Podcasts about Toronto

'Three Pistols' as an opener. Nobody in the Saddledome saw that coming, least of all the guy who'd spent the whole week camping.Episode summaryAugust 1st, 2016. The Scotiabank Saddledome. The Tragically Hip are working eastward, homebound to Kingston, and the Man Machine Poem Tour rolls into Calgary for the first of two nights. Ten years on, three people who were in that building sit down and tell jD what it actually felt like.Spencer from Calgary was at both Calgary shows, and two days before this one he woke up from an afternoon nap, found face-value seats for Edmonton five hours before downbeat, and drove up the highway without packing a bag. Paul from Lethbridge talked himself out of the on-sale entirely, spent a fortnight regretting it, then bought behind-the-stage seats on the secondary market and has never regretted that. Steve from Toronto is a cancer survivor. He brought his fiancee to her first proper Hip show and found two old friends sitting directly in front of him.They talk about the email nobody was ready for. They talk about decoding the album blocks in real time, and about 'World Container' surfacing for the first time since 2009 with Gord Downie working the teleprompter and grinning through a fumble. They talk about a concourse so packed you could not move, a merch line that looked like a family reunion, and a version of 'Grace, Too' that Spencer says he will never shake.Nobody here is claiming to be the expert. They were just in the room. This is the Calgary night, told back by the people who lived it.Key takeaways• Steve from Toronto is a cancer survivor, so the diagnosis email landed on him twice over. Once as a fan, once as somebody who already knew the vocabulary.• Spencer from Calgary got Edmonton tickets at face value five hours before showtime, drove up with no bag packed, sat down with a hot dog and a beer, and the band walked out thirty seconds later.• Paul from Lethbridge and his buddy Nick skipped the on-sale, realized their error about a fortnight later, and bought in behind the stage. Hundreds of shows between them and this one still tops the list.• 'The Kids Don't Get It' was a tour debut that night, and 'World Container' had not been played live since 2009 (source: setlist.fm). Paul clocked the second one in the moment.• All three describe the same night from three different seats, and none of them describe a party. The word Paul reaches for is communal. He lands on an upbeat church service.Quotes“It was like this is happening to my friend Gord, which is a weird feeling to feel about someone that you've never known.”Paul from Lethbridge [MM:SS]“I used to complain that they didn't mix things up enough. I would do anything right now to get the most basic paint by numbers Tragically Hip set list if it meant being able to see that band one more time.”Steve from Toronto [MM:SS]Guest information• Spencer from Calgary - both Calgary nights plus an unplanned Edmonton run. Took his sister and his brother. Still the only concert the three of them have been to together.• Paul from Lethbridge - bought late, behind the stage, no regrets. Went with Nick, his concert guy. 'World Container' is a top-five song for him and he had never heard it live.• Steve from Toronto - cancer survivor. Five shows on the tour, Kingston included. Calgary was his now-wife's first proper Hip show.Resources, links and references• setlist.fm - the full Calgary, August 1 2016 setlist, including the 'The Kids Don't Get It' tour debut and the 'World Container' return. [hyperlink: setlist.fm Calgary Aug 1 2016]• Hipbase - primary source for The Tragically Hip setlists and discography, cross-referenced against setlist.fm for this episode. [hyperlink: Hipbase]• Long Time Running (2017) - the tour documentary both Paul and Steve credit with showing them how close the whole thing came to not happening. [hyperlink: Long Time Running]• The Ride to Conquer Cancer, benefiting The Princess Margaret Cancer Foundation - Steve rides with a team called The Tragically Clipped, a name that predates Gord's diagnosis. [hyperlink] [VERIFY with Steve: team spelling, ride count, and the total raised]• GEDfest Toronto 2026, with Campfire Circle as cause partner - mentioned on mic. Details pending, see note under Upcoming events. [hyperlink pending]• Hipstories - Jake Gold - the earlier Hipstories conversations, from the archive. [hyperlink]• Hipstories - Paul Langlois - the guitarist on the band's own terms. [hyperlink]• Hipstories - Alan Cross - the wider Canadian music context. [hyperlink]Calls to actionLeave yer Hipstory. This series is built out of them, and there are eleven more nights of that tour still to stitch back together. If you were there, or if you watched it from a couch and ugly-cried into a pillow, that counts too. [hyperlink: Leave yer Hipstory - reflections.tthpods.com]Come sit in the rec room. The Facebook community is where these conversations keep going after the episode ends. [hyperlink: Join the community - community.tthpods.com]Buy jD a coffeeEditing is hard. Help keep the battery charged and buy jD a coffee. Tips only, no guilt. [hyperlink: Buy jD a coffee - buymeacoffee.com/tthtop40]Closing paragraphSpencer, thank you for the Edmonton story, which is the single best piece of dumb luck anyone has brought to this series so far. Paul, thank you for 'World Container' and for the phrase upbeat church service, which is the closest anybody has come to naming what those rooms felt like. Steve, thank you for Jay. Spending the last two hours of a friendship at a Hip show is not nothing, and neither is saying so out loud.jD spent most of that summer in a psychiatric hospital and missed the tour entirely, which is a fair part of why this show exists at all. Ten years later the record gets built out of other people's memories. So there's that.Come back in two days for Calgary, August 3 2016. Same building, different night.Socials and community• Facebook: [hyperlink: The community group - community.tthpods.com]Support this podcast at — https://redcircle.com/tthtop40/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

In this episode of the Planet MicroCap Podcast, recorded a couple weeks ahead of Planet MicroCap Las Vegas, I spoke with Rick Rule - founder and CEO of Rule Investment Media and co-founder of Battle Bank - for a wide-ranging conversation on natural resources, gold, and where Rick thinks the smart money is quietly moving next. A note worth flagging before you listen: when we recorded this, Rick called gold north of $3,000 and said we were 20 years into a 30-year bull market. Gold has since crossed $4,000 - make of that what you will. We break down why Rick thinks the bull run still has a decade left, why he trimmed his junior miners and redeployed into royalty streamers, what he considers the most misread commodity setup right now, and why uranium's fundamental case has quietly changed in a way most investors still haven't caught up to. We also get into rare earths, copper, and his new venture, Battle Bank. For more information about Rule Investment Media, please visit: https://www.ruleinvestmentmedia.com/ Chapters: 00:00 Introduction and Rick Rule's Market Perspective 00:21 Rick Rule's Background and Investment Philosophy 01:24 Gold Price Surge and Market Cycles 03:30 Why Generalist Capital Is Still Hesitant in Juniors 04:56 The Long-Term Bull Market in Gold and Resources 06:18 US Debt, Inflation, and Gold's Future 08:44 The Role of Political Risk in Resource Investing 23:55 Uranium's Resurgence and Energy Security 28:16 Rare Earths: Myths, Realities, and Opportunities 34:14 AI and Its Impact on Commodities and Resources 38:59 Introduction to Battle Bank and Its Unique Features 43:54 What Could Make Rick Rule Bearish on Gold 45:34 The Future of US Debt and Currency Deterioration 46:38 How to Connect with Rick Rule and Resources Planet Microcap hosts the highest quality in-person microcap events in North America. The mission is to bring the best microcap investors, companies, and allocators together to gather, connect, and grow.; visit https://planetmicrocap.com/ to learn more about our Las Vegas and Toronto events. This presentation is for informational purposes only and should not be construed as a recommendation to purchase or sell any security referenced herein. Planet MicroCap Holdings LLC and MicroCapClub LLC (collectively, “we” or “our”) are not licensed brokers nor registered investment advisors. We, our partners, contractors, members, subscribers, guests, or affiliates may or may not hold positions in one or more of the securities mentioned in this presentation and may trade in such securities at any time. We may have received cash compensation from one or more participants for presenting at past, present, or future events. We recommend you consult a licensed investment adviser, broker, or legal counsel before purchasing or selling any securities referenced in this presentation.

TSN Baseball Insider Steve Phillips joins the show to discuss if Kevin Gausman is a certainty to be moved at the deadline, if they should consider entertaining offers on Louis Varland, if Toronto could be doing some buying at the deadline, and how much a possible lockout could affect team's approaches in trades.

Join Al's Brother and Dave Feschuk for Hour 2 on OverDrive! TSN Baseball Insider Steve Phillips joins the show to discuss Kevin Gausman's future in Toronto, if the Jays should consider Louis Varland offers, and if a possible lockout in 2027 could affect how teams pursue buying. The guys play “The Filter” and discuss which NHL superstar will be the first to surpass $20M AAV on their next deal. The show wraps up with FanDuel Best Bets.

Episode DescriptionTen years to the day, JD travels back to July 30, 2016 and the second of two Edmonton nights on the Man Machine Poem Tour. He's joined by two Edmontonians who were in the building — Kirsten and Chris — for a conversation about scalped tickets and Ticketmaster nightmares, the last concert ever held in Rexall Place, a set list that dug deeper than anyone expected, and the two encores that sent a city home in pieces.It's a night of firsts and lasts: 'Scared' heard live for the first time and the last time in the same breath, a room full of strangers crying through 'Courage,' and a final 'Bobcaygeon' with the whole barn lit up. Fair warning — the waterworks come up more than once.Around the TableJD — host, Your Hipster's Reflections from the Final TourKirsten (Edmonton) — roughly 20 Hip shows deep; attended both Edmonton nights and Calgary night one. First saw the band on the third Another Roadside Attraction tour.Chris (Edmonton) — about half a dozen shows, going back to an Up to Here–era gig at the old Edmonton Convention Centre. Brought his brother to night two.In This EpisodeThe Icebreaker: One Song That Puts You Back in the RoomKirsten picks "Scared" — she was up in the stands when the lights came down and the neon tubes took over. The song and the staging landed at exactly the right moment.Chris picks "Ahead by a Century," and explains why the line "disappointing news getting me down" hit like a freight train that night. He also names "Scared" as a shock — a deep cut he had never heard live and never expected to.A running theme starts here: how far into the catalogue the band was willing to reach on this tour.Hearing the News, and the Fight for TicketsKirsten on the diagnosis: devastating, and immediately followed by a desperate need to be in the room to honour the band.Her Ticketmaster ordeal — bounced three separate times — and a side story about how organizing an unplugged Headstones gig for a Pledge Music drive led to a friendship with Courtney, from the Hip's management side. Shout out to Courtney for the patience and the eventual tickets to Edmonton night one and Calgary night one.Chris rewinds much further: his first Hip show at the old Shaw/Edmonton Convention Centre, when his buddy won the last pair of tickets on the radio and took someone else. Chris went down anyway, watched people offer $200 for a $20 ticket, walked back toward the LRT station, and got face value from the fifteenth person he asked.The beer jug legend — paying a bouncer $20 to work the beer gardens, selling jugs at a markup, and Gord reaching down, taking a swig from Chris's jug, and hurling it into the crowd.The Fully Completely tour show he almost missed: hungover off a flight home from Mexico, picked up at the airport by his dad, who happened to have tickets. They caught it from about song four.For the final tour, a coworker — Kathy Thompson, ticket savant — tipped him off about the presale three days early. He landed what he calls the worst seats of his life and has never been happier about bad seats.Who They Went WithKirsten took her friend Natasha to night two, up in section 201; she had been on the floor for night one with her now-wife, who had never seen the Hip before.Seeing the tour from two different vantage points meant two different shows — and from the upper level she could suddenly see the teleprompters on stage.Chris invited both of the buddies from that very first show — one in Victoria, one living in France — and both had to bow out. His brother got the ticket, and the two of them have a lot of Hip history together.The Set ListOpens with "Blow at High Dough."Chris on the run of Courage / At the Hundredth Meridian / Wheat Kings / Fifty Mission Cap — four of his all-time favourites back to back. He told his brother he could have walked out happy right there.The deep-album slot that night: We Are the Same. Kirsten singles out "Now the Struggle Has a Name" — she still remembers the notes Gord hit — and talks about the mood of "Coffee Girl" and "Morning Moon."Chris is candid that the later records don't sit with him the way the early ones do, and names "An Inch an Hour" as the one that got away.Both were set-list watching night to night, trying to guess which album would get pulled next — and Kirsten notes what it meant for Gord to rotate the set at all, given how well known his struggles with lyrics were (see: "Cordelia" quietly disappearing from set lists for years).The EncoresEncore 1: Greasy Jungle → Scared → Grace, TooEncore 2: Fireworks → BobcaygeonKirsten on closing with "Bobcaygeon" instead of the usual barn-burner — phones and lighters up across the building, and Gord taking long moments to look out and take it in.Chris connects the "checkerboard floors" line to the Horseshoe Tavern in Toronto, and reads the closer as the band pointing back at where they started. He still goes to the Horseshoe every time he's in Toronto.Gord on StageThe eye contact — a recurring observation across this series. Kirsten notes Gord historically avoided looking at people because singing faces threw him off, and that on this tour the fourth wall came down.Her impression of him off stage from a brief meeting: quiet, soft-spoken, very funny, extremely thoughtful.Chris was struck by how minimalist the production was — no big screens, just five guys, a silver suit, the feather hat and the Jaws shirt.The honest part: Gord was visibly struggling in places, missing notes, with the band filling the gaps — and getting noticeably stronger night over night. Kirsten describes a collective will from the crowd pushing him through.The Last Night in the BarnThis was the final concert at Rexall Place / Northlands Coliseum before the move to Rogers Place — so the night carried a second goodbye.Chris and his brother started at the Vinyl Needle downtown (dinner, beers, and a Hip tribute band playing to a very envious crowd), then rode the LRT through pouring rain.Walking into a building he had been going to since 1980 and finding it stripped and sterile — memorabilia pulled down, replaced with deep-cut oddities like an old Edmonton Drillers photo.Kirsten on saying goodbye to a venue where she had seen Oilers playoffs, countless bands, and the Hip many times over.When It Hit"Courage." Chris looked left, looked right, looked down, looked at his brother — everyone was crying. First time he had ever cried at a concert.Kirsten describes it coming in waves, every night, over and over: this is it, this is the final tour.Chris screaming himself hoarse for one more encore — and getting it.Walking out: heavy, but joyful. The same line over and over on the way to the train — "I can't believe I was here."August 20: The CBC National BroadcastKirsten missed it live — Edmonton Fringe obligations with her wife — caught what she could on CBC Radio in the car, then watched her recording that night and lost it.Her take on Gord's address to Trudeau and the reconciliation focus of his final chapter, and on the optimism she thinks the country still needs.Chris hosted a house party for 15 or so, most of them less invested than he was, and had to explain to a room of nieces and nephews why Uncle Chris was crying on the couch.Both reflect on the outdoor watch parties across the country — and Chris floats the idea of doing one for the 10th anniversary.What They'd Tell Someone Who Wasn't ThereChris on the Hip as Canadiana nobody else has matched — the loon call in "Wheat Kings," getting away with naming an album Road Apples, the reflexive "Jacques Cartier, right this way" he and his buddy blurted out at a statue in France — and on being unabashedly proud to be Canadian.Kirsten remembers a spotlit banner behind the stage reading "Canada Loves the Hip," and lands on the privilege of witnessing it: great musicianship, great ambassadors, good people making good art.Notable Quotes“He didn't just sing it. He poured everything into that lyric — the only way he can.” — Chris, on "Ahead by a Century"“I was in the building. And that was what was important. I don't think I've ever been so happy to get such crappy tickets in my life.” — Chris“You just kind of willing him. There was a collective will, just like — you can do this.” — Kirsten“I looked to my left, looked to my right, looked down, and then I looked at my brother, and everybody was crying.” — Chris, on "Courage"“It came in waves. Each night it would come in waves — this is it. This is the final tour.” — Kirsten“I can't believe I was here. That was the thing we kept hearing over and over again as we got on the train.” — Chris“To be a witness of such great musicianship, such great ambassadors to Canada. Just good people doing good art.” — KirstenMentioned in This EpisodeVenues: Rexall Place / Northlands Coliseum · Rogers Place · Edmonton (Shaw) Convention Centre · the Vinyl Needle · the Horseshoe Tavern, Toronto · K-Rock Centre, KingstonSongs: Blow at High Dough · Courage · At the Hundredth Meridian · Wheat Kings · Fifty Mission Cap · Now the Struggle Has a Name · Coffee Girl · Morning Moon · New Orleans Is Sinking · Cordelia · An Inch an Hour · Greasy Jungle · Scared · Grace, Too · Fireworks · Bobcaygeon · Ahead by a CenturyAlbums & tours: Up to Here · Road Apples · Fully Completely · Live Between Us · Music @ Work · We Are the Same · Man Machine Poem · Another Roadside AttractionPeople: Gord Downie · Paul, Rob, Gord Sinclair and Johnny Fay · Courtney (Hip management) · Kathy Thompson · the Headstones · Robert Plant & Alison Krauss at the Edmonton Folk Music FestivalPlugs & Next TimeKirsten and Chris both used their plug on this podcast. Take your flowers, JD.Next episode: Calgary, Night 1 — August 1, 2016.For more information and to follow the series, visit home.tthpods.com. To reach JD, email jd@tthpods.com.This has been a presentation of the Tragically Hip Podcast Series.Support this podcast at — https://redcircle.com/tthtop40/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

