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    Interview: Erupting onto the stage with Volcano

    Proforca’s David Brady talks about upcoming play Volcano

    For our latest interview on Runn Radio we spoke to David Brady. He’s been a guest on our show before, talking about Lately (you can catch up with that interview here). So it was our pleasure to welcome him back to talk about their latest show, Volcano. This show is a collaboration with Chewboy Productions‘ Georgie Bailey, who were in fact they were our first guest on our podcast (here).

    Volcano is billed as “One Man. One City. One Night to Remember.” It sees Max embark on a 12-hour odyssey across London that will change his life forever.

    We talk with David about the play, why he teamed up with Chewboy Productions for this play and whether they have succeeded in his desire to create a piece without any set. And we also discuss how fringe theatre can find a home outside of London.

    Volcano plays at Lion and Unicorn Theatre from 8 to 12 March, tickets are £14 from here. More

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    Interview: Escaping into real life with DeFriest

    Aaron-Lee Eyles and Jay O’Connell on new play DeFriest

    We’ve interviewed Unmarked Theatre‘s Aaron-Lee Eyles previously about I Didn’t Want This, I Just Wanted You, so it was a pleasure to invite him back onto our Runn Radio show to chat about his latest show DeFriest. And this time he brought along his lead actor, Jay O’Connell.

    DeFriest, much like I Didn’t Want This, I Just Wanted You, is based on real life. It tells the story of Mark DeFriest, an American who has spent much of his adult life in prison. He earned some attention when he was dubbed the Houdini of Florida due to his numerous attempted prison escapes; it is claimed he has made 13 attempts to escape, succeeding on seven occasions. But the play isn’t about prison escapes, but more about the man who has been in and out of prison most of his life, even though it is widely agreed that the reason for much of it is his mental health, something that has never been fully addressed.

    The play is on at Lion and Unicorn Theatre from 10 – 15 March. Tickets can be booked here. More

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    Interview: Harpy on with Noga Flaishon

    Founded in 2011, Everything Theatre started life as a pokey blog run by two theatre enthusiasts and – thanks to the Entry Pass Scheme for 16-25 year olds – regular National Theatre goers. Today, we are run by part-time volunteers from a wide array of backgrounds. Among our various contributors are people who work in […] More

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    Interview: Beware, the Zombies are here

    Paper Mug Theatre’s Seb Gardner on Steve and Tobias Verses Death

    We first come across Seb Gardner and Paper Mug Theatre last summer with I Lost My Virginity To Chopin’s Nocturne In B-Flat Minor. Since then they have clearly been busy, as they already have two new shows ready for the stage. The first of which is Steve and Tobias Versus Death.

    Originally planned for the now cancelled Vault Festival, this zombie apocalypse horror is now heading to The Pleasance in March. And of course, with ET being big fans of horror (well, some of us are, others are just scaredy cats), it seemed a great time to chat with Seb about the show, and ask, will there be plenty of fake blood flying around? We also discuss I Lost My Viriginity and what they have planned for the rest of 2022.

    Steve and Tobias Versus Death plays at The Pleasance between 15 and 19 March. You can book tickets here. More

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    Spotify's Joe Rogan Deal Is Said to Be Worth Over $200 Million

