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Molnár Illés költővel és kritikussal megtéréséről, hitéről és költészetéről Murányi Nikolett önkéntesünk beszélgetett.  Illés drog- és alkohol függőségből szabadult megtérése által. Ma már két örökbefogadott gyermekét neveli együtt feleségével."  

El pueblo más pequeño de España está en Guadalajara. Torremochuela, según los datos del INE, ostenta ese título desolador. Se lo ha quitado a Illán de Vacas, en Toledo.Torremochuela tiene 6 habitantes, pero en realidad no es cierto. Porque durante muchos meses solo vive una persona. Constantino Martínez Gaona, el alcalde.A punto de cumplir 81 años, Constantino hace de todo. Se ocupa de todo, porque si se queda quieto, le da vueltas a la falta de relevo generacional y es peor.Y para que haya ese relevo, tiene que haber jóvenes y tiene que haber voluntad de que las condiciones sean propicias. Que haya buena conexión de WIFI, por ejemplo. Ahora Constantino tiene otro sueño: una casa que sea microrresidencia en el pueblo, con la ayuda de la Diputación de Guadalajara. Pero antes de eso hay que arreglar la carretera que los conecta con Molina y que está sin asfaltar. El próximo 7 de marzo, Constantino va a cumplir los 81. Para entonces ya estará de ...

“I have learned, in whatever state I am, therewith to be content.” — Philippians 4:11 These words show us that contentment is not a natural propensity of man. “Ill weeds grow apace.” Covetousness, discontent, and murmuring are as natural to man as thorns are to the soil. We need not sow thistles and brambles; they […]

Welcome to The Pod Squad!We review podcasts every week so you always have something new to listen to.Newstalk's Rory Galvin and Host of the ‘For Tech's Sake' podcast Elaine Burke join Andrea Gilligan to review ‘Ill-advised by Bill Nighy'!Image: EYEPOD Studios

(00:00-23:47) Getting you ready for the Aggies. One of the more boring Super Bowls in recent history. Cardi B and boxed wine. Parking was a little pricey at the Super Bowl. Do we need a wellness check for Sharon? Jackson made the rounds yesterday. Tim's wing situation. Free Shake Shack for Doug. TMA will be at Spring Training next week. Is this year 20? Facial recognition software week.(23:55-57:30) SLU started slow on Saturday but ended up routing LaSalle. Playing with their food a little the last few games. But the lede wasn't about the Billikens. Nick Vaughn was the star of the show lighting up threes and hitting a buzzer beater at halftime. Audio of a voicemail Coach Schertz left for Martin about "The Steph Curry of St. Louis" Nick Vaughn. Did Schertz confirm he's coming back with that voicemail? ILL with a tough loss on Saturday. Going for an hour long walk around my home. Title IX Burkett. Ok, that's our Olympic coverage.(57:40-1:07:18) Doug can't stop listening to Bodak Yellow. Audio of the radio call of final play in the Seahawks Super Bowl win. Can the listeners unionize?See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

SFDR 2.0: Six fixes for private marketsCurrent SFDR 2.0 proposals risk sidelining private funds—imposing impractical rules, stifling innovation, and missing the unique strengths of private capital. Is the EU about to bake greenhushing into law?What's at stake for private funds?Proposals that overlook private markets: The draft framework applies retail-focused logic to all, missing how private markets operate. Ill-fitting rules could disrupt strategies and burden sponsors with unintended consequences.Limits on communication with professional investors: Preventing tailored ESG disclosure does more harm than good. Professional LPs want detail, transparency, and meaningful engagement on ESG strategy—yet current rules encourage silence instead.A missed opportunity for genuine engagement: Private equity influences sustainability through stewardship and direct ownership. Engagement should be central—not sidelined—to all fund categories.Operational impracticalities: Rules on exclusions and portfolio alignment don't match the realities of investing in illiquid assets. Holding managers liable for market events out of their control is unworkable. Similarly, one-year compliance for funds-of-funds is unrealistic.What Needs to Change?Permit open ESG dialogue with professional investors—exempting such communications from the tightest restrictions.Recognise engagement as a core component of private fund ESG.Give managers practical leeway on exclusions and portfolio reporting, including time to adjust in fund-of-funds.Rethink fund labels. “ESG Basics” risks confusion and is, quite simply, not fit for purpose.Practical Takeaways:Now is the moment for asset managers to shape the rules: engage with policymakers, highlight the operational realities of the industry, and push for changes that reflect how private markets actually deliver sustainable impact.Start preparing for late 2027, but focus on influencing the detail today.How will you use your stakeholder voice as SFDR 2.0 moves forward?Links:https://www.traverssmith.com/knowledge/knowledge-container/travers-smiths-alternative-insights-the-commissions-sfdr-proposal-fails-to-deliver-clarity/https://www.traverssmith.com/knowledge/knowledge-container/finalised-sfdr-20-proposals/

Send us a textTyler was born and raised in Chicago,Ill. After moving to Indiana and hearing country music, Tyler decided to put his early years to the country and come up with his own sound. Tyler has put together an awe inspiring combination of songs that can cover all the bases of what you're looking for! y'all go check him out atlinktr.ee/tylertruthmusicFacebookinstagramTikTokwww.tylertruthmusic.comSupport the showThe David Bradley ShowHost: David Bradleyhttps://www.facebook.com/100087472238854https://youtube.com/@thedavidbradleyshowwww.thedavidbradleyshow.com Like to be a guestContact Us david@thedavidbradleyshow.comRecorded at Bradley StudiosProduced by: Caitlin BackesProud CMA MemberSPONSERS Purity Dairy Viation AV/ IT DKDproductions

