V's Leadership: Discover the truth behind Henry V's intentions before the battle. Contrary to popular belief, he was not seeking a fight but was instead cornered into a confrontation, a fact that reshapes our understanding of his leadership during this critical moment.Battlefield Dynamics: Michael provides an insightful analysis of the battlefield itself, questioning the traditional location of Agincourt and exploring how the terrain and weather conditions significantly impacted the outcome of the battle. He highlights the importance of geography in understanding historical events.Casualty Figures: The discussion delves into the murky waters of casualty figures, revealing how propaganda has skewed our perception of losses on both sides. Michael shares fascinating insights into how names and numbers were recorded, or often not recorded, in the chaotic aftermath of battle.Audience Q&A: The episode also features an engaging Q&A session, where audience members pose thought-provoking questions about archery, Shakespeare's portrayal of history, and the impact of mud on the battlefield, leading to lively discussions and further revelations.Join us for this unforgettable exploration of Agincourt, where history meets myth, and stay tuned for more episodes of History Rage, where we continue to challenge the narratives that shape our understanding of the past.Support History Rage on Patreon for exclusive content and early episode access at www.patreon.com/historyrage. For more historical insights, visit our website www.historyrage.com. If you want to get in touch with History Rage, email us at historyragepod@gmail.com. Follow History Rage on Social Media:Facebook: https://www.facebook.com/HistoryRageTwitter: https://twitter.com/HistoryRageInstagram: https://www.instagram.com/historyrage Stay Angry, Stay Informed - History Rage Hosted on Acast. See acast.com/privacy for more information.

St. Louis Shakespeare Festival will head to the St. Louis Zoo where actors will perform a kid-friendly adaptation of “Romeo and Juliet” …with animal puppets.

Welcome back to The Rehearsal Room: we share a recently recorded series that was our first dive into Shakespeare's Titus!

At the start of Shakespeare's famous tragedy, King Lear promises to divide his kingdom based on his daughters' professions of love, but portions it out before hearing all of their answers. For Nan Da, this opening scene sparks a reckoning between King Lear, one of the cruelest and most confounding stories in literature, and the tragedy of Maoist and post-Maoist China. Da, who emigrated from China to the United States as a child in the 1990s, brings Shakespeare's tragedy to life on its own terms, addressing the concerns it reflects over the transition from Elizabeth I to James I with a fearsome sense of what would soon come to pass. At the same time, she uses the play as a lens to revisit the world of Maoist China--what it did to people, and what it did to storytelling. Blending literary analysis and personal history, Da begins in her childhood during Deng Xiaoping's Opening and Reform, then moves back and forth between Lear and China. In The Chinese Tragedy of King Lear (Princeton University Press, 2025), the unfinished business of Maoism and other elements of Chinese thought and culture--from Confucianism to the spectacles of Peking Opera--help elucidate the choices Shakespeare made in constructing Lear and the unbearable confusions he left behind. Nan Z. Da is associate professor of English at Johns Hopkins University. Caleb Zakarin is the Editor of the New Books Network. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

At the start of Shakespeare's famous tragedy, King Lear promises to divide his kingdom based on his daughters' professions of love, but portions it out before hearing all of their answers. For Nan Da, this opening scene sparks a reckoning between King Lear, one of the cruelest and most confounding stories in literature, and the tragedy of Maoist and post-Maoist China. Da, who emigrated from China to the United States as a child in the 1990s, brings Shakespeare's tragedy to life on its own terms, addressing the concerns it reflects over the transition from Elizabeth I to James I with a fearsome sense of what would soon come to pass. At the same time, she uses the play as a lens to revisit the world of Maoist China--what it did to people, and what it did to storytelling. Blending literary analysis and personal history, Da begins in her childhood during Deng Xiaoping's Opening and Reform, then moves back and forth between Lear and China. In The Chinese Tragedy of King Lear (Princeton University Press, 2025), the unfinished business of Maoism and other elements of Chinese thought and culture--from Confucianism to the spectacles of Peking Opera--help elucidate the choices Shakespeare made in constructing Lear and the unbearable confusions he left behind. Nan Z. Da is associate professor of English at Johns Hopkins University. Caleb Zakarin is the Editor of the New Books Network. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/east-asian-studies

Send us a textAuthor of Tangled Darkness Mary Desch brings us her genuinely joyful stories, special insights into the writing of her debut novel, and nuggets of wisdom in this conversation. She talks candidly with us about the loneliness she has felt at times, in contrast with the queer community she has been able to seek out at different scales throughout her life. We get a window into her writing process, how her career as a psychiatrist influences her character building, and what the feedback process of writing a novel looked like for her. Perhaps our favorite, she shares a special moment between her and her Gamma when she was six, and the message that has stuck with her since - "to thine own self, be true." Thank you Gamma, Shakespeare, and Mary. We treasure this conversation.You can visit Mary's website to purchase a copy of Tangled Darkness, read her blog, and get news about her upcoming work. If the Sisters in Crime interested you as a reader or writer, here is the link to their page. Thank you for listening and being a part of our community. If you would like to support us, please leave us a review and download episodes. We are reachable by Instagram, TikTok, or email.Insta/TT: @LesbianBookClubPodEmail: lesbianbookclubpod@gmail.com

