Podcasts about Arc

On this episode of Currently Reading, Kaytee and Mary are discussing: Bookish Moments: A new bookish metaphor and book moms in the wild Current Reads: all the great, interesting, and/or terrible stuff we've been reading lately Deep Dive: Organizing Our Bookshelves Before We Go: our new segment featuring bookish friend posts and a sleeper hit you should read. Show notes are time-stamped below for your convenience. Read the transcript of the episode (this link only works on the main site). . . . 1:18 - Ad For Ourselves 2:03 - Currently Reading Patreon 2:55 - Bookish Moments of the Week 3:19 - A Comfort of Crows by Margaret Renkl 7:44 - @meg.al.reads on Instagram 9:19 - Current Reads 9:26 - Agnes Aubert's Magical Cat Shelter by Heather Fawcett (Mary) 9:54 - Emily Wilde's Encyclopaedia of Faeries by Heather Fawcett 13:34 - Mate by Ali Hazelwood (Kaytee) 13:38 - Bride by Ali Hazelwood MARYS NEXT BOOK BEGINS AT 17:43 IF YOU DON'T WANT TO HEAR MATE'S SETUP 16:31 - romance.io 17:48 - Before I Forget by Tory Henwood Hoen (Mary) 19:50 - The Arc by Tory Henwood Hoen 19:52 - CR Season 4: Episode 38 w/Mary's setup of The Arc 21:07 - One Day Everyone Will Have Always Been Against This by Omar El Akkad (Kaytee) 23:39 - American War by Omar El Akkad 26:02 - The River Has Roots by Amal El-Mohtar (Mary) 28:19 - This Is How You Win the Time War by Amal El-Mohtar 29:57 - Honey by Imani Thompson (pre-order, releases May 5, 2026) (Kaytee) 32:10 - They Never Learn by Layne Fargo  34:36 - Organizing Our Bookshelves 36:51 - Ikea Kallax Bookshelf 37:47 - Ikea Billy Bookcase 42:40 - Cinder by Marissa Meyer  48:50 - The Lion Women of Tehran by Marjan Kamali 49:47 - Currently Reading Substack 53:51 - Before We Go Kaytee  highlights a bookish friend post 54:38 - Great Circle by Maggie Shipstead 54:40 - The Wife, The Mistress and the Maid by Ariel Lawhon 54:42 - Homegoing by Yaa Gyasi 54:44 - The Night Watchman by Louise Erdrich 54:47 - The Antidote by Karen Russell 54:52 - The Stationery Shop by Marjan Kawali Mary brings a sleeper hit, with a twist: 57:02 - Looking At Picture Books w/Mac Barnett and Jon Klassen 58:51 - Goodnight Moon by Margaret Wise Brown Support Us: Become a Bookish Friend | Grab Some Merch Shop Bookshop dot org | Shop Amazon Bookish Friends Receive: The Indie Press List with a curated list of five books hand sold by the indie of the month. March's IPL is brought by our lovely friends at An Unlikely Story in Plainville, MA. Love and Chili Peppers with Kaytee and Rebekah - romance lovers get their due with this special episode focused entirely on the best selling genre fiction in the business All Things Murderful with Meredith and Elizabeth - special content for the scary-lovers, brought to you with the behind-the-scenes insights of an independent bookseller From the Editor's Desk with Kaytee and Bunmi Ishola - a quarterly peek behind the curtain at the publishing industry The Bookish Friends Facebook Group - where you can build community with bookish friends from around the globe as well as our hosts Connect With Us: The Show: Instagram | Website | Email | Threads | Substack | Youtube The Hosts and Regulars: Meredith | Kaytee | Mary | Roxanna Production and Editing: Megan Phouthavong Evans Affiliate Disclosure: All affiliate links go to Bookshop unless otherwise noted. Shopping here helps keep the lights on and benefits indie bookstores. Thanks for your support!

