Podcasts about Arc

Few men have earned their return ticket to The Remnant with more grace and power than economist, polymath, and notorious Kuyperian David Bahnsen. David and Jonah cover the two Trump economies, the strategic significance of oil, institutional damage on the right, the fight for the term “conservative,” Christian Zionism, Megyn Kelly and the groypers, and the economics of Fred Hirsch. Show Notes:—Jonah's book: Liberal Fascism—Russell Moore on The Remnant— Brian Mattson in The Dispatch: “Is ‘Christian Zionism' Really Heretical?”—The Arc of a Covenant: The United States, Israel, and the Fate of the Jewish People—Jonah's book: Suicide of the West—Allen Guelzo on The Remnant The Remnant is a production of ⁠The Dispatch⁠, a digital media company covering politics, policy, and culture from a non-partisan, conservative perspective. To access all of The Dispatch's offerings—including access to all of Jonah's G-File newsletters—⁠click here⁠. If you'd like to remove all ads from your podcast experience, consider becoming a premium Dispatch member ⁠by clicking here⁠. Learn more about your ad choices. Visit megaphone.fm/adchoices

By Ken Loucks - Following the Arc of the story of God's plan to dwell with mankind, this message explores how the book of Exodus moves that story forward. God brings the descendants of Abraham out of slavery in Egypt, brings them to Mount Sinai, and teaches them how to live as His people. He then has them build the

Emily Pilbeam presents a mixtape of her personal selection of tracks from BBC Introducing, with aembr, Clara Pople, Aby Coulibaly, Konyikeh, IRKED, Norman D. Loco, Aimée Fatale, two blinks, i love you, TIDETIED, Heart and Mouth, Melanie Baker, Cholly / Rosie Robinson, Ellen Beth Abdi, TC & The Groove Family, and a new Track of the Week by Treeboy & Arc.Produced in Salford by BBC Audio for BBC Radio 6 Music.

