Podcasts about 'somebody

Ashley C. Ford's father was incarcerated when she was too young to remember, and she was 30 when he got out. For many of those years, no one told her what his crime was. When she was in her teens, not longer after she'd been raped by a boyfriend, she was shocked to learn her father had been convicted of rape. Her memoir is 'Somebody's Daughter.'Jazz critic Kevin Whitehead reviews a newly released recording of a 1969 Sarah Vaughan concert.Also, we'll hear from former flight attendant T.J. Newman. Her 10 years working crowded cabins informed her debut novel, 'Falling.' It's a thriller about a flight from LA to New York, in which the pilot learns a terrorist plans to kill his family unless he crashes his plane.

Ashley C. Ford's father was incarcerated when she was too young to remember, and she was 30 when he got out. For many of those years, no one told her what his crime was. When she was in her teens, not longer after she'd been raped by a boyfriend, she was shocked to learn her father had been convicted of rape. Her memoir is 'Somebody's Daughter.'Jazz critic Kevin Whitehead reviews a newly released recording of a 1969 Sarah Vaughan concert.Also, we'll hear from former flight attendant T.J. Newman. Her 10 years working crowded cabins informed her debut novel, 'Falling.' It's a thriller about a flight from LA to New York, in which the pilot learns a terrorist plans to kill his family unless he crashes his plane.

For most of Ashley C. Ford's life, her father was incarcerated for rape. This was especially traumatizing for Ford, as she herself is a survivor of sexual assault. Her new bestselling memoir 'Somebody's Daughter' details her evolving relationship with her father and her own body. "I'm in love with my humanity. I love being a human. I do," she says. "The range of emotions is terrifying and beautiful. The range of actions are terrifying and beautiful that a human can experience, and some of my experiences suck really, really bad. A lot of them are fantastic." Also John Powers reviews the second season of the Netflix series 'Lupin.'

For most of Ashley C. Ford's life, her father was incarcerated for rape. This was especially traumatizing for Ford, as she herself is a survivor of sexual assault. Her new bestselling memoir 'Somebody's Daughter' details her evolving relationship with her father and her own body. "I'm in love with my humanity. I love being a human. I do," she says. "The range of emotions is terrifying and beautiful. The range of actions are terrifying and beautiful that a human can experience, and some of my experiences suck really, really bad. A lot of them are fantastic." Also John Powers reviews the second season of the Netflix series 'Lupin.'

In this episode I had the chance to chat with Rachel about her journey with mental health. Rachel is working hard in the Black Community to help improve awareness and the conversation of mental health. Through sharing her own experience of high functioning Depression and Anxiety she is helping one conversation at a time. In April 2021 Rachel delivered a powerful TEDx NHS talk - 'Somebody must go first' - https://youtu.be/9W2voOPrLi0