How do you build a creative life that spans music, writing, film, and spiritual practice? Alicia Jo Rabins talks about weaving multiple creative strands into a sustainable career and why the best advice for any creator might simply be: just make the thing. In the intro, backlist promotion strategy [Written Word Media]; Successful author business [Novel Marketing Podcast]; Alliance of Independent Authors Indie Author Bookstore; Bones of the Deep – J.F. Penn This podcast is sponsored by Kobo Writing Life, which helps authors self-publish and reach readers in global markets through the Kobo eco-system. You can also subscribe to the Kobo Writing Life podcast for interviews with successful indie authors. This show is also supported by my Patrons. Join my Community at Patreon.com/thecreativepenn Alicia Jo Rabins is an award-winning writer, musician, performer, as well as a Torah teacher and ritualist. She's the creator of Girls In Trouble, a feminist indie-folk song cycle about biblical women, and the award-winning film, A Kaddish for Bernie Madoff. Her latest book is a memoir, When We Are Born We Forget Everything. You can listen above or on your favorite podcast app or read the notes and links below. Here are the highlights, and the full transcript is below. Show Notes Building a sustainable multi-disciplinary creative career through teaching, performance, grants, and donations Trusting instinct in the early generative stages of creativity and separating generation from editing Adapting and reimagining religious and cultural source material through music, writing, and performance The challenges of transitioning from poetry to long-form prose memoir, including choosing a lens for your story Making an independent film on a shoestring budget without waiting for Hollywood's permission Finding your creative voice and building confidence by leaning into vulnerability and returning to the practice of making You can find Alicia at AliciaJo.com. Transcript of the interview with Alicia Jo Rabins Joanna: Alicia Jo Rabins is an award-winning writer, musician, performer, as well as a Torah teacher and ritualist. She's the creator of Girls In Trouble, a feminist indie-folk song cycle about biblical women, and the award-winning film, A Kaddish for Bernie Madoff. Her latest book is a memoir, When We Are Born We Forget Everything. So welcome to the show, Alicia. Alicia: Thank you so much. I'm delighted to be here. Joanna: There is so much we could talk about. But first up— Tell us a bit more about you and how you've woven so many strands of creativity into your life and career. Alicia: Yes, well, I am a maximalist. What happened in terms of my early life is that I started writing on my own, just extremely young. I'm one of those people who always loved writing, always processed the world and managed my emotions and came to understand myself through writing. So from a very young age, I felt really committed to writing. Then I had the good fortune that my mother saw a talk show about the Suzuki method of learning violin—when you start really young and learn by ear, which is modelled after language learning. It's so much less intellectual and much more instinctual, learning by copying. She was like, that looks like a cool thing. I was three years old at the time and she found out that there was a little local branch of our music conservatory that had a Suzuki violin programme. So when I was three and a half, getting close to four, she took me down and I started playing an extremely tiny violin. Joanna: Oh, cute! Alicia: Yes, and because it was part of this conservatory that was downtown, and we were just starting at the suburban branch where we lived, there was this path that I was able to follow. As I got more and more interested in violin, I could continue basically up through the conservatory level during high school. So I had a really fantastic music education without any pressure, without any expectations or professional goals. I just kept taking these classes and one thing led to another. I grew up being very immersed in both creative writing and music, and I think just having the gift of those two parts of my brain trained and stimulated and delighted so young really changed my brain in some ways. I'll always see the world through this creative lens, which I think I'm also just set up to do personally. Then the last step of my multi-practice career is that in college I got very interested in Jewish spirituality. I'm Jewish, but I didn't grow up very religious. I didn't grow up in a Jewish community really. So I knew some basics, but not a ton. In college I started to study it and also informally learned from other people I met. I ended up going on a pretty intense spiritual quest, going to Jerusalem and immersing myself after college for two years in traditional Jewish study and practice. So that became the third strand of the braid that had already been started with music and writing. Torah study, spiritual study, and teaching became the third, and they all interweave. The last thing I'll say is that because I work in both words and music, and naturally performance because of music, it began to branch a little bit into plays, theatre, and film, just because that's where the intersection of words, performance, and music is. So that's really what brought me into that, as opposed to any specific desire to work in film. It all happened very organically. Joanna: I love this. This is so cool. We are going to circle back to a lot of this, but I have to ask you— What about work for money at any point? How did this turn into more than just hobbies and lifestyle? Alicia: Yes, absolutely. Well, I'm very fortunate that I did not graduate college with loans because my parents were able to pay for college. That was a big privilege that I just want to name, because in the States that's often not the case. So that allowed me to need to support myself, but not also pay loans, which was a real gift. What happened was I went straight from college to that school in Jerusalem, and there I was on loans and scholarship, so I didn't have to worry yet about supporting myself. Then when I came back to the States, I actually found on Craigslist a job teaching remedial Hebrew. It was essentially teaching kids at a Jewish elementary school who either had learning differences or had just entered the school late and needed to be in a different Hebrew class than the other kids in their grade. That was my first experience of really teaching, and I just absolutely fell in love with it. Although in the end, my passion is much more for teaching the text and rituals and the wrestling with the concepts, as opposed to teaching language. So all these years, while doing performance and writing and all these things, I have been teaching Jewish studies. That has essentially supported me, I would say, between 50 and 70 per cent. Then the rest has been paid gigs as a musician, whether as a front person leading a project or as what we call a sideman, playing in someone else's band. Sometimes doing theatre performances, sometimes teaching workshops. That's how I've cobbled it together. I have not had a full-time job all these years and I have supported myself through both earned income and also grants and donations. I've really tried to cultivate a little bit of a donor base, and I took some workshops early on about how to welcome donations. So I definitely try to always welcome that as well. Joanna: That is so interesting that you took a workshop on how to welcome donations. Way back in, I think 2013, I said on this show, I just don't know if I can accept people giving to support the show. Then someone on the podcast challenged me and said, but people want to support creatives. That's when I started Patreon in 2014. It was when The Art of Asking by Amanda Palmer came out and— It was this realisation that people do want to support people. So I love that you said that. Alicia: It's not easy. It's still not easy for me, and I have to grit my teeth every time I even put in my end-of-year newsletter. I just say, just a reminder that part of what makes this possible is your generous donations, and I'm so grateful to you. It's not easy. I think some people enjoy fundraising. I certainly don't instinctively enjoy it, but I have learned to think of it exactly the way that you're saying. I mean, I love donating to support other people's projects. Sometimes it's the highlight of my day. If I'm having a bad day and someone asks for help, either to feed a family or to complete a creative project, I just feel like, okay, at least I can give $36 or $25 and feel like I did something positive in the last hour, even if my project is going terribly and I'm in a fight with my kid or something. So I have to keep in mind that it is actually a privilege to give as well as a privilege to receive. Joanna: Absolutely. So let's get back into your various creative projects. The first thing I wanted to ask you, because you do have so many different formats and forms of your creativity—how do you know when an idea that comes to you should be a song, or something you want to do as a performance, or written, or a film? Tell us a bit about your creative process. Because a lot of your projects are also longer-term. Alicia: Yes. It's funny, I love planning and in some ways I'm an extreme planner. I really drive people in my family bonkers with planning, like family vacations a year in advance. In terms of my creativity, I'm very planful towards goals, but in that early generative state, I am actually pure instinct. I don't think I ever sit down and say, “I have this idea, which genre would it match with?” It's more like I sit on my bed and pick up my guitar, which is where I love to do songwriting, just sitting on my bed cross-legged, and I pick up my guitar and something starts coming out. Then I just work with that kernel. So it's very nebulous at first, very innate, and I just follow that creative spirit. Often I don't even know what a project is, sometimes if it's a larger project, until a year or two in. Once things emerge and take shape, then my planning brain and my strategy brain can jump on it and say, “Okay, we need three more songs to fill out the album, and we need to plan the fundraising and the scheduling.” Then I might take more of an outside-in approach. At the beginning it's just all instinct. Joanna: So if you pick up your guitar, does that mean it always starts in music and then goes into writing? Or is that you only pick up a guitar if it's going to be musical? Alicia: I think I'm responding to what's inside me. It's almost like a need, as opposed to, “I'm going to sit down and work.” I mean, obviously I sit down and work a lot, but I think in that early stage of anything, it's more like my fingers are itching to play something, and so I sit down and pick up my guitar. Sometimes nothing comes out and sometimes the kernel of a song comes out. Or I'm at a café, and I often like to write when I'm feeling a little bit discombobulated, just to go into the complexity of things or use challenging emotions as fuel. I really do use it as a—I don't know if therapeutic is the word, but I think it maybe is. I write often, as I always have, as I said before, to understand what I'm thinking. Like Joan Didion said—to process difficult emotions, to let go of stuck places. So I think I create almost more out of a sense of just what I need in the moment. Sometimes it's just for fun. Sometimes picking up a guitar, I just have a moment so I sit down and mess around. Sometimes it's to help me struggle with something. It doesn't always start in music. That was a random example. I might sit down to write because I have an hour and I think, I haven't written in a while. Or I do have an informal daily writing thing where I'll try to generate one loose draft of something a day, even if it's only ten pages. I mean, sorry, ten words. Joanna: I was going to say! Alicia: No, no. Ten words. I'm sorry. It's often poetry, so it feels like a lot when it's ten words. I'll just sit down with no pressure, no goal, no intention to make anything specific. Just open the floodgates and see what comes out. That's where every single project of mine has started. Joanna: Yes, I do love that. Obviously, I'm a discovery writer and intuitive, same as you. I think very much this idea of, especially when you said you feel discombobulated, that's when you write. I almost feel like I need that. I'm not someone who writes every day. I don't do ten lines or whatever. It's that I'll feel that sense of pressure building up into “this is going to be something.” I will really only write or journal when that spills over into— “I now need to write and figure out what this is.” Alicia: Yes. It's almost a form of hunger. It feels to me similar to when you eat a great meal and then you're good for a while. You're not really thinking of it, and then it builds up, like you said, and then there's a need—at least the first half of creativity. I really separate my generation and my editing. So my generative practice is all openness, no critique, just this maybe therapeutic, maybe curious, wandering and seeing what happens. Then once I have a draft, my incisive editing mind is welcome back in, which has been shut out from that early process. So that's a really different experience. Those early stages of creativity are almost out of need more than obligation. Joanna: Well, just staying with that generative practice. Obviously you've mentioned your study of and practice of Jewish tradition and Jewish spirituality. Steven Pressfield in his books has talked about his prayer to the muse, and I've got on my wall here—I don't talk about this very often, actually — I have a muse picture, a painting of what I think of as a muse spirit in some form. So do you have any spiritual practices around your generative practice and that phase of coming up with ideas? Alicia: I love that question, and I wish I had a beautiful, intentional answer. My answer is no. I think I experience creativity as its own spiritual practice itself. I do love individual prayer and meditation and things like that, but for me those are more to address my specifically spiritual health and happiness and connectedness. I'm just a dive-in kind of person. As a musician, I have friends who have elaborate backstage rituals. I have to do certain things to take care of my voice, but even that, it's mostly vocal rest as opposed to actively doing things. There's a bit of an on/off switch for me. Joanna: That's interesting. Well, I do want to ask you about one of your projects, this collaboration with a high school on a musical performance, I Was a Desert: Songs of the Matriarchs, and also your Girls in Trouble songs about women in the Torah. On your website, I had a look at the school, the high school, and the musical performance. It was extraordinary. I was watching you in the school there and it's just such extraordinary work. It very much inspired me—not to do it myself, but it was just so wonderful. I do urge people to go to your website and just watch a few minutes of it. I'm inspired by elements of religion, Christian and Jewish, but I wondered if you've come up against any issues with adaptation—respecting your heritage but also reinventing it. How has this gone for you. Any advice for people who want to incorporate aspects of religion they love but are worried about responses? Alicia: Well, I have to say, coming from the Jewish tradition, that is a core practice of Judaism—reinterpreting our texts and traditions, wrestling with them, arguing with them, reimagining them. I don't know if you're familiar with Midrash, but just in case some of your listeners aren't sure I'll explain it. There's essentially an ancient form of fanfic called Midrash, which was the ancient rabbis, and we still do it today, taking a biblical story that seems to have some kind of gap or inconsistency or question in it and writing a story to fill that gap or recast the story in an interestingly different light. So we have this whole body of literature over thousands of years that are these alternate or added-on adventures, side quests of the biblical characters. What I'm doing from a Jewish perspective is very much in line with a traditional way of interacting with text. I've certainly never gotten any pushback, especially as I work in progressive Jewish communities. I think if I were in an extremely fundamentalist community, there would be a lot of different issues around gender and things like that. The interpretive process, even in those communities, is part of how we show respect for the text. When I was working with the high school—and I just want to call out the choir director, Ethan Chen, who has an incredible project where he brings in a different artist every two years to work with the choir, and they tend to have a different cultural focus each time. He invited me specifically to integrate my songwriting about biblical women with his amazing high school choir. I was really worried at first because most of them are not Jewish—very few of them, if any. I wanted to respect their spiritual paths and their religious heritages and not impose mine on them. So I spent a lot of time at the beginning saying, this project has religious source material, but essentially it is a creative reinterpretive project. I am not coming to you to bring the religious material to you. I'm coming to take the shared Hebrew Bible myths and then reinterpret those myths through a lens of how they might reflect our own personal struggles, because that's always my approach to these ancient stories. I wanted to really make that clear to the students. It was such a joy to work with them. Joanna: It's such an interesting project. Also, I find with musicians in general this idea of performance. You've written this thing—or this thing specifically with the school—and it doesn't exist again, right? You're not selling CDs of that, I presume. Whereas compared to a book, when we write a book, we can sell it forever. It doesn't exist as a performance generally for an author of a memoir or a novel. It carries on existing. So how does that feel, the performance idea versus the longer-lasting thing? I mean, I guess the video's there, but the performance itself happened. Alicia: I do know what you mean. Absolutely. We did, for that reason, record it professionally. We had the sound person record it and mix it, so it is available to stream. I'm not selling CDs, but it's out there on all the streaming services, if people want to listen. I do also have the scores, so if a choir wanted to sing it. The main point that you're making is so true. I think there's actually something very sacred about live performance—that we're all in the moment together and then the moment is over. I love the artefacts of the writing life. I love writing books. I love buying and reading books and having them around, and there's piles of them everywhere in this room I'm standing in. I feel like being on stage, or even teaching, is a very spiritual practice for me, because it's in some ways the most in-the-moment I ever am. The only thing that matters is what's happening right then in that room. It's fleeting as it goes. I'm working with the energy in the room while we're there. It's different every time because I'm different, the atmosphere is different, the people are different. There's no way to plan it. The kind of micro precision that we all try to bring to our editing—you can't do that. You can practice all you want and you should, but in the moment, who knows? A string breaks or there's loud sound coming from the other room. It is just one of those things. I love being reminded over and over again of the truth that