https://m.ebay.co.uk/sch/i.html?sid=tindogpodcast&_pgn=1&isRefine=true&_trksid=p4429486.m3561.l49496 This title was released in February 2026. It will be exclusively available to buy from the Big Finish website until 31 March 2026, and on general sale after this date. Captain Lewis Haworth, young hacker MB, dark web operative Cole Smith and marine biologist Clare MacGregor found themselves in a changed world, controlled by the sinister Rakervia. In a secret military base in Arizona, they reactivated the Time Tunnel and set out across history, on a mission to track down the lost scientists Tony Newman and Doug Phillips, and restore the world as it should be. 2.1 Families and Lies - June 28 1969, by Mark B Oliver Cole arrives, alone, in Greenwich Village, Manhattan on Saturday, 28th June 1969, the day before the Stonewall uprising. With Lewis and MB nowhere to be found, he forges new friendships, but they have their own troubles. Inside the Project Tic-Toc Control Room, Clare must persuade Elenya that reuniting her friends is in all their interests. 2.2 Divine Intervention - April 1429, by Lisa McMullin MB and Cole find themselves in 15th Century France, towards the end of the Hundred Years War. It's France versus England but MB and Cole will be lining up on the side of France - alongside the Maid of Orleans herself - Joan of Arc. Is she a witch, a heretic or a feminist revolutionary? 2.3 Rendezvous with Tomorrow - April 15th 1912, by Gary Hopkins MB and Cole follow in the footsteps of Doctors Newman and Phillips aboard the doomed passenger ship Titanic in the year 1912. It seems that, after all, history can be re-written. Clara MacGregor, meanwhile, discovers that the past can be read in different ways. Is it possible that the journey's end is in sight? **Please note: the collector's edition CD box set is strictly limited to 1,000 copies and will not be repressed** Irwin Allen's The Time Tunnel TM & © 2026 Legendary. All rights reserved. Used under license. Based on the original television series "The Time Tunnel" © Legendary and Twentieth Century Fox Film Corporation. Recorded on: 17-19 July and 14-16 August 2024 Recorded at: The Soundhouse Producer, director and script editor Gary Russell said: "The Time Tunnel is one of those great Sixties science-fiction shows that ended too soon and without resolution. Ever since I was six years old, I used to think, what happened to poor Doug and Tony? To finally have the opportunity to restart Project Tic-Toc's computer spools, flashing lights and boot up the Tunnel again - and along the way maybe finally get an answer to Doug and Tony's fate - was simply too good an opportunity to pass up on. "We've had so much support and encouragement too from Legendary and Synthesis - who look after the Irwin Allen properties with so much love and respect - and for that I'm really grateful. They gave us the chance to bring The Time Tunnel into the twenty-first century with a bang." On making her Big Finish debut, Sandra Dickinson said: "It's a part to die for! The woman I'm playing has a rich history of being a very good human being, a loving, caring person, and is a tough cookie, so it was really fun to play, and to use the New York accent, which has been in my mind for a long time. "The 1960s was an amazing time. It's so apt at the moment to be talking about the LGBTQ rights movement. It's really nice to hear how it all started off in New York. And my dear son-in-law, David Tennant, has been standing up for them, bless him! So it's a great one to have done." The first episode's writer Mark B Oliver said: "I did a lot of research into the Stonewall Uprising, and what I found most fascinating were the oral histories that people have recorded over the years. These are people that were there and experienced what exactly happened. And the common thread is that they agreed to disagree about the exact details!" The second episode is scripted by Lisa McMullin, who said: "I've had a real hankering for quite a while to tell a pure historical story, so this was such a treat. It was really enjoyable telling the story of Joan of Arc. I had loads of interest in her before, and I'm always fascinated by how religion can be a real comforter to people but is also used to justify so much horror." And, finale writer Gary Hopkins said: "At the time we were discussing what we might want to do with this episode, I was reading a fantastic book called The Darks and Bounds of a Failing World, all about the tragedy of the Titanic and the Edwardian era. So it all fell into place at just the right time. I'd grown up watching various representations of the Titanic through film and television, but I always wanted to go back to the factual origin."

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.