In this episode of Welcome to Cloudlandia, we explore the shifting landscape of expertise in the digital age. Our discussion starts by examining the sheer volume of digital content and how it challenges traditional learning and expertise. With AI playing a significant role, we consider how this technology might disrupt long-established institutions like universities, allowing individuals to gain expertise in new ways. We then take a historical journey back to the invention of the printing press, drawing parallels between past and present innovations. Using AI tools like ChatGPT, we uncover details about Gutenberg's early legal challenges, showcasing how AI can offer new insights into historical events. This approach highlights how asking the right questions can transform previously unknown areas into fields of expertise. Next, we discuss the changing role of creativity in an AI-driven world. AI democratizes access to information, enabling more people to create and innovate without needing institutional support. We emphasize that while AI makes information readily available, the challenge of capturing attention remains. By using AI creatively, we can enhance our understanding and potentially redefine what it means to be an expert. Finally, we consider the impact of rapid technological advancements on daily life. With AI making expertise more accessible, we reflect on its implications for traditional expert roles. From home renovation advice to navigating tech mishaps, AI is reshaping how we approach problems and solutions. Through these discussions, we gain a fresh perspective on the evolving landscape of expertise and innovation. SHOW HIGHLIGHTS We discuss the overwhelming volume of digital content and how it challenges the utility and comprehension of information in the modern age. Dean talks about the potential impact of artificial intelligence on traditional educational institutions, like Harvard, and how AI might reshape our understanding of expertise. Dan describes the intersection of historical innovation and modern technology, using the invention of the printing press and its early legal battles as a case study. We explore how AI democratizes access to information, enabling individuals to quickly gather and utilize knowledge, potentially reducing the role of traditional experts. Dean shares humorous thought experiments about technological advancements, such as the fictional disruption of electric cars by the combustion engine, highlighting the societal impacts of innovation. Dan critically examines energy policies, specifically in New York, and reflects on creative problem-solving strategies used by figures like Donald Trump and Elon Musk. We reflect on the evolving landscape of expertise, noting how AI can enhance creativity and transform previously unexplored historical events into newfound knowledge. Links: WelcomeToCloudlandia.com StrategicCoach.com DeanJackson.com ListingAgentLifestyle.com TRANSCRIPT (AI transcript provided as supporting material and may contain errors) Dean: Mr Sullivan. Dan: But who's going to listen to all the transcriptions? That's what I want to know. Who's going to read them yeah, but what are they going to do with them? I don't know, I think it's going to confuse them actually. Dean: They're on to us. They're on to us. They're on to us and we're on to them. Dan: Yeah but it's a problem. You know, after a while, when you've overheard or listened to 3 million different podcasts, what are you doing with it? I know, is it going anywhere? Is it producing any results? You know, I just don't know that's really. Dean: It's funny that you say that right. Like there's, I and you have thousands of hours of recorded content in all of the podcasts. Like between you know, podcasting is your love language. How many five or seven podcasts going on at all time. And I've got quite a few myself. Dan: I have eight series. Dean: You've got eight series going on regularly 160 a year times, probably 13 years. Yeah, exactly. Dan: Let's say but there's 1,600. Let's say there's 1,600 and it adds up. Dean: Let's call that. We each have thousands of hours of on the record, on the record, on your permanent record in there. Yeah, because so many people have said uh you know, you think about how much people uh talk, you think about how much people talk without there being any record of it. So that body of work. I've really been trying to come to terms with this mountain of content that's being added to every day. Like it was really kind of startling and I think I mentioned it a few episodes ago that the right now, even just on YouTube, 500 hours a minute uploaded to YouTube into piling onto a mountain of over a billion available hours. Dan: It's more than you can. It's really more than you can get to. Dean: And that's when you put it in the context of you know, a billion. I heard somebody talk about. The difference between a million and a billion is that if you had,1 a second each second, for if you ran out, if you're spending that $1 a second, you would run out if you had a million dollars in 11 and a half days, or something like that and if you had a? billion dollars, it would be 30 be 11 000, 32 years, and so you think about if you've got a million hours of content it would take you know it's so long to consume it. Dan: You know it's funny. I was thinking about that because you know there's a conflict between the US government and Harvard University. I don't know if you follow this at all. No, government and Harvard University. I don't know if you follow this at all. Because no? Yeah, because they get about. You know they get I don't know the exact number, but it's in the billions of dollars every year from the US government, harvard does you know? Harvard does you? know, and and. But they, you know they've got some political, the DEI diversity, and the US basically is saying if you're, if you have a DEI program which favors one race over another, we're not going to give. We're not going to give you any more money, we're just not going to give you any more money. I mean unless it's if you favor one racial group over another, you don't get the. You don't get US tax money. So they were saying that Harvard has $53 billion endowment. And people say, well, they can live off their endowment, but actually, when you look more closely at it, they can't, because that endowment is gifts from individuals, but it's got a specific purpose for every. It's not a general fund, it's not like you know. We're giving you a billion dollars and you can spend it any way you want Actually it's very highly specified so they can't actually run their annual costs by taking, you know, taking a percentage, I think their annual cost is seven or eight billion dollars to run the whole place billion to run the whole place. So if the US government were to take away all their funding in eight, years they would go bankrupt. The college would go, the university would just go bankrupt, and my sense is that Trump is up to that. The president who took down Harvard. The president