we really don't control what happens. The best that we can do is ride it, surf it, be in it, appreciate it, and then let it go. Joanna: I think maybe I get a glimpse of that when I speak professionally, but I'm far more in control in that situation than I guess you were with—I don't know how many—was it a hundred kids in that choir? It looked pretty big. Alicia: It was amazing. It was 130 kids. Yes. Joanna: 130 kids! I mean, it was magic listening to it. And yes, of course, showing my age there with buying a CD, aren't I? Alicia: Well, I do still sell some CDs of Girls in Trouble on tour, because I have a bunch of them and people still buy them. I'm always so grateful because it was an easier life for touring musicians when we could just bring CDs. Now we have to be very creative about our merch. Joanna: Yes, that's a good point because people are like, “Oh yes, I'll scan your QR code and stream it,” but you might not get the money for that for ages, and it might just be five cents or whatever. Alicia: Streaming is terrible for live musicians. I mean, I don't know if you know the site Bandcamp, but it's essentially self-publishing for musicians. Bandcamp is a great way around that, and a lot of independent musicians use it because that's a place you can upload your music and people can pay $8 for an album. They can stream it on there if they want, or they can download it and have it. But, yes, it's hard out there for touring musicians. Joanna: Yes, for sure. Well, let's come to the book then. Your memoir, When We Are Born We Forget Everything. Tell us about some of the challenges of a book as opposed to these other types of performances. Alicia: Well, I come out of poetry, so that was my first love. That's what I majored in in college. That's what my MFA is in. Poetry is famously short, and I'm not one of those long-form poets. I have been trained for many years to think in terms of a one-page arc, if at all. Arc isn't even really a word that we use in poetry. So to write a full-length prose book was really an incredible education. Writing it basically took ten years from writing to publication, so probably seven years of writing and editing. I felt like there was an MFA-equivalent process in the number of classes I took, books I read, and work that went into it. So that was one of my main joys and challenges, really learning on the job to write long-form prose coming out of poetry. How to keep the engine going, how to think about ending one chapter in a way that leaves you with some torque or momentum so that you want to go into the next chapter. How many characters is too many? Who gets names and who doesn't? Some of these things that are probably pretty basic for fiction writers were all very new to me. That was a big part of my process. Then, of course, poets don't usually have agents. So once it was done, I began to query agents. It was the normal sort of 39 rejections and then one agent who really understood what I was trying to do. She's incredible, and she was able to sell the book. The longevity of just working on something for that long—I have a lot of joy in that longevity—but it does sometimes feel like, is this ever going to happen, or am I on a fool's errand? Joanna: I guess, again, the difference with performance is you have a date for the performance and it's done then. I suppose once you get a contract, then for sure it has to be done. But memoir in particular, you do have to set boundaries, because of course your life continues, doesn't it? So what were the challenges in curating what went into the book? Because many people listening know memoir is very challenging in terms of how personal it can be. Alicia: Yes, and one thing I think is so fascinating about memoir is choosing which lens to put on your story, on your own story. I heard early on that the difference between autobiography and memoir is that autobiography tries to give a really comprehensive view of a life, and memoir is choosing one lens and telling the story of a life through that lens, which is such a beautiful creative concept. I knew early on that I wanted this to be primarily a spiritual memoir, and also somewhat of an artistic memoir, because my creativity and my spirituality are so intertwined. It started off being spiritual, and also about my musical life, and also about my writing life. In the end, I edited out the part about my writing life, because writing about writing was just too navel-gazing. So there's nothing in there about me coming of age as a writer, which used to be in there, but that whole thing got taken out. Now it's spiritual and musical. For me, it really helped to start with those focuses, because I knew there may be things that were hugely important in my life, absolutely foundational, that were not really going to be either mentioned or gone deeply into in the book. For example, my husband teases me a lot about how few pages and words he gets. He's very important in my life, but I actually met him when I was 29, and this book really mainly takes place in the years leading up to that. There's a little bit of winding down in the first few years of my thirties, but this is not a book about my life with him. He is mentioned in it. That story is in there. Having those kinds of limitations around the canvas—there's a quote, I forget if it was Miranda July, but somebody said something like, basically when you put a limitation on your project, that's when it starts to be a work of art. Whatever it is, if you say, “I'm taking this canvas and I'm using these colours,” that's when it really begins, that initial limitation. That was very helpful. Joanna: It's also the beauty of memoir, because of course you can write different memoirs at different times. You can write something about your writing life. You can write something else about your marriage and your family later on. That doesn't all have to be in one book. I think that's actually something I found interesting. And I would also say in my memoir, Pilgrimage, my husband is barely mentioned either. Alicia: Does he tease you too? Joanna: No, I think he's grateful. He is grateful for the privacy. Alicia: That's why I keep saying, you should be grateful! Joanna: Yes. You really should. Like, maybe stop talking now. Alicia: Yes, exactly. I know. Marriage, memoir—those words should strike fear into his heart. Joanna: They definitely should. But let's just come back. When I look at your career— You just seem such an independent creative, and so I wondered why you decided to work with a traditional publisher instead of being an independent. How are you finding it as someone who's not in charge of everything? Alicia: It's a great question. The origin story for this memoir is that I was actually reading poetry at a writing conference called Bread Loaf in the States. This was 16 years ago or something. I was giving a poetry reading and afterwards an agent, not my agent, came up to me and said, you know, you have a voice. You should try writing nonfiction because you could probably sell it. Back to your question about how I support myself, I am always really hustling to make a living. It's not like I have some separate well-paying job and the writing has no pressure on it. So my ears kind of perked up. I thought, wait, getting paid for writing? Because poetry is literally not in the world. It's just not a concept for poets. That's not why we write and it's not a possibility. So a little light turned on in my brain. I thought, wow, that could be a really interesting element to add to my income stream, and it would be flexible and it would be meaningful. For a few years I thought, what nonfiction could I write? And I came up with the idea of writing a book about biblical women from a more scholarly perspective, because I teach that material and I've studied it. I went to speak to another agent and she said, well, you could do that, but if you actually want to sell a book, it's going to have to be more of a trade book. So if you don't want an academic press, which wouldn't pay very much, you would have to have some kind of memoir-like stories in there to just sweeten it so it doesn't feel academic. So then I began writing a little bit of spiritual memoir. I thought, okay, well, I'll write about a few moments. Then once I started writing, I couldn't stop. The floodgates really opened. That's how it ended up being a spiritual memoir with interwoven stories of biblical women. It became a hybrid in that sense. I knew from the beginning that this project—for all my saying earlier that I never plan anything and only work on instinct, I was thinking as I said that, that cannot be true. This time, I actually thought, what if, instead of coming from this pure, heart-focused place of poetry, I began writing with the intention of potentially selling a book? The way my fiction writer friends talked about selling their books. So that was always in my mind. I knew I would continue writing poetry, continue publishing with small presses, continue putting my own music out there independently, but this was a bit of an experiment. What if I try to interface with the publishing world, in part for financial sustainability? And because I had a full draft before I queried, I never felt like anyone was telling me what to write. I can't imagine personally selling a book on proposal, because I do need that full capacity to just swerve, change directions, be responsive to what the project is teaching me. I can't imagine promising that I'll write something, because I never know what I'll write. But writing at least a very solid draft first, I'm always delighted to get notes and make polish and rewrite and make things better. I took care of that freedom in the first seven years of writing and then I interfaced with the agent and publisher. Joanna: I was going to say, given that it's taken you seven to ten years to do this and I can't imagine that you're suddenly a multimillionaire from this book. It probably hasn't fulfilled the hourly rate that perhaps you were thinking of in terms of being paid for your work. I think some people think that everyone's going to end up with the massive book deal that pays for the rest of their life. I guess this book does just fit into the rest of your portfolio career. Alicia: Yes. One of the benefits of these long arcs that I like to work on is, one of them—and probably the primary one—is that the project gets to unfold on its own time. I don't think I could have rushed it if I wanted. The other is that it never really stopped me from doing any of my other work. Joanna: Mm-hmm. Alicia: So it's not like, oh, I gave up months of my life and all I got was this advance or something. It's like, I was living my life and then when I had a little bit of writing time—and I will say, it impacted my poetry. I haven't written as much poetry because I was working on this. So it wasn't like I just added it on top of everything I was already doing, but it was a pleasure to just switch to prose for a while. It was just woven into my life. I appreciated having this side project where no one was waiting for it. There were no deadlines, there was no stress around it, because I always have performances to promote and due dates for all kinds of work. It was just this really lovely arena of slow growth and play. When I wanted a reader, I could do a swap with a writer friend, but no one was ever waiting for it on deadline. So there's actually a lot of pleasure in that. Then I will say, I think I've made more from selling this than my poetry. Probably close to ten times more than I've ever made from any of my poetry. So on a poetry scale, it's certainly not going to pay for my life, but it actually does make a true financial difference in a way that much of my other work is a little more bit by bit by bit. It's actually a different scale. Joanna: Well, that's really good. I'm glad to hear that. I also want to ask you, because you've done so many things, and— I'm fascinated by your independent film, A Kaddish for Bernie Madoff. I have only watched the trailer. You are in it, you wrote it, directed it, and it's also obviously got other people in, and it's fascinating. It's about this particular point in history. I've written quite a lot of screenplay adaptations of my novels, and I've had some various amounts of interest, but the whole film industry to me is just a complete nightmare, far bigger nightmare than the book industry. So I wonder if you could maybe talk about this, because it just seems like you made a film, which is so cool. Alicia: Oh yes, thank you. Joanna: And it won awards, yes, we should say. Alicia: Did we win awards? Yes. It really, for an extremely low-budget indie film, went far further than my team and I could ever have imagined. I will say I never intended to make a film. Like most of the best things in my life, it really happened by accident. When I was living in New York— I lived there for many years—the 2008 financial collapse happened and I happened to have an arts grant that gave a bunch of artists workspace, studio space, in essentially an abandoned building in the financial district. It was an empty floor of a building. The floor had been left by the previous tenant, and there's a nonprofit that takes unused real estate in the financial district and lets artists work in it for a while. So I was on Wall Street, which was very rare for me, but for this year I was working on Wall Street. Even though I was working on poems, the financial collapse happened around me, and I did get inspired by that to create a one-woman show, which was more of a theatre show. That was already a huge leap for me because I had no real theatre experience, but it was experimental and growing out of my poetry practice and my music. It was a musical one-woman show about the financial collapse from a spiritual perspective, apparently. So I performed that. I documented it, and then a friend who lives in Portland, Oregon, where I now live, said, “I'm a theatre producer, I'd like to produce it here.” So then I rewrote it and did a run here in Portland of that show. Essentially, I started to tour it a little bit, but I got tired of it. It was too much work and it never really paid very much, and I thought, this is impacting my life negatively. I just want to do a really good documentation of the show. So I wanted to hire a theatre documentarian to just document the show so that it didn't disappear, like you were saying before about live performance. But one of the people I talked to actually ended up being an artistic filmmaker, as opposed to a documentarian. She watched the archival footage, just a single camera of the show, and said, “I don't think you should do this again and film it with three cameras. I think you should make it into a feature film. And in fact, I think maybe I should direct it, because there's all this music in it and I also direct music videos.” We had this kind of mind meld. Joanna: Mm. Alicia: I never intended to make a film, but she is a visionary director and I had this piece of IP essentially, and all the music and the writing. We adapted it together. We did it here in Portland. We did all the fundraising ourselves. We did not interface with Hollywood really. I think that would be, I just can't imagine. I love Hollywood, but I'm not really connected, and I can't imagine waiting for someone to give us permission or a green light to make this. It was experimental and indie, so we just really did it on the cheap. We had an amazing producer who helped us figure out how to do it with the budget that we had. We worked really hard fundraising, crowdfunding, asking for donations, having parties to raise money, and then we just did it and put it out there. I think my main advice—and I hear this a lot on screenwriting podcasts—is just make the thing. Make something, as opposed to trying to get permission to make something. Because unless you're already in that system, it's going to be really hard to get permission to make it. Once you make something, that leads to something else, which leads to something else. So even if it's a very short thing, or even if it's filmed on your phone, just actually make the thing. That turned out to be the right thing for us. Joanna: Yes, I mean, I feel like that is what underpins us as independent creatives in general. As an independent author, I feel the same way. I'm never asking permission to put a book in the world. No, thank you. Alicia: Exactly. We have a vision and we do it. It's harder in some ways, but that liberation of being able to really fully create our vision without having to compromise it or wait for permission, I think it's such a beautiful thing. Joanna: Well, we're almost out of time, but I do want to ask you about creative confidence. Alicia: Hmm. Joanna: I feel I'm getting a lot of sense about this at the moment, with all the AI stuff that's happening. When you've been creating a long time, like you and I have, we know our voice and we can lean into our voice. We are creatively confident. We'll fail a lot, but we'll just push on and try things and see what happens. Newer creators are struggling with this kind of confidence. How do I know what is my voice? How do I know what I like? How do I lean into this? So give us some thoughts about how to find your voice and how to find that creative confidence if you don't feel you have it. Alicia: I love that. One thing I will say is that I always think whatever is arising is powerful material to create from. So if a lack of confidence is arising, that's a really powerful feeling to directly explore and not just try to ignore. Although sometimes one has to just ignore those feelings. But to actually explore that feeling, because AI can't have that, right? AI can't really feel a crisis of confidence, and humans can. So that's a gift that we have, those kinds of sensitivities. I think to go really deep into whatever is arising, including the sense that we don't have the right to be creating, or we're not good enough, or whatever it is. Then I always do come back to a quote. I think it might have been John Berryman, but I'm forgetting which poet said it. A younger poet said, “How will I ever know if I'm any good?” And this famous poet said something like—I'm paraphrasing—”You'll never know if you're any good. If you have to know, don't write.” That has been really liberating to me, actually. It sounds a little harsh, but it's been really liberating to just let go of a sense of “good enough.” There is no good enough. The great writers never know if they're good enough. Coming back to this idea of just making without permission—the practice of doing the thing is being a writer. Caring and trying to improve our craft, that's the best that we can have. There's never going to be a moment where we're like, yes, I've nailed this. I am truly a hundred per cent a writer and I have found my voice. Everything's always changing anyway. I would say, either go into those feelings or let those feelings be there. Give them a little tea. Tell them, okay, you're welcome to be here, but you don't get to drive the boat. And then return to the practice of making. Joanna: Absolutely. Great. So where can people find you and your books and everything you do online? Alicia: Everything is on my website, which is AliciaJo.com, and also on Instagram at @ohaliciajo. I'd love to say hello to anyone who's interested in similar topics. Joanna: Brilliant. Well, thanks so much for your time, Alicia. That was great. Alicia: Thank you. I love your podcast. I'm so grateful for all that you've given the writing world, Jo.The post Creative Confidence, Portfolio Careers, And Making Without Permission with Alicia Jo Rabins first appeared on The Creative Penn.