We say farewell to Jennifer Jason Leigh for now with two more harrowing works: Georgia (1995), written by Leigh's mother, Barbara Turner, and directed by Ulu Grosbard, and Bastard Out of Carolina (1996), directed by Anjelica Huston and based on the semi-autobiographical novel by CSA survivor Dorothy Allison. We talk about the endless ambiguities of Georgia, a rare gripping dramatic work concerned with clashing ideas about art, and Bastard's queer perspective on patriarchal dynamics. Leigh again shows her talent for playing paradoxically resilient, self-destructive women. And in Fear and Moviegoing in Toronto we got to see the brand-new 4K restoration of Letty Lynton, which has not been seen in theatres or by any legal means in the nearly 100 years since the copyright ruling against it. This batshit Clarence Brown melodrama, brimming with sexual psychosis, surely must have gone a long way toward establishing the highly unique Joan Crawford sound-era screen persona.  Time Codes: 0h 00m 20s:    GEORGIA (1995) [dir. Ulu Grosbard] 0h 30m 37s:    BASTARD OUT OF CAROLINA (1996) [dir. Angelica Huston] 0h 51m 30s:    Fear and Moviegoing in Toronto – Clarence Brown's Letty Lynton (1932) at Revue Cinema (Designing the Movies)   0h 59m 43s:      So This is Sarris (Andrew Sarris's The American Cinema) – Clarence Brown +++ * Listen to our guest episode on The Criterion Project – a discussion of Late Spring * Marvel at our meticulously ridiculous Complete Viewing Schedule for the 2020s * Intro Song: "Sunday" by Jean Goldkette Orchestra with the Keller Sisters (courtesy of The Internet Archive) * Read Elise's piece on Gangs of New York – "Making America Strange Again" * Check out Dave's Robert Benchley blog – an attempt to annotate and reflect upon as many of the master humorist's 2000+ pieces as he can locate – Benchley Data: A Wayward Annotation Project!  Follow us on Twitter at @therebuggy Write to us at therebuggy@gmail.com We now have a Discord server - just drop us a line if you'd like to join! 

In this episode the guys sit down with IFBB pro bodybuilder and science-driven performance coach Ben Pakulski for a wide-ranging conversation on peptides, performance, identity and the hard lessons of a 20-year bodybuilding career. Ben breaks down the peptide landscape — why he's optimistic about the science but deeply cautious about sourcing (90%+ of research peptides come from China with no quality guarantees), the most exciting peptides he's currently working with including SS-31 for mitochondrial repair, and myostatin inhibition and where the science actually stands. They also cover Ben's origin story — going from 160 pounds at 17 to 240 by 19 purely naturally, getting cut from a baseball team at 12 and how that shaped everything, the culture of his Toronto gym and what hard training actually looks like, the Arnold Classic story where he competed sick all night with vomiting and diarrhea and still got second. Ben shares how bodybuilding was never his identity — just something he did — and why leaving the sport felt like relief rather than loss. They also dig into GLP-1 use, the looming frailty epidemic, genetic testing for coaching, why the guys fixed their training plateaus through gut health and hormone optimization, and why Ben thinks the hard work of getting fit is the actual prize — not the physique.   MAPS Upper Lower: https://mapsupperlower.com Code: LAUNCH for 40% off. Two days left on this offer. Four day split, male and female versions, workout videos and live coaching with Cole.   SPONSORS Ketone IQ: https://ketone.com/MINDPUMP 30% off subscription orders plus a free gift with your second shipment. Also available at Target stores nationwide.   GUEST LINKS Ben Pakulski: https://www.benpakulski.com Ben's Podcast — Muscle Intelligence: available on all major platforms Instagram: @bpakfitness   LINKS Mind Pump Store: https://mindpumpstore.com Maps Fitness Products: https://mapsfitnessproducts.com Instagram: @mindpumpmedia 0:00 - Intro 1:58 - The peptide landscape — incredible potential, serious sourcing risk 5:14 - SS-31 for mitochondrial repair and why Ben's dad is on 10mg three times a week 9:04 - Mots-C vs SS-31 — why people respond differently and what might explain it 10:17 - Myostatin inhibition — what the science actually says about building muscle without training 13:32 - Gene therapy for myostatin in Mexico and what Ben's friends actually reported 15:28 - Why putting on muscle through shortcuts doesn't build confidence — only the process does 17:54 - Why physical stress and psychological stress are disconnected in modern life — and why that matters 22:05 - Getting cut from a baseball team at 12 and how that shaped everything 24:06 - The four master skills Ben teaches his kids — body, finances, communication, emotions 25:51 - How Ben transitioned out of pro bodybuilding without an identity crisis 28:58 - Going from 160 to 230 pounds naturally at 17 — the real story 33:01 - Getting a Muscle Tech contract at 19 by just walking around a show 38:03 - Training culture at Gold's Venice vs his Toronto gym — what hard work actually looks like 43:36 - Why headphones in the gym killed community — and why CrossFit understood something bodybuilding missed 48:24 - The Arnold Classic sick story — vomiting all night, competing anyway, getting second 55:28 - First steroid cycle at 19 and what it actually did 1:02:43 - How Ben's business pivoted through Covid and why coaching replaced digital programs 1:06:32 - Warrior and monk — how Ben learned to wield intensity as a tool rather than let it control him 1:13:06 - GLP-1 use in bodybuilding, the looming frailty epidemic and the gut motility problem 1:23:07 - Genetic testing for coaching — seeing constraints before clients hit them 1:31:05 - Sal's gut health and testosterone story — 15 pounds of muscle from a parasite cleanse

Ben Maller talks about if the Dodgers should hold off on Tarik Skubal to spare some hurt feelings, if Toronto's George Springer would be a good fit for the Yankees, if the Phillies are cooked because Bryce Harper and Dave Dombrowski are at loggerheads, and much more!See omnystudio.com/listener for privacy information.

OverDrive Co-Host Jeff O'Neill joined the show to discuss the truth behind his viral post of Gavin McKenna calling him for the No. 92 on the Maple Leafs, Toronto's outlook for the season, Auston Matthews seeking a bounce back, the notion of players not being protected by the organization and more.

Join Bryan Hayes and Jonas Siegel for Hour 2 on OverDrive! O-Dog joins to discuss the truth behind Gavin McKenna calling him for No. 92 on the Maple Leafs, Toronto's roster direction and Auston Matthews' search for a bounce back season. Buffalo Bills President of Football Operations and General Manager Brandon Beane on the Bills' outlook for the organization and Bryan hands out his FanDuel Best Bets.

Don Pyle returns to discuss his lovely new memoir, Rough Description: Love Letters and Ghost Stories from a Life in Music, summers in Toronto, why he wrote this deeply personal book of reflections, recollections, and remembrances, what we learn about departed friends like Reid Diamond, Dallas Good, and Steve Albini, thriving in spite of a difficult childhood and a mother in emotional duress, kinship with Kids in the Hall and the Good Family, discussing dreams about and visitations from Dallas Good, the time that Steve Albini came to Toronto to record Phono-Comb and King Cobb Steelie, a gift from Rik Emmett from Triumph, upcoming book events, other future plans, and much more.EVERY OTHER COMPLETE KREATIVE KONTROL EPISODE IS ONLY ACCESSIBLE TO PATREON SUPPORTERS STARTING AT $6/MONTH. This one is fine, but if you haven't already, please subscribe now on Patreon so you never miss full episodes. Thanks!Thanks to Blackbyrd Myoozik, the Bookshelf, Planet Bean Coffee, and Grandad's Donuts.Support Y.E.S.S., Pride Centre of Edmonton, and Letters Charity. Follow vish online.Related episodes/links:Win You've Changed Records by Fiver and G̱amksimoon in July 2026!Ep. #1115: Dinner is RuinedEp. #1103: Jon SpencerEp. #1101: Gina GershonEp. #1086: The Sadies & Billy RayEp. #1085: Richard Reed ParryEp. #1044: Steve Albini (2008)Ep. #937: Mouth CongressEp. #889: Rick White and The SadiesEp. #821: Kurt VileEp. #752: Yo La TengoEp. #744: Don PyleEp. #703: The SadiesEp. #691: The Kids in the HallEp. #669: Dallas Good RememberedEp. #512: Kevin McDonaldEp. #439: Bruce McCulloch and Paul MyersEp. #333: Kevin McDonaldEp. #172: Long Night with Scott Thompson, Damian Rogers, Don Pyle, and OvernightEp. #158: Bruce McCullochEp. #56: Dallas GoodSupport this show http://supporter.acast.com/kreative-kontrol. Hosted on Acast. See acast.com/privacy for more information.

From Shania Twain playing Toronto's legendary Horseshoe Tavern to Post Malone teasing a return to hip-hop and having a concert cut short by a massive Edmonton storm, we break down the biggest entertainment headlines of the day. Plus, Tom Holland's post-Marvel mishap, Ryan Gosling's reported arrival in the Marvel universe as Ghost Rider, a Canadian politician accidentally reading an AI prompt aloud, and the wildest stories involving a porta-potty, a new colour called “Olo,” and Usher's warning to fans after an awkward on-stage moment. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

From 07/29 Hour 1: The Washington Nationals are in the middle of hosting the Toronto Blue Jays at Nats Park. Washington dropped game one so it was imperative that they picked up the win last night.

Last week, the Pentagon's All-domain Anomaly Resolution Office (AARO) released its Fiscal Year 2025 Consolidated Annual Report on Unidentified Anomalous Phenomena, revealing its latest findings involving unidentified anomalous phenomena (UAP). Among its key findings, AARO's report conveys that the Office continues to collect data on hundreds of objects it cannot yet identify and states that some sightings over sensitive military facilities could represent an "unmitigated threat vector" to U.S. national security. This week on The Micah Hanks Program, in addition to an analysis of AARO's latest findings, we also recap the recent 2026 Scientific Coalition for UAP Studies (SCU) event held in Toronto, Canada. Finally, we examine recent conspiracy theories related to the topic and explore why some unfounded speculations persist despite the uncertainty inherent in UAP studies. SHOW NOTES Below are links to stories and other content featured in this episode. NEWS: Rep Burchett unmasks 'deep state' plot to hide UFO truth after two-hour Pentagon meeting  Pentagon investigating mysterious UAP event reported by the Navy near Virginia's coast | DefenseScoop  Betelgeuse, Betelgeuse! Astronomers capture clearest image yet of famous star's elusive companion 2025 AARO REPORT: FY 2025 Consolidated Annual Report on Unidentified Anomalous Phenomena   SCU: Scientific Coalition for UAP Studies   2026 EVENT: These Toronto scientists are studying UFOs — and fighting to be taken seriously BECOME AN X SUBSCRIBER AND GET EVEN MORE GREAT PODCASTS AND MONTHLY SPECIALS FROM MICAH HANKS. Sign up today and get access to the entire back catalog of The Micah Hanks Program, as well as "classic" episodes, weekly "additional editions" of the subscriber-only X Podcast, the monthly Enigmas specials, and much more. Like us on Facebook Follow @MicahHanks on X. Keep up with Micah and his work at micahhanks.com. Want to advertise/sponsor The Micah Hanks Program? We have partnered with the AdvertiseCast to handle our advertising/sponsorship requests. If you would like to advertise with The Micah Hanks Program, all you have to do is click the link below to get started: AdvertiseCast: Advertise with The Micah Hanks Program