Hermione Lee is the renowned biographer of Virginia Woolf, Edith Wharton, Penelope Fitzgerald, and, most recently, Tom Stoppard. Stoppard died at the end of last year, so Hermione and I talked about the influence of Shaw and Eliot and Coward on his work, the recent production of The Invention of Love, the role of ideas in Stoppard's writing, his writing process, rehearsals, revivals, movies. We also talked about John Carey, Brian Moore, Virginia Woolf as a critic. Hermione is Emeritus Professor of English Literature at the University of Oxford. Her life of Anita Brookner will be released in September.TranscriptHenry Oliver: Today I have the great pleasure of talking to Professor Dame Hermione Lee. Hermione was the first woman to be appointed Goldsmiths' Professor of English Literature at the University of Oxford, and she is the most renowned and admired living English biographer. She wrote a seminal life of Virginia Woolf. She's written splendid books about people like Willa Cather, Edith Wharton, and my own favorite, Penelope Fitzgerald. And most recently she has been the biographer of Tom Stoppard, and I believe this year she has a new book coming out about Anita Brookner. Hermione, welcome.Hermione Lee: Thank you very much.Oliver: We're mostly going to talk about Tom Stoppard because he, sadly, just died. But I might have a few questions about your broader career at the end. So tell me first how Shavian is Stoppard's work?Lee: He would reply “very close Shavian,” when asked that question. I think there are similarities. There are obviously similarities in the delighting forceful intellectual play, and you see that very much in Jumpers where after all the central character is a philosopher, a bit of a bonkers philosopher, but still a very rational one.And you see it in someone like Henry, the playwright in The Real Thing, who always has an answer to every argument. He may be quite wrong, but he is full of the sort of zest of argument, the passion for argument. And I think that kind of delight in making things intellectually clear and the pleasure in argument is very Shavian.Where I think they differ and where I think is really more like Chekov, or more like Beckett or more in his early work, the dialogues in T. S. Elliot, and less like Shaw is in a kind of underlying strangeness or melancholy or sense of fate or sense of mortality that rings through almost all the plays, even the very, very funny ones. And I don't think I find that in Shaw. My prime reading time for Shaw was between 15 and 19, when I thought that Shaw was the most brilliant grownup that one could possibly be listening to, and I think now I feel less impressed by him and a bit more impatient with him.And I also think that Shaw is much more in the business of resolving moral dilemmas. So in something like Arms and the Man or Man and Superman, you will get a kind of resolution, you will get a sort of sense of this is what we're meant to be agreeing with.Whereas I think quite often one of the fascinating things about Stoppard is the way that he will give all sides of the question; he will embody all sides of the question. And I think his alter ego there is not Shaw, but the character of Turgenev in The Coast of Utopia, who is constantly being nagged by his radical political friends to make his mind up and to have a point of view and come down on one side or the other. And Turgenev says, I take every point of view.Oliver: I must confess, I find The Coast of Utopia a little dull compared to Stoppard's other work.Lee: It's long. Yes. I don't find it dull. But I think it may be a play to read possibly more than a play to see now. And you're never going to get it put on again anyway because the cast is too big. And who's going to put on a nine-hour free play, 50 people cast about 19th-century Russian revolutionaries? Nobody, I would think.But I find it very absorbing actually. And partly because I'm so interested in Isaiah Berlin, who is a very strong presence in the anti-utopianism of those plays. But that's a matter of opinion.Oliver: No. I like Berlin. One thing about Stoppard that's un-Shavian is that he says his plays begin as a noise or an image or a scene, and then we think of him as this very thinking writer. But is he really more of an intuitive writer?Lee: I think it's a terribly good question. I think it gets right at the heart of the matter, and I think it's both. Sorry, I sound like Turgenev, not making my mind up. But yes, there is an image or there is an idea, or there are often two ideas, as it were, the birth of quantum physics and 18th-century landscape gardening. Who else but Stoppard would put those two things in one play, Arcadia, and have you think about both at once.But the image and the play may well have been a dance between two periods of time together in one room. So I think he never knew what the next play was going to be until it would come at him, as it were. He often resisted the idea that if he chose a topic and then researched it, a play would come out of it. That wasn't what happened. Something would come at him and then he would start doing a great deal of research usually for every play.Oliver: What sort of influence did T. S. Elliot have on him? Did it change the dialogue or, was it something else?Lee: When I was working with him on my biography, he gave me a number of things. I had extraordinary access, and we can perhaps come back to that interesting fact. And most of these things were loans he gave them to me to work on. Then I gave them back to him.But he gave me as a present one thing, which was a black notebook that he had been keeping at the time he was writing Rosencrantz and Guildenstern, and also his first and only novel Lord Malquist and Mr. Moon, which is little known, which he thought was going to make his career. The book was published in the same week that Rosencrantz came up. He thought the novel was going to make his career and the play was going to sink without trace. Not so. In the notebook there are many quotations from T. S. Elliot, and particularly from Prufrock and the Wasteland, and you can see him working them into the novel and into the play.“I am not Prince Hamlet nor was meant to be.” And that sense of being a disconsolate outsider. Ill at ease with and neurotic about the world that is charging along almost without you, and you are having to hang on to the edge of the world. The person who feels themself to be in internal exile, not at one with the universe. I think that point of view recurs over and over again, right through the work, but also a kind of epigrammatical, slightly mysterious crypticness that Elliot has, certainly in Prufrock and in the Wasteland and in the early poems. He loved that tone.Oliver: Yes. When I read your paper about that I thought about Rosencrantz and Guildenstern quite differently. I've always disliked the idea that it's a sort of Beckett imitation play. It seems very Elliotic having read what you described.Lee: There is Beckett in there. You can't get away from it.Oliver: Surface level.Lee: Beckett's there, but I think the sense of people waiting around—Stoppard's favorite description of Rosencrantz was: “It's two journalists on a story that doesn't add up, which is very clever and funny.”Yes. And that sense of, Vladimir going, “What are we supposed to be doing and how are we going to pass the time?” That's profoundly influential on Stoppard. So I don't think it's just a superficial resemblance myself, but I agree that Elliot just fills the tone of that play and other things too.Oliver: In the article you wrote about Stoppard and Elliot, the title is about biographical questing, and you also described Arcadia as a quest. How important is the idea of the quest to the way you work and also to the way you read Stoppard?Lee: I took as the epigraph for my biography of Stoppard a line from Arcadia: “It's wanting to know that makes us matter, otherwise we're going out the way we came in.” So I think that's right at the heart of Stoppard's work, and it's right at the heart of any biographical work, whether or not it's mine or someone else's. If you can't know, in the sense of knowing the person, knowing what the person is like, and also knowing as much as possible about them from different kinds of sources, then you might as well give up.You can't do it through impressions. You've got to do it through knowledge. Of course, a certain amount of intuition may also come into play, though I'm not the kind of biographer that feels you can make things up. Working on a living person, this is the only time I've done that.It was, of course, a very different thing from working on a safely dead author. And I knew Penelope Fitzgerald a little bit, but I had no idea I was going to write her biography when I had conversations with her and she wouldn't have told me anything anyway. She was so wicked and evasive. But it was a set up thing; he asked me to do it. And we had a proper contract and we worked together over several years, during which time he became a friend, which was a wonderful piece of luck for me.I was doing four things, really. One was reading all the material that he produced, everything, and getting to know it as well as I could. And that's obviously the basic task. One was talking to him and listening to him talk about his life. And he was very generous with those interviews. I'm sure there were things he didn't tell me, but that's fine. One was talking to other people about him, which is a very interesting process. And with someone like him who knew everyone in the literary, theatrical, cultural world, you have to draw a halt at some point. You can't talk to a thousand people, or I'd have still been doing it, so you talk to particularly fellow playwrights, directors, actors who've worked with him often, as well as family and friends. And then you start pitting the versions against each other and seeing what stands up and what keeps being said.Repetition's very important in that process because when several people say the same thing to you, then you know that's right. And that quest also involves some actual footsteps, as Richard Holmes would say. Footsteps. Traveling to places he'd lived in and going to Darjeeling where he had been to school before he came to England, that kind of travel.And then the fourth, and to me, in a way, almost the most exciting, was the opportunity to watch him at work in rehearsal. So with the director's permissions, I was allowed to sit in on two or three processes like that, the 50th anniversary production of Rosencrantz and Guildenstern at the Old Vic with David Lavoie. And Patrick Marber's wonderful production of Leopoldstadt and Nick Hytner's production of The Hard Problem at the National. So I was able to witness the very interesting negotiations going on between Tom and the director and the cast.And also the extraordinary fact that even with a play like Rosencrantz, which is on every school syllabus and has been for 50—however many years—he was still changing things in rehearsal. I can't get over that. And in his view, as he often said, theater is an event and not a text, and so one could see that actual process of things changing before one's very eyes, and that for a biographer, it's a pretty amazing privilege.Oliver: How much of the plays were written during rehearsal do you think?Lee: Oh, 99% of the plays were written with much labor, much precision, much correction alone at his desk. The text is there, the text is written, and everything changes when you go into the rehearsal room because you suddenly find that there isn't enough time with that speech for the person to get from the bed to the door. It's physics; you have to put another line in so that someone can make an entrance or an exit, that kind of thing.Or the actors will say quite often, because they were a bit in awe—by the time he became well known—the actors initially would be a bit in awe of the braininess and the brilliance. And quite often the actors will be saying, “I'm sorry, I don't understand. I don't understand this.” You'd often get, “I don't really understand.”And then he would never be dismissive. He would either say, “No, I think you've got to make it work.” I'm putting words into his mouth here. Or he would say, “Okay, let's put another sentence or something like that.”Oliver: Between what he wrote at his desk and the book that's available for purchase now, how much changed? Is it 10%, 50? You know what I mean?Lee: Yes. You should be talking to his editor at Faber, Dinah Wood. So Faber would print a relatively small number for the first edition before the rehearsal process and the final production. And then they would do a second edition, which would have some changes in it. So 2%. Okay. But crucial sometimes.Oliver: No, sure. Very important.Lee: And also some plays like Jumpers went through different additions with different endings, different solutions to plot problems. Travesties, he had a lot of trouble with the Lenins in Travesties because it's the play in which you've got Joyce and you've got Tristan Tzara and you've got the Lenins, and they're all these real people and he makes him talk.But he was a little bit nervous about the Lenin. So what he gave him to say were things that they had really said, that Lenin had really said. As opposed to the Tzara-Joyce stuff, which is all wonderfully made up. The bloody Lenins became a bit of a problem for him. And so that gets changed in later editions you'll find.Oliver: How closely do you think The Real Thing is based on Present Laughter by Noël Coward?Lee: Oh, I think there's a little bit of Coward in there. Yes, sure. I think he liked Coward, he liked Wilde, obviously. He likes brilliant, witty, playful entertainers. He wants to be an entertainer. But I think The Real Thing, he was proud of the fact that The Real Thing was one of the few examples of his plays at that time, which weren't based on something else. They weren't based on Hamlet. They weren't based on The Importance of Being Earnest. It's not based on a real person like Housman. I think The Real Thing came out of himself much more than out of literary models.Oliver: You don't think that Henry is a bit like the actor character in Present Laughter and it's all set in his flat and the couples moving around and the slight element of farce?The cricket bat speech is quite similar to when Gary Essendine—do you remember that very funny young man comes up on the train from Epping or somewhere and lectures him about the social value of art. And Gary Essendine says, “Get a job in a theater rep and write 20 plays. And if you can get one of them put on in a pub, you'll be damn lucky.” It's like a model for him, a loose model.Lee: Yes. Henry, I think you should write an article comparing these two plays.Oliver: Okay. Very good. What does Stoppardian mean?Lee: It means witty. It means brilliant with words. It means fizzing with verbal energy. It means intellectually dazzling. The word dazzling is the one that tends to get used. My own version of Stoppardian is a little bit different from, as it were, those standard received and perfectly acceptable accounts of Stoppardian.My own sense of Stoppardian has more to do with grief and mortality and a sense of not belonging and of puzzlement and bewilderment, within all that I said before, within the dazzling, playful astonishing zest and brio of language and the precision about language.Oliver: Because it's a funny word. It's hard to include Leopoldstadt under the typical use of Stoppardian, because it's an untypical Stoppard.Lee: One of the things about Leopoldstadt that I think is—let's get rid of that trope about Stoppardian—characteristic of him is the remarkable way it deals with time. Here's a play like Arcadia, all set in the same place, all set in the same room, in the same house, and it goes from a big hustling room, late 19th-century family play, just like the beginning of The Coast of Utopia, where you begin with a big family in Russia and then it moves through the '20s and then into the terrible appalling period of the Anschluss and the Holocaust.And then it ends up after the war with an empty room. This room, is like a different kind of theater, an empty room. Three characters, none of whom you know very well, speaking in three different kinds of English, reaching across vast spaces of incomprehension, and you've had these jumps through time.And then at the very end, the original family, all of whom have been destroyed, the original family reappears on the stage. I'm sorry to tell this for anyone who hasn't seen Leopoldstadt. Because when it happens on the stage, it's an absolutely astonishing moment. As if the time has gone round and as if the play, which I think it was for him, was an act of restitution to all those people.Oliver: How often did he use his charm to get his way with actors?Lee: A lot. And not just actors. People he worked with, film people, friends, companions. Charm is such an interesting thing, isn't it? Because we shouldn't deviate, but there's always a slightly sinister aspect to the word charm as in, a magic charm. And one tends to be a bit suspicious of charm. And he knew he had charm and he was physically very magnetic and good looking and very funny and very attentive to people.But I think the charm, in his case, he did use it to get the right results, and he did use it, as he would say, “to look after my plays.” He was always, “I want to look after my plays.” And that's why he went back to rehearsal when there were revivals and so on. But he wasn't always charming. Patrick Marber, who's a friend of his and who directed Leopoldstadt, is very good on how irritable Stoppard could be sometimes in rehearsal. And I've heard that from other directors too—Jack O'Brien, who did the American productions of things like The Invention of Love.If Stoppard felt it wasn't right, he could get quite cross. So this wasn't a sort of oleaginous character at all. It's not smooth, it's not a smooth charm at all. But yes, he knew his power and he used it, and I think in a good way. I think he was a benign character actually. And one of the things that was very fascinating to me, not only when he died and there was this great outpouring of tributes, very heartfelt tributes, I thought. But also when I was working on the biography, I was going around the world trying to find people to say bad things about him, because what I didn't want to do was write a hagiography. You don't want to do that; there would be no point. And it was genuinely quite hard.And I don't know the theater world; it's not my world. I got to know it a little bit then. But I have never necessarily thought of the theater world as being utterly loving and generous about everybody else. I'm sure there are lots of rivalries and spitefulness, as there is in academic life, all the rest of it. But it was very hard to find anyone with a bad word to say about him, even people who'd come up against the steeliness that there is in him.I had an interview with Steven Spielberg about him, with whom he worked a lot, and with whom he did Empire of the Sun. And I would ask my interviewees if they could come up with two or three adjectives or an adjective that would sum him up, that would sum Stoppard up to them. And when I asked Spielberg this question, he had a little think and then he said, intransigent. I thought, great. He must be the only person who ever stood up to him.Oliver: What was his best film script? Did he write a really great film.Lee: That one. I think partly the novel, I don't know if you know the Ballard novel, the Empire of the Sun, it's a marvelous novel. And Ballard was just a magical and amazing writer, a great hero of mine. But I think what Stoppard did with that was really clever and brilliant.I know people like Brazil, the Terry Gilliam sort of surrealist way. And there's some interesting early work. Most of his film work was not one script; it was little bits that he helped with. So there's famously the Indiana Jones and the Last Crusade, he did most of the dialogue for Harrison Ford.But there are others like the One Hundred and One Dalmatians, where I think there's one line, anonymously Stoppardian in there. One of the things about the obituaries that slightly narked me was that there, I felt there was a bit too much about the films. Truly, I don't think the film work was—he wanted it to be right and he wanted to get it right—but it wasn't as close to his heart as the theater work. And indeed the work for radio, which I thought was generally underwritten about when he died. There was some terrific work there.Oliver: Yes. And there aren't that many canonical writers who've been great on the radio.Lee: Absolutely. He did everything. He did film, he did radio. He wrote some opera librettos. He really did everything. And on top of that, there was the great work for the public good, which I think is a very important part of his legacy, his history.Oliver: How much crossover influence is there between the different bits of his career? Does the screenwriting influence the theater writing and the radio and so on? Or is he just compartmentalized and able to do a lot of different things?Lee: That's such an interesting question. I don't think I've thought about it enough. I think there are very cinematic aspects to some of the plays, like Night and Day, for instance, the play about journalism. That could easily have been a film.And perhaps Hapgood as well, although