This week Beau begins to chat all about the life and career of Henry VI, who ascended to the English throne upon the death of his father Henry V, when he was under twelve months old. In this episode he discusses the end of the Hundred Years War and The Maid of Orleans; Joan of Arc.

As our crew plan their next move, it's becoming very clear that time is running short to save the cruise liner.---Want even more actual play goodness in your life? Why not check out 12 Sided Studios' new show Oaths and Empires. A brand new TTRPG actual play featuring Luke Dale and Tom McKay and set in a Witcher-esk inspired world, as our two rookie players navigate their very first game.And If you just want to know how the end of this Arc goes down you can head over to The Rotating Heroes Patreon to catch up on the whole of Axis so far as we gear up for Arc 4!

In fascist Italy, resistance took surprising forms. Maura Hametz shares the story of one woman who stood up to the regime–by refusing to change her name. And: Numbers of Black women legislators have increased dramatically in the last decade. Jatia Wrighten argues that the success and drive of these leaders is rooted deep in history. Later in the show: Joan of Arc wasn't the only medieval woman to lead an army. Steven Isaac brings us the queens and empresses whose military strategy drove European politics.

If the Book of Genesis records the personal fall of man (adam) in the Garden, the Book of Kings (Sefer Melakhim) records the corporate fall of man (Israel) in the Promised Land. Originally a single, seamless work in the Hebrew canon, Kings is the autopsy of a spiritual collapse. It tracks the Davidic Promise from its architectural summit in Jerusalem to its apparent dissolution in the fires of Babylon. The Arc of Decay: From Temple to Exile The narrative spans approximately 410 years (c. 970 BCE – 560 BCE), following the tragic trajectory of "YHWH-plus" religion. The Summit (c. 970–930 BCE): The United Monarchy under Solomon. The Word of God is housed in the Jerusalem Temple, the location God chose to place his Name forever if only Israel will hear and obey the voice of their God. Tragically, the philosopher-king Solomon divides his loyalties and his affections. The Divided Monarchy (c. 930–722 BCE): As goes the heart of the king, so goes the Kingdom. The North (Israel) under Jeroboam immediately adopts YHWH-plus idolatry, the Golden Calves, leading to its total erasure by Assyria. The South (Judah) struggles to maintain the Davidic "Immune System" amidst a progressive slide into syncretism. The Collapse (c. 722–586 BCE): Despite the radical reforms of Hezekiah and Josiah, the culture of compromise - weaponized by Manasseh - becomes terminal. The book concludes with the Babylonian Captivity, as the means devised by God to carry His promise to completion. Authorship While Jewish tradition identifies the prophet Jeremiah as the author, conservative scholarship also recognizes the possibility of a 'Scribe of the Exile' (such as Baruch or Ezra) who compiled the royal archives and prophetic eyewitness accounts into a single, unified narrative. In any case, the author is no mere chronicler; he is a covenantal prosecutor. He evaluates every king by a single metric: Did they walk in the way of David and obey God's word, or did they seek a "Plus" to YHWH? History here is the public outworking of a nation's loyalty to the divine message.

Keegan Hosefros is the definition of all-terrain. Streets, pow, side hits, pipe whatever's in front of him, he makes it look proper. He's definitely been focused on the powder lately with his eyes on NST and a Pro model board. We get into the grind behind filming, working with the OG legends, the mental side of comparison, future goals and more. This kid's got a bright future, big fan. Tune in! Presented by Monster Energy  Supported by Vans Snow, Gibbons Whistler, Arc'treyx, The Sourse Snow & Skate Shop, Baldface Lodge #AirTimePodcast  #ActionSports #SnowboardCulture #Filmmaking #Snowboarding #snowboard #airtimetv #keeganhosefros #keegan #jodywachniak #airtime

In this episode, I talk with Justin Moore, the author of Sponsor Magnet, about how creators can successfully land and manage brand sponsorships. Justin shares insights from his experience running sponsorship challenges and coaching creators, emphasizing that mindset, particularly overcoming money-related fears and childhood financial baggage, is often a bigger barrier than the tactical side of pitching. You will also learn about Justin's "ARC" framework for structuring sponsorship packages, the value of multi-format content strategies, and how to position yourself as a consultant-like partner to brands rather than just a vendor. We also discuss Justin's upcoming "anti-conference" called Sponsor Games, designed to make creator education more hands-on and community-driven.

"The Importance of a Little Bread" | Bro. Kevin Gideon | 2.25.26 by ARC of Carson City, NV

"From Wilderness to Promise" | Bro. Ryan Walsh | 2.25.26 by ARC of Carson City, NV

If the Book of Genesis records the personal fall of man (adam) in the Garden, the Book of Kings (Sefer Melakhim) records the corporate fall of man (Israel) in the Promised Land. Originally a single, seamless work in the Hebrew canon, Kings is the autopsy of a spiritual collapse. It tracks the Davidic Promise from its architectural summit in Jerusalem to its apparent dissolution in the fires of Babylon. The Arc of Decay: From Temple to Exile The narrative spans approximately 410 years (c. 970 BCE – 560 BCE), following the tragic trajectory of "YHWH-plus" religion. The Summit (c. 970–930 BCE): The United Monarchy under Solomon. The Word of God is housed in the Jerusalem Temple, the location God chose to place his Name forever if only Israel will hear and obey the voice of their God. Tragically, the philosopher-king Solomon divides his loyalties and his affections. The Divided Monarchy (c. 930–722 BCE): As goes the heart of the king, so goes the Kingdom. The North (Israel) under Jeroboam immediately adopts YHWH-plus idolatry, the Golden Calves, leading to its total erasure by Assyria. The South (Judah) struggles to maintain the Davidic "Immune System" amidst a progressive slide into syncretism. The Collapse (c. 722–586 BCE): Despite the radical reforms of Hezekiah and Josiah, the culture of compromise - weaponized by Manasseh - becomes terminal. The book concludes with the Babylonian Captivity, as the means devised by God to carry His promise to completion. Authorship While Jewish tradition identifies the prophet Jeremiah as the author, conservative scholarship also recognizes the possibility of a 'Scribe of the Exile' (such as Baruch or Ezra) who compiled the royal archives and prophetic eyewitness accounts into a single, unified narrative. In any case, the author is no mere chronicler; he is a covenantal prosecutor. He evaluates every king by a single metric: Did they walk in the way of David and obey God's word, or did they seek a "Plus" to YHWH? History here is the public outworking of a nation's loyalty to the divine message.

National icons aren't born – they're engineered. But how were historical figures such as Joan of Arc and Isabella of Castile transformed into political symbols, their real lives lost beneath centuries of myth-making? In this episode of the HistoryExtra podcast, Janina Ramirez tells Danny Bird about some of the women – from Byzantine empresses to religious fanatics and revolutionary martyrs – that have been elevated to such pedestals, and how these legends are created, re-created and repurposed for nationalist mythologies. Learn more about your ad choices. Visit podcastchoices.com/adchoices

If the Book of Genesis records the personal fall of man (adam) in the Garden, the Book of Kings (Sefer Melakhim) records the corporate fall of man (Israel) in the Promised Land. Originally a single, seamless work in the Hebrew canon, Kings is the autopsy of a spiritual collapse. It tracks the Davidic Promise from its architectural summit in Jerusalem to its apparent dissolution in the fires of Babylon. The Arc of Decay: From Temple to Exile The narrative spans approximately 410 years (c. 970 BCE – 560 BCE), following the tragic trajectory of "YHWH-plus" religion. The Summit (c. 970–930 BCE): The United Monarchy under Solomon. The Word of God is housed in the Jerusalem Temple, the location God chose to place his Name forever if only Israel will hear and obey the voice of their God. Tragically, the philosopher-king Solomon divides his loyalties and his affections. The Divided Monarchy (c. 930–722 BCE): As goes the heart of the king, so goes the Kingdom. The North (Israel) under Jeroboam immediately adopts YHWH-plus idolatry, the Golden Calves, leading to its total erasure by Assyria. The South (Judah) struggles to maintain the Davidic "Immune System" amidst a progressive slide into syncretism. The Collapse (c. 722–586 BCE): Despite the radical reforms of Hezekiah and Josiah, the culture of compromise - weaponized by Manasseh - becomes terminal. The book concludes with the Babylonian Captivity, as the means devised by God to carry His promise to completion. Authorship While Jewish tradition identifies the prophet Jeremiah as the author, conservative scholarship also recognizes the possibility of a 'Scribe of the Exile' (such as Baruch or Ezra) who compiled the royal archives and prophetic eyewitness accounts into a single, unified narrative. In any case, the author is no mere chronicler; he is a covenantal prosecutor. He evaluates every king by a single metric: Did they walk in the way of David and obey God's word, or did they seek a "Plus" to YHWH? History here is the public outworking of a nation's loyalty to the divine message.