How can building an audience in advance help your stories reach the people who make movies? And how can you prove there's demand for your book or screenplay before you've written it? Brooks Elms shares his advice after more than 20 years as a WGA screenwriter. In the intro, what doesn't work for book marketing and what does [Amy Chan SubStack; Unsingle; Rephonic]; Goodreads giveaway for Bones of the Deep; FutureVision XPrize. This podcast is sponsored by Kobo Writing Life, which helps authors self-publish and reach readers in global markets through the Kobo eco-system. You can also subscribe to the Kobo Writing Life podcast for interviews with successful indie authors. This show is also supported by my Patrons. Join my Community at Patreon.com/thecreativepenn Brooks Elms is a WGA screenwriter with over 45 scripts, over a dozen sales, and he has directed two indie features. He is the creator of the Answer the Call system and has trained over 1,000 writers. You can listen above or on your favorite podcast app or read the notes and links below. Here are the highlights and the full transcript is below. Show Notes How to see the opportunity in AI when others only see the threat How to test a story with samples, and what a 16-second movie can do Building the trailer before you write the screenplay Letting your audience finance the film once they have validated the idea Why Hollywood still wants existing IP, and what makes them pay attention Feeling safe enough to write the truth, and finding a concrete path forward You can find Brooks on LinkedIn or email him at brooks@brookselms.com. Transcript of the interview with Brooks Elms Jo: Brooks Elms is a WGA screenwriter with over 45 scripts, over a dozen sales, and he has directed two indie features. He is the creator of the Answer the Call system and has trained over 1,000 writers. So welcome to the show, Brooks. Brooks: Thank you. It's awesome to be here. Jo: Fantastic. So first up— Tell us a bit more about you and how you got into screenwriting. Brooks: I started filmmaking first. A buddy came up to me in high school and said, “Hey, we're making a karate movie, do you want to help us?” I was like, “Oh my God, yes, that sounds amazing.” So next thing I know, I had this karate outfit on, and we were just making this completely ridiculous and totally fun movie, and it was amazing. It was so fun. Then it went to a whole other level when we shared it with a friend, this guy Jay Sharon, and he watched the movie and he laughed so hard he literally fell out of his chair. I was like, “Oh my God,” the fun I had making it could actually transfer to somebody else. I was hooked. So from there I went to NYU film school, and then made a few independent feature films which were good but not great in terms of how they were received. They were great for me in terms of enjoyment, but I knew I needed to iterate faster at that point. So then I was like, “Well, it's expensive and it takes a long time to make a movie,” at least back then. So I pivoted to screenwriting, and pumped out two, three scripts a year, got signed at UTA, got writing assignments, and basically launched a screenwriting career. Then I still tried to get some stuff going, but it's hard when movies are so expensive. It's not hard, it's just that it takes a lot of precision in the marketing, and a lot of conversations to find the right matches to finance something, and you're either interested in doing that or you're not. I just was like, “Well, I'll just mostly write screenplays.” Then I started teaching at UCLA Extension and then coaching after that, along with writing. Then all the way up to the future. What's great about moving forward is that with AI, shot-making is becoming very close to cinematic quality. You can actually match cinematic quality in moments in some genres, but probably by next year. Right now you could actually do a really good horror movie all AI for 10, 20,000 bucks, depending on how much you're doing yourself or getting other people to do. So the economics are going to absolutely explode. So I'm sitting on dozens of scripts that didn't get through the Hollywood packaging bottleneck because they're too expensive, and I now have this giant slate that's ready to go, and I'm just absolutely thrilled. It's been a lifelong dream for me. Jo: Oh, so much to come back on there. Where to start? I do want to talk about what you just said there, sitting on dozens of scripts and now seeing the opportunity. I actually wrote down in my journal about a year ago, I see what's coming with AI, and I think that the best thing I can do is create as much original IP as possible, so that I can make the most of the opportunity ahead. So let's just get into the AI, because a lot of people feel it's a super bad thing. Talk about the opportunities and the attitude that you've got [around AI], and that you've seen others have around this, for what is ahead in a positive way. Brooks: It's fascinating to see how people respond to AI. I wonder, when the printing press rolled around, if there was some sort of backlash. Books must be handwritten. They can't be mass-produced. Here's one of my theories. At a deep psychological level, it's so profoundly powerful that I think the default setting is, “Oh, crap.” When I was a kid, some things were hard, and that power imbalance, when something big, new and powerful comes along: I'm going to get screwed, and so this is somehow a bad thing. I think that's the base psychological thing going on with most of the noise. Obviously there are some legit problems, in terms of copyright infringement from learning models, or from some of the environmental situation. So I'm not saying it's all rainbows and butterflies, but I think 90% of the noise around it comes from a fear of change. Here's the other one—a fear of, “Oh, yikes, I'm going to get taken advantage of somehow by either robots, or the corporations are going to use the robots against me,” or something like that. I have real empathy for me when I feel that way a little bit, but I don't feel it much, and for other people that do feel it. The other thing is, you know what it is? I think they fear their own empowerment even more. I had a therapist who was really good. He said, people aren't so much afraid of failing as they are afraid of succeeding. Because if we fail, we're stuck in act one and we don't go anywhere. The fear is answering the call and going to act two, when everything effing changes in the new world. So I think people are afraid of how goddamn powerful they're going to be when they can have a team of AI agents helping them do everything they want in business or life or whatever. I think it's the same thing with the internet. People are like, “Oh, I don't like social media, blah, blah, blah.” And I get it. There's a lot of noise and a lot of crap. Yet we have access to billions of people, and the algorithms in social media right now I think are level three out of 10. They're just going to get better and better. Even as it is now, if I do a post about something and it gets ignored, that's on me. The algorithms are trying to match me to my people. So if I'm not unique enough and authentic enough and aware enough of how virality works, that's on me, and it's a learnable skill that I can embrace and then change and then get better at. So I think people then resist that change. They resist the empowerment of learning the art of virality, or learning the art of some sort of social media stuff or whatever. The last thing I'll say about this rant is, I don't want to act like I'm the guru on the hill that has all the answers. I refuse calls all the time. I'm scared about all sorts of things. I'm certainly not perfect. I feel frustrated when I'm trying to put my big ideas into action and I can't get this technology thing to work or that one, and I throw tantrums. I'm trying to come at it from a real human perspective, but by and large, I've got stars in my eyes. I'm like, “This is amazing. This is going to be so powerful.” For so many people, you just have to be ready to embrace it and just go along for the ride, because there's going to be some big-ass changes. There already are, and that's going to accelerate. Jo: You mentioned there learning the art of whatever it is. One of the things is, I've spent 20 years, and so have you, learning our craft and our art, and now it can be done very easily. I'm generating video, as you mentioned, which is a craft I haven't spent 20 years on, but now I can generate. So things have definitely changed in that way. Just coming to the screenwriting side. Probably about a decade ago now, I did my first screenwriting course. I've written screenplays. Then I looked at the game you have to play and, like you said, the conversations you have to have, the events you have to go and network at, all the things that you have to do to put a screenplay in front of the right person at the right time. I was like, “I cannot do that. It's just not going to happen. I can't do that along with everything else.” So I put it aside, but now I feel maybe it's time to bring it back because things are changing. So can you maybe talk about, if someone has a screenplay now that they've written, or some IP like a book that they have now— What would you recommend people do in terms of wanting to get that [IP] in front of somebody, or doing something with it themselves? Brooks: It's such a good question. By the way, not even a screenplay—you could do the same things with a novel. Let me try to be succinct here, which is a good challenge for me. A simple way to look at it is, you're giving samples. Let's say it's a lemonade stand, and you give out a little shot of your… maybe you have cayenne pepper lemonade, some sort of fun lemonade. If you give out a sample and people are into it, they're going to come back and they're going to tell friends. If you give a sample of the lemonade and they're not into it, then you go back to the kitchen and you mix up a different flavour. So that's some basic business, but the internet allows us to do that at scale. So what I like to encourage people to do when I coach them is come up with the minimum viable material. It can be a 10-second clip. There's a writer in my community who made a really beautiful 16-second movie. It's one shot. I love it so much. It's two wine glasses. There's a lipstick smudge on one of the wine glasses. They're half full, and it's just that shot. It's sitting there, and all of a sudden you hear this thundering, thumping down these stairs, dun, dun, dun, dun, dun, dun. Then you see out of the corner of the frame one person runs by, and then the other person behind her runs by and goes, “Wait.” That's it. That's the whole movie. It's 16 seconds. He did that with his phone. So there's so much going on. There's a couple of basic elements, but he just did it with his phone, and you can evoke enormous emotional impact on people through social media, whether it's just words. You guys have a big advantage as novelists because you're so good with words. Whether it's a little bit longer, like sudden fiction, that's a couple of pages or whatever. Even just copywriters are really in a good position for the future because they're super potent with two words or three words or 10 words. Then novelists are probably really advantageous because it doesn't cost anything to just put some words out on the internet. The point is, if you put something out, it's a signal, and you're talking about billions of people who could find that signal. If you do it and then you look at the response, and then you try again, you look at the response, we can do this iteration infinitely for free. So you can do it already. You've been able to do it for 10, 15, 20 years, just with words. But now you're going to basically be able to do that with movies or clips or trailers. So the thing that I'm leading in my community of writers is having people build trailers in advance, or clips. When a book or a movie is done, how the heck do we get people to see it? One way is a trailer or some sort of behind-the-scenes material. You can just do that stuff now before even writing the screenplay. I saw that you were doing this project, a trailer for this competition. And then you mentioned, “Oh, I've got to write the screenplay.” Not really. You have to develop the story enough to know what you're referring to, and then it's about studying the craft of either trailer construction, or whatever the clips are, or viral clips. They all have a structure, and then you just test it. If you enjoy that testing process, which I find absolutely thrilling, it feels like the filmmaking version of a stand-up comedian. If I did stand-up, I say a joke, they laugh or they don't laugh. It's really beautiful feedback from the universe. Nerve-wracking, right? But we can do that now as storytellers. We put a story out there in any format, and the audience responds. Just like you have to read any room, you have to learn how to read the engagement on social media. What do likes mean? What do shares mean? What do comments mean? How do you deal with trolls? All that is just part of the new art. Once you get good at it, holy smokes, that's the key to the kingdom. You can build audiences in advance, and for movies you could even have them finance your movie in advance, if you've built an email list of 20,000, 30,000, 40,000 people because you kept putting out all these viral clips around your story, novel, or screenplay. Then you go, “Okay, now 30,000 people are on my email list and I tell them about me and my perspective and my world. We're going to make this darn thing with AI for 20,000 bucks. You guys have got to pony up some money. Put in a dollar, five, 10, or you get the VIP $500 experience.” It's like crowdfunding, but much more sophisticated, because most crowdfunding was like begging friends and family to donate to your crazy dream. What I'm talking about is going to the audience directly, developing enough of the story, then going to the audience second, and then only when they validate the idea, to the extent that you're happy with. You could do a crazy idea that's going to have a small audience, and you don't have to have a blockbuster audience. You get to pick the audience size that you want, and then put the samples out there and see if you have a relevant audience size for this next project. Once the audience tells you, “Yes, we want this,” then you go make it. So you're ultimately reducing risk to almost zero. It takes time and you have to learn how to do this stuff, but it's thrilling to me because we just have the capacity to test the material and listen to the audience upfront. The last thing I'll say, and I've rambled a lot, I'm sorry. When I made a movie in 1994, a feature film right out of NYU, it took me three years to find out what the audience thought about that movie. I had to make the damn thing, and then I ran out of money, and that took me years to edit it, and I finally got it, blah, blah, blah. And again, I loved it. I loved every facet of it, and it was fine, but it was super inefficient. Today, I could take those same elements, create an AI trailer this weekend, put it in front of hundreds of thousands of people, and they could tell me right away, “This sucks,” or, “This is interesting,” or, “Holy smokes, this is amazing. I want this.” If it's not, “Holy smokes, this is amazing, I want it,” I can go ahead and re-edit the whole damn trailer, and just keep reiterating at almost no cost. Then once the demand is there, I can take that demand and that audience and go to Hollywood, and that's when they're going to want to work with me. Then it doesn't take a million conversations and finding the needle in the haystack, because Hollywood sees the numbers and they go, “Oh, you're the people we do want to do business with. You've proven demand. We want to do business with you.” Jo: Yes, it's so interesting. I can hear people listening and they're like, “Easier said than done, getting an email list of 40,000 people.” And in fact— It's exactly the same as building up a career as an independent author. This is as a filmmaker, as a visual person, and the industry is visual, so doing a visual trailer is the obvious thing. And as you say, the tools I use just to do this one, I use Midjourney, and I've used Seedance as the main video model. It does take a while, but it is pretty fast now, if you have a visual image of what you want in your head, which obviously you're a visual person as well. But is it… Brooks: Hold on. I want to push back on that a little bit, because I think it's really important. So yes, that's true, but underneath that, my friend, it's a relationship. It's the relationship, and the media is secondary. You have been prolific in connecting with your audience, and that's why I think a lot of people like you, because you share and they get to know you in that sort of cadence. I saw you in another podcast, you mentioned Seth Godin, who just said, “Hey, I want to be the type of person that has this relationship with my audience. I'm going to share some of my thoughts every day.” He happened to do it with words, with his background in marketing, but you could do the same thing with still images. You could do the same thing with a five-second movie clip once a week. It's the relationship you want with your fans. I'm not saying you snap your fingers and you have 50,000 people on your email list. What I'm saying is, what else are you doing? If we're artists and our impulse is to create and share, and if you do it in this way, if I can create and share and inspire trust in this relationship with a stranger because they like my genre thing and they like the way they felt when they experienced my media, words, images, movies, it doesn't matter. They just like the feeling, and they go, “Ooh, I want more of that feeling. How do I get more of that? Oh, this person has this email list or community.” If I can do it with one, then I can scale it out. So getting the first one, or the first 5 or 10 samples, that is a whole process. But then once you do that, scaling up is more of a mechanical thing. It's not even that hard, especially when you can do paid ads. So you can scale up very quickly if you have the sauce. If you don't have the sauce, it doesn't matter who you're related to, you've got to get the sauce right. Jo: Yes, and again, it's so parallel to the indie author community. I've just got to ask you, in the olden days, an author might write a screenplay, or a screenwriter write a screenplay, and then they would send it. They'd find an agent. They'd pitch an agent, and I guess then they'd hope that someone would turn that into a movie. So is that just dead now? Is it realistically that you need to get yourself out there, build the audience in the same way that it often is for authors? Brooks: So, no. I've got two screenplay deals going right now. So here's how it's going to work. Think about Broadway, or the theatre district in Britain. It's like West End or East End or whatever… Jo: The West End. Brooks: Sorry for my American ignorance. West End, okay. So every town on the planet has a stage, but there's only one Broadway, there's only one West End, right? And every town has its own festival, but there are a few significant tastemakers. There's Cannes, there's Sundance, there's Toronto. Hollywood is always going to be a tastemaker in our lifetime, for sure. What they don't have anymore, what they enjoyed for the first 100 years of the industry, is that they had a stranglehold on basically the equipment, the financing, and the audience, and that's all going away. Do you want to hear a fun story about the birth of cinema? Do you know why Hollywood started in Hollywood? Jo: No. Brooks: So Thomas Edison invented the camera, or the type of model camera that they were using in, I don't know, 1910 or something around there. They didn't want to pay his patent. They didn't want to pay the patent to make these movies, so they went all the way across the country, a bunch of outlaws, and they set up shop in California because he couldn't enforce his patent that they were basically stealing. And reason number two, LA enjoys amazing weather almost all year round. The weather here is either nice or really nice. You have mountains, you have beach, you have desert, you have all these different locales. So when it was really important to be on location, LA was the perfect place. Anyway, that is all going away. For many decades, more people could make movies. In the early '90s, Robert Rodriguez made a movie for 9,000 bucks. There was a book in the '80s that I bought that I loved, it was Feature Filmmaking at Used-Car Prices. This guy, Rick Schmidt, I think his name was. There were the independent filmmakers really in the '60s and the '70s. So the cost has been going down and down and down, and now it's less than ever. Once social media came along, now you have access to the audience, so why do you even need Hollywood? That being said, there are tons of people. There are 400,000 people already working in the movie and the TV industry here. And they're voracious. We have a voracious demand. Humans need stories. We need big stories, long stories. We need stories, and Hollywood is so good at giving them stories. And so they have a need for these things, and they're still spending a lot of money on those budgets. So yes, there's still a demand for turning books and optioning them and turning them into movies. Books are great. Any sort of existing IP is great because there are marketing efficiencies there. People already know that stuff, know the vibe of it, and so it's easier to market than something that's totally creative and new. When you're spending that much money, you want those marketing efficiencies. They're really important. So the point being, the power is shifting away from Hollywood. Hollywood will still be a tastemaker, but you and me can reach anybody on the planet now. Almost. Billions of people. If it's making a movie, right now you could make a movie that most people wouldn't realise is an AI movie. If it was a horror film, I know a handful of people that could make a feature-length horror film right now with AI and 99% of the audience couldn't tell, if it was professionally written. Jo: I think the point here though is, I'm an author, the people listening are authors, and we don't want to make movies. We want to license our IP to people who want to make movies. Brooks: Yes. Great. Okay, good. So then you could, if you wanted, build an audience. Hollywood loves when something's already proven, so that's that IP thing, right? So if you just have a great book, then it's all about the sales. You guys have Dragons' Den, we have Shark Tank here. And what's amazing about that show is these are people or entrepreneurs pitching an idea, and there's an amazing rhythm that happens. They say, “We've got this great idea. It's this sort of company.” And the sharks, or the dragons, will listen. And there's a huge turning point when they reveal sales. They're either really excited about the idea and then they go, “Well, how are the sales?” And the person goes, “Well, we don't have any sales yet.” And they go, “Uh,” and they're not interested. Or they might even be like, “Eh, it doesn't seem like a good idea.” And they're like, “Well, how are the sales?” And they're like, “Oh, well, we've sold through the roof.” And then all of a sudden they perk up. So it's all about the sales. So step one is writing something that you want. Step two is making sure other people in your target audience are also loving it as much as you do. Step three is proving in some way at scale that there's real demand for it. So you could do that with trailers, you could do that with clips, you can do that as an indie publisher. There's all sorts of things that you can do. Humans are much more persuaded by concrete data than they are by just vibes. So if you can bring Hollywood concrete data of any type, like viral videos, like audience, like obviously bestsellers. Awards mean something, but not quite as much as sales. Then you're going to get Hollywood's attention because that reduces risk for them. So even now, when Hollywood's definitely shrinking and contracting, there's still very significant money being spent because it's a huge demand. If you ever walk around a studio lot, those things are opulent places. It's stunning. Like, how are they paying for all this stuff? These lots are enormous. It's because humanity is voracious for stories, and movies are one premium type of storytelling. The demand for stories is steady if not going up. It's just that we have a wider variety of types of stories that we can do, whether we're an indie author. So anyway, did I answer the question? You get me too excited with these questions, Jo. It's a problem. Jo: Yes. I think there's a lot of opportunity and a lot of ways in, but the parallels with being an indie author I think are quite clear. One of the things I found interesting about your profile and what you do is that you help clients who are already accomplished but not quite breaking through, and that sounds like a lot of mid-list indie authors, probably a lot of mid-list screenwriters, mid-list filmmakers. This is a hard place to be because, on the one hand, we are grateful for what we have achieved and what we can do, and yet wanting more, wanting that big Hollywood deal or the Netflix deal, or wanting the massive bestseller or whatever. So if someone wants to get to that next level, what are some of the ways that they can perhaps try and get there? Brooks: It's a great question. Coaching is a really wonderful way to learn anything of this sort of complexity and challenge, especially if it's a hyper-competitive business. We need two things, I think, to write a great novel or screenplay or both. A, we need to feel profoundly safe in our space. If we can't really feel deeply authentic about the things that are embarrassing, or that we feel shame about, or just our shadows, or anything that we don't feel completely comfortable saying and sharing in public usually. We need to be able to touch those things, and be articulate about those things, and that's one part of it. Then we need a concrete path forward. Maybe you're thinking about some tragedy that you had in childhood, and how you dealt with it and how difficult that was. So you need to be able to be real precise in those observations about what it felt like, and how you tried to compensate for it, and that didn't work and it made it worse. Whatever your observations are about your life journey, you need to be really specific and really deeply felt. A good coaching relationship allows you to be in that space, to be really honest with yourself and authentic. g Aood coach will push you back and say, “You know what? That sounds interesting, but maybe not quite as true to you deeply.” So that's one piece of it. Then there's a concrete path forward. You need to have the emotional access to that truth, and then you need to know what to do with that truth in a step-by-step way. Because most people, the ones that you're talking about, they're accomplished in something else. What happens is when we first start writing, and maybe this happens with novelists, but for sure it happens to screenwriters, you just start typing words. But you haven't really thought through the theme, the concept, the structure, the character, all the deeper questions that really matter. The milestones, like a North Star: winning a major award, or getting a publisher. That's the direction that we're heading towards, and then you set it and forget it, but you want to keep checking it every week, every month or whatever. But you want it very specific. “I would like to sell a book, or sell a book to Hollywood, or write a screenplay, or get a producer attached to a screenplay.” Whatever the milestone is, make it really specific, really concrete, and then reverse engineer. This is what I do on the concrete path. I reverse engineer every step to get there, starting with a really tiny one we can do today, and I make sure they feel really safe, and then we just walk through. Then what happens is, if you do that, if you feel safe, if you're showing up authentically and you have a process that's repeatable, not just willy-nilly, it's got to be something that's proven to work. It wasn't an accident I wrote 45 scripts. I've got a whole system. But by the way, the first five scripts took me forever. The last movie that I made took me three years to write that script. I can write a better script with those same elements in three months now, because I know I have a concrete path. So if you want to do something new, whether it's playing the piano or getting six-pack abs or writing a screenplay, work with somebody who's got a system that's already proven, and make sure you relate to them, and then just follow the system. Then when the doubts come up, and they will, that's where the feeling safe is really important. Because, oh, I want the six-pack abs, but I don't feel like going to the gym. I want the extra donut. If I'm working with a really good trainer, they go, “Dude, do you want the six-pack abs or not?” And then you go back and forth, and I go, “Okay, now I can make peace with myself and say I can take one tiny bite of the donut and then still do my workout,” and then I'm moving towards that North Star. Does that make sense? Jo: Yes. I think, like many independents, I resist anything that is systematised. I'm a discovery writer, and I follow the muse, and all of that kind of thing. I think I would say something in a similar vein, which is sustainable creativity for the long term, because your 45 scripts are also years of work, and my books are years of work, and we get better at what we do. So my system, I do have a system really, because— My system is that I do the work, and I write my stories, and I get them out there, and I do the marketing. So even if it's not as systematised as such, it's still a process that I have repeated over and over again. Brooks: That's fascinating to me. Would you consider yourself a pantser? You're like, “I've got an idea,” and you just start writing? Jo: I don't use the word pantser. I guess I call it discovery writing, which is… Brooks: That's a better term. Jo: Yes. What I'm writing for this prize, for example, I know the characters, I know now what's happening. When I had the idea, it was very much a vision and a theme, and the competition has a theme: a positive future with AI and technology. But the things that came around that, I then started playing with ideas around the treatment. I haven't written the screenplay yet. I don't do a plot, or I don't follow Save the Cat or any of that kind of thing. When I write a novel, I just explore and I never write in order. Then at some point I stop and then I have to think about the structure and putting it all together, so the edits are quite big. But my fun is in that discovery, really. Brooks: Oh, that's awesome. Okay, so let me ask, that's really fascinating. And by the way, that doesn't, to me, negate the system that I use. The one that I use is ultimately… the thing is, these questions, the audience is wanting your unique answers to. You don't necessarily need to do it in a certain order. I think that's actually really cool that you write out of order and you have a few elements in mind. All that stuff sounds awesome. The only thing that then makes me curious is, how's your pace? Are you actually completing novels at a pace that feels good, or do you feel like you go too fast, too slow? Jo: I do one or two a year at the moment. Well, two a year, really. But I would say I'm not as successful as I'd like to be, so I'm not saying that my system is the best. I'm saying I want to be better. It's just that my fun is this sort of creative chaos, which I then try and control later. One of the things I really like about screenplays and treatments and doing this kind of thing for film is that it is much more structured, I think, than a 70,000-word novel. You can go in all kinds of directions, whereas with screenwriting you do have to be more disciplined really. Brooks: Yes, so this is going to be fun probably, to hear my view for your audience, and the differences as I see them. For starters, you're talking about what, 10, 20, 30 hours reading a novel sometimes, or maybe less, whereas a movie's a 90-minute experience, right? So that's different. Or if it's a TV series, you might see an hour and then an hour. So that's a very different experience. What happens is when it's condensed like that, you're loading up layers. So every scene is stacked with exposition beneath the drama, and done in a certain way. So specifically, movies are only what you can see and only what you hear. Whereas novels, if you can think it, you can write it, it can be in there. So you don't need to have a plot, but if you want to sell your book to Hollywood, it helps. So I was very resistant about structure. I went to NYU film school, where we really just made short films. It was funny, I had friends that were in the dramatic writing department, and I was like, “You guys are wasting your money. You're just learning to write scripts. We learn to write the scripts and make the movies.” What I hadn't realised is it's a different skill set to hold somebody's attention across an hour-long play, or a 90-minute movie, than it is to make a movie that holds their attention for two minutes or five minutes. I found out years later when I made a feature that was like a lot of shorts patched together, and people were not… They liked it, but they didn't love it. I was like, “Well, what's going on?” And so then I learned to really love Save the Cat in particular. It completely changed me. What happened was, I got a big old slice of humble pie. I had made my second feature, and I put everything I had into it, and it had loose structural beginning, middle, end, blah, blah, blah. But I was still, “Eh, Hollywood BS. What do they know? It's all fake.” So I was very anti-Hollywood structure. Then I was like, now I've got two independent films out there, people saw them, liked them, whatever, but it wasn't getting me consistent work. It wasn't really advancing my career in the way that I wanted. And I was like, “Well, maybe there is something to the Save the Cat.” So I went to the Save the Cat workshop with Blake when he was still alive, and he was delightful, a really awesome guy. He's got this kind of cutesy style, for people that don't know. For context, Blake Snyder was a working Hollywood screenwriter, and he had this system called Save the Cat, which actually has some really interesting ideas. He's got this very light, breezy sort of style. A lot of people don't like him and some people really love him, and everything in between. But I took his weekend seminar, and it completely changed me, because at that point, like I said, I took three years to write a script. Then once he had a process and he had a way of thinking about craft that was just much more screenwriter-friendly, I was like, “Oh my God.” It was so much easier, because I was just focused on the right thing at the right time. So it just sped everything up. After that, I was banging out two to three scripts a year, and better and better quality. So for me, because I went from winging it and wrote five scripts in 13 years, and then wrote two to three scripts every year, I became a huge proponent of system and process. Then my own system really came from that, but it's modular. I have a nine-step system, but you don't necessarily have to go in that order, other than the last three steps, but I won't get into the details. Sometimes you kind of jump from two to three and then back to two and then back and forth. So I love that you get the feel for those elements, and then you just felt your way through. But writing screenplay pages doesn't make sense until you really understand concept, you get a deep sense of beginning, middle, end, character arcs, and these other threads. There are just way better tools for those jobs than screenplay format, because it's a really weird format. It's got these weird slug lines at the top that are all in caps, because a screenplay is a blueprint for somebody else to make the movie. It's not an end-user document like a novel. I don't let my clients even go to that format because it just gets them focused on the wrong things. What they really need to know is, what is your perspective about this theme? What happened in your life that you're fascinated with, that you'd even want to write about this? And tell me what your real life lessons are. So we go into… again, I go back to relationship. What's your relationship to the universe? And what's your relationship to your best friends, or where you got your heart broken, or whatever you want to write about. And then we get that clarity, and then I show you how to express it in terms of developing a screenplay. It's really long-form storytelling, and then the structure just makes it build on itself. But with the structure, because you're talking about so much money and people involved to make it, at least traditionally, what ended up happening was narrative structure that was not so much rigid. Because here's the thing, you can look at 50, 100 years of European cinema and you can look at Hollywood cinema, and Hollywood laps them. When I taught at UCLA Extension, I had lots of foreign students. Let's say there'd be two or three students… if there were 12 people in the class, two or three people would be from America, and everybody else would be from other countries. I would go around, I'd be like, “What movies and TV shows have you been watching?” Almost in every single country, they watch half from their own country, half from Hollywood. So Hollywood storytelling works, that's just the data, and they're dominant. The reason it works is what Aristotle was saying thousands of years ago.. There's a way of thinking about beginning, middle, end that just deeply speaks to the psyche, and you can ignore it if you want. I think Godard said, “You need beginning, middle, and end, but not necessarily in that order,” right? Which is great. Just the way we experience life, there's a beginning, a middle, an end to this podcast interview. There's a beginning, middle, end to the day, a beginning, middle, end to me eating lunch. So if you don't lean into the beginning, middle, end psychological aspect of your story, you're going to bore your reader. But to your point, you don't necessarily have to sort that out in the beginning. It's more efficient probably if you do, but you don't have to. Go into it wherever the muse tells you to go, and then at some point, like you do, then you go, “Okay, now I go back and I edit.” If you're saying there's another level, you have another gear in you, then yes, I'd be curious to slowly go through how you're making those decisions. Because what's happening probably is there are ways you're holding back a little bit. There's maybe something you're afraid of being vulnerable about. That's usually where me or other writers are holding themselves back, and we can take a look at that. There are different ways I show writers to do it. Then you can go, “Oh, I was doing it here, and now I can do it there.” And it could be with process, or just a certain creative choice. With story, it's clear and compelling. Those are the simple things. So, is this clear enough? Is it compelling enough? And there are almost always ways to up-level on any facet, whether it's one sentence, or a sentence that describes the whole concept of the book, or a chapter. Each one of those can be looked at with that lens and we can just say, “Hey, this is 70%, 80%,” whatever, and then we say, “Well, how do we get a little bit more?” And then when you do that enough, it piles up. Then especially if you bring in an audience and people are flipping out for your work, they'll tell you. Jo: Yes, I love a challenge, so thank you for everything you've shared today. So where can people find you and everything you do online? Brooks: Well, one way you can find me—if anything I said seemed helpful for you, if you have questions about Hollywood or you have a screenplay in your heart—you can just email me, brooks@brookselms.com. You could look me up on LinkedIn. I'm at Brooks Elms. I also have a Skool community called Screenwriter Marketing, but it's really for any sort of storyteller, and it talks about my favourite way to engage an audience and get through it. So anybody can jump into that if you like my vibe. If you really think anything I've said, or the way I said it, seems like it could be helpful for you, just reach out. Let me know what you're up to, and maybe there's a way I can help you. Jo: Fantastic. Well, thanks so much for your time, Brooks. That was great. Brooks: You're welcome. It was a total pleasure. It was lots of fun, and I really appreciate you.The post How To Prove The Demand For Your Stories And Get The Attention Of Hollywood With Brooks Elms first appeared on The Creative Penn.