Paul Casey: Too many priorities means you have no priorities, because then you're making everything a priority. Speaker 2: Raising the water level of leadership in the Tri-Cities of Eastern Washington, it is the Tri-Cities Influencer Podcast. Welcome to the TCI podcast, where local leadership and self-leadership expert Paul Casey interviews local CEOs, entrepreneurs, and non-profit executives to hear how they lead themselves and their teams, so we can all benefit from their wisdom and experience. Here's your host, Paul Casey of Growing Forward Services, coaching and equipping individuals and teams to spark breakthrough success. Paul Casey: It's a great day to grow forward. Thanks for joining me for today's episode with Lisa Godwin. Lisa is the Women and Children's Shelter director of the Tri-City Union Gospel Mission, and author and speaker. And I asked her what a fun fact about her was, and she started riffing on Hallmark Christmas movies. Lisa, tell us more. Lisa Godwin: Yes, so I absolutely love Christmas, and so I love that time of year, but I also love watching Hallmark Christmas movies. So, I have t-shirts that say, "This is my Hallmark Christmas movie watching t-shirt." Paul Casey: No. Lisa Godwin: I also have socks that I wear, yes I do. And ultimately, someday, I would like to be in a Hallmark Christmas movie in the background. I don't want to be up in the front, but I want to be an extra, where I can sip coffee, or do some ice skating, or something fun like that. Paul Casey: Bucket list item. Lisa Godwin: Yes. Paul Casey: Lisa, don't you know that they're all the same plot, every single one of them? Lisa Godwin: But they're so happy, every one of them is happy. Paul Casey: There's going to be a communication problem, and there's going to be a snowfall, and they get back together. Okay, all right, we got a good laugh before we came on the air. All right, we'll dive in after checking with our Tri-City influencer sponsor. Speaker 4: It's easy to delay answering uncomfortable questions like, "What happens to my assets and my loved ones when I die?" So it's no surprise that nearly 50% of Americans don't have a will, and even fewer have an estate plan. Many disabled clients worry that they don't have enough assets to set up an estate plan. But there are important options available to ensure that you have a voice in your medical and financial decision-making, even if your health takes a turn for the worst. Estate planning gives you a voice when your health deteriorates, or after you're gone. Maren Miller Bam, attorney at law, is currently providing free consultations. To find out more about estate planning, or to book an appointment, call Marin at (206) 485-4066, or visit Salus, that's S-A-L-U-S-law.com today. Paul Casey: Thank you for your support of leadership development in the Tri-Cities. So Lisa, we got to meet each other like 10 years ago, you were a development director in an organization that I used to be in, and we connected there, and I felt like kindred spirit there. It's like, we get to talk leadership, and we both had a passion to make an influence on the world. We've all gone to different jobs since then, two or three of them>. Lisa Godwin: Yes, yes. Paul Casey: And reconnected, and just so excited for what you're doing over there at the Union Gospel Mission, so thanks for being here today. Lisa Godwin: Thank you. Paul Casey: Tell our Tri-City influencers a little bit of your career highlights that led you to your current position. Lisa Godwin: Yes, so there have been a lot of career highlights, but I have to say that it's actually the low lights that brought me to my position right now at the Union Gospel Mission. So I work with women who are down and out, who are at sometimes the worst time in their life, and so as much as I'm so very thankful for the position as executive director, I was Leadership Tri-Cities also WSU Woman of Distinction, and a couple other things. And those were awesome, and I was so excited about that, but it was the low times in my life that taught me the lessons that I can take with me to lead the shelter, not just lead my staff, but lead the women who they themselves can become leaders once they are out of their trauma and difficulty. Paul Casey: So why do you love what you do? Lisa Godwin: I love what I do because every day I get to encourage, empower, disciple, mentor, teach, come alongside of women who do not know their worth or value yet, and I get to help them see that. I get to help them see the diamond in the rough. I get to help them see their strengths, not their weaknesses. Their weaknesses are usually what they're focused on, and it actually ends up becoming their identity. And I get to teach them that that is not their identity, that they can grow their strengths, and we get to help them find their strengths. Paul Casey: What a fantastic mission that you get to be a part of. So along your journey you made different career moves, you said some lowlights probably led to some of those. How did you decide when to make a move, maybe from one of those organizations to another, from one position to another? Lisa Godwin: Yeah, so I have to be honest, I have a relationship with the Lord, and so the main thing is prayer. I spend a lot of time in prayer and meditation and reading, and that guides and a lot of what I do. Also, situations that may come up within that position that I am in helps me evaluate if I'm best used in that position, or if maybe it's time to move on and let someone else take over from where I've brought it to. So I think there's a lot of parts and pieces that go in from moving to different positions, but ultimately, I just want to be used in an organization where I can serve them. And once that's not happening anymore, then maybe it's time for me to move on. Paul Casey: So Lisa, staying in one’s strength zone at work can multiply your influence. So how do you add the most value at the Union Gospel Mission? Lisa Godwin: Absolutely, so I believe that due to my life experiences, and the things that God has allowed me to go through, I realized that transparency is critical to coming alongside of the women at the shelter, to coming alongside of my staff, that it provides trust, and they trust, whether it's staff or the women at the shelter, they're going to trust me if I'm transparent with them. And so they're going to share with me, they're not going to hide things from me, and that's where there's growth, because now I can come alongside of them and they trust me, and I can help them, and assist them, teach them, mentor them, and encourage. Paul Casey: Transparency is so huge. I think I've said once on the podcast, Patrick Lencioni wrote a book called Getting Naked, which has nothing to do with nudity, by the way, it has all to do with transparency and vulnerability and leadership and how that builds trust, and just lowers those barriers. He said it was his least sold book, and probably because of the title, it's a little too catchy. But yeah, I totally agree with you on that. In fact, you are now a published author, you wrote a book, and really the whole core value of the book is around transparency, isn't it? Lisa Godwin: It absolutely is. It basically is struggles that I have gone through, that I have lived through, have come out on the other end, and I can basically come alongside another woman through the words in my book to encourage them. It was written specifically to a woman who is hurting, whether that's a woman in a shelter, or anyone else, but someone who's going through a really hard time and needs to have answers to the pain that she's going through, this book will provide some of those answers. I'm extremely transparent, you're going to see the struggles that I've gone through, the personal struggles, and some people say it's pretty raw. But I'm okay with that because it's proven already to be extremely successful and has brought women out of certain pain elements that they've been going through in their life. Paul Casey: Wow. I remember, I was sitting in Barracuda Coffee with you several years ago and you're like, "I want to write a book." You did it. Lisa Godwin: Yes. Paul Casey: You wrote the book, years later. And Tri-City Influencer listeners, many of you have a book in you, and it takes a lot of discipline to write it, but I would say, go for it, get some words on paper. And we'll just take that quick aside, how did you write the book? Did you do it in one big chunk? Did you write X number of words a day? Lisa Godwin: It was pretty cool how it all came about. Yes, I've wanted to write this for, and had in my heart for about 15 years. Had dinner with a friend about two and a half years ago and I said, "Oh, how I would love to reach more than just the woman at the shelter with a message that I've been sharing with them, and a book would do that, it would open the doors to touching more hearts and lives." And she said, "Well, why don't you just write letters, why doesn't each chapter be a letter to the women who are hurting?" And I said, "Oh my goodness, that is the answer, that is what I'm going to do." So I had the answer, I knew what I was going to do, I sat down, it took me a month to write it, which is crazy, and then found a publisher within a few months, and was off and running. Paul Casey: So exciting. Lisa Godwin: Yes. Paul Casey: So you said you were pretty raw in there, and transparent. So leaders have to be self-aware of their weaknesses, so you can be a little raw and transparent with us really quick. What's your favorite "way to sabotage yourself"? Lisa Godwin: Oh my goodness. Fear, for sure. Paul Casey: Fear. Lisa Godwin: There was no question. And whether it's fear of failure, fear of success, fear of the risk that I might need to take, fear in general. Yeah, so I've had to create some ways to deal with that fear and really to black that out. Paul Casey: False evidence appearing real, right? That's what FEAR stands for? Lisa Godwin: Yes, it is. Paul Casey: So you said you've had to come up with some ways, if someone is struggling with fear listening today, what would you say to them? Lisa Godwin: I would say fear is a liar. I would say we make things way bigger than they are, and just focus on the truth. Paul Casey: Courage. Lisa Godwin: Yes, yep. Paul Casey: Well, rarely do we achieve our highest potential by ourselves. So who keeps you accountable? Who keeps you energized to getting your professional and personal goals accomplished? Lisa Godwin: Absolutely my husband. He is my biggest fan, my biggest supporter, and I would hope that he would feel the same way about me. But he is always there to encourage, to speak the truth when I need it. I have to say my family as well, my children. But then there's an element that the women at the shelter hold me accountable. So they're really good at being able to see right through you. And so I have to be on my game, I have to be real. They're going to know if I'm not speaking the truth, and something's going on. So they hold me accountable to me being the best leader and the best mentor that I can be, and I love that. Paul Casey: Very cool. All right, let's get Scott on the line right now and ask him the same question. No, just kidding. Lisa Godwin: Exactly. Paul Casey: No, it's great to have family members be that inner circle keeping you energized and accountable. But using your people, I'll use the word using there, but using your people to be that gauge for, am I bringing my best, my authentic self? I think that's really classic. So replenishment of energy keeps a leader at the top of their game, how do you manage stress? Lisa Godwin: So other than the Hallmark Christmas movies, I enjoy camping. My husband and I have recently gotten into camping, and we have a trailer. I also like kayaking. I just enjoy that being out in the river, just the quietness, being able to just think, or not think, and just have a little exercise, it's just wonderful. So it gets me out of my element of thinking and having to process things. Paul Casey: I was reading just the other day that just being in the forest is a stress reducer and a depression buster. Isn't that amazing? There's something about the, the chemicals that the trees are exuding. Lisa Godwin: Yes. Paul Casey: That literally just being in there reduces, so we have to get more time in the forest. Lisa Godwin: Absolutely. Paul Casey: In Tri-Cities it's probably Russian olives, but I love the idea of kayaking and exercising and camping, to be out there in God's nature. Well, before we head into our next question on people development, let's shout out to our sponsor. Speaker 4: Located in The Parkway, you'll find motivation, new friends, and your new coworking space at Fuse. Whether you're a student just starting out, or a seasoned professional, come discover all the reasons to love coworking at Fuse. Come co-work at Fuse for free on Fridays in February. Enjoy free coffee or tea, Wi-Fi, printing, conference rooms, and more, and bring a friend. Fuse is where individuals and small teams come together in a thoughtfully designed, resource rich environment to get work done and grow their ideas. Comprised of professionals from varying disciplines and backgrounds, Fuse is built for hardworking, fun loving humans. Learn more about us at Fusespc.com, or stop by 723 The Parkway in Richland Washington. Paul Casey: So Lisa, people development, crucial for leadership, the people you surround yourself with. So if you could clone the ideal employee for the mission, what traits would that person have? Lisa Godwin: So when I'm looking to hire a supervisor, or a staff member, I am always looking for someone who is teachable. At the shelter it's a beast of its own. So every day is different, and every situation is different, so they need to be able to be teachable, no matter how many degrees they have behind their name. And also humility. Humility is so important. Humility to be able to accept responsibility for mistakes that you've made. I do not ever expect perfection, and I make that very clear. I expect if you've made a mistake, own it, let's own our mistakes, and then let's learn from them. And they know that about me, and I live that out. I do the same thing; I'm going to own my mistake. Also honesty. Just be honest with me. If there's a problem, tell me. If you've done something, tell me. I'd much rather have you be honest with me then me finding out a different way. Paul Casey: What would you say are some signs of not being teachable, of not being humble? I don't know if you can pick that up in an interview, maybe you can, but just when you think of, you also inherit employees, a lot of our listeners have inherited employees. What are some of those telltale signs of not being coachable, teachable, and humble? Lisa Godwin: Yeah, I really feel like it's when someone's consistently making excuses for things that they've done, there's just not an owning. When you can own your mistakes, there's humility there. When you can speak your mistakes, and not just think it but speak it, that you own it, that you are going to do something about it, there's power in that. And so if I can hear somebody acknowledge that they've made mistakes, that they've grown from it, and that they're willing to grow, to me that's an indication that they're probably humble, they're probably willing to be teachable, and there'll be a good staff member. Paul Casey: That's a good indicator in a hiring process. I was talking in our last podcast about how we have to do these scenarios in our interviews probably more often than the standard questions to listen for just that, those little ways that people, so what was the biggest mistake you've made in your last job, and how did you deal with it? Listening for the, I screwed up, but I grew from that. Lisa Godwin: Yes. Paul Casey: And what happens when a leader does own their mistake? What's the effect on the culture, the staff? Lisa Godwin: Oh, I think it's extremely healthy. I think it creates an atmosphere of, it actually promotes creativity, because people don't have fear anymore of holding back. They can be creative, they can potentially be used for their strengths, and they're not going to fear what their boss is going to say to them, or do to them. There's the transparency, when a leader is transparent that's going to trickle down to the staff and they're going to be transparent, and you're going to see success because nobody's going to be fearing making a mistake, if that makes sense. Paul Casey: That is so good. I've heard of organizations have the best mistake award to normalize mistakes. Lisa Godwin: Yes. Paul Casey: To say, you took a risk, it didn't work. Lisa Godwin: Yes. Paul Casey: We're not beating you up over it, we're actually going to give you an award because you did your best, you tried, it didn't work. There's actually one global giant that shoots off a cannon at their headquarters when someone has a learning opportunity. Lisa Godwin: Wow. Paul Casey: So as soon as everyone hears the big boom they're like, 'Somebody screwed up, and they learned from that." Lisa Godwin: Yes, that is great. Paul Casey: Well, I've had people tell me, "So Paul, I want to think more strategically in leadership, I don't think that's one of my natural gifts." What advice would you give to how to look at the big picture? You've been a leader in several organizations, how do you get that long-term impact? Lisa Godwin: So from my perspective, I really see goal setting, every year on an annual basis, as being pretty critical to the success of that organization over the next year. One, it communicates to everyone the mission that you're on for that year, so all your staff are on the same page. And then I also think having each individual staff member under the leader, they also need to have their goals set. So everybody knows what's going on, everybody knows the direction that they're going in, and their effort can all be in that direction, versus having questions and not knowing, and then nobody does anything because there's no goals. Lisa Godwin: So goal setting on an annual basis, I think is critical. Also evaluating, I think it's really important to evaluate your policies and your procedures on a yearly basis as well. Things change, I know they do at the organization I'm at right now, and things change from year to year. We've got COVID, the pandemic, we've got all of these things happening in our world that are changing on a daily basis, and we have to adapt to those changes. And so on a yearly basis, just looking at those policies, looking at those procedures, making tweaks, making changes so that you can more effectively serve, or do whatever your mission is. Paul Casey: So good, evaluate your policies and procedures. I would even say job descriptions could be added to that. Lisa Godwin: Yes, and best practices. Paul Casey: Best practices, yeah. Because things creep in from the side, and one day you wake up and you're like, "I'm not doing anything that's in this document that says what I'm supposed to be doing." Lisa Godwin: Yes, exactly Paul Casey: How do you do that annual goal setting process? Do you have a process that you work through? Lisa Godwin: As director I am part of, obviously, all of the directors at the shelter. Paul Casey: Yep. Lisa Godwin: So yes, every January we go through the process of looking at five different categories. So as director of the shelter I would look at my volunteers, what are my goals for the year for volunteers? What are my goals for donations and potential donors? What are my goals for my staff, in terms of training? What are my personal goals in terms of growth opportunities, trainings that I want to go to? And then anything else, any other category that may serve your business or organization. So we really put it into different categories, and then have maybe three to four or five goals in each category that are attainable, goals that at the end of the year, we can look back and see that we've accomplished this, and it's moved the organization forward in a long-term way. Paul Casey: Yeah, listeners, you may want to rewind that for those categories, especially if you're in nonprofit leadership, because those are great. And for any business that you're in, put them in categories that helps you think through how to improve in that one area, make them attainable. I would also add, make them a stretch too, right? Lisa Godwin: Sure, sure. Paul Casey: So that they can't just be done, I was reading in a book yesterday that says, "Don't pick goals that can be done just by business as usual." Lisa Godwin: That's good, yep. Paul Casey: Because sometimes we shoot small, and we're just like, "Oh, okay, I'm going to write this goal down because I know we're going to achieve it. Lisa Godwin: Yes. Paul Casey: Just by the normal way of doing things, but instead stretch a little bit, challenge yourself. Still attainable, but it's going to take some work because real change does require a real work. Lisa Godwin: Yes, and risk. So thanks for the counseling on the fear. Paul Casey: Yes. So yeah, so goals are one of the ways to bring the vision down onto the tarmac, as I like to say, that the day to day, so how else can leaders, what are small acts of leadership that if they're done daily, make a positive difference in the lives of the teams and the constituents? Lisa Godwin: So good communication I think is pretty critical as well on a day-to-day basis. If I'm communicating as a leader to my staff, what that individual is doing correct, or what they are missing, I can align them on a daily basis, or a weekly basis, whatever that looks like, depending on how large your organization is, but I can keep up on that. Versus waiting until the yearly meeting and having to throw a ton of information on them that they can't really go back and fix, but that I can fix along the way. Lisa Godwin: And so good communication with them on what they're doing right and wrong, but then also communication about what's happening with the organization, so they are keyed into what they need to be doing as well. And they need to be communicating with me as well, so it goes both ways. I do a one-to-one with my staff, with all of my staff, we meet twice a month one-to-one. The first meeting I hold the agenda, and we go through the items that I want to go through. The second one I allow them to. So I'm training them as well in their leadership potential by having them come to the meeting and communicate with me. So I'm trying to train them, also, to do the same thing. Paul Casey: Wow, that really freshens up the one-to-one process. I know some of our listeners really know that they should do one to ones with their people, and there might be a little bit of a hesitation because it's like, "I don't know what should go on that agenda," so I really liked that of the one, one of them is your agenda, one is theirs. I also heard of leader's doing half and half of an hour, where half of it is [inaudible 00:24:51] . What kinds of questions do you ask, what else is on that agenda when you're leading the one to one? Lisa Godwin: Well I first ask, do you have any questions of me? Is there anything going on that you need to know from me? I like to give them praise. I will always give them praise, and then we'll work through any of the issues that I see that I might need to tone up a little bit. But the questions I might be asking them may surround any issues that have gone on over the last couple weeks, any questions they might have about policies and procedures, and yeah, just good communication, letting them know what's going on. Paul Casey: Yeah, that real-time feedback is so important, as opposed to the annual performance review. Lisa Godwin: Yes. Paul Casey: Which of course is great as well. I'm trying to work with companies to move them to quarterly reviews so it is doing exactly what you say, giving more real-time feedback so you can align, and so you can praise. Lisa Godwin: Yes. Paul Casey: Both of those are so critical. Well, if one of our TCI listeners asked you what two to three books, besides yours, of course, that they must read in order to grow their leadership skills, where would you point them? Lisa Godwin: So I have to say, I would point them to the Bible. Truly though, you are going to find so many leadership styles, how they handle things, insecurities, how they handle their insecurities. You really do get a good view of different leaders within the Bible. Also, I really do like the leadership challenge, that's been really helpful, and there's a newer one that's focused towards women, per se, but I really like it, and it could be practical for anybody, and it's Get Out of Your Head by Jenny Allen. A lot of times we live in our head and we need to get those thoughts out, and as leaders, getting them on paper and then communicating them effectively is important. Paul Casey: Yeah, Leadership Challenge, a classic, our local leadership Tri-Cities program. By the way, what class were you? Which best class ever where you? Lisa Godwin: I was class 20, thank you. Paul Casey: Well, second best class ever. Okay. Lisa Godwin: Yes. Paul Casey: But yes, the Leadership Challenge is sort of the textbook for that, five principles, or practices of leadership, in their model the way, inspire a shared vision, challenge the process, enable others to act, and the heart one, encourage the heart. Lisa Godwin: Yes. Paul Casey: Yes, nailed those, so that is a classic that I would definitely say is in my top five leadership reads ever. Lisa Godwin: Yes. Paul Casey: And the name of your book is, we didn't say that earlier. Lisa Godwin: That's okay, it's Dear _____, There's Hope on the Other Side. Paul Casey: Okay, awesome. Lisa Godwin: Thank you. Paul Casey: All right finally, what advice would you give to new leaders, or anyone who wants to keep growing and gaining more influence? Lisa Godwin: The biggest thing that I've learned is not to think that I've arrived, not to think that I know everything, be willing to learn, be willing to grow and understand that there's other people that may know more about a certain topic than you do, based on their life experience or things that they've been educated on. And so when you put up walls to listening, or to only be speaking and not listening, you're really shooting yourself in the foot because you're not able to grow. And so I would encourage you, and this is, again, something else from the Bible, "Be quick to listen and slow to speak," and that in and of itself is super powerful as a leader, because when you're listening, you're going to learn so much that can grow you. Paul Casey: Two ears, one mouth. Lisa Godwin: Yes. Paul Casey: It's probably for a reason. Lisa Godwin: Exactly. Paul Casey: And really what you're describing is having a beginner's mentality. Lisa Godwin: Yes. Paul Casey: By going into situations not as a know it all, it's sort of like when your teenager goes, "Yeah, yeah, yeah, mom." Lisa Godwin: Exactly, yes. Paul Casey: And you're just like, "Yeah, that means you don't really get it." Lisa Godwin: Yeah. Paul Casey: But as leaders, always going in with that beginner's mindset is really rich for the curiosity of learning something new, in a situation. Lisa Godwin: Yeah. And then surrounding yourself. When you do have weaknesses, surround yourself with people who have their strength as your weakness, and so you can play into each other's strengths and weaknesses. Paul Casey: That is so good, whether that's your friendships, mentors, coaches, colleagues, when you're hiring, that all plays into balancing yourself out. Lisa Godwin: Yes. Paul Casey: Well, Lisa, how can our listeners best connect with you? Lisa Godwin: Absolutely. So they can connect with me via email, and my personal email is Lisa.Godwin@mail.com. And eventually I will have a website up, I'm starting a nonprofit called Endless Hope, and my website will be EndlessHopelg.com. So check that out, and yeah, let me know if you have any questions. Paul Casey: Very inspirational. Well, thanks again for all you do to make the Tri-Cities a great place and keep leading well. Lisa Godwin: Thank you. Paul Casey: Let me wrap up our podcast today with a leadership resource to recommend. Got certified last year to present the DISC behavioral assessment, DISC stands for dominant, influential, steadiness, and correctness, and you are a blend of all four of those, but you usually default back to one or two of those. So for $60 each, I can get you the link for that to take the DISC survey, would love to debrief it with you, debrief it with your leadership team, or do a retreat for your entire organization or team so that you can gain the most about how you're wired, and how to pick out these qualities in your customers and in your team so that you can custom communicate to them that is most honorable. So hit me up for the DISC behavioral assessment, and we'll help you with your self-awareness. Paul Casey: Again, this is Paul Casey, I want to thank my guests, Lisa Godwin from the Tri-Cities Union Gospel Mission for being here today on the Tri-Cities Influencer Podcast. We want to thank our TCI sponsor and invite you to support them. We appreciate you making this possible so we can collaborate to help inspire leaders in our community. Finally, one more leadership tidbit for the road to help you make a difference in your circle of influence, Bobby Unser, a race car driver said, "Success is where preparation and opportunity meet." Until next time, KGF, keep going forward. Speaker 2: Thank you to our listeners for tuning in to today's show. Paul Casey is on a mission to add value to leaders by providing practical tools and strategies that reduce stress in their lives and on their teams, so that they can enjoy life and leadership and experience their key desired results. If you'd like more help from Paul in your leadership development, connect with him at growingforward@paulcasey.org for a consultation that can help you move past your current challenges and create a strategy for growing your life, or your team forward. Speaker 2: Paul would also like to help you restore your sanity to your crazy schedule and getting your priorities done every day by offering you his free Control My Calendar Checklist, go to ww.takebackmycalendar.com for that productivity tool, or open a text message 50 72000 and type the word growing. Paul Casey: Tri-Cities Influencer Podcast was recorded at Fuse SPC by Bill Wagner of Safe Strategies.