While toasting marshmallows over the burning embers of their report cards, Nanny Piggins tells the tale of her dear relative from the Medieval history days, Joan of Arc.Support the show at https://www.buymeacoffee.com/storiesraspratt If you enjoyed the podcast please like, review and/or subscribe!Support the showFor merchandise use this link... https://www.cafepress.com.au/shop/rasprattTo buy one of my books use this link... https://amzn.to/3sE3Ki2 To buy me a coffee use this link... https://buymeacoffee.com/storiesraspratt To book a ticket to a live show use this link... https://raspratt.com/live-shows/

Are you wondering if multifamily real estate is still a good investment in 2026? In this episode, Cameron Christiansen and Anthony Faso welcome Robert Pereira, founder and CEO of ARC Multifamily Group. Robert, who started his real estate journey during the 2008 downturn, has grown ARC into a successful multifamily operator with over 3,500 units. He explains why multifamily investments are still attractive despite challenges like inflation, increased construction costs, and rising insurance premiums. With over 20 years of experience, Robert discusses how the fundamentals of multifamily are back on track and why now is a great time for long-term investors. He shares his philosophy on ensuring investor protection, which includes clear business plans, strong communication, and a focus on returning capital. Robert also highlights how markets that were oversupplied a few years ago are now seeing positive leverage opportunities.  Tune in for valuable insights on real estate, investment strategies, and what to look for when choosing a multifamily operator.   In This Episode: - Why multifamily investors feel let down - The impact of rent growth and inflation in real estate - What to be aware of when investing in multifamily - Why multifamily remains a strong investment in 2026 - The lessons learned from the 2017-2021 real estate boom - Vertical integration: Why it's key for multifamily success - Investor protection and growth during tough times  - How ARC evaluates deals in the current market - Debt funds vs. equity deals: The right investment strategy - How ARC protects investors - Multifamily investment limitations    Resources: 

This week on the show, you're going to ride along with me from the incredibly comfortable and stylish VW ID.Buzz, which served as the mobile podcast studio at CEDIA Expo / CIX this September in Denver, Colorado. Were going back for more conversations from the show. Designer Resources Pacific Sales Kitchen and Home. Where excellence meets expertise. TimberTech – Real wood beauty without the upkeep CEDIA (Custom Electronic Design & Installation Association) is the global trade association for home technology professionals, specializing in smart home, automation, audio-visual, networking, and integrated systems. Its mission is to advance the home technology industry through education, certification, advocacy, and networking. Members include integrators, designers, manufacturers, and consultants who shape the connected environments we live and work in. CEDIA Expo is the industry's largest annual event for residential technology professionals. With hundreds of exhibitors, educational sessions, live demos, and global networking opportunities, it's where new ideas and innovations in smart home and AV integration take center stage. The Commercial Integrator Expo (CIX), co-located with CEDIA Expo, focuses on commercial integration technologies—from conferencing and IT infrastructure to building automation and emerging AV solutions—bringing together commercial integrators, IT pros, designers, and tech managers. Jason McGraw | Group VP and Show Director, CEDIA Expo / CIX Scope of the Show: McGraw details the scale of CEDIA Expo 2025, featuring over 350 exhibitors and immersive demo rooms that showcase integrated audio, video, and control systems. Integration Meets Design: Discussion centers on the critical partnership between integrators and the design-build community (interior designers, architects, builders). McGraw emphasizes that technology—ranging from AI and energy management to lighting—must be a foundational element of the design process, not an afterthought. The Business Case: Designers are encouraged to view integrators as essential trade partners, similar to electricians or plumbers, to better service clients and protect home networks. Dale Sandberg | Product Manager for Electronics, Sonance Aesthetic Performance: Sandberg discusses Sonance's philosophy that sound should support the design of a space rather than dominate it. The focus is on blending high-fidelity performance with discreet aesthetics. New Innovations: Highlights include the compact UA Series amplifiers designed to fit behind displays or in tight spaces, and the integration of professional-grade Blaze Audio amplifiers into the Sonance family. Outdoor Living: The conversation covers the growing trend of outdoor entertainment, where amplifiers and speakers are used to create immersive environments in backyards and outdoor kitchens. Jim Garrett | Senior Director of Product Strategy, Harman Luxury Audio Group Hidden Technology: Garrett addresses the challenge of eliminating “wall acne” through invisible speakers and design-integrated solutions that do not compromise acoustic performance. Pandemic Influence: The discussion explores how the pandemic shifted focus toward outdoor living and unconventional entertainment spaces, including garages and multi-generational gaming setups. Brand Portfolio: Insights into the product strategies for Harman's luxury brands—JBL, Revel, Mark Levinson, and JBL Synthesis—and the importance of gathering direct feedback from integrators to drive R&D. Links & Resources CEDIA Expo Commercial Integrator Expo NKBA – National Kitchen & Bath Association KBIS – Kitchen & Bath Industry Show Show Topics & Outline CEDIA Expo 2025 Snapshot Denver, Colorado Convention Center 350+ exhibiting brands, 100+ conference sessions, 115 manufacturer trainings Demo rooms showcasing integrated audio, video, and control systems The Wave Effect of Trade Shows Innovation as unseen currents shaping the industry Ideas incubated at CEDIA spreading across markets and returning as trends Integration Meets Design Town hall insights with CEDIA's Daryl Friedman & NKBA's Bill Darcy Bridging integrators with interior designers, kitchen & bath professionals, and architects Untapped opportunities in collaborative smart home projects Technology as a Design Driver AI, energy management, lighting trends, and seamless AV systems Why technology must be discussed at the start of design projects Case studies: motorized shades, outdoor AV, invisible speakers, custom veneers Outdoor Living & Luxury Spaces Kitchens and backyards as multi-hundred-thousand-dollar investments Expanding living spaces through technology Luxury demo rooms and high-performance home theaters Why Designers Should Be Here Missing out on competitive advantages without CEDIA exposure Seeing products in person vs. static web images Real examples of design-centric AV solutions and invisible tech The Business Case Designers need integrators just as they need electricians, plumbers, and fabricators Protecting networks and ensuring cybersecurity in the home Service and maintenance as part of the client experience Looking Forward Progress and serendipity at trade shows Extending collaboration with KBIS and IBS (Orlando, 2026) Building lasting bridges between integrators and designers Links & Resources CEDIA Expo Commercial Integrator Expo NKBA – National Kitchen & Bath Association KBIS – Kitchen & Bath Industry Show Dale Sandberg on Sonance, New Electronics, and Designing for Sonic + Aesthetic Experience Dale Sandberg, new Product Manager for Electronics at Sonance, shares how the company is blending high-fidelity performance with discreet design solutions, introducing amplifiers and loudspeakers that elevate both sonic and aesthetic experiences in residential and commercial spaces. At his first CEDIA Expo, Dale highlights Sonance's latest innovations, from compact UA Series amplifiers designed to disappear behind displays to Blaze Audio's professional-grade amplifiers now integrated into the Sonance family. With a philosophy that sound should enhance the design of a space rather than dominate it, Sonance is shaping how integrators and designers deliver immersive, comfortable experiences both indoors and out. Guest: Dale Sandberg, Product Manager for Electronics, Sonance. Background: from pro audio to Sonance, less than one year with the company. Context: first CEDIA Expo experience, excitement about Sonance's direction. New Product Highlights Loudspeakers High Output Series (professional side). Wedge speaker for outdoor/architectural blending. Re-engineered Power Pipe subwoofers for stronger low-end performance. UA Series Amplifiers Compact two-channel models (UA-125, ARC-enabled versions). Mountable behind TVs, under tables, or in tight spaces. Features T-slots for stacking/mounting other gear. Energy-efficient design with minimal heat output. Blaze Audio Amplifiers Sonance acquisition of Blaze Audio brand (Pascal, Denmark). Range from 60W per channel up to 400W bridged. Full DSP capability, rack-mountable, UL-rated. Outdoor applications via weather-rated cases. Design & Integration Perspective Compact electronics give designers freedom to hide gear while maintaining performance. Balancing performance and aesthetics: sound follows the design, not the other way around. Example: background music at parties that fills space without overwhelming conversation. Outdoor living trend: amplifiers and speakers enabling outdoor kitchens, theaters, and entertainment spaces. Company Ethos & Philosophy Mission: deliver complete audio solutions—amplification, processing, and speakers. Philosophy: the sonic experience should support the aesthetic experience of a home or space. Growth vision: expand residential dominance while building commercial presence. Takeaway: not just about volume—it's about creating the right experience. Jim Garrett | Harman Luxury Audio Jim Garrett on Harman's Audio Innovations, Hidden Tech, and Pandemic-Inspired Entertainment Jim Garrett, Senior Director of Product Strategy and Planning at Harman Luxury Audio Group, shares how the company balances high-performance audio with design aesthetics, explores emerging opportunities in outdoor and unconventional home entertainment, and highlights why integrator feedback is vital to shaping future products. From invisible speakers to immersive home cinema solutions, Jim Garrett takes listeners behind the scenes of Harman's engineering and R&D process, discussing product development for brands like JBL, Revel, Synthesis, and Mark Levinson. He explains how the pandemic inspired new entertainment spaces, how technology can be seamlessly integrated into interiors, and why CEDIA Expo remains an essential hub for innovation, collaboration, and awareness in the custom electronics industry. Guest: Jim Garrett, Senior Director of Product Strategy & Planning, Harman Luxury Audio Group. Role: Oversees product roadmap, development direction, and exhibition strategy. Context: Recorded in Volkswagen ID.Buzz at CEDIA Expo 2025. CEDIA Expo 2025 Overview Largest booth shared with parent company Samsung. Opportunity to engage integrators directly and gather actionable feedback. Importance of listening to installation professionals to improve products. Product Strategy and Brand Focus Harman Luxury Audio Group brands: JBL, JBL Synthesis, Revel, Mark Levinson. Focus at Expo: JBL Synthesis for home cinema and immersive audio. Solutions include invisible speakers, wall/ceiling installations, and custom home audio products. Balancing Performance and Aesthetics Challenge: high-performance products that are visually unobtrusive. Goal: eliminate “wall acne” with invisible or design-integrated speakers. Inspiration drawn from evolution in lighting design to minimize visual clutter. Engineering and R&D Harman's science-based approach: performance must meet visual and acoustic demands. Innovation includes weatherproof outdoor speakers and displays for bright sunlight. Teams challenged to create high-fidelity systems that integrate seamlessly into homes. Expanding Entertainment Spaces Pandemic influence: growth of outdoor living and unconventional entertainment areas. Multi-generational engagement: home theaters, garages, patios, bathrooms, and gaming setups. Flexibility of audio/video systems allows new experiences across the home. Integration and Awareness Educating interior designers, architects, and end users about hidden tech. Raising awareness of capabilities beyond audio: lighting, shades, HVAC, security integration. Emphasis on simplifying life at home while elevating performance and experience.

If the Book of Genesis records the personal fall of man (adam) in the Garden, the Book of Kings (Sefer Melakhim) records the corporate fall of man (Israel) in the Promised Land. Originally a single, seamless work in the Hebrew canon, Kings is the autopsy of a spiritual collapse. It tracks the Davidic Promise from its architectural summit in Jerusalem to its apparent dissolution in the fires of Babylon. The Arc of Decay: From Temple to Exile The narrative spans approximately 410 years (c. 970 BCE – 560 BCE), following the tragic trajectory of "YHWH-plus" religion. The Summit (c. 970–930 BCE): The United Monarchy under Solomon. The Word of God is housed in the Jerusalem Temple, the location God chose to place his Name forever if only Israel will hear and obey the voice of their God. Tragically, the philosopher-king Solomon divides his loyalties and his affections. The Divided Monarchy (c. 930–722 BCE): As goes the heart of the king, so goes the Kingdom. The North (Israel) under Jeroboam immediately adopts YHWH-plus idolatry, the Golden Calves, leading to its total erasure by Assyria. The South (Judah) struggles to maintain the Davidic "Immune System" amidst a progressive slide into syncretism. The Collapse (c. 722–586 BCE): Despite the radical reforms of Hezekiah and Josiah, the culture of compromise - weaponized by Manasseh - becomes terminal. The book concludes with the Babylonian Captivity, as the means devised by God to carry His promise to completion. Authorship While Jewish tradition identifies the prophet Jeremiah as the author, conservative scholarship also recognizes the possibility of a 'Scribe of the Exile' (such as Baruch or Ezra) who compiled the royal archives and prophetic eyewitness accounts into a single, unified narrative. In any case, the author is no mere chronicler; he is a covenantal prosecutor. He evaluates every king by a single metric: Did they walk in the way of David and obey God's word, or did they seek a "Plus" to YHWH? History here is the public outworking of a nation's loyalty to the divine message.