I remember when my friend, journalist Claire Berlinski, first contacted me about a tragic situation regarding a family trapped in Afghanistan after the Taliban takeover. She knew that I had helped a young girl interested in physics escape to the US to study years earlier and hoped that I might assist in this case. If ever one imagined a family appropriate to bring to safety, this would be the one. The mother was a women's rights lawyer before the takeover, and the husband worked for a French firm. The Taliban had broken into the Bar Association Office and found records of lawyers, who were being sought for arrest. One older son, and five young daughters in danger of being married off if they were discovered.Their original escape plan was foiled when the airport was bombed just before their planned departure. Because Claire lives in Frances the older boy had reached out to her for help, and she sent out a call to her followers to provide financial assistance to help the family.Claire contacted me because she knew I now lived in Canada, which has a well-established refugee program. In spite of this, for two years I was not able to find a single sponsoring agency who had a sufficiently large slot allocation to assist. Finally, after over a year, with five generous individuals who agreed to act as guarantors, Jewish Immigrant Aid Services in Toronto indicated they had the slots and would sponsor a refugee application for the family, provided we raised the necessary funds to guarantee support for family for their first year in Canada—a government requirement. After five months of fundraising, we achieved the goal, and the full application was submitted to the government of Canada. I have always found it poetic that the organization in Canada that has been willing to help save this Muslim family is a Jewish organization. Perhaps, in the midst of all the horrible antisemitism that has blossomed in the world over the past years, this provide a useful example that religious differences need not always be a source of discord and hatred. That was 18 months ago. In spite of having fulfilled at the requirements, the backlog of cases is such that we knew it could take up to two years for the application to be processed. In the interim the family was able to travel to Pakistan. But their visas have expired and Pakistan is now deporting Afghan refugees back to Afghanistan. The family is in hiding in Pakistan, not able to leave their house. The girls are growing and one of them managed to learn enough English to get a prized scholarship to study online at a US university abroad, where she is studying psychology, as the law degree that she really wants is not available. The family agreed to be interviewed for this podcast. Their images have been washed out for their protection, and their names have been changed as well. We are hoping this podcast will help spur some of you to provide support through Claire's online site to help provide essentials for the family while they are in hiding, and that it might also help motivate some of you who might live in Canada to help us lobby the government to ensure that their case is resolved as quickly as possible. Thanks for watching, or listening, and for any help you can provide. Here is a gofundme link to help support them. https://www.gofundme.com/f/please-help-five-afghan-girls-get-to-safetyAs always, an ad-free video version of this podcast is also available to paid Critical Mass subscribers. Your subscriptions support the non-profit Origins Project Foundation, which produces the podcast. The audio version is available free on the Critical Mass site and on all podcast sites, and the video version will also be available on the Origins Project YouTube. Get full access to Critical Mass at lawrencekrauss.substack.com/subscribe

