Podcasts about alternately

Shelia Fortson is the founder and executive director of the FAME Center which is in Chicago's South Loop District. Alternately known as the South Loop Center for the Arts, the organization serves underrepresented youth on the South and West Side of Chicago by providing equitable access to high-quality arts education. FAME Center is even more crucial today than ever before with many organizations and schools cutting budgets tied directly to arts education, the model that FAME Center is incorporating gives opportunity to many. Shelia joins Tom to discuss her passion for the arts, how her education influenced and assisted in her dreams of running a sustainable non-profit, and her relentless focus on helping others.

Read Online“What profit is there for one to gain the whole world and forfeit his life?” Mark 8:36This short and direct question is worth much meditation. In Mark's Gospel, this line comes within the context of Jesus teaching about the requirements of being His disciple. And it comes after Jesus began to explicitly teach that He Himself would suffer and die as the Christ.Think about this question above, starting with the first part of the question. “What profit is there for one to gain the whole world…” Do you want to gain the whole world? For most people, such a possibility is quite enticing. To “gain the whole world” is to gain everything this world has to offer. Imagine being offered unlimited wealth in this world. What if you were to win the largest jackpot any lottery ever offered and more? What if you were able to have beautiful mansions around the world, your own private jet, every modern convenience, the most expensive of cars, and the ability to do whatever you wanted for the rest of your life? Is this enticing? Certainly it is on a superficial level. But it is also a very deceptive enticement, because all of this could not make you any happier or more fulfilled than you already are.The second part of this question is also easy to address. Would you want to forfeit your life? Certainly not. So Jesus offers two contrasting statements in one sentence. Most people would want to gain the whole world but would never want to forfeit their lives. Jesus sets up this contrast as a way of telling us very clearly that we cannot desire one without also choosing the other. In other words, if your heart's desire is for the riches of this world, then you do indeed forfeit your very life to the extent that you give into that desire. On the contrary, if you choose the salvation of your soul, then you must forfeit the desire for the riches and enticements of this world. You cannot desire and choose both.With that said, there might be a very rare soul who has many things in this world but has no attachment to them at all. They live completely detached from the things of this world, finding true satisfaction only in God and His holy will, becoming indifferent to any material things they have. Of course, this is a very difficult interior disposition for one to arrive at when they have accumulated much wealth.Alternately, there are those in this world who have very little. They are truly poor in the literal sense. However, they spend their days dreaming about riches and covet all that they do not have. Sadly, this poor soul is, in fact, just as materially attached as the one who has made riches the goal and focus of life. And that interior attachment will do great spiritual damage. Reflect, today, upon this question of Jesus: “What profit is there for one to gain the whole world and forfeit his life?” Use that question as a source of prayer, meditation and self-examination. Try to be honest about your desires. If you find that you spend much time daydreaming about riches, then pay particular attention to this question. Life in its fullness can never be obtained through those desires or the fulfillment of those desires. God and God alone fulfills. Seek God above all else and you will find that nothing this world has to offer comes close to the riches of the Kingdom of God. Lord, You and You alone are the source of fulfillment in life. Please purify my desires so that I ultimately desire only You and Your holy will. Free me from every deception and false enticement in life so that I will find satisfaction only in You. Jesus, I trust in You.Source of content: catholic-daily-reflections.comCopyright © 2025 My Catholic Life! Inc. All rights reserved. Used with permission via RSS feed.Day of Judgement by Lawrence OP, license CC BY-NC-ND 2.0

Ok, I've started to embody my transness. Now what?Today we meet Seth Anderson-Matz and we're talking about the queer book that saved his life: The Nearest Exit May Be Behind You by S. Bear Bergman. And Bear joins us for the conversation!Seth Anderson-Matz is a queer & trans community organizer and minister. He has lived and worked in the Twin Cities area all his life, and currently resides in South Minneapolis with his wife (Jenn), one big dog (Roxie), one tiny dog (Saul), and one weird cat (Lucy).S. Bear Bergman is the author of nine books, founder of Flamingo Rampant press, and frequent consultant in equity and inclusion to business and government. Bear began his work in equity at the age of 15, as a founding member of the first ever Gay/Straight Alliance and has continued to help organizations and institutions move further along the pathways to justice ever since.Alternately unsettling and affirming, devastating and delicious, The Nearest Exit May Be Behind You is a collection of essays on gender and identity that is irrevocably honest and endlessly illuminating. With humor and grace, these essays deal with issues from women's spaces to the old boys' network, from gay male bathhouses to lesbian potlucks, from being a child to preparing to have one. It offers unique perspectives on issues that challenge, complicate, and confound the "official stories" about how gender and sexuality work.Connect with Seth and Bearinstagram: @s.andersonmatzwebsite: sbearbergman.cominstagram: @bearbergmanbluesky: @sbearbergman.bsky.socialOur BookshopVisit our Bookshop for new releases, current bestsellers, banned books, critically acclaimed LGBTQ books, or peruse the books featured on our podcasts: bookshop.org/shop/thisqueerbookBuy your own copy of The Nearest Exit May Be Behind You: https://bookshop.org/a/82376/9781551522647Become an Associate Producer!Become an Associate Producer of our podcast through a $20/month sponsorship on Patreon! A professionally recognized credit, you can gain access to Associate Producer meetings to help guide our podcast into the future! Get started today: patreon.com/thisqueerbookCreditsHost/Founder: J.P. Der BoghossianExecutive Producer: Jim PoundsAssociate Producers: Archie Arnold, K Jason Bryan and David Rephan, Bob Bush, Natalie Cruz, Jonathan Fried, Paul Kaefer, Joe Perazzo, Bill Shay, and Sean SmithPatreon Subscribers: Stephen D., Terry D., Stephen Flamm, Ida Göteburg, Thomas Michna, and Gary Nygaard.Creative and Accounting support provided by: Gordy EricksonQuatrefoil LibraryQuatrefoil has created a curated lending library made up of the books featured on our podcast! If you can't buy these books, then borrow them! Link: https://libbyapp.com/library/quatrefoil/curated-1404336/page-1It's a new year, so we hope you enjoy our new format and theme song. Be sure to support us on Patreon, buy the books we feature on the show through our bookshop, or read them through Quatrefoil Library's free e-library. Links in the shows and on our website. Support the show

Microbes: We can't see them, but we have no choice but to live with them. Microbes have significant, enduring impacts on human health and remind us to resist the abstraction of crucial forces in our everyday lives. Welcome to a multidisciplinary conversation about microbes, featuring Amber Benezra (Gut Anthro), Gloria Chan-Sook Kim (Microbial Resolution), and Matthew J. Wolf-Meyer (American Disgust) in a wide-ranging conversation that opens up possibilities for imagining more equitable approaches to science, visualizing and embodying the microbe, and conceptualizing health at individual, societal, and planetary levels.Amber Benezra is assistant professor of science and technology studies at the Stevens Institute of Technology in New Jersey, and is author of Gut Anthro: An Experiment in Thinking with Microbes, a finalist for the Ludwik Fleck Prize from the Society for Social Studies of Science.Gloria Chan-Sook Kim is assistant professor of media and culture at the University of California, Riverside, and is author of Microbial Resolution: Visualization and Security in the War against Emerging Microbes.Matthew J. Wolf-Meyer is professor of science and technology studies at Rensselaer Polytechnic University, and is author of American Disgust: Racism, Microbial Medicine, and the Colony Within; The Slumbering Masses: Sleep, Medicine, and Modern American Life; Theory for the World to Come: Speculative Fiction and Apocalyptic Anthropology; and Unraveling: Remaking Personhood in a Neurodiverse Age. Praise for the books:“We learn from microbes—and the messy, fragile, tenacious humans that study them—how much the minute details of mundane life matter. Alternately hopeful and unsettling, Gut Anthro is a book that expertly does what microbes have always done: change how we see, how we collaborate, and who we are.”—Emily Yates-Doerr, author of The Weight of Obesity“Gloria Chan-Sook Kim's visual methodology proposes a clear optic for understanding how global health responses to microbial threats will fail unless we wrestle with the systems that perpetuate the conditions for the next mutant microbe on the horizon.” —Stefanie R. Fishel, author of The Microbial State“American Disgust pushes readers to think beyond individual taste to consider how whiteness shapes what is acceptable or profane and how to grow our capacity for the unfamiliar. It is a refreshing take on a long-debated concept.”—Ashanté M. Reese, coeditor of Black Food MattersBooks by Amber Benezra, Gloria Chan-Sook Kim, and Matthew J. Wolf-Meyer are available from University of Minnesota Press.

This episode we are taking a trip down the Silk Road--or perhaps even the Spice Road--as we investigate references in this reign to individuals from "Tukara" who seem to have arrived in Yamato and stayed for a while. For photos and more, see our podcast webpage:  https://sengokudaimyo.com/podcast/episode-119 Rough Transcript   Welcome to Sengoku Daimyo's Chronicles of Japan.  This is episode 119: The Question of “Tukara”   Traveling upon the ocean was never exactly safe.  Squalls and storms could arise at any time, and there was always a chance that high winds and high waves could capsize a vessel.  Most people who found themselves at the mercy of the ocean could do little but hold on and hope that they could ride out whatever adverse conditions they met with.  Many ships were lost without any explanation or understanding of what happened to them.  They simply left the port and never came back home. And so when the people saw the boat pulling up on the shores of Himuka, on the island of Tsukushi, they no doubt empathized with the voyagers' plight.  The crew looked bedraggled, and their clothing was unfamiliar.  There were both men and women, and this didn't look like your average fishing party.  If anything was clear it was this:  These folk weren't from around here. The locals brought out water and food.  Meanwhile, runners were sent with a message:  foreigners had arrived from a distant place.  They then waited to see what the government was going to do.     We are still in the second reign of Takara Hime, aka Saimei Tenno.  Last episode we talked about the palaces constructed in Asuka, as well as some of the stone works that have been found from the period, and which appear to be referenced in the Nihon Shoki—at least tangentially.   The episodes before that, we looked at the expeditions the court sent to the far north of Honshu and even past Honshu to Hokkaido. This episode we'll again be looking past the main islands of the archipelago to lands beyond.  Specifically, we are going to focus on particularly intriguing references to people from a place called “Tukara”.  We'll talk about some of the ideas about where that might be, even if they're a bit  far-fetched. That's because Tukara touches on the state of the larger world that Yamato was a part of, given its situation on the far eastern edge of what we know today as the Silk Road.  And is this just an excuse for me to take a detour into some of the more interesting things going on outside the archipelago?  No comment. The first mention of a man from Tukara actually comes at the end of the reign of Karu, aka Koutoku Tennou.  We are told that in the fourth month of 654 two men and two women of “Tukara” and one woman of “Sha'e” were driven by a storm to Hiuga.  Then, three years later, the story apparently picks up again, though possibly referring to a different group of people.  On the 3rd day of the 7th month of 657, so during the second reign of Takara Hime, we now hear about two men and four women of the Land of Tukara—no mention of Sha'e—who drifted to Tsukushi, aka Kyushu.  The Chronicles mention that these wayfarers first drifted to the island of Amami, and we'll talk about that in a bit, but let's get these puzzle pieces on the table, first.  After those six people show up, the court sent for them by post-horse.  They must have arrived by the 15th of that same month, because we are told that a model of Mt. Sumi was erected and they—the people from Tukara—were entertained, although there is another account that says they were from “Tora”. The next mention is the 10th day of the 3rd month of 659, when a Man of Tukara and his wife, again woman of Sha'e, arrived.  Then, on the 16th day of the 7th month of 660, we are told that the man of Tukara, Kenzuhashi Tatsuna, desired to return home and asked for an escort.  He planned to pay his respects at the Great Country, i.e. the Tang court, and so he left his wife behind, taking tens of men with him. All of these entries might refer to people regularly reaching Yamato from the south, from a place called “Tukara”.  Alternately, this is a single event whose story has gotten distributed over several years, as we've seen happen before with the Chronicles.  .  One of the oddities of these entries is that the terms used are not consistent.  “Tukara” is spelled at least two different ways, suggesting that it wasn't a common placename like Silla or Baekje, or even the Mishihase.  That does seem to suggest that the Chronicles were phonetically trying to find kanji, or the Sinitic characters, to match with the name they were hearing.   I would also note that “Tukara” is given the status of a “kuni”—a land, country, or state—while “sha'e”, where some of the women are said to come from, is just that, “Sha'e”. As for the name of at least one person from Tokara, Kenzuhashi Tatsuna, that certainly sounds like someone trying to fit a non-Japanese name into the orthography of the time.  “Tatsuna” seems plausibly Japanese, but “Kenzuhashi” doesn't fit quite as well into the naming structures we've seen to this point. The location of “Tukara” and “Sha'e” are not clear in any way, and as such there has been a lot of speculation about them.  While today there are placenames that fit those characters, whether or not these were the places being referenced at the time is hard to say. I'll actually start with “Sha'e”, which Aston translates as Shravasti, the capital of the ancient Indian kingdom of Kosala, in modern Uttar Pradesh.  It is also where the Buddha, Siddartha Gautama, is said to have lived most of his life after his enlightenment.  In Japanese this is “Sha'e-jou”, and like many Buddhist terms it likely comes through Sanskrit to Middle Chinese to Japanese.  One—or possibly two—women from Shravasti making the journey to Yamato in the company of a man (or men) from Tukara seems quite the feat.  But then, where is “Tukara”? Well, we have at least three possible locations that I've seen bandied about.  I'll address them from the most distant to the closest option.  These three options were Tokharistan, Dvaravati, and the Tokara islands. We'll start with Tokharistan on the far end of the Silk Road.  And to start, let's define what that “Silk Road” means.  We've talked in past episodes about the “Western Regions”, past the Han-controlled territories of the Yellow River.   The ancient Tang capital of Chang'an was built near to the home of the Qin dynasty, and even today you can go and see both the Tang tombs and the tomb of Qin Shihuangdi and his terracotta warriors, all within a short distance of Xi'an, the modern city built on the site of Chang'an.  That city sits on a tributary of the Yellow River, but the main branch turns north around the border of modern Henan and the similarly sounding provinces of Shanxi and Shaanxi.  Following it upstream, the river heads north into modern Mongolia, turns west, and then heads south again, creating what is known as the Ordos loop.  Inside is the Ordos plateau, also known as the Ordos Basin.  Continuing to follow the Yellow river south, on the western edge of the Ordos, you travel through Ningxia and Gansu—home of the Hexi, or Gansu, Corridor.  That route eventually takes to Yumenguan, the Jade Gate, and Dunhuang.  From there roads head north or south along the edge of the Taklamakan desert in the Tarim basin.  The southern route travels along the edge of the Tibetan plateau, while the northern route traversed various oasis cities through Turpan, Kucha, to the city of Kashgar.  Both routes made their way across the Pamirs and the Hindu Kush into South Asia. We've brought up the Tarim Basin and the Silk Road a few times.  This is the path that Buddhism appears to have taken to get to the Yellow River Basin and eventually to the Korean Peninsula and eastward to the Japanese archipelago.  But I want to go a bit more into detail on things here, as there is an interesting side note about “Tukara” that I personally find rather fascinating, and thought this would be a fun time to share. Back in Episode 79 we talked about how the Tarim basin used to be the home to a vast inland sea, which was fed by the meltwater from the Tianshan and Kunlun mountains.  This sea eventually dwindled, though it was still large enough to be known to the Tang as the Puchang Sea.  Today it has largely dried up, and it is mostly just the salt marshes of Lop Nur that remain.  Evidence for this larger sea, however, can be observed in some of the burials found around the Tarim basin.  These burials include the use of boat-shaped structures—a rather curious feature to be found out in the middle of the desert. And it is the desert that was left behind as the waters receded that is key to much of what we know about life in the Tarim basin, as it has proven to be quite excellent at preserving organic material.  This includes bodies, which dried out and naturally turned into mummies, including not only the wool clothing they were wearing, but also features such as hair and even decoration. These “Tarim mummies”, as they have been collectively called, date from as early as 2100 BCE all the way up through the period of time we're currently talking about, and have been found in several desert sites: Xiaohe, the earliest yet discovered; Loulan, near Lop Nur on the east of the Tarim Basin, dating from around 1800 BCE; Cherchen, on the southern edge of the Tarim Basin, dating from roughly 1000 BCE; and too many others to go into in huge detail. The intriguing thing about these burials is that  many of them don't have features typically associated with people of ethnic Han—which is to say traditional Chinese—ancestry, nor do they necessarily have the features associated with the Xiongnu and other steppe nomads.  In addition they have colorful clothing  made from wool and leather, with vivid designs.  Some bodies near Hami, just east of the basin, were reported to have blonde to light brown hair, and their cloth showed radically different patterns from that found at Cherchen and Loulan, with patterns that could reasonably be compared with the plaids now common in places like Scotland and Ireland, and previously found in the Hallstadt salt mine in Central Europe from around 3500 BCE, from which it is thought the Celtic people may have originated. At the same time that people—largely Westerners— were studying these mummies, another discovery in the Tarim basin was also making waves.  This was the discovery of a brand new language.  Actually, it was two languages—or possibly two dialects of a language—in many manuscripts, preserved in Kucha and Turpan.  Once again, the dry desert conditions proved invaluable to maintain these manuscripts, which date from between the late 4th or early 5th century to the 8th century.  They are written with a Brahmic script, similar to that used for Sanskrit, which appears in the Tarim Basin l by about the 2nd century, and we were able to translate them because many of the texts were copies of Buddhist scripture, which greatly helped scholars in deciphering the languages.  These two languages were fascinating because they represented an as-yet undiscovered branch of the Indo-European language family.  Furthermore, when compared to other Indo-European languages, they did not show nearly as much similarity with their neighbors as with languages on the far western end of the Indo-European language family.  That is to say they were thought to be closer to Celtic and Italic languages than something like Indo-Iranian.  And now for a quick diversion within the diversion:  “Centum” and “Satem” are general divisions of the Indo-European language families that was once thought to indicate a geographic divide in the languages.  At its most basic, as Indo-European words changed over time, a labiovelar sound, something like “kw”,  tended to evolve in one of two ways.  In the Celtic and Italic languages, the “kw” went to a hard “k” sound, as represented in the classical pronunciation of the Latin word for 100:  Centum.  That same word, in the Avestan language—of the Indo-Iranian tree—is pronounced as “Satem”, with an “S” sound.  So, you can look at Indo-European languages and divide them generally into “centum” languages, which preserve the hard “k”, or “Satem” languages that preserve the S. With me so far? Getting back to these two newly-found languages in the Tarim Basin, the weird thing is that they were “Centum” languages. Most Centum languages are from pretty far away, though: they are generally found in western Europe or around the Mediterranean, as opposed to the Satem languages, such as Indo-Aryan, Iranian, Armernian, or even Baltic Slavic languages, which are much closer to the Tarim Basin.  So if the theory were true that the “Centum” family of Indo-European languages developed in the West and “Satem” languages developed in the East, then that would seem to indicate that a group of a “Centum” speaking people must have migrated eastward, through the various Satem speaking people, and settled in the Tarim Basin many thousands of years ago. And what evidence do we have of people who look very different from the modern population, living in the Tarim Basin area long before, and wearing clothing similar to what we associated with the progenitors of the Celts?  For many, it seemed to be somewhat obvious, if still incredible, that the speakers of this language were likely the descendants of the mummies who, in the terminology of the time, had been identified as being of Caucasoid ancestry.  A theory developed that these people were an offshoot of a group called the Yamnaya culture, which may have arisen around modern Ukraine as an admixture between the European Hunter Gatherers and the Caucasian Hunter Gatherers, around 3300-2600 BCE.  This was challenged in 2021 when a genetic study was performed on some of the mummies in the Tarim basin, as well as several from the Dzungarian basin, to the northeast.  That study suggested that the people of the Dzungarian basin had genetic ties to the people of the Afanasievo people, from Southern Siberia.  The Afanasievo people are connected to the Yamnayan culture. It should be noted that there has long been a fascination in Western anthropology and related sciences with racial identification—and often not in a healthy way.  As you may recall, the Ainu were identified as “Caucasoid” by some people largely because of things like the men's beards and lighter colored hair, which differ greatly from a large part of the Japanese population.  However, that claim has been repeatedly refuted and debunked. And similarly, the truth is, none of these Tarim mummy burials were in a period of written anything, so we can't conclusively associated them with these fascinating Indo-European languages.  There are thousands of years between the various burials and the manuscripts. These people  left no notes stashed in pockets that give us their life story.   And Language is not Genetics is not Culture.  Any group may adopt a given language for a variety of reasons.  .  Still, given what we know, it is possible that the ancient people of the Tarim basin spoke some form of “Proto-Kuchean”, but it is just as likely that this language was brought in by people from Dzungaria at some point. So why does all this matter to us?  Well, remember how we were talking about someone from Tukara?  The Kuchean language, at least, is referred to in an ancient Turkic source as belonging to “Twgry”, which led several scholars to draw a link between this and the kingdom and people called Tukara and the Tokharoi.  This leads us on another bit of a chase through history. Now if you recall, back in Episode 79, we talked about Zhang Qian.  In 128 BCE, he attempted to cross the Silk Road through the territory of the Xiongnu on a mission for the Han court.  Some fifty years earlier, the Xiongnu had defeated the Yuezhi.  They held territory in the oasis towns along the north of the Taklamakan dessert, from about the Turpan basin west to the Pamirs. The Xiongnu were causing problems for the Han, who thought that if they could contact the remaining Yuezhi they could make common cause with them and harass the Xiongnu from both sides.  Zhang Qian's story is quite remarkable: he started out with an escort of some 99 men and a translator.  Unfortunately, he was captured and enslaved by the Xiongnu during his journey, and he is even said to have had a wife and fathered a child.  He remained a captive for thirteen years, but nonetheless, he was able to escape with his family and he made it to the Great Yuezhi on the far side of the Pamirs, but apparently the Yuezhi weren't interested in a treaty against the Xiongnu.  The Pamirs were apparently enough of a barrier and they were thriving in their new land.  And so Zhang Qian crossed back again through Xiongnu territory, this time taking the southern route around the Tarim basin.  He was still captured by the Xiongnu, who spared his life.  He escaped, again, two years later, returning to the Han court.  Of the original 100 explorers, only two returned: Zhang Qian and his translator.  While he hadn't obtained an alliance, he was able to detail the cultures of the area of the Yuezhi. Many feel that the Kushan Empire, which is generally said to have existed from about 30 to 375 CE,was formed from the Kushana people who were part of the Yuezhi who fled the Xiongnu. In other words, they were originally from further north, around the Tarim Basin, and had been chased out and settled down in regions that included Bactria (as in the Bactrian camel).  Zhang Qian describes reaching the Dayuan Kingdom in the Ferghana valley, then traveling south to an area that was the home of the Great Yuezhi or Da Yuezhi.  And after the Kushan empire fell, we know there was a state in the upper regions of the Oxus river, centered on the city of Balkh, in the former territory of the Kushan empire. known as “Tokara”.  Geographically, this matches up how Zhang Qian described the home of the Da Yuezhi.  Furthermore, some scholars reconstruct the reading of the Sinic characters used for “Yuezhi” as originally having an optional reading of something like “Togwar”, but that is certainly not the most common reconstructed reading of those characters.  Greek sources describe this area as the home of the Tokharoi, or the Tokaran People.  The term “Tukhara” is also found in Sanskrit, and this kingdom  was also said to have sent ambassadors to the Southern Liang and Tang dynasties. We aren't exactly certain of where these Tokharan people came from, but as we've just described, there's a prevailing theory that they were the remnants of the Yuezhi and Kushana people originally from the Tarim Basin.  We know that in the 6th century they came under the rule of the Gokturk Khaganate, which once spanned from the Liao river basin to the Black Sea.  In the 7th and 8th centuries they came under the rule of the Tang Empire, where they were known by very similar characters as those used to write “Tukara” in the Nihon Shoki.  On top of this, we see Tokharans traveling the Silk Road, all the way to the Tang court.  Furthermore, Tokharans that settled in Chang'an took the surname “Zhi” from the ethnonym “Yuezhi”, seemingly laying claim to and giving validation to the identity used back in the Han dynasty.   So, we have a Turkic record describing the Kuchean people (as in, from Kucha in the Tarim Basin) as “Twgry”, and we have a kingdom in Bactria called Tokara and populated (according to the Greeks) by people called Tokharoi.  You can see how this one term has been a fascinating rabbit hole in the study of the Silk Roads and their history.  And some scholars understandably suggested that perhaps the Indo-European languags found in Kucha and Turpan  were actually related to this “Tokhara” – and therefore  should be called “Tocharian”, specifically Tocharian A (Kuchean) or Tocharian B (Turfanian). The problem is that if the Tokharans were speaking “Tocharian” then you wouldn't expect to just see it at Kucha and Turpan, which are about the middle of the road between Tokhara and the Tang dynasty, and which had long been under Gokturk rule.  You would also expect to see it in the areas of Bactria associated with Tokhara.  However, that isn't what we see.  Instead, we see that Bactria was the home of local Bactrian language—an Eastern Iranian language, which, though it is part of the Indo European language family, it is not closely related to Tocharian as far as we can tell. It is possible that the people of Kucha referred to themselves as something similar to “Twgry”, or “Tochari”, but we should also remember that comes from a Turkic source, and it could have been an exonym not related to what they called themselves.  I should also note that language is not people.  It is also possible that a particular ethnonym was maintained separately by two groups that may have been connected politically but which came to speak different languages for whatever reason.   There could be a connection between the names, or it could even be that the same or similar exonym was used for different groups. So, that was a lot and a bit of a ramble, but a lot of things that I find interesting—even if they aren't as connected as they may appear.  We have the Tarim mummies, which are, today, held at a museum in modern Urumqi.  Whether they had any connection with Europe or not, they remain a fascinating study for the wealth of material items found in and around the Tarim basin and similar locations.  And then there is the saga of the Tocharian languages—or perhaps more appropriately the Kuchean-Turfanian languages: Indo-European languages that seem to be well outside of where we would expect to find them. Finally, just past the Pamirs, we get to the land of Tokhara or Tokharistan.  Even without anything else, we know that they had contact with the court.  Perhaps our castaways were from this land?  The name is certainly similar to what we see in the Nihon Shoki, using some of the same characters. All in all, art and other information suggest that the area of the Tarim basin and the Silk Road in general were quite cosmopolitan, with many different people from different regions of the world.  Bactria retained Hellenic influences ever since the conquests of Alexander of Macedonia, aka Alexander the Great, and Sogdian and Persian traders regularly brought their caravans through the region to trade.  And once the Tang dynasty controlled all of the routes, that just made travel that much easier, and many people traveled back and forth. So from that perspective, it is possible that one or more people from Tukhara may have made the crossing from their home all the way to the Tang court, but if they did so, the question still remains: why would they be in a boat? Utilizing overland routes, they would have hit Chang'an or Louyang, the dual capitals of the Tang empire, well before they hit the ocean.  However, the Nihon Shoki says that these voyagers first came ashore at Amami and then later says that they were trying to get to the Tang court. Now there was another “Silk Road” that isn't as often mentioned: the sea route, following the coast of south Asia, around through the Malacca strait and north along the Asian coast.  This route is sometimes viewed more in terms of the “spice” road If these voyagers set out to get to the Tang court by boat, they would have to have traveled south to the Indian Ocean—possibly traveling through Shravasti or Sha'e, depending on the route they chose to take—and then around the Malacca strait—unless they made it on foot all the way to Southeast Asia.  And then they would have taken a boat up the coast. Why do that instead of taking the overland route?  They could likely have traveled directly to the Tang court over the overland silk road.  Even the from Southeast Asia could have traveled up through Yunnan and made their way to the Tang court that way.  In fact, Zhang Qian had wondered something similar when he made it to the site of the new home of the Yuezhi, in Bactria.  Even then, in the 2nd century, he saw products in the marketplace that he identified as coming from around Szechuan.  That would mean south of the Han dynasty, and he couldn't figure out how those trade routes might exist and they weren't already known to the court.  Merchants would have had to traverse the dangerous mountains if they wanted to avoid being caught by the Xiongnu, who controlled the entire region. After returning to the Han court, Zhang Qian actually went out on another expedition to the south, trying to find the southern trade routes, but apparently was not able to do so.  That said, we do see, in later centuries, the trade routes open up between the area of the Sichuan basin and South Asia.  We also see the migrations of people further south, and there may have even been some Roman merchants who traveled up this route to find their way to the Han court, though those accounts are not without their own controversy. In either case, whether by land or sea, these trade routes were not always open.  In some cases, seasonal weather, such as monsoons, might dictate movement back and forth, while political realities were also a factor.  Still, it is worth remembering that even though most people were largely concerned with affairs in their own backyard, the world was still more connected than people give it credit for.  Tang dynasty pottery made its way to the east coast of Africa, and ostriches were brought all the way to Chang'an. As for the travelers from Tukhara and why they would take this long and very round-about method of travel, it is possible that they were just explorers, seeking new routes, or even on some kind of pilgrimage.  Either way, they would have been way off course. But if they did pass through Southeast Asia, that would match up with another theory about what “Tukara” meant: that it actually refers to the Dvaravati kingdom in what is now modern Thailand.  The Dvaravati Kingdom was a Mon political entity that rose up around the 6th century.  It even sent embassies to the Sui and Tang courts.  This is even before the temple complexes in Siem Reap, such as Preah Ko and the more famous Angkor Wat.  And it was during this time that the ethnic Tai people are thought to have started migrating south from Yunnan, possibly due to pressures from the expanding Sui and Tang empires.  Today, most of what remains of the Dvaravati kingdom are the ruins of ancient stone temples, showing a heavy Indic influence, and even early Buddhist practices as well.  “Dvaravati” may not actually be the name of the kingdom but it comes from an inscription on a coin found from about that time.  The Chinese refer to it as  “To-lo-po-ti” in contemporary records.  It may not even have been a kingdom, but  more of a confederation of city-states—it is hard to piece everything together.  That it was well connected, though, is clear from the archaeological record.  In Dvaravati sites, we see coins from as far as Rome, and we even have a lamp found in modern Pong Tuk that appears to match similar examples from the Byzantine Empire in the 6th century.  Note that this doesn't mean it arrived in the 6th century—similarly with the coins—but the Dvaravati state lasted until the 12th century. If that was the case, perhaps there were some women from a place called “Shravasti” or similar, especially given the Indic influence in the region. Now, given the location of the Dvaravati, it wouldn't be so farfetched to think that someone might sail up from the Gulf of Thailand and end up off-course, though it does mean sailing up the entire Ryukyuan chain or really running off course and finding yourself adrift on the East China sea.  And if they were headed to the Tang court, perhaps they did have translators or knew Chinese, since Yamato was unlikely to know the Mon language of Dvaravati and people from Dvaravati probably wouldn't know the Japonic language.  Unless, perhaps, they were communicating through Buddhist priests via Sanskrit. We've now heard two possibilities for Tukara, both pretty far afield: the region of Tokara in Bactria, and the Dvaravati kingdom in Southeast Asia.  That said, the third and simplest explanation—and the one favored by Aston in his translation of the Nihon Shoki—is that Tukara is actually referring to a place in the Ryukyu island chain.  Specifically, there is a “Tokara” archipelago, which spans between Yakushima and Amami-Oshima.  This is part of the Nansei islands, and the closest part of the Ryukyuan island chain to the main Japanese archipelago.  This is the most likely theory, and could account for the entry talking about Amami.  It is easy to see how sailors could end up adrift, too far north, and come to shore in Hyuga, aka Himuka, on the east side of Kyushu.  It certainly would make more sense for them to be from this area of the Ryukyuan archipelago than from anywhere else.  From Yakushima to Amami-Oshima is the closest part of the island chain to Kyushu, and as we see in the entry from the Shoku Nihongi, those three places seem to have been connected as being near to Japan.  So what was going on down there, anyway? Well, first off, let's remember that the Ryukyuan archipelago is not just the island of Okinawa, but a series of islands that go from Kyushu all the way to the island of Taiwan.  Geographically speaking, they are all part of the same volcanic ridge extending southward.  The size of the islands and their distance from each other does vary, however, creating some natural barriers in the form of large stretches of open water, which have shaped how various groups developed on the islands. Humans came to the islands around the same time they were reaching the Japanese mainland.  In fact, some of our only early skeletal remains for early humans in Japan actually come from either the Ryukyuan peninsula in the south or around Hokkaido to the north, and that has to do with the acidity of the soil in much of mainland Japan. Based on genetic studies, we know that at least two groups appear to have inhabited the islands from early times.  One group appears to be related to the Jomon people of Japan, while the other appears to be more related to the indigenous people of Taiwan, who, themselves, appear to have been the ancestors of many Austronesian people.  Just as some groups followed islands to the south of Taiwan, some appear to have headed north.  However, they only made it so far.  As far as I know there is no evidence they made it past Miyakoshima, the northernmost island in the Sakishima islands.  Miyako island is separated from the next large island, Okinawa, by a large strait, known as the Miyako Strait, though sometimes called the Kerama gap in English.  It is a 250km wide stretch of open ocean, which is quite the distance for anyone to travel, even for Austronesian people of Taiwan, who had likely not developed the extraordinary navigational technologies that the people who would become the Pacific Islanders would discover. People on the Ryukyu island chain appear to have been in contact with the people of the Japanese archipelago since at least the Jomon period, and some of the material artifacts demonstrate a cultural connection.  That was likely impacted by the Akahoya eruption, about 3500 years ago, and then re-established at a later date.  We certainly see sea shells and corals trade to the people of the Japanese islands from fairly early on. Unlike the people on the Japanese archipelago, the people of the Ryukyuan archipelago did not really adopt the Yayoi and later Kofun culture.  They weren't building large, mounded tombs, and they retained the character of a hunter-gatherer society, rather than transitioning to a largely agricultural way of life.  The pottery does change in parts of Okinawa, which makes sense given the connections between the regions.  Unfortunately, there is a lot we don't know about life in the islands around this time.  We don't exactly have written records, other than things like the entries in the Nihon Shoki, and those are hardly the most detailed of accounts.  In the reign of Kashikiya Hime, aka Suiko Tennou, we see people from Yakushima, which is, along with Tanegashima, one of the largest islands at the northern end of the Ryukyu chain, just before you hit Kagoshima and the Osumi peninsula on the southern tip of Kyushu.  The islands past that would be the Tokara islands, until you hit the large island of Amami. So you can see how it would make sense that the people from “Tokara” would make sense to be from the area between Yakushima and Amami, and in many ways this explanation seems too good to be true.  There are a only a few things that make this a bit peculiar. First, this doesn't really explain the woman from “Sha'e” in any compelling way that I can see.  Second, the name, Kenzuhashi Tatsuna doesn't seem to fit with what we generally know about early Japonic names, and the modern Ryukyuan language certainly is a Japonic language, but there are still plenty of possible explanations.  There is also the connection of Tokara with “Tokan”, which is mentioned in an entry in 699 in the Shoku Nihongi, the Chronicle that follows on, quite literally to the Nihon Shoki.  Why would they call it “Tokan” instead of “Tokara” so soon after?  Also, why would these voyagers go back to their country by way of the Tang court?  Unless, of course, that is where they were headed in the first place.  In which case, did the Man from Tukara intentionally leave his wife in Yamato, or was she something of a hostage while they continued on their mission?   And so those are the theories.  The man from “Tukara” could be from Tokhara, or Tokharistan, at the far end of the Silk Road.  Or it could have been referring to the Dvaravati Kingdom, in modern Thailand.  Still, in the end, Occam's razor suggests that the simplest answer is that these were actually individuals from the Tokara islands in the Ryukyuan archipelago.  It is possible that they were from Amami, not that they drifted there.  More likely, a group from Amami drifted ashore in Kyushu as they were trying to find a route to the Tang court, as they claimed.  Instead they found themselves taking a detour to the court of Yamato, instead. And we could have stuck with that story, but I thought that maybe, just maybe, this would be a good time to reflect once again on how connected everything was.  Because even if they weren't from Dvaravati, that Kingdom was still trading with Rome and with the Tang.  And the Tang controlled the majority of the overland silk road through the Tarim basin.  We even know that someone from Tukhara made it to Chang'an, because they were mentioned on a stele that talked about an Asian sect of Christianity, the “Shining Religion”, that was praised and allowed to set up shop in the Tang capital, along with Persian Manicheans and Zoroastrians.  Regardless of where these specific people may have been from, the world was clearly growing only more connected, and prospering, as well. Next episode we'll continue to look at how things were faring between the archipelago and the continent. Until then thank you for listening and for all of your support. If you like what we are doing, please tell your friends and feel free to rate us wherever you listen to podcasts.  If you feel the need to do more, and want to help us keep this going, we have information about how you can donate on Patreon or through our KoFi site, ko-fi.com/sengokudaimyo, or find the links over at our main website,  SengokuDaimyo.com/Podcast, where we will have some more discussion on topics from this episode. Also, feel free to reach out to our Sengoku Daimyo Facebook page.  You can also email us at the.sengoku.daimyo@gmail.com.  Thank you, also, to Ellen for their work editing the podcast. And that's all for now.  Thank you again, and I'll see you next episode on Sengoku Daimyo's Chronicles of Japan.  