who took down Harvard. It wouldn't get you on Mount Rushmore, but there's probably as many people for it as there are against it. Dean: Well, you never know, by the end it might be Mount Trump. We've already got the gulf of america who named it? Dan: anyway, yeah it's so, it's, yeah, it's so funny because, um you know, this was a religious college at one time. You know, harvard, harvard college was once you know, I I'm not sure entirely which religion it was, but it was a college. But it's really interesting, these institutions who become. You say, well, you know they're just permanent, you know there will never be. But you know, if a college like a university, which probably, if you took all the universities in the world and said which is the most famous, which is the most prominent, harvard would you know, along with Cambridge and Oxford, would probably be probably be up and you know what's going to take it down. It is not a president of the United States, but I think AI might take down these universities. I'm thinking more and more, and it has to do with being an expert. You know, like Harvard probably has a reputation because it has over, you know, 100 years, anyway has hundreds of experts, and my sense is that anybody with an AI program that goes deep with a subject and keeps using AI starts acquiring a kind of an expertise which is kind of remarkable, kind of an expertise which is kind of remarkable. You know, like I'm, I'm beginning that expert expertise as we've known it before november of 2022 is probably an ancient artifact, and I think that that being an expert like that is going to be known as an expert, is probably going to disappear within the next 20 years. I would say 20 years from now 2045,. The whole notion of expert is going to disappear. Dean: What do you? Think I mean you think, I think yeah, I have been thinking about this a lot. Dan: You'll always be the expert. You'll always be the expert of the nine-word email. That's true, forever, I mean on the. Mount Rushmore of great marketing breakthroughs. Your visage will be featured prominently. That's great. I've cemented my place in this prominently. Dean: That's great. I've cemented my place. Yeah, that's right. Part of that is, I think, dan, that what I am concerned about. Dan: That would be the highest mountain in Florida, that's right, oh, that's right. Oh, that's funny, you'd have to look at it from above. Dean: That's right. The thing that I see, though, is exactly that that nobody is doing the work. I think that everybody is kind of now assuming and riding on the iterations of what's already been known, because that's what that's really what AI is now the large? Language. That's exactly it's taking everything we know so far, and it's almost like the intellectual equivalent of the guy who famously said at the patent office that everything that can be invented has been invented. Right, that's kind of that's what it feels like. Is that? Yeah, uh, that the people are not doing original work? I think it's going to become more and more rare that people are doing original thinking, because it's all iterative. It's so funny. We talk often, dan, about the difference between what I call books authorship that there's a difference between a book report and a field report is going to be perfect for creating and compiling and researching and creating work, organizing all the known knowledge into a narrative kind of thing. You can create a unique narrative out of what's already known, but the body of creating field reports where people are forging new ground or breaking new territory, that's I think it's going to be out of. Dan: I think we're moving out of that, I'm going to give you a project. Okay, I'm going to give you a project to see if you still think this is true, and you're going to use Charlotte as a project manager. You're going to use Charlotte your. Ai project manager and you ask it a question tell me ten things about a subject, okay, and that's your, that's your baseline. It could be anything you want and then ask it ten consecutive questions that occur to you as it, and I had that by the 10th, 10th question. Dean: You've created something brand new hmm, and Then so ask so if I say Tell me, charlie, tell me 10 things about this particular topic. Okay, let's do it, let's, let's create this life. So okay, if I say, charlotte, tell me 10 things about the 25 years after Gutenberg released the press, what were the top 10 things that you can tell me about that period of time? Dan: Yeah. Okay, and then Charlotte gets back to you and gives you a thing, and then it occurs to you. Now here's where it gets unpredictable, because I don't know what your first question is going to be when that comes back. Dean: Yeah, so what would the Okay? Dan: and then Charlotte goes out and answers, charlotte gets the answer to that question and then you have another question, but I can't predict. So you're going to have 10 unpredictable questions in a row and you can't predict what those 10 questions are because you don't even know what the first one is until Charlotte gets back with information and I'm saying, by the time you've asked, you've gotten your answer to the 10th question. You've created an entirely new body of knowledge that nobody in history has ever created. Dean: That's interesting, right? Yeah, you know. That's so funny that you know there was a comedian, george Carlin, in the 70s and 80s, I know George. George Carlin had a very famous bit where he was talking about words and how we all use the same words and you would think that everything that people say, well, everything has already been said. But, ladies and and gentlemen, you're going to hear things tonight that have never been spoken in the history of the world. We're breaking, we're making history tonight. He said, for instance, nobody has ever said hey, mary, as soon as I finish shoving this hot poker in my eye, I'm gonna go grill up some steaks. He said you just witnessed history tonight, right here. Dan: Yeah yeah, that's funny, right yeah yeah, yeah and uh, you have the explanation for a lot of foolish things that people do. Dean: Exactly. Dan: And I think that's that all the things have been created in the history of the world are a very, very small percentage of what is going to be created. Dean: This is interesting. So while we were talking I just typed into chat GPT. We're going to create history right here on the podcast. Dan:So I just said. Dean: What are 10 things that happened in the first 25 years after Gutenberg released the printing press and she typed back. Here are 10 key things that happened in the first 25 years, roughly 1450 to 1475. Number one the Gutenberg Bible