Listen to top audio clips on Producer

Mark Levin

03:10 min | 1 d ago

How Is Joe Scarborough Allowed to Say THIS on TV?

"At his past it's not really hard to read all again the only thing that stood between him and the destruction of american democracy was the federal judiciary and this man is sick did he say what i thought he said was he is because will do he will get away with he will imprison he will execute whoever he's allowed to imprison execute drive from the country has anyone informed jake tapper about this mr producer wolf the moron over at the white house press office has anyone has anybody even commented on this no one of the things i fear america is that donald trump is in grave danger because of comments like this and that he is personally and physically in grave it's like this if you're has called him hitler mazzolini stalin in my book and freedom of the press now he says here there's no it's like twisting they of words attempted on me this is flat -out he says it repeatedly he will imprison he he will will execute whoever he's allowed to imprison if you hear that from scarborough and msnbc and if donald trump is elected he will prison and execute and drive from the country individuals those are fighting words and i cannot believe the comcast mbc msnbc allows this fool this emotionally unstable unhinged punk to say the things that he says like this and it doesn't come under any scrutiny it doesn't it's not condemned by any of his colleagues it's not condemned by any of the other cable network it's not condemned at all and there's clara com on the morning joe last wednesday on the same program now that fat slob was a u .s senator from michigan cut to go i let me even bring in uh what i think is also a very station a lot of people have tried to draw similarities between miscellany and hitler and the use of the terminology like vermin and the the drive that those men and had towards

"In the culture, made a difference in politics, made a difference in the economy, either anything else. I said she's George W. Bush in address, and of course the sycophants got very upset and they posted on it. So I took it and I Because did. that's what it is. So you have George Soros's Media Matters Nikki supporting Haley. What did you think about that? Let's talk about AMAC, the Association of Mature American Citizens. These are very difficult times. Everything is very, very difficult. When you go through a drive through, a fast food drive through, Mr. producer, through have you been one of those lately? You have two kids and a wife. It's almost $50. I don't blame the franchisees or the corporate. The food is unbelievably expensive. In some states, they've massively increased the minimum wage and the benefits you have to order. So the food is fast, but it's not that cheap anymore. And people used to use fast food as a way to get through hard times. So it's tough out there, as

Amac Two Kids George W. Bush Association Of Mature American Nikki George Soros Haley Almost $50 ONE

Awards Chatter

27:40 min | 2 weeks ago

A highlight from George C. Wolfe - 'Rustin'