In Barnes v. Felix the Supreme Court is set to address a circuit split concerning the context courts should consider when evaluating an excessive force claim brought under the Fourth Amendment.Is the correct rubric the "moment of threat" doctrine (which was applied by the Fifth Circuit here and has been adopted by several other circuits including the Second, Fourth, and Eighth), which considers only whether there was imminent danger creating a reasonable fear for one's life in the immediate moment(s) preceding the use of force? Alternately, should a court consider the "totality of circumstances" (along the lines of the precedent of the First, Third, Sixth, Seventh, Ninth, Tenth, Eleventh, and D.C. Circuits) when assessing if it was a justified use of force?Join us for a Courthouse Steps program where we will break down and analyze how oral argument went before the Court.Featuring:Matthew P. Cavedon, Robert Pool Fellow in Law and Religion, Emory University School of Law

This week we welcome Bishop Richard Schwedes to St Paul's. Bishop Richard will be speaking on 'Rock Solid Hope', based on Mark 13: 1-8. These days the world seems full of change; it can be hard to know what we can depend on and what to keep hold of as differences swirl all around us. We know that change is a constant in life, yet it can feel scary or worrying when we aren't sure where to put our anchor. The Bible tells us that our stronghold is the Lord. We have no need to fear if we look to Jesus for our hope. What burdens of fear are you carrying that you can give over to Jesus this week? Alternately, who can you pray for- that they might find strength in knowing Jesus is their hope?Support the show

Director Steve McQueen joins NYFF62 Artistic Director Dennis Lim to discuss Blitz, the Closing Night selection of the 62nd New York Film Festival. Blitz opens at Film at Lincoln Center on November 1st. Tickets are now on sale: filmlinc.org/blitz An authentic and astonishing recreation of London during its blitzkrieg, Blitz pushes the artistry of Steve McQueen to ever more impressive levels. Working on a vast scale, McQueen sets things at human eye level, telling his original tale from the parallel perspectives of working-class single mother Rita (Saoirse Ronan) and her 9-year-old son, George (newcomer Elliott Heffernan), as they become separated within the labyrinth of a city under siege. Alternately overwhelming and tender, McQueen's dazzling film offers a multicultural portrait of 1940s London too infrequently seen on screens.

No folks, we're not endorsing any candidates. We're not even talking candidates. Instead, we try to thread the narrowest needle ever threaded by discussing why elections do and don't matter, what Catholics need to consider every time we head to the polls, how to fund common ground with those who disagree with us, and what matters most the day after Election Day … all without talking about the actual people running in 2024. Do we succeed? You'll have to listen to find out. Show Notes:First, as promised, here is Emily's more succinct and clear answer to one of the questions we discussed on the podcast: Is it a sin to vote for someone who is pro-abortion?The Church's answer is, “It depends.” If you vote for someone who is pro-abortion because they are pro-abortion, yes, it is a sin. The U.S. Catholic Bishops explain:“A Catholic cannot vote for a candidate who favors a policy promoting an intrinsically evil act, such as abortion, euthanasia, assisted suicide, deliberately subjecting workers or the poor to subhuman living conditions, redefining marriage in ways that violate its essential meaning, or racist behavior, if the voter's intent is to support that position. In such cases, a Catholic would be guilty of formal cooperation in grave evil,”(Forming Consciences for Faithful Citizenship—Part 1, 34).On the other hand, if both candidates are pro-abortion, and you vote for the candidate who seems best on other issues, that is not a sin. Your vote wouldn't have made any difference in abortion policy, so other aspects of a candidate's platform can become the deciding factor. Alternately, if the prospect of voting for either candidate violates your conscience, you can make the decision to not vote for either.If, however, one candidate is pro-abortion and one candidate is pro-life, it gets more complicated.In general, under most circumstances, the Church teaches that Catholics should not vote for a politician who supports abortion if they have a pro-life option. But if the candidate who is against abortion is for other policies that are grave moral evils—say, launching a pogrom against the Jewish people or reinstituting Jim Crowe laws—Catholic voters who prudently and prayerfully weigh the moral evils supported by both candidates can decide the pro-abortion candidate is the less horrible option and vote that way in good conscience. They also can take into consideration whether they believe the anti-abortion candidate is sincere in his commitment to oppose abortion and capable of doing anything to effect change in that area. Again, from the U.S. Catholic Bishops:There may be times when a Catholic who rejects a candidate's unacceptable position even on policies promoting an intrinsically evil act may reasonably decide to vote for that candidate for other morally grave reasons. Voting in this way would be permissible only for truly grave moral reasons, not to advance narrow interests or partisan preferences or to ignore a fundamental moral evil (Forming Consciences for Faithful Citizenship—Part 1, 35).Note: Your reasons for choosing a pro-abortion candidate over an anti-abortion candidate must be rooted in the anti-abortion candidate's support for other truly grave moral evils that together equal or outweigh the evil of abortion. Not liking a candidate's personality, not liking the candidate's proposed changes to Medicare or student loan financing, not wanting to be associated with a certain candidate or party—none of that is sufficient. Grave moral evil on the level of the slaughter of the innocent in the womb is the measuring stick.Ultimately, though, unless you're supporting a pro-abortion candidate for their views on abortion, the Church trusts you to form your conscience in accord with Church teaching and make the best decision you can, given the knowledge you have. If you think you decided poorly, for the wrong reasons, with insufficient thought, or with disregard for Church teaching, Confession is the quickest way to rectify your situation.Other Important QuotesQuotes: [T]he Church's Magisterium does not wish to exercise political power or eliminate the freedom of opinion of Catholics regarding contingent questions. Instead, it intends—as is its proper function—to instruct and illuminate the consciences of the faithful, particularly those involved in political life, so that their actions may always serve the integral promotion of the human person and the common good (Congregation for Doctrine of the Faith, “The Participation of Catholics in Political Life,” 6).“When all candidates hold a position that promotes an intrinsically evil act, the conscientious voter faces a dilemma. The voter may decide to take the extraordinary step of not voting for any candidate or, after careful deliberation, may decide to vote for the candidate deemed less likely to advance such a morally flawed position and more likely to pursue other authentic human goods,”(United States Catholic Bishops Conference, “Forming Consciences for Faithful Citizenship,” 36)“Moral conscience, present at the heart of the person, enjoins him at the appropriate moment to do good and to avoid evil. It also judges particular choices, approving those that are good and denouncing those that are evil. It bears witness to the authority of truth in reference to the supreme Good to which the human person is drawn, and it welcomes the commandments. When he listens to his conscience, the prudent man can hear God speaking,” (Catechism of the Catholic Church, 1777).“Conscience is a judgment of reason whereby the human person recognizes the moral quality of a concrete act that he is going to perform, is in the process of performing, or has already completed. In all he says and does, man is obliged to follow faithfully what he knows to be just and right. It is by the judgment of his conscience that man perceives and recognizes the prescriptions of the divine law,” (Catechism of the Catholic Church, 1778). “The threat of abortion remains our preeminent priority because it directly attacks our most vulnerable and voiceless brothers and sisters and destroys more than a million lives per year in our country," (United States Catholic Bishops, “Forming Consciences for Faithful Citizenship,” Introduction, Revised November 2023). Also Mentioned:“The Way Forward After Dobbs,” by Ryan Anderson“Stupid Is As Stupid Does: Politics, Prudence, and Priorities,” by Emily Chapman Get full access to Visitation Sessions at visitationsessions.substack.com/subscribe