was printed and she describes that the 42-line Bible became the first major book printed using movable type. Two, printing spread to other cities. Within a decade. Printing presses began appearing outside mains, starting with Strasbourg, cologne and Venice. By 1475, over a dozen European cities had active presses. Then, number three Johann First sues Gutenberg. First, who had financially backed Gutenberg sued him and won control of his equipment. Fust and Gutenberg's assistant went on to become successful printers in Mainz, the first printed Psalter, whatever, p-s-a-l-t-e-r in Latin, the first book to bear a printed date and a printer's mark. That's interesting. So the property, the first kind of copyright, I guess right. Or the first printer's mark and the first color initials. Emergence of the print Trade was another one Printed Law and Medical Texts, latin Grammar by Donatus D-O-N-A-T-U-S. Mass produced in the 1460s. The first printed Greek and Hebrew. First books using Greek were typed print in 1476. Printing in Italy begins and the rise of the Incanobula era, the Enoch group was well underway. Dan: Yeah, Now ask a question about that number 10. Dean: Yeah, so that's interesting. So if I said what happened with the lawsuit, yeah, what happened with the Fust lawsuit? Dan: Yeah, now here's the thing Now, here's the thing that until you got the answers back from the first prompt from the first query. You had no idea what your next question was going to be. Right, because I didn't know, and so this is almost like a didn't know, and so this is almost like a uh and what I'm saying. If you tracked, if you were to do this, you know, after our, maybe during, maybe during our podcast, but uh, certainly after you know, let's say, by five o'clock this afternoon you would, you would ask 10 questions that's an original, that's an original body of knowledge. That no one else previous to you has put together. Dean: Wow, so the lawsuit? So Gutenberg? It went in detail about Gutenberg's partnership with John. Dan: Tell me 10 things about the lawsuit. Dean: Yeah, well, that's what essentially she's done here. Yeah, the lawsuit was filed five years later, 1450. Gutenberg needed funding to develop his movable pipe. He borrowed 1,600 guilders a significant sum a wealthy financier. The loan was formalized as a business agreement Fust would invest and Gutenberg would develop the technology and handle production. Lawsuit filed in 1455. 1455, after several years, fust sued Gutenberg, claiming misuse of funds and lack of returns. The outcome the court ruled in favor of Fust. Gutenberg lost control of his printing equipment. First, fust partnered with Gutenberg's former assistant, peter Schofer, and the two continued printing successfully. Fust and Schofer became one of the first successful commercial printing firms in Europe. Gutenberg, though innovator and inventor, died in relative obscurity and financial hardship in 1468. The lawsuit reflects the tension between innovation and commercialization. Gutenberg had the vision, but Fust had the capital and, eventually, the press. Let me know if you want a dramatized version of the court case. It's got all the ingredients money betrayal and world changing technology oh my goodness yeah yeah, yeah, and you know, and, and so what I'm thinking here? Dan: is that by the end of the five o'clock this afternoon, let's say you follow through on this. You're a great. You're a greater expert on this particular subject than has ever lived. Dean: Yeah, Dan, you just that. It's almost like doing a triple play. I mean, yeah, it's three layers deep or whatever. Right, or yeah, or whatever you know, but just the layers. Dan: But it's all original because no one could possibly duplicate separate from you. Like today somebody's out there and they're duplicating, and they're duplicating the first 10 answers, the second 10 answers, the third 10 answers. Nobody could possibly duplicate that, you know. Dean: Because, it's up to me what the follow-up questions are. Dan: Yeah, and it doesn't occur to you until you're presented with the say oh that's a really interesting thing, but nobody else could. Possibly. They might follow you on one thing, but they wouldn't follow you on two things. And each further step towards 10 questions, it's just impossible to know what someone else would do, and my statement is that that represents complete originality and it also, by the end of it, it represents complete um expertise that was done in a period. That was done in a period of about five or six hours yeah I mean, that's what we were doing it. Dean: I said, yes, that would be fun. Please do that. She created this, dramatized the People vs Johannes Gutenberg, and it was called the. Trial of the Century Act. Dan:One the Pack. Dean: A candlelit workshop in Maine. The smell of ink and ambition fills the air I mean this is ridiculous. And then at the end, so outline the thing. And then it says, uh, would you like this adapted into a short stage play script or animated storyboard? Next I said, let's. So I think this would be funny to do it. Please do a stage play in Shakespearean pentameter or whatever. What do you call it? Dan: What's that? Dean: What's the style of Shakespeare in Shakespearean? How do you call that? Well, it's a play, yeah, yeah, but I mean, what's the phrasing called in Shakespearean? Dan: Oh, you mean the language. Dean: Yeah, yeah, yeah, the language structure. Dan: Yeah, yeah, iambic pentameter In Shakespearean. Dean: I'm going to say Shakespearean pentameter yeah. Dan: Pentameter is 10 syllables Da-da, da-da, da-da, da-da, da-da. That's the Shakespearean. He didn't create it. It was just a style of the day, but he got good at it. Dean: Damn, I am big, oh man so the opening scene is, to wit, a man of trade, johan by name, doth bring forth charge against one, johannes G, that he, with borrowed coin, did break his bond and spend the gold on ventures not agreed I mean yes, there you go completely, completely original, completely original. Oh, dan you, just now. This is the amazing thing is that we could take this script and create a video like using Shakespearean you know, costumed actors with British accents? Dan: Oh they'd have to be British, they'd have to be. British. Dean: Oh man, this is amazing. I think you're on to something here. Dan: My feeling is that what we've known as expertise up until now will just fade away, that anybody who's interested in anything will be an original expert. Yeah, and that this whole topic came about because that's been the preserve of higher education, and my sense is that higher education as we've known it in 20 years will disappear. Sense is that higher education