Gloria Steinem

Well, now that's very interesting. You've raised a whole other frontier of laughter that I wasn't thinking about. I was thinking of the kind of sincere, irresistible desire to laugh. And you're thinking about compulsory laughter as an expected response to bullshit or, you know, whatever. Right. So thank you for saying that. Now, from now on, I should talk about the resistance to phony laughter.

Well, now that's very interesting. You've raised a whole other frontier of laughter that I wasn't thinking about. I was thinking of the kind of sincere, irresistible desire to laugh. And you're thinking about compulsory laughter as an expected response to bullshit or, you know, whatever. Right. So thank you for saying that. Now, from now on, I should talk about the resistance to phony laughter.

Yes. Well, that's, yeah, that's a belittling kind of laughter. Yeah. No, I agree.

Yes. Well, that's, yeah, that's a belittling kind of laughter. Yeah. No, I agree.

Yes. Well, that's, yeah, that's a belittling kind of laughter. Yeah. No, I agree.

Right. And it's such a form of internal control because it isn't as if there's anything forcing you, you know, uh, It's an acquiescence internally. So, okay, this is the impulse. Not to laugh is just as important as being able to laugh.

Right. And it's such a form of internal control because it isn't as if there's anything forcing you, you know, uh, It's an acquiescence internally. So, okay, this is the impulse. Not to laugh is just as important as being able to laugh.

Right. And it's such a form of internal control because it isn't as if there's anything forcing you, you know, uh, It's an acquiescence internally. So, okay, this is the impulse. Not to laugh is just as important as being able to laugh.

No, well, that's great because that's, yes, the younger people around us can be great correctives.

No, well, that's great because that's, yes, the younger people around us can be great correctives.

No, well, that's great because that's, yes, the younger people around us can be great correctives.

With that look, right?

With that look, right?

With that look, right?

And I guess part of the reason that I became a writer was so I could deal with conflict more. in a peaceful setting. And the French who have a phrase for everything have a phrase, mot d'escalier. It's the words that you think of on the staircase on the way out that you should have said and didn't say. So if you're a writer, you have a place for those words. Mm-hmm.

And I guess part of the reason that I became a writer was so I could deal with conflict more. in a peaceful setting. And the French who have a phrase for everything have a phrase, mot d'escalier. It's the words that you think of on the staircase on the way out that you should have said and didn't say. So if you're a writer, you have a place for those words. Mm-hmm.

And I guess part of the reason that I became a writer was so I could deal with conflict more. in a peaceful setting. And the French who have a phrase for everything have a phrase, mot d'escalier. It's the words that you think of on the staircase on the way out that you should have said and didn't say. So if you're a writer, you have a place for those words. Mm-hmm.

But whether it's laughing or not laughing or saying what you really feel, it's all about the right to be authentic and not to be so governed by the shoulds of life, what you should do, that it takes over your body, your face, your laughter, and even your voice.

But whether it's laughing or not laughing or saying what you really feel, it's all about the right to be authentic and not to be so governed by the shoulds of life, what you should do, that it takes over your body, your face, your laughter, and even your voice.

But whether it's laughing or not laughing or saying what you really feel, it's all about the right to be authentic and not to be so governed by the shoulds of life, what you should do, that it takes over your body, your face, your laughter, and even your voice.