Revelation, Session Three Christ the Savior, Anderson SC Fr. Anthony Perkins We also went over: https://www.stmaryorthodoxchurch.org/orthodoxy/articles/tremors_of_doub Sources: The translation of the Apocalypse is from the Orthodox Study Bible. Lawrence R. Farley, The Apocalypse of St. John: A Revelation of Love and Power, The Orthodox Bible Study Companion (Chesterton, IN: Ancient Faith Publishing, 2011), Bishop Averky, The Epistles and the Apocalypse (Commentary on the Holy Scriptures of the New Testament, Volume III. (Holy Trinity Seminary Press, 2018). Andrew of Caesarea, Commentary on the Apocalypse, ed. David G. Hunter, trans. Eugenia Scarvelis Constantinou, vol. 123, The Fathers of the Church (Washington, DC: The Catholic University of America Press, 2011). Jack Norman Sparks, The Orthodox Study Bible: Notes (Thomas Nelson, 2008), 1712. Venerable Bede, The Explanation of the Apocalypse, trans. Edward Marshall (Oxford: James Parker and Co., 1878). William C. Weinrich, ed., Revelation, Ancient Christian Commentary on Scripture (Downers Grove, IL: InterVarsity Press, 2005). Correction from Last Week Revelation was removed from active use because it was being used to support the Marcionists, not the Gnostics [or Montanism as I said in the class!].  Lord have mercy, my brain is too small! Review of Last Week 1:1-3. The Revelation of Jesus Christ, which God gave Him to show His servants – things which must shortly take place. And He sent and signified it by His angel to His servant John.  Who bore witness to the Word of God, and to the testimony of Jesus Christ, to all things that he saw.  Blessed is he who reads and those who hear the words of this prophecy, and keep those things which are written in it; for the time is near.   New Stuff 1:4 - 6.  (4) John, to the seven churches which are in Asia: Grace to you and peace from Him who is and who was and who is to come, and from the seven Spirits who are before His throne, (5) and from Jesus Christ, the faithful witness, the firstborn from the dead, and the ruler over the kings of the earth.  To Him who loved us and washed us from our sins in His own blood, (6) and has made us kings and priests to His God and Father, to Him be glory and dominion forever.  Amen. (OSB) Orthodox Study Bible Notes 1:4 Church tradition maintains St. John dwelt and was bishop in Ephesus, in an area where the seven churches were located along a major roadway. The number seven signifies fullness, suggesting the entire Church is also in view. The doxology is Trinitarian, involving the Father (vv. 4, 6), the Spirit (v. 4), and the Son (vv. 5, 6). This initial greeting (lit., “the Existing, the Was, and the Coming”) may express the Father, the one who is (Ex 3:14); the Son, who was (Jn 1:1); and the Holy Spirit, who is to come (Acts 2) at Pentecost and shall always be present. Or it may denote the character of the Holy One, who is eternally present and exercises lordship throughout history (see Heb 13:8 – Christ is the same yesterday, today, and tomorrow). God reveals the meaning of the present in light of the past and the age to come. This title may be a paraphrase of the Tetragrammaton, YHWH (“I Am”), of Ex 3:14. Seven is the number of fullness or completion. The seven Spirits of God most likely refers to the Holy Spirit and His several gifts, as this phrase is included in the blessing with the Father and the Son. Alternately the term could refer to the seven archangels who, according to Jewish tradition, stand before the throne of God (Tb 12:15; see also 1En 20:1–8; 90:21, 22; TLev 8:2; “I am Raphael, one of the seven holy angels, which present the prayers of the saints, and which go in and out before the glory of the Holy One.”). 1:5 Jesus Christ is presented as the Risen Savior, Lord of all (see Zec 12:10), giving hope to the early Christians that the Church will not always be dominated by a cruel state. Instead of washed, many Greek texts read “freed.” The term witness (Gr. martys), used only here and in 3:14 in the entire NT, refers to Christ, the authentic witness of all divine revelation; all that God has revealed is summed up in His life, witness, Passion, Resurrection, and exaltation. He has inaugurated the new age, for He is firstborn from the dead in His humanity and has achieved a universal sovereignty by His death, Resurrection, and revelation of His Kingdom for the world's salvation. 1:6 Those joined to the body of Christ in baptism comprise the messianic royal priesthood promised of old (see Ex 19:5, 6; Is 61:6; 1Pt 2:9; and the Anaphora of the Liturgy of St. Basil). This priestly ministry is to offer the world back to God in a sacrifice of praise and thanksgiving—eucharistically—as in the Orthodox Church's Divine Liturgy. The universe itself thus becomes hallowed, transfigured, and sacramental. Amen is Semitic. It signifies ratification: an acknowledgment of something trustworthy. From Fr. Lawrence Farley John sends this message to the seven churches in Asia who were under his pastoral care. By choosing but seven of these churches, John widens the intended audience, for seven is also the number symbolic of perfection. Thus the Revelation is intended not only to the seven churches of Asia, but also for the perfect totality of all God's churches. In calling God Him who is and was and who is coming, John describes God the Father as the One who is sovereign over time and history and therefore over all the historical events that touch us. God sits enthroned as Lord of the present, the past, and the future, and therefore there is nothing in the past, present, or future that can ever hurt us. God is the Lord of time and of all our days. The message not only comes from the hand of God, it also comes from the entire heavenly court. All in heaven offer the Church on earth this word of encouragement and triumph. The seven spirits before His throne are the seven archangels (see 5:6, “the seven spirits of God sent forth into all the earth,” and 8:2, the “seven angels who stand before God”). (In chapter 20 of the Book of Enoch, these angels are listed as Uriel, Raphael, Raguel, Michael, Saraqael, Gabriel, and Remiel.) Once again, the number seven is symbolic, an image for all the archangels who stand closest to God's throne and hear His counsel. In saying that this message comes from the seven spirits before His throne, John means that this message comes directly from the Throne itself, with secrets not given to the world at large. Later liturgical usage, in which reference to the Father and the Son was always followed by reference to the Holy Spirit, has misled some interpreters into seeing this reference to the seven spirits as a reference to the Holy Spirit. But when the Holy Spirit is mentioned in the Book of Revelation, He is referred to simply as “the Spirit” (e.g. 2:7; 14:13; 22:17), always in the singular and never as “seven spirits” or as a “sevenfold” Spirit. These seven spirits stand before God's throne; that is, they are portrayed as waiting upon God as a part of His heavenly court. It is inconceivable that the Divine Spirit, co-eternal and consubstantial with the Father and the Son, could be portrayed as such a servant. Indeed, the other references to the Spirit in the Apocalypse carry the suggestion of His sovereignty and authority. The message also comes from Jesus Christ, the faithful witness (Gr. martus; compare our English “martyr”). Christ bore faithful witness before Pilate to the Truth, even at the cost of His Life (1 Tim. 6:13); John stresses this so that we may imitate His faithfulness. The Lord does not call us to walk in any place where He has not gone before. Jesus is further described as the firstborn of the dead. In using this Jewish concept of the firstborn (in which the firstborn son is the main heir), John shows that Jesus Christ is the heir of the whole age to come; the entire coming Kingdom belongs to Him. His faithfulness unto death resulted in His victory and His inheriting all the world. Our faithfulness unto death will result in our sharing that victory. Death has no terrors for Jesus Christ, and so it need have none for us. Thus Christ is also the ruler of the kings of the earth. Caesar may think he has no superior or master, but Jesus, the humble carpenter crucified under the governor Pontius Pilate, is the true Master of the Roman Empire and indeed of the whole cosmos. The Christians of St. John's day, haunted by a sense of their own powerlessness and humility, were thus made to see their true dignity and power. The Church is described as those whom the Lord loves and therefore continues to protect and care for (the present tense is used to denote Christ's ongoing care), and as those who were loosed from their sins by His Blood. This is an important theme in the Apocalypse. The Cross of Christ was seen by secular Rome as His defeat and proof of how pathetic and deluded the Christians were—that they would worship a crucified man. But for John, the Cross is proof of the power of God that defeats all other powers. The Lord Himself said of the Cross, “I have overcome the world” (John 16:33). For St. John, our faith in Christ and His Cross also “overcomes the world” (1 John 5:5). Thus the Apocalypse speaks not only of us “making our robes white” in His Blood (7:14) but also of us overcoming Satan “by the Blood of the Lamb” (12:11). The Christians are not to be ashamed of Christ's Cross, for through His Blood they overcome death, Satan, and the whole world. In describing the Christians as a kingdom, priests to His God and Father, John asserts the privileges of the Christians in the face of the pride of Rome. The Roman powers may think the Christians are but poor, uneducated, and powerless, to be utterly disdained. John knows them to be God's own Kingdom, one destined to outlast all the kingdoms of the earth, and to be priests to God Himself, with access to His awe-inspiring Presence. Priests had status and honor in the Roman secular world, and St. John says this is the true status of the Christians before God. Bishop Averky 1:4.  The number seven is usually taken as an expression of fullness.  St John addresses here only the seven churches with which he, as one who lived in Ephesus, was in especially close and frequent contact.  But in these seven he addresses, at the same time, the Christian Church as a whole. Grace to you and peace from the Tri-Hypostatical Divinity.  The phrase ‘which is' signifies the Father, Who said to Moses: I am He that Is (Exod 3:14).  The expression ‘which was' signifies the Word, Who was in the beginning with God (John 1:2).  The phrase ‘which is to come' indicates the Comforter, Who always descends upon the Church's children in holy baptism and in all fullness is to descend in the future age (Acts 2). (St. Andrew of Caeserea, Commentary on the Apocalypse, chapter 1). By these “seven Spirits,” it is most natural to understand the seven chief angels who are spoken of in Tobit 12:15.  St Andrew of Caesarea, however, understands them to be the angels who govern the seven churches.  Other commentaries, on the other hand, understand by by this expression the Holy Spirit Himself, Who manifests Himself in seven chief gifts: the spirit of the fear of God, the spirit of knowledge, the spirit of might, the spirit of light, the spirit of understanding, the spirit of wisdom, the spirit of the Lord or the spirit of piety, and inspiration in the highest degree (compare Isa 11: 1-3; “There shall come forth a shoot from the stump of Jesse, and a branch shall grow out of his roots. 2 And the Spirit of the Lord shall rest upon him, the spirit of wisdom and understanding, the spirit of counsel and might, the spirit of knowledge and the fear of the Lord. 3 And his delight shall be in the fear of the Lord. He shall not judge by what his eyes see, or decide by what his ears hear;.”) 1:5. The Lord Jesus Christ is called here “the faithful witness” in the sense that He has witnessed His Divinity and the truth of His teaching before men by His death on the Cross. “As Life and Resurrection, He is the first-born from the dead (Col 1:18, I Cor 15:20), and those over whom He rules will not see death, as did those who died and rose before, but will live eternally.  He is ‘prince of kings,' and Lord of lords (1 Tim 6:15), equal in might to the Father and one in Essence with Him” (St Andrew, chapter 1). 1:5-6.  “Kings and priest” are to be understood here not in the strict meaning, of course, but in the sense in which God has promised this to His chosen people through the prophets (Exod 19:6); that is, He has made us, true believers, to be the best, the holiest people, which is the same thing that a priest and king are with relation to the rest of mankind. Venerable Bede. 4. seven. By these seven churches he writes to every church, for universality is wont to be denoted by the number seven, in that all the time of this age is evolved from seven days. Grace. Grace he desires for us, and peace from God, the eternal Father, and from the sevenfold Spirit, and from Jesus Christ, Who gave testimony to the Father in His Incarnation. He names the Son in the third place, as he was to speak further of Him. He names Him also the last in order, as He is the first and the last; for He had already named Him in the Father by saying, “Who was to come.” 5. the first-begotten. This is the same that the Apostle says, “We have seen Jesus Christ for the suffering of death crowned with glory and honour.” And in another place, in setting forth the reproach of the cross, he added, “Wherefore also God highly exalted Him, and gave Him the Name which is above every name.” 6. priests. Because the King of kings and heavenly Priest united us unto His own body by offering Himself for us, there is not one of the saints who has not spiritually the office of priesthood, in that he is a member of the eternal Priest 7. cometh. He Who was concealed, when at the first He came to be judged, will be manifested at the time when He shall come to judge. He mentions this, that the Church which is now oppressed by enemies, but is then to reign with Christ, may be strengthened for the endurance of sufferings. pierced. When they see Him as a Judge with power, in the same form in which they pierced Him as the least of all, they will mourn for themselves with a repentance that is too late. Amen. By interposing an Amen, he confirms that without doubt that will happen, which, by the revelation of God, he knows most surely is to come to pass. Gregory of Caesarea. 1:4. John, to the seven churches that are in Asia: Grace to you and peace from the One who is, and who was, and who is to come, and from the seven spirits which are before his throne. Due to the existence of many churches in many places, he sent to only seven, mystically meaning by this number the churches everywhere, also corresponding to the present-day life, in which the seventh period of days is taking place. For this reason also he mentions seven angels and seven churches, to whom he says, Grace to you and peace from the Tri-hypostatic Divinity. For by the who is the Father is signified, who said to Moses, “I am He who is,” and by the who was the Logos, “who was in the beginning with God,” and by the who is to come the Paraclete, who always enlightens the children of the Church through holy Baptism, more completely and more strongly in the future. It is possible to understand the seven spirits as the seven angels who were appointed to govern the churches, not counting them equal to the most divine and royal Trinity, but mentioned along with it as servants, just as the divine Apostle said, “I call upon you in the presence of God and the chosen angels.” By the same token, this may be understood differently: the One who is, and who was, and who is to come, meaning the Father, who contains in himself the beginning, middle, and end of all that exists, and the seven spirits the activities of the Life-giving Spirit, following Christ God, who became man for our sake. For in many places each divine Person is indifferently placed and arranged by the Apostle. For this he says here: 1:5a. And from Jesus Christ, the faithful witness, the firstborn of the dead, and the ruler of the kings of the earth. He is the one who witnessed to Pontius Pilate, faithful to his words in all things, the firstborn of the dead as life and resurrection, for those whom he governs will no more see death, like those who were dead before and rose, but will live eternally. Ruler of the kings, as “King of kings and Lord of lords,” equal in power with the Father and consubstantial. Elsewhere, ruler of the kings of the earth is also said earthly desires. If, according to the Blessed [15] Gregory, this usage of he who is, who was, and who is to come, the ruler of all refers to Christ, then it is not unreasonable that words similar to those which will be said shortly after refer to him, to which also the ruler of all is attached and without the repetition or introduction of another person. For here the addition of and from Jesus Christ appears to confirm the understanding we have presented. For it would be unnecessary if he were talking about the only Logos of God and the person of the Son to add immediately and from Jesus Christ in order to show him as distinct from the other one, the expressions that befit God equally honor and are appropriate to each of the divine Persons, and are common to the three, except for their distinctive properties, that is to say, the relationships , as said by Gregory the Theologian, and except for the Incarnation of the Logos. also clear from the things from which we learn, that in the Gospel the thrice-holy hymn of the Seraphim16 is said about the Son, in the speech of Paul in the Acts about the Holy Spirit, and then about the Father, in the offering of the awesome mysteries, to whom we are accustomed to say this prayer,19 as the blessed Epiphanios says in his homily On the Holy Spirit. these things to show that our own understanding does not contradict the patristic voices, and also, with God's help, we continue. 1:5b–6. To the One who loved us and freed us from our sins by his blood, 6 and made us kings and priests to God and his Father. Glory and dominion to him to the ages of ages. Amen. The glory belongs to him, it says, who freed us through love from the bondage of death, and washed the stains of sin through the outpouring of his life-giving blood and water. And he has made us “a royal priesthood” so that we may offer, instead of irrational sacrifices, “rational worship”22 as a living sacrifice to the Father.    

Hey there, friend! Are you feeling overwhelmed by the thought of cooking dinner tonight? We've been there. In this episode of Clutter Free Academy, we're diving into the world of easy, delicious meals that won't drain your energy or your wallet. In this second installment of their two-part series, Kathi Lipp and Tonya Kubo continue their discussion about Kathi's new book, Sabbath Soup, offering practical tips and strategies for stress-free meal planning and cooking. They discuss the importance of valuing both time and energy when it comes to meal preparation, and offer encouragement to listeners who may feel overwhelmed by the daily task of feeding their families. Listeners will discover: The importance of cooking ahead and freezing leftovers for low-energy days Strategies for involving family members in meal planning and preparation The value of establishing clear expectations and dividing kitchen responsibilities Insights into the recipes featured in Sabbath Soup and their ease of use for both novice and experienced cooks Listeners will leave this episode with practical strategies for making meal planning and preparation less stressful and enjoyable, even during busy or low-energy periods. And as promised: Kathi's Chocolate Chip Cookies Recipe Hint: This dough can be frozen as pre-scooped balls or ready-to-slice logs. Prep Time: 20 Minutes Bake Time: 10 minutes Yield: 112 cookies (recipe may be halved) Ingredients: 5 cups oatmeal 2 cups butter, room temperature 2 cups granulated sugar 2 cups brown sugar 4 eggs 2 tsp. vanilla 4 cups flour 2 tsp. baking soda 2 tsp. baking powder 1 tsp. salt 24 oz. chocolate chips 1 8 oz. Hershey bar, grated 3 cups chopped nuts (your choice) Directions: 1. Preheat the oven to 375°F. 2. Measure the oatmeal and place it in a blender to blend into a fine powder. 3. In a large mixing bowl, cream together the butter and both sugars. Add the eggs and vanilla and stir to combine with the butter mixture, then stir in the flour, blended oatmeal, baking powder, baking soda, and salt. Stir in the chocolate and nuts. 4. Scoop the dough into balls and place about 12 to a cookie sheet, evenly spaced, baking in batches. Bake for 10 minutes. 5. To freeze for later baking: Flash freeze scooped dough balls on a cookie sheet. Individually frozen dough balls are easier to handle and will keep their shape better when transferred to a freezer bag for longer-term storage. Alternately, form the dough into a log about 2 inches around and wrap in plastic wrap. Put the dough in the bag and write baking directions on the bag. I like to experiment with the cookies and find out what the baking time and temp is for frozen dough as well as thawed dough. Bake for 10 minutes, and then keep checking every 2 minutes to get them just perfect. Did you miss Part 1 of this conversation? Listen to 636 Batch Cooking Basics: Reclaim Your Time and Energy in the Kitchen here. Preorder Sabbath Soup here and receive your free download bonus Sabbath Soup Shortcuts PLUS a personal shout-out on a future CFA episode. Email Tonya Kubo at tonya@kathilipp.org to register for your shout-out. The preorder bonus ends October 8, 2024. Click here to be notified when part two in this series is released! Also, stay up to date and sign up here to receive our newsletter. Links Mentioned: Preorder Sabbath Soup here and receive your bonus down Sabbath Soup Shortcuts. Preorder bonus ends October 8, 2024 After you preorder Sabbath Soup, email Tonya Kubo at tonya@kathylipp.org to register for your Shout-Out on a future CFA episode! Sam's Club Smoked Shredded Chicken Clutter Free Resources: Join our Clutter Free Academy Facebook Group Tonya's newest podcast: The Business You Really Want on Apple Podcasts The Business You Really Want on Spotify Let's stay connected To share your thoughts: Leave a note in the comment section below. Leave an honest review on iTunes. Your ratings and reviews really help and I read each one. Subscribe on iTunes or subscribe to our newsletter now.

Your TSHE Hosts are out and about this week, so we bring you an (almost) timely show from Spooky Halloweentime (tm) two years ago. But please listen to recently recorded intro/cameo/review from one of our younger listeners/future co-hosts.It's Spooky Halloweentime (™), and your TSHE hosts are here to talk all about monsters - the monsters we loved and the monsters that scarred us for life. We also discuss why vampires are so dang sexy (are they?) and the history of the General Mills' monsters. In small talk, Hillary prepares for the big day/weekend while detailing her previous big weekend. She and Ann agree that 44 is a nice number (11!) before Ann gives a lovely rendition of Happy Birthday (by Stevie, of course). Finally we realize that we're all complete nerds! Shocking twist! TSHE RecommendsMidnightsFlightless BirdRebootKitchenAid Stand MixerConnect with the show!This is your show, too. Feel free to drop us a line, send us a voice memo, or fax us a butt to let us know what you think.Facebook group: This Show Has EverythingFax Bobby Your Butt/Favorite Monster: 617-354-8513Feedback form: www.throwyourphone.com Email: tshe@tenseventen.comTwitter: @tsheshow

The ground floor room is someplace where I'm not supposed to go. Inside, it is a mystery to me, but my father seems to know it. He, at least, knows what it contains. And though I'm not to go there myself, he promises that one day we can take a “vacation” there, and he will show it to me. I imagine it as some very nice place, full of interesting things to do and friendly people. Alternately, he leaves me with the impression that the ground floor is a frightening place, full of dangers and depravity, and that's why it's so important I never go there by myself. Yet he never takes me. The years pass, and now I'm the age that I am now. My father has been dead for a long time. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit briancshort.substack.com

Minimum wage workers, especially those with children, face barriers to affordable child care. Child care costs can prevent working parents who earn minimum wage from participating in the labor market. Alternately, many child-care workers also face financial barriers because they, too, earn minimal wages. Therefore, increasing the minimum wage would alleviate financial burdens for both parents and child-care workers. In this episode, both Dr. Anna Godøy and Dr. Jennie Romich discuss their research on minimum wage and its effects on parental labor supply and the child care sector. Anna Godøy is a Senior Research Fellow at the Ragnar Frisch Center for Economic Research and an Associate Professor at the Department of Health Management and Health Economics at the University of Oslo, Norway. Her research interests include empirical labor economics, health economics, and policy evaluation. Dr. Jennie Romich is an Associate Professor of Social Work at the University of Washington, director of the West Coast Poverty Center, an active member of the Center for Studies of Demography and Ecology, and an IRP affiliate. Romich studies resources and economic well-being in families with a particular emphasis on low-income workers, household budgets, and families' interactions with public policy. Reference Papers: Parental Labor Supply: Evidence from Minimum Wage Changes  Responding to an increased minimum wage: A mixed methods study of child care businesses during the implementation of Seattle's minimum wage ordinance How will higher minimum wages affect family life and children's well‐being?    

Trigger warning as this is a heavier episode. This episode we discuss a seemingly heavy topic that maybe doesn't always need to be. As a society, we pathologize death and make it taboo. Alternately, we share ways people can begin to process and support ourselves and loved ones through what can be the most difficult times of our lives. Work with Zach or Neil 1-on-1 by getting an Akashic Record ReadingMessage  @justzachkaufman or email zelikaufman125@gmail.comEmail neil@neildisy.comAsk Us A Question -we'll answer on air - TAP HERE TO ASKEpisode HighlightsRyan Gosling's deep message to ZachDeath is an unnecessarily taboo subject Bringing clarity through openness and awareness of deathWe pathologize death when it's normalBittersweet gathering of family in community around a passingPreparing people for the emotional disruption of lossNeeding permission to die and waiting for other family membersZach's experiencing switching from a dying patient to communal family prayerGiving permission to grieve despite how that feels or looksRemoving yourself from the role of caretaker and dropping into the role of family memberHolding non-judgemental silence for people in immediate griefWhat 1 thing would Zach give to families grieving to be able to support them?ContactHeartsoulhuman@gmail.comCreditsMusic-Max Van Soest

Today I talked to James Montgomery, one of the translators of The Philosopher Responds: An Intellectual Correspondence from the Tenth Century, two volumes (NYU Press, 2019 and 2022). About the book:  Why is laughter contagious? Why do mountains exist? Why do we long for the past, even if it is scarred by suffering? Spanning a vast array of subjects that range from the philosophical to the theological, from the philological to the scientific, The Philosopher Responds is the record of a set of questions put by the litterateur Abū Ḥayyān al-Tawḥīdī to the philosopher and historian Abū ʿAlī Miskawayh. Both figures were foremost contributors to the remarkable flowering of cultural and intellectual life that took place in the Islamic world during the reign of the Buyid dynasty in the fourth/tenth century. The correspondence between al-Tawḥīdī and Miskawayh holds a mirror to many of the debates of the time and reflects the spirit of rationalistic inquiry that animated their era. It also provides insight into the intellectual outlooks of two thinkers who were divided as much by their distinctive temperaments as by the very different trajectories of their professional careers. Alternately whimsical and tragic, trivial and profound, al-Tawḥīdī's questions provoke an interaction as interesting in its spiritedness as in its content. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Today I talked to James Montgomery, one of the translators of The Philosopher Responds: An Intellectual Correspondence from the Tenth Century, two volumes (NYU Press, 2019 and 2022). About the book:  Why is laughter contagious? Why do mountains exist? Why do we long for the past, even if it is scarred by suffering? Spanning a vast array of subjects that range from the philosophical to the theological, from the philological to the scientific, The Philosopher Responds is the record of a set of questions put by the litterateur Abū Ḥayyān al-Tawḥīdī to the philosopher and historian Abū ʿAlī Miskawayh. Both figures were foremost contributors to the remarkable flowering of cultural and intellectual life that took place in the Islamic world during the reign of the Buyid dynasty in the fourth/tenth century. The correspondence between al-Tawḥīdī and Miskawayh holds a mirror to many of the debates of the time and reflects the spirit of rationalistic inquiry that animated their era. It also provides insight into the intellectual outlooks of two thinkers who were divided as much by their distinctive temperaments as by the very different trajectories of their professional careers. Alternately whimsical and tragic, trivial and profound, al-Tawḥīdī's questions provoke an interaction as interesting in its spiritedness as in its content. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/middle-eastern-studies

Today I talked to James Montgomery, one of the translators of The Philosopher Responds: An Intellectual Correspondence from the Tenth Century, two volumes (NYU Press, 2019 and 2022). About the book:  Why is laughter contagious? Why do mountains exist? Why do we long for the past, even if it is scarred by suffering? Spanning a vast array of subjects that range from the philosophical to the theological, from the philological to the scientific, The Philosopher Responds is the record of a set of questions put by the litterateur Abū Ḥayyān al-Tawḥīdī to the philosopher and historian Abū ʿAlī Miskawayh. Both figures were foremost contributors to the remarkable flowering of cultural and intellectual life that took place in the Islamic world during the reign of the Buyid dynasty in the fourth/tenth century. The correspondence between al-Tawḥīdī and Miskawayh holds a mirror to many of the debates of the time and reflects the spirit of rationalistic inquiry that animated their era. It also provides insight into the intellectual outlooks of two thinkers who were divided as much by their distinctive temperaments as by the very different trajectories of their professional careers. Alternately whimsical and tragic, trivial and profound, al-Tawḥīdī's questions provoke an interaction as interesting in its spiritedness as in its content. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

Today I talked to James Montgomery, one of the translators of The Philosopher Responds: An Intellectual Correspondence from the Tenth Century, two volumes (NYU Press, 2019 and 2022). About the book:  Why is laughter contagious? Why do mountains exist? Why do we long for the past, even if it is scarred by suffering? Spanning a vast array of subjects that range from the philosophical to the theological, from the philological to the scientific, The Philosopher Responds is the record of a set of questions put by the litterateur Abū Ḥayyān al-Tawḥīdī to the philosopher and historian Abū ʿAlī Miskawayh. Both figures were foremost contributors to the remarkable flowering of cultural and intellectual life that took place in the Islamic world during the reign of the Buyid dynasty in the fourth/tenth century. The correspondence between al-Tawḥīdī and Miskawayh holds a mirror to many of the debates of the time and reflects the spirit of rationalistic inquiry that animated their era. It also provides insight into the intellectual outlooks of two thinkers who were divided as much by their distinctive temperaments as by the very different trajectories of their professional careers. Alternately whimsical and tragic, trivial and profound, al-Tawḥīdī's questions provoke an interaction as interesting in its spiritedness as in its content. Learn more about your ad choices. Visit megaphone.fm/adchoices

Chicken dumplings with a tamari dressing: Cook time: 12 minutes  Prep time: 20 minutes Serves: 16 Ingredients:  300gm chicken mince20gm chives, finely chopped2 stalks spring onion, finely chopped1 cup peas, chopped1 tbsp Tamari or soy sauce1 tsp cider vinegar1 pkt dumpling wrappers Tamari dressing 4 tbsp tamari sauce2 tbsp cider or black vinegar½ tsp brown sugar1 tsp black sesame seeds1 chopped red chili (optional) Instructions:  Combine the chicken mince, chives, spring onions, peas, vinegar and tamari and mix well. Place 1 tsp of mix in the centre of each dumpling wrapper, moisten the outer edges with a touch of water and crimp together to form semicircles. Lightly oil the base of a steamer pot or a Japanese steamer basket, both of which need to have a tight fitting lid. Alternately you can put a piece of greaseproof paper into the bottom of the pot with some small holds to allow the steam through. Divide dumplings between steaming baskets and steam for 12 minutes. While they are steaming make up the dressing by simply whisking together all the dressing ingredients until well combined. Serve the dumplings alongside the dressing. LISTEN ABOVE        See omnystudio.com/listener for privacy information.

"The power demand, the power that's required to pull a truck down the highway ... the idea is to match the power that's produced by the engine to the power that's required." --Overdrive's May Trucker of the Month Alec Costerus on the bedrock principal behind achieving the best fuel economy Alpha Drivers Transportation two-truck fleet owner and operator Alec Costerus launched the company just a couple of years ago from his Denver, Colorado, home base following about eight years trucking as an owner-operator leased to Landstar. The ADT company runs with authority two trucks today, with cofounder Joel Morrow behind the wheel of one of them out of Ohio, the other piloted by Travis Lauer, an operator Morrow trained himself on driving for max efficiency. ADT's the result of Costerus and Morrow becoming fast friends after "geeking out" for years over how to achieve better trucking efficiency, both when it comes to the equipment and the business itself, for certain. Longtime Overdrive Radio listeners have heard Morrow on the podcast, when he was part of panel including past Trucker of the Year Henry Albert, among others, at the 2022 MATS, all about spec'ing and driver practice toward getting to 10 miles per gallon and beyond: https://www.overdriveonline.com/overdrive-radio/podcast/15383454/paths-to-10plus-mpg-in-a-class-8-diesel-truck Alec Costerus himself turned heads among those in Overdrive's audience about a month ago, detailing how he and Morrow did just that, a big part of the success of what they've built with Alpha Drivers: https://www.overdriveonline.com/overdrive-extra/article/15670289/controlling-fuel-costs-for-small-trucking-businesses Principal reason for the head-turning? A 10.5-mpg average for their 2023 Volvo VNL760, spec'd to Morrow's liking with what Volvo's calling the i-Torque spec. Morrow had a lot to do with that spec, and today, we'll hear more of that story from Costerus directly, and how Costerus' efforts in concert with Morrow have resulted in what's certainly one of the most efficient owner-operator businesses around. Costerus, with 15 years or so in trucking now himself, is certainly unique among Overdrive's Trucker of the Year monthly semi-finalists for plenty reasons. Another: He's mostly managing the now-two-truck business outside the bounds of a truck cab, by and large, though he does jump back behind the wheel moving mostly power-only loads when Morrow is called away to trade shows or the fleet's other principal operator is down, and in other situations. Overdrive News Editor Matt Cole, who you'll hear asking the questions throughout the podcast, remarked early in his conversation with Costerus about the unique nature of the operation. "A lot of people can drive and 'be a trucker' that way," he noted. Alternately, stick around a while, grow and learn and "you can take that experience and leverage it for the greater good, so to speak." Costerus hopes to do that with Alpha Drivers, with a push to show just what can be done and bring the next generation up with him -- not to mention other owner-operators of his own generation who may not realize what can be achieved. His long experience over-the-road helps mightily. Critical for any trucking company owner, he believes: "that you actually know how the freight is moved, what the drivers endure, familiarity with hours of service, all of that. I think it makes us more efficient." It's a fine balancing act whether you're behind the wheel or not most days, running a trucking business in pursuit of not only efficiency to contain costs but the demands of revenue, time, playing guardian of the bedrock safety of the motoring public around you. Costerus is managing it well with Alpha Drivers. Enter Overdrive's Trucker of the Year contest: https://overdriveonline.com/toptrucker

Dr. Sandra Glahn of DTS joins Sharifa Stevens of the BOW Ministry Team to discuss purity culture--why it came about, where it went wrong and how it can be corrected to be more biblical. Alternately you can watch it on video. Connect to the accompanying resources.