it could be a kind of John le Carré type film thriller, though it's such a set of complicated interlocking boxes that I don't know that it would work as a film. It's not one of my favorite players, I must say. I struggle a little bit with Hapgood. But, yes, I'm sure that they fed into each other. Because he was so busy, he was often doing several things at once. So he was keeping things in boxes and opening the lid of that box. But mentally things must have overlapped, I'm sure.Oliver: He once joked that rather than having read Wittgenstein from cover to cover, he had only read the covers. How true is that? Because I know some people who would say he's very clever in everything, but he's not as clever as he looks. It's obviously not true that he only read the covers.Lee: I think there was a phase, wasn't there, after the early plays when people felt that he was—it's that English phrase, isn't it—too clever by half. Which you would never hear anyone in France saying of someone that they were too clever by half. So he was this kind of jazzy intellectual who put all his ideas out there, and he was this sort of self-educated savant who hadn't been to Oxford.There was quite a lot of that about in the earlier years, I think. And a sense that he was getting away with it, to which I would countermand with the story of the writing of The Invention of Love. So what attracted him to the figure of Housman initially was not the painful, suppressed homosexual love story, but the fact that here was this person who was divided into a very pernickety, savagely critical classical editor of Latin and a romantic lyric poet. In order to work out how to turn this into a play, he probably spent about six years taking Latin lessons, reading everything he could read on the history of classical literature. Obviously reading about Housman, engaging in conversation with classical scholars about Housman's, finer points of editorial precision about certain phrases. And what he used from that was the tip of the iceberg. But the iceberg was real.He really did that work and he often used to say that it was his favorite play because he'd so much enjoyed the work that went into it. I think he took what he needed from someone like Wittgenstein. I know you don't like The Coast of Utopia very much, but if you read his background to Coast of Utopia, what went into it, and if you compare what's in the plays, those three plays, with what's in the writing about those revolutionaries, he read everything. He may have magpied it, but he's certainly knows what he's talking about. So I defend him a bit against that, I think.Oliver: Good, good. Did you see the recent production at the Hamstead Theatre of The Invention of Love?Lee: I did, yes.Oliver: What did you think?Lee: I liked it. I thought it was rather beautifully done. I liked those boats rowing around that clicked together. I thought Simon Russell Beale was extremely good, particularly very moving. And very good in Housman's vindictiveness as a critic. He is not a nice person in that sense. And his scornfulness about the women students in his class, that kind of thing. And so there was a wonderful vitriol and scorn in Russell Beale's performance.I think when you see it now, some of the Oxford context is a little bit clunky, those scenes with Jowett and Pater and so on, it's like a bit of a caricature of the context of cultural life at the time, intellectual life at the time. But I think that the trope of the old and the young Housman meeting each other and talking to each other, which I still think is very moving. I thought it worked tremendously well.Oliver: What are Tom Stoppard's poems like?Lee: You see them in Indian Ink where he invents a poet, Flora Crewe, who is a poet who was died young, turn of the century, bold feminist associated with Bloomsbury and gets picked up much later as a kind of Sylvia Plath-type, HD type heroine. And when you look at Stoppard's manuscripts in the Harry Ransom Center in the University of Austin, in Texas, there is more ink spent on writing and rewriting those poems of Flora Crewe than anything else I saw in the manuscript. He wrote them and rewrote them.Early on he wrote some Elliot—they're very like Elliot—little poems for himself. I think there are probably quite a lot of love poems out there, which I never saw because they belong to the people for whom he wrote them. So I wouldn't know about those.Oliver: How consistently did Stoppard hold to a kind of liberal individualism in his politics?Lee: He was accused of being very right wing in the 1980s really, 1970s, 1980s, when the preponderant tendency for British drama was radicalism, Royal Court, left wing, all of that. And Stoppard seemed an outlier then, because he approved of Thatcher. He was a friend of Thatcher. He didn't like the print union. It was particularly about newspapers because he'd been a newspaper man in his youth. That was his alternative university education, working in Bristol on the newspapers. He had a romance heroic feeling about the value of the journalist to uphold democracy, and he hated the pressure of the print unions to what he thought at the time was stifling that.He changed his mind. I think a lot about that. He had been very idealistic and in love with English liberal values. And I think towards the end of his life he felt that those were being eroded. He voted lots of different ways. He voted conservative, voted green. He voted lib dem. I don't if he ever voted Labour.Oliver: But even though his personal politics shifted and the way he voted shifted, there is something quite continuous from the early plays through to Rock ‘n' Roll. Is there a sort of basic foundation that doesn't change, even though the response to events and the idea about the times changes?Lee: Yes, I think that's right, and I think it can be summed up in what Henry says in The Real Thing about politics, which is a version of what's often said in his plays, which is public postures have the configuration of private derangement. So that there's a deep suspicion of political rhetoric, especially when it tends towards the final solution type, the utopian type, the sense that individual lives can be sacrificed in the interest of an ultimate rationalized greater good.And then, he's worked in the '70s for the victims of Soviet communism. His work alongside in support of Havel and Charter 77. And he wrote on those themes such as Every Good Boy Deserves Favour and Professional Foul. Those are absolutely at the heart of what he felt. And they come back again when he's very modest about this and kept it quiet. But he did an enormous amount of work for the Belarus exile, Belarus Free Theater collective, people in support of those trying to work against the regime in Belarus.And then the profound, heartfelt, intense feeling of horror about what happened to people in Leopoldstadt. That's all part of the same thing. I think he's a believer in individual freedom and in democracy and has a suspicion of political rhetoric.Oliver: How much were some of his great parts written for specific actors? Because I sometimes have a feeling when I watch one of his plays now, if I'd been here when Felicity Kendal was doing this, I would be getting the whole thing, but I'm getting most of it.Lee: I'm sure that's right. And he built up a team around him: Peter Wood, the director and John Wood who's such an extraordinary Henry Carr in in in Travesties. And Michael Hordern as George the philosopher in Jumpers. And he wrote a lot for Kendal, in the process of becoming life companions.But he'd obviously been writing and thinking of her very much, for instance, in Arcadia. And also I think very much, it's very touching now to see the production of Indian Ink that's running at Hampstead Theatre in which Felicity Kendal is playing the older woman, the surviving older sister of the poet Flora Crewe, where of course the part of Flora Crewe was written for her. And there's something very touching about seeing that now. And, in fact, the first night of that production was the day of Stoppard's funeral. And Kendal couldn't be at the funeral, of course, because she was in the first night of his play. That's a very touching thing.Oliver: Why did he think the revivals came too soon?Lee: I don't really know the answer to that. I think he thought a play had to hook up a lot of oxygen and attract a lot of attention. If you were lucky while it was on, people would remember the casting and the direction of that version of it, and it would have a kind of memory. You had to be there.But people who were there would remember it and talk about it. And if you had another production very soon after that, then maybe it would diminish or take away that effect. I think he had a sort of loyalty to first productions often. What do you think about that? I'm not quite sure of the answer to that.Oliver: I don't know. To me it seems to conflict a bit with his idea that it's a living thing and he's always rewriting it in the rehearsal room. But I think probably what you say is right, and he will have got it right in a certain way through all that rehearsing. You then need to wait for a new generation of people to make it fresh again, if you like.Lee: Or not a generation even, but give it five years.Oliver: Everyone new and this theater's working differently now. We can rework it in our own way. Can we have a few questions about your broader career before we finish?Lee: Depends what they are.Oliver: Your former colleague John Carey died at a similar time to Stoppard. What do you think was his best work?Lee: John Carey's best work? Oh. I thought the biography of Golding was pretty good. And I thought he wrote a very good book on Thackery. And I thought his work on Milton was good. I wasn't so keen on The Intellectuals and the Masses. He and I used to have vociferous arguments about that because he had cast Virginia Woolf with all the modernist fascists, as it were. He'd put her in a pile with Wyndham Lewis and Ezra Pound and so on. And actually, Virginia Woolf was a socialist feminist. And this didn't seem to have struck him because he was so keen to expose her frightful snobbery, which is what people in England reading Woolf, especially middle class blokes, were horrified by.And she is a snob, there's no doubt about it. But she knew that and she lacerated herself for it too. And I think he ignored all the other aspects of her. So I was angry about that. But he was the kind of person you could have a really good argument with. That was one of the really great things about John.Oliver: He seems to be someone else who was amenable and charming, but also very steely.Lee: Yes, I think he probably was I think he probably was. You can see that in his memoir, I think.Oliver: What was Carmen Callil like?Lee: Oh. She was a very important person in my life. It was she who got me involved in writing pieces for Virago. And it was she who asked me to write the life of Virginia Woolf for Chatto. And she was an enormous, inspiring encourager as she was to very many people. And I loved her.But I was also, as many people were, quite daunted by her. She was temperamental, she was angry. She was passionate. She was often quite difficult. Not a word I like to use about women because there's that trope of difficult women, but she could be. And she lost her temper in a very un-English way, which was quite a sight to behold. But I think of her as one of the most creative and influential publishers of the 20th century.Oliver: Will there be a biography of her?Lee: I don't know. Yes, it's a really interesting question, and I've been asking her executors whether they have any thoughts about that. Somebody said to me, oh, who wants a biography of a publisher? But, actually, publishers are really important people often, so I hope there would be. Yes. And it would need to be someone who understood the politics of feminism and who understood about coming from Australia and who understood about the Catholic background and who understood about her passion for France. And there are a whole lot of aspects to that life. It's a rich and complex life. Yes, I hope there will be someday.Oliver: Her papers are sitting there in the British Library.Lee: They are. And in fact—you kindly mentioned this to start with—I've just finished a biography of the art historian and novelist, Anita Brookner, who won the Booker prize in 1984 for a novel called Hotel du Lac.And Carmen and Anita were great buddies, surprisingly actually, because they were very different kinds of characters. And the year before she died, Carmen, who knew I was working on Anita, showed me all her diary entries and all the letters she'd kept from Anita. And that's the kind of generous person that she was.That material is now sitting in the British Library, along with huge reams of correspondence between Carmen and many other people. And it's an exciting archive.Oliver: She seems to have had a capacity to be friends with almost anyone.Lee: Yes, I think there were people she would not have wanted to be friends with. She was very disapproving of a lot of political figures and particularly right-wing figures, and there were people she would've simply spat at if she was in the room with them. But, yes, she an enormous range of friends, and she was, as I said, she was fantastically encouraging to younger women writers.And, also, another aspect of Carmen's life, which I greatly admired and was fascinated by: In Virago she would often be resuscitating the careers of elderly women writers who had been forgotten or neglected, including Antonia White and including Rosamund Lehmann. And part of Carmen's job at Virago, as she felt, was not just to republish these people, some of whom hadn't had a book published for decades, but also to look after them. And they were all quite elderly and often quite eccentric and often quite needy. And Carmen would be there, bringing them out and looking after them and going around to see them. And really marvelous, I think.Oliver: Yes, it is. Tell me about Brian Moore.Lee: Breean, as he called himself.Oliver: Oh, I'm sorry.Lee: No, it's all right. I think Brian became a friend because in the 1980s I had a book program on Channel 4, which was called Book Four. It had a very small audience, but had a wonderful time over several years interviewing lots and lots of writers who had new books out. We didn't have a budget; it was a table and two chairs and not the kind of book program you see on the television anymore. And I got to know Brian through that and through reviewing him a bit and doing interviews with him, and my husband and I would go out and visit him and his wife Jean.And I loved the work. I thought the work was such a brilliant mixture of popular cultural forms, like the thriller and historical novel and so on. And fascinating ideas about authority and religion and how to be free, how to break free of the bonds of what he'd grown up with in Ireland, in Northern Ireland, the bombs of religious autocracy, as it were. And very surreal in some ways as well. And he was also a very charming, funny, gregarious person who could be quite wicked about other writers.And, he was a wonderfully wicked and funny companion. What breaks my heart about Brian Moore is that while he was alive, he was writing a novel maybe every other year or every three years, and people would review them and they were talked about, and I don't think they were on academic syllabuses but they were really popular. And when he died and there were no more books, it just went. You can think of other writers like that who were tremendously well known in their time. And then when there weren't any more books, just went away. You ask people, now you go out and ask people, say, “What about The Temptation of Eileen Hughes or The Doctor's Wife or Black Robe? And they'll go, “Sorry?”Oliver: If anyone listening to this wants to try one of his novels, where do you say they should start?Lee: I think I would start with The Doctor's Wife and The Temptation of Eileen Hughes. And then if one liked those, one would get a taste for him. But there's plenty to choose from.Oliver: What about Catholics?Lee: Yes. Catholics is a wonderful book. Yes. Wonderful book. Bit like Muriel Spark's The Abbess of Crewe, I think.Oliver: How important is religion to Penelope Fitzgerald's work?Lee: She would say that she felt guilty about not having put her religious beliefs more explicitly into her fiction. I'm very glad that she didn't because I think it is deeply important and she believes in miracles and saints and angels and manifestations and providence, but she doesn't spell it out.And so when at the end of The Gate of Angels, for instance, there is a kind of miracle on the last page but it's much better not to have it spelt out as a miracle, in my view. And in The Blue Flower, which is not my favorite of her books, but it's the book of the greatest genius possibly. And I think she was a genius. There is a deep interest in Novalis's romantic philosophical ideas about a spiritual life, beyond the physical life, no more doctrinally than that. And she, of course, believes in that. I think she believed, in an almost Platonic way, that this life was a kind of cave of shadows and that there was something beyond that. And there are some very mysterious moments in her books, which, if they had been explained as religious experiences, I think would've been much less forceful and much less intense.Oliver: What is your favorite of her books?Lee: Oh, The Beginning of Spring. The Beginning of Spring is set in Moscow just before the revolution. And its concerns an Englishman who runs a print and publishing works. And it's based quite a lot on some factual narratives about people in Moscow at the time. And it's about the feeling of that place and that time, but it's also about being in love with two people at the same time.And, yes, and it's about cultural clashes and cultural misunderstanding, and it is an astonishingly evocative book. And when asked about this book, interviewers would say to Penelope, oh, she must have lived in Moscow for ages to know so much about it. And sometimes she would say, “Yes, I lived there for years.” And sometimes she would say, “No, I've never been there in my life.” And the fact was she'd had a week's book tour in Moscow with her daughter. And that was the only time she ever went to Russia, but she read. So it was a wonderful example of how she would be so wicked; she would lie.Oliver: Yes.Lee: Because she couldn't be bothered to tell the truth.Oliver: But wasn't she poking fun at their silly questions?Lee: Yes. It's not such a silly question. I would've asked her that question. It is an astonishing evocation of a place.Oliver: No, I would've asked it too, but I do feel like she had this sense of it's silly to be asked questions at all. It's silly to be interviewed.Lee: I interviewed her about three times—and it was fascinating. And she would deflect. She would deflect, deflect. When you asked her about her own work, she would deflect onto someone else's work or she would tell you a story. But she also got quite irritable.So for instance, there's a poltergeist in a novel called The Bookshop. And the poltergeist is a very frightening apparition and very strong chapter in the book. And I said to her in interview, “Look, lots of people think this is just superstition. There aren't poltergeists.” And she looked at me very crossly and said they just haven't been there. They don't know what they're talking about. Absolutely factual and matter of fact about the reality of a poltergeist.Oliver: What makes Virginia Woolf's literary criticism so good?Lee: Oh, I think it's a kind of empathy actually. That she has an extraordinary ability to try and inhabit the person that she's writing about. So she doesn't write from the point of view of, as it were, a dry, historical appreciation.She's got the facts and she's read the books, but she's trying to intimately evoke what it felt like to be that writer. I don't mean by dressing it up with personal anecdotes, but just she has an extraordinary way of describing what that person's writing is like, often in images by using images and metaphors, which makes you feel you are inside the story somehow.And she loves anecdotes. She's very good at telling anecdotes, I think. And also she's not soft, but she's not harshly judgmental. I think she will try and get the juice out of anything she's writing about. Most of these literary criticism pieces were written for money and against the clock and whilst doing other things.So if you read her on Dorothy Wordsworth or Mary Wollstonecraft or Henry James, there's a wonderful sense of, you feel your knowledge has been expanded. Knowledge in the sense of knowing the person; I don't mean in the sense of hard facts.Oliver: Sure. You've finished your Anita Brookner biography and that's coming this year.Lee: September the 10th this year, here and in the States.Oliver: What will you do next?Lee: Yes. That's a very good question, though a little soon, I feel.Oliver: Is there someone whose life you always wanted to write, but didn't?Lee: No. No, there isn't. Not at the moment. Who knows?Oliver: You are open to it. You are open.Lee: Who knows what will come up.Oliver: Yes. Hermione Lee, this was a real pleasure. Thank you very much.Lee: Thank you very much. It was a treat. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.commonreader.co.uk