00:00 Caribana Party Prices20:33 Lebron James is a 76er27:17 NicOlandra is Over32:38 New Black Panther!44:21 Usher gets rejected48:12 Will Smith vs Jamie Foxx57:11 YG vs The Game1:10:09 Is Toronto music shit?1:24:56 What is Pop music? Hosted on Acast. See acast.com/privacy for more information.

TSN Hockey Analyst Mike Johnson joined OverDrive to discuss Gavin McKenna's career trajectory with the Maple Leafs, the forecast of the roster in Toronto, Macklin Celebrini's significant signing with the Sharks, San Jose becoming a hot market, the team's contender status,

Good afternoon, I'm _ with today's episode of EZ News. Tai-Ex opening The Tai-Ex opened down 412-points this morning from yesterday's close, at 43,221 on turnover of 13.4-billion N-T. The market ended marginally lower on Monday, as large-cap tech stocks rebounded from early losses, while rotational buying in the financial sector helped limit the downturn. FDA** releases findings on Central Union cooking oil contamination** The Food and Drug Administration has released the findings of an independent investigation into the cause of carcinogen contamination in seven batches of cooking oil produced by Central Union Oil Corporation. Minister Without Portfolio Chen Shih-chung says the contamination began with a shipment of Brazilian soybeans. The investigation was conducted by an expert panel convened by the Food Industry Research and Development Institute. According to Chen, it identified three main problems - those being that high-risk raw materials were not properly managed, production irregularities were not adequately addressed and the company's food safety risk management was insufficient (不足的). The Cabinet last week approved draft amendments to the Act Governing Food Safety and Sanitation and sent them to the Legislature for review. MODA warns of increasing number of ransomware threats The Ministry of Digital Affairs is warned the number of ransomware attacks targeting local businesses is increasing, as hackers are turning to generative A-I. According to the ministry's Administration for Cyber Security, ransomware is one of the biggest cybersecurity risks facing companies and businesses need to take steps to strengthen protection. Administration director-general Tsai Fu-lung says businesses need to take four steps to ensure their data is secure - those being making regular backups and software updates, ensuring the use of strong passwords, and issuing warnings to employees about suspicious (可疑的) links. Tsai says ransomware attacks this year have targeted local companies in the paper manufacturing, biotech, and semiconductor sectors. MACRON VISITS GIRONDE AS FRENCH WILDFIRE AUTHORITIES WARN BLAZE COULD BURN FOR MONTHS French President Emmanuel Macron is travelling to the Gironde region of southwestern France, to meet emergency workers battling wildfires. The fires have burned more than 42-thousand hectares and forced some 220-thousand people from their homes. The Gironde prefecture said the situation (情況) overnight was "globally stable" — a change from previous days — but fire authorities have warned the blaze could take months to fully extinguish. Will Denselow reports from Mios, one of several towns near Bordeaux, where evacuation orders were issued on Sunday. Canada US Consulate Shooting A shooter fired at the U.S. Consulate in Toronto early Monday morning, marking the second such incident this year. Police reported no injuries but found a single shell casing and damage to the building's facade. A high-speed chase followed, but no arrests were made. The U.S. Consulate was also targeted March 10, when two suspects allegedly fired multiple shots at the building before driving away in a stolen vehicle. Two were arrested and charged wtih multiple offences. Authorities are investigating possible links to gun-for-hire networks, which have also targeted (有針對性的) synagogues and Jewish-owned bakeries in the city. Subject: C*OUTRO Return to Table of contents That was the I.C.R.T. EZ News, I'm _. －－－－以下為 SoundOn 動態廣告－－－－ 旅遊優惠別錯過！ 可樂旅遊17瘋搶日，每月限定3天搶限量優惠！ 1號訂房折10% 7號票券折7% 17號機票折1.7% 熱愛自由行的你，肯定要每個月鎖定！ https://sofm.pse.is/9erfwt -- Hosting provided by SoundOn

LeBron James stuns everyone by agreeing to join the Philadelphia 76ers. He said it was about the best chance to win, so how good is this Sixers team in the East? What is the best way to maximize the talents of Tyrese Maxey, VJ Edgecombe, Jaylen Brown, LeBron, and Embiid? Are they going to be able to guard anyone? Plus, should LeBron have chosen another team as the best shot of winning a championship? Nate and Danny continue their review of every relevant player in Summer League, continuing through the lottery and discussing OKC, Charlotte, Detroit, Toronto, and San Antonio. 0:00 Oklahoma City Thunder: Spencer Jones (0:21), Aday Mara (1:46), Bennett Stirtz (8:55), Thomas Sorber (15:10), Brooks Barnhizer (15:24), Otega Oweh (17:00), Payton Sandfort (18:28)  19:40 Charlotte Hornets: Hannes Steinbach (19:40), Christian Anderson (29:26), Liam McNeeley (34:21), Sion James (38:25), Ryan Kalkbrenner (39:48), Tidjane Salaün (40:48), Michael Ajayi (43:36)  44:27 Detroit Pistons: Ebuka Okorie (44:27), Brice Williams (52:46), Chaz Lanier (53:49), Isaac Jones (56:09), Ugonna Onyenso (56:40)  59:58 Toronto Raptors: Allen Graves (59:58), Collin Murray-Boyles (1:04:43), Alijah Martin (1:05:09), Jaden Bradley (1:05:29), Nate Bittle (1:08:29)  1:09:00 San Antonio Spurs: Jayden Quaintance (1:09:00), Tarris Reed Jr. (1:09:56), Ja'Kobi Gillespie (1:14:52), Maliq Brown (1:16:51), Carter Bryant (1:20:56), David Jones Garcia (1:23:58) Join Dunc'd On Prime! It's the only place to get every episode with Nate & Danny, plus every pod with John Hollinger & Nate as well!Subscribe on YouTube to get Dunc'd On Clutch Calls, Real Video Scouts, and more.Or, sign up for our FREE mailing list to get Dan Feldman's Daily Duncs with all the major topics around the league twice a week. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Episode 429: In January 1995, DNA testing excluded Guy Paul Morin, the man convicted of the 1984 murder of Christine Jessop, from the crime. The Ontario Court of Appeal set aside his conviction, and Morin was released. The man whose semen was recovered from Christine Jessop's underwear in 1984 remained unidentified. A public inquiry led by Justice Fred Kaufman spent 10 months examining how an innocent man had been convicted twice. It produced 1,380 pages and 119 recommendations. The real killer remained unnamed for another twenty-five years — until a detective named Steve Smith, a Texas laboratory, and a forensic genealogist pulled a family tree apart and found a killer at the end of it. Sources Report of the Kaufman Commission on Proceedings Involving Guy Paul Morin — Full text (netk.net.au) The Canadian Encyclopedia — Guy Paul Morin Case Innocence Canada — Guy Paul Morin case file Toronto Life — "Inside the Hunt for Christine Jessop's Real Killer" (January 2022) CBC News — "Toronto police identify killer in cold case of 9-year-old Christine Jessop" (October 15, 2020) CBC News — "Calvin Hoover's family 'devastated' to learn police believe he killed Christine Jessop" (October 22, 2020) CBC News — "The answer to the mystery of Christine Jessop's murder leaves killer's ex-wife with painful questions" (February 2021) CBC News — "The science behind why police now believe they have the right suspect in Christine Jessop's murder" (October 2020) Global News — "Who was Calvin Hoover? The man Toronto police say killed 9-year-old Christine Jessop in 1984" (October 2020) Blue Line Magazine — "Out of the Cold: Toronto Police Solve 1984 Jessop Murder With New Science" (January 2021) RCMP — National DNA Data Bank of Canada: 20 Years and Growing Game of Crimes Podcast — "Detective Steve Smith Cracks a 36-Year Old Cold Case" (March 2022) Learn more about your ad choices. Visit megaphone.fm/adchoices

Join Bryan Hayes and Jonas Siegel for Hour 1 on OverDrive! The guys kick things off discussing who the biggest villain in Toronto sports history is, and how Vladimir Guerrero Jr's comments over the weekend may have affected the fanbase. Former Blue Jays Pitcher Ricky Romero joins the show to discuss Dylan Cease's spectacular season, and Kevin Gausman's value in the trade market as the deadline approaches. The guys wrap up the hour breaking down the Oilers leadership group's comments on Mike Babcock.