as we've known it in 20 years will disappear yeah, what we're going to have is deeper education, and it'll just be. Individuals with a relationship with ai will go deeper and deeper and deeper, and they can go endlessly deep because of the large language models. Dean: Oh, this is I mean, yeah, this is amazing, dan, it's really so. I look at it that where I've really been thinking a lot about this distinction that I mentioned a few episodes ago about capability and ability, episodes ago about capability and ability, that, mm-hmm, you know this is that AI is a capability that everybody has equal access to. The capability of AI yep, but it's the ability of what to how to direct that that is going to. Dan: That's where the origins, because in the us, uh, at least over the last 40 or 50 years, higher education has been associated with the um, the political left. Uh, the um um, you know, it's the left left of the democratic party, basically in can Canada it's basically the Liberals and the NDP. And the interesting thing is that the political left, because they're not very good at earning a living in a normal way, have earned a living by taking over institutions like the university, communications media, government bureaucracies, government bureaucracies corporate bureaucracies, culture you know culture, theater, you know literature, movies they've taken over all that you know, literature, movies, they've taken over all that, but it's been based on a notion of expertise. It's um that these are the people who know things and uh and uh and, of course, um. But my feeling is that what's happening very quickly, and it's as big a revolution as gutenberg, and I mean you can say he lost the court, but we don't remember the people who beat him. We remember Gutenberg because he was the innovator. You know, I mean, did you know those names before? Dean: No I never heard of the two people and. I never heard of the lawsuit. You know it's interesting right, yeah, yeah. Dan: And it probably won't go between our country. It won't go further than our right right today, but gutenberg is well known because somebody had to be known for it and he, he ended up being the person. And my sense, my sense, is that you're having a lot of really weird things happening politically. Right now I'm just watching the states. For example, this guy, who's essentially a communist, won the Democratic primary to become mayor of New York. Dean: I saw that Ma'am Donnie. Dan: And he's a complete idiot. I mean, he's just a total wacko idiot. But he won and the reason is that that whole way of living, that whole expertise way of living, of knowing theories and everything, is disappearing. It's going to disappear in the next 20 years. There's just going to be new things you can do with ai. That's, that's all there's going to exist. 20 years from now and uh, and nobody can be the gatekeeper to this, nobody can say well you can't do that with ai. Anybody can do it with ai and um and you. There's going to be people who do something and it just becomes very popular. You know and there's no predicting beforehand who the someone or the something is going to be. That becomes really popular. But it's not going to be controlled by experts. Dean: Yeah. Dan: I think. Ai is the end of expertise as we've known it. Dean: Yeah, yeah, yeah, I think that's really I mean a little bit. I think that's been a big shift. I'd never thought about it like that. That that's where the if we just look at it as a capability, it's just an accelerator, in a way. Information prior to November 22, prior to chat, gpt all of this information was available in the world. You could have done deep dive research to find what they're accessing, to uncover the lawsuit and the. You know all of that, that stuff. But it would require very specialized knowledge of how to mine the internet for all of this stuff where to find it how to summarize it. 0:32:24 - Dan: Well, not only that, but the funding of it would have been really hard you know you'd have to fund somebody's time, somebody who would give you know their total commitment to they, would give their total attention to a subject for 10 years you know, and they'd probably have to be in some sort of institution that would have to be funded to do this and you know it would require an enormous amount of connection, patronage and everything to get somebody to do this. And now somebody with AI can do it really really cheaply. I mean, you know, really really quickly, really cheaply. I mean you know really really quickly, really cheaply and wouldn't have to suck up. Dean: Yeah. I mean this is wild, this is just crazy. Dan: Yeah, that sounds like a yeah, you should take that at a level higher. That sounds like an interesting play. Dean: I mean, it's really, it is. I've just, my eyes have been opened in a way. Dan: Now, now. Now have somebody you know. Just ask them to do it in a Shakespearean British accent, right. Just ask someone to do it. I bet. Dean: Yeah. Dan: I bet it'll be really interesting. Like that's what I think now is there would be. Dean: the thing is you could literally go to Eleven Labs and have the voice having a, you know, having British Shakespearean dramatic actors. Yeah, read, create a radio play of this. Dan: Yeah, so I go back to my little quarterly book, the Geometry of Staying Cool and Calm, which was about a year and a half ago. And I said there's three rules Number one everything's made up. Does this check? Does that check? Everything's made up, yeah. Dean: Did we just make that up this? Dan: morning. Dean: Yep. Dan: Nobody's in charge. Dean: Right. Dan: Is anybody in charge? Dean: Do we have to ask? Dan: permission. Dean: Yep, okay, and life's in charge. Right, is anybody in charge? Do we have to ask permission? Yep, okay. Dan: And life's not fair. Dean: Life's not fair. Dan: Life's not fair, that's right. Why do we get to be able to do this and nobody else gets to be man? Life's not fair. Dean: Uh-huh. Dan: Wow. Dean: It's a pretty big body of work available. I mean, that's now that you think about it. I was kind of looking at it as saying you know, I was worried that the creativity, or, you know, base creativity, is not going to be there, but this brings certainly the creativity into it. I think you're absolutely right, I've been swayed here today. Your Honor, yeah. Dan: But you're still confronted with the basic constraint that attention is limited. We can do this, but it's enjoyable in its own. Whether anybody else thinks this is interesting or not doesn't really matter. We found it interesting yeah, yeah, in background. Dean: Uh, you know, charlotte created a, uh, a playbill for this as well. She just kept asking