Along with the coming legal battle over tariff refunds, investors try and understand how new tariffs will impact business. A breakdown of those new levies. Then the CEO of Amer Sports. Owner of Brands like Wilson, Salamon and Arc'teryx, with his reaction to earnings and outlook for the high-end consumer. Plus, long-time media investor Mario Gabelli, on how a new offer from Paramount Skydance, for Warner Brothers Discovery, could tip the scales away from Netflix. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

El mundo está cambiando.Viejos sistemas se están cayendo.Hay caos, ruido, miedo… y esto apenas comienza.La pregunta es: ¿tu energía está entrenada para sostenerlo?En este episodio hablo de por qué entrenar tu energía no es algo opcional, es estratégico.Un campo débil reacciona.Un campo fuerte responde.Cuando fortaleces tu energía, los problemas no desaparecen… pero dejan de dominarte.Tu mente se vuelve más resiliente.Tu identidad deja de negociarse con las circunstancias.Si quieres atravesar esta década con claridad, fuerza y visión, este episodio es para ti.No vinimos a reaccionar al mundo.Vinimos a sostener una nueva realidad.Membresía ARC el gym para tu energía:https://www.bendingreality.io/membresia-arcA21: Activando un nuevo potencial, curso de 21 días:https://www.bendingreality.io/a21

Electronics Stores: PC Richard, The Wiz, Circuit City, Best Buy, Crazy Eddie and . . . Tower Records (which did not belong on the list). Tom Kelly and comedian Steve Burger discuss electronic stores past and present. What went right? What went wrong? And how did we miss Radio Shack? - Plus: Tom Kelly will be swimming in a shark tank at the Long Island aquarium to promote People's ARC a non profit that helps children and adults with special needs. - Tickets For The Shark Tank Showdown https://www.peoplesarc.org/event/shark-tank-showdown-2/ 

If the Book of Genesis records the personal fall of man (adam) in the Garden, the Book of Kings (Sefer Melakhim) records the corporate fall of man (Israel) in the Promised Land. Originally a single, seamless work in the Hebrew canon, Kings is the autopsy of a spiritual collapse. It tracks the Davidic Promise from its architectural summit in Jerusalem to its apparent dissolution in the fires of Babylon. The Arc of Decay: From Temple to Exile The narrative spans approximately 410 years (c. 970 BCE – 560 BCE), following the tragic trajectory of "YHWH-plus" religion. The Summit (c. 970–930 BCE): The United Monarchy under Solomon. The Word of God is housed in the Jerusalem Temple, the location God chose to place his Name forever if only Israel will hear and obey the voice of their God. Tragically, the philosopher-king Solomon divides his loyalties and his affections. The Divided Monarchy (c. 930–722 BCE): As goes the heart of the king, so goes the Kingdom. The North (Israel) under Jeroboam immediately adopts YHWH-plus idolatry, the Golden Calves, leading to its total erasure by Assyria. The South (Judah) struggles to maintain the Davidic "Immune System" amidst a progressive slide into syncretism. The Collapse (c. 722–586 BCE): Despite the radical reforms of Hezekiah and Josiah, the culture of compromise - weaponized by Manasseh - becomes terminal. The book concludes with the Babylonian Captivity, as the means devised by God to carry His promise to completion. Authorship While Jewish tradition identifies the prophet Jeremiah as the author, conservative scholarship also recognizes the possibility of a 'Scribe of the Exile' (such as Baruch or Ezra) who compiled the royal archives and prophetic eyewitness accounts into a single, unified narrative. In any case, the author is no mere chronicler; he is a covenantal prosecutor. He evaluates every king by a single metric: Did they walk in the way of David and obey God's word, or did they seek a "Plus" to YHWH? History here is the public outworking of a nation's loyalty to the divine message.

Regresamos a un disco considerado por muchos como una obra mayor y para otros demasiado denso e incluso pretencioso, pero nadie le podrá quitar su valor, que iba más allá de lo musical, abarcando política y realidad social: Sandinista! de The Clash (1980). Presenta Ricardo Portman. Escucharemos Police On My Back, Somebody Got Murdered, The Magnificent Seven, The Leader, Hitsville UK, Junco Partner, Ivan Meets G.I. Joe, Washington Bullets, The Call Up, Bankrobber, Up in Heaven (Not Only Here) y Charlie Don’t Surf + Bonus track. Recuerden que nuestros programas los pueden escuchar también en: Nuestra web https://ecosdelvinilo.com/ La Música del Arcón - FM 96.9 (Buenos Aires, Argentina) miércoles 18:00 (hora Arg.) Radio M7 (Córdoba) lunes 18:00 y sábados 17:00. Distancia Radio (Córdoba) jueves y sábados 19:00 Radio Free Rock (Cartagena) viernes 18:00. Radio Hierbabuena (Lima, Perú) jueves 20:00 (hora Perú) Onda Wantuki (Madrid) semanal

Listen to weekly sermons from Velocity Church in Lawrence, KS. Velocity is a vision-fueled and faith-filled community changing lives and transforming a city with the message of Jesus. For more information visit www.findvelocity.org

"Beholding is Becoming" | Pastor Evan Hood | 2.22.26 by ARC of Carson City, NV

Happy Sunday!!! This week we are reviewing an ARC we receive from NetGalley called Love On Ice by Sara Ney! We want to thank NetGalley and Delacorte Romance for giving us this ARC in exchange for our full and honest review!!! 

Listen to a powerful message of hope from guest speaker, Ps Dino Rizzo (Executive Director, ARC). Ps Dino encourages us that even when it doesn't feel like it, God is walking alongside us in every season of life.To find out more about LIFE, visit us at lifenz.org

Rouen, FranceFebruary 21, 1431 At eight o'clock on a frozen Wednesday morning, a nineteen-year-old peasant girl in leg irons shuffled into the Chapel Royal of Rouen Castle to face forty-two robed clerics who had already decided her fate. Two years earlier, Joan of Arc had heard the voice of the Archangel Michael in her father's garden. She went on to break the siege of Orléans, rout the English across the Loire Valley, and crown a king at Reims. Now she was chained to a wooden block in an English military prison, guarded day and night by soldiers, and charged with heresy, witchcraft, and the unforgivable crime of being a teenage girl who had changed the course of a war. The king she crowned never lifted a finger to save her. This is the story of the most infamous trial in medieval history.Become a supporter of this podcast: https://www.spreaker.com/podcast/true-crime-historian--2909311/support.You can pay more if you want to, but rent at the Safe House is still just a buck a week, and you can get access to over 400 ad-free episodes from the dusty vault, Safe House Exclusives, direct access to the Boss, and whatever personal services you require.We invite you to our other PULPULAR MEDIA podcasts:If disaster is more your jam, check out CATASTROPHIC CALAMITIES, telling the stories of famous and forgotten tragedies of the 19th and 20th centuries. What could go wrong? Everything!For brand-new tales in the old clothes from the golden era of popular literature, give your ears a treat with PULP MAGAZINES with two new stories every week.This episode includes AI-generated content.

There was a time, not so long ago, when the fate of the planet hinged on the stern glare of a Scandinavian teenager.World leaders trembled. Journalists genuflected. Schoolchildren skipped algebra to chant in the streets. And at the center of this eco-theatrical hurricane stood Greta Thunberg, who, despite not yet being old enough to rent a car, was apparently qualified to repossess Western civilization.She was the Left's Joan of Arc, except instead of hearing voices she heard carbon emissions. Every time someone started a lawnmower, somewhere a cable news producer lit a candle in her honor. Politicians who could not balance a municipal budget suddenly discovered they could forecast global temperatures in the year 2087. And corporations, terrified of being labeled climate criminals, lined up to sponsor the apocalypse.And then, almost imperceptibly at first, the roar quieted.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Conversamos con Carlos Granados que es el director del Festival de Jerez y escuchamos a algunos de los participantes de esta edición como Santiago Lara, Arcángel, Miriam Méndez o Lela Soto También lo nuevo de Curro Carrasco y algunas grabaciones de su hermano Juañares.Escuchar audio

Welcome back to Impact Theory with Tom Bilyeu! In today's episode, Tom and co-host Drew dive deep into some of the most pressing and controversial issues shaping our world right now—from New York City's fiscal chaos and skyrocketing housing prices to the unexpected ripple effects of government spending and regulation. Together, they break down the math behind budget increases, expose the realities of property tax hikes, and critique the tough choices involving pensions and social services. But the conversation doesn't stop there. Tom and Drew unpack the social and cultural shifts driving young people toward socialism, explore the global consequences of weak leadership and “suicidal empathy,” and even examine headline-grabbing stories like the casting controversy around Joan of Arc and the shadowy mysteries of the Epstein files. Expect hard-hitting insights, candid opinions, and plenty of humor as they question the status quo, challenge mainstream narratives, and urge listeners to stay informed and seek accountability. Tune in for a raw, thought-provoking journey into economics, politics, culture, and technology—plus, find out why Tom thinks Japan's approach to storytelling might just be the secret ingredient Hollywood needs. If you care about the future of society and want to hear bold perspectives on everything from AI safety to government transparency, this is an episode you won't want to miss. What's up, everybody? It's Tom Bilyeu here: If you want my help... STARTING a business: join me here at ZERO TO FOUNDER:  https://tombilyeu.com/zero-to-founder?utm_campaign=Podcast%20Offer&utm_source=podca[%E2%80%A6]d%20end%20of%20show&utm_content=podcast%20ad%20end%20of%20show SCALING a business: see if you qualify here.:  https://tombilyeu.com/call Get my battle-tested strategies and insights delivered weekly to your inbox: sign up here.: https://tombilyeu.com/ ********************************************************************** If you're serious about leveling up your life, I urge you to check out my new podcast, Tom Bilyeu's Mindset Playbook —a goldmine of my most impactful episodes on mindset, business, and health. Trust me, your future self will thank you. ********************************************************************** FOLLOW TOM: Instagram: https://www.instagram.com/tombilyeu/ Tik Tok: https://www.tiktok.com/@tombilyeu?lang=en Twitter: https://twitter.com/tombilyeu YouTube: https://www.youtube.com/@TomBilyeu Quince: Free shipping and 365-day returns at https://quince.com/impactpodShopify: Sign up for your one-dollar-per-month trial period at https://shopify.com/impactKetone IQ: Visit https://ketone.com/IMPACT for 30% OFF your subscription orderIncogni: Take your personal data back with Incogni! Use code IMPACT at the link below and get 60% off an annual plan: https://incogni.com/impactBlocktrust IRA: Get up to $2,500 funding bonus to kickstart your account at https://tomcryptoira.comAquaTru: 20% off your purifier with code IMPACT https://aquatru.com Netsuite: Right now, get our free business guide, Demystifying AI, at https://NetSuite.com/TheoryPique: 20% off at https://piquelife.com/impact Cape: 33% off your first 6 months with code IMPACT at https://cape.co/impact Plaud: Get 10% off with code TOM10 at https://plaud.ai/tom New York City budget, property tax hike, rent freeze, pension costs, social services spending, Democratic socialism, taxation, millionaire exodus, population growth, government spending, housing affordability, home prices, mortgage rates, real estate regulation, zoning restrictions, supply and demand, regulatory costs, Federal Reserve, deficit spending, AI safety, government regulation, authoritarianism, Palantir, Anthropic, Epstein files, impeachment, 9/11 conspiracy, voter ID, Japanese culture, race-swapping in movies, Joan of Arc Learn more about your ad choices. Visit megaphone.fm/adchoices