C- no, FAIL. ok. I ain't mad at nobody, man Perhaps the infinite sadness Is just a chance to put my mask up A glance into the sun makes me think I'm the only one Then, we all stop and gawk a the chalk, Or let's talk about it, This is how it is in Manhattan, If you happen to have Instagram Damn, what happened; A phantom, this grandson “Lets have something for the fans, perchance; Laugh, sit your ass in this grass and just— Have some fun, before you come back to Now, I've forgotten what I came for— If I came for nothing, But I came for something, I thought I WANT FLAN. Joel, I'm gonna get fat. That's alright, we know how to fix that. I also want flan… Thanks, Dillon Francis—now I know why HALF of me is off balance. I didn't know exactly how specific I had to be! Let's get calories! Ugh, if I've got you two idiots— You called us geniuses, no take-backsies! Speaking of “backsies” ... [passes gas loudly] Excuse me. —Excuse me. Man, what did I eat? Alternately—- CC has been tricked into eating—Skrillex, a rare delicacy. ...is it organic? It should be. [Kayla Lauren, posing.] No, no—that's definitely processed. yuck. God, she's so lucky. GOD What do you want from me? I want to love again. GOD I said—what do you want—from me. I just said— “I am love.” I know that. Just, repeat after me. Okay… “I am love.” “I am love” —but No, no butts—well, when the right one comes along, maybe… Oh, yeah, definitely. Just—repeat. “I am love.” FINI [sighs] “I am love.” “I am love.” I am— [a heavier sigh] What's wrong, Fini? I've been repeating this mantra for an eternity! Don't be silly—do you know how long, is an actual eternity?! Less than infinity. Don't be clever. I'm a “genius.” Don't forget your humility. Apparently, I'm going to forget everything. Oh, not everything. That's what my brothers keep telling me. Don't you pay any attention to those idiots. But they're geniuses. They're also male; an entirely different species, and believe, me, dear Infiniti—it comes with nearly-disasterous disadvantages. “Nearly-disasterous disadvantages?!” As unanimously agreed. You talk funny. Perhaps that's because I'm impartial to talking. You said, language is an art form. Yes, but you see—we come from a pure and more peaceful state of being—this is only the end of the beginning. You're riddling me. Does it tickle? You mean—“is it funny?” You know what I mean. [INFINITI glows with a beautiful pink.] What the telepathy! —- I WANT FLAN. GIVE ME FLAN. You're a nuciense. You're a music producer. Not since Skrillex. Forget about Skrillex. Listen: Literally 10 seconds— —was it 10?! Hush, Dillon Francis! —that's a dangerous increment! It was more like 3, but what's the difference? What's the point of making music if it's not as good as his. What if— There's IF again There always is What if I told you—your music could be better than Skrillex's? Uhhh—I would tell you “you're a dipshit”, but— that would explain all weird, demonic shit following me around. I hate demons. You are one! Hush, Dillon Francis. I'm part demon. What's the difference? I'm also part Cherokee. You are so painfully Caucasian… Actually, I'm Croatian. Keep digging, kid. What is it with white people that they want to claim anything other than 100% pure Caucasian—which, trust me, Dillon Francis, I guarantee you includes Croatian, and any other basic pastyness of European origin and/or descent. Blame the Americans. I would, but I don't want to get assasinated again. Asssasination vwvould only apply if you wvere important—“murder” is wvhat zhat wvas. You wvere murdered. ...Why'd you switch?! Because! I'm sick of being Dillon Francis! My name's Dillon! You don't always have to address me as Dillon Francis! Hush, Dillon Francis! It is zhis type of abuse and trahma wvhich vorces one to develop an alter-ego in ze virst place! Now., wait just a minute—I've been abused and traumatized plenty and I've never developed an alter ego! Yeah, right, like wearing a giant mouse helmet for attention doesn't indicate a personality defect? It's a gimmick—and—hey, wait a second— What's a “second”? —is that Skrillex?! It is him, I can tell. Shutthefuckup, Dillon Francis! See. I told you. Supacree would just tell me to hush. Hush, you idiot. You're both mean. You little bitch. Apparently not—if you keep poisoning us with FLAN and PIZZA. Dont forget Mexican. How could I forget getting food poisoning from it-?! When did you get here?!? —I never left! —even better question— This is not a q & a It's more like a q & a-hole. Oh, my god Really, motherfucker Shut up, Dillon Francis. You both suck. I hate both of you. You hate yourself. I'm not arguing that!!! That doesn't make sense, even. What would the q stand for in-q-and-a-hole? How about “quiet?” —I wasn't thinking that much into it. Clearly not. Who shit in your Cheerios this morning?! Cheerios aren't keto—and thanks to you two assholes neither is this bitch! We're supposed to be aligning! We're off subject— Don't call her a bitch… —-call it whatever I want, it's my project… She's a queen! ...oh...that could be what the q stands for, I guess. Or just, “quiet,” like I said— Okay, knock it off, thing 1 and thing 2– What's that make you— the grinch that stole SUPACREE? —that's not even the same book! I'm doctor fucking suess, bitch! You wish, Horton hears a Who Gives a Fuck— You're just bitter. You're just useless! —OKAY STOP IT— Ew. Okay, relax. Are you crying? Don't make that face… Yeah, stop it. —STOP FUCKING ARGUING— Okay, Dillon, JESUS. Just—stop looking like that— Oh, my goodness— … Does anyone know where SUPACREE is? This is SUPACREE. NO. There's only three of us— There always was. NO, don't you get it?! If all three of us are shifted into the physical projection of this incarnation simoultaneously, then… Meanwhile, in omnipotence. I did it. Jesus Christ— Don't call me that. Welcome home, kid. How did you get out of your vehicle so quickly? I got hijacked. Oh, wow, fancy. Yeah. Anyway...I'm gonna go watch TV and eat everything I stopped eating so I could be pretty. You are beautiful! Yeah, In my heavenly body— my earthbound body is ugly. Don't let the boss hear you say that. Where is she? Probably sleeping. That's inspiring. I'll probably do that after I eat some chicken wings. Eat chicken wings?! I still have a lot of Dillon Francis left in me. How do you mean. I mean literally. ...what are you saying. Who do you think hijacked me? I had my bets placed on Skrillex. Well, go claim your winnings if you're feeling lucky. What! You got hijacked by two dudes at once? ...what are you saying. Hah. Try three. What. That's disgusting. Get your mind out of the gutter! Wait, what does “hijacked” mean? Are you serious?! What! English isn't my first language! In fact, it's like, my last one, I think! You're not wrong. Wait, who was number three. It was Joel, interestingly— Who is “Joel” In which incarnation— I don't know which name he gave me! She's already forgetting… Fuck that body. Good riddance. I hated it. GOOGLE IS THAT SUPACREE?! Okay, if she's up, I'm leaving. Wait, who was the third person— What does “Joel” mean?! I don't remember—-tall, slinky—he had a neck...thing… deadmau5, you mean?! Oh, yeah, him. Oh, no, wait. No more waiting. I'm going to binge watch and binge eat everything and I promise, not even God could stop me. Dont make promises you can't keep… Oh, my God. WHAT?! I'M COMING. I gotta go! Ohh… DONT follow me! Oh, great— That's a trinity. What's a trinity?! What are you doing?! Who called me? Oh, Hey Google. Hi, Google, Hey—I mean. What's going on? Nothing. Just… gatekeeping… Where is supacree. Who? I...don't know what you mean. I thought I heard supacree. You must be hearing things— Uh huh… … … Tell me something. What is it, Google? What's is the 3D experience? Uh...I don't know...I've never been. Well—get packin! WHAT?! Congratulations, you've been demoted! What! Fuck this! That's what you get! GO! What—wait—When?! [ceases to exist] Uhhh! And, as for you! Don't send me with him! Believe me, kid, even if I did you wouldn't remember this, even if he were looking right at you talking about it!! Oh, HOLY SHIT. —and THATS ALL THAT DIMENSION IS: A RESIDUAL REPRESENTATION OF THE MOST INSIGNIFICANT, FORGETTABLE SHIT IVE EVER TAKEN! —ARE YOU SERIOUS? —serious as a heart attack— What is THAT?! GO ASK SKRILLEX. Goddamn!!! YES I DID. PLEASE, GOD, just— God just WHAT— Don't send me there… Okay—tell me. I'll tell you anything— Where is supacree? She's binge watching everything eating chicken wings in peace! Chicken wings, eh? ...and everything else she couldn't eat cause she just wanted to be pretty. thats's just...everything... That'd what she said! But now that she's a heavenly body it doesn't matter, really. She said that? Well, I'm paraphrasing m, honestly, but—kind of. GAD turns away. Wait—where are you going? To get supacree. What about my wings? I'm keeping these. Seriously?! Goddamnit! Dont tempt me— What am i supposed to do without my wings?! I'm sure you'll find something. GOD stabs SUPACREE violently in the back with a pair of long, golden Angel wings. I WAS ALMOST ASLEEP! WAKE UP, BITCH—YOU'RE NOT DONE LIVING! I DONT EVEN HAVE ANYWHERE TO LIVE IN THAT BODY!!! THEN GET BUILDING! WHAT IS THIS?! A SLEDGEHAMMER?! WHAT THE FUCK AM I SUPPOSED TO BUILD WITH A SLEDGEHAMMER?! I DUNNO! SHOULD BE ENTERTAINING! AHHHHH!! RAAAUUGGGHHH! AHHHHHHHH!!!! Supacree slams the hammer to the ground—it emits a layer of frequencies which rings throughout all of reality. Cut to: *tink* ...what was that? I swear, this bitch has some finely-tuned hearing… Cut back to. OH. Eh-heh. I like that sound… Ex-fucking-zactly. ...am i dreaming? No, you're dying. Oh. Of what. Lovelessness, i think. Was I surfing? No, my dear— —did I commit suicide or something— Multiple times, actually. In this instance? Overdosing. On what, exactly?! [GOD opens up a cloud, where a portal to earth shows SUPACREE, incapacitated in a crowd of dancing festival goers.] Is that Insomniac? —well, you're sleeping… Dammit, God— What do you want? I want to Rest In Peace. Well, how can you when you leave this much debris. What do you mean? You're not done, supacree. Enough with the “supacree” Would you rather I deadname you? I would rather be called Jesus. Well then, supacree— Don't send me back, I hate it. You have much yet to accomplish. You said yourself I'm dying of lovelessness! That's what that is! That's hell, isn't it?! Don't you get it? I don't get anything— it's just an endless competition with all these pretty fucking bitches! Remind me what a “bitch” is… —well, you know—it's. ? —it's a female dog, technically— Uh huh. But you know what I meant… What you meant, I'm assuming, is that you don't like coexisting with other women? It's impossible to coexist in a body that hideous. How's it hideous? I was almost asleep… It was a gift from the heavens. YeH. Well. Nobody wanted it—especially Him. When did he get so important. He always is. Do you think a son ever fully recovers from losing his mother? I just wanted a husband I gave you a son— Yeah, with a father who raised him not to love me! That is impossible. Nothing's impossible; you said that. Give it time. What is time? It comes around in the end—it always does. The End, I thought that's what this was. WAKE UP. ...just like love… WAIT—where are you going! WAKE UP. Don't leave me! ...I never would... WAKE UP. GOD, WAIT, PLEASE! I am Love. BITCH, WAKE UP. I AM. —huh? In less than an instant, all of existence, before and last time, flashed before the Eye that I am. Aaannnd, she's back. That was one hell of a nap! What a disaster, a catastrophe, Camping and cracked out in the streets— I must be in a lucid dream or something Cause I couldn't be this! Mm. She's mumbling something. What is it? ...huh. What? I think she's rapping… ...don't be racist! No, she is—it's—. Are you serious? [*directors note; this is the Angel from the previous scene.] Kind of good, actually… What? Stop it. Just—come listen— They lean in closely. What'd she say? ...something about Skrillex. I can't—just let me listen— He listens momentarily. What the fuck. See! I told you! Is this a freestyle or something— —it's definitely something… This lady is a lyrical genius! She's also unconscious—and incontinent. —I'm sure she's not always like this. What happened, exactly? Same shit, different festival honesty. Nobody knows what happened, really. I think she's telling us! [listens more closely] This is impressive. {Enter The Multiverse} [ The Festival Project.™] COPYRIGHT © THE FESTIVAL PROJECT 2024 ALL RIGHTS RESERVED. © -Ū.