We are back, and the weird is too! We have a man with a WW1 shell in his butt (he probably just tripped and fell on it), and a man high on meth who stole not one, but two planes. We pay tribute to the amazing Catherine O’Hara, practice some Gratituesday, and share which Edge artist just had a dumb and expensive injury. We try and make unsexy jobs sound sexy, and have a dose of Ill with the piggyback bandit and theft of some love toys. Support the show and follow us here Twitter, Insta, Apple, Amazon, Spotify and the Edge! See omnystudio.com/listener for privacy information.

Mark is joined by Kurt Braunohler (Bob's Burgers, Barbarian, The Big Sick) to talk about his first album, Licensed to Ill (1986). Hosted on Acast. See acast.com/privacy for more information.

TRANSCRIPT What I'm calling today's word is predestination and grace and faith. I'Il read from Ephesians chapter one, verses five to eight, which is the passage we read in our discussion groups a couple of weeks ago. Starting from verse five, having predestined us to adoption as sons by Jesus Christ to himself, according to the good pleasure or good purpose, Eudokia, of his will, according to the riches of his grace, which is made abundant toward us in all wisdom and understanding. So recently in our group discussions, we began to discuss and explore the extravagance of God's love, and his powerful promises to us of what I've just read. Predestination and grace, and being adopted to belong to his family, partakers of his life through Jesus, partakers of the nature of God. The first chapter of Ephesians is a mighty trumpet blast of what God has done through Jesus Christ, and through the work of his unlimited atonement for humanity, never limit the atonement work of God, for everybody. If one died, all were dead. So I've got three questions today. What is predestination? Well, the short answer is, it's God's purpose for our life. What is grace? The divine energy that accomplishes our predestination. What about faith? Predestination and grace only become our reality when we believe. So I've answered the three questions. We can go home now. But really, I want to look at these three questions in greater depth. So we'll look at these three questions. Predestination is purpose driven. It is God's foreordained plan for a person's life or role. It is not a statement about going to heaven or hell, as the Calvinists much later mistakenly interpreted. You've got to search the scriptures to see this, and it's very clear. Through Christ's atoning work, when Jesus brought his divinity into all of humanity, we are also brought into adoption, becoming part of his family. We're then transformed into Christ's likeness to become co-labours with him in his work in the world. There's our journey. Right smack in the middle of it is the grace of God. We try that journey on our own without the grace of God, and we can become very good citizens with a good conscience doing the best we can, but we need God's grace to be able to walk in his will for our lives, empowered by his life. Grace is the divine energy that accomplishes this divine purpose, making this gospel of good news, that's what the gospel is, possible. That is then believed upon by us. And this displays God's wisdom and strategic brilliance. And that was the last verse that we read when we did the discussion group. God thought that through and gave it to us. He wants to express who he is through us. That's his desire. So we'll look at the grace. The plan of being predestined is energized by grace from God's side. All comes from him. The word grace is cardis, which means a gift. It's not primarily about emotionally feeling favored. It is God's favor, but we don't often feel very favored going through tough times. But God's grace is still available. If it weren't, we wouldn't be able to go through them with him and being empowered by his Spirit in faith. It's God's powerful and operative transforming presence that enables the purpose of our predestination to be achieved. What does grace do? Is it like electricity? No, it is a force. Is it just emotion? No, grace creates a relational bond in our hearts. The Bible says, a new heart I will give you, in Ezekiel 36. That's the power of grace. It changes the disposition of our hearts. We desire to do for God and with God. That's his gift, that's his covenant. And that works the transformative change of the new desires that God has willed for us. Look at things relationally, then you're looking at God and what he does, why he does it, and how we can respond. But without faith, if we don't respond by faith and say, I believe that, that grace is there laying idle and fruitless. It's in vain. Don't just think of it as something that may be available. He said, approach the throne of grace, receiving mercy, so that you'll find grace in times of need. We need the mercy because we don't do it very expertly. We bumble our way through. And God says, I don't care how much you bumble your way through. I'm not looking at your human performance index. I'm looking at your heart. Dispose to me, doing the best you can, and this grace is available. But tell yourself that I'm being merciful to you because you're not very merciful to yourself. You're a bit hard on yourself. I've forgiven your sins, you know that. But you're worried about your performance, don't. The work of atonement is operating on about eight and a half billion people on the planet right now. But the problem is that a scarce number of people, including many churchgoers, don't know that or believe it. That work can only become a reality for people who will hear it and believe it and respond to it by faith. And today, we'll look at how we can respond to it by faith. Paul was saved from wasting his pre-destined future when he was struck down on the road to Damascus. He was pretty proud of his performance up till then, as a religious man, a Pharisee of the Pharisees. But then, he was struck down by the Lord Jesus, and he believed, he was baptized, and he received the power of the Holy Spirit. In Galatians 1, Paul writes in verse 17, and here's the predestination part. It pleased God, who separated me from my mother's womb, and invited me through his grace to reveal his son in me, that I might preach him amongst the Gentiles, or the nations, the unbelievers. Paul knew that this was given by God's grace, but not only given by God's grace, it was to be lived through God's grace. Paul said, his grace towards me was not in vain. Wasn't futile, but it can lie wasted. I've already said, the scripture actually, confidently enter, come to the throne of grace. So we can see that all of this is God's doing. If that's God's doing, what is our belief? It is our doing. It's believing everything that God is doing, and believing that what he's doing is true, and real, and personal for each one of us. It's always doing, the doing. Now, my faith, my personal level, sometimes involves getting out of my own way, and to stop worrying that I'm not fulfilling God's predestined purpose in the ordinary, daily doing of what I'm doing. Do I have enough faith and grace? Am I actually doing just exactly what you want me to do, Lord? I better try and think through this harder. God says, my goodness, I wake up then. I wake up to myself and decide to trust that God knows what He's done. He knows what He's done for me, and what He is now doing for me, and He just wants me to trust Him in that I'm doing for you, in all the things that are happening. And when I trust God, simply, come to my senses, faith floods in. Not faith that I'm going to get what I want, but faith that God can now get what He wants. The moment we start telling ourselves that we don't have enough faith, we stop having faith. It's a bad conversation. Our soul's outward, disordered mindset of what is real has taken over from our God-ordained spiritual reality, what He's ordained. Now, let me explain how God's ordered spiritual reality can turn into a disordered soul reality. That's very important to me. Everything that is spirit desires to be expressed in some outward way. Spirit cannot just exist, isolated, doing nothing. Spirit wants expression, no matter what kind of spirit it is. And you can name hundreds of them. The human spirit, a spirit of fear, God's spirit, a political spirit, a religious spirit. They all want expression in some way, and they manifest themselves through whoever's available to give way to that spirit. But we have our predestined spirit in us. God, as a pure spirit being, lovingly desired to express himself through us. God as spirit wants far more to express who he is than any other spirit would. He is spirit. The Holy Spirit yearns jealously for us. Let us be manifested, expressed through you. So God desired to do that, to express himself through humanity. And that occurred perfectly through the life of Jesus. That was the one, the only one. That happened perfectly. And the atonement of Jesus on the cross allows that expression of the life of Jesus through us by the Holy Spirit in us. That's how it happens. God's predestined purpose for us in Christ is our reality. That's what God and God's spirit wants to express through us. His purpose for us, him, with us, in that. It is our I am reality. God said, I am who I am. In Exodus chapter three, Jesus said, before Abraham was, I am. John eight, Paul said, I am what I am by the grace of God. 1 Corinthians 15. Now, this is the key. We can become the expression of who God wants us to be, by the grace of God, if we believe it. We are who we are by the grace of God. God is the source of our true I am spiritual being. He created it before the foundation of the world. But what do we do with that spiritual reality? Well, the Bible says, in 1 Corinthians 15, that we generate a soul, genomai. We create a soul, a faulty expression of our spiritual being, which becomes flawed and damaged throughout our lives because of survival mechanisms that we create, starting from a young age. That's our doing. Our spirit wants to express itself. We are spirit, soul, and body. And we express, through our soul, an I Am that has had to react to everything that's going on around us. We learn, from a young age, to strategise, to defend, or to advance ourselves, through the difficult circumstances of our lives. We create another I Am in our souls. And that becomes the I Am that other people see. They see that as who we are. Oh, there's that cranky person again. There's that angry one. There's that difficult one. There's that one that seems to be always feeling shameful and guilty all the time. Why do they do that? So that soul becomes the expression of who we are, to other people, and absolutely to ourselves, with all the reactions and hard to get on with behaviours that we wish we didn't have as well. The reactive strategies have become the soul's unhelpful helpers in times of difficulty and stress. So we have to discover the true I am, whose source is God's reality for us. That's the journey of the soul. 1 Corinthians 2, 11 tells us, gives us the clue on how to go on this journey. And I'll be doing this in the course later this month, the healing salvation of the soul. It says this, For what man knows the things or the parts, the things of a man, except the spirit of the man which is in him. And even so, no one knows the things of God, except the spirit of God. So we can get to know, because our spirit, Bible says in Proverbs, the spirit of a man is the lamp of the Lord that searches out all the inward parts. We can allow the Holy Spirit to help us search out and find out, what did I dump into my soul when I got into reaction at that time, when I was a little one, or when I was a teenager, or what I'm doing even now? The Holy Spirit says, I'm gonna help you to stop trying to use your unhelpful helpers to help yourself. We can be guided by the Holy Spirit who becomes the new helper. That Jesus promised, he said in John 14, I will pray the Father, and he will give you another helper, that he may abide with you forever. Jesus didn't have to make and create helpers. He had the Holy Spirit full on, all the time, in the grace of God. He was the perfect expression of God in humanity, and he's saying to us, I'm giving you my life, and I'm going to get you back from that disordered soul into being able to express who you are, predestined to be in your spirit, by my grace. So the healing of the soul course, I'll be starting in our mid-week meetings, is based on this spiritual understanding of how to find our true I am, in a non-threatening way. We don't go in there and say, oh, what a terrible sin. And we find a helper that we've created, and it's a helper that says, you're not matching up. You could do better than this. It's called the, you can do better helper. You ever found one of them? Well, the you can do better helper is not a sin, but it does cause us to miss the mark, because we'll make errors of judgment, and we will start getting into things that become just us reacting, and our self-help, whatever other helper it could be, our anger helper, that will be the thing that wants to run things. But there's the try harder helper. Just look at that for a sec. We've all got one of them, but I've seen a try harder helper, when I was sharing with a person, I've seen that try harder helper cause that person to feel, when it was revealed that that's it, they felt, oh, well, that's a sinful helper. I am angry, I'm gonna get rid of that. I say, no, no, no. That try harder helper has got you to where you are now, for your sake, trying to help you to get through the sense that you couldn't do things properly. It was trying to help you get over the fear of failure. Don't get angry at it. It was doing the best it could. You made it, you created it. But don't get angry, just say, you can move over now. I've got another helper. You see, this course that I'm doing is not threatening. Oh, you'd better repent from that help. No, acknowledge it and say, thank you, bye. And there's a process. We find the true I am. We get to know the things of the strategic helper parts in our soul. We ask for wisdom from the Holy Spirit as our new helper that Jesus promised us. God's reality of who we are, not our concept of self that is lesser and smaller because of the awful things that have happened to us, the things that we wanted that haven't happened to us, all because of what? Certain people, our own mistakes, disappointing circumstances? Well, suffering is part of life. But unnecessary suffering happens when we make these things that happened define who we are. They're not you, they've happened to you. And that's, it's not God's purpose for your life to be defined by the things that happened to you, it's God's purpose for your life to be with him in the things that happened to you. So, the happenings, let's see these happenings as outside of us, and our soul reacting to them. But, what's inside of us? That's the, who is inside of us? God is inside of us. The things are outside of us. 1 John 4, 4. Greater is he that is in you, than that which is in the world. So, I spoke about finding wisdom. What wisdom do we need to get in order to understand our true reality? The fact that greater is he that is in you, than that which is in the world. Well, James tells us. James 1, 5. If any of you lacks wisdom, let him ask of God, who gives to all generously and without reprimanding, and it will be given to him. But let him ask in faith. I tell people, you're gonna get the wisdom you need as you diligently apply yourself to what we're doing here. It will come, God will speak. I'm thinking, am I bold enough to say that? I am, because I see it happen all the time, because the Bible says do it. But let him ask in faith, with no doubting, for he who doubts is like a wave of the sea, driven and tossed by the wind. For let not that man suppose that he will receive anything from the Lord. He's a double-minded man, unstable in all his ways. Well here we are, the two mindsets. The mindset of the soul, or the mindset of the spirit. Spiritually minded is life and peace. Carnally minded is death. Bible says the carnal mind cannot please God. It's hostile to God. Humanity. But the spiritual mind is in harmony with God. And James here says, you're double-minded and you'll become unstable. Now double-minded is a good phrase because it's speaking about having a spiritual mind and a soul mind, the two I ams. But look, I want to open that word up to you. Double-minded in the Greek doesn't have the word mind in it. I still think it's a great phrase because the mind is in the soul. And there is a mind in the spirit. The mind that knows Jesus is in the spirit. The mind that bumbles around out here is in the soul. We'll talk about that later. But the Greek word for double-minded is di-psychos. That means double-souled. It's soul. It's a soul problem. It means a double-souled person. A soul in conflict with itself. With a mind that is in conflict with the mind of the spirit. I continually see the Holy Spirit giving wisdom to people about their true being as they do the healing of the soul process. It's the grace of God doing that, and our faith receiving it, and believing it, and living it out. So, what about faith? What is the goal of our faith? And here's a key scripture, 1 Peter 1.9, receiving the end. The word there in Greek is telos, the purpose, the end of our faith. The salvation and healing of your soul. That's what your faith is for. To get your soul back in shape, in alignment with your spiritual destiny. That's what the course is for. So, when I'm sitting in the presence of God, I want to come back, shake myself, wake myself up, and say, soul, move over. I want to hear what God is saying about me, to be the l am that I know you say 1 am. And I bring scriptures to mind. I do a whole lots of, well, there are a whole lots of things I don't do. I don't try and analyse myself. I just think about what God is doing and how great He is and He's wonderful at time. That's what I do. But I bring scriptures to mind. I thank God I'm in His presence, even if I don't feel anything. I thank God that He's doing a mighty work in me and I don't even feel it's happening. I can feel actually quite at odds with myself, but my spirit is saying, wake up, God's at work, give this time, be still, know that I'm God. You don't have to feel it. All right, thank you, Lord. But here's some scriptures that I bring to mind, and I'll just leave it with this. Paul says in Ephesians 3.20, God is able to do exceedingly abundantly above all that we ask or think, according to the power that works in us. That's the power of the Holy Spirit. Take out the book of Philippians and have a look in Philippians chapter one, chapter two, and chapter three. In Philippians chapter one, you'll find this. He who has begun a good work in you will complete it until the day of Jesus Christ. He's doing the work. Philippians 2.13. For it is God who works in you, both to will and to do what is his highest purpose for your life. His good purpose. I mean, oh my Lord, you're at work in this, and I've been trying to do all the work. And he says, I told you, be still, know this. And third, in Philippians chapter three, verse 21, according to the working by which he is able even to subdue all things to himself. You know, when I'm sitting there, I can feel restless, agitated. This is a waste of time. And time goes by, and I start feeling subdued. I think I'm doing a pretty good job here of calming myself. I'm supposed to say, that's not you. I'm subduing that restless heart of yours, that anxious, fidgety mind that wants to analyze. Give me some more time. Okay, Lord, thank you. Ill be still and know you're God, and I'll leave the rest to God. So, thank you, Lord. Help us to learn to let go of outward happenings, to let you happen within us at all times. Amen.    