"Monarch Legacy of Monsters, an Apple Original Series. The world is on fire. I decided to do something about it. On November 17th. This place, it's not ours. Believe me. The most massive event of the year arrives. If you come with me, you'll know everything, I promise. Oh my God, go, go, go! Monarch Legacy of Monsters, streaming November 17th. Only on Apple TV+. My guest today is one of the great storytellers of Stage and Screen, which is why it's only fitting that he's here at the Fest to collect the Storyteller Award. He's a playwright best known for writing 1986's The Colored Museum and co -writing 1992's Jelly's Last Gem. He's a theater director best known for directing the original Broadway productions of Angels in America Millennium Approaches and Angels in America Perestroika, two landmark plays in 1993, and a host of Broadway musicals, including 1996's Bring in the Noise, Bring in the Funk, 2004's Caroline or Change, and 2016's Shuffle Along. And he's a screen director best known for directing the 2005 limited series Lackawanna Blues and the films Night in Rodanthe from 2008, The Immortal Life of Henrietta Lacks from 2017, Ma Rainey's Black Bottom from 2020, and this year's Rustin, the story of Bayard Rustin, the gay civil rights activist who organized the 1963 March on Washington. Over the course of his career, this 69 -year -old has been nominated 15 times for a Tony Award, winning three for best direction of a play for Angels in America Millennium Approaches in 1993, best direction of a musical for Bring in the Noise, Bring in the Funk in 1996, and best special theatrical event for Elaine Stritch at Liberty in 2002. He was nominated for an Emmy best directing for a limited series for Lackawanna Blues in 2005, and he has twice been nominated for the Directors Guild of America Award for outstanding directing of a miniseries or TV film for Lackawanna Blues in 2006, which resulted in a win, and for The Immortal Life of Henrietta Lacks in 2018. The New York Times' Ben Brantley has described him as a brilliant stage director, arguably the best now working in the American theater. The Los Angeles Times declared, there are few living talents who could be viewed as as much of a New York theater institution. Interview Magazine said it would be difficult to overstate his status on Broadway, and Tony Kushner proclaimed that he is the premier theater artist of my generation. And those are just the quotes about his work in theater. There are many more about his work in film. But without further ado, would you please join me in welcoming to the SCAD Savannah Film Festival and to the Hollywood Reporters Awards Chatter Podcast, Mr. George C. Wolfe. Mr. Wolfe, thank you so much for coming to Savannah. Glad to be here, glad to. Let's just start at the very beginning. Where were you born and raised, and what did your folks do for a living? I was born and raised in Frankfort, Kentucky. My mother was a teacher, and she later became a principal of the schools. I went to that school. She taught me. It was horrifying. My father worked for the state government, and that's that. For the first eight years of your life, the town in which you grew up was segregated. Yes. You have spoken about wanting to go see a movie, 101 Dalmatians, and not being able to do that because of your race. Well, my grandmother was this incredibly ferocious figure who would take on anybody. I telling remember her that I wanted to go see 101 Dalmatians at the Capitol Theater. I remember her calling and them telling her no. It was sort of startling and shocking and fascinating because it was the first time I'd ever see her come into contact with a no. So that was fascinating. But then it integrated, and then at one point, when I went to high school, I was editor of the high school newspaper, and I went and convinced the man who ran the Capitol Theater that I should go see movies for free so that I could write reviews. He said, but by the time the review comes out, the movies will be gone. I said, but it's cultivating a love of movies, and so that's what my column will do. It was my slight payback because then I got to go see movies for free. I love it. Let's talk, though, there's a moment you've described over the years. You were in fourth grade, and your, at that time, all black grade goes to an all white class. But that time, I think it was probably a little bit older, so I got about the PTA and the singing. Well, I think by that time, Frankfurt was integrated, but I still went to this black school which was connected to a university there. And the principal, this woman named Minnie J. Hitch, you told us, because we were going to be singing a song, and the lyrics were these truths we are declaring that all men are the same, that liberty is a torch burning with a steady flame. And she told us that when we got to the line that liberty is a torch burning with a steady flame, we should sing it with a ferocity and that we would shatter all racism in the room. So I literally remember these truths we are declaring that all men are the same, that liberty is a torch, you know. And then racism was gone. And racism was gone, exactly. They were all transformed. But it sort of was like so cluelessly wonderful for somebody to tell someone that young that if you say words and if you say them with power and conviction, you can change people. And that sense of potency of conviction and language was embedded in me, and it's never left. When did you see your first theatrical production that was done professionally? When I was 12 or 13, my mother went to do some advanced degree work at NYU, and she brought me a log, and it was one summer. And so I saw a production of West Side Story that was done at the State Theater at Lincoln Center. Then I saw a production of Hello Dolly with Cab Calloway and Pearl Bailey. And then I saw a production, as it turns out, from the Public Theater and Mobile Unit that Cleavon Little played Hamlet. Wow. And it was done in Washington Square Park. Wow. And some in respect, each of those three productions had, I think, a lasting impact on a kind of aesthetic. Right. And the thing interesting about the Mobile Unit, it was free. And so it was seeing the rawness of that energy of the audience was also very, it was very, very, really wonderful and really interesting and great. So the throughout rest of your time in high school, you were increasingly involved in theater and school. I don't know if it was specific, I think, was it writing, directing, acting? What were you focused on at that point? Acting and directing. And also it's very interesting because when I went to that high school, I stuttered really intensely. So this is one thing I was talking about earlier. So they decided that I was stupid because I stuttered. And so they called my mother over to the school to say, and they wanted to put me in remedial classes. And she says, are you crazy? No, that's not happening. And so I developed an Evita complex. So I said, by the time I leave this school, I will be running it. And so I was editor. I was drum major. I was the worst drum major since the dawn of time. I just, you know, I was editor of the newspaper, of the literary magazine. I just did all these stubs just to, you know, how dare you dismiss? I could tell. And I never heard the story about them calling my mother over, but I could tell I was being disregarded. Right. I sensed it. And I went, no. So you start college in Kentucky and then move to Pomona and California. What at that time? This is there. Oh, yeah. We're doing the whole thing. Exactly. What was the idea of going out to California? Was it just to have a change of scenery or did you were you already thinking maybe that's where you go if you want to be in show business? No, not at all. I had always dreamed of going to New York. I would I would watch, you know, TV shows that were set in New York, like the Dick Van Dyke Show. And I remember this is kind of neurotic and crazy. But I what I really I was obsessed with Disney and I wanted to have my own amusement park. But I wanted money. I knew you need a lot of money. So I decided that actors made a lot of money. This is when I was seven or eight. And so and I knew the actors starved. So when I was seven or eight, I used to practice not eating. So that when I went to New York, this is insanely true that, you know, that I so I could deal with it, you know. Well, little did I know one doesn't need to practice starvation. So you graduate from Pomona, go to L .A. for a little while to do theater, to do theater. OK, now theater, as I guess you quickly concluded, is primarily in New York. Well, yeah, I mean, at one point I did shows and I started to get some good reviews in the L .A. Times. And then I got called in. I don't even remember for to be a writer on a sitcom. And and I and I said something funny and they said, oh, he's quick. We're going to have to tie one hand behind his back. And I took that literally. And that's when I went I'm moving to New York. You know, I just was it was like time to go time to go time to go confront a whole bunch of other stuff and things I need to learn and get smarter about. Well, so, OK, you move. It's 1979. You're in your 20s. You moved to New York. Early 20s. Early 20s. Right, right, right. Very early. In fact, I was 19. I was just pretending to be 20. Something like that. Yeah. You moved to New York. There are a number of years then after moving there that were we can say lean. You got to put into practice not eating so much. You what said once quote, I came to New York to write and direct. And when I got here, a lot of my rage came out. Close quote. What do you mean by that? Well, it's so interesting because in L .A., it's you know, it's you know, there's more space. So so, you know, poverty and wealth are very much so separated. And then in New York, it's, you know, they're next door to each other. And the intensity of the inequity at the time, plus the fact that I had no real power over my existence, sort of magnified all of that. And I remember I remember seeing I remember at one time seeing this image of this of this woman in a fur coat. It was winter and eating chocolates and there was a subway vent and there was this homeless woman sitting there. And she had newspaper wrapped around her legs instead of boots. And she was like like crazy and was like and just seeing those two images next to each other. It's you know, it's the thing about New York. Every single time you step foot outside your front door, you see somebody who is worse off than you and you see somebody who is living a completely different life to you. So you have you get instant perspective whether you want it or not. So in those those leaner years, you are teaching a little bit. You're going to get your own MFA at NYU Tisch in dramatic writing, your... Dramatic writing and musical theater and a double MFA. And then there's a opportunity to have a work of yours produced for the first time at Playwrights' Horizon, which is a big deal. Playwrights? No. And how did that go? Well, it it was interesting. It was it was ultimately the best thing that could have happened for my career. I didn't direct it. I wrote the I wrote the book and I wrote the lyrics for it. And it and there were things that in the rehearsal process that I. And also, when I first came to New York, I said, I'm a writer and director, and they said, no, you can't do both. You have to focus in on one. I said, but I could do both. And they said, no, you can't. So I focused just on the writing. So then I there were things that were happening in the rehearsal room that I knew weren't right. But in the spirit of ra ra ra, getting along and being good guy and all this sort of stuff, I didn't object. And then I remember there was a tornado passing through New York City on the day my bad review came out. So I'm standing on the corner of 95th and Broadway with the winds blowing. I'm reading this hate review. And it was so very painful. But it was really interesting because it was very good for me because, you know, I went, oh, if this happens again, if I get another bad review. And of course, I've gotten bad reviews. But if it's going to be because it's my vision. Because it's I because I put every single thing I had on the line. Everybody, we're only in the room to make a very beautiful baby. And if we become good friends as a result of that, that's fine. But we all have a responsibility. The people that you're collaborating with to do their finest, best work. And you have to do your finest, best work. And it was interestingly enough, when I was at NYU, the piece that I wrote that bombed, I went, oh, this is going to be successful. And then there was this play that I wrote just for myself called The Colored Museum. And yeah, none of y 'all applauded when I said the title of the other thing, Paradise, did you? No. But that's what happened. It was the most interesting thing because I wrote one for success and I wrote one for myself. And that was the thing that succeeded. And so it was a very deeply, deeply, deeply valuable lesson. It was just like, and then eight weeks later, all those people who trashed, eight weeks, no, eight months were that it were eight weeks. Eight months later, all those people who trashed me were going, oh, where has he been? Oh, my God. Oh, my God. Oh, my God. And I'm so glad it happened that way. I'm so glad that the first piece was treated that way so that therefore it gave me a clarity and a sense of responsibility. And doing and doing work that I believed in and and that was that I believe mattered as opposed to something that was going to lead to success. It was just one of those slap you in the face and get smart, George. So you mentioned The Colored Museum, which let's just say, though, you know, you had you're coming off the rough review. How did you even get the opportunity to do The Colored Museum, which is going to as if you don't know, it was the first big success for Mr. Wolf. So how did that opportunity even come out of that? Well, it came out of that because I was at Playwrights Horizons because the guy named Lee Richardson, who was running a theater called Crossroads, said you're at Playwrights Horizons. And I don't think there's ever been a black playwright at Playwrights Horizons. Do you have something else that you've written? I said, well, funny you should ask. Dada, Colored Museum. And so that's how it happened. So there is there were they were both connected in a in a in a way that didn't seem so at the time, but was sort of brilliantly perfect. I want to ask you. So The Colored Museum is produced at Crossroads in 86 and then moved to the Public Theater in 87, which you'll notice the Public Theater, the great off Broadway institution, is going to come up quite a few times in this conversation. But for people who weren't around at that time or don't know or whatever, can you describe what The Colored Museum is about and what the controversy backlash that that provoked was? Because it was you you had to develop thick skin early on because it was not all fun and games in response to that one either. Well, but that was different. That was called pure unadulterated jealousy. So that was that was that was just, you know, I came from nowhere and all of a sudden I'm at the Public Theater. And Frank Rich wrote a wrote a review, a rave review, and said it's the kind of playwright who takes no prisoners. And people thought and that meant he kills people. The language kills them. And people thought that that meant I was soft. So it was just like that was just dumb cluelessness. That was very that was very easy to dismiss. And and, you know, and it was it was just jealousy. It was and that I, you know, I went, oh, my feelings are hurt. Oh, I'm over that. OK, go to hell. You know, it's just sort of like I didn't I didn't sweat about that. Well, tell us a little bit about the show, because this is your big success. First. Yeah, it was first. Well, it's it's interesting when I was at NYU. In the dramatic writing program, there are about three or four people writing plays about old black tap dancers, and they didn't happen to be old black or tap dancers. And so and I was just I was just I just thought about it. And I said, so somebody has figured out, has made a decision or dynamics have been created so that people have decided what black is. And I'm going, I'm black, I'm black my entire life. And I view it as this ever changing, complicated, insane, brilliant, amazing thing. So it was an effort to shatter, shatter any preconceived notions that I thought were going to stand in the way of what I wanted to create. So I wrote this play, which was eight exhibits set inside a museum. So I wanted to shatter all the perception, any perceptions that were in my head. So it's to liberate me to go in any direction that I wanted it to. And that's what happened. And it became this and it became this very successful show. It played, I think, for I think for 10 months at the Public Theater. Then it went to the Royal Court in London. Then it toured all around. And now it's it's high schools do it now and stuff, which is great. So it's in. And then as a result of it, then I started getting interesting from that. I went from, you know, being completely flat broke to then I met the kids of studios. I got Mike Nichols wanted me to write a movie for him. Robert Altman wanted me to write movies. So all of a sudden, you know, these job opportunities happened. But it wasn't for many years that you actually went into film. In the meantime, you were kind of seizing this interest in the theater, this opportunity now in theater. There was a person who is legendary by the name of Joseph Papp, who founded and ran the public, who took a great interest in you and, you know, brought you in there. And and we can say, you know, in addition to producing the colored museum, right. Named you one of three resident directors there offered to have a producing entity within the public for you. This was a big champion to have. He then passes away in 1991. He gets succeeded by a lady who was there for only 18 months. And then in August 1993, this institution of the sort of first thing that comes to mind when you think, at least for me, off Broadway comes looking for a new director. How did you become aware that there was interest in you for that position? And was it was that job, which you then spoiler alert, got and held for the next 12 years? Was it what you thought it would be? Nothing is ever what you think is going to be. But that's the point of the journey. It was actually it was I was I directed a Broadway show called Jealous Last Jab. And then I was then offered Angels in America. And and then I was in the middle of directing a seven hour play. And then they called up my lawyer and said, we want to talk to George about running the public theater. And I went, well, I'm kind of busy right now. Can they come back after? And they said no. And so they wanted to make a decision. So when I was in rehearsal, it was announced that I was running the public theater. It was I loved the thing which I loved. I loved, loved about running the public theater was giving artists money, giving artists money and spaces where they could go do work. It was that, you know, because I after after Jelly, I went, oh, this is hard. Surviving Broadway and dealing with all of these all of the dynamics and the money and the audiences and all of that stuff. This is really, really hard. And you have to be really, really tough. And so I knew all these artists who were really gifted, incredibly gifted people, but maybe weren't as tough. Can we can I just mention a few? Because these are shows that were given a spotlight by you in those years, which, in fact, several of them were just revived in the last couple of years. So decades later, people are, you know, coming back to them. But let's note, Twilight, Los Angeles, 1992. This was a dear, dear, very Smith and important show there. That was 1994. We had Top Dog Underdog, Suzan -Laurie Parks wins the Pulitzer for that 19 excuse me, 2002. Take me out again. Just revive. So these are the kinds of people who were talking about where you can. And this the public was not particularly known for its being inclusive prior to your tenure. Well, I'd say it was I think probably yes. I think it's also a place that gave us, you know, for colored girls and it's also a place that gave us for short eyes. So I'm so I would I wouldn't totally agree with that. And also these were very smart artists and these were tough artists. But there were, you know, it's just you people when you're beginning, you need a place to play, which means you need a place to fail so that you can get smarter. Like I had with Playwrights Horizons, you need you need to to do the work and not feel the pressure of it being the biggest hit in the world because you're growing and you're learning and you're getting smarter and you're getting tougher and you're learning more savvy. Just like the things that I allowed on the first production that was done, I didn't allow on the second one. And so you get, you know, so you're growing, you're growing all these muscles. It's not just your talent muscles. It's your your ability to defend yourself and to protect your work and to go, I disagree with that. And, you know, I remember one time there was a writer who was doing a play and a couple of things got really wonky at rehearsals. And I said, well, why didn't you speak up? He said, well, I was just scared that I was actually doing a play at the public theater and somebody was going to discover I didn't know what the hell I was doing and throw me out. And it's that fear you have to get. You have to realize that fear and doubt and other stuff, all that stuff is a part of growing and you have to have permission to grow. And so that's that's what I took on very much so, which is creating a space that was there. I wanted the I wanted the audiences and the artists there. I wanted it to look like the subway at rush hour in New York. I wanted to have all kinds of people there. So that was the thing that I loved after a while. It became very, very clear to me that as much as I was creating spaces for other artists, it was very challenging to be one. And while being in charge. Well, let's go back to, again, what you were doing when you got that opportunity to go there, because this was the beginning. While you're creating these opportunities for people off Broadway, you were making your first inroads on Broadway. As you mentioned, Jelly's Last Jam, 1992, you co -wrote and directed this about Jelly Roll Morton and the birth of jazz. Your first Broadway show musical with Gregory Hines and small role the first time you're working with Savion Glover. And this gets 11 Tony nominations, wins three and sort of leads to Angels in America. Now, this is it's been looked back at. I think the New York Times looked at it as the greatest show on Broadway of the last 30 years. It's an all timer, obviously, but you first saw it as a spectator in Los Angeles. It started at the Mark Tabor Forum. There doesn't sound like there was even a thought in your head that you might ever have anything to do with this. How did that change? Well, Jelly had opened up and I worked with a producer named Margo Lion, who passed away, who was a very dear friend of mine. And everybody, you know, and there were some changes that were going to be made from the Tabor to when it moved to Broadway. And she brought my name up and Tony Kushner and someone called me up and said, Tony Kushner wants to come and talk to you. I said, OK. And he came over and he talked and I had never read the play. I had only seen it. So I talked to him about it and just gave him my observations.