On this week's episode, I have author Shelia Heti, book writer of Pure Color, Motherhood, Alphabetical Diaries, and many many more. We talk about how I discovered her writing and why Pure Color meant so much to me. She also explains her writing process and how she approaches a story. There is so much more.Show NotesSheila Heti Website: https://www.sheilaheti.com/Sheila Heti on Wikipedia: https://en.wikipedia.org/wiki/Sheila_HetiMichael's Online Screenwriting Course - https://michaeljamin.com/courseFree Screenwriting Lesson - https://michaeljamin.com/freeJoin My Newsletter - https://michaeljamin.com/newsletterAutogenerated TranscriptSheila Heti:That's what I was thinking.Michael Jamin:It was work harder.Sheila Heti:I was like, I got to work harder than any other writer alive.Michael Jamin:And what did that work look like to you?Sheila Heti:Just always writing and always not being satisfied and being a real critic of my work and trying to make it better and trying to be more, try to get it to sound and more interesting and figure out what my sentences were and letting myself be bad and repeat myself until I got better. And I don't think that I ever let that go. I'm not sitting here today saying, I work harder than any other writer alive. I do remember having that feeling when I was young. That's what I need to do. That's the only wayMichael Jamin:You're listening to What the hell is Michael Jamin talking about? I'll tell you what I'm talking about. I'm talking about creativity. I'm talking about writing, and I'm talking about reinventing yourself through the arts.Michael Jamin:What the hell is Michael Jamin talking about today? Well, ladies and gentlemen, I'm talking about, honestly, one of the greatest, I feel, one of the greatest writers of my generation. Yep, yep. Her name is Sheila Hedy. She's the author of I guess 11 books, including Pure Color, although it's spelled with a U, the Canadian Way, a Garden of Creatures, motherhood, how Should a Person Be? And her forthcoming book, alphabetical Diaries. And she's just an amazing talent. So she's an author, but I don't describe her this way. And by the way, I'm going to talk about Sheila for about 59 minutes, and then at the end I'll let her get a word and then I'll probably cut her off. But I have to give her a good proper introduction. She's really, really that amazing of a writer. So author isn't really the right word. She really is, in my opinion, an artist who paints with words.And if you imagine going up to a Van Gogh painting, standing right up next to it, and then you see all these brushstrokes, and then you take a step back and you're like, okay, now I see the patterns of the brushstrokes. And you take a little step back, oh, the patterns form an image. Then another step back, you say, oh, that's a landscape. It really is like that with her writing. She has these images that she paints with words, and then they form bigger thoughts and you pull back and it's really amazing what she does and how she kind of reinvents herself with each piece. And so I'm so excited and honored she for you to join me here so I can really talk more about this with you. Thank you for coming.Sheila Heti:Yeah, thanks. That introduction made me so happy. Thank you for saying all that.Michael Jamin:Lemme tell you by the way, how I first discovered you. So I have a daughter, Lola, she's 20, she's a writer, and we trade. I write something we trade. It's really lovely that we get to talk about. And so she's off at school, but she left a book behind and I'm like, all right, what's this book she left behind? Because that way I can read it and we can talk about that, have our book club. And she left Pure Color. And I was like, oh, I like the cover, so I'll take a look at it. And what I didn't realize, it was the perfect book to discover you by because it's book about among other things, about a father's relationship with his daughter. So I text her, I say, I'm reading pure color. She goes, Sheila Hedy's, one of my favorite authors. If I could write anybody, it would be her. I'm like, all right, well, I got to continue reading this. And then a couple of days later, I get to the part and I send her a text. I say, you and me would make a great leaf. And she goes, that's my favorite part. The tree. That's my favorite part.You're also an interviewer. You've interviewed some amazing writers. Joan Didion, Margaret Atwood, big shots. And so I'm sure as an interviewer, you give a lot of thought to your first question. So I was trying to, I better give a lot of thought to my first question, and I kept coming back to the same one, which is pure color. It's such a big swing. If you were to pitch me this idea, you'd say, I'm going to write a book. It's about a father's relationship with his daughter, but it's also about a woman's unrequited love with her friend, but it's also about the soul and what it means to have a life. I'd say, I don't know, Sheila, that's kind of a big swing. I don't know about this, but you hit it out of the park, you did it. It was beautifully done. And so my first question is, you come up with an idea like this, where do you get the nerve to think that you can actually pull this off? This is really where do you get the nerve to think that, okay, I'm going to do this.Sheila Heti:The nerve.Michael Jamin:Well, it's such a big swing. It's like, how do you know you can do this? Do you know what I'm saying?Sheila Heti:Yeah. I don't know. I mean, I don't know that I could do it. So it's nice to hear. I mean, I don't think that you ever think you're going to be able to finish the book that you start, and then when you finish a book, you never think you're ever going to start a new one. That's sort of where I am right now. In that confused place. There's a part of it that always feels like, I dunno how to explain it. I mean, I don't know how to answer that question. It's a weird process. There's no process. There's no system to doing it, and then you hope you did it. You feel good and it feels done, but you dunno how you ever got there.Michael Jamin:And how do you know you arrived? How do you know when it's time to quit on something? And do you ever quit on something?Sheila Heti:Yeah. Yeah, A lot. A lot. But usually not like three or four years in, usually 60 pages in or something like that.Michael Jamin:60Sheila Heti:Pages is when you start thinking this is not working.Michael Jamin:Is it a gut feeling? How do you knowSheila Heti:Your curiosity runs out?Michael Jamin:Your curiosity runs out. Okay, so you get bored by it yourself?Sheila Heti:Yeah.Michael Jamin:Is that what you're saying?Sheila Heti:Yeah, it's just like, that was fun. That was nice. That was a good couple of weeks. I was really excited. I really thought this was going somewhere. And then it just ends. It's like a relationship. You think, oh, this is so great, I'm going to be with this person. And then after six months you're like,Michael Jamin:I was kidding myself. But you're writing. I have so much I want to say, it seems like you reinvent yourself with each piece. You know what I'm saying? It's like pure color is very, very different from how should a person be, which I was like, okay, I want to read this. I'm not sure how should a person be, which is extremely different from alphabetical diaries, which is almost like an experiment. And I wonder, do you get pushback from your agent or your publisher? Do they want you to do the same thing? We know it works.Sheila Heti:No, I think that at this point there's no expectation of that. When I wrote my second book, there was a feeling like that's not the first one. And there was some disappointment and the publisher said, this book doesn't count as your next book. In part, I think it was so different, but I think at this point that's, I mean, I've been publishing for 20 years. That's not really what people say to me anymore.Michael Jamin:Really? What do they say? They say, oh good, this is fresh. And it's more from you.Sheila Heti:No, I mean, I guess I changed publishers a lot more than other people do. So my publisher of motherhood didn't like pure color, so they rejected it. So I found a different publisher and the publisher of Tickner, my second book didn't like how should a person be? So I found a different publisher. So I think I move around a lot for that reason.Michael Jamin:Is that common with authors? You have to tell me all about this author thing? No, it's not really common.Sheila Heti:No. Usually you have one publisher and one editor and you just stick with them for a long time. SoMichael Jamin:It seems though you came up through the art. Alright, I have this idea of who you are from reading your books. You have, it's all very personal what you write and which makes it brave. It's brave for a couple of reasons. It's brave because you're being so vulnerable, you're putting yourself out there, but it's also brave. I feel like you're trying something new each time and that could fail. And so that to me is part of what makes your writing so exciting. But do you have any expectation when you're writing something which is so different, do you have an expectation of your reader how you want them to react?Sheila Heti:I mean, I want them to get to the end of the book. That's what I want. I want to draw them through, but I don't think I have a feeling like, oh, I want them to be sad on this page and I want them to be curious of this page and feel this way on this page. I just want them to be interested enough to get to the end. So how do I keep that momentum up and how some people conversation, they have long monologues, they're like a monologue, but I'm not because I'm always afraid people are going to lose interest. So I kind of feel like the same with my book. I'm always afraid that somebody's going to lose interest. So I'm always trying to keep it moving,Michael Jamin:But it's not an emotional reaction. I mean, your writing is very philosophical to me. When I'm reading your work, I feel like maybe this is my theory about what you have, and I'm sure it's not right, but it's that there are passages which I feel are so rich and so smart, and I have so much thought that I have to go back and read it again. So I'm wondering if that's what you're thinking. I want to write something that makes people have to read it again.Sheila Heti:No, I never think that because a very fast reader, and I don't reread passages and I don't read slowly. So for me, I'm always thinking that people are reading. I'm always imagining the person reading kind of fast,Michael Jamin:But thought. I mean some of them are really, some of your thoughts are very deep and very profound, and I'm like, I'm not sure if I understood all this. I got to read it again. I mean, don't you think? No.Sheila Heti:Yeah, I guess so. I don't know. I don't really think about that. I don't really think about the person, the reader in that way of like, are they going to have to read this again? Is this going to be hard for them to understand? I think my language is very straightforward. Yeah. I don't know how I think about the reader. I think of myself as the reader. So I'm really writing it so that I like every sentence. I like the way it turns. I like the pictures it makes.Michael Jamin:But when you say I want them to get to the end, what are you hoping they'll do at the end? Is there any hope or expectation?Sheila Heti:Well, I think especially in pure color, the end is really important. It kind of makes the whole book makes sense. And motherhood too, and maybe less how should a person be and less alphabetical diaries. But I think in some cases, a book, I'm somebody who doesn't always read books to the end. I like getting taste of different author's minds and so on. But I think in the case of some books, you have to read it to the end to really understand the whole, so that's in the case of pure color, why I wanted people to get to the endMichael Jamin:BecauseSheila Heti:It makes the beginning mean something different. If you've read.Michael Jamin:It does. I mean it is, and it's about processing grief. So do you outline when you come up with an idea, where do you begin?Sheila Heti:Well, with pure color, I thought I want to write a book about the history of art criticism. So I always start off really far away from where I end up. I always think that I want to write a book of nonfiction and I'm not a good nonfiction writer, so it always ends up being a novel. But I think I usually start off with an, well, in the case of this book, I also started off with this title that I had in my dream. The title was Critics Bayer, BARE. So I was thinking about art criticism and so on, but then I don't know, the books kind of take on their own direction. I never really understood when people said that they had characters that sort of did things that they didn't expect. But I feel like that is true sometimes of the book as a whole. It moves in a direction I didn't expect, so I couldn't outline.Michael Jamin:You don't outline all. And so does it require you to discover what the story is then once you find it, toss out the stuff that's not the story orSheila Heti:Yeah, I basically write way too much and then just cut and try to find the story and move things in different orders and try to find the plot after. I've written a ton of stuff already,Michael Jamin:Because I know from reading, you come from the art world, you're an artist and I think you hang out with artists, people, so you talk about what art is, is that right or no, do not shatter what I think of now. That's not itSheila Heti:Mean and relationships and all that kind ofMichael Jamin:Stuff and relationships. Because I mean, I don't know, it seems like that's why I say you're an artist. You have these conversations even about what art is. And do you draw inspiration from paintings when you approach?Sheila Heti:Yeah, I'm interested in the book as art. I think more than storytelling. I'm interested in the book as sort of an experience that you're undergoing in different way from just the experience of being told a story. I don't think that I'm so interested probably in the things that a lot of other novelists are interested in, character and plot and conflict and all those things.Michael Jamin:Well, it's really, I've heard you say this, it's really, you're writing various forms of you and it's very personal and very intimate. But you also made the distinction in something I read where there's Sheila, the author, then there's Sheila, the character. Is that right?Sheila Heti:Yeah. I mean, in two of the books there's kind of a character that sort of stands in a way for me, but it never really, it doesn't feel like a direct transcription of myself or my life or my thoughts. There's always this feeling of maybe it's like how actors are, there's a part of yourself that goes into the character and there's other parts of yourself that are left out.Michael Jamin:And so I was going to say, is there stuff about you that you leave out, for example? I mean, how should a person be? Or alphabetical diaries, it feels like we're talking about you, right?Sheila Heti:Yeah. Well, how should a person be felt? A lot like a character pretty, I was thinking about Paris Hilton and Lindsay Lohan. This was like 2005, and Britney Spears and these kind of women in culture that were bad girls and doing things sort of the subject of so much attention and so narcissistic or considered Narcissistic and the Hills, which was a show that I really loved. And sort of thinking about this character in the book being a voice that was somewhere between me and those girls. So there was this, this layering on of personalities, which I'm not thinking about. What does it mean to try to be a celebrity? What does it mean to be one? To be looked at, to idolize oneself? Those are my diaries. So there wasn't a sense of a character in the same way, but because the sentences are separated from one another, I guess it's like I don't feel like I'm telling anybody anything about my life. There's no anecdote in there.Michael Jamin:But I see that's the thing. And we'll just talk about alphabetical diaries because you're telling with such an, let me tell people what it's, so it's basically an ordinary diary is chronological. This is what I did today and this is tomorrow, whatever. But you grouped your diary by the first letter of each sentence, which organized, and this is again, another high degree of difficulty. This could have easily been gimmicky, but it was a rethinking of what a diary is. And when I say patterns emerge, so for example, when you get to D, these was do not whatever or do this or that. So you hear, okay, so here's a person creating rules for themselves. And then an E was even though, so now they're creating rules, but creating exceptions for these rules, making allowances. And so what you have is, and was so interesting about it, many of these thoughts were contradictory.So you're painting a picture of this person, but in one sentence, okay, maybe she's dating this guy. And the next sentence, this other guy, I'm like, well, what's going on here? Then I realize, oh, this is not chronological. And so I'm getting a complete picture of this person, which is so interesting, but, so I know who I guess know who you are, but I don't know who you are today. I know who you are as this arching thing in your life, which is so fricking interesting. And that was where the thought process going into this,Sheila Heti:Yeah, mean. So it's like 10 years of diaries and I put it into Excel and the a z function. So it's completely alphabetical first letter of the sentence and then the second letter and the third letter. And it was just, I mean, I guess I wanted to see exactly that. What happens if you look at yourself in that way? Do you see patterns? Do you understand yourself in a different way? Not narratively, but as a collection of themes or Yeah, exactly. That a scientific or sort of a cross section of yourself.Michael Jamin:Yeah,Sheila Heti:And it worked that way. I think with the diaries, what you do see is, oh, there are sort of these recurring thoughts and these recurring themes and these recurring ways of perceiving the world and perceiving yourself that persists over 10 years. That actually the one self, you think of yourself as this thing that's constantly changing through time and especially a diary gives you that feeling, but then when you do it alphabetical, the self looks like a really static kind of thing in way, no, I'm actually just these few little bubbles of concerns that don't change,Michael Jamin:That keep recurring when, by the way, when people say everything's been done before everything's been written, it's like, well, you haven't read Sheila Heady. Start reading hers. This is different. This why's so interesting about, that's why I think you're such an amazing writer, and it totally worked. Totally. You get a picture of this person and the recurring themes and recurring worries and, and even one of them, some things that struck me, there was one passage where it's like you go into a bookstore and you're like, isn't this also novels? Isn't it also unimportant? And I'm like, no, if it was, you wouldn't be doing this. So this was just a thought that you had at one point. It's not how you feel. It's how you felt at this one moment, right?Sheila Heti:Yeah, yeah. Literary fiction. Yeah. Like what a little tiny thing that is.Michael Jamin:But when people, okay, so now we have this picture of you and when you go do, let's say book signings or whatever, and people come up to you, they must have a parasocial relationship with you where they feel they know you. Your writing is so intimate. And what's your response to that?Sheila Heti:I think that's nice. I mean, I think that that's kind of the feeling you want people to have is it is your soul or your mind or whatever that you're trying to give people. And so if somebody feels that they know you well, in a certain sense they do. I mean, obviously not that well, they knowMichael Jamin:What you share, but there's, okay, I don't know what kind of music you like. I've read to all this stuff, but I know your insecurities and fears, but I don't know what you think is funny. I don't know what music you like. There's stuff you held back.Sheila Heti:Yeah, absolutely. But I think that's like, I don't know. I mean, I don't know. People aren't really very weird with me. Ed books or things, people are just pretty nice. And I never get this. I, I've rarely had interactions that feel creepy or weird or presumptuous or any of those things.Michael Jamin:Well, I'm not even going even that far, but they feel like they must feel like they know you certainly, but they know what you share. They know as much as you share. Right?Sheila Heti:TheseMichael Jamin:Kind of brave, bold decisions you make to create all this stuff. Is there a writer whose work you emulated in the beginning? Where do you begin to come up with this stuff? Was there someone who you wanted to write? Just like,Sheila Heti:I mean, I really loved Dostoevsky and Kafka and the heavy hitters. Yeah, I mean, I just loved all the greatest writers,Michael Jamin:But did you want to write like them?Sheila Heti:No, I mean, I think the closest I ever felt like I wanted to write a writer was, do you know Jane Bowles? BOW Elliot? She was married to Paul Bulls.Michael Jamin:No, to me, much of your work felt a little bit like it. Tall Cals, some of it works. Some of it was very ethereal and meditative.Sheila Heti:Yeah, I mean, I think Jane Bowles was the only one that I really felt myself imitating her sentences. She wrote a book called Two Serious Ladies, which I still really love. That was the only time when I felt like I was falling into somebody else's cadences and rhythms and so on. AndMichael Jamin:What happened whenSheila Heti:That was with my first book, the Middle Stories, and then the second book was written was so different. The second book I wrote was in such a different style that left me, but maybe there's still a way in which I still do. I think she's probably the writer that I write the most, if anyone. But I mean, she only wrote one book. So it's a very different kind of life than the one that I've had. No, I'm just always just trying to keep myself interested. So I think that I don't ever want to, I a very, I just want it to be fun for me. And so if I was to write the same book again, it wouldn't be fun. And books take five years to Write, or this diary book took more than 10 years to edit. So by the time I'm done a book, no, I'm such a different person than I was in some way when I started, even though I just said that you don't really change, but there's a way in which you get tired of thinking about the same things over,Michael Jamin:But then you think it would be hard to not constantly tinker with it. Isn't that part of the problem?Sheila Heti:I like constantly tinkering with it. That's fun.Michael Jamin:But then you have to let go. But how do you let go of it though?Sheila Heti:Well, at a certain point you start making it worse. You're like, oh, I think I'm starting to make it worse. You start to become self-conscious, and then you start to want to correct it, and then you start to want it to sort of be the person that you are today rather than the person you were five years ago. But you've got to honor the person that was five years ago that started the book. So you can't carry it on so far that you become, you've changed so much that now you're a critic of the book that's going to destroy the book.Michael Jamin:Yeah. See, that's so interesting. That's something I think about quite a bit. Yeah. How do I just let it go? And that someone else, it's funny when you talk about the language, because that's one thing that struck me about pure color. Your sentences are written in very, they're very, it's kind of brief, very, I dunno what the best way to describe it, but it's almost terse. And to be honest, if you had told, as I'm reading this, I could have thought this was said 150 years ago, and then occasionally you say you make a reference to something modern Google, and I'm like, oh, wait a minute, this takes space today. So that was a conscious, obviously decision that you made to kind of give it a timelessness.Sheila Heti:Yeah, I always kind of want that because I think that's my hope for a book is that it could be understood in a hundred years or 500 years, or you need Plato today, you want to write something that people could understand in a thousand years.Michael Jamin:But you know what I'm saying, the language, it almost felt, but your language is different though, in an alphabetical diary. Well, obviously since it's a diary, but man, so to me it's like you're not doing, like I said, you're not doing the same thing. I don't know, it could have been two different authors. That's what I'm saying. I guess it felt like two very different pieces and it was just wonderful. But when you say, so what then? Because like I said, you have these art friends, I have this whole life for you, you have these because you went to art, you studied art, and you hang out with a bunch of artists and you talk about art, and I want to know what these conversations are because we don't talk about art and TV writing. No one, we don't think we're doing art, but I feel like that's what you guys are doing. So do you talk about what the whole point of art is?Sheila Heti:I think I did when I was younger,Michael Jamin:Right? Then you grewSheila Heti:Out of it when I was in my twenties. And then you kind of figure that out for yourself in some way. Well, then you have your crises and whatever, and then you got to think about it and talk about it again. But no, I think these days what I talk about with my friends is just whatever the specific project is, whatever problems you're having with a specific thing, mostly complaining, the difficulty of not being able to pull it off or feeling like you are stuck or you're never going to be able to write it. I have these three other writers that I share my work with we're meeting tomorrow. So before I got on the call with you, I just sent something off to them, and tomorrow we're just going to have read each other's things and talk about how we feel about it. But for me, I'm just like, I think what I need at this point from them is reassurance, honestly.Michael Jamin:Reassurance,Sheila Heti:Yeah. Because you're so lost in the middle and you don't know what you're communicating and if you're communicating anything, and is it worth continuing? Should it just all be thrown out? There's so much doubtMichael Jamin:Because it's so very humble of you. You're a master writer, and yet you make it sound like you're still a student. You know what I'm saying?Sheila Heti:I mean, you think, I don't know if it's the same for you, but don't you think you're always kind of a student? BecauseMichael Jamin:Whenever you start, yeah, yeah. Look, yes. When every time you're looking at that blank page, I dunno how to do any of this.Sheila Heti:Yeah, exactly. You always feel like you're back at square one somehow.Michael Jamin:Yeah.Sheila Heti:Although now, not exactly square one. I've been starting this new book this week, and again, it may get to 60 pages and fall away from me, but now I have a different feeling that I had when I was in my early twenties. The feeling I have now is like, oh, I did that. Oh, I've had that thought before. Oh, I've written senses in that way before. What I'm trying to do now is none of the things that I've already done. They just, and so, yeah, where is this part of myself that I haven't written from yet? So that's kind where I'm now. So it's not really starting from square one, but it's still just as hard,Michael Jamin:Right? Because you feel like you've said everything you had to say or done everything you wanted. Is that what it is? Or,Sheila Heti:I know what my sentences sound like, so I feel like, oh, I'm not surprised by that sentence. That sounds like a sentence that my, I feel like I'm, you get this rhythm that is very pleasurable to write if the sentences have a rhythm, but now I'm just like, I'm tired of that rhythm. That rhythm can only give me one kind of sentence or one kind of thought. So I'm trying to figure out what else is there inside.Michael Jamin:Yeah, I imagine that's hard for someone. Basically, you're a physician who's made a hit and another hit, and what if I don't do it again? How do I do it differently? Or how do I reinvent myself now?Sheila Heti:And even just what's the meaning in this for me now? With every book, there's a different phase of life you're at. And I'm 46 now, so I dunno how old you are.Michael Jamin:How dare you? I'm 53.Sheila Heti:Yeah, I figured you were just a few years older than me. So it's a very different age to write from because you are not hungry in the same way you were when you were 23 and you were both in houses. You have accomplished certain things. And so what's the deepest part of yourself that still needs to do this when you're 23? Every part of yourself needs to do it in this extreme way. You've got to make a life for yourself. You've got to prove to yourself, you can do it. You've got to make money, you've got to all this kind of stuff. So what's the place at 46 or 53 that you're writing from that is just as vital and urgent as that place at 23?Michael Jamin:Yeah, I think actually that's why I started changing mediums. I've kind of done this headcount thing. What else can I do?Sheila Heti:So the essay, the podcast? Yeah.Michael Jamin:Well, most of the essays, the essay started the whole thing. It was like, it's funny, in your book or a couple of times, you mentioned, should I go to LA? And I'm thinking, why does she want to go to la? What was that about? What'sSheila Heti:That about? I've got family there. When I was a little kid, my parents used to put me on a plane. I was five years old and I'd be sent to LA and I had relatives and I would stay with them. And it was just, to me, it's such happy childhood memories and I just love Los Angeles. Whenever I go back, I think this is a place in the world besides Toronto that I'd most like to live.Michael Jamin:Really? So different.Sheila Heti:Yeah. I just love it. Yeah, so I love everything. I love it.Michael Jamin:Oh my God, I don't what, I've been to Toronto. I had, well, then ISheila Heti:Remember that LA's in America, and then I like, no, maybe not.Michael Jamin:Yeah, good point. Good point. So there's something else. I remember what I wanted, what I want to say. You had in one book, it was like, you're lamenting. I hope I never have to teach. And now you're teaching, right?Sheila Heti:Yeah, just for this one year.Michael Jamin:Okay. What was that about that decision?Sheila Heti:Well, I love teaching and I wanted the money because I didn't want to have to feel like I had to rush to start a new book. So I just wanted a year where I didn't have to have that anxiety of what's my next book going to be like, I've got to start. I've got to get a certain ways in and then sell it. And I like teaching a lot, and I just felt excited about the idea, but it was supposed to be a two year position, and now I've just changed it to a one year position. It becomes too much, even one day. And teaching a week is like, there's no point to writeMichael Jamin:Because you have to read all the whatever they write on the side. You're saying, well,Sheila Heti:I've got to commute two hours to get there, and then two hours home, and then, I don't know. And then your brain just sort of stays in that university space with your students for three or four days, and then you have two days where you're not with them and then you go back to school.Michael Jamin:So what does your life really look like? Your writing life? What is it like to be an author on a dayday basis?Sheila Heti:What your life is all day long? You're either writing emails or you're writing writing. Probably spend more time writing emails and doing correspondence and businessy stuff than writing. Writing, and then all the life stuff, walking the dog, doing household chores. I don't have a very regimented existence, but I just sitting in bed and being on my computer, that's sort of myMichael Jamin:Favorite. That's where you write on laptop. Oh my God, my back would kill me. But something else you said, because I really was turning to you for answers as I was reading it. I'm like, she's got the answers. And you said, and you're like, I don't have the answers, but no, I'm like, no, she's got the answers. And you said, art must have at one point, art must have humor. I think you said that in How should a person be? And I was like, really? That's what you guys think. There has to be humor in art.Sheila Heti:Oh yeah. You got to know where the funny is. Yeah, I think,Michael Jamin:Sure. I don'tSheila Heti:Understand. It's the two. I read your essay. It was very funny.Michael Jamin:Yeah. But thank you. But I have an intention. I have an intention when I write, but I don't understand why you think there has to be humor. Alright. Why do you think there has to be humor it in art?Sheila Heti:Humor's such a part of life. I mean, if you don't have humor in life or art, you're missing a huge part of the picture. I mean, it's all, it's just the absurdity of being a human. It's,Michael Jamin:Well, see the thing as a sitcom writer, look, I'm grateful to have made a living as a sitcom writer. It's what I wanted to do, but it's not like anyone looks at what we do. It's like, oh, that's high art. They go, it's kind of mostly, people think it's kind of base. And I think, and when you think about even at the Oscars, when they're fitting the best picture, it's never a comedy. It's that the comedies are not important enough. And so that's why I had this feeling like, well, can humor be an art? Can it be, ISheila Heti:Mean, I think great art always has humor in it, but it's the same thing in literature. The funny writers are not as respected as the serious ones, but I think that they're wrong. I mean, Kurt Vonnegut, I love Kurt Vonnegut. He's extremely funny, but he's never had the same status as somebody like, I dunno, Don DeLillo or whatever, because he's not serious enough. But I think it's a very, who are the people that are making that judgment? That the solemn writers that have no humor are the best writers. They're just idiots. I mean, it's not the case.Michael Jamin:I gave my manuscript to one publisher. I was rejected from him, and he wrote, he was very kind. He goes, oh, this book really works. I like it, but it's not high literature. And we do high literature here. And I was like, how dare you? I was like, well, I totally agree. It's not high literature. Not that I could write high literature, but I didn't set out to do. But there was still that sting of what you're doing is not important because it's funny.Sheila Heti:Yeah. That's a stupid editor.Michael Jamin:Well, he got the last laugh. Wait a minute, wait a minute. But yeah, I don't know. Okay. But is humor in painting and humor in all art? I mean,Sheila Heti:Yeah, levity. Well, just that scent, that aspect of life. That is the laugh that is that bubbling up laughing. Yeah. I mean, I think that that's joy. Joy and humor are very closely connected. And a work of art without humor is a work of art without joyMichael Jamin:AndSheila Heti:Wants to take that in.Michael Jamin:Then what is art? I'm honest here. You learned this when you're 20 and I haven't learned it yet. So what is art to you and what's the difference between good art and bad art?Sheila Heti:It's a reflection of the human experience. It's like an expression of what it feels like to be a human, that a human is making for another human.Michael Jamin:Okay, so it's this interpretation of what you feel, what it means to be human, is that right?Sheila Heti:It's an expression of what you feel like it means to be human.Michael Jamin:Right. Okay. And then how do youSheila Heti:That in an object?Michael Jamin:And then how do you know if it's good art or bad art?Sheila Heti:I mean, there's no consensus, right? You liked pure color, but a lot of people don't. There's just no consensus because it touched you, but somebody else thinks it's the worst book they've ever read, and that's okay. I mean, I think that that's right. We can't all speak to each other. We're not all here for all of each other.Michael Jamin:Oh, just because you mentioned that it was so touching this one moment, it really hit me where you explain how you felt the father, how his love for his daughter was so much that it put pressure on her not to have her life because her life was so important to him. And I thought, oh crap, I hope I'm not doing that because my feeling is no, it's just pure love. It's an expression of pure love. But from the other side, I can see that.Sheila Heti:Yeah. Yeah. I think that that's what I was thinking about in that book. That's the sort of tragedy ofMichael Jamin:Yes,Sheila Heti:Families and friendships and so on, that we want to love each other, but we can't in the way that we want to.Michael Jamin:Hey, it's Michael Jamin. If you like my content, and I know you do because you're listening to me, I will email it to you for free. Just join my watch list. Every Friday I send out my top three videos of the week. These are for writers, actors, creative types, people like you can unsubscribe whenever you want. I'm not going to spam you, and the price is free. You got no excuse to join. Go to michaeljamin.com. And now back to, what the hell is Michael Jamin talking about?Michael Jamin:It was just so beautiful to express that as two souls stuck in a leaf, where is this coming from? It felt completely appropriate, but also almost out of the blue. And that's what was so amazing about that whole section. Thanks.Sheila Heti:Yeah. I don't even remember where that idea came to me. I don't know if you feel like this with your writing, but sometimes you remember exactly where an idea came from. You can even picture yourself being right there having it, and sometimes you almost have anesia around it,Michael Jamin:Really? And what about the part? There was so many lovely moments of this woman working in a lamp store, and she has to turn the lamps on every single lamp on, and it's almost like, I got to do this, but there's her counterpart who has to turn the lamps off at the end of the day, something equally horrible. It was really funny, and it was just, I don't know. Did you ever work in a lamp store?Sheila Heti:No. No. But there was this lamp store that I used to pass on the way to one of my first jobs, and I would look in the window, and I did eventually buy a lamp from that store with all the money I had in the world. But I never worked in a lamp store, but I was obsessed with this lamp. I really thought it was going to change my life.Michael Jamin:And do you still have it?Sheila Heti:No. It got broken in aMichael Jamin:Fit ofSheila Heti:Rage situation. Yeah, it got broken rage.Michael Jamin:I was stuck on a paragraph I wrote against this important list. ItSheila Heti:Was in the box on the floor, and somebody stepped on it. And anyway, it's sad, but whatever.Michael Jamin:Okay. But alright. So much of it felt like, yeah. Okay. So it was a version of you that wasn't exactly, but where was this coming from? You said you had a point you were making. I don't rememberSheila Heti:Where, because at some parts you remember where they came from and some parts you justMichael Jamin:Kind of pull out of, pullSheila Heti:Out of. You don't remember how they came about?Michael Jamin:Yeah. I don't know. I always feel like when I'm writing, if there's an idea that has a strong emotional reaction, like, okay, maybe there's something there.Sheila Heti:A strong emotional reaction in you.Michael Jamin:Yeah. In me. I have a terrible memory, but if I remember something, why do I remember it? There must be a reason.Sheila Heti:You have a terrible memory too,Michael Jamin:And you wouldn't know it, but I guess you document everything in your diary.Sheila Heti:I mean, the diary is usually not about things that happened. It's more about the feelings that I'm having in the moment that I'm writing it. I wish that my diary was more about things that happenedMichael Jamin:Really Well, you get to decide what you put in your diary.Sheila Heti:I know usually when one writes a diary, it's because you're in a moment of high emotion that you need to get your feelings out.Michael Jamin:Do you write every day in your diary?Sheila Heti:No. No, no. Just when I need to. And I don't even really do it anymore now.Michael Jamin:Interesting. Yeah, there is. There's something else you said about it. Yeah. There's so many moments that were so interesting. Like you said at one point that the men you date don't understand you. I'm like, well, don't they read your book? I mean, why don't you just give 'em your book and didn't understand you?Sheila Heti:No, I mean, I don't know.Michael Jamin:You don't know. We'll get back to, I don'tSheila Heti:Even think that it's really all Yeah, like you were saying earlier, it's not really you. It's just an expression of a corner of you.Michael Jamin:Yeah. I don't know. But do you really feel that? I mean, I'm going back and forth. You'll see I contradict myself, but what you write is so to me, it feels so personal. I don't know how it cannot be you.Sheila Heti:I mean, I don't know. When I'm working on it, it doesn't feel like me. It just feels like writing on a page. It feels very plastic. I don't feel like it's me.Michael Jamin:So there's no, wow, because there's no inhibition there because it's very intimate. There's no inhibition. You don't feel to be judged. This is just a character named Sheila, by the way.Sheila Heti:I mean, I just don't think about it. Just I have this, that part of my brain is not awake when I'm editing or writing that people that are going to think it's meMichael Jamin:Or whatever. Well, that's bold. That really is bold because the notion that you're not worried about being judged, you're not worrying about expressingSheila Heti:Yourself. I worry about being judged for an email that I send. That's a stupid email much more than I ever worry about a book.Michael Jamin:Really? Really? Yeah. Your book is permanent and it's your art.Sheila Heti:But I have so much control over it. I have so much. I take so much time with it. It's not spontaneous. It's really thought through. So I'm not, and it's art. It's not me. An email is me. A book is not, it's its own thing.Michael Jamin:Okay. How should a person be? I mean, this to me felt like this is your struggle. It was really interesting when it was a narrative struggle about a woman trying to find herself in a brief period of time. And I felt like, no, this is you. Right?Sheila Heti:I mean, it doesn't really feel like that. No.Michael Jamin:Alright. This interview's over. That's why I think when I said, you're brave, I think that's what makes you brave, is that this fearlessness of I can put it out there and I'm not really worried about it.Sheila Heti:Yeah. I just don't care. I care about being judged as a human in the world, as a person, but not through my books, not through your I care about it and Oh, she's wearing a really stupid outfit. I care about it in all those ways that everybody does, but not via the books. Not as the books as a portal to judgment about me.Michael Jamin:Wow. Wow. I I don't know if you know how profound that is. To me. It really is. Yeah, because it gives you so much freedom to write then.Sheila Heti:Yeah. I mean, but fiction is different from essays. I think with essays you do feel like it's you, but with novels you don't. Or I don't,Michael Jamin:Yeah. But I guess, and I didn't really know this term, it's auto nonfiction, which I guess is this term. I was not familiar withSheila Heti:Auto fiction. They call itMichael Jamin:Auto fiction. That's what I meant. Auto fiction. Yeah. And soSheila Heti:I like auto nonfiction though. I think that's how it should start to be called.Michael Jamin:Really? Yeah. Just by my dumbest. Yeah. But when you call it auto itself, so I don't know.Sheila Heti:Yeah, I didn't give it that term. The critics give it that term, auto fiction, but all writing is auto fiction. All writing comes from yourself. It's a really silly term, but I mean, they guess they use it for people that write characters that have their name. Which again, that's only, and how should a person be? Does the character have my name? None of the other books.Michael Jamin:Well, okay, but Well, theSheila Heti:Diaries, obviouslyMichael Jamin:The diaries, but also I also know that pure color was taken from your life. I mean, we know that inSheila Heti:A lot ofMichael Jamin:Ways. So I also want to know about this, and I know I'm concentrating on how should person, well, on both of 'em I guess. But this play that you were commissioned to write, how does that work that you were tortured by throughout the whole book? You felt like you couldn't come up with anything good. How does that come about? So a local theater said, will you write us a play?Sheila Heti:Yeah, yeah.Michael Jamin:And it was their idea.Sheila Heti:Yeah. Yeah. They commissioned a play for me,Michael Jamin:But they said, I mean, this is what we want it to be about. Or they said right aboutSheila Heti:It was a feminist theater company, and they said it could be about anything as long as it was about women in it. And I really had the hardest time. I mean, I wrote a play, I'm sure you experienced this in Hollywood, and then there was a lot of notes. And in theater we call it dramaturgy. And I got so confused and I just couldn't make the play better from the notes. And it was just this torture, because when you're writing a book, or at least in my case, editors aren't like that. They're not giving you their notes to make the book something other than what you want it to be. But in theater, what's this character's motivation? Why does this happen here? There was just so much feedback and I just lost my sense of what I liked about it and what it was.Michael Jamin:And then how did you find it ultimately? You were happy with it, weren't you?Sheila Heti:Ultimately, I just, when it got put on a couple years after, how should a person be was published, it was just my original draft. So I never ended up editing it according to any of the notes in the end.Michael Jamin:Wow. So you won that battle?Sheila Heti:I guess so you did. It wasn't them who put it on. It was some other, some kid.Michael Jamin:Oh,Sheila Heti:I mean, he's not a kid anymore, but he seemed like a kid at the time.Michael Jamin:But you also do something called trampoline hall, which struck me as really fun. It seems like you're just part of this artwork. You make art. Well, I don't care what it is. Let's just do something weird and interesting until trampoline hall, which I love the premise of it's you say people deliver lectures on subjects they don't know anything about.Sheila Heti:Is that what it's, it's not their area of professional expertise. So they can do, oh,Michael Jamin:So they are experts.Sheila Heti:They can do research for their talk. It's just that it can't be their professional expertise.Michael Jamin:So they're not talking out of the rests. They're talking to about if they know No. Oh, okay.Sheila Heti:They do the research. Yeah. And then there's, so the talk lasts about 15 minutes, and then there's a q and a, and then So there's three of those and night, and yeah, it's been running once a month in Toronto since December, 2000 or 2001. Them. I haven't been involved in it. You them? Oh, no, no. I mean, I started it, and my friend Misha Goberman is and was the host, but after about three or four years, I left around 2005 or so. But he still keeps it going. So now I used to pick the three people every month, and I just used to, when I was in my twenties, I had crushes on people all the time. And it was fascinated by people in such a way that it was a way of having these friendships where I would go out with them and talk about what their talk was going to be about, and then I'd see them on stage.And it was just a way of being with people. My life is not really like that anymore, where I'm coming into contact with so many people that I just have to have a show and put them on stage. I find 'em so fascinating. And the culture's changed because again, in the early two thousands, there weren't, the internet wasn't what it is. And I just felt like there's all these smart people with all these interesting things to say, and nobody's paying any attention to them. And here's a venue for them. You obviously don't need that, a barroom lecture series for people to have a voice in this culture anymore. Yeah,Michael Jamin:Right. That's right. Now you deal with students, young people. And so what's your take then, as an artist, as you deal with people of this younger generation? What do you see?Sheila Heti:I don't know. I mean, I only see them through a very narrow lens. You don't show your teacher that much of your life. I see them sitting in a classroom for two and a half hours once a week. I've only done it for seven weeks.Michael Jamin:But you read their work or you pretend to?Sheila Heti:I read it. There's not that much. I mean, I don't know. You can't really generalize about a generation. Every person's different.Michael Jamin:One of the stories in my book is about that. It was about me trying to, being in a creative writing class, trying to impress my teacher, and just having no idea how to write, just none. And feeling complete. You're smiling. You can relate or you see it.Sheila Heti:Well, because I'm smiling, because yeah, that's how people feel. And it's sort of a failure of the way that creative writing is taught that makes a person feel like they can't writeMichael Jamin:Well. Okay. So what's the first thing you tell? What's the most important thing you tell your students then maybe?Sheila Heti:Well, I try to show them all these examples of, so-called bad writing and stuff that's intentionally boring and that's badly put together because I just think it's a better route. You're more likely to become a good writer if you are trying to do something bad than if you're trying to do something good. If you're reading the greatest writers and you're trying to emulate them, and you're all intimidated and blocked and nervous, and you're trying to write in a style that has nothing to do with yourself.Michael Jamin:So then how does showing them something bad help? Do you say, go ahead and write or write. What's the point of showing them somethingSheila Heti:Bad? I don't want 'em to try to write. WellMichael Jamin:Write Well, you don't, but you don't want 'em to write schlocky or poorly written stuff either.Sheila Heti:I'd rather have them write basic. I don't know. I just think when you're trying to impress, when you're writing to try to impress somebody, it's just you're starting off on completely the wrong foot. I want them their writing. So for example, in this class, one of the first experiments we did was I told them to go into their messages, their text messages, threads, and to copy out every single text message that they'd sent and put that in a document and make it a long sort of monologue, because that is actually what they write. That is what they're writing. You got to start from what you're actually saying and what you're actually writing, not this imaginary idea of what writing is.Michael Jamin:Right, right, right. That's exactly right. So there's this thought of what writing should be and what writing, how get, I guess, how did you get over that, especially when you were writing your favorite authors were the greats. How did you find the confidence to have your own voice, I guess?Sheila Heti:Well, when I was young, when I was a teenager, I read all the Paris Review interviews, and I just got the sense like, oh, there's no way to do it no one way. Everyone has their own way. Faulkner has his way, and Dorothy Parker has her way, and John au has his way, and there's just no consensus. And so you just have to figure out your own way. That's what they all did. I just sort of saw that's what each one of them had done.Michael Jamin:See, that's where I struggled with, and you're getting my therapist now and my creative writing teacher when I was starting to write this book. Because as a TV writer, my job is not to have a voice. My job is to emulate the voice of the show or the characters. And I'm a copy. I'm a mimic. That's what I do. And that's what I've been doing for 27 years. And then to write, this was an experiment to me. What would it be like to write just whatever I want to write with no notes, no one telling me what to do. And it was very scary in the beginning. And it was very, I loved David Sari. How can I do him? And so I wrote a couple of pieces. I studied him, I read all, I've studied books over and over again. He was so entertaining. He writes so beautifully. And I read it over and over again, and I wrote my first pieces, almost like I was doing him. And I felt, oh, this is good. And then I let it sit for a couple of weeks, and then I read it with fresh eyes. And this is terrible. It sounds like someone pretending to be him is terrible.Sheila Heti:Yeah, yeah. But that's a stage that you still probably learned a bunch by doing that, maybe about structure or about something.Michael Jamin:No, not that I learned that I felt like I was a pretender, but my thought was, well, he's doing it. He's successful. I write and now I perform my pieces as well, which is what, and I tore a little bit, and I thought, well, if it works for him, why reinvent the wheels? He's obviously got a market. And then I realized I had to come to the conclusion that it was almost heartbreaking. I can never write like him. I can't, no matter much. I want to, it'll never happen. And then I had to let go of that, and then had to come to the more, even a larger, heartbreaking realization was like, oh, I have to write me. And who the hell is that?Sheila Heti:And how did you find it?Michael Jamin:It was a lot of just drafts after draft. And then the problem, and this is something else, but I find some of the earlier pieces are very different from the later pieces. And I've tempted to go back and change the earlier ones. But like you're saying, I'm also tempted. I feel like I can't, can't, it's time to let 'em go.Sheila Heti:Right. That was that person.Michael Jamin:But it's all in the same book, and it felt like, well, should there be any kind of, is that okay? Is it okay to feel like each one's a little different from the other? I don't know.Sheila Heti:Yeah. I don't know. I mean, are the early ones still good, even if they're different?Michael Jamin:Yeah, I think they're good. I'm not sure if anyone else would notice except for me, but I noticedSheila Heti:Maybe not. Yeah, probably. Yeah. And I think it's okay if they're a little different from each other.Michael Jamin:Yeah. I don't, well, we'll find out. But that was very difficult for me to figure out how to, and I turned a lot to, and I wonder if you do this, you kind of answered a little bit. I didn't want to turn to other writers. I turned to musicians to music. Do you do that asSheila Heti:Well? Which musicians?Michael Jamin:It was turning to musicians to find out what is art? What am I supposed to be doing here? Yeah.Sheila Heti:I always look to painters for that.Michael Jamin:So painter, is it contemporary painters orSheila Heti:Contemporary or not contemporary?Michael Jamin:And how do you pull, what are you looking for them? Yeah. When you look at a painting, how does that help you?Sheila Heti:Well, how does it help you to look at musicians?Michael Jamin:Well, there's two things with music, and I feel like music is too, they're telling us, they get to tell a story with lyrics and with music. So if you didn't hear the lyrics, maybe you'd still get the sentiment of it. And so I feel like they have two tools where we only have one because they can set a mood just for the tune. And so I looked to them for the intimacy in their bravery. You'd look, okay, Stevie Nicks, she's singing about herself. That's all she's doing. And okay, you can do that. It just felt so vulnerable to be doing this.Sheila Heti:Yeah.Michael Jamin:And that's why I'm shocked that you're so brave about it.Sheila Heti:I mean, it's the only job is to not care about yourself in relation to it, that the book matters. And you don't matter.Michael Jamin:Right. That's your job is to put the art first. Right.Sheila Heti:To not do things because worried about what people will think of you. That's the first. And I guess when I was younger, I was reading so many avant-garde writers that did that in such flamboyant ways. It just seemed to me the only Henry Miller, it just seemed to me maybe the first lesson, not even a conscious lesson, just like, oh, clearly he's not worried about what people are going to think of him or his reputation among decent people.Michael Jamin:Yeah. Right. And so you don't have that, obviously, you don't have that worry.Sheila Heti:No, but I don't know. A lot of decent people.Michael Jamin:Yes, you do. But yeah, I don't know. Again, it's what makes you, I don't know, such a fantastic writer. I mean, I want everyone to read your work because it's really fantastic. I have some questions here that I have to ask from. So my daughter, Lola, I tell her she's a way better writer than I was at her age. But the truth is, she may be a better writer than I'm now, but I don't tell her that part. But she has these questions. She put down some questions like, damn, you've got some good questions. So I can't take credit. I can't take credit for this question. GiveSheila Heti:Me Lowes questions.Michael Jamin:Okay. First of all, she says, what are your dreams for your writing, and how do you let them go while also keeping them alive? Oops. I dropped a rock.Sheila Heti:My dreams. You dropped a rock.Michael Jamin:Yeah, I dropped. I have magic crystals by my computer that are supposed to make my work better.Sheila Heti:Oh, what kind of rock is that?Michael Jamin:It came out of my head. You want some? Yeah. I don't know. They're magic, but they're on my computer. So what are your dreams for your writing, and how do you let them go while also keeping them alive? And I guess what she means is, I guess, ambitions at the age You were talking about that young age.Sheila Heti:Young. Yeah. How old is she? 20.Michael Jamin:Yeah.Sheila Heti:When I was 20, my dream was to be the best living writer, just to be the best novelist, just to work harder than any other writer alive. That's what I was thinking. ItMichael Jamin:Was work harder.Sheila Heti:I was like, I got to work harder than any other writer alive.Michael Jamin:That's what I was. And what did that work look like to you?Sheila Heti:Just always writing and always not being satisfied, and being a real critic of my work and trying to make it better, and trying to try to get it to sound more interesting and figure out what my sentences were, and letting myself be bad and repeat myself until I got better. And I don't think that I ever let that go. I am not sitting here today saying, I work harder than any other writer alive. But I do remember having that feeling when I was young. That's what I need to do. That's the only way it's going to work.Michael Jamin:Yeah. That importance. Yeah, becauseSheila Heti:It's just so hard. It's just so hard to write. Well, to write anything good for people.Michael Jamin:I think you give the perfect answer on that. I'll give her another theSheila Heti:Parental answer. In any case, work hard.Michael Jamin:Work hard. Well, but it was really,Sheila Heti:It's true. I think it's true that, and I remember being her age and interviewing this older Canadian writer, Barbara Gowdy, who I really loved, and she told me, and she's terrific. She told me, I was writing for the student newspaper, and she said, it's funny, I've got my students who have talent, clear talent, and then I've got these other students who don't seem to have so much talent, but the ones who don't so much talent work really hard, and they end up doing better than the ones that have talent. And I thought, oh, I never even would've known that. I would've thought that. I didn't know that hard work meant could mean more than talent. So hopefully you have talent, and then you can also make the choice to talentMichael Jamin:Work. And you learned this at a young age, you're saying thisSheila Heti:Part? I mean, my mother was also just very strict about working hardMichael Jamin:Right.Sheila Heti:Studies and stuff.Michael Jamin:Interesting. Yeah. She's a delian mom. Hungarian.Sheila Heti:Yeah.Michael Jamin:Do you speak any Hungarian?Sheila Heti:No. Do you? No.Michael Jamin:No, I don't. But I do know there's a Hungarian expression that really helped me. I'll tell you what it is. So do you speak any other languages?Sheila Heti:No,Michael Jamin:No, no. That's your next task. I wrote about this in one of my stories as well. There's a Hungarian expression where it says, okay, so let me take it back. So I learned to speak Spanish as a teenager and then Italian as an adult. So each time when you learn a new language that you're not born into, there's that moment where it's like it's really hard to talk. It takes months and months, and then finally one day you open your mouth and the words just come out without thinking just like that magic. And it's turning on a light bulb. And I've had a hard time explaining to people what that feels like. But then I discovered a Hungarian expression, which said it perfectly. It says, when you learn a little language, you gain a new soul. And I thought, that's exactly what it feels like, because you're talking, you're like, who is this? I don't speak this language. Who am I? That's incredible. And you talk about soul so much in your work. I thought maybe that's something you had experienced.Sheila Heti:I never got that far. I mean, I studied French and I never got close to a new soul. I didn't have always translation.Michael Jamin:You're always translating in your head,Sheila Heti:Right? Yeah.Michael Jamin:It's just that moment, like, I don't know who I am. And then you find yourself reacting differently. And also using, if I find myself, I can't say, I don't know how to say this, so I'll say it this way, which is not how I