Ten years to the day. Three fans who were at Rogers Arena for Vancouver night two tell the story - the tickets, the Fiddler's Green goodbye, and the night a one-year-old slept through history.Episode SummaryUncharted waters - we never do third ones. Vancouver, night two. July 26th, 2016. Rogers Arena, the third stop on the Man Machine Poem Tour, and the night The Tragically Hip opened with Fully Completely - just like the set-list sleuths predicted. Ten years later, Yer Hipstories: Reflections From The Final Tour gathers three fans who were in the building: Craig from Langley, Tina from Prince George, and Jay from BC - currently in Ottawa, so probably working for CSIS. We're careful what we say.The ticket stories run the full range. Craig and three coworkers all hit Ticketmaster at 10 a.m. sharp and every one of them scored - no bots, no drama. Tina borrowed a friend's Amex presale code, landed 13th row at the back, then got a phone call: Ryan was trading her his row seven, side of stage seats, because the bigger fan deserved the better view. Jay missed Victoria for a high school reunion, struck out on Vancouver night one, and was mid-refresh with his whole family when his dad popped up with the last row of the lower bowl - exactly where he likes to sit.Then there's the night itself. Tina brought her daughter - the day before her first birthday - who took in the whole scene, collected high fives across the concourse, and fell asleep against her mom the moment the music started. The panel digs into the songs that hit differently: Craig's 'So Hard Done By' that suddenly wasn't funny, Jay's 'Fifty Mission Cap' with Bill Barilko's ghost and the shiny hats, a 'Music @ Work' section that produced 'Toronto #4' - bonkers - and the 'Fiddler's Green' that became Tina's goodbye moment, her "hey man, thanks" to the band that got her through everything. Plus the 'Grace, Too' moment both nights: three minutes of guitar and an entire building screaming.Ten years on, the reflections go deep - how Long Time Running reframed everyone's memories, the Spirit of the West parallel at the Commodore, and Tina on what Gord's Kingston challenge to Trudeau has meant to the Indigenous community: a legacy that goes beyond the music. The word this panel lands on: gifted.The PanelCraig from Langley - 18 shows deep, first one in 1993 with his buddy Gord. Went to both Vancouver nights, predicted the Fully Completely opener in writing, and reunited with Dan, his old drummer, before the show.Tina from Prince George - Day For Night-era fan with the deep-cut lyric tattoo to prove it. Brought her daughter to the show the day before her first birthday; that kid is now a proud Gord Downie fan.Jay from BC - then working at the BC legislature in Victoria, now in Ottawa (no further questions). Walked out of Rogers Arena and bought Calgary night two, because this couldn't be his last.Timestamps00:00 - Welcome: officially into uncharted waters01:59 - The person you think about: Tina's daughter, one day shy of her first birthday02:47 - Craig reunites with Dan, his old drummer05:30 - Hearing the news: gutted at work, glued to the Sunnybrook press conference06:25 - Craig's on-sale: four coworkers, four wins, zero problems07:44 - Tina's Amex presale and the row-seven trade from Ryan09:57 - Jay: a muted newscast, a missed Victoria date, and dad grabs the last row of the lower bowl15:50 - Songs that hit different: 'Daredevil' both nights, 'So Hard Done By' not funny anymore18:27 - Tina: earmuffs, the crashing-waves interlude, and realizing this is the last time22:45 - Jay: the 'Fiddler's Green' surprise, 'Fifty Mission Cap', and 'Toronto #4'28:36 - The outfits, the set-list formula, and touching all 13 albums30:56 - Gord's memory, the lyric monitors, and showing up how he wanted to show up34:14 - The SNL performance, the Sheldon Cooper theory, and the emoting37:25 - When did it dawn on you? The goodbyes inside the show39:37 - Rowdy going in, stunned coming out: tears and the emptying arena44:05 - The 'Grace, Too' moment: three minutes of screaming48:03 - The one last tour that was actually one last tour49:08 - Ten years later: how Long Time Running rewrote Jay's memory of the night53:28 - Craig: full circle since 1993, and the Spirit of the West parallel56:54 - Tina: Kingston, the challenge to Trudeau, and the Downie Wenjack legacy01:00:08 - Final thoughts and a song from that night on the way outResources & ReferencesSetlist and song-count data: hat tip to setlist.fm - roughly 71 different songs across the tour, touching all 13 albumsThe rehearsal and monitor moments discussed come from Long Time RunningThe first-ever live 'Fiddler's Green': MacEwan Hall Ballroom, Calgary, on the World Container TourLearn more about Gord's Kingston challenge and its legacy at the Gord Downie & Chanie Wenjack FundRelated listening: Yer Hipstories - Victoria, July 22 2016Join InThis series is a living audio time capsule, and it only works if the community brings the goods. Were you at a stop on the Man Machine Poem Tour? Share your Hipstory and be part of the record. Want more from the network between episodes? Subscribe to Yer Letter, the monthly newsletter from jD.ClosingHuge thanks to Craig from Langley, Tina from Prince George, and Jay from BC for taking us back inside Rogers Arena - the trades, the tears, and the toddler who slept through the whole thing. The takeaway this week is Tina's word: gifted. We watched them pull a rabbit out of a hat, and we got to say goodbye. So there's that.Next up: Edmonton Night One, July 28th, 2016, and one last night in the old barn. Get after it.ConnectFacebook group: community.tthpods.com | Instagram: @tthpods | YouTube: youtube.com/@tthpods | Email: jd@tthpods.com#TheTragicallyHip #TheHip #GordDownie #ManMachinePoem #InGordWeTrust #YerFavouritesSupport this podcast at — https://redcircle.com/tthtop40/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

jD convenes the expert panel to dissect "700 Ft Ceiling," the song that lands like a baseball bat to the face right in the middle of Trouble at the Henhouse.The conversation starts warm — everyone's summertime Hip pick, from "Membership" to "Morning Moon" to "Summer's Killing Us" — before turning to the puzzle at the centre of the track: what exactly is a 700-foot ceiling? (Aviation term. Lowest layer of broken or overcast cloud sitting 700 feet above ground.)The panel unpacks Gord's habit of collecting phrases for their sound rather than their meaning, the wintery outdoor-rink imagery, and the Lou Reed-flat melody that barely distinguishes verse from chorus.Things get spicy on placement. Tracy calls it filler and skips it. Mikk and Jamie agree the song detonates a gorgeous opening run — "Gift Shop," "Springtime in Vienna," "Ahead by a Century," "Don't Wake Daddy," "Flamenco" — and kicks off what Jamie dubs the album's weird second half alongside "Butts Wigglin'" and "Coconut Cream." The Kids in the Hall theory gets floated. So does the grunge theory. Everyone concedes it hit much harder live than it ever did on record.Then the episode's real gift: Mick and Jamie tell the story of renting the Bathhouse for a weekend — sleeping in the studio, playing pool while spinning We Are the Same on vinyl, Billy Ray wandering in at 10pm with stories, engineer Niles behind the board, Gord's training bike still parked where he left it. Once-in-a-lifetime stuff, told well.Next week's shuffle: "Gus: The Polar Bear from Central Park" from In Between Evolution.Key Quotes"It's like an alarm clock goes off." — Mik, on where the song lands on the album"It is like a baseball bat in the face." — jD"Think about how many shows they played after 2004 that they did not play this song. That's why it ranks low. Guys, I'm telling it like it is." — Jamie"I think this is kind of Gord's secret talent — he listens better than everybody." — Mik"He says '700-foot ceiling' like four times, but the second or third time it's '700 and sinking,' which is just cool." — Jamie"It kind of felt very lived in. There was nothing you couldn't touch, nothing you couldn't sit on." — Mik, on the Bathhouse"I'll get emotional if I talk about it." — Jamie, on being shown the band's jam space"Well, I know what we forgot to do this week. We forgot to listen to the goddamn song." — jDTale of the Tape — Trouble at the HenhouseReleased May 7, 1996 — the band's first simultaneous Canada/USA releaseWinner, 1997 Juno Award for Album of the YearRecord 5 of 13Self-produced with Mark Vreeken — the only time the band worked without an outside producerRecorded at the Bathhouse"700 Ft Ceiling" live stats (via The Hip Base and setlist.fm)Played live 130 times — 3 times as an opener, 7 times as an encoreFirst played October 21, 1995Last played November 27, 2004 (retired; not performed on the final tour)Ranked #76 in the Tragically Hip Top 169 countdown — did not crack the Top 40This week's poll: 47% / 47% split, with 6% "tolerating" it.Songs & Albums MentionedTragically Hip songs700 Ft Ceiling · Membership · Morning Moon · Coffee Girl · The Depression Suite · Summer's Killing Us · You're Not the Ocean · Ahead by a Century · Gift Shop · Springtime in Vienna · Don't Wake Daddy · Flamenco · Butts Wigglin' · Apartment Song · Coconut Cream · Let's Stay Engaged · Sherpa · Put It Off · New Orleans Is Sinking · Little Bones · Titanic Terrarium · Emergency · FireworksTragically Hip albumsTrouble at the Henhouse · Day for Night · Fully Completely · Road Apples · Phantom Power · We Are the Same · In Between Evolution · Live Between UsOther referencesKids in the Hall: Brain Candy — source of "Butts Wigglin'"Rick Beato's interview with Billy Joel — the "vowel movements" idea Joel credits to Keith RichardsGrunge-era touchstones: Pearl Jam, Soundgarden, CreedLou Reed — Tracy's comparison for Gord's vocal delivery on this trackIt's a Good Life If You Don't Weaken — the stage adaptation, seen in Hamilton, now touringTom Green's interview with Paul Langlois, filmed in the Bathhouse jam spacePeople MentionedGord Downie · Paul LangloisBilly Ray — Bathhouse caretaker and keeper of the storiesNiles Spencer — Bathhouse engineerMark Vreeken — co-producer, Trouble at the HenhousePatrick Downey — filming Billy Ray for the documentaryGreg — JD's co-host on the earlier podcast seriesLinks & PlugsKingston weekend events — Friday mixer at a pub · live record listening party August 21 at 4:30 at a pub · Sunday brunch at Morrison's. Email jd@tthpods.com to get on the list.Mik Perlus — Ragged Islands — Mick's EP, recorded over three days at the Bathhouse. Includes a cover of "It's a Good Life If You Don't Weaken." Available on Spotify, Apple Music, YouTube, and other streaming services. Named for East Ragged Islands, Nova Scotia.Jamie — Fiddler on the Roof in Yiddish — with English and Russian supertitles. Recently ran at the Elgin Theatre in Toronto (roughly 17,000 attendees during Jamie's run). Coming to the Ahmanson Theatre in Los Angeles, February 13 – March 14, 2027.The Hip Handbook — JD's new AI-built discography and stats tool, debuting on this episode for the Tale of the Tape.The Hip Museum / Museum After Dark — referenced for the grunge angle and album background.Next Week"Gus: The Polar Bear from Central Park" from In Between Evolution.Support this podcast at — https://redcircle.com/tthtop40/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Daniel and Drew are fresh off Quon Con - an impromptu week-longer gathering of gamer friends in Toronto that stood in for the usual Asians Represent gathering around Breakout Con! This episode is one giant battle report covering the entire week, which included a group hobby day painting Warhammer/building gunpla/knitting, a visit to the Aga Khan Museum's Game On! exhibition, and the main event...a massive 8,000 point 2v2 game of Warhammer 40K that Daniel spent a full year painting his army to field!

Coronoid & Radial Head Fractures: Tips, Pitfalls, and Surgical Pearls with Dr. Niloofar Dehghan Watch on Youtube: https://youtu.be/UtVdaEMrm_c  In this episode, I sit down with Dr. Niloofar Dehghan, a fellowship-trained orthopaedic trauma and upper extremity surgeon, to take a deep dive into the evaluation and management of coronoid fractures, radial head fractures, and complex elbow instability. Dr. Dehghan completed her orthopaedic surgery residency at the University of Toronto, followed by fellowship training in Orthopaedic Trauma and Upper Extremity Reconstruction at St. Michael's Hospital in Toronto and Lower Extremity Reconstruction. She also earned a Master of Science in Clinical Epidemiology and Health Care Research from the University of Toronto and currently serves as an Associate Clinical Professor at the University of Arizona. During our conversation, we discuss: How to evaluate coronoid and radial head fractures When a fracture can be treated nonoperatively versus when surgery is indicated The role of fracture morphology in treatment planning Terrible triad injuries and strategies to restore elbow stability Surgical pearls for fixation and reconstruction Common mistakes surgeons make—and how to avoid them Postoperative rehabilitation and preventing stiffness Clinical cases and practical take-home points applicable to everyday practice Whether you're an orthopaedic resident, fellow, practicing surgeon, physician assistant, or simply interested in elbow trauma, this episode is packed with evidence-based insights and real-world surgical experience that you can apply immediately. Connect with Dr. Niloofar Dehghan LinkedIn: linkedin.com/in/niloofar-dehghan Instagram: @dr_niloofar_dehghan Threads: @dr_niloofar_dehghan on Threads If you enjoyed this episode, please subscribe, leave a review, and share it with your colleagues. Your support helps us continue bringing leading experts in orthopaedic surgery to the podcast.

It's an accidental theme week here at Breakfast All Day. We love when those happen. We're in a bit of a lull for new movies between "The Odyseey" last week and "Spider-Man: Brand New Day" next week, but here's what we reviewed for you. HER PRIVATE HELL. The first film in a decade from Nicolas Winding Refn ("Drive," "The Neon Demon") has lavish style but it's totally inscrutable. Go for the clothes and the production design if you must see it. Sophie Thatcher, Charles Melton and Havana Rose Liu star. In theaters. HADESTOWN: THE MUSICAL. This is an extraordinary live capture of AnaÏs Mitchell's Tony-winning musical. All the stars from the original Broadway run are here for this London West End performance. If you've seen "Hadestown," you'll want to see it again in this thrilling, intimate form. And if you've never seen it, prepare to be dazzled. In theaters for only about a week. Find out more and get tickets here. MOVIE NEWS LIVE! This went extra long because there was so much to discuss, including the Venice and Toronto film festival lineups, Johnny Depp as Ebenezer Scrooge, the "Avengers: Doomsday" trailer, Elon Musk's AI version of "The Odyssey," the Cinerama Dome returning and more. Join us on Fridays at Noon Pacific. Thanks for starting your weekend with us! Look for our "Spider-Man: Brand New Day" out of the theater reaction on Monday night. Subscribe to Christy's Saturday Matinee newsletter: https://christylemire.beehiiv.com/  

In this episode of the Planet MicroCap Podcast, recorded just ahead of Planet MicroCap Las Vegas, I spoke with Dan Rasmussen, Founder and Manager Partner of Verdad Advisers, to dig into where we actually stand on the value and microcap cycle - and whether the last few years of pain are finally turning into opportunity. We break down why microcap deep value has lagged since the release of ChatGPT and what that means going forward, why Dan thinks the private equity unwind is still in its early innings, and why Japan remains his highest conviction trade right now despite how well-known the setup has become. We also get into Korea, Europe, and where AI capex spending is likely to disappoint. We mention several companies and sectors during this conversation, and I am not a shareholder in any of them. For more information about Verdad Advisers, please visit: https://verdadcap.com/ Chapters: 00:00 Introduction and guest background 00:26 Overview of the microcap cycle and recent pain 01:25 The 2018-2020 value apocalypse and conviction 02:50 When does value and microcap work best? 03:44 Impact of ChatGPT and AI on value performance 05:17 International vs. US value performance post-AI 09:04 The small cap amplifier and recent market trends 10:06 Eternal truths about market cycles and CAPEX 11:49 Market bubbles, equity issuance, and private markets 21:24 The Japan opportunity and market structure 27:18 Korea's market structure and unique opportunities 34:04 Europe's valuation and macroeconomic challenges 35:52 AI adoption, market outlook, and microcap positioning 38:45 Managing wrong calls and investment discipline 40:30 Final thoughts: Japan as a key opportunity 41:06 Where to find more about Dan Rasmussen Planet Microcap hosts the highest quality in-person microcap events in North America. The mission is to bring the best microcap investors, companies, and allocators together to gather, connect, and grow.; visit https://planetmicrocap.com/ to learn more about our Las Vegas and Toronto events. This presentation is for informational purposes only and should not be construed as a recommendation to purchase or sell any security referenced herein. Planet MicroCap Holdings LLC and MicroCapClub LLC (collectively, “we” or “our”) are not licensed brokers nor registered investment advisors. We, our partners, contractors, members, subscribers, guests, or affiliates may or may not hold positions in one or more of the securities mentioned in this presentation and may trade in such securities at any time. We may have received cash compensation from one or more participants for presenting at past, present, or future events. We recommend you consult a licensed investment adviser, broker, or legal counsel before purchasing or selling any securities referenced in this presentation.