Tony Kushner Frank Rich 2008 Robert Altman August 1993 2017 Gregory Hines Joseph Papp Minnie J. Hitch 1994 2006 George 2020 Cleavon Little Mike Nichols Margo Lion Lee Richardson 2002 Wolfe 1991

Mike Gallagher Podcast

03:45 min | 2 weeks ago

A highlight from Biden has Weaken America; Country Must Have Change in 2024

"And they're finding out that, you know what, actually, the guy with the mean tweets was not that bad. Right. If it means we don't have a war in Ukraine, we don't have a war in the Middle East, we don't have, you know, an open border. In the ReliefFactor .com studios, here's Mike. Yeah, I remember these worldwide conflicts and war in the Trump era. In fact, I was just perusing the list of Trump's accomplishments a few days ago. Everybody can access that, incidentally. But if you text the keyword Trump to 800 -655 -MIKE, which is the MyPillow text line, we'll send it back to you. Kind of a good reminder of what was accomplished, what was done, promises made, promises kept. Four years of a period of our nation's history that was decidedly different from what we're experiencing right now, not only in this country, but around the world. Is it fair to suggest that world leaders feared and respected Trump? Didn't want to set him off? Is it fair to suggest that the world sort of laughs at the United States with Joe Biden at the helm? A guy who is now on the short steps of Air Force One because the big steps are too many steps for him to climb? And he's going to he's got four more years in him? Sure, sure he does. Sure he does. Like Tracy always says, my producer, the problem is Trump hurts their feelings. He gets in their head. Do you see him at Madison Square Garden over the weekend? He showed up at Madison Square Garden for one of the UFC fights. The place went bonkers. It was unbelievable to watch the crowd roaring its approval as Trump went out and he walked out with Tucker Carlson, which leads to a lot of speculation about a Trump Carlson ticket. It was it was quite the quite the scene that we've got a video clip of it, don't we, guys? If you're watching us here on Salem News Channel, what what number is it? I can't hear you. You got a whole 11. There we go. Cut 11. Let's play cut 11 as Donald Trump and Tucker Carlson, joined by the guy. What's the guy's name? That's the head of the UFC, Eric Dana White. And then there was somebody else. There was like four of them. Somebody like was a bunch, but maybe Kid Rock. And I mean, it was just quite the the rogues gallery. And here's what it was like when Trump made his entrance at a big fight, a UFC contest at Madison Square Garden in New York City. Taking his way into the building. One of the bigger mixed martial arts fans, I know, President Donald Trump taking his I mean, they are they are so terrified of him. And that's why. Because they're terrified of you. They're afraid of you and me. They're not afraid of Trump, they're afraid of the American people, Trump, as I've said a gazillion times, he's a movement, an America first movement that he unleashed.

Joe Biden Tracy Mike Eric Dana White Donald Trump Ukraine Middle East Madison Square Garden New York City 800 -655 -Mike United States Tucker Carlson Four Years Four More Years ONE First Movement 11 Salem News Channel

Mark Levin

02:53 min | 2 weeks ago

The Character Assassination of Benjamin Netanyahu

"The last year or so after netanyahu was re -elected and he put together this coalition they've been character assassinating netyahoo and this coalition the most right -wing government ever used to say that about menachem begum too by the now israel right -wing would be rhino in the united states rhino in the united states it's not right -wing what they're what they're really doing is smearing people of faith very religious people orthodox jews because the secularist jews there hate the orthodox very much like in our own country you don't have many orthodox jews orthodox practicing jews with the yarmulkes and the rest in the media mr producer i don't see any but you'll see a lot of secularists and by the way secular christians secular this but you'll see a lot of secular jews too and so they come in a world view from very different perspectives i'm just telling you the truth very different perspectives and so what's happened in israel just like in the united states sort of their marxist left their secularist left their self -hating left just as we have leftists in america who hate america well believe it or not there's leftists in israel who hate israel and they hate democracy they want an all -powerful court system which they have there more powerful than any other western country where the supreme court calls the shots on everything you don't even have to have standing they can pick and choose whatever they want to hear they issue a ruling overrule they regularly the Knesset their parliament our congress they don't have any authority to do it they just do it so netanyahu says you we know have to address this in a modest way but these justices they appoint each other do you know they we themselves effectively have elections but they don't seem to matter we out fight it we fight over the coalitions you've seen them do it and then we have three or four these justices they just decide they even make decisions about how they're going to fight wars so just like in our country with the propagandists they paint netanyahu as a dictator because netanyahu wants more democracy and it's not so sexual democracy the guy who wants to take a little bite out of the judicial oligarchy he's the fascist you see but this is typical with

Netanyahu Three Last Year Congress America United States Netyahoo Four Orthodox Menachem Begum Jews Knesset Christians Israel

ACG - The Best Gaming Podcast

05:34 min | 2 weeks ago

A highlight from Modern Warfare 3 Taken Out | Steamdeck 1.1 | Mass Effect on Trial and More | The Best Gaming Podcast 425

"What's up everybody? This is Carrick with ACG and I'm here with Silver and Johnny, No Abzi and Khadiz for the Best Gaming Podcast number 425. If you get a chance tweet out that we're doing this we're gonna be talking about Modern Warfare 3's reviews. We're gonna be talking about WB's service games, GTA maybe. We're gonna be talking about Steam Deck 1 .2 .000 Upgrade AQB. I have no clue what it's called but it is the weirdest upgrade I think I've ever seen on a handheld system. We're gonna be talking about Red Dead and its sales. Johnny's played some Yakuza. We'll see what Silver and Khadiz have been playing. We're gonna talk about Fallout 4's Inevitable remake. I'm just joking. But Fallout 4's eight year, eight years. Does Fallout 4 seem older than that? Because Red Dead is five. Yeah, you know what I mean? Yeah, Red Dead is five. It's feeling like it's almost due for like a, you know, anniversary edition or re -release like a Skyrim release. Special edition. Special compressed audio edition. Oh my god that's a deep cut. Wow and they did they did release the like 4k texture packs I think. Oh did they? I know and one of them had like the, you know, the upgraded FPS boost which I think is awesome. If you want your mods to work you need to get this version edition. A secret edition of or secret. It should be secret because it sucked but the special edition of Skyrim was that way. It's just all over the place. I had issues with audio and then like certain executables wouldn't work. I think they got it fixed up but it's just one of those things. What's everybody in chat playing right now? What are the games? Looks like some people are playing Modern Warfare. Live Carrick's the best Carrick. Well, that is a super low bar. That is a ridiculously low bar. Conscious, somewhat alive breathing Carrick is the best Carrick. Yeah, I don't know if all my family would agree. Groggy Carrick. Yeah, I've been playing Starfield on the ROG Ally. Do you guys call it R -O -G or ROG? ROG. I typically just say R -O -G. I don't know but anybody and I had occasionally I'll hear ROG. You're a fucking hipster, man. Come on, ROG. I'm just joking. I've never quite known exactly what it's supposed to be but I do. I also, you know. Yeah, I think it's like GIF and GIF. One sounds more correct than the other to different people but it's like. Isn't it Republic of Gamers is what it's supposed to look like. It's an acronym or something for ROG. Yeah, Republic of Gamers, so they think it's the actual brand name. As dumb as that is, I think actually just having ROG by itself is a better version of that. That's like one time I gave some money to Dr. Disrespect on Twitch. He was doing something hilarious and I was like dude this deserves a little bit of money. I gave him some and he pronounced it a cog or you know like a game and I was like that's so true. It's so true like you could see that and immediately think of it. Someone choking on a peanut rig rundown. Yeah, these are all my guitars. This is all my setup. Those are Johnny's. My setup's better. There's a guy in one of my backgrounds but he's not there this time because somebody asked me if I was paying that dude in the background and I didn't realize there's a guy in the background. He's the self -producer. Yeah, totally. Yeah, that's exactly it. He's the video editor. He's just editing. Yep, he's back there editing. I mean you can tell dude how good my edits are, right? Like if you saw the last time on ACG prior to this video starting, I mean you know that my edits there might be no better edits. Honestly, you give yourself shit but dude like in reviews I'm always like did this man really dig up the specific video footage for what he's commenting right now? Well, I appreciate you getting it because I do do that but most people are like what's he talking about? I'm like you damn like that missed them you know like that complete I'll be talking about something in the background. You hope the reference lands before it's wine. Yeah, exactly. Yeah, it's just it's a little bit like wine tasting where some people are like this is just not for me. That's ACG in a nutshell. That's all of us. That's why we're like people are also playing Tales of Arise. There's a DLC that dropped, right? Oh, okay. What is it? I mean what's the what's the nine? I know nothing about it. ACG best gaming podcast. Let's talk about. You have been informed. It's out. That's as far as did you guys hear about the Steam Deck? Yeah, I think that's a handheld. So anyway about what we were talking and walking and doing on the on the background. What about you Silver? What have you been playing because you didn't get to come to last Friday's? What what's the game? I'm kind of still trying to get into Alan Wake 2 and I hate it because my brain kind of won't let me because I can't I can't for some reason get beyond the sound of like Sagas footsteps in that game where it sounds like she has soggy shoes. Yeah, so it completely undercuts like any tension like oh no, it's dark and people are hunting me and then I hear like wouldn't it be scarier if you were in that but also having to like deal with soggy shoes. That would be scary. Yeah, it would be except then I would then I would hear like the sound of my my actual you're just utterly distracted by the soggin before which is unintentionally funny.