Deepend revisite 'Somebody’s Watching Me' de Chico Rose & 71 Digits...

Welcome Republic Keeper Podcast 866-988-8311 info@republickeeper.com Seattle Rally Coronavirus News It’s’ a virtual flood now of physicians who are contrary to the need for masks/shutdowns, because of therapeutics. You know what we haven’t seen? Any problems from Hydroxychloroquine. John Mc Arthur – Peaceful Protest Reopening Gay Bathhouses Will Aid “Economic and Cultural Recovery” San Francisco Supervisor Says http://www.informationliberation.com/?id=61635 Barr - Leftist politicians have lost all interest in compromise and the exchange of ideas because they only value “total victory,” “Nowadays, you have, I think the left has essentially withdrawn from this model and really represents a Rousseauian Revolutionary Party that believes in tearing down the system. That what’s wrong about America today all has to do with the institutions we have and we have to tear them down. “And, they’re interested in complete political victory. They're not interested in compromise. They're not interested in dialectic exchange of views. They're interested in total victory.” “It’s a secular religion. It's a substitute for religion. They view their political opponents as evil – because you stand in the way of their progressive utopia that they’re trying to reach. “And, that’s what gives the intensity to the partisan feelings that people feel today. Because, for them, this pilgrimage we’re all on is a political pilgrimage and everything is reduced to politics. “For people who don’t have that perspective, politics is important, but it’s not the whole purpose of life.” https://cnsnews.com/index.php/blog/craig-bannister/ag-barr-left-isnt-interested-compromise-because-total-victory-substitute Flynn News – Steven Schrage Was there to get his PHD Halper was his supervisor Carter Page was accidental – Halper Audio Lindsey Graham says declassified documents show FBI lied to Senate about Steele dossier: 'Somebody needs to go to jail for this' https://www.theblaze.com/news/steele-dossier-fbi-trump-graham Ron Johnson – Subpeonas FBI Director Wray Durham – before Labor day

'Somebody offered debt.com to me, but it was too expensive. Over time the man came to me like clockwork, until finally he called me and I told him- "this is my number if you don't want it, don't call me again." And he took it!' Howard Dvorkin, Founder/Chairman debt.com, Americans have over $1Trillion in debt is interviewed by David Cogan founder of Eliances and host of the Eliances Heroes show broadcast on am and fm network channels, internet radio, and online syndication.  

'Somebody offered debt.com to me, but it was too expensive. Over time the man came to me like clockwork, until finally he called me and I told him- "this is my number if you don't want it, don't call me again." And he took it!' Howard Dvorkin, Founder/Chairman debt.com, Americans have over $1Trillion in debt is interviewed by David Cogan founder of Eliances and host of the Eliances Heroes show broadcast on am and fm network channels, internet radio, and online syndication.  

Too many small instances this past week where I find myself looking back and thinking I wasn't communicating quite well.I deliberately phrase it this way instead of - 'I was misunderstood' or 'Somebody else wasn't listening'.I want to be responsible not only for my words that come out, but also for the manner that they arrive in another's head.Also, came across a really cool "House Rule" from @nicchristensen for her family:"#2 Don't hurt your own feelings." Spending some time in my head with this one; wonderful.