As our crew plan their next move, it's becoming very clear that time is running short to save the cruise liner.---Want even more actual play goodness in your life? Why not check out 12 Sided Studios' new show Oaths and Empires. A brand new TTRPG actual play featuring Luke Dale and Tom McKay and set in a Witcher-esk inspired world, as our two rookie players navigate their very first game.And If you just want to know how the end of this Arc goes down you can head over to The Rotating Heroes Patreon to catch up on the whole of Axis so far as we gear up for Arc 4!

En 2026 el Arcángel Gabriel, como arcángel regente del año, nos envía poderosas señales de protección. Junto a Angélica Bovino, descubrirás cómo fortalecer el vínculo espiritual que nos conecta con su energía divina y activar la luz, abundancia y claridad que Gabriel está derramando sobre quienes están listos para recibir su mensaje celestial. Angélica Bovino Angeloterapeuta, Psicoterapeuta Gestalt y autora de varios libros. Mindalia es un canal de espiritualidad, consciencia, crecimiento personal y salud integral, con entrevistas, conferencias, documentales y programas sobre bienestar físico, mental y emocional, desarrollo humano, autoconocimiento, ciencia y espiritualidad. En este canal participan especialistas, investigadores, terapeutas y divulgadores internacionales, abordando temas como salud emocional, psicología, meditación, terapias complementarias, alimentación consciente, evolución personal y pensamiento crítico, desde una mirada abierta, independiente y plural. : :// . . *Mindalia.com no se hace responsable de las opiniones vertidas en este vídeo, ni necesariamente participa de ellas. #ArcángelGabriel #Señales #Protección

If the Book of Genesis records the personal fall of man (adam) in the Garden, the Book of Kings (Sefer Melakhim) records the corporate fall of man (Israel) in the Promised Land. Originally a single, seamless work in the Hebrew canon, Kings is the autopsy of a spiritual collapse. It tracks the Davidic Promise from its architectural summit in Jerusalem to its apparent dissolution in the fires of Babylon. The Arc of Decay: From Temple to Exile The narrative spans approximately 410 years (c. 970 BCE – 560 BCE), following the tragic trajectory of "YHWH-plus" religion. The Summit (c. 970–930 BCE): The United Monarchy under Solomon. The Word of God is housed in the Jerusalem Temple, the location God chose to place his Name forever if only Israel will hear and obey the voice of their God. Tragically, the philosopher-king Solomon divides his loyalties and his affections. The Divided Monarchy (c. 930–722 BCE): As goes the heart of the king, so goes the Kingdom. The North (Israel) under Jeroboam immediately adopts YHWH-plus idolatry, the Golden Calves, leading to its total erasure by Assyria. The South (Judah) struggles to maintain the Davidic "Immune System" amidst a progressive slide into syncretism. The Collapse (c. 722–586 BCE): Despite the radical reforms of Hezekiah and Josiah, the culture of compromise - weaponized by Manasseh - becomes terminal. The book concludes with the Babylonian Captivity, as the means devised by God to carry His promise to completion. Authorship While Jewish tradition identifies the prophet Jeremiah as the author, conservative scholarship also recognizes the possibility of a 'Scribe of the Exile' (such as Baruch or Ezra) who compiled the royal archives and prophetic eyewitness accounts into a single, unified narrative. In any case, the author is no mere chronicler; he is a covenantal prosecutor. He evaluates every king by a single metric: Did they walk in the way of David and obey God's word, or did they seek a "Plus" to YHWH? History here is the public outworking of a nation's loyalty to the divine message.

Hoy nos acompaña Sech, que llega con su nuevo EP “ESA NOCHE TERMINÓ DE DÍA”, ocho canciones que recorren una madrugada completa —de la 1:00 AM a las 9:00 AM— entre reggaetón, dancehall y afrobeat, con colaboraciones junto a Danny Ocean, Myke Towers y Los Avengers. Hablamos de su presentación este 19 de febrero en Premio Lo Nuestro con “Novio No” y del homenaje a Arcángel. También recordó la noche histórica como primer invitado internacional en la residencia “No Me Quiero Ir de Aquí” de Bad Bunny. Pero la conversación fue más profunda: habló de cómo perdió peso y transformó su salud, opinó sobre el retiro de Rubén Blades, si alguna vez consideraría la política, cómo fue su llegada a Rimas Entertainment, y reaccionó a lo que dijo Farruko sobre los artistas que quieren copiar a Bad Bunny. Una entrevista honesta sobre evolución, mentalidad y la nueva etapa de Sech cuando sale el sol. See omnystudio.com/listener for privacy information.

This story isn't intended for young or sensitive readers. Readers who are on the lookout for trigger warnings are advised to give Worm a pass. Complete list of potential triggers: here-----------------------------------The Brockton Bay Book Club discusses J.C. McCrae's Ward live! The gang reads a portion of Ward and comes together to share our thoughts with each other and anyone who want's to participate.This week we cover Arc 13.1 - 13.7 - BlackRead along herePlay along with this week's BBBC BINGO while you listen!Support us and connect with us @brocktonbaybc-----------------------------------Thank you to the sponsors that fuel our podcast: This episode of the Brockton Bay Book Club is sponsored by Made Marion. Made Marion creates custom cottagecore and ren faire clothing designed for every body. Whether you're looking for a lace up bodice, rustic apron and pinafores, or ethereal dresses, you'll find items customized for every individual's fit and design. All items are lovingly hand sewn with attention to detail and a touch of whimsy. Visit Made Marion today and transform your wardrobe with clothing that feels as enchanting as it looks. Find Made Marion on etsy, at https://www.etsy.com/shop/themademarion

Hoy el show tiene nombre y apellido… LA MARAVILLA.

In Episode 80 of the Charter Cities Podcast, Mark Lutter speaks with James of Ârc about building a global city that attracts ambitious people from around the world. James shares Arc's long-term vision for city building and explains why talent, culture, and community are just as important as infrastructure and capital. They discuss how Arc is building momentum through pop-up cities and partnerships, creating a network of people who are ready to move when the opportunity arises. The conversation explores how new cities can compete with existing global hubs by offering strong governance, economic opportunity, and a high quality of life. They also discuss working with host nations, financing large-scale urban development, and why demonstrating new models of governance and city building may ultimately have the biggest impact beyond the city itself.

If the Book of Genesis records the personal fall of man (adam) in the Garden, the Book of Kings (Sefer Melakhim) records the corporate fall of man (Israel) in the Promised Land. Originally a single, seamless work in the Hebrew canon, Kings is the autopsy of a spiritual collapse. It tracks the Davidic Promise from its architectural summit in Jerusalem to its apparent dissolution in the fires of Babylon. The Arc of Decay: From Temple to Exile The narrative spans approximately 410 years (c. 970 BCE – 560 BCE), following the tragic trajectory of "YHWH-plus" religion. The Summit (c. 970–930 BCE): The United Monarchy under Solomon. The Word of God is housed in the Jerusalem Temple, the location God chose to place his Name forever if only Israel will hear and obey the voice of their God. Tragically, the philosopher-king Solomon divides his loyalties and his affections. The Divided Monarchy (c. 930–722 BCE): As goes the heart of the king, so goes the Kingdom. The North (Israel) under Jeroboam immediately adopts YHWH-plus idolatry, the Golden Calves, leading to its total erasure by Assyria. The South (Judah) struggles to maintain the Davidic "Immune System" amidst a progressive slide into syncretism. The Collapse (c. 722–586 BCE): Despite the radical reforms of Hezekiah and Josiah, the culture of compromise - weaponized by Manasseh - becomes terminal. The book concludes with the Babylonian Captivity, as the means devised by God to carry His promise to completion. Authorship While Jewish tradition identifies the prophet Jeremiah as the author, conservative scholarship also recognizes the possibility of a 'Scribe of the Exile' (such as Baruch or Ezra) who compiled the royal archives and prophetic eyewitness accounts into a single, unified narrative. In any case, the author is no mere chronicler; he is a covenantal prosecutor. He evaluates every king by a single metric: Did they walk in the way of David and obey God's word, or did they seek a "Plus" to YHWH? History here is the public outworking of a nation's loyalty to the divine message. The Warning The Book of Kings stands as a warning that a "double-minded" heart inevitably leads to a shattered land. It is the record of how a people with the Word of Life chose the silence of the idols, and how God, in His sovereignty, preserved a "Hidden Seed" even in the ashes of exile.