Modern Warfare 3 Tales Of Arise Eight Years Fallout 4 Modern Warfare Alan Wake 2 Red Dead WB Last Friday Eight Year GTA Five Khadiz Starfield Skyrim Johnny ONE 425 Twitch Silver

The Aloönæ Show

25:41 min | 2 weeks ago

A highlight from S14 E12: Actress, Coach, Global Life on Stage

"Hello, welcome to The Loatney Show. I'm your host, John Mayolone. In this episode, we don't have regulars, because reasons, I guess. As for our guest, she is from Nigeria, but currently in Israel, and she is an actress, producer, and well, so much more. Ladies and gentlemen, I give you Rania Mann. Hi, Peter. Just a very, very quick one. I'm actually originally from Israel, but residing in Nigeria. Oh, that was confusing. Okay, that makes sense. Okay, cool. So, how's life? Well, normally I'd say life in Nigeria is beautiful for me, because there's a lot happening here. I feel like I'm in the heart of a lot of things. I'm in Lagos, so Lagos is the commercial hub of Nigeria and of all of West Africa, really. So, I feel like I'm in the New York of Africa. But, you know, we can't... Yes. Oh, dear. And your audio just got cut off. Can you hear me? Oh, yes, I can hear you now. Okay. Did you hear me? No, I did not. Your audio just cut off completely all the way through. But I heard... Oh, that's funny. I heard you. Okay, so where should I start over or how? Just repeat what you just said entirely. Okay. I said that normally life in Lagos is pretty fun. Lagos is the commercial hub of Nigeria and of West Africa, I think, I would say. So, a lot is happening here all the time, and I feel like I'm in the New York of Africa. So, yeah, but with me being Israeli and what's happening in Israel right now, that's a cloud over our heads at the moment. So, that's life. Oh, alright then. So, what is it you mainly do for a living? I'm an actress and I'm also an acting coach and I produce. I produced a film festival here for about five years and now I produce films as well. Wow, impressive. What was life for you growing up? Oh, that's a very big question. I mean, I grew up in about seven different places till I reached high school. I mean, yeah, till I finished high school. I was born in Israel, then we moved to Ivory Coast, then we moved back to Israel and we moved to Nigeria. Where else was I? Okay, within Israel, we moved to another place and then I moved to England. I did my high school in Thorpe, in Surrey, and then, yeah, went to Israel again. So, I was moving around a lot. Alright then. Which I think is great because it makes you a very cosmopolitan, rounded person. Yeah, absolutely. And if you could live anywhere else in the world, where would it be? And the audio got cut again. Okay, now I've got you back. I don't know what's going on with the audio thing. Let me see if I can just close off some apps, if that would help. Alright. How's this now? Yes, fantastic. Okay. So, what did you hear me say? Nothing. Absolutely nothing. Oh, great. Okay. So, your question was where would I like to live? Where else would I like to live in the world? Yeah, if you could live anywhere else in the world, where would it be? So, I was saying that for me, I don't know, maybe that's why actors have this tendency to live through characters, right? And I think it's something inherited in me because it depends on the season, it depends on the mood, it depends on the time in my life, the period of my life. Because in Nigeria, for example, I love living here because there's so much I can contribute. Can you hear me? Yes, I can still hear you. There's so much I can contribute to the film industry here and that makes me really, really happy. I think any place where I would feel I'm making a difference and where the weather is not too cold, that would be the place for me. Yeah, fair enough. If someone wrote a book about you, what do you think a title would be? And here we go again. It just cut off, right off. I can't hear anything, she says. Good grief. What a day. And I'm not doing anything. Now I can hear you, now I can hear you again. Right after I told you the question, I couldn't hear you, I couldn't hear you at all. This platform is gaslighting me. Maybe there's like a delay. Okay. Can you hear me now? That's crazy. Yes, I can still hear you. Okay, Okay. so a book about me, I hope would be my mission to this world, which is bridging worlds through art. Oh, alright then. If your mind was an island, what would it look like? If my mind were an island. Gosh, that is such a... Can you hear me? Yeah, I can still hear you. That is such a creative question. Wow. If my mind was an island, it would have... It would have... Multiple... What's the word? Like, you would have a tropical area, then you would have a very cold area on the island. Maybe like a mountain top. Like a foggy mountain top. And then a sandy tropical beach at the bottom. Because, yeah, so you could, you know, be in any place in the island. choose... So you And I get cut off again. Thanks, Spotify, for gaslighting me. I don't understand why this is happening. Exactly. That's what I'm saying. And now you're back. No, because I can hear you very well, though, all through. Yes, but there are times that now, there are times that your audio is just cut off completely from my end. So, yeah, this is crazy. Hmm, what can we do? You want to try another network? What other network? Is this the only one? No, like, let me try and cut off my Wi -Fi and just use my phone network. Let me try that. Okay. One, two. Yes, one, two. I could hear that. Okay. So let's try this and see if that works better. All right, then. Here we go. Right, an island. My mind is an island would be something that you could choose where... You know, according to the mood you wake up with on that day? Yes. You heard that? Yes, I heard you. So it would be maybe like, it would have a tropical, sandy beach and a mountain, a foggy mountain top as well. Okay. Yeah. Nice, very good. Yeah, oh, oh, and a very, and a very busy, hyped urban area with like clubs and music and coffee shops and cinema and all that good stuff. Nice, very good. It must have a theatre. Of course it has to have a theatre. Yeah. Yes. Would you rather not be able to open closed doors or not be able to close open doors? Would I rather be able to open closed doors or... Not be able to... To close open doors? Yeah. Is that what it says? Yes. Judging by the way I live, I normally open closed doors. So, yeah, that's me. Okay, close enough I guess. What happens in real life but rarely gets portrayed in movies? And I can't hear you again. I don't know why I keep doing that. I'm getting gas lit again. Yay! Could it be something, could it be something on the other end? I mean, my Wi -Fi is working alright. My headphones great. I can't, I have no idea to be honest. And this has never happened before? Because it's never happened before to me either. Yeah, this is the first time for me. Any issues that I've ever encountered would actually stop me from recording episodes altogether. I never had an issue that still kept the episode going but still had a bit of an inconvenience to me. So, yeah, it's a weird and funny one for me. Yeah, I agree. I think it's just a delay, I don't know. Yeah, first time for everything. So, what did you mean by close enough? Well, listen, I'm not mad. I understand that this misinterpreted the question, but the question was would you rather not be able to open closed doors or not be able to close open doors? Oh, I didn't hear the first not. I would say I would rather not be able to close open doors. Because I can maneuver myself through open doors. But I hate closed doors. I'm a boundary breaker. Yes, that's great. What kind of music do you often listen to? Okay, can you hear me now? Because I just heard a beat. I can still hear you, yes. Okay, good. I find myself lately listening a lot to The Weeknd. You know them, right? Yes, I've heard of them. Oh, shoot. Here we go again. Let up the gas again. Yeah, it's a current thing over and over again. It's just... Cut the audio from whoever's end. I'd be surprised if this keeps going to the very end. Wow, this is actually a lot longer of a cut than I thought. Oh, this is... That's crazy. No, I know you can... Okay, now you're back. That was a longer audio cut than last time. Or like Evan's recording. I know, but the funny thing is I can hear you all through. Like if you hear this recording later on... Yeah, of course. But the question is, when it comes to the editing process... I'm not sure. Do you want to... Do you want to start over? No, let's keep... I feel like there's some good moments in this that will be very good. And also, we're still going on, so let's keep going and yeah. Yeah, okay. No, what I meant is maybe if we... We don't start the whole thing over, but we'll just start a new recording and then continue from where we stopped and maybe the new recording would be better. I don't know if that's something... I can actually... I've actually worked around editing in the past, so whatever happens, it'll still be good. Okay. Okay. So where were we? You were saying something. Asking something. Great. Fantastic. If you could host a talk show, who would you have on as your first guest? I... Wow. I don't know. I don't know. What would the talk show be about? Well, whatever you like. I think in this point in time, I'd like to talk to Mr. Biden. President Biden. Oh, okay. Or maybe just... Yeah, probably the American president. Yeah. I'm always fascinated by how those people think because I feel like they think in multiple channels simultaneously. Oh, of course. If you're going on a road trip, what two items do you make sure to bring with you? Only two? Oh, gosh. Yes, only two. Yes. Now I can hear you. Can you hear me? Now I can hear you. I was waiting to see how long it would take for you to come back again without me actually speaking. Oh, so how long did it take? I don't know. I wasn't counting seconds. Well, I think it was four minutes by the clock to be recording. Okay, so... That's very little. Usually I'd have like a little purse with some first aid kit. But I think if it's only two things, it would be a phone and a sunscreen. A phone mainly because I'd need something to write with or write on. Yeah, so a phone and a sunscreen. Yeah. I'd like something to write all my thoughts. Yeah, so I don't have to keep them in my head. Yes, absolutely. What's your favorite season? Spring. Definitely spring. Anything warm. Absolutely. Have you met anyone famous? Well, yeah, it depends what you call famous. But I'd say so, yeah. A lot of famous people from the Nigerian industry for sure that are famous all over Africa. And a couple of times met some famous personalities in Israel. And how about again? And now? And you're back. Yay! Well, if I met anyone famous, I think famous is like... I mean, I've met actors that are very famous all over Africa and in the diaspora, of course. I've met some famous people from Israel, from the Israeli scene. But I mean, they're just people. They're my friends. They're just normal people. So, I wonder why would that be a thing? Yeah, absolutely. You never know. Before, they were even famous. They were on the same level as us. No, I mean... So, there's a very, very famous actor. Now he's famous. He's called Daimio Kalawong from Nigeria. And I met him back in 2017 where he was just beginning his acting career. I mean, he hasn't changed since then. He's still the same person and we're still good friends. He's just more busy now, you know? Yeah, I can see that. How much time do you spend on the internet? Hmm... Probably five hours a day or more. Alright then. I'd say the same, to be honest. Would you rather sleep on the wall or sleep on the ceiling? When I'm back. And you're back! Yay! Yay! I would rather sleep on the ceiling. Ask me why. All the floor space you could have? Because I can see everything better from the ceiling. You'd have an abundant view. Oh yeah, that too. Where is the most relaxing place you've been? The most relaxing place I've been. Can you hear me now? Yeah, I can still hear you. I think relaxing place is a state of mind. Because I found myself many times in a resort, in a beach resort, when I was not relaxed at all. And then I found myself many times in bed feeling relaxed and then many times feeling very unrelaxed. So I think it's a state of mind. It's not a physical place. Nice. If you could erase one past experience, what would that be? Any experience in my life. Yes. Any experience in my life where I found myself speechless or numb or... Anything. Yeah, I would erase all of those. All right. All those times. Where I went afterwards and said, I wish I would have said that. I should have said that. All those times. Yeah, that's crazy. Would you rather speak all languages or talk to animals? Can you hear me? Now I can hear you. Wow, this is really challenging. It sure is. Yeah. Could you repeat the question, please? I'll try. Okay. Would you rather speak all languages or talk to animals? Speak all languages. Yeah. Can you hear me? Yeah, I can hear you. I think that the more we can communicate with our human race, the better our race will be, the more beneficial it will be for the world. So I think that God put us here for a purpose. And the purpose is to better ourselves and to better our world. So, you know, he enabled us to communicate amongst ourselves for that purpose. Yeah, absolutely. If you could turn any activity into an Olympic sport, what would you have a good chance of winning a medal for? Oh, goodness. Connecting people. That's my best quality. Nice. That'd be an interesting sport. Yes, it would be, wouldn't it? Yeah. Okay, you do this. Oh, you do that. Okay, that's your passion. I know, I know who you want to talk to. I know who you need to talk to. Bloom. Yeah. Fabulous. If you could travel back in time, what decade would you want to live in? What era I'd like to live in? I think it was the Renaissance when everything was blooming. Arts and science and I don't know. So. Yeah, I'd like to be then when everything was still fresh and new. To kind of be there to impact it. To impact. Nice, absolutely. And that is all we have for this episode. It's great having you on, Rania, talking about your brilliant acting career and working as an acting coach and producer and everything else you're doing in Nigeria. It's been great. Okay. Can you hear me, Peter? Yes, now I can hear you. Okay. Fantastic. This is awkward because it's happening so often, I don't know why. By the way, it was great having you on and I wish you best of luck. And with that being said, until next time, you're welcome. Stay tuned for more.