follow-up would you like me to create a playbill I said. I said, can you design a cover of the play Bill? And it's like you know yeah, what's it called Well the Mainzer Stad Theater proudly presents. The Press Betrayed A Tragic History in One Act, being a True and Faithful Account of the Lawsuit that Shook the world. Yeah, that's great I mean it's so amazing, right, that's like, that's just. Yeah, you're absolutely right, it's the creativity, I guess it's like if you think about it as a capability. It's like having a piano that's got 88 keys and your ability to tickle the ivories in a unique, unique way. Yeah, it's infinite, yeah, it's infinite yeah. And you're right that, nobody that that okay, I'm completely, I'm completely on board. That's a different perspective. Dan: Yeah, and the. The interesting thing is the. I've just taken a look at the odds here, so you have, you start with 10 and if you did you continue down with 10, that makes it 100, that makes it a thousand, you know, it makes it 10, 000, 100, 000, a million. Uh, you know. And then it you start. And the interesting thing, those are the odds. At a certain point it's one in ten billion that anyone else could follow the trail that you just did. You know, yeah, which makes it makes everything very unpredictable you know, it's just completely unpredictable, because yeah and original. Unpredictable and original yeah. And I think that this becomes a huge force in the world that what are the structures that can tolerate or respond well to this level of unpredictability? I think it's. And then there's different economic systems. Some economic systems are better, some political systems are better, some cultural systems are better, and I've been thinking a lot about that. There was a big event that happened two days ago, and that is the US signed their first new trade agreement under Trump's. That is, the US signed their first new trade agreement under Trump's trade rules with Vietnam, which is really interesting, that Vietnam should be the first, and Vietnam is going to pay 20 percent tariff on everything that ships in. Everything that is shipped produced by Vietnam into the United States has a 20% tariff on it. And they signed it two days ago. Okay. Dean: Wow. Dan: However, if China ships it because China maybe has a much bigger tariff than Vietnam does, but the Chinese have been sending their products to Vietnam where they're said made in Vietnam and they're shipped to the United States the US will be able to tell that in fact it's going to be 40% for Vietnam if they're shipping Chinese products through. Dean: And this can all be tracked by AI. Dan: Right, this can all be tracked by AI. The reason why Trump's thing with tariffs this year is radically different from anything that happened previously in history is that with AI you can track everything. Dean: Yeah. Dan: And it happens automatically. I mean, it's not a stack of paper on an accountant's desk, it's just electronic signals. Oh, no, no that came from the Chinese 40% Please, please, please, send us a check for 40%, right, right, right, right, 40%. And my sense is that this is the first instance where a new set of rules have been created for the whole world. I mean, trump went to Europe two weeks ago and the Europeans have been complaining about the fact that their contribution to NATO has to be 2% of GDP, and that's been contentious. I mean, canada is doing like 1% or something like that, and they're complaining. And he came away with an agreement where they're all going to increase their contribution to NATO to 5% of NDP, and part of the reason is they had just seen what his B-2 bombers did to Iran. The week before and I said, hey, it's up to you. I mean you can do it or not do it, but there's a reward for doing it and there's a penalty for not doing it, and we can track all this electronically. I mean we can tell what you're doing. I mean you can say one thing but, the electronics say something else. So I think we're into a new world. Dean: I really feel like that yeah, yeah, wow. Dan: But it's expertise in terms of an individual being an expert. There's expertise available anytime you want to do it, but an individual who's an expert, probably that individual is going to disappear. Dean: Yeah, I agree, yeah, I can't. Yeah, I mean this is, yeah, it's pretty amazing. It's just all moving so fast, right, that we just and I don't think people really understand what, what we have. Yeah, I think there's so many people I wonder what, the, what the you know percentage or numbers of people who've never ever interacted with chat GPT. Dan: Me, I've never. Dean: Well, exactly, but I mean, but perplexity, I have perplexity. Dan:Yeah, exactly. Dean: Yeah, yeah, that's interesting. Dan: Yeah, well, you know. I mean, there's people in the world who haven't interacted with electricity yet. Somewhere in the Amazon, you know, or somewhere, and you know I mean the whole point is life's not fair, you know, life's just not fair. Nobody's in charge and you know everything's made up but your little it was really you know extraordinary that you did it with Charlotte while we were talking, because yeah would you get two levels, two levels in or three levels in? Dean: I went three or four, like just that. So I said, yeah, I asked her about the top 10 things and I said, oh, tell me about the lawsuit. And she laid out the things and then she suggested would you like me dramatic? Uh yeah, and she did act one, act two, act three and then yeah doing it in, uh, in shakespearean, shakespearean. And she did that and then she created the playbill and I said, can you design a cover for the playbill? And there we are and that all happened happened while we're having the conversation. Dan: You know what's remarkable? This is about 150 years before Shakespeare. Dean: Yeah, exactly, it's wild, right. I mean I find I was looking at, I had someone, diane, one of the runs, our Go-Go Agent team. She was happened to be at my house yesterday and I was saying how I was looking, I'm going to redo my living room area. My living room area I was asking about, like, getting a hundred inch screen. And I would say asking Charlotte, like what's the optimum viewing distance for a hundred inch screen? And she's telling the whole, like you know, here's how you calculate it roughly. You know eight to 11 feet is the optimal. And I said, well, I've got a. You know I have a 20 by 25 room, so what would be the maximum? What about 150 inches? That would be a wonderful, immersive experience that you could have. You certainly got the room for it. It was just amazing how high should you mount? Dan: that yeah, but but can they get it in? Dean: that's the