We are back after a snow day to bring you the tales of dumb! tales of the strange! tales of oh no! Get started off with the Ill-Advised News about stolen harps, skinny dipping and attack of the farts. Cass had a mom first that is a warning to all moms. We breakdown a list of luxuries as a child that are easily accessible today. Cass made a super fun Synonym Game to win Buffalo Auto Show tix. Buffalo is the meat in the sandwich of love and one more Ill about trying to sell cocaine. Support the show and follow us here Twitter, Insta, Apple, Amazon, Spotify and the Edge! See omnystudio.com/listener for privacy information.

Part 1 of 2. OA 1229 - What happens when a government worker does you wrong? How is it different to prosecute and sue them? When does qualified immunity come in to play? We discuss the steps involved in prosecuting and suing someone for a simple battery, and how that differs for a regular person versus a state actor. We cover how and when defenses can be raised, federal and state sovereign immunity, suing in official versus personal capacity, the difference between absolute and qualified immunities, and the ways this will apply differently to criminal prosecution versus civil litigation. Siegell v Herricks Union Free School District, 7 AD3d 607 [2d Dept 2004] (Elements of civil battery in NY) N.Y. Penal Law § 120 (NY criminal “battery”) Fla. Stat. § 776.032 (Florida self-defense as an affirmative defense and immunity) Ohio Rev. Code § 2901.05 (Ohio self-defense as a standard defense) N.Y. Penal Law § 35 (NY justification defenses) Roger Fairfax, The Grand Jury's Role in the Prosecution of Unjustified Police Killings - Challenges and Solutions, 52 Harvard Civil Rights-Civil Liberties Law Review 397 (2017). Michael Gentithes, Harvesting the Grand Jury's “Lay Expertise” in Officer-Involved Shootings, U. Ill. L. Rev. 989 (2025). In re Neagle, 135 U.S. 1 (1890) Gregory C. Sisk, A Primer on the Doctrine of Federal Sovereign Immunity, 439 Okla. L. Rev. 58 (2005). 28 U.S.C. § 2680(h) Miles McCann, State Sovereign Immunity, National Association of Attorneys General (Nov. 11, 2017) State Sovereign Immunity - Generally, Interstate Commission for Juveniles, https://www.juvenilecompact.org/bench-book/chapter-6-1 Ex Parte Young, 209 U.S. 123 (1908) Scheuer v. Rhodes, 416 U.S. 232 (1974) Moor v. County of Alameda, 411 U.S. 693 (1973) O'Shea v Littleton, 414 U.S. 488 (1974) Judicial Immunity at the (Second) Founding: A New Perspective on § 1983, 136 Harvard L. Rev. 1456 (2023). Check out the OA Linktree for all the places to go and things to do! To support the show (and lose the ads!), please pledge at patreon.com/law!

Larry Ostola speaks with Madelaine Drohan about her book He Did Not Conquer. Throughout his long and illustrious career, Benjamin Franklin nursed a not-so-secret desire to annex Canada and make it American. When he was not busy conducting scientific experiments or representing American interests at home and abroad, Benjamin Franklin hatched one plan after another to join Canada to the American colonies and then later to the United States. These were not solely intellectual efforts. He went to Montreal in 1776 to try to turn around the faltering occupation by American forces. As lead American negotiator at the 1782 peace negotiations with Britain in Paris, he held the fate of Canada in his hands. Ill health and other American priorities then forced him to abandon his decades-long campaign to possess Canada. Franklin's elevation to the status of an American icon has pushed this signal failure into the far reaches of collective memory in both Canada and the United States. Yet it shaped the future of North America and relations between the two neighbours over the next two and a half centuries. Madelaine Drohan spent most of her journalistic career as a foreign correspondent, reporting on Europe for the Toronto-based Globe and Mail and then on Canada for the London-based Economist. She is a senior fellow at the Graduate School for Public and International Affairs, University of Ottawa. She lives in Ottawa. If you like our work, please consider supporting it: bit.ly/support_WTY. Your support contributes to the Champlain Society's mission of opening new windows to directly explore and experience Canada's past.

This week, health editor Michael Smith on why baby-making is such big business and how private equity firms are reshaping the IVF sector. This podcast is sponsored by Acenda Further reading:Ill-conceived: Inside Australia’s IVF money-making machineThe commercialisation of the industry as private equity owners take over from pioneering doctors has many people very worried.Monash IVF rejects $300m takeover bid from Genesis Capital as too lowShares in the fertility group have fallen more than 40 per cent since mistakes were disclosed earlier this year, prompting the PE-led consortium to swoop.Monash IVF says market share, patients down since embryo mix-upsStiff competition and pricing pressure in Victoria has hurt the fertility group’s performance so far this fiscal year.See omnystudio.com/listener for privacy information.

On this episode of Conservation Ag Update, brought to you by Martin-Till, we're headed inside the 34th annual National No-Tillage Conference in St. Louis. Both longtime and first-time attendees share some of their biggest takeaways from the conference. We catch up with Jeff Martin from Mt. Pulaski, Ill., during one of the networking breaks for a conversation about how the longtime no-tiller is applying ocean water and more to his crops.

Frankie is just Fighting for his Right to Party!!!! YEAH, Golden J joins Frankie in talking about the 1986 album by the Beastie Boys, Licensed to Ill!!!    www.goldenmojoent.com   www.ko-fi.com/goldenmojoent    @Golden80sPodcast   As always find us on all your favorite streaming sites Linktree https://linktr.ee/thegoldenimage80s   Follow us on our social media Facebook:  https://www.facebook.com/profile.php?id=100092241900860 Youtube:   Instagram: https://www.instagram.com/thegoldenimage80s/ Golden 80's hosted by Jeremy Golden and Brandon Taylor Nostalgia Tug hosted by Logan Cothran and Lance Menzie Produced and edited by Jeremy Golden and Lance Menzie Art by Esteban Gomez Reyes s   https://instagram.com/esteban.gomezr?utm_medium=copy_link Theme music by REDproduction  Golden 80's is a product of Golden Mojo Entertainment   And here are some other great shows from Golden Mojo Entertainment MurdNerds Facebook: https://www.facebook.com/MurdNerds www.linktr.ee/murdnerds The Call Guys Facebook: https://www.facebook.com/theCallGuysPod www.linktr.ee/thecallguyspodcast The United States of Paranormal Facebook: https://www.facebook.com/theunitedstatesofparanormal www.theunitedstatesofparanormal.com Indiana Chiefs Fans Facebook: https://www.facebook.com/INChiefsFansPod Golden Image Podcast Facebook: https://www.facebook.com/GoldenImagePodcast www.linktr.ee/goldenimagepodcast A Court of Books and Booze Facebook; www.facebook.com/ACourtofBaB https://linktr.ee/acobab The Puck Yeah Podcast Facebook: https://www.facebook.com/profile.php?id=61566980128235 Gridiron Kingz Facebook: https://www.facebook.com/profile.php?id=61563283119317   #Goldenmojoentertainment  #Goldenmojo  #Goldenimage  #Goldenimagepodcast #IndianaChiefsFans  #TheUnitedStatesofParanormal  #TheCallGuys  #Murdnerds #ACourtofBooksandBooze #Music #Adventure #food #Wine #MiniGolf #spotifypodcast  #applepodcast  #podcast #80s #Golden80s 

Morse code transcription: vvv vvv What a new law and an investigation could mean for Grok AI deepfakes Newspaper headlines ADHD care costs soar and Bin Diesel The curious question of whether gut health affects ageing We need housing help in the Budget or Ill never be independent How one woman lures foreign recruits to Russias front line in Ukraine Randa Abdel Fattah How Adelaide Writers Week imploded after axing Palestinian author BBC will aim to have Trumps 5bn defamation lawsuit thrown out Jerome Powell World central bank chiefs declare support for US Fed chair Mandelson apologises for continuing Epstein friendship Trump weighs next move on Iran and faces a complex calculation

It's Morphin Time!

We're taking a deep dive into the movie that made everyone afraid to go back in the water!

The Spin Chagrin, a concept that finds Frank having to watch a movie he's never seen before based on the random spin of a wheel filled with off-the-wall genres, continues into its fourth year. All the categories are quotables from Frank himself. In this episode, Frank's category was "Ill-advised archaeology.” For this category, he watched and reviewed the 1998 action horror, Dolph Lundgren-vehicle The Minion. 

Send us a textThe guys welcome in Derek Cormier, Climate Experts Air Plumbing & Electric, Melbourne, Fla., and Aizik Zimerman of J. Blanton Plumbing, Northbrook, Ill., as they podcast from the Nexstar Super Meeting.This episode is brought to you by Bradford White — trusted by pros for high-quality, innovative products. Their new AeroTherm Series G2 hybrid electric heat pump water heater is their most efficient yet, boasting a best-in-class 4.20 UEF on the 65-gallon model. It features the easy-to-use ICON System LED display, ultra-quiet operation, and flexible zero-clearance installation. Plus, with Bradford White Wave built-in connectivity, you can perform diagnostics remotely and your customersSubscribe to the Appetite for Construction podcast at any of your favorite streaming channels and don't forget about the other ways to interact with the Mechanical Hub Team! Follow Plumbing Perspective IG @plumbing_perspective Follow Mechanical Hub IG @mechanicalhub Sign up for our newsletter at www.mechanical-hub.com/enewsletter Visit our websites at www.mechanical-hub.com and www.plumbingperspective.com Send John and Tim your feedback or topic ideas: @plumbing_perspective

Lessiter Media president and CEO Mike Lessiter caught up recently with Cambridge, Ill., no-tiller and Ag Solutions Network co-founder Monte Bottens, who shares why the USDA's announced $700 million commitment to regenerative ag is a big deal for the no-till and soil health movement. Bottens also explains why he's excited for the upcoming National No-Tillage Conference and the new "Ted-style” talks he's participating in, as well as cutting-edge technology for killing weeds and planting non-GMO seeds.