John Mayolone Rania Mann Daimio Kalawong Peter England Ivory Coast Biden Rania Nigeria 2017 Israel Surrey Evan West Africa Lagos First Time Africa Thorpe Four Minutes Two Items

Awards Chatter

08:39 min | 2 weeks ago

A highlight from 15 Authors of Titles on THR's List of the 100 Greatest Film Books of All Time

"Please welcome to the stage President and CEO of the American Film Institute, Bob Guzzale. Phone rings. It's Scott Feinberg from The Hollywood Reporter. He has an idea. And he's thinking about celebrating the 100 greatest film books of all time. I am immediately offended because top 100 movie lists are the AFI's real estate. But I did not say that to him. And the truth is I was just jealous because it was such and is such a good idea. And I thought anything AFI can do to help shine a proper light on this imperative work, well, we're in. But I did say to Scott, it's got to be A plus. It's no fake in this one. You have to have the most informed, the smartest jury. And he said, I got this. And he did. And today is a moment to celebrate that effort and the inspired writers who have brought history to life. Here to take his bow and to moderate the discussion, the executive editor of The Hollywood Reporter, Scott Feinberg. Now Scott is going to bring out the honorees today, but he has given me the gift of introducing you to the first. For he is the founder of the American Film Institute. He was there in the White House Rose Garden when President Lyndon Johnson first announced the creation of AFI. He was there to write the very words that define the Institute's national mandate. And he was there to lead the organization through its early years. And it was then that he planted the seeds for the AFI Center for Film Studies, now the AFI Conservatory. And it was then that he instituted the Harold Lloyd Master Seminar Series at AFI, so named because the seminar's first guest was Harold Lloyd. Across 50 years, these seminars have proved a rich historical record of the art form and have inspired several books on THR's 100 greatest list, including two of his. Conversations with the great movie makers of Hollywood's golden age and conversations at the American Film Institute with the great movie makers the next generation. Please welcome George Stevens Jr. Welcome George Stevens Jr. and we are excited to hear from you in just a second. Now joining you up here, please welcome the author of 2020's The Big Goodbye Chinatown and the Last Years of Hollywood and with Janine Basinger, 2022's Hollywood The Oral History, Sam Wasson. Next up is the author of 2016's Powerhouse, The Untold Story of Hollywood's Creative Artists Agency, James Andrew Miller. Next up, we are going to have two authors coming to the stage because they are the co -authors of 1996's Hit and Run, How John Peters and Peter Goober Took Sony for a Ride in Hollywood. Please welcome Nancy Griffin and Kim Masters. Next up, he is, as you will guess from the title, his name. He is from 1969 and for many years thereafter the author of Leonard Maltin's Movie Guide. Please welcome Leonard Maltin. Here we are. Welcome. Next, we have the author of 1998's The Last Mogul, Lou Osterman, MCA and the Hidden History of Hollywood, Dennis McDougall. Next, we have the author of 1977's The Making of the Wizard of Oz, Movie Magic and Studio Power in the Prime of MGM and the Miracle of Production number 1060. Please welcome Algene Harmetz. Next, he is the Czar of Noire, the author of Dark City, The Lost World of Film Noire from 1998. Please welcome Eddie Muller. He is the author of the 1996 book Spike, Mike, Slackers and Dykes, a guided tour across a decade of independent American cinema, John Pearson. From 1988, the book The Player. Please welcome Michael Tolkien. From 1989, the author of Goldwyn, a Biography, A. Scott Berg. She is the author of the 2006 book A Killer Life, How an Independent Film Producer Survives Deals and Disasters in Hollywood and Beyond, Christine Vachon. We're going to give an extra warm welcome to this gentleman because it is his birthday. Please join us in welcoming George Harrell's Hollywood Glamour Portraits 1925 to 1992 author from 2013, Mark A. Vieira. From 1999, the book Conversations with Wilder, the author Cameron Crowe. Ladies and gentlemen, take it in because this has never been seen before and I don't know if anyone will be lucky enough to gather this amazing group again in one place. I'm so grateful to all of you for making the time to be here. Many of you came from great distances and congratulations on your work being on this list chosen by 322 people from the industry. We're talking about filmmakers like Steven Spielberg, executives, David Zaslav and many others, authors including just about everybody up here plus many others, academics. You can see the whole list online but the point is it is a cross -section of the business. There have been versions of this list that were chosen by film critics. There have been versions by other constituencies but this reflects the taste of our global film community. So thank you again for being here and I want to also just quickly thank Bob Guzzale, Julie Goodwin and everyone at AFI not only for going through all the efforts to make today possible but also for their other lists that Bob referenced because were it not for the original AFI Top 100 list. I don't think I would be here in a career as a film journalist because that really made me fall in love with the movies in the way that I hope this list inspires many other people to check out these books and the others on the list. So thank you to them and to the folks at The Hollywood Reporter for supporting the list and Terry Press for helping us put everything together and all of you for being here. So the way this is going to work is we are going to go down this line a few minutes with each author about the origin and impact and revelations of their book and then we are going to have a looser group conversation afterwards but we're going to begin with Mr. Stevens Jr. These two books that you wrote drawing from the seminars that Bob referenced are you know just fascinating looks at generations of filmmakers who have spoken to students at the AFI, what you know they've shared about their lives, their careers, tips for filmmaking. I wonder if you can just talk about how early on, well again just a little bit more actually about how those seminars started because you were there at the beginning and when it occurred to you that they might make good books.