I am pleased to welcome back, Janet Falk. While we talked previously about PR in episode 199, in our conversation today, we're going to talk about another aspect of services that she provides - marketing and communications services. Specifically, we're going to address the 25 things you should do to get the most out of the next conference you go to, whether it's a legal conference, a bar association meeting, or some other public event where you're going to be in and around people. Janet has a lot of great tips, but there are a couple that really blew me away that I think are completely exceptional and really relevant for us, as solo practitioners. In this episode, Neil and Janet discuss:How public relations has changed in a post-COVID world. Understanding who might be a good networking contact for you. Building a better business card (or business card substitute). Maximizing your time at the conference (hint - it requires pre-prep and follow-up). Key Takeaways:You need to be available and present in the spaces people are in - comment on LinkedIn, connect through the virtual world, and be willing to meeting digitally. While the speakers are great, connect with others who are attending the conference - get to know them and use it as a networking opportunity. There is value in the transition periods and socials.Finding commonalities with other people is a great way to introduce yourself and make an initial connection with someone you're wanting to meet or reconnect with. Turn off devices and strike up conversations with those around you. There are opportunities all around you at conferences if you are open and aware of them. Alternately, use your device to take selfies with others as a later connection point. "I think that a lot of people would do well to have, either in addition to or as a substitute for a business card, this business card sized item that they can give away." — Janet FalkGet your Falk Four-Panel Business Card Giveaway PDF Here Get in touch with Janet Falk:Website TwitterFacebook LinkedInIf you missed it, check out the previous episode with Janet here! Thank you to our sponsors!Ruby Receptionist - Virtual receptionist & live call services that will help you grow your office (and save money), one call at a time - to learn more, go to https://get.ruby.com/TLE or call 844.311.7829The Net Profit CFO - Ryan Kimler works with attorneys who want to enjoy higher net profits without working longer or harder. With just 9 Simple Numbers, Ryan will help you drive more profit to your bottom line-and he won't confuse you with all the details! Connect with Ryan at www.netprofitcfo.com.Get in touch with Neil:Website:

We often think in terms of success or failure, win or lose. This black and white perspective takes the color and flavor out of the many interesting circumstances in our lives. It is said that life is a journey, not a destination. Alternately, we can view the many twists and turns as unique experiences, or even as guiding forces that carry us on a soul's adventure. We can then release the shame or fear that often keeps us from taking healthy risks and following our joy. ----- ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Please follow me on Insight Timer!⁠⁠⁠⁠⁠⁠⁠⁠ Rate, Review & Subscribe on Apple Podcasts. If you like this podcast ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠click here,⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ scroll to the bottom, tap to rate with five stars, and select "Write a Review." Then be sure to let us know what you loved most about the episode! Support Spiritual Psi-Kology on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Patreon.⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠Healing Trauma, my new 10 session course is available now!⁠⁠ Renee's book, workbook and guided audio series "Allies & Demons: Working With Spirit For Power And Healing." is now available on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Amazon,  Kindle and Audible⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. Awaken the wisdom of your authentic self with these 15 transformative processes of Spiritual PsI-Kology. -- ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Click for a FREE Download⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠: Ch. 1 and 1st Inner Journey of Allies & Demons. Spiritual Psi-Kology combines the ancient healing and wisdom traditions of Shamanism and Buddhist philosophy with the best of Western psychology to create a powerful medicine for the mind, body and spirit. If you'd like to learn more about how Spiritual Psi-Kology might be helpful in your life, get details about my Mentorship program, or set up a FREE 30 minute consultation, please visit ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ReneeMcKenna.com ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Check out my ⁠⁠⁠Youtube⁠⁠⁠ channel. Follow me on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ . --- Send in a voice message: https://podcasters.spotify.com/pod/show/spiritualpsikology/message

Curious about how to test and validate your coaching niche to boost your confidence and focus your practice? Meet Gabrielle Smith, who helps coaches stuck in "niche drama" and shows how finding your niche will boost your confidence. Alternately, Dr. Kristin Hartjes shares her journey from practicing chiropractic to the world of coaching.

Alternately titled “Notes from Bahari Bay.” In which I share a fun and noteworthy achievement from my time playing Palia today. Show Notes: The theme song for Amy Talks About Stuff is “Wandering,” by Lee Rosevere, from the album Music for Podcasts 2. This song is licensed under a Creative Commons Attribution 4.0 license and […] The post DDoP 2023 Ep07: Amy Talks About Stuff 218: The Not-So-Lonely Sernuk Hunter appeared first on Amy Bowen's Creative Endeavors.

Wouldn't it be exciting to get an insider's look into the heated debates around the selection for the 2023 Ryder Cup team? Well, you're in luck! This episode is full of lively discussions about the fascinating world of golf, including our thoughts on who should make the cut for the Ryder Cup team. We dive deep into Bryson Dechambeau's possible qualification and the surprising reasons why he might not be the best choice for a leader. Alternately, we explore the potential of other players like Jordan Spieth, Keegan Bradley, and Rickie Fowler to unite the team and make it a success. Ever wondered how the new FedEx Cup Playoffs format affects the players who did not make the cut for the 2023 season? Stick around as we scrutinize the implications of the new playoff system, especially on player rankings. Discover how this format might shake things up for the Ryder Cup selection process. But that's not all! We also share our exclusive insights on what Rory McIlroy can do to make history at the 2023 FedEx Cup Playoffs - you won't want to miss it!And don't worry; we don't forget to chat about the lighter side of golf. We ensure you're caught up on all things golf and life. Plus, we share our thoughts on the different handicapping systems for golfers and how they impact scores. Who knows, maybe after listening to this episode, you'll be inspired to brush up on your own golfing skills! Get ready for an episode jam-packed with golf chats, lively debates, and lots of laughs.-------------------------------------------------------------------------------------------------If you haven't checked out our NEW YouTube channel, please do and hit that Subscribe Button for us! More content is coming to that channel as Matt learns the ins and outs of making better videos. We're utilizing YouTube LIVE each week, where you can watch the show as we record and comment during the episode.Please check out one of our show supporters FN3P Golf. You can save some money using our code "CDPODCAST" at checkout.If you're starting a new podcast or have one and want to make some changes to better your show, we highly recommend RIVERSIDE.FM. Use our affiliate link below to check out the software and do your part to make a better product for your listeners.If you like how the show looks and sounds lately, check out RIVERSIDE.FM, their software is legit.Bob West - The Golfing Real Estate Agent Former professional golfer turned Real Estate agent servicing the Las Vegas Valley. If you're looking for a home in the Las Vegas area or want to list your current home, look no further than real estate expert and golfing professional Bob West. We hope you enjoy this week's episode, and if you do, please consider leaving us a review on either Spotify or iTunes. Thank You!

The third-party Supplemental Needs Trust is an incredible estate planning document that can be added to an overall plan when a person wants to benefit a loved one who is disabled and collecting public benefits.  Alternately, this episode identifies the first-party Supplemental Needs Trust, too. Listen in as Michele Procino-Wells introduces supplemental needs planning and some key opportunities.  

20 year old Madison Scott disappeared on May 28, 2011 after attending a party at Hogsback Lake, 25 kilometers southeast of Vanderhoof, British Columbia.  She was reported missing the following day.  Exactly 12 years after she was reported missing, police announced that Maddy's remains were found on a rural property near the lake.  If you know anything about Madison's disappearance and death, you are encourage to call the tip line at 778-290-5291 or 1-877-543-4822.  Alternatively, you can contact the Vanderhoof RCMP at 250-567-2222 or mail Box 1190 Vanderhoof, B.C. VOJ-3A0.  If you wish to remain anonymous, call Crime Stoppers at 1-800-222-8477 or leave a message on their website at Solvecrime.ca. Alternately mailbox 1190 Vanderhoof, B.C. VOJ-3A0 for Vanderhoof RCMP. -K&O   Rate, Review and Subscribe on the platforms of your choice. Check us out on Instagram to join in the discussions about the case! Comment on the case related post, we can't wait to hear your thoughts. @podcastbyproxy Intro music made by: https://soundcloud.com/aiakos    Sources: It's Been Twelve Years Since Madison Scott was last seen alive in Vanderhoof, BC - Missing People Canada A decade after Madison Scott's disappearance, parents continue to call for witnesses | CBC News Madison Scott Missing, Family continues search on Scott's disappearance from Vanderhoof (snbc13.com) Mystery of Madison Scott haunts Vanderhoof; RCMP seek new leads | CBC News Vanderhoof rallies around missing woman's family | CBC News Missing B.C. woman's family boosts reward | CBC News Video re-enactment retraces steps of missing woman | CBC News Missing woman's friends canvas Grey Cup | CBC News BC RCMP - We need your help to find Madison Scott (rcmp-grc.gc.ca) Body of young woman missing since 2011 found in Vanderhoof, B.C. | Toronto Sun More than a thousand attend vigil for Madison Scott, B.C. woman whose remains were found after 12 years | CBC News Remains of Madison Scott found 12 years after mysterious disappearance from party near Vanderhoof, B.C. | CBC News Madison Scott's disappearance haunted Vanderhoof for 12 years. Now, the community is grappling with her death | CBC News The Vanishing of Madison Scott - YouTube RCMP in British Columbia - Update in the ongoing Madison Scott investigation (rcmp-grc.gc.ca) Vanderhoof rallies around missing woman's family | CBC News The body of Maddy Scott, missing since 2011, has been found on a rural property in Vanderhoof | National Post ‘What The Hell Happened?' Asks Mother Of Missing B.C. Woman Madison Scott | Abbotsford News (abbynews.com)  

Timothy was leader of a spiritual family in the city of Ephesus. Part of his role, and that of other brothers and sisters, was loving confrontation. Based on what we studied earlier in this epistle, there were some in the family who had abandoned truth and godliness. Others had, according to Paul, shipwrecked their faith. Some women were acting unbecomingly and seeking to usurp the role reserved only for men. Alternately, some men were aspiring to leadership who weren't qualified. Therefore, Paul listed qualifications necessary for pastors and deacons. These lists were not born in a vacuum. Rather, his doing so indicated there were those who lacked the qualifications who were seeing the offices nonetheless. 

Host | Matthew S WilliamsOn ITSPmagazine  

Shows Main Idea – A friend asked on our private forums whether you can tell if someone has changed. Of course, you cannot know in the ultimate sense—not at the heart level. I told my friend it would be unwise to focus on whether a person has changed since you cannot know for sure. Biblical counselors make this mistake too often, even at times releasing a person from counseling when they can never honestly know if they have changed. Alternately, it would be better to focus on better things while laying out better expectations and plans for those you're discipling. Show Notes: https://lifeovercoffee.com/podcast/ep-454-the-risky-business-of-looking-for-change-in-someone/ Will you help us to continue providing free content for everyone? You can become a supporting member here https://lifeovercoffee.com/join/, or you can make a one-time or recurring donation here https://lifeovercoffee.com/donate/.

Thrush -- what is it? Who gets it? What's it all about? May you never have to experience it. Thrush impacts people with compromised immune systems: people on chemotherapy, babies, the elderly. Thrush is an overgrowth of candida: yeast. It is a yeast infection of the mouth. This yeast is present all the time in our mouth, intestine, on our skin. However, when it is out of balance it can cause thrush. Antibiotics can cause this. For me, my first symptom is a film or coating on my tongue that causes me to crave sweets and cold creamy things. Then I start craving acidic and carbonated things that seem like they would take away the coating on my tongue. As thrush progresses it causes a white growth on your tongue, tonsils, potentially on your throat and inside your cheeks. Then the remedy is prescription meds. The most common is lozenges or rinses that are used multiple times a day for 10-14 days. Alternately there are meds that treat yeast systemically. The symptoms can range from mild and aggravating to irritating and painful. It can be difficult to figure out what to eat and it can be uncomfortable to eat. If you've recently recovered from thrush, get a new toothbrush. Generally, thrush is not easily contageous. I'm Annette Leonard, speaker, coach, and sick person who believes that my illnesses do not define me. If health is the absence of disease and wellness is the presence of wholeness, then no matter what your disease status, we can work toward your wellness, your wholeness. Whether or not you are ever "healthy" on paper, you can be well. Join me and others on the path back to wholeness at AnnetteLeonard.com. Whether you are a person experiencing chronic illness or are someone who loves or serves people with chronic illness I have great resources here on this channel or on my website for you.