Air Date: 3/11/2026 Today is episode 1776, in the year of our nation's 250th birthday, and we thought the occasion called for something big. So, we're tracing the full arc — from the constitutional compromises that made this country possible to the authoritarian vanity project that those compromises eventually also made possible. We're talking about the history, the structures, and the insecure current-but-temporary president who thinks a $400 million ballroom and a coin with his face on both sides will make him a pharaoh. Be part of the show! Leave a voice message, message us on Signal at the handle bestoftheleft.01, or email Jay@BestOfTheLeft.com Full Show Notes Check out our new show, SOLVED! on YouTube! BestOfTheLeft.com/Support (Members Get Bonus Shows + No Ads!) Use our links to shop Bookshop.org and Libro.fm for a non-evil book and audiobook purchasing experience! Join our Discord community! TOP TAKES KP 1: The Fight for a True Democracy Part 1 - 1619 - Air Date 8-23-19 KP 2: THE BROKEN CONSTITUTION with Noah Feldman Part 1 - Political Philosophy Podcast - Air Date 11-30-21 KP 3: Black History Month Is Different This Year Part 1 - Radio Atlantic - Air Date 2-19-26 KP 4: Will Trump Turn Americas 250th Birthday Into a MAGA-fest Part 1 - The Bunker - Air Date 3-3-26 KP 5: Trumps Gilded White House Makeover Is All About Power Part 1 - Reveal - Air Date 12-10-26 KP 6: The U.S. Is Now Trumpistan Prof. Stanley on Trumps Cult of Personality Part 1 - Velshi - Air Date 2-15-26 KP 7: Cass Sunstein on Interpreting the US Constitution Part 1 - Democracy Paradox - Air Date 8-15-23 (00:55:00) NOTE FROM THE EDITOR On Why America's Coat Doesn't Fit and Why They're Erasing History to Hide It DEEPER DIVES (01:07:08) SECTION A: CONSTITUTION A1: Slavery in the Constitution Part 1 - Teaching Hard History - Air Date 11-4-25 A2: #699 - No Kings - Dogma Debate - Air Date 7-4-24 A3: Slavery in the Constitution Part 2 - Teaching Hard History - Air Date 11-4-25 A4: THE BROKEN CONSTITUTION with Noah Feldman Part 2 - Political Philosophy Podcast - Air Date 11-30-21 A5: The Fight for a True Democracy Part 2 - 1619 - Air Date 8-23-19 A6: Cass Sunstein on Interpreting the US Constitution Part 2 - Democracy Paradox - Air Date 8-15-23 (02:05:58) SECTION B: TRUMPLAND B1: The U.S. Is Now Trumpistan Prof. Stanley on Trumps Cult of Personality Part 2 - Velshi - Air Date 2-15-26 B2: Trump Reportedly Pushing for His Name on 2 More Landmarks - ABC News - Air Date 2-6-26 B3: WARNING Trumps Fascist Takeover Has Accelerated with. Ruth Ben-Ghiat Part 1 - Democracy Docket - Air Date 1-26-26 B4: Will Trump Turn Americas 250th Birthday Into a MAGA-fest Part 2 - The Bunker - Air Date 3-3-26 B5: Trump Builds Personality Cult as Democracy Crumbles - Mary Trump Media - Air Date 12-29-25 B6: Trumps Gilded White House Makeover Is All About Power Part 2 - Reveal - Air Date 12-10-26 (02:51:18) SECTION C: AUTHORITARIAN NOSTALGIA C1: Civil Rights Lawyer Bryan Stevenson Believes America Needs Truth Telling Now More Than Ever Part 1 - The Current - Air Date 10-22-25 C2: Black History Month Is Different This Year Part 2 - Radio Atlantic - Air Date 2-19-26 C3: WARNING Trumps Fascist Takeover Has Accelerated with. Ruth Ben-Ghiat Part 2 - Democracy Docket - Air Date 1-26-26 C4: Civil Rights Lawyer Bryan Stevenson Believes America Needs Truth Telling Now More Than Ever Part 2 - The Current - Air Date 10-22-25 C5: WARNING Trumps Fascist Takeover Has Accelerated with. Ruth Ben-Ghiat Part 3 - Democracy Docket - Air Date 1-26-26 SHOW IMAGE CREDITS Description: A chaotic composite image against a decomposing American flag background. The Arc de Triomphe (standing in for the proposed "arch d'Trump"), a gilded White House facade, and a rendering of Trump's proposed gilded ballroom all stand behind an image of Trump giving two thumbs up. He is smiling and wearing a tall Uncle Sam-style hat, unaware a bald eagle is about to attack. A gold ribbon with 250th in awkward gold letters floats above it all. Credit: Internal composite design. | Elements from Pixabay and Canva (paid Pro Content License)   Produced by Jay! Tomlinson Visit us at BestOfTheLeft.com Listen Anywhere! BestOfTheLeft.com/Listen Listen Anywhere! Follow BotL: Bluesky | Mastodon | Threads | X Like at Facebook.com/BestOfTheLeft Contact me directly at Jay@BestOfTheLeft.com

"God is a Rewarder" | Pastor Evan Hood | 3.11.26 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.