Isaiah expert and Old Testament scholar Dr. John Oswalt is our guest again this week on the Profile. On this episode John discusses the discovery of the Great Isaiah Scroll in Qumran in 1947, more of Isaiah 53, and the prophecy of Cyrus the Great in chapter 45. Dr. John Oswalt Asbury served on the faculty of Asbury Theological seminary from 1970 to 1982 as professor of Old Testament and Semitic languages, and again from 1989 to 1999 as Professor of Old Testament. He rejoined Asbury in 2009 as visiting distinguished professor of Old Testament studies. He has also served as research professor of Old Testament at Wesley Biblical Seminary in Jackson, Miss., from 1999 to 2009, was president of Asbury College from 1983 to 1986, a member of the faculty of Trinity Evangelical Divinity School in Deerfield, Ill., from 1986 to 1989, and  Interim President of Wesley Biblical Seminary, Ridgeland, MS from April 2019 through March 2020.He is the author of 16 books, most notable of which is the two-volume commentary on the book of Isaiah in the New International Commentary of the Old Testament. His most recent book is The Holy One of Israel: Studies in the Book of Isaiah, released in 2014. He has also written numerous articles that have appeared in Bible encyclopedias, scholarly journals and popular religious periodicals. Dr. Oswalt is an ordained minister in the United Methodist Church, with membership in the Kentucky Annual Conference. He has served as a part-time pastor in congregations in New England and Kentucky, and is a frequent speaker in conferences, camps and local churches. Oswalt received a B.A. from Taylor University; a B.D. and Th.M. from Asbury Seminary; and a M.A. and Ph.D. from Brandeis University.The Bible Among the Myths Isaiah CommentaryResources from Watchman Fellowship Watchman Fellowship 4-page Profile on Bart Ehrman by Dr. Rhyne Putman: www.watchman.org/Ehrman FREE: We are also offering a subscription to our 4-page bimonthly Profiles here: www.watchman.org/Free.The complete Profile Notebook (Digital Edition, PDF, over 600-pages): www.watchman.org/DigitalNotebookSUPPORT: Help us create more content like this. Make a tax-deductible donation here: www.watchman.org/give.Apologetics Profile is a ministry of Watchman Fellowship For more information, visit www.watchman.org © 2025 Watchman Fellowship, Inc.

Morse code transcription: vvv vvv Hong Kong billionaire Jimmy Lai tested Chinas limits. It cost him his freedom Enjoying Christmas with our boys is how Ill honour Zo s memory Trail hunting to be banned as part of new animal welfare strategy Weight loss jabs What happens when you stop taking them Strictly Come Dancing 2025 final Winners crowned after Amber Davies, Karen Carney and George Clarke perform one last time Tony Hudgell takes 26 families to visit Lapland this Christmas Why British Jews are experiencing their biggest change in 60 years Minutes silence held to remember Bondi Beach attack victims US seizes vessel in international waters off Venezuelas coast, officials say Universal could take on Disneyland Paris and Europe theme parks

Morse code transcription: vvv vvv Why British Jews are experiencing their biggest change in 60 years Hong Kong billionaire Jimmy Lai tested Chinas limits. It cost him his freedom US seizes vessel in international waters off Venezuelas coast, officials say Enjoying Christmas with our boys is how Ill honour Zo s memory Strictly Come Dancing 2025 final Winners crowned after Amber Davies, Karen Carney and George Clarke perform one last time Tony Hudgell takes 26 families to visit Lapland this Christmas Weight loss jabs What happens when you stop taking them Minutes silence held to remember Bondi Beach attack victims Trail hunting to be banned as part of new animal welfare strategy Universal could take on Disneyland Paris and Europe theme parks

Morse code transcription: vvv vvv Weight loss jabs What happens when you stop taking them Minutes silence held to remember Bondi Beach attack victims US seizes vessel in international waters off Venezuelas coast, officials say Enjoying Christmas with our boys is how Ill honour Zo s memory Why British Jews are experiencing their biggest change in 60 years Strictly Come Dancing 2025 final Winners crowned after Amber Davies, Karen Carney and George Clarke perform one last time Tony Hudgell takes 26 families to visit Lapland this Christmas Universal could take on Disneyland Paris and Europe theme parks Hong Kong billionaire Jimmy Lai tested Chinas limits. It cost him his freedom Trail hunting to be banned as part of new animal welfare strategy

Advent Love 2025   Mark 12:26-27 ESV   26 And as for the dead being raised, have you not read in the book of Moses, in the passage about the bush, how God spoke to him, saying, 'I am the God of Abraham, and the God of Isaac, and the God of Jacob'? 27 He is not God of the dead, but of the living. You are quite wrong."       Mark 12:28-31 ESV   28 And one of the scribes came up and heard them disputing with one another, and seeing that he answered them well, asked him, "Which commandment is the most important of all?" 29 Jesus answered, "The most important is, 'Hear, O Israel: The Lord our God, the Lord is one.30 And you shall love the Lord your God with all your heart and with all your soul and with all your mind and with all your strength.' 31 The second is this: 'You shall love your neighbor as yourself.' There is no other commandment greater than these."       Galatians 5:22-23 ESV   22 But the fruit of the Spirit is love, joy, peace, patience, kindness, goodness, faithfulness, 23 gentleness, self-control; against such things there is no law.       John 13:34-35 ESV   34 A new commandment I give to you, that you love one another: just as I have loved you, you also are to love one another. 35 By this all people will know that you are my disciples, if you have love for one another."         John 8:48b ESV   "Are we not right in saying that you are a Samaritan and have a demon?"       Luke 6:27-28, 32, 35-36 ESV   27 "But I say to you who hear, Love your enemies, do good to those who hate you, 28 bless those who curse you, pray for those who abuse you.       32 "If you love those who love you, what benefit is that to you? For even sinners love those who love them…       35 But love your enemies, and do good, and lend, expecting nothing in return, and your reward will be great, and you will be sons of the Most High, for he is kind to the ungrateful and the evil. 36 Be merciful, even as your Father is merciful.       John 3:16 ESV   16 "For God so loved the world, that he gave his only Son, that whoever believes in him should not perish but have eternal life.       1 John 4:8 ESV   8 Anyone who does not love does not know God, because God is love       James 2:14-17 ESV   14 What good is it, my brothers, if someone says he has faith but does not have works? Can that faith save him? 15 If a brother or sister is poorly clothed and lacking in daily food, 16 and one of you says to them, "Go in peace, be warmed and filled," without giving them the things needed for the body, what good is that? 17 So also faith by itself, if it does not have works, is dead.       Galatians 5:6 ESV   6 For in Christ Jesus neither circumcision nor uncircumcision counts for anything, but only faith working through love.       1 John 3:16-18 ESV   16 By this we know love, that he laid down his life for us, and we ought to lay down our lives for the brothers. 17 But if anyone has the world's goods and sees his brother in need, yet closes his heart against him, how does God's love abide in him? 18 Little children, let us not love in word or talk but in deed and in truth.       "Agape love is the greatest virtue of the Christian life. Yet that type of love was rare in pagan Greek literature. That's because the traits agape portrays—unselfishness, self-giving, willful devotion, concern for the welfare of others—were mostly disdained in ancient Greek culture as signs of weakness. However, the New Testament declares agape to be the character trait around which all others revolve. (MacArthur, J. The Power of Integrity : Building a Life Without Compromise, page 133. Wheaton, Ill.: Crossway Books)       1 Corinthians 13:1-7, 13 NIV   If I speak in the tongues of men or of angels, but do not have love, I am only a resounding gong or a clanging cymbal. 2 If I have the gift of prophecy and can fathom all mysteries and all knowledge, and if I have a faith that can move mountains, but do not have love, I am nothing. 3 If I give all I possess to the poor and give over my body to hardship that I may boast, but do not have love, I gain nothing. 4 Love is patient, love is kind. It does not envy, it does not boast, it is not proud. 5 It does not dishonor others, it is not self-seeking, it is not easily angered, it keeps no record of wrongs. 6 Love does not delight in evil but rejoices with the truth. 7 It always protects, always trusts, always hopes, always perseveres.       13 And now these three remain: faith, hope and love. But the greatest of these is love.      

Fluent Fiction - Hungarian: Blizzards & Bonds: Áron's Winter Journey of Friendship Find the full episode transcript, vocabulary words, and more:fluentfiction.com/hu/episode/2025-12-21-23-34-02-hu Story Transcript:Hu: A téli szél süvített a mezők felett, hófúvást kavarva az áramlatokba.En: The winter wind howled over the fields, stirring snow drifts into the currents.Hu: Áron a kis családi farmon Budapest mellett keményen dolgozott.En: Áron worked hard on the small family farm near Budapest.Hu: A földet hó borította, de Áron lelki szemei előtt már a tavaszi vetés élt.En: The ground was covered in snow, but in Áron's mind's eye, the spring sowing was already alive.Hu: A karácsony közeledett, és Áron abban reménykedett, hogy a barátaival ünnepelheti, de előbb be kellett fejeznie a munkát.En: As Christmas approached, Áron hoped to celebrate with his friends, but first, he had to finish his work.Hu: Áron édesapja emlékére oldotta meg a farm ügyes-bajos dolgait.En: In memory of his father, Áron took care of the farm's various affairs.Hu: Az édesanyja gyakran mondta: „Légy türelmes és kitartó.En: His mother often said, "Be patient and persistent."Hu: ” De most extra kihívások előtt állt.En: But now, he faced extra challenges.Hu: A meteorológusok havazást jósoltak, és az előttük álló munka nehezedett a vállára.En: Meteorologists predicted snowfall, and the work ahead weighed heavily on his shoulders.Hu: A kis Lilla, Áron húga, ott ugrándozott körülötte a hóesésben.En: Little Lilla, Áron's sister, was hopping around him in the snowfall.Hu: „Segíthetek?En: "Can I help?"Hu: ” kérdezte mosolyogva, kis arca pirosló a hidegtől.En: she asked with a smile, her little face reddened by the cold.Hu: Lilla mindig jókedvű és segítőkész volt.En: Lilla was always cheerful and helpful.Hu: Áron hálás volt a húgáért, aki mosolyt tudott csalni az arcára még a nehezebb napokon is.En: Áron was grateful for his sister, who could bring a smile to his face even on the tougher days.Hu: Ebben a vidékies csendeségben váratlanul megjelent Bálint, Áron legjobb barátja.En: In this rural quiet, Bálint, Áron's best friend, unexpectedly appeared.Hu: „Áron, gyere, csináljunk egy jó nagy hóembert!En: "Áron, come on, let's make a big snowman!"Hu: ” kiáltotta Bálint, az arca izgatottságtól ragyogott.En: shouted Bálint, his face shining with excitement.Hu: Áron sóhajtott, tudta, hogy a baráti alkalmak ezekben a nehéz időkben mennyire lényegesek, de a hóvihar híre jelentőséggel bírt.En: Áron sighed; he knew how important these friendly moments were in hard times, but the news of the snowstorm held significance.Hu: „Lehet, hogy segítened kell nekünk,” mondta csöndesen.En: "You might need to help us," he said quietly.Hu: Bálint, bár kissé csalódott, egy bólogatással jelezte, hogy készen áll.En: Although slightly disappointed, Bálint nodded to show he was ready.Hu: Ahogy visszatértek a gazdaság épületéhez, a szél erősebb lett.En: As they returned to the farm building, the wind grew stronger.Hu: A hó már vastag réteggel fedte a felszíneket.En: The snow was already covering the surfaces with a thick layer.Hu: Áron, Lilla és Bálint gyorsan nekifogtak a munkának.En: Áron, Lilla, and Bálint quickly set to work.Hu: Az ólak előtti részt tisztították, a szénát összehordták, s közben Lilla néha nevetve hópelyheket kapott el a nyelvével.En: They cleared the area in front of the sheds, gathered hay, and meanwhile, Lilla occasionally caught snowflakes on her tongue with laughter.Hu: A vihar csak fokozódott, és Áronnak döntést kellett hoznia.En: The storm only intensified, and Áron had to make a decision.Hu: Rendesen a családi farm, vagy a barátok vártak segítségére, de most az első helyen a farm védelme állt.En: Usually, the family farm or his friends awaited his help, but now protecting the farm took precedence.Hu: "Álljunk meg egy pillanatra," mondta Áron.En: "Let's pause for a moment," said Áron.Hu: "Csoportosítsunk, ki mit csinál.En: "Let's regroup, so we know who does what.Hu: Így hamarabb végzünk.En: That way, we'll finish faster."Hu: "Lilla és Bálint bólintottak, és így is tettek.En: Lilla and Bálint nodded and did just that.Hu: Az összefogás ereje csodákat művelt.En: The power of teamwork worked wonders.Hu: Órák múltán a feladatok végezve voltak.En: Hours later, the tasks were completed.Hu: A nap már alábukott, de a három fiatal a munkájával egy meleg ház várta vissza őket.En: The sun had already set, but the three young people were awaited by a warm house for their work.Hu: Karácsony estéjén a kandalló melege körül az Illés család boldogan ülte körül az asztalt.En: On Christmas Eve, around the warmth of the fireplace, the Illés family happily gathered around the table.Hu: Áron hálásan tekintett Lillára és Bálintra, akik nélkül most nem tudna élvezni a kikapcsolódást.En: Áron looked gratefully at Lilla and Bálint, without whom he wouldn't be able to enjoy the relaxation.Hu: Az asztalon a sült tök illata keveredett a fenyőágéval.En: On the table, the smell of roasted pumpkin mingled with that of pine branches.Hu: Áron megértette, hogy a család és barátság az, ami igazán számít.En: Áron understood that family and friendship are what truly matter.Hu: Felelősség és kötelesség, de a szeretet ereje kíséri útján.En: With responsibility and duty, the power of love accompanies him on his journey.Hu: A hóesésen túl, az egymásba fonódó kezek ereje átmelegítette a téli estét.En: Beyond the snowfall, the strength of interlocked hands warmed the winter evening.Hu: A karácsonyi csillogás kötette őket össze, mindenkire emlékeztette az ünnep valódi értékét.En: The sparkle of Christmas bound them together, reminding everyone of the true value of the holiday. Vocabulary Words:howled: süvítettstirring: kavarvacurrents: áramlatoksowing: vetésaffairs: ügyes-bajospersistent: kitartóchallenges: kihívásokpredicted: jósoltakweighed: nehezedetthopping: ugrandozottreddened: piroslócheerful: jókedvűrural: vidékiesquiet: csendeségunexpectedly: váratlanulsignificance: jelentőséggeldisappointed: csalódottmeanwhile: közbencatch: kapott eldecision: döntéstprecedence: első helyenregroup: csoportosítsunkwonder: csodákatgathered: összehordtákintensified: fokozódottduty: kötelességinterlocked: egymásba fonódósparkle: csillogásmingle: keveredettgratefully: hálásan

On this episode of Conservation Ag Update, brought to you by Bio-Till Cover Crops, Cambridge, Ill., no-tiller Monte Bottens explains why the USDA's recently announced $700 million commitment to regenerative ag is a big deal for the no-till and soil health movement.