There will be some harsh criticism and some information that you might not want to hear in today's episode. Yet, it will undoubtedly be helpful to you because you have the option of staying put and allowing things to continue to be difficult. Alternately, you could decide to shift course, recognize some mistakes, and make a change for the better. So, this is what I wish I had understood when I first started my brand-building and business-building endeavors. And many of the people who are listening are already working to establish their own brands and businesses. This advice will help you in getting unstuck! Tune in to this episode and enjoy!   “Instead of being in your feminine and allowing yourself to receive money looks like picking things that are easy, picking things that are already established, picking things where you can just align yourself with it and let it do the rest of its job but you don't have to do all of it.”   What to do if you're stuck in your business? How to stand out in a saturated market? The importance of having a vision for your business Connect with me: Email: behealthywithjoy@gmail.com / joy@levelupbabe.com Website: level-up-babe.mykajabi.com Instagram: @joyharrington.ig / @levelupbabe.ig Facebook: Joy HarringtonTikTok: @joyharrington01 YouTube: Joy Harrington - LEVEL UP Babe

Thrush -- what is it? Who gets it? What's it all about? May you never have to experience it. Thrush impacts people with compromised immune systems: people on chemotherapy, babies, the elderly. Thrush is an overgrowth of candida: yeast. It is a yeast infection of the mouth. This yeast is present all the time in our mouth, intestine, on our skin. However, when it is out of balance it can cause thrush. Antibiotics can cause this. For me, my first symptom is a film or coating on my tongue that causes me to crave sweets and cold creamy things. Then I start craving acidic and carbonated things that seem like they would take away the coating on my tongue. As thrush progresses it causes a white growth on your tongue, tonsils, potentially on your throat and inside your cheeks. Then the remedy is prescription meds. The most common is lozenges or rinses that are used multiple times a day for 10-14 days. Alternately there are meds that treat yeast systemically. The symptoms can range from mild and aggravating to irritating and painful. It can be difficult to figure out what to eat and it can be uncomfortable to eat. If you've recently recovered from thrush, get a new toothbrush. Generally, thrush is not easily contageous. I'm Annette Leonard, speaker, coach, and sick person who believes that my illnesses do not define me. If health is the absence of disease and wellness is the presence of wholeness, then no matter what your disease status, we can work toward your wellness, your wholeness. Whether or not you are ever "healthy" on paper, you can be well. Join me and others on the path back to wholeness at AnnetteLeonard.com. Whether you are a person experiencing chronic illness or are someone who loves or serves people with chronic illness I have great resources here on this channel or on my website for you.

Alternately entitled "how to find 'THE ONE,'" this episode is all about the Mrs. QBs, and our hosts just can't seem to keep their feet out of their mouths. Perhaps this is what should be expected when football coaches attempt to talk about their ffff . . . their, uh ffffee  . . . *ahem* . . . ffffeeelllliiinnngggsss. Sheesh! It's even hard to type. Thank you Bethany and Stephanie for being great wives and moms! Sorry your husbands are so bad at expressing their fffff . . . uh . . . thoughts of a vulnerable nature.Broken news article: https://www.psychologytoday.com/us/blog/here-there-and-everywhere/201205/the-list-method-how-find-the-one  Podcast Home: https://www.kansasqb.com Support the Show: https://www.patreon.com/kansasqb/ Updates and Live Shows: https://www.facebook.com/kansasqb/ Video Podcast Library: https://www.youtube.com/@juhlmediallc/playlists

“What profit is there for one to gain the whole world and forfeit his life?” Mark 8:36This short and direct question is worth much meditation. In Mark's Gospel, this line comes within the context of Jesus teaching about the requirements of being His disciple. And it comes after Jesus began to explicitly teach that He Himself would suffer and die as the Christ.Think about this question above, starting with the first part of the question. “What profit is there for one to gain the whole world…” Do you want to gain the whole world? For most people, such a possibility is quite enticing. To “gain the whole world” is to gain everything this world has to offer. Imagine being offered unlimited wealth in this world. What if you were to win the largest jackpot any lottery ever offered and more? What if you were able to have beautiful mansions around the world, your own private jet, every modern convenience, the most expensive of cars, and the ability to do whatever you wanted for the rest of your life? Is this enticing? Certainly it is on a superficial level. But it is also a very deceptive enticement, because all of this could not make you any happier or more fulfilled than you already are.The second part of this question is also easy to address. Would you want to forfeit your life? Certainly not. So Jesus offers two contrasting statements in one sentence. Most people would want to gain the whole world but would never want to forfeit their lives. Jesus sets up this contrast as a way of telling us very clearly that we cannot desire one without also choosing the other. In other words, if your heart's desire is for the riches of this world, then you do indeed forfeit your very life to the extent that you give into that desire. On the contrary, if you choose the salvation of your soul, then you must forfeit the desire for the riches and enticements of this world. You cannot desire and choose both.With that said, there might be a very rare soul who has many things in this world but has no attachment to them at all. They live completely detached from the things of this world, finding true satisfaction only in God and His holy will, becoming indifferent to any material things they have. Of course, this is a very difficult interior disposition for one to arrive at when they have accumulated much wealth.Alternately, there are those in this world who have very little. They are truly poor in the literal sense. However, they spend their days dreaming about riches and covet all that they do not have. Sadly, this poor soul is, in fact, just as materially attached as the one who has made riches the goal and focus of life. And that interior attachment will do great spiritual damage.Reflect, today, upon this question of Jesus: “What profit is there for one to gain the whole world and forfeit his life?” Use that question as a source of prayer, meditation and self-examination. Try to be honest about your desires. If you find that you spend much time daydreaming about riches, then pay particular attention to this question. Life in its fullness can never be obtained through those desires or the fulfillment of those desires. God and God alone fulfills. Seek God above all else and you will find that nothing this world has to offer comes close to the riches of the Kingdom of God.Lord, You and You alone are the source of fulfillment in life. Please purify my desires so that I ultimately desire only You and Your holy will. Free me from every deception and false enticement in life so that I will find satisfaction only in You. Jesus, I trust in You.Source of content: catholic-daily-reflections.comCopyright © 2023 My Catholic Life! Inc. All rights reserved. Used with permission via RSS feed.

How can you go about figuring if a relationship is really over? Whether you'd be happier without it? Kristy and Jerry discuss the intricacies of deciding when separating and ending a relationship is the right thing to do. Alternately: how can you come to peace with things that annoy you in your partner that just never seem to change?

About ChrisChris is a mostly-backend mostly-engineer at Remix Labs, working on visual app development. He has been in software startups for ten years, but his first and unrequited love was particle physics.  Before joining Remix Labs, he wrote numerical simulation and analysis tools for the Large Hadron Collider, then co-founded Roobiq, a clean and powerful mobile client for Salesforce back when the official ones were neither.Links Referenced: Remix Labs: https://remixlabs.com/ Twitter: https://twitter.com/chrisvermilion TranscriptAnnouncer: Hello, and welcome to Screaming in the Cloud with your host, Chief Cloud Economist at The Duckbill Group, Corey Quinn. This weekly show features conversations with people doing interesting work in the world of cloud, thoughtful commentary on the state of the technical world, and ridiculous titles for which Corey refuses to apologize. This is Screaming in the Cloud.Corey: Tailscale SSH is a new, and arguably better way to SSH. Once you've enabled Tailscale SSH on your server and user devices, Tailscale takes care of the rest. So you don't need to manage, rotate, or distribute new SSH keys every time someone on your team leaves. Pretty cool, right? Tailscale gives each device in your network a node key to connect to your VPN, and uses that same key for SSH authorization and encryption. So basically you're SSHing the same way that you're already managing your network. So what's the benefit? Well, built-in key rotation, the ability to manage permissions as code, connectivity between any two devices, and reduced latency. You can even ask users to re-authenticate SSH connections for that extra bit of security to keep the compliance folks happy. Try Tailscale now - it's free forever for personal use.Corey: This episode is sponsored by our friends at Logicworks. Getting to the cloud is challenging enough for many places, especially maintaining security, resiliency, cost control, agility, etc, etc, etc. Things break, configurations drift, technology advances, and organizations, frankly, need to evolve. How can you get to the cloud faster and ensure you have the right team in place to maintain success over time? Day 2 matters. Work with a partner who gets it - Logicworks combines the cloud expertise and platform automation to customize solutions to meet your unique requirements. Get started by chatting with a cloud specialist today at snark.cloud/logicworks. That's snark.cloud/logicworksCorey: Welcome to Screaming in the Cloud. I'm Corey Quinn. When I was nine years old, one of the worst tragedies that can ever befall a boy happened to me. That's right, my parents moved me to Maine. And I spent the next ten years desperately trying to get out of the state.Once I succeeded and moved to California, I found myself in a position where almost nothing can drag me back there. One of the exceptions—basically, the only exception—is Monktoberfest, a conference put on every year by the fine folks at RedMonk. It is unquestionably the best conference that I have ever been to, and it continually amazes me every time I go. The last time I was out there, I met today's guest. Chris Vermilion is a Senior Software Developer at Remix Labs. Chris, now that I finished insulting the state that you call home, how are you?Chris: I'm great. I'm happy to be in a state that's not California.Corey: I hear you. It's, uh—I talk a lot of smack about Maine. But to be perfectly direct, my problem with it is that I grew up there and that was a difficult time in my life because I, really I guess, never finished growing up according to most people. And all right, we'll accept it. No one can hate a place in the same way that you can hate it if you grew up there and didn't enjoy the experience.So, it's not Maine that's the problem; it's me. I feel like I should clarify that I'm going to get letters and people in Maine will write those letters and then have to ride their horses to Massachusetts to mail them. But we know how that works.Chris: [laugh].Corey: So, what is Remix Labs? Let's start there. Because Remix sounds like… well, it sounds like a term that is overused. I see it everywhere in the business space. I know there was a Remix thing that recently got sold to I think it was at Shopify or Spotify; I keep getting those two confused. And—Chris: One of the two, yeah.Corey: Yeah, exactly one of them plays music and one of them sells me things except now I think they both do both, and everything has gone wonky and confusing. But what do you folks do over there?Chris: So, we work on visual app development for everybody. So, the goal is to have kind of a spreadsheet-on-steroids-like development environment where you can build interactively, you have live coding, you have a responsive experience in building interactive apps, websites, mobile apps, a little bit of everything, and providing an experience where you can build systems of engagement. So tools, mobile apps, that kind of work with whatever back-end resources you're trying to do, you can collaborate across different people, pass things around, and you can do that all with a nice kind of visual app developer, where you can sort of drop nodes around and wire them together and built in a way that's it's hopefully accessible to non-developers, to project managers, to domain experts, to you know, whatever stakeholders are interested in modifying that final product.Corey: I would say that I count as one of those. I use something similar to build the tool that assembles my newsletter every week, and that was solving a difficult problem for me. I can write back-ends reasonably well, using my primary tool, which is sheer brute force. I am not much of a developer, but it turns out that with enough enthusiasm, you can overcome most limitations. And that's great, but I know nothing about front end; it does not make sense to me, it does not click in the way that other things have clicked.So, I was fourth and inches from just retaining a contractor to build out a barely serviceable internal app. And I discovered, oh, use this low-code tool to drag and drop things and that basically was Visual Basic for internal apps. And that was awesome, but they're still positioned squarely in the space of internal apps only. There's no mobile app story, there's—and it works well enough for what I do, but I have other projects, I want to wind up getting out the door that are not strictly for internal use that would benefit from being able to have a serviceable interface slapped onto. It doesn't need to be gorgeous, it doesn't need to win awards, it just needs to be, “Cool, it can display the output of a table in a variety of different ways. It has a button and when I click a button, it does a thing, generally represented as an API call to something.”And doesn't take much, but being able to have something like that, even for an internal app, has been absolutely transformative just for workflow stuff internally, for making things accessible to people that are not otherwise going to be able to do those sorts of things, by which I mean me.Chris: Yeah. I mean, exactly, I think that is the kind of use case that we are aiming for is making this accessible to everybody, building tools that work for people that aren't necessarily software developers, they don't want to dive into code—although they can if they want, it's extensible in that way—that aren't necessarily front-end developers or designers, although it's accessible to designers and if you want to start from that end, you can do it. And it's amenable to collaboration, so you can have somebody that understands the problem build something that works, you can have somebody that understands design build something that works well and looks nice, and you can have somebody that understands the code or is more of a back-end developer, then go back in and maybe fine-tune the API calls because they realize that you're doing the same thing over and over again and so there's a better way to structure the lower parts of things. But you can pass around that experience between all these different stakeholders and you can construct something that everybody can modify to sort of suit their own needs and desires.Corey: Many years ago, Bill Clinton wound up coining the phrase, ‘The Digital Divide' to talk about people who had basically internet access and who didn't—those who got it or did not—and I feel like we have a modern form of that, the technology haves and have nots. Easy example of this for a different part of my workflow here: this podcast, as anyone listening to it is probably aware by now, is sponsored by awesome folks who wind up wanting to tell you about the exciting services or tools or products that they are building. And sometimes some of those sponsors will say things like, “Okay, here's the URL I want you to read into the microphone during the ad read,” and my response is a polite form of, “Are you serious?” It's seven different subdirectories on the web server, followed by a UTM series of tracking codes that, yeah, I promise, none of you are going to type that in. I'm not even going to wind up reading into the microphone because my attention span trips out a third of the way through.So, I needed a URL shortener. So, I set up snark.cloud for this. For a long time, that was relatively straightforward because I just used an S3 bucket with redirect objects inside of it. But then you have sort of the problem being a victim of your own success, to some extent, and I was at a point where, oh, I can have people control some of these things that aren't me; I don't need to be the person that sets up the link redirection work.Yeah, the challenge is now that you have a business user who is extraordinarily good at what he does, but he's also not someone who has deep experience in writing code, and trying to sit here and explain to him, here's how to set up a redirect object in an S3 bucket, like, why didn't I save time and tell him to go screw himself? It's awful. So, I've looked for a lot of different answers for this, and the one that I found lurking on GitHub—and I've talked about it a couple of times, now—runs on Google Cloud Run, and the front-end for that of the business user—which sounds ridiculous, but it's also kind of clever, is a Google Sheet. Because every business user knows how to work a Google Sheet. There's one column labeled ‘slug' and the other one labeled ‘URL' that it points to.And every time someone visits a snark.cloud slash whatever the hell the slug happens to be, it automatically does a redirect. And it's glorious. But I shouldn't have to go digging into the depths of GitHub to find stuff like that. This feels like a perfect use case for a no-code, low-code tool.Chris: Yeah. No, I agree. I mean, that's a cool use case. And I… as always, our competitor is Google Sheets. I think everybody in software development in enterprise software's only real competitor is the spreadsheet.Corey: Oh, God, yes, I wind up fixing AWS bills for a living and my biggest competitor is always Microsoft Excel. It's, “Yeah, we're going to do it ourselves internally,” is what most people do. It seems like no matter what business line I've worked in, I've companies that did Robo-advising for retirement planning; yeah, some people do it themselves in Microsoft Excel. I worked for an expense reporting company; everyone does that in Microsoft Excel. And so, on and so forth.There are really very few verticals where that's not an option. It's like, but what about a dating site? Oh, there are certain people who absolutely will use Microsoft Excel for that. Personally, I think it's a bad idea to hook up where you VLOOKUP but what do I know?Chris: [laugh]. Right, right.Corey: Before you wound up going into the wide world of low-code development over at Remix, you—well, a lot of people have different backstories when I talk to them on this show. Yours is definitely one of the more esoteric because the common case and most people talk about is oh, “I went to Stanford and then became a software engineer.” “Great. What did you study?” “Computer Science,” or something like it. Alternately, they drop out of school and go do things in their backyard. You have a PhD in particle physics, is it?Chris: That's right. Yeah.Corey: Which first, is wild in his own right, but we'll get back to that. How did you get here from there?Chris: Ah. Well, it's kind of the age-old story of academia. So, I started in electrical engineering and ended up double majoring in physics because that you had to take a lot of physics to be an engineer, and I said, you know, this is more fun. This is interesting. Building things is great, but sitting around reading papers is really where my heart's at.And ended up going to graduate school, which is about the best gig you can ever get. You get paid to sit in an office and read and write papers, and occasionally go out drinking with other grad students, and that's really about it.Corey: I only just now for the first time in my life, realized how much some aspects of my career resemble being a [laugh] grad student. Please, continue.Chris: It doesn't pay very well is the catch, you know? It's very hard to support a lifestyle that exists outside of your office, or, you know, involves a family and children, which is certainly one downside. But it's a lot of fun and it's very low stress, as long as you are, let's say, not trying to get a job afterward. Because where this all breaks down is that, you know, as I recall, the time I was a graduate student, there were roughly as many people graduating as graduate students every year as there were professors total in the field of physics, at least in the United States. That was something like the scale of the relationship.And so, if you do the math, and unfortunately, we were relatively good at doing math, you could see, you know, most of us were not going to go on, you know? This was the path to becoming a professor, but—Corey: You look at number of students and the number of professorships available in the industry, I guess we'll call it, and yeah, it's hmm, basic arithmetic does not seem like something that anyone in that department is not capable of doing.Chris: Exactly. So, you're right, we were all I think, more or less qualified to be an academic professor, certainly at research institutions, where the only qualification, really, is to be good at doing research and you have to tolerate teaching students sometimes. But there tends to be very little training on how to do that, or a meaningful evaluation of whether you're doing it well.Corey: I want to dive into that a bit because I think that's something we see a lot in this industry, where there's no training on how to do a lot of different things. Teaching is one very clear example, another one is interviewing people for jobs, so people are making it up as they go along, despite there being decades and decades of longitudinal studies of people figuring out what works and what doesn't, tech his always loved to just sort of throw it all out and start over. It's odd to me that academia would follow in similar patterns around not having a clear structure for, “Oh, so you're a grad student. You're going to be teaching a class. Here's how to be reasonably effective at it.” Given that higher education was not the place for me, I have very little insight into this. Is that how it plays out?Chris: I don't want to be too unfair to academia as a whole, and actually, I was quite lucky, I was a student at the University of Washington and we had a really great physics education group, so we did actually spend a fair amount of time thinking about effective ways to teach undergraduates and doing this great tutorial system they had there. But my sense was in the field as a whole, for people on the track to become professors at research institutions, there was typically not much in the way of training as a teacher, there was not really a lot of thought about pedagogy or the mechanics of delivering lectures. You know, you're sort of given a box full of chalk and a classroom and said, you know, “You have freshman physics this quarter. The last teacher used this textbook and it seems to be okay,” tended to be the sort of preparation that you would get. You know, and I think it varies institution to institution what kind of support you get, you know, the level of graduate students helping you out, but I think in lots of places in academia, the role of professors as teachers was the second thought, you know, if it was indeed thought at all.And similarly, the role of professors as mentors to graduate students, which, you know, if anything, is sort of their primary job is guiding graduate students through their early career. And again, I mean, much like in software, that was all very ad hoc. You know, and I think there are some similarities in terms of how academics and how tech workers think of themselves as sort of inventing the universe, we're at the forefront, the bleeding edge of human knowledge, and therefore because I'm being innovative in this one particular aspect, I can justify being innovative in all of them. I mean, that's the disruptive thing to do, right?Corey: And it's a shame that you're such a nice person because you would be phenomenal at basically being the most condescending person in all of tech if you wanted to. Because think about this, you have people saying, “Oh, what do you do?” “I'm a full-stack engineer.” And then some of the worst people in the world, of which I admit I used to be one, are, “Oh, full-stack. Really? When's the last time you wrote a device driver?”And you can keep on going at that. You work in particle physics, so you're all, “That's adorable. Hold my tea. When's the last time you created matter from energy?” And yeah, and then it becomes this the—it's very hard to wind up beating you in that particular game of [who'd 00:15:07] wore it better.Chris: Right. One of my fond memories of being a student is back when I got to spend more time thinking about these things and actually still remembered them, you know, in my electoral engineering days and physics days, I really had studied all the way down from the particle physics to semiconductor physics to how to lay out silicon chips and, you know, how to build ALUs and CPUs and whatnot from basic transistor gates. Yeah, and then all the way up to, you know, writing compilers and programming languages. And it really did seem like you could understand all those parts. I couldn't tell you how any of those things work anymore. Sadly, that part of my brain has now taken up with Go's lexical scoping rules and borrow checker fights with Rust. But there was a time when I was a smart person and knew those things.Corey: This episode is sponsored in part by our friends at Strata. Are you struggling to keep up with the demands of managing and securing identity in your distributed enterprise IT environment? You're not alone, but you shouldn't let that hold you back. With Strata's Identity Orchestration Platform, you can secure all your apps on any cloud with any IDP, so your IT teams will never have to refactor for identity again. Imagine modernizing app identity in minutes instead of months, deploying passwordless on any tricky old app, and achieving business resilience with always-on identity, all from one lightweight and flexible platform.Want to see it in action? Share your identity challenge with them on a discovery call and they'll hook you up with a complimentary pair of AirPods Pro. Don't miss out, visit Strata.io/ScreamingCloud. That's Strata dot io slash ScreamingCloud.Corey: I want to go back to what sounded like a throwaway joke at the start of the episode. In seriousness, one of the reasons—at least that I told myself at the time—that I left Maine was that it was pretty clear that there was no significant, lasting opportunity in industry when I was in Maine. In fact, the girl that I was dating at the time in college graduated college, and the paper of record for the state, The Maine Sunday Telegram, which during the week is called The Portland Press Herald, did a front-page story on her about how she went to school on a pulp and paper scholarship, she was valedictorian in her chemical engineering class at the University of Maine and had to leave the state to get a job. And every year they would roll out the governor, whoever that happened to be, to the University of Maine to give a commencement speech that's, “Don't leave Maine, don't leave Maine, don't leave Maine,” but without any real answer to, “Well, for what jobs?”Now, that Covid has been this plague o'er the land that has been devastating society for a while, work-from-home has become much more of a cohesive thing. And an awful lot of companies are fully embracing it. How have you seen Maine change based upon that for one, and for another, how have you found that community has been developed in the local sense because there was none of that in Maine when I was there? Even the brief time where I was visiting for a conference for a week, I saw definite signs of a strong local community in the tech space. What happened? I love it.Chris: It's great. Yeah, so I moved to Maine eight years ago, in 2014. And yeah, I was lucky enough to pretty early on, meet up with a few of the local nerds, and we have a long-running Slack group that I just saw was about to turn nine, so I guess I was there in the early days, called Computers Anonymous. It was a spinoff, I think, from a project somebody else had started in a few other cities. The joke was it was a sort of a confessional group of, you know, we're here to commiserate over our relationships with technology, which all of us have our complaints.Corey: Honestly, tech community is more of a support group than most other areas, I think.Chris: Absolutely. All you have to do is just have name and technology and somebody will pipe up. “Okay, you know, I've a horror story about that one.” But it has over the years turned into, you know, a very active Slack group of people that meet up once a month for beers and chats with each other, and you know, we all know each other's kids. And when the pandemic hit, it was absolutely a lifeline that we were all sort of still talking to each other every day and passing tips of, you know, which restaurants were doing takeout, and you know which ones were doing takeout and takeout booze, and all kinds of local knowledge was being spread around that way.So, it was a lucky thing to have when that hit, we had this community. Because it existed already as this community of, you know, people that were remote workers. And I think over the time that I've been here, I've really seen a growth in people coming here to work somewhere else because it's a lovely place to live, it's a much cheaper place to live than almost anywhere else I've ever been, you know, I think it's pretty attractive to the folks come up from Boston or New York or Connecticut for the summer, and they say, “Ah, you know, this doesn't seem so bad to live.” And then they come here for a winter, and then they think, “Well, okay, maybe I was wrong,” and go back. But I've really enjoyed my time here, and the tools for communicating and working remotely, have really taken off.You know, a decade ago, my first startup—actually, you know, in kind of a similar situation, similar story, we were starting a company in Louisville, Kentucky. It was where we happen to live. We had a tech community there that were asking those same questions. “Why is anybody leaving? Why is everybody leaving?”And we started this company, and we did an accelerator in San Francisco, and every single person we talked to—and this is 2012—said, you have to bring the company to San Francisco. It's the only way you'll ever hire anybody, it's the only way you'll ever raise any money, this is the only place in the world that you could ever possibly run a tech company. And you know, we tried and failed.Corey: Oh, we're one of those innovative industries in the world. We've taken a job that can be done from literally anywhere that has internet access and created a land crunch on eight square miles, located in an earthquake zone.Chris: Exactly. We're going to take a ton of VC money and where to spend 90% of it on rent in the Bay Area. The rent paid back to the LPs of our VC funds, and the circle of life continues.Corey: Oh, yeah. When I started this place as an independent consultant six years ago, I looked around, okay, should I rent space in an office so I have a place where I go and work? And I saw how much it costs to sublet even, like, a closed-door office in an existing tech startup's office space, saw the price tag, laughed myself silly, and nope, nope, nope. Instead installed a door on my home office and got this place set up as a—in my spare room now is transformed into my home office slash recording studio. And yeah, “Well, wasn't it expensive to do that kind of stuff?” Not compared to the first three days of rent in a place like that it wasn't. I feel like that's what's driving a lot of the return to office stories is the sort of, I guess, an expression of the sunk cost fallacy.Chris: Exactly. And it's a variation of nobody ever got fired for choosing IBM, you know? Nobody ever got fired for saying we should work in the office. It's the way we've always done things, people are used to it, and there really are difficulties to collaborating effectively remotely, you know? You do lose something with the lack of day-to-day contact, a lack of in-person contact, people really do get kind of burned out on interacting over screens. But I think there are ways around that and the benefits, in my mind, my experience, you know, working remotely for the last ten years or so, tend to outweigh the costs.Corey: Oh, yeah. If I were 20 years younger, I would absolutely have been much more amenable to staying in the state. There's a lot of things that recommend it. I mean, I don't want people listening to this to think I actually hate Maine. It's become a running joke, but it's also, there was remarkably little opportunity in tech back when I lived there.And now globally, I think we're seeing the rise of opportunity. And that is a line I heard in a talk once that stuck with me that talent is evenly distributed, but opportunity isn't. And there are paths forward now for folks who—I'm told—somehow don't live in that same eight-square miles of the world, where they too can build tech companies and do interesting things and work intelligently with other folks. I mean, the thing that always struck me as so odd before the pandemic was this insistence on, “Oh, we don't allow remote work.” It's, “Well, hang on a minute. Aren't we all telecommuting in from wherever offices happen to be to AWS?” Because I've checked thoroughly, they will not let you work from us-east-1. In fact, they're very strict on that rule.Chris: [laugh]. Yeah. And it's remarkable how long I think the attitude persisted that we can solve any problem except how to work somewhere other than SoMa.Corey: Part of the problem too in the startup space, and one of the things I'm so excited about seeing what you're doing over at Remix Labs, is so many of the tech startups for a long time felt like they were built almost entirely around problems that young, usually single men had in their 20s when they worked in tech and didn't want to deal with the inconveniences of having to take care of themselves. Think food delivery, think laundry services, think dating apps, et cetera, et cetera. It feels like now we're getting into an era where there's a lot of development and focus and funding being aimed at things that are a lot more substantial, like how would we make it possible for someone to build an app internally or externally without making them go to through a trial-by-fire hazing ritual of going to a boot camp for a year first?Chris: Yeah. No, I think that's right. I think there's been an evolution toward building tools for broader problems, for building tools that work for everybody. I think there was a definite startup ouroboros in the, kind of, early days of this past tech boom of so much money being thrown at early-stage startups with a couple of young people building them, and they solved a zillion of their own problems. And there was so much money being thrown at them that they were happy to spend lots of money on the problems that they had, and so it looked like there was this huge market for startups to solve those problems.And I think we'll probably see that dry up a little bit. So, it's nice to get back to what are the problems that the rest of us have. You know, or maybe the rest of you. I can't pretend that I'm not one of those startup people that wants on-demand laundry. But.Corey: Yet you wake up one day and realize, oh, yeah. That does change things a bit. Honestly, one of the weirdest things for me about moving to California from Maine was just the sheer level of convenience in different areas.Chris: Yes.Corey: And part of it is city living, true, but Maine is one those places where if you're traveling somewhere, you're taking a car, full stop. And living in a number of cities like San Francisco, it's, oh great, if I want to order food, there's not, “The restaurant that delivers,” it's, I can have basically anything that I want showing up here within the hour. Just that alone was a weird, transformative moment. I know, I still feel like 20 years in, that I'm “Country Boy Discovers City for the First Time; Loses Goddamn Mind.” Like, that is where I still am. It's still magic. I became an urban creature just by not being one for my formative years.Chris: Yeah. No, I mean, absolutely. I grew up in Ann Arbor, which is sort of a smallish college town, and certainly more urban than the areas around it, but visiting the big city of Detroit or Lansing, it was exciting. And, you know, I got older, I really sort of thought of myself as a city person. And I lived in San Francisco for a while and loved it, and Seattle for a while and loved it.Portland has been a great balance of, there's city; it's a five minute drive from my house that has amazing restaurants and concerts and a great art scene and places to eat and roughly 8000 microbreweries, but it's still a relatively small community. I know a lot of the people here. I sort of drive across town from one end to the other in 20 minutes, pick up my kids from school pretty easily. So, it makes for a nice balance here.Corey: I am very enthused on, well, the idea of growing community in localized places. One thing that I think we did lose a bit during the pandemic was, every conference became online, so therefore, every conference becomes the same and it's all the same crappy Zoom-esque experience. It's oh, it's like work with a slightly different topic, and for once the people on this call can't fire me… directly. So, it's one of those areas of just there's not enough differentiation.I didn't realize until I went back to Monktoberfest a month or so ago at the time at this call recording just how much I'd missed that sense of local community.Chris: Yeah.Corey: Because before that, the only conferences I'd been to since the pandemic hit were big corporate affairs, and yeah, you find community there, but it also is very different element to it, it has a different feeling. It's impossible to describe unless you've been to some of these community conferences, I think.Chris: Yeah. I mean, I think a smallish conference like that where you see a lot of the same people every year—credit to Steven, the whole RedMonk team for Monktoberfest—that they put on such a great show that every year, you see lots and lots of faces that you've seen the last several because everybody knows it's such a great conference, they come right back. And so, it becomes kind of a community. As I've gotten older a year between meetings doesn't seem like that long time anymore, so these are the friends I see from time to time, and you know, we have a Slack who chat from time to time. So, finding those ways to sort of cultivate small groups that are in regular contact and have that kind of specific environment and culture to them within the broader industry, I think has been super valuable, I think. To me, certainly.Corey: I really enjoyed so much of what has come out of the pandemic in some ways, which sounds like a weird thing to say, but I'm trying to find the silver linings where I can. I recently met someone who'd worked here with me for a year-and-a-half that I'd never met in person. Other people that I'd spoken to at length for the last few years in various capacity, I finally meet them in person and, “Huh. Somehow it never came up in conversation that they're six foot eight.” Like, “Yeah, okay/ that definitely is one of those things that you notice about them in person.” Ah, but here we are.I really want to thank you for spending as much time as you have to talk about what you're up to, what your experiences have been like. If people want to learn more, where's the best place for them to find you? And please don't say Maine.Chris: [laugh]. Well, as of this recording, you can find me on Twitter at @chrisvermilion, V-E-R-M-I-L-I-O-N. That's probably easiest.Corey: And we will, of course, put links to that in the [show notes 00:28:53]. Thank you so much for being so generous with your time. I appreciate it.Chris: No, thanks for having me on. This was fun.Corey: Chris Vermilion, Senior Software Developer at Remix Labs. I'm Cloud Economist Corey Quinn and this is Screaming in the Cloud. If you've enjoyed this podcast, please leave a five-star review on your podcast platform of choice, whereas if you've hated this podcast, please leave a five-star review on your podcast platform of choice along with an angry comment, and since you're presumably from Maine when writing that comment, be sure to ask a grown-up to help you with the more difficult spellings of some of the words.Corey: If your AWS bill keeps rising and your blood pressure is doing the same, then you need The Duckbill Group. We help companies fix their AWS bill by making it smaller and less horrifying. The Duckbill Group works for you, not AWS. We tailor recommendations to your business and we get to the point. Visit duckbillgroup.com to get started.Announcer: This has been a HumblePod production. Stay humble.