Salimos del estudio para hacer radio en la carretera que nos conduce hacia Mark Lanegan. Con motivo de su nuevo disco 'Somebody's knocking' el músico ofrece una serie de conciertos en España. Esta es la primera parte de nuestro viaje persiguiéndolo por Elche. Además podrás escuchar el saludo de Mark a los oyentes del programa, parte del concierto ofrecido en Elche y descubrir por qué Alain Johannes no visitó Madrid en su última gira. Lo que sonó: 01. Mark Lanegan - Stitch It Up (Somebody's Knocking)  02. Gutter Twins - Flow Like A River (Eleven Cover) 03. Mark Lanegan - Penthouse High (Somebody's Knocking)   04. Mark Lanegan - No Bells On Sunday (Glastonbury Festival 2017) 05. Mark Lanegan - Come to Me 06. Mark Lanegan  - Disbelieve (Elche 25/10/2019) 07. Mark Lanegan - Bleeding Muddy Water (Elche 25/10/2019)  08. Mark Lanegan - 100 Days (Elche 25/10/2019) 

Salimos del estudio para hacer radio en la carretera que nos conduce hacia Mark Lanegan. Con motivo de su nuevo disco 'Somebody's knocking' el músico ofrece una serie de conciertos en España. Esta es la primera parte de nuestro viaje persiguiéndolo por Elche. Además podrás escuchar el saludo de Mark a los oyentes del programa, parte del concierto ofrecido en Elche y descubrir por qué Alain Johannes no visitó Madrid en su última gira. Lo que sonó: 01. Mark Lanegan - Stitch It Up (Somebody's Knocking)  02. Gutter Twins - Flow Like A River (Eleven Cover) 03. Mark Lanegan - Penthouse High (Somebody's Knocking)   04. Mark Lanegan - No Bells On Sunday (Glastonbury Festival 2017) 05. Mark Lanegan - Come to Me 06. Mark Lanegan  - Disbelieve (Elche 25/10/2019) 07. Mark Lanegan - Bleeding Muddy Water (Elche 25/10/2019)  08. Mark Lanegan - 100 Days (Elche 25/10/2019) 

Quinto episodio de la temporada de Por lo segao, con la sentencia catalana recién publicada. Aprovechando la actualidad, repasamos los mejores momentos del serial independentista. Por otra parte, recopilamos varios audios de políticos españoles intentando hablar inglés. Finalizamos, como siempre, con Diego Rodríguez desde Madrid. Suenan durante el programa 'Somebody to Love' (de Jefferson Airplane), 'Aquarius' (de Raphael), 'Oh! Sweet Nuthin'' (de The Velvet Underground) y 'Girl, You'll Be a Woman Soon' (de Urge Overkill).

Slum Sociable perform their tune 'Figure It Out' before covering Mark Ronson's 'Somebody to Love Me' for Like A Version.

Hassan Diab, a young boy from Douma, Syria didn't know he was being recruited for a "chemical attack" video that was made by some local rebels, and, that went viral. The US, UK and France used this type of evidence to justify a military strike on Syria. Evgeny Poddubny, a war correspondent from Russian broadcaster VGTRK, found the boy in the video. Hassan's "story differed from the one presented by the activists and later propagated by the mainstream media. He was in the basement with his mother, who said they ran out of food, when they heard some noise outside.  'Somebody was shouting that we had to go to the hospital, so we went there. When I came in, some people grabbed me and started pouring water over my head,' he told Evgeny Poddubny...Hassan confirmed that he was the boy in the video, and was very scared when the whole situation unfolded. He is now fine and shows no symptoms of having experienced a chemical attack two weeks ago." This 2 minute video should lead any honest observer to question the US government's policy of shooingt first and asking questions later. References: "Boy in Douma ‘Chem Attack’ Video Says He Was Lured With Cookies, Then Sprayed With Water,"The search for truth in the rubble of Douma – and one doctor’s doubts over the chemical attack" by Robert Fisk of the Independent, "Must See Report on Syria War by FOX Newsman, Tucker Carlson," "Former UK Ambassador Reveals Truth About Syria" interview by Ron Paul.