Join Dom, ILL, and Q as Say Whats Reel dives into the 1994 crime drama The Glass Shield, written and directed by Charles Burnett. Starring Michael Boatman, Ice Cube, Lori Petty, and Elliott Gould, this tense thriller follows rookie deputy J.J. Johnson as he discovers corruption running through the sheriff's department—and how deep the “blue wall of silence” really goes.We break down: The film's themes of racism, abuse of power, and institutional corruption Ice Cube's role and how it fits into his early acting era Why Charles Burnett doesn't get enough credit The film's impact, realism, and whether it still holds up today Drop your thoughts in the comments—underrated classic or forgotten '90s gem00:00:00 In this video00:02:43 Non glass shield related00:14:29 The glass shield review01:04:43 Wrap up notes01:05:04 facts about glass shield

Dom, ILL, and Q head deep into the jungle as Say Whats Reel reviews the wild 1995 adventure Congo, directed by Frank Marshall and based on Michael Crichton's novel. From talking gorillas to laser-blasting chaos, this movie swings between campy fun and full-blown '90s insanity.In this episode, we break down: The movie's legendary mix of sci-fi, adventure, and pure WTF moments Amy the gorilla: adorable or nightmare fuel? Tim Curry's hilarious accent (you know the one) How the film compares to other Crichton adaptations Whether Congo deserves its cult “so bad it's good” reputation Let us know your favorite Congo moment in the comments—gorilla fights? Lava? That wild finale00:00:00 In This Video00:09:52 Non Congo Related00:21:17 Congo review01:00:16 facts about Congo01:02:31 Next week films

Gotham gets neon, chaotic, and downright wild as Dom, ILL, and Q slide into Batman Forever (1995) — the third film in the Batman series and the first to bring Val Kilmer under the cape and cowl.Directed by Joel Schumacher and produced by Tim Burton, this movie delivers big villains, big performances, and even bigger vibes with Jim Carrey's Riddler and Tommy Lee Jones' Two-Face going full 90s madness. Meanwhile, Batman tries to keep his identity safe, catch these villains, deal with his new therapist/love interest Dr. Chase Meridian (Nicole Kidman), AND adopt an acrobat turned vigilante: Dick Grayson / Robin (Chris O'Donnell).In this episode, we break down: Val Kilmer's take on Batman Jim Carrey's legendary over-the-top Riddler Two-Face's chaotic energy The glowing, toy-commercial Gotham And whether Batman Forever holds up in 2025

"Of all the books in the OT, Isaiah is perhaps the richest. Its literary grandeur is unequaled. Its scope is unparalleled. The breadth of its view of God is unmatched. In so many ways it is a book of superlatives. Thus, it is no wonder that Isaiah is the most quoted prophet in the NT, and along with Psalms and Deuteronomy, one of the most frequently cited of all OT books. Study of it is an opportunity for unending inspiration and challenge…it comes to us as a word from God, a revelation of the inevitable conflict between divine glory and human pride, of self-destruction which that pride must bring, and of the grace of God in restoring that destroyed humanity to himself. To read the book with the open eyes of the spirit is to see oneself, at times all too clearly, but also to see God whose holiness is made irresistible by his love." - Dr. John Oswalt from his two-volume commentary on the book of Isaiah. Dr. John Oswalt is our very special guest this week and next on Apologetics Profile. He will be taking us through some of the highlights of this magisterial theological work. His insights will better equip you to give a defense to non-believers who doubt the history and authorship of Isaiah. Dr. John Oswalt Asbury served on the faculty of Asbury Theological seminary from 1970 to 1982 as professor of Old Testament and Semitic languages, and again from 1989 to 1999 as Professor of Old Testament. He rejoined Asbury in 2009 as visiting distinguished professor of Old Testament studies. He has also served as research professor of Old Testament at Wesley Biblical Seminary in Jackson, Miss., from 1999 to 2009, was president of Asbury College from 1983 to 1986, a member of the faculty of Trinity Evangelical Divinity School in Deerfield, Ill., from 1986 to 1989, and  Interim President of Wesley Biblical Seminary, Ridgeland, MS from April 2019 through March 2020.He is the author of 16 books, most notable of which is the two-volume commentary on the book of Isaiah in the New International Commentary of the Old Testament. His most recent book is The Holy One of Israel: Studies in the Book of Isaiah, released in 2014. He has also written numerous articles that have appeared in Bible encyclopedias, scholarly journals and popular religious periodicals. Dr. Oswalt is an ordained minister in the United Methodist Church, with membership in the Kentucky Annual Conference. He has served as a part-time pastor in congregations in New England and Kentucky, and is a frequent speaker in conferences, camps and local churches. Oswalt received a B.A. from Taylor University; a B.D. and Th.M. from Asbury Seminary; and a M.A. and Ph.D. from Brandeis University.The Bible Among the Myths Isaiah CommentaryResources from Watchman Fellowship Watchman Fellowship 4-page Profile on Bart Ehrman by Dr. Rhyne Putman: www.watchman.org/Ehrman FREE: We are also offering a subscription to our 4-page bimonthly Profiles here: www.watchman.org/Free.The complete Profile Notebook (Digital Edition, PDF, over 600-pages): www.watchman.org/DigitalNotebookSUPPORT: Help us create more content like this. Make a tax-deductible donation here: www.watchman.org/give.Apologetics Profile is a ministry of Watchman Fellowship For more information, visit www.watchman.org © 2025 Watchman Fellowship, Inc.

El 12 de diciembre de 1915, en Hoboken, pequeña ciudad del estado de Nueva Jersey, nació el que probablemente haya sido el mayor 'crooner' de la historia: Frank Sinatra. Escuchamos su voz en 'My way' -la adaptación al inglés que hizo Paul Anka de 'Comme d´habitude' de Claude François- y 'What my love' -letra en inglés para 'Et maintenant' de Bécaud-, en su disco conceptual de hace 70 años con arreglos de Nelson Riddle 'In the wee small hours' ('In the wee small hours of the morning', 'I get along without you very well', 'What is this thing called love', 'Can´t we be friends', 'I´ll be around', 'Ill wind'), y en las grabaciones de 1967 con Jobim de 'Dindi', 'Quiet nights (Corcovado)', 'Meditação (Meditation)', 'How insensitive (Insensatez)', 'Bonita', 'Wave', 'Quiet nights'/'Change partners'/'I concentrate on you'/'The girl from Ipanema') y en 'Come fly with me'. Escuchar audio

TJIF. We kick things off with some Ill-Advised tales of pepper spraying the DoorDash food and a lot of counterfeit money. We have some sticky shoes, Can't Beat Cassiday, and Rage Friday. We try and predict what traditions will die out, have another Ill with Florida people doing Florida things, and a man with an amazing name on his arrest affidavit. Support the show and follow us here Twitter, Insta, Apple, Amazon, Spotify and the Edge!See omnystudio.com/listener for privacy information.

Dave Specter didn't pick up a guitar till his late teens, yet in his 20s he was Son Seals' rhythm guitarist for two years, and soon he was a bandleader himself. Specter grew up amid Chicago's blues scene and became one of its great players and ambassadors. Here he recalls the glory days of Chicago's blues clubs and the varying vibes. He recounts the evolution of his sound and his progression of guitars. He explains how he creates a solo and why, after years of playing mostly instrumentals with the occasional guest vocalist, he began singing. He tells how his recently released “The Times They Are Deranging (The Buck Stops Where?)” fits in with the songs of conscience he always has admired. And he offers the origin story of Space, the excellent, musician-friendly Evanston, Ill. club where he's a partner. (Photo by Mike Hoffman)

In this episode of For The Dads with Former NFL Linebacker Will Compton, hosts Will and Sherm talk about their recent morning struggles, reply to a comment from an MLB player, and talk through the commonality of men not understanding what their wives actually are saying — all while keeping the episode fun, light and of course, under an hour. The episode kicks off with Will getting a late start to his day and almost sleeping through the episode before they dive into some hilarious conversations, including: Chef and Derrik not receiving a Compton Christmas Card Answers to the question “What do I talk to my kid about during bathtime”? A Dad-Hack to keep your Christmas Tree safe from the kiddos Other highlights include: A Christmas Themed Lesson of the Week Rue conquers her fear of Santa!

We have a woman with an interesting choice to store her pills and a man with a musket in the Ill-Advised News. We hear the most epic theme song for a competition that is probably seen as mild, Can’t Beat Cassiday, and the tales of how it went wrong whole staying at mom and dad’s house. We hear a Sabres goal montage, play the game “Black, White, or Gray”, and have a 2nd Ill with a man who blamed aliens and a drone delivery of the finest ingredients. Support the show and follow us here Twitter, Insta, Apple, Amazon, Spotify and the Edge! See omnystudio.com/listener for privacy information.

This fall, the Department of Homeland Security descended on the Greater Chicago area as part of an aggressive immigration enforcement campaign targeting Democratic-run cities.  Scott Sakiyama joins Lindsay Langholz to discuss his experiences organizing and engaging in efforts to combat authoritarian tactics used by federal agents, what activists in other cities can learn from Chicago, and the importance of taking action now.Join the Progressive Legal Movement Today: ACSLaw.orgHost: Lindsay Langholz, Senior Director of Policy and ProgramGuest: Scott Sakiyama, Oak Park, Ill. Attorney and ActivistLink: Oak Park attorney arrested near school says federal agents pointed gun at him, had ‘Chiraq Team 2' group chat, by Rebecca Johnson Link: Order and Opinion, Chicago Headline Club v. Noem (Judge Ellis)Link: Volunteer patrols and the PTA at school entrances: How some Charlotte residents are mobilizing amid the immigration crackdown, by Dalla Faheld, Andy Buck, & Dianne Gallagher   Visit the Podcast Website: Broken Law Podcast Email the Show: Podcast@ACSLaw.org Follow ACS on Social Media: Facebook | Instagram | Bluesky | LinkedIn | YouTube -----------------Broken Law: About the law, who it serves, and who it doesn't.----------------- Production House: Flint Stone Media Copyright of American Constitution Society 2025.

On this episode of the Strip-Till Farmer podcast, brought to you by Yetter Farm Equipment, Bryan Severs, who no-tills non-GMO soybeans and strip-tills corn across 5,000 acres in Potomac, Ill., shares his program for raising high-yielding soybeans.

On today's episode of the America's Work Force Union Podcast, Paul Nolley, Executive Director of Project First Rate, joined the show to shine a light on his organization's approach to promoting union construction in Rockford, Ill. and surrounding counties. Project First Rate is a partnership between union contractors and tradespeople, focusing on quality craftsmanship, apprenticeship opportunities and community impact. On this episode of the America's Work Force Union Podcast, Jody Calemine, Director of Advocacy for the AFL-CIO, gave listeners a detailed look at the ongoing fight to restore collective bargaining rights for federal workers. He highlighted the Protect America's Workforce Act and the legislative process currently underway to pass the bill in Congress.