    It was the deal that helped make Spotify a podcasting giant, but has now put the company at the center of a fiery debate about misinformation and free speech.Spotify was already the king of music streaming. But to help propel the company into its next phase as an all-purpose audio juggernaut, and further challenge Apple and Google, it wanted a superstar podcaster, much as Howard Stern helped put satellite radio on the map in 2006. Spotify executives came to view Joe Rogan — a comedian and sports commentator whose no-holds-barred podcast, “The Joe Rogan Experience,” was already a monster hit on YouTube — as that transformative star.In May 2020, after an intense courtship, Spotify announced a licensing agreement to host Mr. Rogan’s show exclusively. Although reported then to be worth more than $100 million, the true value of the deal that was negotiated at the time, which covered three and a half years, was at least $200 million, with the possibility of more, according to two people familiar with the details of the transaction who spoke anonymously because they were not authorized to discuss it.But in recent weeks the show that helped Spotify catapult into a market leader for podcasts has also placed it at the center of the sort of cultural storm that has long engulfed Facebook, Twitter and YouTube, over questions about the responsibility tech behemoths have for the content on their platforms.It began when several prominent artists, led by Neil Young, took their music off the service to protest what they described as Covid vaccine misinformation on Mr. Rogan’s show. Then clips from old “Joe Rogan Experience” episodes caught fire on social media, showing him using a racial slur repeatedly and chuckling at jokes about sexual exploitation, prompting Mr. Rogan to apologize for his past use of the slur. A #DeleteSpotify social media campaign began calling for a boycott. And some Spotify podcasters publicly criticized Mr. Rogan and the platform.Spotify declined to make company executives available for interviews. Dustee Jenkins, a spokeswoman for the company, declined to comment on the terms of Mr. Rogan’s deal. Representatives of Mr. Rogan did not respond to multiple requests for comment.Even in the frothy podcast market, the deal for “The Joe Rogan Experience” was extraordinary. Spotify had purchased entire content companies, Gimlet Media and The Ringer, for slightly less than $200 million each, according to company filings.With tens of millions of listeners for its buzziest episodes, “The Joe Rogan Experience” is Spotify’s biggest podcast not only in the United States but in 92 other markets, with a following that hangs on every word of his hourslong shows. In its financial reports, Spotify cites podcasts — and Mr. Rogan’s show in particular — as a factor in the long-sought growth of its advertising business. At a recent company meeting, Daniel Ek, Spotify’s chief executive, told employees that exclusive content like Mr. Rogan’s show is vital ammunition in Spotify’s competition against tech Goliaths like Apple and Google.“We’re not in the business of dictating the discourse that these creators want to have on their shows,” Daniel Ek, Spotify’s chief executive, told employees. But dozens of episodes of “The Joe Rogan Experience” were recently taken down.Lucas Jackson/ReutersAs Mr. Rogan faced growing public criticism, Spotify responded by reaffirming its commitment to free speech, even as dozens of Mr. Rogan’s past episodes have been removed. It also made its content guidelines public for the first time, said that it would add “content advisory” notices to episodes discussing the coronavirus and promised to contribute $100 million for work by creators “from historically marginalized groups.”The moves came as Spotify faced growing dissension among high-profile creators. This month Ava DuVernay, the film director who announced a podcast deal with Spotify a year ago but has yet to produce any content under it, severed her ties with Spotify, according to a statement from her production company, Array. And Jemele Hill, the former ESPN commentator, said that Spotify’s defense of Mr. Rogan had created problems with her audience, and raised questions about the sincerity of the company’s dedication to minority talent.“What I would like to see,” Ms. Hill said in an interview, “is for them to hand $100 million to somebody who is Black.”A Pivot to PodcastingFor Spotify, the move into podcasting is the culmination of years of strategy to find a business that is more profitable than hosting music, for which it must pay about two-thirds of every dollar to rights holders.The company dipped its toe into video around 2015, but little came of it. By 2018, the year Spotify listed its shares on the New York Stock Exchange, it was forming plans to pursue Mr. Rogan, hoping to supercharge its market position in non-music audio and to chip away at the dominance of Apple and Google’s YouTube.To make Spotify a player in podcasting, Mr. Ek and his deputies, including Dawn Ostroff, a former television and magazine publishing executive, and Courtney Holt, formerly of Maker Studios, an online video network, set out on a multipart strategy. Spotify would buy audio studios, like Gimlet, and acquire exclusive rights to existing shows. With Spotify Originals, the company would also create buzzy new programs in partnership with creators like Ms. DuVernay’s Array and Higher Ground, the production company of former President Barack Obama and Michelle Obama.Developing a portfolio of podcasts unique to Spotify, as Netflix had built a walled garden for video, was a key aim, according to several employees involved in the strategy discussions.“All music streaming services are offering the same plain vanilla ice cream at the same price,” said Will Page, Spotify’s former top economist, who was not involved in the Rogan deal but is a frequent commentator on the digital media business. “The overarching issue is how do you make your customer proposition distinct.”Growth StrategySpotify has greatly increased its podcast offerings in the last four years — a period of rapid growth in both users and revenue for the company. More

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    #Interview: Asking that tricky question, How Disabled Are You?

    Author: Everything Theatre

    in Features and Interviews, Podcasts, Runn Radio interview

    12 February 2022

    9 Views

    Tommy, aka The Queer Historian, talks about his show, How DIsabled Are you?

    How Disabled Are You? explores the difficulties and prejudices faced by benefit claimants. It’s a topic rife for horror stories of what people have had to go through, so we thought a perfect subject for us to chat about with Tommy.

    Another show originally planned for Vault Festival, this interview was recorded prior to the festival cancellation. But that shouldn’t make it any less of a must-listen as we talk about the show, the difficulties Tommy has faced, and just why it probably isn’t a show for Daily Mail readers.

    The show currently doesn”t have any confirmed new dates, but we suggest following Tommy on Twitter here to keep up to date with new announcements. More

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    Spotify’s Ongoing Joe Rogan Problem

    Subscribe to Popcast!Apple Podcasts | Spotify | StitcherOver the last few weeks, Spotify has found itself in the cross hairs of critics because of its relationship with the comedian turned podcaster Joe Rogan. Rogan’s show, “The Joe Rogan Experience,” has been criticized for promoting Covid-19 misinformation — Neil Young and Joni Mitchell had their music removed from the service in protest — and a compilation of video clips of Rogan using a racial slur on past episodes resurfaced online, drawing more ire.Rogan apologized, and he worked with Spotify to remove approximately 70 episodes of his show from the streaming service, with which he has an exclusive partnership. But the incident raised thorny questions about Spotify’s role in vetting the content it distributes, especially from partners it is in exclusive business with. And it also exacerbated issues it has with musicians and songwriters who believe it systematically underpays them.On this week’s Popcast, a conversation about Rogan’s Spotify square-off, the leverage wielded by musicians and the unwieldy nature of the podcasting business.Guests:Ben Sisario, The New York Times’s music business reporterNick Quah, a podcast critic at New York magazine and VultureConnect With Popcast. Become a part of the Popcast community: Join the show’s Facebook group and Discord channel. We want to hear from you! Tune in, and tell us what you think at popcast@nytimes.com. Follow our host, Jon Caramanica, on Twitter: @joncaramanica. More