This week on StoryWeb, Susan Glaspell’s play Trifles. Born in 1876, Susan Glaspell was a prominent novelist, short story writer, journalist, biographer, actress, and, most notably, playwright, winning the 1931 Pulitzer Prize for Drama for her play Alison’s House. She and her husband, George Cram Cook, founded the ground-breaking Provincetown Players, widely known as the first modern American theater company. In fact, it was Glaspell who discovered dramatist Eugene O’Neill as she was searching for a new playwright to feature at the theater. Though she was a widely acclaimed author during her lifetime, with pieces in Harper’s and Ladies’ Home Journal and with books on the New York Times bestsellers list, Glaspell is little known today. She comes down to us for two related works: her one-act play Trifles, written in 1916, and a short story based on the play, “A Jury of Her Peers,” written in 1917. The play and the story were based on Margaret Hossack’s murder trial, which Glaspell covered as a young reporter for the Des Moines Daily News in her home state of Iowa. Trifles ­­– which she wrote in just ten days – is a masterful account of the way two housewives successfully unravel the mystery of another housewife’s murder of her husband. Mr. Wright has been found dead in his bedroom, strangled with a rope. His wife, Mrs. Wright, is in the kitchen, acting “queer,” according to Mr. Hale, the neighbor who initially discovers the murder. The play takes place the day after the murdered man is discovered and after his wife has been taken to jail. Three prominent men of the community – Sheriff Peters, County Attorney Henderson, and Mr. Hale – go to investigate the murder scene. Sheriff Peters and Mr. Hale bring their wives along with them, just in case they can discover any clues to the murder. It is widely assumed that Mrs. Wright killed her husband, but what is her motive? The three men are truly stumped. What would cause an ordinary housewife in a seemingly calm and tidy home to kill her husband? As the detectives are investigating the murder scene in the bedroom upstairs, Mrs. Peters and Mrs. Hale look around the kitchen and the parlor. Little by little, they begin to spy clues to Mrs. Wright’s emotional state. Erratic stitches in a piece of quilting when all the other needlework was straight, beautiful, unblemished. An empty birdcage with a broken door. A dead canary – its neck twisted – hidden in Mrs. Wright’s sewing basket in a piece of silk. The women realize without even speaking to each other that Mr. Wright had killed the bird and driven his wife to murder. And with silent, knowing looks at each other, they decide not to tell the men what they’ve discovered. For an outstanding reworking of Glaspell’s play, see Kaye Gibbons’s 1991 novel, A Cure for Dreams. Gibbons, a North Carolina writer, obviously had Trifles in mind as she depicts ##, a character who “hides” her crime in her quilting. You can learn more about the connections between Trifles and A Cure for Dreams in my first book, A Southern Weave of Women: Fiction of the Contemporary South. (Check out Chapter 6, “The Southern Wild Zone: Voices on the Margins.” My discussion of A Cure for Dreams begins on page 194, and I explore the links between Glaspell and Gibbons on pages 201-202.) Trifles also make me think of Adrienne Rich’s early poem “Aunt Jennifer’s Tigers.” The elderly Aunt Jennifer has spent her adult life being “mastered” by her husband. His ring – that is, her wedding band – weighs heavy on her hand. But that weight doesn’t stop her from creating scenes of liberation, power, and strength in her needlepoint. In her tapestry, Aunt Jennifer depicts tigers – “prancing, proud and unafraid.” There’s a story there, Rich seems to say, a sign for those who are adept enough to read it. Finally, Trifles reminds me of African American women quilters who sewed into their quilts messages about the underground railroad. The classic study of these quilts is Hidden in Plain View: A Secret Story of Quilts and the Underground Railroad. Something seemingly so simply and utilitarian as a quilt has the power to be subversive. As Alice Walker notes in her landmark essay “In Search of Our Mothers’ Gardens,” women’s creativity – and the clues it provides to women’s lives – can be found everywhere if one simply knows where to look. Quilts, gardens, kitchens – “just” women’s work – can illuminate the secrets of women’s lives. One thing’s for sure: Glaspell’s work deserves more attention. Oxford University Press published Linda Ben-Zvi’s biography of Glaspell in 2005, and both Trifles and “A Jury of Her Peers” are widely anthologized and frequently taught in classrooms across the country. If you want to join me in learning more about Glaspell, visit the website of the International Susan Glaspell Society. They even offer a timeline of Glaspell’s writing of Trifles. And to learn about Glaspell’s most enduring legacy, the Provincetown Players, visit the Provincetown Playhouse website, dedicated to preserving the history of this truly revolutionary theater. Listen now as I read Susan Glaspell’s short story “A Jury of Her Peers” in its entirety.   When Martha Hale opened the storm-door and got a cut of the north wind, she ran back for her big woolen scarf. As she hurriedly wound that round her head her eye made a scandalized sweep of her kitchen. It was no ordinary thing that called her away—it was probably farther from ordinary than anything that had ever happened in Dickson County. But what her eye took in was that her kitchen was in no shape for leaving: her bread all ready for mixing, half the flour sifted and half unsifted. She hated to see things half done; but she had been at that when the team from town stopped to get Mr. Hale, and then the sheriff came running in to say his wife wished Mrs. Hale would come too—adding, with a grin, that he guessed she was getting scarey and wanted another woman along. So she had dropped everything right where it was. "Martha!" now came her husband's impatient voice. "Don't keep folks waiting out here in the cold." She again opened the storm-door, and this time joined the three men and the one woman waiting for her in the big two-seated buggy. After she had the robes tucked around her she took another look at the woman who sat beside her on the back seat. She had met Mrs. Peters the year before at the county fair, and the thing she remembered about her was that she didn't seem like a sheriff's wife. She was small and thin and didn't have a strong voice. Mrs. Gorman, sheriff's wife before Gorman went out and Peters came in, had a voice that somehow seemed to be backing up the law with every word. But if Mrs. Peters didn't look like a sheriff's wife, Peters made it up in looking like a sheriff. He was to a dot the kind of man who could get himself elected sheriff—a heavy man with a big voice, who was particularly genial with the law-abiding, as if to make it plain that he knew the difference between criminals and non-criminals. And right there it came into Mrs. Hale's mind, with a stab, that this man who was so pleasant and lively with all of them was going to the Wrights' now as a sheriff. "The country's not very pleasant this time of year," Mrs. Peters at last ventured, as if she felt they ought to be talking as well as the men. Mrs. Hale scarcely finished her reply, for they had gone up a little hill and could see the Wright place now, and seeing it did not make her feel like talking. It looked very lonesome this cold March morning. It had always been a lonesome-looking place. It was down in a hollow, and the poplar trees around it were lonesome-looking trees. The men were looking at it and talking about what had happened. The county attorney was bending to one side of the buggy, and kept looking steadily at the place as they drew up to it. "I'm glad you came with me," Mrs. Peters said nervously, as the two women were about to follow the men in through the kitchen door. Even after she had her foot on the door-step, her hand on the knob, Martha Hale had a moment of feeling she could not cross that threshold. And the reason it seemed she couldn't cross it now was simply because she hadn't crossed it before. Time and time again it had been in her mind, "I ought to go over and see Minnie Foster"—she still thought of her as Minnie Foster, though for twenty years she had been Mrs. Wright. And then there was always something to do and Minnie Foster would go from her mind. But now she could come.  The men went over to the stove. The women stood close together by the door. Young Henderson, the county attorney, turned around and said, "Come up to the fire, ladies." Mrs. Peters took a step forward, then stopped. "I'm not—cold," she said. And so the two women stood by the door, at first not even so much as looking around the kitchen. The men talked for a minute about what a good thing it was the sheriff had sent his deputy out that morning to make a fire for them, and then Sheriff Peters stepped back from the stove, unbuttoned his outer coat, and leaned his hands on the kitchen table in a way that seemed to mark the beginning of official business. "Now, Mr. Hale," he said in a sort of semi-official voice, "before we move things about, you tell Mr. Henderson just what it was you saw when you came here yesterday morning." The county attorney was looking around the kitchen. "By the way," he said, "has anything been moved?" He turned to the sheriff. "Are things just as you left them yesterday?" Peters looked from cupboard to sink; from that to a small worn rocker a little to one side of the kitchen table. "It's just the same." "Somebody should have been left here yesterday," said the county attorney. "Oh—yesterday," returned the sheriff, with a little gesture as of yesterday having been more than he could bear to think of. "When I had to send Frank to Morris Center for that man who went crazy—let me tell you, I had my hands full yesterday. I knew you could get back from Omaha by to-day, George, and as long as I went over everything here myself—" "Well, Mr. Hale," said the county attorney, in a way of letting what was past and gone go, "tell just what happened when you came here yesterday morning." Mrs. Hale, still leaning against the door, had that sinking feeling of the mother whose child is about to speak a piece. Lewis often wandered along and got things mixed up in a story. She hoped he would tell this straight and plain, and not say unnecessary things that would just make things harder for Minnie Foster. He didn't begin at once, and she noticed that he looked queer—as if standing in that kitchen and having to tell what he had seen there yesterday morning made him almost sick. "Yes, Mr. Hale?" the county attorney reminded. "Harry and I had started to town with a load of potatoes," Mrs. Hale's husband began. Harry was Mrs. Hale's oldest boy. He wasn't with them now, for the very good reason that those potatoes never got to town yesterday and he was taking them this morning, so he hadn't been home when the sheriff stopped to say he wanted Mr. Hale to come over to the Wright place and tell the county attorney his story there, where he could point it all out. With all Mrs. Hale's other emotions came the fear now that maybe Harry wasn't dressed warm enough—they hadn't any of them realized how that north wind did bite. "We come along this road," Hale was going on, with a motion of his hand to the road over which they had just come, "and as we got in sight of the house I says to Harry, 'I'm goin' to see if I can't get John Wright to take a telephone.' You see," he explained to Henderson, "unless I can get somebody to go in with me they won't come out this branch road except for a price I can't pay. I'd spoke to Wright about it once before; but he put me off, saying folks talked too much anyway, and all he asked was peace and quiet—guess you know about how much he talked himself. But I thought maybe if I went to the house and talked about it before his wife, and said all the women-folks liked the telephones, and that in this lonesome stretch of road it would be a good thing—well, I said to Harry that that was what I was going to say—though I said at the same time that I didn't know as what his wife wanted made much difference to John—" Now, there he was!—saying things he didn't need to say. Mrs. Hale tried to catch her husband's eye, but fortunately the county attorney interrupted with: "Let's talk about that a little later, Mr. Hale. I do want to talk about that, but I'm anxious now to get along to just what happened when you got here." When he began this time, it was very deliberately and carefully: "I didn't see or hear anything. I knocked at the door. And still it was all quiet inside. I knew they must be up—it was past eight o'clock. So I knocked again, louder, and I thought I heard somebody say, 'Come in.' I wasn't sure—I'm not sure yet. But I opened the door—this door," jerking a hand toward the door by which the two women stood, "and there, in that rocker"—pointing to it—"sat Mrs. Wright." Every one in the kitchen looked at the rocker. It came into Mrs. Hale's mind that that rocker didn't look in the least like Minnie Foster—the Minnie Foster of twenty years before. It was a dingy red, with wooden rungs up the back, and the middle rung was gone, and the chair sagged to one side. "How did she—look?" the county attorney was inquiring. "Well," said Hale, "she looked—queer." "How do you mean—queer?" As he asked it he took out a note-book and pencil. Mrs. Hale did not like the sight of that pencil. She kept her eye fixed on her husband, as if to keep him from saying unnecessary things that would go into that note-book and make trouble. Hale did speak guardedly, as if the pencil had affected him too. "Well, as if she didn't know what she was going to do next. And kind of—done up." "How did she seem to feel about your coming?" "Why, I don't think she minded—one way or other. She didn't pay much attention. I said, 'Ho' do, Mrs. Wright? It's cold, ain't it?' And she said, 'Is it?'—and went on pleatin' at her apron. "Well, I was surprised. She didn't ask me to come up to the stove, or to sit down, but just set there, not even lookin' at me. And so I said: 'I want to see John.' "And then she—laughed. I guess you would call it a laugh. "I thought of Harry and the team outside, so I said, a little sharp, 'Can I see John?' 'No,' says she—kind of dull like. 'Ain't he home?' says I. Then she looked at me. 'Yes,' says she, 'he's home.' 'Then why can't I see him?' I asked her, out of patience with her now. ''Cause he's dead,' says she, just as quiet and dull—and fell to pleatin' her apron. 'Dead?' says I, like you do when you can't take in what you've heard. "She just nodded her head, not getting a bit excited, but rockin' back and forth. "'Why—where is he?' says I, not knowing what to say. "She just pointed upstairs—like this"—pointing to the room above. "I got up, with the idea of going up there myself. By this time I—didn't know what to do. I walked from there to here; then I says: 'Why, what did he die of?' "'He died of a rope round his neck,' says she; and just went on pleatin' at her apron."  Hale stopped speaking, and stood staring at the rocker, as if he were still seeing the woman who had sat there the morning before. Nobody spoke; it was as if every one were seeing the woman who had sat there the morning before. "And what did you do then?" the county attorney at last broke the silence. "I went out and called Harry. I thought I might—need help. I got Harry in, and we went upstairs." His voice fell almost to a whisper. "There he was—lying over the—" "I think I'd rather have you go into that upstairs," the county attorney interrupted, "where you can point it all out. Just go on now with the rest of the story." "Well, my first thought was to get that rope off. It looked—" He stopped, his face twitching. "But Harry, he went up to him, and he said, 'No, he's dead all right, and we'd better not touch anything.' So we went downstairs. "She was still sitting that same way. 'Has anybody been notified?' I asked. 'No,' says she, unconcerned. "'Who did this, Mrs. Wright?' said Harry. He said it businesslike, and she stopped pleatin' at her apron. 'I don't know,' she says. 'You don't know?' says Harry. 'Weren't you sleepin' in the bed with him?' 'Yes,' says she, 'but I was on the inside.' 'Somebody slipped a rope round his neck and strangled him, and you didn't wake up?' says Harry. 'I didn't wake up,' she said after him. "We may have looked as if we didn't see how that could be, for after a minute she said, 'I sleep sound.' "Harry was going to ask her more questions, but I said maybe that weren't our business; maybe we ought to let her tell her story first to the coroner or the sheriff. So Harry went fast as he could over to High Road—the Rivers' place, where there's a telephone." "And what did she do when she knew you had gone for the coroner?" The attorney got his pencil in his hand all ready for writing. "She moved from that chair to this one over here"—Hale pointed to a small chair in the corner—"and just sat there with her hands held together and looking down. I got a feeling that I ought to make some conversation, so I said I had come in to see if John wanted to put in a telephone; and at that she started to laugh, and then she stopped and looked at me—scared." At sound of a moving pencil the man who was telling the story looked up. "I dunno—maybe it wasn't scared," he hastened; "I wouldn't like to say it was. Soon Harry got back, and then Dr. Lloyd came, and you, Mr. Peters, and so I guess that's all I know that you don't."   He said that last with relief, and moved a little, as if relaxing. Every one moved a little. The county attorney walked toward the stair door. "I guess we'll go upstairs first—then out to the barn and around there." He paused and looked around the kitchen. "You're convinced there was nothing important here?" he asked the sheriff. "Nothing that would—point to any motive?" The sheriff too looked all around, as if to re-convince himself. "Nothing here but kitchen things," he said, with a little laugh for the insignificance of kitchen things. The county attorney was looking at the cupboard—a peculiar, ungainly structure, half closet and half cupboard, the upper part of it being built in the wall, and the lower part just the old-fashioned kitchen cupboard. As if its queerness attracted him, he got a chair and opened the upper part and looked in. After a moment he drew his hand away sticky. "Here's a nice mess," he said resentfully. The two women had drawn nearer, and now the sheriff's wife spoke. "Oh—her fruit," she said, looking to Mrs. Hale for sympathetic understanding. She turned back to the county attorney and explained: "She worried about that when it turned so cold last night. She said the fire would go out and her jars might burst." Mrs. Peters' husband broke into a laugh. "Well, can you beat the women! Held for murder and worrying about her preserves!" The young attorney set his lips. "I guess before we're through with her she may have something more serious than preserves to worry about." "Oh, well," said Mrs. Hale's husband, with good-natured superiority, "women are used to worrying over trifles." The two women moved a little closer together. Neither of them spoke. The county attorney seemed suddenly to remember his manners—and think of his future. "And yet," said he, with the gallantry of a young politician, "for all their worries, what would we do without the ladies?" The women did not speak, did not unbend. He went to the sink and began washing his hands. He turned to wipe them on the roller towel—whirled it for a cleaner place. "Dirty towels! Not much of a housekeeper, would you say, ladies?" He kicked his foot against some dirty pans under the sink. "There's a great deal of work to be done on a farm," said Mrs. Hale stiffly. "To be sure. And yet"—with a little bow to her—"I know there are some Dickson County farm-houses that do not have such roller towels." He gave it a pull to expose its full length again. "Those towels get dirty awful quick. Men's hands aren't always as clean as they might be." "Ah, loyal to your sex, I see," he laughed. He stopped and gave her a keen look. "But you and Mrs. Wright were neighbors. I suppose you were friends, too." Martha Hale shook her head. "I've seen little enough of her of late years. I've not been in this house—it's more than a year." "And why was that? You didn't like her?" "I liked her well enough," she replied with spirit. "Farmers' wives have their hands full, Mr. Henderson. And then—" She looked around the kitchen. "Yes?" he encouraged. "It never seemed a very cheerful place," said she, more to herself than to him. "No," he agreed; "I don't think any one would call it cheerful. I shouldn't say she had the home-making instinct." "Well, I don't know as Wright had, either," she muttered. "You mean they didn't get on very well?" he was quick to ask. "No; I don't mean anything," she answered, with decision. As she turned a little away from him, she added: "But I don't think a place would be any the cheerfuler for John Wright's bein' in it." "I'd like to talk to you about that a little later, Mrs. Hale," he said. "I'm anxious to get the lay of things upstairs now." He moved toward the stair door, followed by the two men. "I suppose anything Mrs. Peters does'll be all right?" the sheriff inquired. "She was to take in some clothes for her, you know—and a few little things. We left in such a hurry yesterday." The county attorney looked at the two women whom they were leaving alone there among the kitchen things. "Yes—Mrs. Peters," he said, his glance resting on the woman who was not Mrs. Peters, the big farmer woman who stood behind the sheriff's wife. "Of course Mrs. Peters is one of us," he said, in a manner of entrusting responsibility. "And keep your eye out Mrs. Peters, for anything that might be of use. No telling; you women might come upon a clue to the motive—and that's the thing we need." Mr. Hale rubbed his face after the fashion of a show man getting ready for a pleasantry. "But would the women know a clue if they did come upon it?" he said; and, having delivered himself of this, he followed the others through the stair door.   