The balance between applying the gas pedal and the brake — that's what Barb Downey has spent her career as an Angus breeder perfecting. She and her family ranch near Manhattan, Kan., where they work hard each year to make their “built for the long haul” tagline true. The cattle they breed have to last, and their business plans ensure their ranch will, too. Downey talks about her “safe to fail” approach to innovation, why being replaceable is a good thing and the key to being a good business partner.  HOSTS: Miranda Reiman and Mark McCullyGUEST: Barb DowneyBarb Downey and her husband, Joe Carpenter, manage a family Angus seedstock operation near Manhattan, Kan. A graduate of Kansas State University, Barb has served as president of the Kansas Livestock Association and president of the Kansas Angus Association.At Downey Ranch Inc., they focus on using science-based tools, conserving their resources and leading their customers toward meeting the beef demand of the future. They are founding members of U.S. Premium Beef, 2025 Environmental Stewardship Award Winners and were named Beef Improvement Federation's Commercial Producer of the Year in 2010.RELATED CONTENT:The Symphony's Final NoteFire: An Ally to Flint Hills RanchersSPONSOR:Join Cardinal Cattle Company on Dec. 13, in Wyoming, Ill., for their annual Program Female Sale. At Cardinal, the emphasis is always on all-around quality, longevity and balance. They'll offer 105 premium bred females at their all-new sale facility. Learn more at cardinalcattlecompany.com Don't miss news in the Angus breed. Visit www.AngusJournal.net and subscribe to the AJ Daily e-newsletter and our monthly magazine, the Angus Journal.

Most people think you need sweat, strain, or long workouts to upgrade circulation, metabolism, and energy. What if your body could unlock all of that while you stand still? This episode reveals how to get a full body workout by doing absolutely nothing, and why a few minutes of targeted vibration can activate nitric oxide, improve microcirculation, calm your nervous system, and relieve the hidden damage from sitting all day. Host Dave Asprey shows you why the simplest biohack in the room might be the most powerful one you are not using. Watch this episode on YouTube for the full video experience: https://www.youtube.com/@DaveAspreyBPR Host Dave Asprey sits down with Dr. Tommy Rhee, DC, a board-certified chiropractor known for his innovative approach to sports medicine and regenerative therapy. Dr. Rhee has treated professional athletes, starting NFL quarterbacks, and everyday people who want better mobility and faster recovery. He served as the official team chiropractor for the Tampa Bay Buccaneers and worked with multiple UCLA athletic programs. He also created RheeGen, a patent-pending topical transdermal stem cell cream that introduces a non-invasive path to tissue repair and pain relief. His book, The Future of Regenerative Medicine, outlines how topical stem cell treatments can transform performance and healing. Dr. Rhee's background as a U.S. Navy aircrew member aboard S-3 Viking jets gives him a precision-driven understanding of human performance, resilience, and stress adaptation. In this episode, Dr. Rhee explains why whole body vibration works as a cheat code for circulation, fascia mobility, balance, mood, and nitric oxide activation. He shows how vibration increases microcirculation in places your workouts never reach, why it boosts lymphatic flow better than walking, and how it sends rapid-fire sensory signals that improve proprioception and stress recovery. You also learn why older adults benefit even more from this simple tool, how athletes use it as a warmup to conserve energy, and why three plane vibration dramatically outperforms cheap two dimensional devices. Dave and Dr. Rhee show you how to pair vibration with fasting, ketosis, nootropics, supplements, Danger Coffee, and Smarter Not Harder style training for maximum biohacking efficiency. You'll Learn: • How to mimic the benefits of a full workout while standing still • Why nitric oxide drives circulation, longevity, and metabolic health • How vibration accelerates lymphatic drainage and clears stagnation • Why whole body vibration improves balance, sensory speed, and neuroplasticity • How athletes warm up with vibration to protect energy reserves • Why triplanar vibration beats two dimensional devices for real results • How vibration supports pelvic floor strength and erectile function • How to use vibration for joint protection, fascia mobility, and mitochondrial activation • The daily protocol Dr. Rhee uses for stress relief, mood, and brain optimization Dave Asprey is a four-time New York Times bestselling author, founder of Bulletproof Coffee, and the father of biohacking. With over 1,000 interviews and 1 million monthly listeners, The Human Upgrade brings you the knowledge to take control of your biology, extend your longevity, and optimize every system in your body and mind. Each episode delivers cutting-edge insights in health, performance, neuroscience, supplements, nutrition, biohacking, emotional intelligence, and conscious living. New episodes are released every Tuesday, Thursday, Friday, and Sunday (BONUS). Dave asks the questions no one else will and gives you real tools to become stronger, smarter, and more resilient. Keywords: vibration plate benefits, power plate workout, whole body vibration therapy, nitric oxide boost naturally, improve circulation fast, lymphatic drainage at home, fix leg swelling quickly, better than walking workout, passive exercise machine, joint friendly fitness, biohacking circulation hack, vibration plate for balance, how to increase microcirculation, proprioception training at home, vibration plate for seniors, rebounder vs vibration plate, fix poor circulation in legs, vibration therapy recovery, power plate warmup routine, best vibration plate for home use **Discount on your next Power Plate: https://powerplate.com/dave ** Resources: • Power Plate Website: https://powerplate.com/dave• Dr. Tommy Rhee's Website: https://rheegen.com/ • Dave Asprey's Latest News | Go to https://daveasprey.com/ to join Inside Track today. • Danger Coffee: https://dangercoffee.com/discount/dave15 • My Daily Supplements: SuppGrade Labs (15% Off) • Favorite Blue Light Blocking Glasses: TrueDark (15% Off) • Dave Asprey's BEYOND Conference: https://beyondconference.com • Dave Asprey's New Book – Heavily Meditated: https://daveasprey.com/heavily-meditated • Upgrade Collective: https://www.ourupgradecollective.com • Upgrade Labs: https://upgradelabs.com • 40 Years of Zen: https://40yearsofzen.com Timestamps: 0:00 - Trailer 0:45 - Introduction: Whole Body Vibration 2:12 - Biological Activation Explained 4:05 - Nitric Oxide and Circulation 5:57 - Power Plate vs Walking 8:19 - Shearing Force and Fascia 11:25 - Planking and Exercise Variations 13:31 - Common Mistakes 15:03 - Microcirculation and Lymphatics 19:02 - Benefits for Young Athletes 22:15 - Types of Vibration Machines 25:21 - Proprioception and Balance 27:08 - Pro Athletes and Warm-Up 34:08 - Benefits for Women 35:35 - Benefits for Men 36:13 - Mood and Stress Relief 37:21 - Power Plate Deal and Recommendations 38:53 - Frequency Settings 40:58 - Power Plate vs Rebounder 44:03 - Usage for Ill or Elderly 46:53 - Closing Thoughts See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Send us a textJayne Amelia speaks with Jenny Serrano, a former foster youth  and now administrator at DCFS. Exiting foster care in the 1990s after spending six years in the child welfare system left an indelible mark on Jenny Serrano. Ill-prepared for the responsibilities that came with living on her own, she struggled.“After I left care, I was homeless, lived in a shelter and remained precariously housed until I finished graduate school,” Jenny said. “When I exited care, there weren't a lot of opportunities available or even a broad awareness of what youth needed.”Since that time, however, assistance for youth exiting care has evolved significantly, in large part due to input from Jenny and others with lived experience.Now a children services administrator with the Los Angeles County Department of Children and Family Services (DCFS), Jenny works tirelessly to support older youth and prepare them for the transition into adulthood.Jenny and her dedicated team of nine staff members in the Youth Development Services (YDS) Division manage a number of workforce initiatives through partnerships with other agencies that aim to help current and former foster youth gain job experience through subsidized employment and internships.For example, Jenny recalls a young mother who completed 400 hours of work experience as a recreation leader at a local city park through the Bridge to Work program. She was later hired full time by the program, allowing her to get her own apartment and purchase her first car.“Many of our youth are entirely responsible for their own financial well-being as soon as they exit care,” Jenny said. “Employment preparation and career exposure are essential to ensuring the success of young adults.”Although research shows that work experience prior to age 18 dramatically improves later employment outcomes, nearly 90 percent of foster youth in California do not have a job at age 17, according to the National Youth in Transition Database. Data further reveals that more than 40 percent of these young people are still unemployed when they turn 21.To address this issue, YDS employment programs provide youth with pre-work training in various soft skills, such as communication, attitude, teamwork and critical thinking, followed by paid work experience supervised by a case manager and an employer. DCFS also offers paid internships within the department, as well as project-based internships for academic credit.Earlier this year, Jenny and her team received an award from the Los Angeles County Quality and Productivity Commission for developing and implementing an automated referral system that links DCFS to a network of more than 40 job centers. Thanks to the team's ingenuity, the likelihood of future employment for current and former foster youth has greatly increased.Reflecting on her own experience, Jenny is motivated by the memory of one committed DCFS coordinator who supported her as she struggled to find her footing. “He always took my calls from payphones at odd hours and always had a pocket full of quarters to give me for my laundry,” she said. “I think of him and show up every day the way I wish more people would have showed up for me.”See bonusbabies.org to learn more about what we are doing and please donate to support us by making a 100% tax-deductible contribution. EVERY PENNY OF YOUR CONTRIBUTION GOES TO RECORDING AND PLATFORMING THESE STORIES. Yeah!IG@bonusbabiespodcastTW@BonusBabiesPodFB@BonusBabiesPodcast

Angel Studios https://Angel.com/HermanJoin the Angel Guild today and know you are not just watching, you're helping make bold, faith driven stories like Disciples in the Moonlight possible. That's Angel.com/HermanBizable https://GoBizable.comUntie your business exposure from your personal exposure with BiZABLE.  Schedule your FREE consultation at GoBizAble.com today. Renue Healthcare https://Renue.Healthcare/ToddYour journey to a better life starts at Renue Healthcare. Visit https://Renue.Healthcare/Todd Bulwark Capital https://KnowYourRiskPodcast.comRegister now for the free Review/Preview Webinar November 20th 3:30pm Pacific, schedule your free Know Your Risk Portfolio Review, and subscribe to Zach's Daily Market Recap at (SLOW) Know Your Risk Podcast dot com. Alan's Soaps https://www.AlansArtisanSoaps.comUse coupon code TODD to save an additional 10% off the bundle price.Bonefrog https://BonefrogCoffee.com/toddThe new GOLDEN AGE is here!  Use code TODD at checkout to receive 10% off your first purchase and 15% on subscriptions.LISTEN and SUBSCRIBE at:The Todd Herman Show - Podcast - Apple PodcastsThe Todd Herman Show | Podcast on SpotifyWATCH and SUBSCRIBE at: Todd Herman - The Todd Herman Show - YouTubeI am overwhelmed by the degree to which the Democrats and the Mockingbird Media have succeeded in creating a lot of murderous hearts.Episode Links:Evanston, Ill. (Oct. 31) — Far-left extremists crashed into a DHS vehicle to try to stop immigration officials. One of the rioters even opened the door to try to help a suspect escape.  Leftists and Democrats have been urging insurrection against U.S. government officials to stop immigration enforcement.Wow. Kat Abughazaleh couldn't handle questions from Tara Palmieri about having been indicted on federal charges for a violent ICE protest and just quit the interviewFormer Antifa Member Speaks Out: “It's a White Boy Jihad”. Ty, a former Antifa member from Portland, says he spent two years inside what he calls “an organization 100,000%.”Antifa Unmasked: Alistair MacFarlane Sidener; A violent Portland Trantifa militant who has taken significant steps to hide his identity has now been unmaskedWoke ex-Oregon county commissioner flees country with son ahead of trial after bailing out on theft charges; Fireside resigned earlier this year after she was indicted on the charges relating to the theft.Let's make this [horribly agry, captured woman] famous.  She is Haley McKnight, Helena, Montana City Commissioner candidate. Tucker Carlson wants your wife and daughter to wear trash bags so he can leave his keys inside his Lamborghini.

You can. And ICE's aggressive tactics are inviting legal challenges from protesters. But some recent court rulings will make it hard for them to win. This episode was produced by Danielle Hewitt and Kelli Wessinger, edited by Amina Al-Sadi, fact-checked by Laura Bullard, engineered by Adriene Lilly, and hosted by Noel King. A federal immigration enforcement agent sprays Rev. David Black as he and other protesters demonstrate outside the ICE facility in Broadview, Ill. Photo by Ashlee Rezin/Chicago Sun-Times via AP. Listen to Today, Explained ad-free by becoming a Vox Member: vox.com/members. New Vox members get $20 off their membership right now. Transcript at ⁠vox.com/today-explained-podcast.⁠ Learn more about your ad choices. Visit podcastchoices.com/adchoices

After a federal judge blocked the deployment of National Guard troops to Chicago, Donald Trump asks the Justices to intervene, arguing that violent protests at an immigration site in Broadview, Ill., have left the government unable to enforce the law. Plus, as universities reject the administration's "compact" for reforming higher ed, how will the White House respond? Learn more about your ad choices. Visit megaphone.fm/adchoices

Changing things up a little and doing a Workshop Week. Ill be posting a (single episode) full workshop daily for seven days. Assorted topics and lengths. Workshop 6 of 7. Bob S, sober in 1975 conducts a 2.5 hour workshop on AA History in July of 2014 at an unknown event. Support Sober Cast: https://sobercast.com/donate Email: sobercast@gmail.com Sober Cast has 3000+ episodes available, visit SoberCast.com to access all the episodes where you can easily find topics or specific speakers using tags or search. https://sobercast.com