Eddie Muller David Zaslav Steven Spielberg 2013 Mark A. Vieira Scott Algene Harmetz Julie Goodwin 1988 Michael Tolkien 2006 1989 1999 Bob Guzzale 1969 Scott Feinberg AFI A. Scott Berg Christine Vachon The Last Mogul

The Café Bitcoin Podcast

05:11 min | 3 weeks ago

A highlight from "Bitcoin's Purpose," SEC Hiring Woes, and Matt Hill with Start 9 - November 7th, 2023

"Hello, and welcome to the Cafe Bitcoin Podcast brought to you by Swan Bitcoin, the best way to buy and learn about Bitcoin. I'm your host, Alex Dancic, and we're excited to announce that we're bringing the Cafe Bitcoin Conversations Twitter Spaces to you on this show, the Cafe Bitcoin Podcast, Monday through Friday every week. Join us as we speak to guests like Michael Saylor, Lynn Alden, Corey Clifston, Greg Foss, Tomer Strohleit, and many others in the Bitcoin space. Also be sure to hit that subscribe button. Make sure you get notifications when we launch a new episode. You can join us live on Twitter Spaces Monday through Friday, starting at 7 a .m. Pacific and 10 a .m. Eastern every morning to become part of the conversation yourself. Thanks again. We look forward to bringing you the best Bitcoin content daily here on the Cafe Bitcoin Podcast. What's up? More is up. What's up? What's up? That's ridiculous. Mike Terence with OneR, Jordan Tomer, Peter. We've got Jacob on the Pacific Bitcoin handle. However, he's doing best producer game things. He's doing, yeah, he's doing things. We've got Neil Jacobs on the Swan handle. Good morning to all you guys. Good morning, Mickey Koss. Good morning, and shout out to Lindsay Koss in the audience. I am throwing you an invite, young lady. If you want to come up here, you're welcome to do so. No obligation. We won't embarrass you. I promise. She's awesome. She's had several articles now published. And is it Bitcoin magazine? I think it's Bitcoin magazine. Alex, we know you're old, but Lindsay's the mother of three children. I think calling her a young lady is a little inappropriate. It's a compliment. Kiss my ass. Most gals are young ladies to me. It just is what it is, bro. Because Alex is old. I'm just glad that over the weekend with the Bitcoin Veterans handle, we had a space that kind of seemed like we maybe broke Lindsay into the comfortability of getting into spaces and getting into talking. So hopefully she engages more often. It's nice to hear from her and Mickey at the same time. How was the profanity in the space? I don't know. So probably pretty normal for us. Yeah, I didn't notice anything. So I guess it's probably pretty bad. But we got Lindsay to throw up the fist at the end there. It was awesome. Made it worth it. Yeah, I've been trying to encourage Mike to do some relationship -oriented spaces. I'd rather not. People need it though, man. There's so many confused people out there. I'm not sure. Yeah, we would probably get us in trouble. Completely off topic from Bitcoin. Alright, let's come back to Bitcoin. Welcome to Cafe Bitcoin. This is episode 471. Shout -outs to our supporters on Fountain and Noster Nests. Our mission for this show is to provide the signal in a sea of noise, teach the other 7 billion people on this planet why there's hope because of this bright orange future that we call Bitcoin today. We're going to be covering Bitcoin's purpose. is And this basically going to be opinions because nobody really gets to say what its purpose is. Satoshi had a white paper which states what Satoshi's purpose for Bitcoin is. But it's interesting how evolution and time and things like that. I mean, will Bitcoin change because of the people who continue to join it in concentric rings of adoption? I don't know. What do you think, Mike? I would say that Bitcoin does have a purpose in the sense that it provides an economic constant so you can accurately assess the economic viability and activity that's going on. It's like the analogy that I dropped in one of our recent episodes. The thing is episode 18 with regards to comparing it to if you were to constantly drift mercury into a thermometer and your AC is based on a thermometer. You're going to have an inaccurate reading. You're not going to understand why the system is not operating properly. So when you have something like Bitcoin that is not capable of being flippantly printed at the whims of whatever Federal Reserve governors or politicians want to do for government spending, you get a more accurate representation of what something is actually worth or what economic activity is actually doing.

Alex Dancic Mickey Koss Lindsay Koss Tomer Strohleit Greg Foss Lynn Alden Mike Mike Terence Corey Clifston Lindsay Satoshi Michael Saylor Alex Neil Jacobs Jacob Jordan Tomer Three Children Mickey 7 A .M. Pacific 7 Billion People

Dennis Prager Podcasts

12:19 min | 3 weeks ago

A highlight from Dennis & Julie: Humility and Rationality

"Hello there all, all as I should say having been in Mississippi last week. Y 'all, y 'all, I love y 'all by the way. It works better than you. Hi, Dennis Prager and Julie Hartman. Shalom. And after spending great amounts of money on research, they came up with the name Dennis and Julie. Yes. It was well worth all the money spent. Well, you know what, better simple than bad. Better simple than something stupid. Well, you know, Einstein had a great line about that. I'm curious if you know this. Things should be as simple as pop made as simple as possible, but not simpler. That is a good line. So why did I share it with you? You know, there are a few things like... Isn't it amazing, she's actually starting in on that line. I was sure that that would basically die and we'd move on. Nothing dies on Dennis and Julie. It always starts with an anecdote. It is really funny. Like, you know, the sun was shining today and then... Oh, well, let me tell you about the sun. Yes, yes. And then you go, I have a theory on that. And then I'll tell you I have two suns and it'll just go God knows where. All right, go ahead. As a total aside, it's amazing. You're one of two suns. You have two suns. Oh, no, you don't know. Your son has two suns and Sue has two suns. You never heard me tell you this? No, I think you have. Yeah, my father had two suns, I have two suns, my son has two suns and my wife has two suns. That's all I know. I don't know three and I don't know daughters. Okay, go ahead. You're probably lucky. You're probably lucky that you don't know daughters. My dad is listening like he's lucky. No, I'm not complaining. Okay. I was going to say about names, because obviously when I was naming my show Timeless, I didn't want to call it the Julie Hartman show. No offense to people who call it the insert name show. You can do it because you're famous. It makes sense for you to call it the Dennis Prager show. You were right. Or the Ben Shapiro show. Because people will be like, who the hell is Julie Hartman? And I think it's a very kind of everyone does that paradigm. And again, if you're famous, it makes sense. When you're a little plebeian like me, you probably shouldn't do that. But when I was thinking about names, you know me. I get so intense and think it's this name would be the end of the world if it were bad. And then I kind of came up with this, shocker, theory about names, especially names of talk shows. Unless it's really, really, really bad and stupid, I actually don't think it matters that much. Excellent point. I really don't. I'll tell you, the name of a book is incredibly important. And I say it both as the author of titles that were great and titles that weren't great. That means... So that's interesting. What titles do you not think were great? Well, I don't believe it or not, still the best hope. I think the subtitle should have been perhaps the title. Why the World Needs American Values. I agree with that. Because it doesn't tell you anything. If the title doesn't tell you anything, it's not good. I hate to say it, but I agree. It's not a bad title. No, I know. But I agree with you. It hurts me. Well, it's okay. Clearly people have read and were very influenced by the book. You did. That was your book that influenced me the most. That's why you wrote me and then the rest is history. So at the risk of making it about me for just a moment, I think that God does play a role in each of our lives. If you're aware of it, you can sometimes see the hand of God in the way that he leads you. You certainly saw the hand of God the day that you met your wife because you do all these meet and greets and you stay after to talk to every single person who is an attendee and then literally the last person in line was the best woman you could have ever found and married. So the point is, I think, again, if you look around, you'll be able to see God's hand and things. I think God leads and influences me through book choices. I really do. Because your book, you don't understand, when I was in that time in my life, I didn't read books very much. I'm a fiend now with reading books, but back then I didn't so much. It's amazing to me that I discovered You and PragerU and then I decided to order that specific book. And I think that was kind of divine. And then when it showed up, I actually was going to return it. Not because there was something bad, not because I saw it was still the best hope, but I thought that's a bad title, but because I thought, oh, I ordered too many things. I want to save money. I'm going to return this book. I'm probably not going to read it. And then something told me to read it. I'll give you another example. About a year and two months ago, I literally woke up one morning. This was shortly after I graduated from college and in that summer before I started my job. I literally woke up one morning and I thought, I should reread The Scarlet Letter. And why would I have that thought? I hadn't read it since ninth grade. But something, I literally woke up and I said, I need to reread it. I went into my bookshelf. It was there from high school. I reread it. And now it's one of my favorite books, a big part of themes I talk about in my show. And I did a PragerU book club with Michael Knowles on it. I could give more examples. But anyway, it just made me think that that is the book that led me here. That's still the best hope. Well, let me see since you mentioned it, just for those listening or watching. There is a book of three books about America, about the left, and about Islam. And what a time to read this book. And if you want to understand all three, I think it's the best book that does all three in one. Yes. Okay, still the best hope. Thank you for that. But back to the names thing, I actually don't think names of talk shows matter that much. I that suspect you're right because I can't think of anyone that stands out. It's always either I like the individual or you're right. It matters in books and I don't know where else it matters. It's an interesting point. Even, and this is said with so much respect for The Daily Wire, if you look at the name The Daily Wire, it's not a particularly... Sexy name. That's correct. It's kind of just there. But it doesn't matter. But it doesn't matter because it's... It's exactly right. All right, well said. Anything else on your mind? I got a lot on my mind. So I have an interesting thought for you. So it's been a very difficult time because of the monstrosities in Israel. And this is a good example of... When I tell people about Dennis and Julie, who are big fans of mine and my shows and my writings and so on, I say, I promise you that things as open as I am, and I really am on my own show, things are brought out about me in Dennis and Julie that otherwise just don't get mentioned. And it's not because I'm hiding it, but because in dialogue with someone in particular you... So here's a good example of something I didn't mention on the show. I did tangentially, but not the way I'm going to mention it now. So it's been a very intense time since the horrible attacks on Israel, the greatest loss of Jews in a day since the Holocaust. It's really been difficult. And the world changed. Well, I hope it changed, to be honest. We'll see. I don't know how long human memories are, but maybe it did. We'll get to that in a moment. But this is actually just a personal and professional note, not a big macro note, but it is interesting. So I always go over with Alan, my producer, the show, but basically not so much the show because I don't know what I'll talk about until five minutes before. No, that is literally true. Yes, it is literally true. It used to give me a heart attack, but now I know it's just you. There are times I come up with the subject as the theme music comes on. Oh, I am aware. So what we talk about is, I will say, who were any guests today? So he said to me, again five minutes before the show, at the middle hour of the show, I asked Jerry Zucker, David Zucker, and Jim Abrams to come in. The book about their movie Airplane, which happened 43 years ago, has just come out, their memoir of the movie. And I said, wait, Israel has just undergone the most horrible attack in its history, the greatest attack on Jews since the Holocaust, and I'm going to talk about Airplane? And he said, people need a respite. where So here's I say I'm being open to the point that I wasn't even on my own show. I didn't agree with Alan, but I didn't say anything because, A, he's the producer, and unless I'm passionate, I'm not going to override a decision he makes. And he has excellent judgment. And that's the whole point. That's right. You hit it on the nose. And he has excellent judgment. So there are a lot of lessons in this. I think, in retrospect, he was right that we needed a respite. And this was as far afield as you could get. The 43rd anniversary of one of the five most successful comedies ever made into a movie. And with the authors and the three authors and the writers and the all three were also the directors. So a few lessons, because I'm very big, if I can't learn a lesson from something, it's like it didn't happen. So one is, you really do have to know in life whom to trust over your own judgment. If you think you're always right, even about your own life, forget about politics and stuff, you're not going to lead an enriched life. You will make a lot of boo -boos. Oh, this is so important. It's a great subject. Yes, so this is a gift, I admit, I don't even consider it praiseworthy. It's just a gift that I was given to always ask, what can I learn from X and Y and Z? But the reason is so that I could share it with the public. I want to help people lead a better life. That's my corny ambition with my life. So that's a very, very big one. And I have great faith in my judgment. We're not talking to Mr. Silly Putty here. I have strong convictions, but I trust him.