Interview with Lewis Lawrick, President & CEO of Magna Terra MineralsRecording date: 23rd July 2026Magna Terra Minerals (TSXV:MTT) is a Toronto-headquartered exploration company advancing a diversified portfolio of precious and critical metals projects across two jurisdictions: Atlantic Canada and Santa Cruz Province, Argentina. The investment case centres on a management team with a specific, verifiable prior success in the same geological setting, a capital-efficient funding model built on partner-funded option agreements, and a first-mover copper-cobalt discovery that remains largely unexplored by outside analysts.President and CEO Lewis Lawrick previously founded Anaconda Mining, which became Signal Gold and grew the Goldboro deposit in Nova Scotia from an inferred 700,000 ounces to more than 3 million ounces before merging with NexGold. Chief geologist David Copeland and senior geologist Tanya Tettelaar who are both part of that earlier success now apply the same systematic, data-driven targeting approach at Magna Terra, and management frames this continuity of team as the primary reason significant shareholder Michael Gentile who holds roughly 17% of the company took his position.The portfolio's most technically distinctive asset is Humber, a 50,000-hectare, 100%-owned copper-cobalt project in western Newfoundland staked entirely on the company's own regional geochemical analysis, with no underlying royalty. A new discovery, the Birch Zone, now extends over 4.2 kilometres of strike with grab samples up to 1.26% copper, and management is targeting a first-pass drill programme by fall 2026 pending further geophysics. In New Brunswick's historic Bathurst Mining Camp, Rocky Brook has returned high-grade copper and gold values from trenching and surface sampling across a 30-kilometre land position, while the newly staked Prospect Or's Dream project has identified an epithermal gold vein system over a 7.2-kilometre strike length.Rather than fund every project through dilutive equity raises, Magna Terra has optioned two assets to partners who are independently drilling them. Gold Hunter Resources holds an option on the Great Northern and Viking projects for total consideration of $10.075 million and began a 10,000-metre drill programme there in June 2026; Magna Terra's resulting approximately 19% equity stake in Gold Hunter (roughly 55 million shares) gives it leveraged exposure to that drilling without further capital outlay. In Argentina, Lunex Metals Corp. holds a $2.375 million option on the Luna Roja project and reported encouraging initial drill results in July 2026, including a new mineralised centre north of the historic discovery zone.Financially, Magna Terra held just over $1 million in cash at the time of the underlying interview, with total working capital near $3.5 million once its marketable securities positions are included. Additional financing will likely be required to advance Humber past target generation. For investors, the near-term catalysts to watch are continued drill results from Gold Hunter and Lunex which are both funded independently of Magna Terra, alongside progress toward a maiden drill programme at Humber, represents the company's most differentiated, wholly-owned exploration target.View Magna Terra Minerals' company profile: https://www.cruxinvestor.com/companies/magna-terra-mineralsSign up for Crux Investor: https://cruxinvestor.com

Political theology is finally having its moment — every op-ed columnist reaching for Christian nationalism, every neoreactionary tech founder invoking the katechon, every mainline pastor watching JD Vance lecture the Pope about just war doctrine, every abolitionist community organizer working the intersection between the sacred and the political. And yet almost no one seems to know what political theology actually is. Luke Bretherton and Vincent Lloyd — two of the three co-authors of a genuinely important new Columbia University Press book, What Is Political Theology? — sat down with me to explain what they had done. The book itself models the thing it argues for: three scholars from three disciplines refusing to synthesize their differences and instead sitting inside the productive tension. In one hour we cover why the standard Carl Schmitt genealogy needs to be de-centered, what from above and from below are actually good for, why secularism is not a neutral space but an ideology, what Peter Thiel's Antichrist lectures accidentally reveal, why Richard Dawkins now identifies as a cultural Christian, and what the difference between apophatic and cataphatic is currently doing to Luke's and Vincent's friendship. Live disagreement, on tape. The nice version. You can watch the video on YouTube Dr. Luke Bretherton is Regius Professor of Moral and Pastoral Theology at the University of Oxford, one of the most senior chairs in British theology, appointed by the Crown. Previously, he was Robert E. Cushman Distinguished Professor of Moral and Political Theology at Duke Divinity School. An ordained Church of England priest. Dr. Vincent W. Lloyd is Professor of Theology and Religious Studies and Director of the Center for Political Theology at Villanova University, and an editor of the journal Political Theology.  The book at the center of this conversation is What Is Political Theology?, co-authored with Dr. Valentina Napolitano, Professor of Anthropology and Connaught Scholar at the University of Toronto, whose chapter offers an anthropological political theology out of her research on global Catholicism, migration, and the U.S./Canada borderlands. Join our Online Summit - ⁠⁠⁠⁠⁠Unsettled Ground: Faith & the American Story at 250⁠⁠⁠⁠⁠ This summer, Diana Butler Bass and I are launching Faith at 250 — ⁠⁠⁠⁠⁠an online summit⁠⁠⁠⁠⁠ featuring scholars like Randall Balmer, Juan Floyd-Thomas, Elesha Coffman, and more, each offering their own take on religion and America at 250 years. We built it so faith communities have something honest and substantive to turn to when the nationalist narratives start flying. Sign up at ⁠⁠⁠⁠⁠www.TheologySummit.com⁠⁠⁠⁠⁠ to get access to every lecture, livestream, and discussion guide. The summit is donation-based, including 0. This podcast is a ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Homebrewed Christianity ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠production. Follow ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠the Homebrewed Christianity⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Theology Nerd Throwdown⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, & ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠The Rise of Bonhoeffer⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ podcasts for more theological goodness for your earbuds. Join over 75,000 other people by joining our ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Substack - Process This!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Get instant access to over 50 classes at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.TheologyClass.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Follow the podcast, drop a review⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, send ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠feedback/questions⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ or become a ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠member of the HBC Community⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. Learn more about your ad choices. Visit megaphone.fm/adchoices

Curators Marina Chao & Adam Ryan (CPW) join PhotoWork with Sasha Wolf to discuss the inaugural Upstate Photography Biennial and the curatorial process behind this major contemporary photography exhibition. Chao, Ryan, and Wolf explore how CPW develops exhibitions with both the local community and broader audience in mind, building meaningful public engagement, and what artists can do to establish and sustain relationships with photography and arts organizations. https://cpw.org Marina Chao has previously held curatorial positions at the International Center of Photography and the Museum of Modern Art in New York. As assistant curator at ICP she organized the exhibition Multiply, Identify, Her (2018) and contributed to the publication Public, Private, Secret: On Photography and the Configuration of Self (Aperture and ICP, 2018). She was awarded a 2019 Curatorial Research Fellowship from the Andy Warhol Foundation for the Visual Arts for a project exploring the intersections of image, language, and technology. Adam Ryan is a photography specialist and curator based in Poughkeepsie, New York. He gained experience working at the San Francisco Museum of Modern Art, where he focused on the museum's permanent collection of photographs, while also managing its Collection Study Center. He collaborated on multiple exhibitions such as Japanese Photography from Post War to Now, Selections from the Sack Photographic Trust, and Nothing Stable Under Heaven. Before that, he worked in the Photography Department of the Carnegie Museum of Art in Pittsburgh, Pennsylvania, where his primary focus was a major retrospective on the work of renowned artist Duane Michals – Storyteller: The Photographs of Duane Michals. As a student, he learned photography at the Rochester Institute of Technology and continued into graduate school at Toronto Metropolitan University in Toronto, Canada. https://www.adamgilesryan.com

Join Bryan Hayes and Dave Feschuk for Hour 2 on OverDrive! Chicago Blackhawks forward Connor Bedard joins the show to discuss his new contract extension with his club, his excitement in Patrick Kane joining the fold, and his personal on-ice expectations this season. ESPN NBA Front Office Insider Bobby Marks joins the program to share his thoughts on LeBron's decision to sign in Philadelphia, and the likelihood that the Kawhi Leonard trade to Toronto holds up. The show wraps up with FanDuel Best Bets.

ESPN NBA Front Office Insider Bobby Marks joins the show to discuss LeBron James' decision to sign with the Philadelphia 76ers, how head coach Nick Nurse is going to manage the different personalities in his locker room, if Kawhi Leonard still has elite talent, and if his trade to Toronto will indeed go through.

Will Bain is joined by Nga Pham in Hanoi and Takara Small in Toronto. Following the latest results from Alphabet and Tesla, both companies are under pressure to sustain spending as competition in artificial intelligence intensifies. Is Wall Street beginning to question the cost of the AI race? Plus, the mounting economic impact of Canada's wildfires, why ketchup-flavoured crisps have become such a uniquely Canadian phenomenon, and what Donald Trump's renewed tariff negotiations could mean for global trade.Presenter: Will Bain Producer: David CannYou can email the team: businessdaily@bbc.co.uk(The Google logo on the Google house at the CES consumer electronics trade show, in Las Vegas, Nevada, U.S. January 10, 2024. Credit: REUTERS/Steve Marcus)

Join Bryan Hayes, Dave Feschuk and Keegan Matheson for Hour 2 on OverDrive! Former Canadian MLB Pitcher Ryan Dempster joins the show to discuss the Blue Jays woes this season and drop-off from the 2025 campaign, how fans can affect the game on the field, and what George Springer's value in the market could be. The guys discuss Mitch Marner's tenure in Toronto, and break down what his agent Darren Ferris had to say about the animosity between him and the team. The show wraps up with FanDuel Best Bets

Join Bryan Hayes, Dave Feschuk and Keegan Matheson for Hour 1 on OverDrive! The guys kick things off by discussing Patrick Kane's return to the Chicago Blackhawks, and Darren Ferris' comments on Mitch Marner's tenure in Toronto. Former NHLer Ryan Getzlaf joins to discuss his new role as assistant coach with the Team Canada World Junior hockey team, the coaching styles he'd like to emulate from his playing days, and his management goals in hockey. The guys wrap up the hour discussing LeBron James' free agency decision.

Episode 504 - Kathy Armstrong Pete's Percussion Podcast Carleton University (ON) Ethnomusicologist and Director of Fine Arts Kathy Armstrong stops by to talk about her job, teaching West African drumming and dance, Baobab, and traveling and learning in Ghana for many years (03:30), her recent Canadian Percussion Network Conference presentation and the importance of Global Percussion Studies in standard Western Percussion tradition (21:45), growing up in the Scarborough area of Toronto, her early musical influences (including Soul and Funk music), her wonderful public school music background, the idea of “rhythmic tapestry”, and her experiences in the Girl Guides of Canada (36:10), attending the University of Toronto, studying with members of NEXUS, her post-undergrad experience and branching out into an entrepreneurship mindset (57:15), and finishing with the Random Ass Questions, including segments working in world percussion, the importance of maintaining physical and mental health, baking, sports, and great movies and poetry (01:18:00).Finishing with a Rave on the 2026 FIFA World Cup (01:45:05).Kathy Armstrong links: Kathy Armstrong's websiteKathy Armstrong's Carleton University pagePrevious Podcast Guests Mentioned:Daniel Noonan in 2026Chrissie Souza in 2024Sarah Hasekamp in 2024Fabrice Marandola in 2026Kristie Ibrahim in 2024Other Links:NEXUS PercussionStevie WonderBreakfast in America - SupertrampEarth, Wind, and FireTower of PowerLed ZeppelinNina SimoneEarth, Wind & Fire documentarySummer of Soul trailerPeter Gabriel live in 1986The Specials“Come Talk to Me” - Peter Gabriel“English Folk Song Suite” - Ralph Vaughan WilliamsStingPaul SimonLadysmith Black MambazoMichelle ColtonBeverley JohnstonTimothy RiceJames KippenBig Night trailerHamnet trailerMamma Mia! trailerFall On Your Knees - Ann-Marie MacDonaldOutlander - Diana GabaldonK.C. and the Sunshine Band“Shake It Off” - Taylor SwiftKirk Franklin“Le Freak” - CHICNorthern Super LeagueThe Professional Women's Hockey LeagueRumiMary OliverRaves:The 2026 FIFA World Cup

Episode Summary Wednesday's show splashes into trans piss porn, a pronoun meltdown that ends in tasers, a Toronto escort who just wants to get eaten out, a country concert urine attack, a mime covered in cooking oil, and one very naked man surfing a moving train like his life was sponsored by vodka and poor […] The post Stalked By A Mime Covered In Cooking Oil first appeared on Distorted View Daily.