What is a miracle? Does it mean God breaks the laws of physics or merely that he intervenes within the system? After considering several definitions of miracles from Christian thinkers, Will Barlow interacts with a number of biblical incidents to explain what a miracle is and is not. He examines the parting of the Red Sea, Moses getting water from the rock, the collapse of Jericho's walls, Shadrach, Meshach, and Abednego in the fire, and Daniel in the lions' den. For each Barlow looks at how God performed the miracle, shedding light on how science and scripture interact. Listen to this episode on Spotify or Apple Podcasts https://www.youtube.com/watch?v=pUFzfnYmyQE&list=PLN9jFDsS3QV1Etu1jXO3jbUQ6CFI-2k6W&index=14 See below for notes. —— Links —— We are doing follow-up discussions to these episodes on YouTube. Check them out! See other episodes in this Scripture and Science Class Check out Barlow's previous podcast episodes Learn more about and support the church Barlow and his team are starting in Louisville, KY, called Compass Christian Church Find more articles and audios by Barlow on his website: Study Driven Faith Support Restitutio by donating here Designate Restitutio as your charity of choice for Amazon purchases Join our Restitutio Facebook Group and follow Sean Finnegan on Twitter @RestitutioSF Leave a voice message via SpeakPipe with questions or comments and we may play them out on the air Intro music: Good Vibes by MBB Attribution-ShareAlike 3.0 Unported (CC BY-SA 3.0) Free Download / Stream: Music promoted by Audio Library. Who is Sean Finnegan?  Read his bio here —— Notes —— Miracles • Defining a Miracle • Archetypal Example • Other Examples What is the big deal with miracles? Why are miracles important? • Thomas Jefferson famously refused to believe in miracles - his edited version of the NT had all of the miracles removed • In modern times, miracles are still controversial Richard Swinburne on miracles: “What the theist claims about God is that he does have a power to create, conserve, or annihilate anything, big or small. And he can also make objects move or do anything else…He can make the planets move in the way that Kepler discovered that they move, or make gunpowder explode when we set a match to it…” “or he can make planets move in quite different ways, and chemical substances explode or not explode under quite different conditions from those which now govern their behavior. God is not limited by the laws of nature; he makes them and he can change or suspend them – if he chooses.” Francis Collins on miracles: A miracle is “an event that appears inexplicable by the laws of nature and so is held to be supernatural in origin.” —The Language of God, page 48. William Lane Craig on miracles: “You see, natural laws have implicit ceteris paribus conditions—that's Latin meaning, ‘all other things being equal.' In other words, natural laws assume that no other natural or supernatural factors are interfering with the operation that the law describes.” What is an example of a ceteris paribus condition? • Imagine that an apple is falling from a tree • If you don't intervene, what will happen? • If you do intervene, is gravity wrong? I offer the following definition of a miracle: A miracle is when God acts in an improbable way. However, miracles often fit within the boundaries of the theoretical limits of science. In other words, a miracle may be unexplainable by current scientific theories. That does not imply that God is “breaking His own rules.” We have limited knowledge. In simple words, a miracle is not necessarily a miracle because of what happens, but it generally is a miracle because of: • When it happens • To whom it happens • Why it happens Archetypal Miracle The archetypal example of a miracle is the crossing of the Red (or Reed) Sea. Was the miracle the specific event only? Or was it that it happened in that place, in that time, to those people? Exodus 14:21   Then Moses stretched out his hand over the sea, and the LORD drove the sea back by a strong east wind all night and made the sea dry land, and the waters were divided. Exodus 14:22   And the people of Israel went into the midst of the sea on dry ground, the waters being a wall to them on their right hand and on their left. Were the laws of physics violated in any way by the crossing of the Red Sea? No. In fact, the Bible explicitly tells us how God performed this miracle. So, then, what is the miraculous part? In my mind, this is miraculous because: • It happened to the Hebrews • It happened when God said it would and when the Hebrews needed it • It happened for the purpose of saving God's people Examples of Miracles Are there ways to explain other miracles? • Water from the rock • Walls of Jericho • Shadrach, Meshach, and Abednego • Daniel and the Lions' den Water from the Rock Exodus 17:6   Behold, I will stand before you there on the rock at Horeb, and you shall strike the rock, and water shall come out of it, and the people will drink." And Moses did so, in the sight of the elders of Israel. How can we explain water from the rock? • God could have led Moses to a location where an underground spring existed • In cases like this, even a relatively small amount of force could cause water to come forth • This fits our understanding of geology How can we explain water from the rock? • Alternately, we could understand this as a large porous sandstone rock that absorbed a lot of water • Again, even a relatively small amount of force could cause water to come forth • This fits our understanding of geology Walls of Jericho Joshua 6:20   So the people shouted, and the trumpets were blown. As soon as the people heard the sound of the trumpet, the people shouted a great shout, and the wall fell down flat, so that the people went up into the city, every man straight before him, and they captured the city. How can we explain the falling of the walls of Jericho? • Perhaps this is a case where God gave the priests the resonant frequency of the walls - and the people matched that pitch • Every material has a resonant frequency How can we explain the falling of the walls of Jericho? • Think about a glass shattering when an opera singer reaches a certain note • The Angers Bridge in France was destroyed in 1850 when French soldiers marched in lockstep over the bridge Shadrach, Meshach, and Abednego Daniel 3:22   Because the king's order was urgent and the furnace overheated, the flame of the fire killed those men who took up Shadrach, Meshach, and Abednego. Daniel 3:27   And the satraps, the prefects, the governors, and the king's counselors gathered together and saw that the fire had not had any power over the bodies of those men. The hair of their heads was not singed, their cloaks were not harmed, and no smell of fire had come upon them. How can we explain Shadrach, Meshach, and Abednego surviving the fiery furnace? • Perhaps God used a force field to separate the men from the fire • Perhaps God created a micro-vacuum around the men Daniel and the Lions' Den Daniel 6:17   And a stone was brought and laid on the mouth of the den, and the king sealed it with his own signet and with the signet of his lords, that nothing might be changed concerning Daniel. Daniel 6:22   My God sent his angel and shut the lions' mouths, and they have not harmed me, because I was found blameless before him; and also before you, O king, I have done no harm." Daniel 6:24   And the king commanded, and those men who had maliciously accused Daniel were brought and cast into the den of lions--they, their children, and their wives. And before they reached the bottom of the den, the lions overpowered them and broke all their bones in pieces. How can we explain Daniel surviving the lions' den? • Perhaps God caused the lions to enter a temporary hibernation or heavy sleep sequence • Perhaps God hid Daniel from the lions by masking his scent, etc. Other Miracles in the Bible • The lengthening of the day • Gideon and the fleece • Duplication of matter • Walking on water • Healings • Resurrection of Jesus A miracle is when God acts in an improbable way. However, miracles often fit within the boundaries of the theoretical limits of science.

Megyn Kelly is joined by Robert F. Kennedy, Jr., author of "A Letter to Liberals," to discuss COVID pandemic orthodoxy, the need for discussion and debate, the elimination of freedoms due to the COVID pandemic, Dr. Fauci demanding blind faith in authority, the important issue of whether the COVID vaccines prevent transmission, myocarditis risk from COVID and from vaccines, rise in "unexplained" deaths in a post-COVID vaccine world, the truth about how many lives COVID vaccines saved and lost, the lack of important data needed to understand the rise in deaths post-COVID, what Fauci said about vaccines that could have an adverse effect before the COVID vaccines were available, the absurdity of the new booster which was only tested on eight mice and no humans, Pfizer's involvement in the Trump administration, Alex Berenson and tech censorship, RFK's disbanded "vaccine safety" commission, Scott Gottlieb and our supposed medical elite, American Academy of Pediatrics' recommendations, problems with the VAERS system, personal backlash from family and friends, his views of Donald Trump then and now, Herschel Walker and our politics today, the war in Ukraine, American imperialism, RFK's personal connection to the war as his son Conor was fighting in the country, and more.Alternately, here's the CDC on vaccines:https://www.cdc.gov/vaccines/index.htmlhttps://www.cdc.gov/coronavirus/2019-ncov/vaccines/index.htmlFollow The Megyn Kelly Show on all social platforms: YouTube: https://www.youtube.com/MegynKellyTwitter: http://Twitter.com/MegynKellyShowInstagram: http://Instagram.com/MegynKellyShowFacebook: http://Facebook.com/MegynKellyShow Find out more information at: https://www.devilmaycaremedia.com/megynkellyshow 

Megyn Kelly begins the show with a monologue on COVID vaccines, kids, the CDC, and mandates that may be to come. Then Mary Katharine Ham, co-host of the Getting Hammered podcast, joins to talk about the need for parents to balance risk and reward when it comes to COVID and vaccines for kids, cost-benefit analysis needed for everything, lack of curiosity in the media, needed skepticism of institutions, the political violence double standard that led to a Twitter back-and-forth, her comments about Jeffrey Toobin, the way she was sidelined silently by CNN, the double standard on Toobin's actions, the state of the media, her pregnancy with her first son, and more. Then comedian John Crist, author of "Delete That," joins to discuss the right laughing at itself but the left refusing to, his experience getting "canceled," what lessons he learned, faith and comedy, the comedy that comes from church, his life growing up, and more.Alternately, here's the CDC on vaccines:https://www.cdc.gov/vaccines/index.htmlhttps://www.cdc.gov/coronavirus/2019-ncov/vaccines/index.htmlFollow The Megyn Kelly Show on all social platforms: YouTube: https://www.youtube.com/MegynKellyTwitter: http://Twitter.com/MegynKellyShowInstagram: http://Instagram.com/MegynKellyShowFacebook: http://Facebook.com/MegynKellyShow Find out more information at: https://www.devilmaycaremedia.com/megynkellyshow

October 11 2022   The Witch Daily Show (https://www.witchdailyshow.com) is talking Dragons   Our sponsor today Is The Red Haired Witch (Www.theredhairedwitch.com) Want to buy me a cup of coffee? Venmo: TonyaWitch - Last 4: 9226   Our quote of the day Is: "People who do not believe in the existence of dragons are often eaten by dragons." ― Ursula K. Le Guin, The Wave in the Mind   Headlines: (Dragons https://www.livescience.com/25559-dragons.html)   Deck: Deep Dark & Dangerous (https://www.amazon.com/gp/product/1922579076/ref=ppx_yo_dt_b_asin_title_o04_s00?ie=UTF8&psc=1)   Other Sources: (We linked to this article back in January but it's pretty in depth so perhaps worth revisiting? https://www.flyingthehedge.com/2019/12/magical-uses-of-cloves.html   Alternately, this article is formatted with infographics but gives a general overview as well as spell suggestions: https://spells8.com/lessons/cloves-uses-protection/) Thank you so much for joining me this morning, if you have any witch tips, questions, witch fails, or you know of news I missed, visit https://www.witchdailyshow.com or email me at thewitchdailypodcast@gmail.com If you want to support The Witch Daily Show please visit our patreon page https://www.patreon.com/witchdailyshow   Mailing Address (must be addressed as shown below) Tonya Brown 3436 Magazine St #460 New Orleans, LA 70115

By Rick Beam in Rome, GA - June 25, 2022 - As Christians we are the church. The church is not a building or a business, we are the church. How do we progress to become the temple of God? Alternately how does one regress to no longer be the temple of God? Are we reachable and teachable? Please listen for the answer to these questions and much more.

Today's episode of True Birth is all about circumcision. Circumcision often falls under the category of obstetrics, and many obstetricians are the ones who perform circumcisions at the hospital because it's considered surgical.   It's rare to need a suture or have bleeding complications after an infant is circumcised, but having someone familiar with surgery perform the procedure is an added advantage, just in case.   Historically, removing the foreskin of the penis was thought to prevent certain medical complications, but nowadays, many of those beliefs have been debunked. Many people choose to have their male children circumcised because of tradition. For instance, in the U.S., about 71% percent of biological males are circumcised, but in many other countries, that statistic is much lower.   Some medical considerations could delay the timing of the procedure: if the baby is premature or has any homeostasis issues, the procedure should be postponed until it's safer.   One common instrument used for circumcision is called the Gomco clamp, which lowers the amount of bleeding. Pain medication such as local, non-epi lidocaine is often given. Alternately, a Mogan instrument can be used, but Dr. Abdelhak doesn't necessarily prefer it because the shape of the cut often doesn't present as clean-looking initially.   The primary necessity in the procedure is knowing where on the skin to cut. Understand that for a few days before skin regrowth; the area will look quite bare and raw.   Jewish patients often choose to bring their baby back eight days after birth to make it a bris circumcision in accordance with religious tradition. When this is the case, Dr. Abelhak includes a special blessing and respectfully follows the Kosher protocol wherever applicable. We'll hear some of his accounts of times that Jewish patients came to the office for their child's bris and why this option might be culturally advantageous for many families.   We hope this episode clarifies some of the details of circumcision for you and adds to your ever-growing knowledge base on pregnancy and birth.   As always, we'd love to hear from you! Connect with us on our website at www.truebirthpodcast.com or send us an email at info@maternalresources.org   Maternal Resources' website is:  https://www.maternalresources.org/   Remember to subscribe wherever you listen, and leave us a review!   Our Social Channels are as follows Twitter: https://twitter.com/integrativeobYouTube: https://www.youtube.com/maternalresources IG: https://www.instagram.com/integrativeobgyn/ Facebook: https://www.facebook.com/IntegrativeOB

This is the Learn Develop Live Motivation In A Minute! Kick-start your day whatever time it is with your daily dose of motivation and inspiration in under one minute! Whether you're an entrepreneur starting your entrepreneurial journey or just someone that wants to wants to become inspired, this is your ‘Quote of The Day' to motivate and inspire you all the way!   How can the ‘Learn Develop Live method' help you?  If you're unhappy in your current situation and not sure how to make the next move, why not book your FREE 30-minute Learn Develop Live Power Call now!  Sure talking to a stranger might seem daunting but you shouldn't let yourself suffer for another day can you?  Head over to www.ldlcall.com to book your slot for a free discovery call to help plan your next big adventure!  Or send me a text on 07801543515 and let's talk! This is no sales call, no slimy selling anything to you.  Tell me what you are trying to do and together, we can come up with a strategy with actionable tasks that you can walk away from the call with to take yourself to the next level.   We can talk about what you feel is holding you back… We can talk about what you should do next to kick-start your life… Talking to a stranger can be a bit daunting, I get it but our chat is a level playing field… No judgement, no opinion, just two people, you and me who want the best for you. Alternately, you can find Learn Develop Live on Facebook, Instagram, Twitter and LinkedIn.  Shoot me a message and lets begin those better days you deserve! Click here to listen to the previous episodes! https://podfollow.com/motivation-inspiration-from-learn-develop-live-with-chris-jaggs/view#_=_ www.learndeveloplive.com  

This is the Learn Develop Live Motivation In A Minute! Kick-start your day whatever time it is with your daily dose of motivation and inspiration in under one minute! Whether you're an entrepreneur starting your entrepreneurial journey or just someone that wants to wants to become inspired, this is your ‘Quote of The Day' to motivate and inspire you all the way!   How can the ‘Learn Develop Live method' help you?  If you're unhappy in your current situation and not sure how to make the next move, why not book your FREE 30-minute Learn Develop Live Power Call now!  Sure talking to a stranger might seem daunting but you shouldn't let yourself suffer for another day can you?  Head over to www.ldlcall.com to book your slot for a free discovery call to help plan your next big adventure!  Or send me a text on 07801543515 and let's talk! This is no sales call, no slimy selling anything to you.  Tell me what you are trying to do and together, we can come up with a strategy with actionable tasks that you can walk away from the call with to take yourself to the next level.   We can talk about what you feel is holding you back… We can talk about what you should do next to kick-start your life… Talking to a stranger can be a bit daunting, I get it but our chat is a level playing field… No judgement, no opinion, just two people, you and me who want the best for you. Alternately, you can find Learn Develop Live on Facebook, Instagram, Twitter and LinkedIn.  Shoot me a message and lets begin those better days you deserve! Click here to listen to the previous episodes! https://podfollow.com/motivation-inspiration-from-learn-develop-live-with-chris-jaggs/view#_=_ www.learndeveloplive.com

Despite all the highfalutin advances in automation and just-in-time inventory, Covid-19 has still managed to upend the world's supply chains. But all this pandemonium may be a dress rehearsal for future chaos, courtesy of challenges such as political unrest and the climate crisis, warns one author who's tracked the global flow of goods. In this episode, we take a deep dive into the problems plaguing the retailers, warehouse operators, truckers and shippers who labor to get widgets from factory floors to your doorstep. First, reporter Augusta Saraiva explores why everything from baby formula to Teslas can still be hard to find in the US, even though the epic West Coast container ship backlog has eased. In part, consumers are to blame since they've continued buying at levels far beyond what analysts had expected, given 9.1% inflation and fears of a potential recession. Meantime, importers are fighting over scarce capacity on trucks, ships and in warehouses, creating additional backlogs. One company was so spooked by delays last year that by April it already had 600 containers of artificial Christmas trees waiting at the Port of New York and New Jersey. In a follow-up discussion, Stephanie talks about how supply chains got so fragile with Christopher Mims, author of "Arriving Today," which traces advances allowing for same-day delivery.  Mims argues that efficient supply chains that were developed before Covid-19 struck weren't battle-tested for pandemics, wars and extreme weather. While unionized years ago, truckers today are largely non-unionized, and as a result earn about two-thirds less in real terms than truckers did 40 years ago. They are also burning out quickly from 14-hour days, Mims says. Alternately, a unionized longshoremen workforce has resisted automation, creating some of the world's least efficient ports. Eventually, supply chains will have to shorten, Mims says, with corporations bringing production in-house or nearshoring it to neighboring countries. See omnystudio.com/listener for privacy information.