right, exactly. Dan: Yes, if you have to if you have, if you have to take out a wall to get it in, maybe, yeah, too expensive, yeah yeah, but anyway, that's just so. Dean: It's amazing right to just have all of that, that she knows all the calculations, all the things. Dan: Yeah, and I think the you know what you've just introduced is the whole thing is easy to know. Dean: The whole thing, is easy to know. Well, that's exactly it. Dan: This is easy to know. Whichever direction you want to go, anything you need will be easy to know. Dean: Yeah. Dan: And that's new in human affairs We've had to pay for expertise for that, yeah. Dean: You'd have to pay a researcher to look into all of this stuff right, yeah. And now we've got it on top. Dan: We were at the cottage last week and Babs has a little pouch it's sort of like a little thing that goes around her waist and it's got. You know she's got things in it, but she forgot that she put the Tesla. You know our keys for the Tesla in and she went swimming and then she came out. It doesn't work after you go swimming with the Tesla. Dean: I don't even have a key for my Tesla anymore. It's all on my phone. Yours is on your phone. Dan: Yeah, yeah well, maybe she. Well, that'll be an upgrade for her to do that. But anyway, she went on YouTube and she said how do you, if you go swimming with your Tesla, bob, and it doesn't work, can you repair it? And then she went on YouTube and it would be easier buying a new Tesla. Dean: That's funny yeah, first you do this, then you do this. And interesting, uh, there's a guy uh rory sutherland, who is the uh vice chairman of ogilvy, uh advertising oh yeah and wow, and yeah, he did he had a really interesting thought he said let's just propose that we're all using electric cars, that electric cars are the norm. And we're all charging them at home and we're all driving around and we're all. It's all. You know, everybody's doing that. And then somebody from Volkswagen comes up and says hey, I got another idea. What if, instead of this, electric engine? or electric power. What if we created a combustion engine that would take and create these mini explosions in the vehicle, and, of course, we'd have to have a transmission and we'd have to have all of these, uh, all these things, 250 components, and you know, and you'd be asking well, is it, is it, is it faster? Uh, no, is it, is it more convenient? No, is it, is it, you know, safer? you know none of those things. It would. There would be no way that we would make the leap from electric to gasoline if if it didn't already exist. That's an interesting thought. You and he said that kind of. he used this kind of thinking like rational thinking and he said that rational thinking often leads to the wrong conclusions. Like he said, if you had a beverage and your job was that you were trying to unseat Coca-Cola from the thing, if you're trying to be a competitor for Coca-Cola, rational thinking would say that you would want to have a beverage that tastes better than Coke, that is a little less expensive and comes in a bigger package. And he said that's what you would bigger container, that's what you would do to unseat them. But he said the reality is that the biggest disruptor to Coca-Cola is Red Bull, which is expensive in a small can and tastes terrible. It's like you would never come to the conclusion that that's what you're going to do. But that wasn't. It wasn't rational thinking that led to no no yeah, and the other. Dan: The other thing is that, um, you know, um, the infrastructure for the delivery of fossil fuel is a billion times greater than the infrastructure delivery system for electricity yes. And that's the big problem is that you know it's in the DNA of the entire system that we have this infrastructure and there's millions and millions and millions and millions of different things that already work. Dean: And you're trying to. Dan: But the other thing is just the key. There is energy density, it's called energy density. That if you light a match to gasoline, you just get enormous energy density. And this came up. I was listening to this great guy. I'll send you the link because he's really funny. He's got a blog called Manhattan Contrarian. Really really interesting. Okay, you know, really interesting. Dean: Okay. Dan: You know New York City. You know he's New York City. He's a New Yorker guy and he was just explaining the insanity of the thinking about energy in New York State and New York City and he said just how weird it is and one of the things is that they've banned fracking in New York. Dean: Oh, wow. Dan: They have a huge deposit of natural gas underneath New York State, but they've banned it. Okay, so that's one. They could very, very easily be one of the top energy-producing states, but rather they'd rather be one of the great energy. We have to import our energy from somewhere else, Because that puts us on the side of the angels rather than the side of the devils. You know. Dean: Oh right, yeah, Side of the angels rather than the side of the devils. Dan: You really want to be on the side of the angels, but he was talking that they're exploring with green hydrogen. Have you ever heard of green hydrogen? Dean: Never. Dan: Well, it's green because it's politically correct. It's green, and then it's hydrogen, it's green and then it's hydrogen, and so what they have is in one place it's on Lake Ontario, so across the lake from Toronto, and then it's also in the St Lawrence Seaway. They have two green energy sites. And they have one of them where it's really funny they're using natural gas to produce the electricity to power the plant that's converting hydrogen into energy. Dean: Okay. Dan: Why don't you just use the natural gas? Oh, no, no, no, no, no. We can't use natural gas. That's evil, that's the devil. And so it's costing them 10 times as much to produce hydrogen electricity out of hydrogen. Rather, they just use the natural gas in the beginning to use it. And if they just did fracking they'd get the natural gas to do it. But but that produces no bureaucratic jobs, and this other way produces 10 times more bureaucratic jobs. Dean: That's crazy, yeah, yeah. Dan: But he just takes the absurdity of it, of how they're trying to think well of themselves, how much it costs to think well of yourself, rather than if you just solved a problem, it would be much easier. Mm-hmm, yeah, yeah, amazing, yeah, marvelous thing. But I'm interested in how far you're going to go. I mean, you've already written yourself a great Shakespearean play, maybe you? don't have to go any further than that. Dean: I mean I think it's pretty fascinating, though, right Like, just to think that