Our friend Shep Rose from the Bravo universe and so much more returns to the pod to discuss his new book, Nothing in Moderation, detailing his psychedelic journey inward and beyond. Shep is a legend, and we're happy to have him back to chat about Chris eating new types of fruit at Chez Panisse, the future of children proteinmaxxing, Shep's take on the golfer's attempted presidential pardon, handing a guy an envelope of cash in a Publix parking lot, a detailed recounting of his ayahuasca journey in Costa Rica, what Shep did for Charleston, South Carolina is what Aubrey Graham did for Toronto, forgiving oneself for their romantic escapades, being ready to settle down but unsure if he's able to find the one where he lives, the pros and cons of one's "say yes" era, and when TSA remembers you from what you did the last time they saw you. instagram.com/relationshep twitter.com/donetodeath twitter.com/themjeans howlonggone.com Learn more about your ad choices. Visit megaphone.fm/adchoices

When should you eat your evening meal? Is it really better to eat earlier, or does it depend on when you go to bed? And if you do have to eat late, is there anything you can do to reduce the impact on your health?In this episode of The Food Chain, Ruth Alexander explores what science says about the timing of dinner. From our internal body clocks to the food on our plates, we examine how the evening meal affects our metabolism, digestion and overall health, and separate the evidence from the myths.Circadian rhythm researcher Dr Emily Manoogian, from the Salk Institute in California, explains what happens inside the body as the day progresses, why eating close to bedtime can affect the way we process food, and whether biology cares more about the clock or our own sleep schedule.Nutrition scientist Professor Sarah Berry from King's College London shares practical advice on what a healthy evening meal should look like. Around the world, however, people eat dinner at vastly different times. Food historian Professor Jeffrey Pilcher from the University of Toronto explains why meal times vary so much between cultures, how work, family life and history have shaped the evening meal, and why there has never been one universal way to organise dinner.If you'd like to get in touch with the programme, please email: thefoodchain@bbc.co.ukProducer: Izzy Greenfield Sound engineer: Hal Haines Picture: Getty (plate of food indicating the time)

Sports is a great gateway drug to travel. Laurence spent the weekend in Toronto and loved the food, architecture, art and love for sports. Here's his travel log if T.O. is on your list. Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

This week, my wife Mallory joins me for only her second podcast appearance ever to break down everything from The Lab Offline Powered by Circle — our second annual 2-day in-person retreat for Lab members, hosted June 8–9 at Hotel Renegade in Boise, Idaho. Mallory planned essentially everything: seating charts, venue contracts, menus, swag, run of show. She's been at it for roughly 6 months. In this episode, we talk about: The full economics of running a community retreat (we lost $8,300, which is actually an improvement) How we took breakfast from a 4.8 to an 8.1 rating — and what we'd cut to reduce costs next year What ranked #1 for attendees 2 years running, and why trivia (our favorite activity) came in 7th Whether we'll keep doing this in Boise — and what Columbus, Toronto, and doing 2 events per year might look like By the end of this episode, you will have a clear picture of what it actually costs to run a high-quality community event, what's worth paying for, and what we'd do differently. Circle (event sponsor) Hotel Renegade Boise Craft and Commerce Conference The Lab Full transcript and show notes *** TIMESTAMPS (00:00) Cold open: people were moved, tears were shed (00:53) The Lab Offline explained: 2-day member retreat, goals, and agenda (06:44) Initial impressions: a reunion feeling, smoother logistics, zero fires (13:08) Attendee feedback numbers: 9.3/10 overall, 91% returning, 34% said underpriced (18:46) Event economics: $30,459 revenue, $38,800 costs, $8,300 loss (23:05) Top cost drivers: hotel catering, travel, venue rental, dinners (26:52) Planning challenges: acoustics, dietary restrictions, every decision is a trade-off (36:52) What to keep: assigned seating, Kat's Immunity to Change workshop, Fighting Off the Sleepies (42:04) What to improve: more mastermind sessions, less solo writing, better acoustics (47:49) Open question: should the event stay paired with Craft and Commerce? (53:49) The case for Columbus, 2 events per year, and an international option *** RECOMMENDED NEXT EPISODE #260: Detailed Breakdown: Our First Offline Event (And What We'll Do Differently Next Time) *** ASK CREATOR SCIENCE Submit your question here *** WHEN YOU'RE READY

Will and Karen sit down with licensed hypnotherapist Cat Cazimi, co-host of Hippie Chicks Live, for a deep dive into what hypnosis really is, and whether it can fast-track you to spiritual awakening. Cat breaks down the biggest myth about hypnosis: the idea that it's a sleep-like state where you lose control. In reality, she explains, hypnosis is a hyper-focused state of receptivity, not unconsciousness, and you can never be made to do or say anything you don't want to. She walks through the difference between a light trance (think scrolling your phone or watching a movie) and the deeper theta state used in therapeutic work, and shares how she works with the most resistant clients, from analytical "monkey minds" who overthink their way out of relaxing, to people who drift too far into sleep. Karen and Will also revisit their own hypnosis sessions with Cat, including a moment that helped Karen finally get consistent sleep, and a lighter memory involving an impromptu "world-class pianist" suggestion. The conversation turns philosophical when Will asks Cat directly: is hypnotherapy a shortcut to enlightenment? Her answer redraws the line entirely, arguing that hypnotherapy ends and self-enlightenment begins the moment you're finally willing to meet yourself. Also in this episode: a listener voicemail from Toronto on the healing power of screaming into the void (walk-in freezers and airport parking lots included), a five-star review from a listener in Portugal, and a live audience Q&A covering who can and can't be hypnotized. Guest: Cat Cazimi, Licensed Hypnotherapist, co-host of Hippie Chicks LiveBook a session: https://hypnohelpsyou.com/The Skeptic Metaphysicians is a spiritual awakening podcast for open-minded thinkers who refuse to check their critical thinking at the door. Each episode explores consciousness expansion, enlightenment, soul purpose, and soul growth through honest, grounded conversation with leading voices in metaphysics, psychic phenomenon, quantum healing, and beyond. We dive deep into spiritual awakening, ascension, alignment, and the awakening process without the dogma. From mediumship and spirit guides to Arcturian contact, astrology, and the subconscious mind, we explore it all with curiosity, humor, and zero guru worship. Whether you're in the middle of your own awakening, questioning reality, or just spiritually curious, this is the podcast for seekers and skeptics alike.Subscribe, Rate & Review!If you found this episode enlightening, mind-expanding, or even just thought-provoking (see what we did there?), please take a moment to rate and review us. Your feedback helps us bring more transformative guests and topics your way!Connect with Us: 

Griffin Warner talks betting for Tuesday. Griffin Warner runs through a full board of Major League Baseball lines on the July 21st episode of What I Bet, part of the Straight Out of Vegas AM podcast feed, working game by game across a slate that stands as the only major action on the calendar with the World Cup finished and European soccer still weeks away. He opens by noting a strong recent run of picks, then works through a value spot on the Dodgers as a plus-money road underdog in Philadelphia against Zach Wheeler, a Twins-Guardians rematch in Cleveland following a five-home run outburst, a look at Bubba Chandler and the Pirates catching a diminished Yankees lineup in the Bronx, and a plan to keep fading a struggling Kevin Gausman in Toronto. He breaks down why the Orioles carry value in Boston against a Red Sox club working a starter back from injury, why the Padres are getting more plus-money than expected in Atlanta, and how a Brandon Sproat storyline shapes his lean in the Mets-Brewers total. He spends extended time explaining why he wants nothing to do with the San Francisco Giants' defense in Kansas City, along with looks at the Tigers, Marlins, White Sox, a massive total in Colorado, a first-five under in Anaheim, and continued concerns about the Seattle offense heading into a matchup with Cincinnati. Along the way he details a promo code offering listeners a discount on his season-long Major League Baseball coverage. The episode closes with his Best Bet of the show, a play on the Kansas City Royals built around fading the Giants entirely, capping a detailed, game-by-game walkthrough of everything moving on the baseball board that day. Learn more about your ad choices. Visit megaphone.fm/adchoices

Dale Morningstar from the Dinner is Ruined is here to discuss the band's first new album in 21 years, Like A Tree,Heroic, the first time I saw Dinner is Ruined in 1996 opening an intimate Toronto show for Beck, leaving Toronto for Hamilton, encountering inspiring trees and people, the story behind the making of Gord Downie's Coke Machine Glow, startling Dave Clark/Don Kerr connections, writing songs about Downie and Dale's Bobby Orr interactions, recording Downie's son Lou's band, the story of the final, yet-to-be-released but fully completely finished album by Gord Downie and the Dinner is Ruined, why exactly it hasn't been released yet, horse words and Jim Morrison and the Doors, trying to reach and work with Neil Young, a Dinner is Ruined archival project, upcoming shows, other future plans, and much more.EVERY OTHER COMPLETE KREATIVE KONTROL EPISODE IS ONLY ACCESSIBLE TO PATREON SUPPORTERS STARTING AT $6/MONTH. Enjoy this excerpt and please subscribe now via this link to hear this full episode. Thanks!Thanks to the Bookshelf, Planet Bean Coffee, and Grandad's Donuts.Support Y.E.S.S., Pride Centre of Edmonton, and Letters Charity. Follow vish online.Related episodes/links:Win You've Changed Records by Fiver and G̱amksimoon in July 2026!Ep. #1086: The Sadies & Billy RayEp. #1083: RheostaticsEp. #962: Tom Beaujour & Richard Bienstock on ‘Lollapalooza'Ep. #651: Julie DoironEp. #443: Great Lake SwimmersEp. #294: Don Kerr of CommunismStill Processing: The 2016 ‘Man Machine Poem' TourEp. #272: Gord Downie [Archival; May 2010]Support this show http://supporter.acast.com/kreative-kontrol. Hosted on Acast. See acast.com/privacy for more information.

Nico Hoerner heating up at the plate & Sean Burke great outing in Toronto (Hour 1) bonus 2801 Mon, 20 Jul 2026 20:03:01 +0000 Z7H8ixfmx7wqNAyHiQClmWy8JsrvDnP5 sports Spiegel & Holmes Show sports Nico Hoerner heating up at the plate & Sean Burke great outing in Toronto (Hour 1) Matt Spiegel and Laurence Holmes bring you Chicago sports talk with great opinions, guests and fun. Join Spiegel and Holmes as they discuss the Bears, Blackhawks, Bulls, Cubs and White Sox and delve into the biggest sports storylines of the day. Recurring guests include former Bears coach Dave Wannstedt, former Bears center Olin Kreutz, Cubs manager Craig Counsell, Cubs second baseman Nico Hoerner and MLB Network personality Jon Morosi. Catch the show live Monday through Friday from 2 p.m. to 6 p.m. CT on 104.3 The Score, the exclusive audio home of the Cubs and the Bulls, or on the Audacy app. © 2026 Audacy, Inc. Sports https://play

Laurence's trip up north to Toronto bonus 1089 Mon, 20 Jul 2026 21:22:01 +0000 gkhDTSkgcN6Np0Wf4VCLHJdUNHwqo8GX mlb,chicago white sox,sports Spiegel & Holmes Show mlb,chicago white sox,sports Laurence's trip up north to Toronto Matt Spiegel and Laurence Holmes bring you Chicago sports talk with great opinions, guests and fun. Join Spiegel and Holmes as they discuss the Bears, Blackhawks, Bulls, Cubs and White Sox and delve into the biggest sports storylines of the day. Recurring guests include former Bears coach Dave Wannstedt, former Bears center Olin Kreutz, Cubs manager Craig Counsell, Cubs second baseman Nico Hoerner and MLB Network personality Jon Morosi. Catch the show live Monday through Friday from 2 p.m. to 6 p.m. CT on 104.3 The Score, the exclusive audio home of the Cubs and the Bulls, or on the Audacy app. © 2026 Audacy, Inc. Sports https://player.amperwavepodcasting.com?feed-link=https%3A%2

Laurence's trip to Toronto, Steve Stone joins the show, & Jelly Roll breaks Bears news (Hour 3) bonus 2559 Mon, 20 Jul 2026 22:03:00 +0000 YgvOXKUEZJ0KUyeQtYu9bb5Piw0MxQTF sports Spiegel & Holmes Show sports Laurence's trip to Toronto, Steve Stone joins the show, & Jelly Roll breaks Bears news (Hour 3) Matt Spiegel and Laurence Holmes bring you Chicago sports talk with great opinions, guests and fun. Join Spiegel and Holmes as they discuss the Bears, Blackhawks, Bulls, Cubs and White Sox and delve into the biggest sports storylines of the day. Recurring guests include former Bears coach Dave Wannstedt, former Bears center Olin Kreutz, Cubs manager Craig Counsell, Cubs second baseman Nico Hoerner and MLB Network personality Jon Morosi. Catch the show live Monday through Friday from 2 p.m. to 6 p.m. CT on 104.3 The Score, the exclusive audio home of the Cubs and the Bulls, or on the Audacy app. © 2026 Audacy, Inc. Sports

Egin Kongoli returns to the show joined by Max Collins of New Friends DIY to discuss the history of the collective who have been booking and promoting shows in Toronto since 2017, the logistics of show booking and running New Friends DIY, the history of New Friends Fest, reflections on fests from the past years, details about New Friends Fest 2026 and the difficulties that New Friends DIY and many promoters are facing trying to book fests in our current world climate. We also discuss Egin's band Respire, their recent run of U.S. shows, reflections on their discography and news about what they've got coming up.

For a week straight, Andrew watched his own sky turn orange outside Toronto as smoke from nearly 900 wildfires burning across Canada, most of them following the boreal forest from the east coast to Northwestern Ontario, drifted south into the US and back again. He walks through what actually happened on the ground: which towns and First Nations were evacuated, how bad the air quality got (Toronto briefly had the worst AQI in the world), and why northwestern Ontario, not a hugely populated area but home to vulnerable First Nations communities, bore the brunt of it. Then he digs into why this keeps happening. Most of Ontario's fires this season were sparked by lightning, not arson, despite conspiracy theories claiming otherwise (arson accounts for well under a quarter of cases). An active El Nino is drying things out further, and climate change is intensifying the underlying heat and dryness that let these fires spread. Andrew also connects the dots to the ocean directly: the boreal forest is one of the planet's biggest carbon sinks, and when it burns that stored carbon heads into the atmosphere, where roughly a quarter of it eventually gets absorbed by the ocean, driving further acidification. The back half of the episode gets political. Ontario slashed its emergency firefighting budget from $271 million spent in 2025-26 down to $150 million budgeted for 2026-27, even as Premier Doug Ford defends the province's readiness. Meanwhile, US President Trump and several senators have floated tariffs and sanctions against Canada over the smoke, a move Andrew calls scientifically and diplomatically backwards given how often Canada and the US send firefighters and equipment across the border to help each other. He closes with concrete steps listeners can take, from checking air quality indexes to contacting elected officials about wildfire funding. Takeaways From the Episode Nearly 900 wildfires were burning across Canada as of July 16, most following the boreal forest belt into Northwestern Ontario. Vulnerable First Nations communities and small towns bore the brunt of evacuations, some residents had to self-evacuate by boat or air with little warning. Most fires were lightning-caused, not arson, arson accounts for well under a quarter of cases despite online conspiracy theories. Burning boreal forest releases stored carbon into the atmosphere, and roughly a quarter of human-caused CO2 emissions get absorbed by the ocean, tying wildfires directly to ocean acidification. Ontario cut its baseline emergency firefighting budget from $271 million spent to $150 million budgeted for the coming year, a proactive-versus-reactive funding problem. US tariffs and sanctions threats against Canada over the smoke ignore how often the two countries help each other fight fires, including the loss of a Canadian firefighter in Colorado this year. Individual actions still matter: check air quality indexes before extended time outdoors, follow evacuation orders immediately if you're in a fire zone, keep a 72-hour go bag ready, and contact your elected officials if wildfire underfunding frustrates you. Support Independent Podcasts: https://www.speakupforblue.com/patreon Need help with your ocean non-profit, company, or project? Get the help you need with Pisces Oceans Inc.: https://www.piscesoceans.ca Connect with Speak Up For Blue Website: https://bit.ly/3fOF3Wf Instagram: https://bit.ly/3rIaJSG TikTok: https://www.tiktok.com/@speakupforblue Twitter: https://bit.ly/3rHZxpc YouTube: www.speakupforblue.com/youtube