David Zucker Alan Jim Abrams Jerry Zucker Julie Hartman Dennis Prager Mississippi Dennis Michael Knowles Two Suns Israel Last Week Silly Putty Three Authors Holocaust SUE Today Einstein Timeless Three Books

What Bitcoin Did

19:32 min | 3 weeks ago

A highlight from Bitcoin vs the Infinite Money Printer with Luke Gromen

"They're not going to cut the entitlements. They're going to print the money. And they're going to print the money with oil at 90. They're going to print the money with Bitcoin at 35 ,000. They're going to print the money. They're going to print the money. Happy Monday. How are you all doing? Did you have a good weekend? I did. OK. Real Bedford. They won on the weekend and were top of the league. So that is Real Bedford men and Real Bedford ladies both at the top of their respective league. What a start to the season. We've both got massive cup games this weekend. Get anywhere near Bedford and you want to come down, especially on Saturday, because before the men's game at 12 o 'clock, we've got a meet up. And I'm going to be joined by Robert Breedlove. So please do come down to Bedford. Come down to McMullen Park, enjoy some football, enjoy some Bitcoin, and hang out with the man Breedlove himself. Anyway, welcome to the What Bitcoin Did podcast, which is brought to you by the massive legends at Iris Energy, the largest NASDAQ listed Bitcoin miner using 100 % renewable energy. I'm your host, Peter McCormack. And today, we've got macro genius Luke Gorman back on the show. Now Luke is one of our absolute favorites here at WBD. Me, Danny, and producer Ben all love Luke, and he brought the fire this episode. We get into the infinite money printer, the bond market getting crushed, inflation, and social unrest in the US. We covered the lot. I know you're going to love this one, but if you've got any questions about this, any feedback, anything else, please do hit me up. It's hellowhatbitcoindid .com. And if you haven't checked out our event next year in April, Cheat Code, please head over to cheatcode .co .uk to get yourself a ticket. All right, on to the show. Luke, how are you? I'm doing well, Peter. How are you today? Yeah, I'm doing well. I do wonder if we'll ever jump on one of these calls. We do every six to 12 months and be like, yeah, do you know what? The economy's good. The banks are making good decisions. The government's doing well. It has no inflation. The world's all right. That would be nice, you know, we could all go to the beach and have a margarita or something. Yeah, it's a bit weird. It seems like everything's just getting worse. We had planned all these things to talk about and just while Danny was setting up the cameras, I was flicking through, I hate saying X, I'm going to keep it to Twitter. And our mutual friend Linaldin tweeted out that the Treasury expects to borrow nearly 1 .6 trillion in net new debt during the six month period covering this quarter and the next quarter. Is there no limit to how much money they're going to borrow? It seems like the bond market is maybe making the early noises about attempting to restrict what they can borrow without Fed help, but it's really ultimately a function of what's the dollar, what's the bond market doing, what's the dollar doing? It's that classic rates versus currency decision. Can you explain that? Can you walk us through that? What is the bond market saying and explain it so I understand. Sure, so there's sort of the case for most places and then there's a case for the US because where the reserve currency is sure. And you also have this giant offshore dollar borrowing market, right, the euro dollar market, but there's 13 trillion dollars in offshore dollar denominated debt according to the BIS. So means that the implications of that are that as the dollar goes higher, so the Fed raises rates, the dollar goes up, dollar goes up, the foreigners who have borrowed in dollars see their effective borrowing rate go up, the cost of servicing that dollar debt goes up and so they need to somehow raise dollars. Well, they can't print dollars like the Fed, so where do they get their dollars from? Fortunately, or unfortunately, depending on which side of it you're on, foreigners have run surpluses against the United States by virtue of how the system works for a long time and particularly in the last 25 to 30 years. And so foreigners have about 18 trillion dollars net, so I don't want to say it's closer to 40 trillion gross, but I think it's 18 trillion dollars net in US dollar assets more than we have of theirs. It's this net international investment position I've talked about. So they have 18 trillion dollars of dollar assets, about seven point six trillion of that are Treasury bonds. And so, yes, they are short dollars, but only to the extent they are unwilling to sell treasuries to get dollars or sell stocks to get dollars to defend. And so what you see is this virtuous or vicious, I guess it is vicious cycle where the dollar goes up. Foreigners are forced to sell treasuries that rates go up as rates go up, the dollar goes up. You wash, rinse, repeat until we either get a calamity or more likely more. The way it's worked really increasingly frequently is the US Treasury market gets dysfunctional. And there's an index we follow called the move index. It's the volatility of the Treasury markets created by a gentleman named Harley Bassman who pointed out once that index goes over 150, the Fed has lost control of the bond market. And October 3rd of this year, it was 141. All of a sudden, everyone and their mother on the Fed came out and said, well, maybe the bond market's done our job for us. Maybe we're done raising rates. They tried jawboning the dollar down. It's it's sort of worked. It's stopped the dollar going up like every day, but it's it hasn't really gotten the dollar down. But that's ultimately as it relates to this situation for the US that as long as the dollar's going up, given this massive offshore dollar denominated debt and this US massive dollar asset net position that foreigners have that they can sell to get dollars. Ultimately, it's sort of all fun and games until the Treasury market loses an eye. And once the Treasury market loses an eye, the volatility gets to a point where it is indicating that the Fed is losing control of the Treasury market. That has been the point over the last four years. Where the Fed steps in and says no mas and at that point, they kind of say, well, it's not QE, we're growing our balance sheet, but it's not QE. You know, Jackson Hole, a couple of guys gave a speech that said it was a presentation. It was, you know, it's possible the Fed might have to do non -monetary policy purchases of treasuries. But it's important that we sort of lay that out that, you know, it's it's almost like, you know, those are those are trading sardines, not eating sardines. It's it's, you know, they're printing money for for market functioning reasons, not for monetary purposing reasons. And the market's not going to care. But that's ultimately that do they want if they want the Treasury market to function really well, given these levels of debt, they need the dollar to be a certain level lower than it is. If they want the dollar here, then they're going to need to restrict how much they're trying to borrow or be willing to lose control of the bond market and the Treasury market specifically. I'd like to pretend like I just understood all of that. I would. I really want to say I pretend I can understood all of that. But but it sounds complicated for the layman like me, the everyday guy, I can't interpret what that means. So basically what it means is unless the Fed prints the money to buy the rate down, then the rates are going to go up on the government until the government until rates ostensibly extremes inform the means. In theory, we the bond market could run away and then all of a sudden. The in theory, you can get to one hundred percent of your revenues in interest expense, nobody, nobody for anything else, in which case either the Fed prints the money or we say, sorry, Ukraine, sorry, Israel, sorry. Everywhere we're bringing our boys home. And in fact, they have to book their own tickets because we don't have the money. And boomers, you're on your own. I know we promised you hip, sneeze, drugs, docs, all that, but sorry. All we have is money is to pay the interest. So this is an issue of supply and demand in bonds. And the big risk is they cannot afford the interest on the debt they have themselves, because what is it like 30? Where are we at now on the debt? Thirty three trillion themselves? Thirty four. High interest rate is so it becomes unaffordable themselves. It's the only way to see that is it's more QE. Yeah, that's exactly I mean, it's ultimately a supply demand problem of of debt versus not just existing debt, new debt, and then also against the supply of balance sheet. Right. There's only so much global private balance sheet that can that the capacity to buy the stuff and continue to hold the old stuff and the balance sheet capacity increases as the dollar goes down, it decreases as the dollar goes up. And ultimately, that balance sheet capacity has repeatedly needed to be supplemented by the Fed's balance sheet, which is infinite. They can buy as much as they want. They will never run out. The flip side is, is that has implications for the dollar because you're effectively printing money to finance deficits. But if they do do that, would it be a case if they're trying to bring down the interest rates and they're using QE to do this? Isn't this just the cycle we've been going through over and over again? This will lead to more inflation and more inflation will lead to them having to raise interest rates again. You know, isn't this just a cycle that gets worse every every time we go through another cycle of this? Yeah, oh, it's to me, it's been a very it's a very I think it is the most important macro cycle. It's a very obvious cycle. In 2014, global central banks stopped growing their holdings of FX reserves. And what that means in plain English is foreign central banks stopped adding to their supply of treasuries. So if if one of your biggest marginal buyers stops buying, somebody else needs to buy. And as that happens, a couple of things, a couple of things happen. Number one, the dollar starts going up and number two, rates start going up. And that can manifest given the omnipresence of the dollar and the centrality of the dollar to the system that shows up a lot at different places. But dollar up rates up. And we've seen this sort of at first we regulated the banks in 2014 into, you know, it's a little bit like the cracks in the dam. Right. So the first crack in the dam is like, OK, foreign central banks are buying the debt anymore. OK, what are we going to have by what we have regulate the banks into doing. So they do that. And that works for a while. And then because the supply of water, which is U .S. federal deficits, just keeps growing and growing and growing. Right. Inevitably, the pressure from the water growing, growing another crack, money market funds. We're going to regulate them into that was 2015, 2016. Again, both of these things crowd out global dollar markets. They send LIBOR short term rates up. Then you end up driving the dollar up to levels that start creating problems around the world. What do we do? We weaken the dollar in 2016. We weaken the dollar in 2017 with the Treasury general account. Basically, the Treasury's checking account starts to inject our liquidity to kind of manage this process. 2018, more cracks, especially now that the Fed's QTing in earnest. We start regulating Trump, regulated U .S. corporate pensions into buying more treasuries, gave him a tax break. OK, now we've got our thumb in the in the in the wall. So and, you know, 2019, we get another crack with repo rate spikes. OK, oh, now the Fed has to step in. Now the Fed's growing their balance sheet. But it's not QE. It's just fixing the fact that repo went from two to eight overnight because there's too much supply of water and not enough demand for the water that kind of holds. That breaks again in March 2020 at the depths of the covid crisis. The Fed does mega QE. They call it QE. OK, leads to inflation. 2022, we're going to start backing off, we're going to tighten. They get, you know, whatever they really start getting aggressive in March, April of really tightening. And by September, the UK gilt market blows up. Uh oh. They all get together in Washington in October of 2022. And they give Janet Yellen, what we used to call on the desk, a hey MF 'er conversation and Yellen comes back and runs on the TGA. The dollar goes down 15 percent, buys time. Another, you know, so it's just this you it is a constant cycle that started 10 years ago, but it keeps getting faster and faster. Right. That 2014, we regulate the banks. We worry about it again to like 2015, 16 with money markets. And even then, you know, you didn't have to worry about the the dollar was not too high in that case till 2016, 2017 and had to be addressed. Then it was already end of 2018. The Fed had to stop raising rates. Then it was September 2019. Then you kind of covid sort of screwed up the pacing of it in terms of of getting a clean apples to apples read. But since then, it's accelerated, it's September 2019, you had March 2020, you had September as soon as they started raising rates, March 20 or September 2022, March 2023, September 20 or October 2023. Now, it just it's getting faster and faster. And so, yeah, it is really it fundamentally the problem is very simple, way too much U .S. deficits, not enough global private sector balance sheet unless the Fed is in there helping to buy this stuff of printed money. That's at the end of the day, that's it. That's the problem. Is it essentially paying off your credit cards with a new credit card? Absolutely. While the rates going up on it, if the Fed does step in and start buying bonds in that way, does the U .S. just turn into Japan? Japan? No, we turned into Argentina. Japan, Japan is. Night and day different than the United States in this situation, right, so Japan is a net international investment position, remember, so I said we have foreigners own 65 percent, that 18 trillion, 65 percent of US GDP. So the U .S. net international investment position is negative. Sixty five percent of US GDP. Japan's is positive. Sixty percent. So for starters, when Japan runs into that problem, the first thing they can do is ring, ring, ring, hey, Washington, it's Japan. Those dollar assets we have to the tune of 60 percent of of our GDP, we want to start selling five percent a year because we need to finance our our fiscal deficit of three percent a year and do two percent of stimulus. And they can do that for a long, long time. That's number one. Number two, they run a current account surplus, right, their trade surplus. So they are running the surpluses on the current account versus us running deficits. We need number three. OK, the deficits we're running, the twin deficits historically have been foreign financed. They have financed internally. So you can run you if you're financing internally as Japan, deflation is an option you're when you're financing internally. Right. Because now you can pay your people, you know, zero percent interest on long term bonds because the cost of living is fear and deflation. Your cost of living is falling. Living standards are rising politically. That works. You cannot do that when you're in the United States. If you're financing externally, you start running deflation as a twin deficit. You get into a debt spiral. Your debt pile gets bigger and bigger and bigger nonlinearly every year. And pretty soon you run into debt credibility issues. You also, as Japan, do not have to provide most of your defense because your friends, the United States, have provided it for most of the last 80 years. We have to provide our own defense and that defense appears to be getting much more expensive by the minute. And then lastly, the United States is very heterogeneous in population. And Japan is very homogeneous in population. So it's a lot easier to sort of get people to sort of, you know, go along to get along and take one for the team. Culturally, there's much more of a willingness to take one for the team. I think their government has probably all in all done probably a better job of maintaining their credibility or maybe losing their credibility less fast than ours has with its domestic populace, maybe a better way of putting it. And so when you roll those things together, but especially the net international investment position, the current account, you know, Japan can say ring ring Washington send us our money. We need it to finance ourselves. And that throws that, you know, sell treasuries. We're going to bring back the dollars and defend the yen with those by selling dollars and buying yen. And they can do that for a while. They have 60 percent of GDP in that area. There is no there is no ring ring for the U .S. The ring ring. They don't call anybody overseas. The ring ring is, hey, Fed, start printing again. And when you say when they have to do that again, whenever that is, because they're going to have to do that again. Yeah, then that's why it gets much more into an Argentina like dynamic. And as I've said, Argentina with U .S. characteristics, not Japan is what is going to be the outcome. I was out in Argentina recently, was it three or four months ago, Danny? And I made a documentary while I was there about inflation. And one of the interesting things about being in Argentina is if you're certainly in the middle class, you have access to dollar products, whether it's cash dollars or digital dollars or crypto dollars or U .S. equities or U .S. bonds, you have access to dollars to mitigate against inflation. And most people just get rid of their peso and get some kind of dollar products as soon as possible. But if if you're an American, there is there is no equivalent. I mean, yes, there's gold and yes, there's Bitcoin. And, you know, we've seen this rise in both gold and Bitcoin recently. Perhaps that's it. I mean, is that it? The short answer is yes. You know, you can kind of see right who is who has won over the last 10, 20 years in the U .S., right? It's if you if you own a lot of stocks, you're doing great.