The women stood motionless and silent, listening to the footsteps, first upon the stairs, then in the room above them. Then, as if releasing herself from something strange, Mrs. Hale began to arrange the dirty pans under the sink, which the county attorney's disdainful push of the foot had deranged. "I'd hate to have men comin' into my kitchen," she said testily—"snoopin' round and criticizin'." "Of course it's no more than their duty," said the sheriff's wife, in her manner of timid acquiescence. "Duty's all right," replied Mrs. Hale bluffly; "but I guess that deputy sheriff that come out to make the fire might have got a little of this on." She gave the roller towel a pull. "Wish I'd thought of that sooner! Seems mean to talk about her for not having things slicked up, when she had to come away in such a hurry." She looked around the kitchen. Certainly it was not "slicked up." Her eye was held by a bucket of sugar on a low shelf. The cover was off the wooden bucket, and beside it was a paper bag—half full. Mrs. Hale moved toward it. "She was putting this in there," she said to herself—slowly. She thought of the flour in her kitchen at home—half sifted, half not sifted. She had been interrupted, and had left things half done. What had interrupted Minnie Foster? Why had that work been left half done? She made a move as if to finish it,—unfinished things always bothered her,—and then she glanced around and saw that Mrs. Peters was watching her—and she didn't want Mrs. Peters to get that feeling she had got of work begun and then—for some reason—not finished. "It's a shame about her fruit," she said, and walked toward the cupboard that the county attorney had opened, and got on the chair, murmuring: "I wonder if it's all gone." It was a sorry enough looking sight, but "Here's one that's all right," she said at last. She held it toward the light. "This is cherries, too." She looked again. "I declare I believe that's the only one." With a sigh, she got down from the chair, went to the sink, and wiped off the bottle. "She'll feel awful bad, after all her hard work in the hot weather. I remember the afternoon I put up my cherries last summer." She set the bottle on the table, and, with another sigh, started to sit down in the rocker. But she did not sit down. Something kept her from sitting down in that chair. She straightened—stepped back, and, half turned away, stood looking at it, seeing the woman who had sat there "pleatin' at her apron." The thin voice of the sheriff's wife broke in upon her: "I must be getting those things from the front room closet." She opened the door into the other room, started in, stepped back. "You coming with me, Mrs. Hale?" she asked nervously. "You—you could help me get them." They were soon back—the stark coldness of that shut-up room was not a thing to linger in. "My!" said Mrs. Peters, dropping the things on the table and hurrying to the stove. Mrs. Hale stood examining the clothes the woman who was being detained in town had said she wanted. "Wright was close!" she exclaimed, holding up a shabby black skirt that bore the marks of much making over. "I think maybe that's why she kept so much to herself. I s'pose she felt she couldn't do her part; and then, you don't enjoy things when you feel shabby. She used to wear pretty clothes and be lively—when she was Minnie Foster, one of the town girls, singing in the choir. But that—oh, that was twenty years ago." With a carefulness in which there was something tender, she folded the shabby clothes and piled them at one corner of the table. She looked up at Mrs. Peters and there was something in the other woman's look that irritated her. "She don't care," she said to herself. "Much difference it makes to her whether Minnie Foster had pretty clothes when she was a girl." Then she looked again, and she wasn't so sure; in fact, she hadn't at any time been perfectly sure about Mrs. Peters. She had that shrinking manner, and yet her eyes looked as if they could see a long way into things. "This all you was to take in?" asked Mrs. Hale. "No," said the sheriff's wife; "she said she wanted an apron. Funny thing to want," she ventured in her nervous little way, "for there's not much to get you dirty in jail, goodness knows. But I suppose just to make her feel more natural. If you're used to wearing an apron—. She said they were in the bottom drawer of this cupboard. Yes—here they are. And then her little shawl that always hung on the stair door." She took the small gray shawl from behind the door leading upstairs, and stood a minute looking at it. Suddenly Mrs. Hale took a quick step toward the other woman. "Mrs. Peters!" "Yes, Mrs. Hale?" "Do you think she—did it?" A frightened look blurred the other thing in Mrs. Peters' eyes. "Oh, I don't know," she said, in a voice that seemed to shrink away from the subject. "Well, I don't think she did," affirmed Mrs. Hale stoutly. "Asking for an apron, and her little shawl. Worryin' about her fruit." "Mr. Peters says—." Footsteps were heard in the room above; she stopped, looked up, then went on in a lowered voice: "Mr. Peters says—it looks bad for her. Mr. Henderson is awful sarcastic in a speech, and he's going to make fun of her saying she didn't—wake up." For a moment Mrs. Hale had no answer. Then, "Well, I guess John Wright didn't wake up—when they was slippin' that rope under his neck," she muttered. "No, it's strange," breathed Mrs. Peters. "They think it was such a—funny way to kill a man." She began to laugh; at sound of the laugh, abruptly stopped. "That's just what Mr. Hale said," said Mrs. Hale, in a resolutely natural voice. "There was a gun in the house. He says that's what he can't understand." "Mr. Henderson said, coming out, that what was needed for the case was a motive. Something to show anger—or sudden feeling." "Well, I don't see any signs of anger around here," said Mrs. Hale. "I don't—" She stopped. It was as if her mind tripped on something. Her eye was caught by a dish-towel in the middle of the kitchen table. Slowly she moved toward the table. One half of it was wiped clean, the other half messy. Her eyes made a slow, almost unwilling turn to the bucket of sugar and the half empty bag beside it. Things begun—and not finished. After a moment she stepped back, and said, in that manner of releasing herself: "Wonder how they're finding things upstairs? I hope she had it a little more red up up there. You know,"—she paused, and feeling gathered,—"it seems kind of sneaking: locking her up in town and coming out here to get her own house to turn against her!" "But, Mrs. Hale," said the sheriff's wife, "the law is the law." "I s'pose 'tis," answered Mrs. Hale shortly. She turned to the stove, saying something about that fire not being much to brag of. She worked with it a minute, and when she straightened up she said aggressively: "The law is the law—and a bad stove is a bad stove. How'd you like to cook on this?"—pointing with the poker to the broken lining. She opened the oven door and started to express her opinion of the oven; but she was swept into her own thoughts, thinking of what it would mean, year after year, to have that stove to wrestle with. The thought of Minnie Foster trying to bake in that oven—and the thought of her never going over to see Minnie Foster—. She was startled by hearing Mrs. Peters say: "A person gets discouraged—and loses heart." The sheriff's wife had looked from the stove to the sink—to the pail of water which had been carried in from outside. The two women stood there silent, above them the footsteps of the men who were looking for evidence against the woman who had worked in that kitchen. That look of seeing into things, of seeing through a thing to something else, was in the eyes of the sheriff's wife now. When Mrs. Hale next spoke to her, it was gently: "Better loosen up your things, Mrs. Peters. We'll not feel them when we go out." Mrs. Peters went to the back of the room to hang up the fur tippet she was wearing. A moment later she exclaimed, "Why, she was piecing a quilt," and held up a large sewing basket piled high with quilt pieces. Mrs. Hale spread some of the blocks out on the table. "It's log-cabin pattern," she said, putting several of them together. "Pretty, isn't it?" They were so engaged with the quilt that they did not hear the footsteps on the stairs. Just as the stair door opened Mrs. Hale was saying: "Do you suppose she was going to quilt it or just knot it?" The sheriff threw up his hands. "They wonder whether she was going to quilt it or just knot it!" There was a laugh for the ways of women, a warming of hands over the stove, and then the county attorney said briskly: "Well, let's go right out to the barn and get that cleared up." "I don't see as there's anything so strange," Mrs. Hale said resentfully, after the outside door had closed on the three men—"our taking up our time with little things while we're waiting for them to get the evidence. I don't see as it's anything to laugh about." "Of course they've got awful important things on their minds," said the sheriff's wife apologetically. They returned to an inspection of the block for the quilt. Mrs. Hale was looking at the fine, even sewing, and preoccupied with thoughts of the woman who had done that sewing, when she heard the sheriff's wife say, in a queer tone: "Why, look at this one." She turned to take the block held out to her. "The sewing," said Mrs. Peters, in a troubled way. "All the rest of them have been so nice and even—but—this one. Why, it looks as if she didn't know what she was about!" Their eyes met—something flashed to life, passed between them; then, as if with an effort, they seemed to pull away from each other. A moment Mrs. Hale sat her hands folded over that sewing which was so unlike all the rest of the sewing. Then she had pulled a knot and drawn the threads. "Oh, what are you doing, Mrs. Hale?" asked the sheriff's wife, startled. "Just pulling out a stitch or two that's not sewed very good," said Mrs. Hale mildly. "I don't think we ought to touch things," Mrs. Peters said, a little helplessly. "I'll just finish up this end," answered Mrs. Hale, still in that mild, matter-of-fact fashion. She threaded a needle and started to replace bad sewing with good. For a little while she sewed in silence. Then, in that thin, timid voice, she heard: "Mrs. Hale!" "Yes, Mrs. Peters?" "What do you suppose she was so—nervous about?" "Oh, I don't know," said Mrs. Hale, as if dismissing a thing not important enough to spend much time on. "I don't know as she was—nervous. I sew awful queer sometimes when I'm just tired." She cut a thread, and out of the corner of her eye looked up at Mrs. Peters. The small, lean face of the sheriff's wife seemed to have tightened up. Her eyes had that look of peering into something. But next moment she moved, and said in her thin, indecisive way: "Well, I must get those clothes wrapped. They may be through sooner than we think. I wonder where I could find a piece of paper—and string." "In that cupboard, maybe," suggested Mrs. Hale, after a glance around. One piece of the crazy sewing remained unripped. Mrs. Peters' back turned, Martha Hale now scrutinized that piece, compared it with the dainty, accurate sewing of the other blocks. The difference was startling. Holding this block made her feel queer, as if the distracted thoughts of the woman who had perhaps turned to it to try and quiet herself were communicating themselves to her. Mrs. Peters' voice roused her. "Here's a bird-cage," she said. "Did she have a bird, Mrs. Hale?" "Why, I don't know whether she did or not." She turned to look at the cage Mrs. Peter was holding up. "I've not been here in so long." She sighed. "There was a man round last year selling canaries cheap—but I don't know as she took one. Maybe she did. She used to sing real pretty herself." Mrs. Peters looked around the kitchen. "Seems kind of funny to think of a bird here." She half laughed—an attempt to put up a barrier. "But she must have had one—or why would she have a cage? I wonder what happened to it." "I suppose maybe the cat got it," suggested Mrs. Hale, resuming her sewing. "No; she didn't have a cat. She's got that feeling some people have about cats—being afraid of them. When they brought her to our house yesterday, my cat got in the room, and she was real upset and asked me to take it out." "My sister Bessie was like that," laughed Mrs. Hale. The sheriff's wife did not reply. The silence made Mrs. Hale turn round. Mrs. Peters was examining the bird-cage. "Look at this door," she said slowly. "It's broke. One hinge has been pulled apart." Mrs. Hale came nearer. "Looks as if some one must have been—rough with it." Again their eyes met—startled, questioning, apprehensive. For a moment neither spoke nor stirred. Then Mrs. Hale, turning away, said brusquely: "If they're going to find any evidence, I wish they'd be about it. I don't like this place." "But I'm awful glad you came with me, Mrs. Hale," Mrs. Peters put the bird-cage on the table and sat down. "It would be lonesome for me—sitting here alone." "Yes, it would, wouldn't it?" agreed Mrs. Hale, a certain determined naturalness in her voice. She had picked up the sewing, but now it dropped in her lap, and she murmured in a different voice: "But I tell you what I do wish, Mrs. Peters. I wish I had come over sometimes when she was here. I wish—I had." "But of course you were awful busy, Mrs. Hale. Your house—and your children." "I could've come," retorted Mrs. Hale shortly. "I stayed away because it weren't cheerful—and that's why I ought to have come. I"—she looked around—"I've never liked this place. Maybe because it's down in a hollow and you don't see the road. I don't know what it is, but it's a lonesome place, and always was. I wish I had come over to see Minnie Foster sometimes. I can see now—" She did not put it into words. "Well, you mustn't reproach yourself," counseled Mrs. Peters. "Somehow, we just don't see how it is with other folks till—something comes up." "Not having children makes less work," mused Mrs. Hale, after a silence, "but it makes a quiet house—and Wright out to work all day—and no company when he did come in. Did you know John Wright, Mrs. Peters?" "Not to know him. I've seen him in town. They say he was a good man." "Yes—good," conceded John Wright's neighbor grimly. "He didn't drink, and kept his word as well as most, I guess, and paid his debts. But he was a hard man, Mrs. Peters. Just to pass the time of day with him—." She stopped, shivered a little. "Like a raw wind that gets to the bone." Her eye fell upon the cage on the table before her, and she added, almost bitterly: "I should think she would've wanted a bird!" Suddenly she leaned forward, looking intently at the cage. "But what do you s'pose went wrong with it?" "I don't know," returned Mrs. Peters; "unless it got sick and died." But after she said it she reached over and swung the broken door. Both women watched it as if somehow held by it. "You didn't know—her?" Mrs. Hale asked, a gentler note in her voice. "Not till they brought her yesterday," said the sheriff's wife. "She—come to think of it, she was kind of like a bird herself. Real sweet and pretty, but kind of timid and—fluttery. How—she—did—change." That held her for a long time. Finally, as if struck with a happy thought and relieved to get back to every-day things, she exclaimed: "Tell you what, Mrs. Peters, why don't you take the quilt in with you? It might take up her mind." "Why, I think that's a real nice idea, Mrs. Hale," agreed the sheriff's wife, as if she too were glad to come into the atmosphere of a simple kindness. "There couldn't possibly be any objection to that, could there? Now, just what will I take? I wonder if her patches are in here—and her things." They turned to the sewing basket. "Here's some red," said Mrs. Hale, bringing out a roll of cloth. Underneath that was a box. "Here, maybe her scissors are in here—and her things." She held it up. "What a pretty box! I'll warrant that was something she had a long time ago—when she was a girl." She held it in her hand a moment; then, with a little sigh, opened it. Instantly her hand went to her nose. "Why—!" Mrs. Peters drew nearer—then turned away. "There's something wrapped up in this piece of silk," faltered Mrs. Hale. "This isn't her scissors," said Mrs. Peters, in a shrinking voice. Her hand not steady, Mrs. Hale raised the piece of silk. "Oh, Mrs. Peters!" she cried. "It's—" Mrs. Peters bent closer. "It's the bird," she whispered. "But, Mrs. Peters!" cried Mrs. Hale. "Look at it! Its neck—look at its neck! It's all—other side to." She held the box away from her. The sheriff's wife again bent closer. "Somebody wrung its neck," said she, in a voice that was slow and deep. And then again the eyes of the two women met—this time clung together in a look of dawning comprehension, of growing horror. Mrs. Peters looked from the dead bird to the broken door of the cage. Again their eyes met. And just then there was a sound at the outside door. Mrs. Hale slipped the box under the quilt pieces in the basket, and sank into the chair before it. Mrs. Peters stood holding to the table. The county attorney and the sheriff came in from outside. "Well, ladies," said the county attorney, as one turning from serious things to little pleasantries, "have you decided whether she was going to quilt it or knot it?" "We think," began the sheriff's wife in a flurried voice, "that she was going to—knot it." He was too preoccupied to notice the change that came in her voice on that last. "Well, that's very interesting, I'm sure," he said tolerantly. He caught sight of the bird-cage. "Has the bird flown?" "We think the cat got it," said Mrs. Hale in a voice curiously even. He was walking up and down, as if thinking something out. "Is there a cat?" he asked absently. Mrs. Hale shot a look up at the sheriff's wife. "Well, not now," said Mrs. Peters. "They're superstitious, you know; they leave." She sank into her chair. The county attorney did not heed her. "No sign at all of any one having come in from the outside," he said to Peters, in the manner of continuing an interrupted conversation. "Their own rope. Now let's go upstairs again and go over it, piece by piece. It would have to have been some one who knew just the—" The stair door closed behind them and their voices were lost. The two women sat motionless, not looking at each other, but as if peering into something and at the same time holding back. When they spoke now it was as if they were afraid of what they were saying, but as if they could not help saying it. "She liked the bird," said Martha Hale, low and slowly. "She was going to bury it in that pretty box." "When I was a girl," said Mrs. Peters, under her breath, "my kitten—there was a boy took a hatchet, and before my eyes—before I could get there—" She covered her face an instant. "If they hadn't held me back I would have"—she caught herself, looked upstairs where footsteps were heard, and finished weakly—"hurt him." Then they sat without speaking or moving. "I wonder how it would seem," Mrs. Hale at last began, as if feeling her way over strange ground—"never to have had any children around?" Her eyes made a slow sweep of the kitchen, as if seeing what that kitchen had meant through all the years. "No, Wright wouldn't like the bird," she said after that—"a thing that sang. She used to sing. He killed that too." Her voice tightened. Mrs. Peters moved uneasily. "Of course we don't know who killed the bird." "I knew John Wright," was Mrs. Hale's answer. "It was an awful thing was done in this house that night, Mrs. Hale," said the sheriff's wife. "Killing a man while he slept—slipping a thing round his neck that choked the life out of him." Mrs. Hale's hand went out to the bird-cage. "His neck. Choked the life out of him." "We don't know who killed him," whispered Mrs. Peters wildly. "We don't know." Mrs. Hale had not moved. "If there had been years and years of—nothing, then a bird to sing to you, it would be awful—still—after the bird was still." It was as if something within her not herself had spoken, and it found in Mrs. Peters something she did not know as herself. "I know what stillness is," she said, in a queer, monotonous voice. "When we homesteaded in Dakota, and my first baby died—after he was two years old—and me with no other then—" Mrs. Hale stirred. "How soon do you suppose they'll be through looking for the evidence?" "I know what stillness is," repeated Mrs. Peters, in just that same way. Then she too pulled back. "The law has got to punish crime, Mrs. Hale," she said in her tight little way. "I wish you'd seen Minnie Foster," was the answer, "when she wore a white dress with blue ribbons, and stood up there in the choir and sang." The picture of that girl, the fact that she had lived neighbor to that girl for twenty years, and had let her die for lack of life, was suddenly more than she could bear. "Oh, I wish I'd come over here once in a while!" she cried. "That was a crime! That was a crime! Who's going to punish that?" "We mustn't take on," said Mrs. Peters, with a frightened look toward the stairs. "I might 'a' known she needed help! I tell you, it's queer, Mrs. Peters. We live close together, and we live far apart. We all go through the same things—it's all just a different kind of the same thing! If it weren't—why do you and I understand? Why do we know—what we know this minute?" She dashed her hand across her eyes. Then, seeing the jar of fruit on the table, she reached for it and choked out: "If I was you I wouldn't tell her her fruit was gone! Tell her it ain't. Tell her it's all right—all of it. Here—take this in to prove it to her! She—she may never know whether it was broke or not." She turned away. Mrs. Peters reached out for the bottle of fruit as if she were glad to take it—as if touching a familiar thing, having something to do, could keep her from something else. She got up, looked about for something to wrap the fruit in, took a petticoat from the pile of clothes she had brought from the front room, and nervously started winding that round the bottle. "My!" she began, in a high, false voice, "it's a good thing the men couldn't hear us! Getting all stirred up over a little thing like a—dead canary." She hurried over that. "As if that could have anything to do with—with—My, wouldn't they laugh?" Footsteps were heard on the stairs. "Maybe they would," muttered Mrs. Hale—"maybe they wouldn't." "No, Peters," said the county attorney incisively; "it's all perfectly clear, except the reason for doing it. But you know juries when it comes to women. If there was some definite thing—something to show. Something to make a story about. A thing that would connect up with this clumsy way of doing it." In a covert way Mrs. Hale looked at Mrs. Peters. Mrs. Peters was looking at her. Quickly they looked away from each other. The outer door opened and Mr. Hale came in. "I've got the team round now," he said. "Pretty cold out there." "I'm going to stay here awhile by myself," the county attorney suddenly announced. "You can send Frank out for me, can't you?" he asked the sheriff. "I want to go over everything. I'm not satisfied we can't do better." Again, for one brief moment, the two women's eyes found one another. The sheriff came up to the table. "Did you want to see what Mrs. Peters was going to take in?" The county attorney picked up the apron. He laughed. "Oh, I guess they're not very dangerous things the ladies have picked out." Mrs. Hale's hand was on the sewing basket in which the box was concealed. She felt that she ought to take her hand off the basket. She did not seem able to. He picked up one of the quilt blocks which she had piled on to cover the box. Her eyes felt like fire. She had a feeling that if he took up the basket she would snatch it from him. But he did not take it up. With another little laugh, he turned away, saying: "No; Mrs. Peters doesn't need supervising. For that matter, a sheriff's wife is married to the law. Ever think of it that way, Mrs. Peters?" Mrs. Peters was standing beside the table. Mrs. Hale shot a look up at her; but she could not see her face. Mrs. Peters had turned away. When she spoke, her voice was muffled. "Not—just that way," she said. "Married to the law!" chuckled Mrs. Peters' husband. He moved toward the door into the front room, and said to the county attorney: "I just want you to come in here a minute, George. We ought to take a look at these windows." "Oh—windows," said the county attorney scoffingly. "We'll be right out, Mr. Hale," said the sheriff to the farmer, who was still waiting by the door. Hale went to look after the horses. The sheriff followed the county attorney into the other room. Again—for one final moment—the two women were alone in that kitchen. Martha Hale sprang up, her hands tight together, looking at that other woman, with whom it rested. At first she could not see her eyes, for the sheriff's wife had not turned back since she turned away at that suggestion of being married to the law. But now Mrs. Hale made her turn back. Her eyes made her turn back. Slowly, unwillingly, Mrs. Peters turned her head until her eyes met the eyes of the other woman. There was a moment when they held each other in a steady, burning look in which there was no evasion nor flinching. Then Martha Hale's eyes pointed the way to the basket in which was hidden the thing that would make certain the conviction of the other woman—that woman who was not there and yet who had been there with them all through that hour. For a moment Mrs. Peters did not move. And then she did it. With a rush forward, she threw back the quilt pieces, got the box, tried to put it in her handbag. It was too big. Desperately she opened it, started to take the bird out. But there she broke—she could not touch the bird. She stood there helpless, foolish. There was the sound of a knob turning in the inner door. Martha Hale snatched the box from the sheriff's wife, and got it in the pocket of her big coat just as the sheriff and the county attorney came back into the kitchen. "Well, Henry," said the county attorney facetiously, "at least we found out that she was not going to quilt it. She was going to—what is it you call it, ladies?" Mrs. Hale's hand was against the pocket of her coat. "We call it—knot it, Mr. Henderson."    