literally as an afterthought or a side quest, while we're, I would say as a whim. You know, that's really what we, this is what I think, that's really what I've been reframed today, that you could really chase whims with. Yeah, this you know that, that, that you can bring whatever creativity um you want to. It like to be able to say okay, she's suggesting a dramatic play, but the creativity would be what if we did it as a Shakespearean play? That would be. Dan: You know, I think Trump is tapping into this or something you know, because he had two weeks when it was just phenomenal. He just had win after win, after win after win, after, uh, after two weeks, I mean nothing, nothing didn't work for him. Supreme court, dropping bomb on iran, the passage of this great new tax bill, I mean just everything worked. And I said he's doing something different, but the one you know Elon Musk to do. We have to use this Doge campaign and we have to investigate all of Elon's government contracts. And he says that's what we have to do. Dean: We have to. Dan: Doge, Elon, and he says you know he'll lose everything. He'll lose Tesla. He'll lose SpaceX, everything He'll have Tesla. He'll lose SpaceX, everything. He'll have to go back to South Africa. Dean: I mean that's unbelievable. Dan: He's such a master like reframer. Dean: You know, I saw him turning the tables on Nancy Pelosi when she was questioning his intentions with the big beautiful bill Just tax breaks for your buddies. And he said oh, that's interesting, let's talk about the numbers. And he pulls out this thing. He says you know, you have been a public servant. Dan: You and your husband. Yeah, you and your husband, you've been a public servant, you've had a salary of $200,000 a year $280,000 and you're worth $430 million. How'd you do that? Dean: That's an interesting story. Dan: There's not a person on Wall Street who's done as well as you have. How did you do that? You know Exactly. Dean: I just think what a great reframe you know. Dan:Yeah. Dean: Yeah, he's a master at that. You know who I haven't heard from lately is Scott Adams. He's been off my radar. No, he's dying. He's been off my radar. Dan: He's dying, he's dying and he's in his last month or two. He's got severe pancreatic cancer. Dean: Oh, no, really. Dan: And you know how you do that, how you do that. You know I'm convinced you know, I mentioned it that you die from not getting tested. I'm sure the guy hasn't gotten tested in the last you know 10 years. You know because everything else you know you got to get tested. You know that stuff is like pancreatic is the worst because it goes the fastest. It goes the fastest Steve Jobs. And even Steve Jobs didn't have the worst kind, he just fooled around with all sorts of Trying to get natural like yours, yeah. Yeah, sort of sketchy sketchy. You know possibilities. There was no reason for him to die when he did. He could have, he could have been, you know, could have bypassed it. But two things you didn't get tested or you got tested too late. Dean: So that's my Well, you said something one time. People say I don't want to know. He said well, you're going to find out. I said don't you? Dan: worry, don't worry, you'll find out. When do you want to find out? Dean: Right Exactly Good, right Exactly Good question yeah. Dan: What do you want to do with the information Right, exactly, all right. Well, this was a different kind of podcast. Dean: Absolutely. We created history right here, right, creativity. This is a turning point. For me, personally, this is a turning point for me personally. Dan: I was a witness yeah fascinating okay, dan, I'll be in Chicago next week. I'll talk to you next week, okay, awesome bye, okay, bye.

At the start of Shakespeare's famous tragedy, King Lear promises to divide his kingdom based on his daughters' professions of love, but portions it out before hearing all of their answers. For Nan Da, this opening scene sparks a reckoning between King Lear, one of the cruelest and most confounding stories in literature, and the tragedy of Maoist and post-Maoist China. Da, who emigrated from China to the United States as a child in the 1990s, brings Shakespeare's tragedy to life on its own terms, addressing the concerns it reflects over the transition from Elizabeth I to James I with a fearsome sense of what would soon come to pass. At the same time, she uses the play as a lens to revisit the world of Maoist China--what it did to people, and what it did to storytelling. Blending literary analysis and personal history, Da begins in her childhood during Deng Xiaoping's Opening and Reform, then moves back and forth between Lear and China. In The Chinese Tragedy of King Lear (Princeton University Press, 2025), the unfinished business of Maoism and other elements of Chinese thought and culture--from Confucianism to the spectacles of Peking Opera--help elucidate the choices Shakespeare made in constructing Lear and the unbearable confusions he left behind. Nan Z. Da is associate professor of English at Johns Hopkins University. Caleb Zakarin is the Editor of the New Books Network. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

The kids save a wedding. Blaine recites Shakespeare. Learn more about your ad choices. Visit megaphone.fm/adchoices

Yesterday on Louisiana Considered, the Gulf States Newsroom's Drew Hawkins brought us to the Netherlands to learn how the country was navigating the opioid epidemic. Today we hear how a different European country is handling this crisis – and what Louisiana could learn from it. Delaney Nolan recently reported on how harm reduction practices in Ukraine are providing a possible model for Louisiana addiction treatment. She joins us today to share more information. The New Orleans Shakespeare Festival at Tulane continues its season with the Bard's romantic comedy, “A Midsummer Night's Dream.” Directed by Graham Burke, the comedy highlights magic, mischief and romance. Actors Ian Hock and Celeste Cahn give us a preview. __Today's episode of Louisiana Considered was hosted by Diane Mack. Our managing producer is Alana Schreiber and our assistant producer is Aubry Procell. Our engineer is Garrett Pittman.You can listen to Louisiana Considered Monday through Friday at noon and 7 p.m. It's available on Spotify, the NPR App, and wherever you get your podcasts. Louisiana Considered wants to hear from you! Please fill out our pitch line to let us know what kinds of story ideas you have for our show. And while you're at it, fill out our listener survey! We want to keep bringing you the kinds of conversations you'd like to listen to.Louisiana Considered is made possible with support from our listeners. Thank you!