Peter Mccormack Linaldin September 2019 2017 Yellen Peter 2015 March 2023 March 2020 Luke Gorman Washington 18 Trillion Harley Bassman Breedlove September 2022 Janet Yellen 15 Percent 2014 September 20 Iris Energy

05:26 min | 2 years ago

"producer" Discussed on Trill MBA Show - For Black Women Surviving Corporate America

"That was a huge relief i did not want to be landlord just the market crash when he went to business school and then i sell it. It's just like terrible. But i hold it and like that was a huge moment for me and so i am like one hundred percent debt. Free i am. I left my corporate job completely And now fulltime time and I have out of minnesota. So i've moved here with my boyfriend been together for about six years and we decided to go our separate ways and so i'm very important of a pin. What he's trying to do and he's supportive of me but it just didn't work out that we were doing that together and so it's like wow. I bought the point where i asked myself that question. Okay katrina with us that next thing that you really want my answer came back and it was like i really want to find a new home and i wanna have a crapload of fun. Doing it and i wanna go on an adventure. So in about five days. I'm embarking on the beginning of an indefinite road trip to travel around the us and visit like fifteen different places that have at some point in time founded randomly interesting to go. See if i maybe one there. And i'm also gonna goes to a lot of conferences and meet people and events workshops and do some speaking and like connect with people that can help my committee for my inspiration but also like where i can go find potential clients and help them like reclaim their life and take their own breaker do their own special unconventional breaking the north thing. And i'm gonna basically document. It used to channel as i go along and try to keep people fired and just keep showing people like what rican. Mcquaid what hurts. Look the quake is like if they keep practicing being alive at making braver.

minnesota about six years Mcquaid katrina fifteen different places about five days one hundred percent one rican

40 Burst results for "Producer"

How Is Joe Scarborough Allowed to Say THIS on TV?

Fresh "Producer" from WTOP 24 Hour News

Jordan Peterson Spits Truth on Bill Maher

Fresh "Producer" from WTOP 24 Hour News

Why Is Semafor's Ben Smith Slobbering All Over Nikki Haley?

Fresh "Producer" from WTOP 24 Hour News

Why Would the RINOs Back Nikki Haley?

Fresh "Producer" from WTOP 24 Hour News

RINO Billionaires Are Now Coalescing Behind Nikki Haley

Fresh "Producer" from WTOP 24 Hour News

Bidenomics Has Potential to Wreak Havoc Globally

The Unprecedented Level of Illiteracy in U.S. "News" Publications

Outrageous Stalker Attacks Religious Jews for Their Traditions

We Can't Diminish Ron DeSantis's Effect on Florida

A highlight from George C. Wolfe - 'Rustin'

A highlight from Biden has Weaken America; Country Must Have Change in 2024

The Character Assassination of Benjamin Netanyahu

A highlight from Modern Warfare 3 Taken Out | Steamdeck 1.1 | Mass Effect on Trial and More | The Best Gaming Podcast 425

A highlight from S14 E12: Actress, Coach, Global Life on Stage

A highlight from 15 Authors of Titles on THR's List of the 100 Greatest Film Books of All Time

A highlight from "Bitcoin's Purpose," SEC Hiring Woes, and Matt Hill with Start 9 - November 7th, 2023

A highlight from Dennis & Julie: Humility and Rationality

A highlight from Bitcoin vs the Infinite Money Printer with Luke Gromen

"producer" Discussed on Dennis Prager Podcasts

"producer" Discussed on Dennis Prager Podcasts

"producer" Discussed on Dennis Prager Podcasts

"producer" Discussed on Dennis Prager Podcasts

"producer" Discussed on Dennis Prager Podcasts

"producer" Discussed on Dennis Prager Podcasts

"producer" Discussed on Dennis Prager Podcasts

"producer" Discussed on Dennis Prager Podcasts

"producer" Discussed on Dennis Prager Podcasts

"producer" Discussed on Dennis Prager Podcasts

"producer" Discussed on Decibel Geek Podcast

"producer" Discussed on Decibel Geek Podcast

"producer" Discussed on Decibel Geek Podcast

"producer" Discussed on Decibel Geek Podcast

"producer" Discussed on Trill MBA Show - For Black Women Surviving Corporate America

"producer" Discussed on Bloomberg Radio New York

"producer" Discussed on Trill MBA Show - For Black Women Surviving Corporate America