ALERT: Our next ridiculous episode is called 'What the F*@ Did You Just Say?'  Episode 4 release date is December 15, 2017.  For immediate access, engage with the show with a simple click to subscribe or follow. Download this episode, unplug from life and dive all in.  We are discussing 'Bagging Nuts vs. Buttering Buns'.  Here are some of this episode's Real Talk Highlights: What does Bagging Nuts mean? What does Buttering Buns mean? What are some kinds of personal violations you have experienced?  How did you react? How did the person that violated you react afterwards? How did you resolve the issue? Would you have the same reaction if a woman was the perpetrator instead of a man?  Is it okay to Bag Nuts because of historical mistreatment of women? Now, as always, we are Keeping It Real and this episode is no different.  So, climb aboard and enjoy the entire show, because I am ending it with plenty of ridiculous honesty! Once the podcast episode ends, together, we are 'Keeping It Going' on our website with this episode's Real Talk Questions: Have you or someone you know bagged some nuts or buttered some buns?  Did you or someone you know encounter this type of mistreatment and decided to become a perpetrator as a form of self-protection? It is worse or the same depending on if a 'Somebody (rich, powerful, famous) vs. a Nobody (normal everyday person)' violates you? How do you think a person develops the confidence to harass or assault strangers, co-workers, or friends? Do you believe the apologies of the famous men caught for decades of physical violations and harassment of women? How do you explain or reconcile that fact that several men are losing their careers and/or dream jobs and our President is untouchable for the same reasons? Reach out to us and send your Real Talk Answers and comments to difficultanddemanding@gmail.com.  Send us episode topic suggestions. Let us know what you think about this episode.  Now, GIVE, GIVE, GIVE our episode links to friends, family, and associates.  We can bring laughter to others and you can show your love for this podcast. Subscribe/Follow NOW To give us praise send a personal Email, Comment, or Tweet. FIND Us: Itunes, Spotify, Google Play Music, SoundCloud, Stitcher, TuneIn, Twitter, Facebook, Instagram