This episode of Carlsbad: People, Purpose and Impact highlights the Carlsbad Chamber's 2026 Chamber Travel adventure to Normandy and the Champagne region of France.Host Bret Schanzenbach sits down with Ian Scott of Quest Voyager and Kathy Steffen, the Chamber's Director of Fun, to preview the unforgettable journey scheduled for October 4–12, with an optional Paris extension.Trip highlights include:• Mont Saint-Michel • Omaha Beach & Pointe du Hoc • Normandy American Cemetery • Rouen (Joan of Arc & Richard the Lionheart) • Camembert cheese tasting in its birthplace • Champagne cellar tours in ÉpernayEarly bird pricing ($4,199) ends March 29th.Learn more and register at: carlsbad.org → Events → Travel

This is Part 2! For Part 1, check the feed!This week we're looking at those who achieved the extraordinary and at incredibly youthful age! We have the Tudor boy King, Edward VI, to discuss. Britain's youngest ever Prime Minister (just 24 years old!!), it's Pitt the Younger. And from France, we'll hear a bit of the life of Joan of Arc.And this week we're discussing: what was life like before the advent of reviews? Have you ever seen the secret book that travel agents had in the 90s? If you've got anything to add on that or anything else, you know what to do: hello@ohwhatatime.comAnd from now on Part 1 is released on Monday and Part 2 on Wednesday - but if you want more Oh What A Time and both parts at once, you should sign up for our Patreon! On there you'll now find:•The full archive of bonus episodes•Brand new bonus episodes each month•OWAT subscriber group chats•Loads of extra perks for supporters of the show•PLUS ad-free episodes earlier than everyone elseJoin us at

Follow-ups: Checking in on Polymarket @2:51 News: V-day scams @8:20 El Paso @10:59 James Talerico @16:14 Politics: Epstein file searches @19:58 Pam Bondi Trump Repeals Key Greenhouse Gas Finding @25:24 TN House passes bill @29:19 MAHA: how to navigate elections @31:04 RFK & Kid Rock workout vid @33:34 Health/Medicine/Science: Latest Quackwatch @36:26 The organization Protect Our Care released a new report @42:35 That announcement comes hot on the heels of this revelation: @43:17 Trump official overruled FDA scientists to reject Moderna's flu shot @44:45 AMA and the Vaccine Integrity Project in Minnesota announced partnering @46:07 Final Stories: What percentage of Americans think Noah was married to Joan of Arc? @47:23

On this week's episode of Waves of Awareness, we're joined by Jann Seymour from Hands On Nashville (now Hands On), a leading volunteer connector serving Nashville and surrounding communities. If you've ever wondered: -How to find meaningful volunteer opportunities near you -How nonprofits get the support they need -Or how one act of service can ripple through an entire community …this conversation is for you. Jann shares how Hands On connects thousands of volunteers with more than 200 nonprofits and community organizations, meeting real needs through service. She opens up about what makes her role so meaningful, the impact she sees every day, and a few powerful volunteer stories that might just inspire your next "yes." Hosted by Waves CEO Staci Davis alongside Waves adults John and Jeni, this episode also features life updates you'll love — including highlights from our recent ValenTUNES Bash with The Arc of Williamson County and excitement around what Jeni and John are looking forward to this spring. This episode will leave you encouraged — and ready to take action. There truly is a place for everyone in the world of volunteering. Hit play to discover where yours might be.

Focus sur le nouveau MacBook à 600 euros d’Apple, les LLMs et leur impact sur le travail, les ambitions spatiales de Musk et Bezos, et les nouveautés d’Android 17.   Me soutenir sur Patreon Me retrouver sur YouTube On discute ensemble sur Discord Interactions auditeurs Lou et le Mac low cost. Gremi, t'es dur avec moi sur Temu et… Lucy 2 !? Heureusement… peut-être pas. Mika : Braga part, Seedance 2 est une boucherie. Will Smith, valide. Alih s'homard bien, les IA aussi. Per Aspera Claude Wars : la revanche de Kimi. Codex passe la seconde avec Cerebras. Culture pub : la mauvaise foi, ça marche. Gemini man : l'ARC se termine. Médecines alternatives : pas encore généraliste, mais peut-être proctologues ? Les usages numériques excessifs des français. C'est l'eXode chez X / Space X / xAI. Ad Astra Le lièvre, la tortue, la grenouille et le panda. Crystal chronicles : des semi-conducteurs très spatiaux. Aurora est beau comme un camion mais aux US, l'électrique est sous tension. Android 17, je vis pour cannelle. Jeux vidéo Contrôle, vampires, poulet géant, du kratos et du Saros, c’était le state of play. Participants Avec Cassim Montilla Présenté par Guillaume Poggiaspalla

En la emisión de esta semana de Territorio Trail repasamos a fondo la Barkley Marathons, en lo que ha sido la edición más temprana e inesperada de su historia. Aroa Sío presenta los objetivos del 2026, una temporada que ha comenzado cosechando un excelente resultado en la Arc of Attrition by UTMB. Continuamos nuestro camino a la Western States 100 con Gerard Morales, descubrimos por qué el Gran Trail Peñalara es el ultratrail que todo corredor debería tener en su currículum, en la sección #PequeñasGrandesCarreras la protagonista es el Trail Torrollones y finalizamos con el resumen del primer mes de entrenamiento específico para el Maratón de Zaragoza y los deberes para las siguientes semanas.

Episode 383: ARC Raiders - We "Embark" from Speranza and head topside to battle it out with the Arc and our fellow raiders over a little bit of goop. We are talking the 2025 game awards "best multiplayer" winning "Arc Raiders" on Normies Like Us Hey, Raider! Don't shoot! @Normies_Like_Us https://www.instagram.com/normies_like_us/ @jacob https://www.instagram.com/_j__a___c___o__b_/ @Mike_Has_Insta https://www.instagram.com/mike_has_insta/ https://letterboxd.com/BabblingBrooksy/ https://letterboxd.com/hobbes72/ https://letterboxd.com/mikejromans/

I always felt like I was born in the wrong time. I grew up on science fiction-- Star Trek, Star Gate, Star Wars--but I knew I would never live in a world where I could actually sit in the cockpit of a spaceship and travel to other planets. Now I've come as close as I ever will! After finally diving into VR, with games like No Man's Sky, Elite Dangerous, Resident Evil 4, and Half-Life: Alyx, I had a moment that genuinely surprised me. It felt like the fulfillment of something I'd been waiting for since I was a kid. In this episode of State of the Arc, we talk about: -Why VR feels fundamentally different from traditional gaming -The immersion factor that's hard to explain unless you've tried it -The recent Meta layoffs and what they might mean for the future of VR -The real barriers to entry (cost, motion sickness, comfort, and adoption) -Whether VR is a gimmick or the future If you've ever wondered whether VR is worth it or if it's just hype, this is our honest experience after finally putting the headset on. Time Codes: 01. Intro (0:00) 02. Is The Future Of VR In Trouble? (3:20) 03. Barriers To Entry & What I Wanted From VR (12:34) 04. The Moment I Was Convinced VR Is Dope AF (22:16) 05. Using Glasses & Accessories Cost (28:46) 06. Do You Have To Upgrade Headsets To Play New Games? (32:49) 07. Any JRPGs In VR? (37:24) 08. Half-Life: Alyx Is An Absolute Must Play (41:28) 09. Casen's Unique Problems In VR (48:00) 10. Some of Hat's Favorite VR Games (50:58) 11. You Can Play With A Traditional Controller As Well As Flat Screen Games (56:13)

Hour 3 for 2/16/26 Drew welcomes Dr. Carrie Gress to discuss the history and problems with feminism and her new book Something Wicked: Why Feminism Can't Be Fused with Christianity (5:42). Topics/Calls: having it all (14:08), Joan of Arc (20:26), dating in college (28:07), caller: feminism has given us a lot (35:08), caller: careers and parenting (43:31), and what society gives us (47:49). Links: https://www.carriegress.com/ https://sophiainstitute.com/product/something-wicked/ https://theologyofhome.com/ Original Air Date: 1/15/26

This week we're looking at those who achieved the extraordinary and at incredibly youthful age! We have the Tudor boy King, Edward VI, to discuss. Britain's youngest ever Prime Minister (just 24 years old!!), it's Pitt the Younger. And from France, we'll hear a bit of the life of Joan of Arc.And this week we're discussing: what was life like before the advent of reviews? Have you ever seen the secret book that travel agents had in the 90s? If you've got anything to add on that or anything else, you know what to do: hello@ohwhatatime.comAnd from now on Part 1 is released on Monday and Part 2 on Wednesday - but if you want more Oh What A Time and both parts at once, you should sign up for our Patreon! On there you'll now find:•The full archive of bonus episodes•Brand new bonus episodes each month•OWAT subscriber group chats•Loads of extra perks for supporters of the show•PLUS ad-free episodes earlier than everyone elseJoin us at

//The Wire//2300Z February 13, 2026////ROUTINE////BLUF: PENTAGON REDEPLOYS FORD CSG TO MIDDLE EAST. ARSON ATTACK TARGETING ALLEGED POTENTIAL ICE FACILITY REPORTED IN KANSAS CITY. STABBING ATTACK STRIKES PARIS.// -----BEGIN TEARLINE----- -International Events-France: This evening a stabbing attack was reported in Paris, at the Tomb of the Unknown Soldier near the Arc de Triomphe. One of the soldiers in the Honor Guard was wounded during the attack, as the assailant attempted to target the crowd participating in the daily flame lighting ceremony. Armed police shot the attacker several times, ending the attack.Analyst Comment: Local French sources claim that is not the first time that this individual has stabbed a police officer. The assailant has been identified as Brahim Bahrir, a 47 year old male who was at the center of a different terror attack, in which he stabbed two police officers in an identical manner back in 2012. He was released from prison for this attack some time ago, with today's terrorism attempt being the second major stabbing attack he has committed.Middle East: Following PM Netanyahu's departure last night, the White House announced the repositioning of the USS *GERALD FORD* CSG from the Caribbean to the Middle East.Analyst Comment: The *FORD* has already been deployed for about 8 months, so either she's getting an extension or she'll pull in to Norfolk for refit/resupply before heading to the Arabian Sea. Either way, it will take about two weeks for this repositioning to take place, at the absolute earliest.Caribbean: Yesterday a collision was reported between two US Navy vessels conducting resupply at sea. The USS *TRUXTON* (DDG 103) collided with the USNS *SUPPLY* (T-AOE-6) while attempting to carry out Underway Replenishment (UNREP) operations on Wednesday. Two sailors were injured as a result of the collision, both of which are in stable condition.-HomeFront-Missouri: An arson attack was captured on film yesterday afternoon, which involved a woman deliberately setting fire to a commercial structure that was reportedly on the books to be sold to the federal government for the creation of an ICE detention facility. The fire was put out by the fire department, and the assailant remains at large.-----END TEARLINE-----Analyst Comments: Regarding the Kansas City arson attack, a lot of unsubstantiated information is circulating. And as luck would have it, a news van happened to be set up on scene, with a camera pointed at the attack site, perfectly framed to capture the arson attack...before it began. This same news affiliate is the same source that claims that the attack was a success, and that the company is no longer planning to sell the warehouse to ICE, due to the acts of the terrorist.It is true that the federal government is trying to contract out empty warehouses around the US to serve as detention facilities, but it's not clear as to if this exact facility was/is included in these efforts. At present, it's just as likely that this abandoned warehouse was selected on a whim via unsubstantiated rumors, and probably circulated among the Kansas City Rapid Response chat groups. These far-left cells tend to take the tiniest bit of information and run with it, without any verification whatsoever.This case is a good example of how truth does not actually matter to far-left activist groups, and unsubstantiated rumors in a group chat can get somebody killed. From a risk-management perspective, when there is no criteria for selecting targets in warfare, no one is safe. This is what makes these groups so dangerous; deadly and horrific attacks can be conducted on random buildings (or random people), with no warning at all. And just like in Minneapolis, these groups know that they can't actually win an engagement against ICE, so they go after the soft-targets in a city, targe