This week, Keyerra needs an uplifting episode filled with hope & a (somewhat) happy ending. I dive into stories of survivors and how they overcame their harrowing experience. Me reading David Parker Ray's tape: 7:44 - 9:07 Talk to me! crimeincolor/sothisisthekey on twitter Josh’s Info & Playlist Link: CIC Playlist: https://open.spotify.com/user/kingnamedcole/playlist/2opUvszO4HZ0BnEAnowsp8 Twitter: @KingNamedCole & @BehindTheDecks1 http://www.kingnamedcole.com https://soundcloud.com/dj-kingcole LINKS: Roberta’s House http://robertashouse.org/homicide-survivor-advocacy-program/ Teen Held Captive in Wisconsin Basement for Sex Escapes When Human Trafficking Suspect Leave for Court: Authorities http://ktla.com/2017/07/12/19-year-old-held-in-basement-for-sex-escaped-when-suspect-left-for-court-prosecutors-say/ Top 10 Heroic Abductees Who Refused To Die http://listverse.com/2017/06/01/top-10-heroic-abductees-who-refused-to-die/ Victim Tells of Captivity https://www.abqjournal.com/70489/victim-tells-of-captivity.html FBI releases photo in New Mexico sex torture case http://www.deseretnews.com/article/700199246/FBI-releases-photo-in-New-Mexico-sex-torture-case.html Torture Survivor Speaks https://www.youtube.com/watch?v=yXv8zIbDunU David Parker Ray’s “Toy Box” Tape https://www.youtube.com/watch?v=gV8EPMeu1X8 David Parker Ray's Audio Tape Transcript http://thinkingaboutphilosophy.blogspot.com/2012/10/david-parker-rays-audio-tape-transcript.html#.UHKGIn5MmUo.tumblr David Parker Ray: The Toy Box Killer https://web.archive.org/web/20080604160338/http://www.trutv.com:80/library/crime/serial_killers/predators/david_parker_ray/1_index.html Richard Speck attack survivor: 'Somebody up there was hiding me from him' http://www.chicagotribune.com/news/ct-richard-speck-chicago-mass-murder-book-20160424-story.html Richard Speck | Murderpedia http://murderpedia.org/male.S/s/speck-richard.htm Prosecutor in Speck case says survivor is doing well http://www.chicagotribune.com/news/86772566-132.html The nurse who survived Richard Speck's 1966 murder rampage http://www.joanne16.com/2011/07/nurse-who-survived-richard-specks-1966.html

Fodera artist and bass sensei Lucas Taranto has an enviable reputation around town as the guy you call when you need the best of the best. Pocket, feel, chops, tone, vibe, Lucas has them all in spades and rightfully earned him a place in the world conquering Gotye lineup during the 'Somebody that I used to know' era. It was super cool getting to chat with Lucas about his bass journey including his influences in the form of Gary Willis and James Jamerson, his decision making process with regards to his beautiful custom Fodera bass, his thoughts on time and what young players should be focusing on. Watch the video interview here: https://www.youtube.com/watch?v=SBLzp36LORA