Reese, Alex, and Taylor talk about a hodgepodge of topics ranging from their current training, wearing headphones, and running with underwear. They eventually get around to initial thoughts about Arc'teryx race shoe, the Sylan 2.Guest: Dylan Bowman needs is, perhaps, trail running's Ambassador Supreme. His life and business revolve around the sport he loves. He is also stepping into a new season as an athlete who gets to choose his training, races, and gear. Dylan and Taylor chat about all of this and more.SUPPORT OUR SPONSORSLMNT: Slim cans are our life, right now. It contains half of the original LMNT recipe with 500 mg of sodium and adds some bubbles to the mix. If you prefer the original packets, we do too. You'll be getting 1,000 mg of sodium plus other key electrolytes that will restore balance to your life after any hard effort. You'll also get an 8-count LMNT Sample Pack with any purchase, so don't miss out: http://drinklmnt.com/dirtdivision

00:00-20:00: Keith O'Brien joins the show to chat about his new book Heartland: A Forgotten Place, an Impossible Dream, and the Miracle of Larry Bird. Bird's tough upbringing, what would have happened if he never attended Indiana State, why Keith wanted to write this book, when Bird arrived before Magic and the Lakers and Celtics and the 1979 NCAA title game and more. Plus, how much Bird benefited from not playing during the social/digital media age and sports TV bonanza. Sponsored by Arc of Onondaga and Byrne Dairy. Hosted by Simplecast, an AdsWizz company. See https://pcm.adswizz.com for information about our collection and use of personal data for advertising.

Many of us grew up reading classics from the great Judy Blume, from Are You There, God? It's Me, Margaret to Tales of a Fourth Grade Nothing. Blume, now in her eighties, is famous for writing about childhood and adolescence with humour and heart. This week, our guest on the program has published a remarkable book documenting her life story.Mark Oppenheimer is an American journalist and author. He's the editor of the online religion and politics magazine ARC. His latest book is Judy Blume: A Life.You can find Tara Henley on Twitter at @TaraRHenley, and on Substack at tarahenley.substack.com

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.

00:00-20:00: Etan Thomas chats about how he would fix Syracuse basketball, what it was like to prepare for March as a player, Gerry McNamara and Ryan Blackwell trying to take Siena to the Big Dance and more. Sponsored by CH Insurance and Arc of Onondaga. Hosted by Simplecast, an AdsWizz company. See https://pcm.adswizz.com for information about our collection and use of personal data for advertising.

Un-American souls like to hate on the 1911, likely due to low levels of testosterone.. yeah. :/ And many hate on Glock--yet Glocks have proven themselves in use for many years now--and they simply work. The 22 ARC cartridge--a viable long range options? We'll talk about it.

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.

In this archived episode, Wade breaks down why he used to be a major shotgun guy for predator hunting, and why he eventually replaced it with a compact suppressed AR setup.We cover the real pros of shotguns (especially in fox country and shotgun-only land), the cost of stretching shotgun range with tungsten, and why modern AR platforms with today's optics (LPVOs, red dots + magnifiers) have become a better “do-it-all” option for close-quarters calling.He also talks through practical setups: barrel length, suppressor considerations, optic choices, and why cartridges like 6 ARC can be a game-changer in a compact AR package.allymunitions.com

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.

Tonight the team works to understand Mechanicum with the help of Josh on units! Mechanicum - Cybernetica Starter - [2985 Point(s), 4 Auxiliary Detachment(s), 1 Apex Detachment(s)] # ++ Crusade Force Organization Chart ++ [2985 Point(s), 4 Auxiliary Detachment(s), 1 Apex Detachment(s)] ## Allegiance Allegiance: Loyalist # ++ Crusade Primary Detachment ++ [610 Point(s)] ## High Command [190 Point(s)] Archmagos [190 Point(s)]: Cybernetica, Cortex controller [10 Point(s)], Cyber-familiar [20 Point(s)], Machinator array [20 Point(s)], Overcharge Reactors [5 Point(s)], Power fist [15 Point(s)], Bolt pistol, Arcana Benefice, Frag grenades, One Apex Detachment ## Command [310 Point(s)] Magos [155 Point(s)]: Cybernetica, Cortex controller [10 Point(s)], Cyber-familiar [20 Point(s)], Machinator array [20 Point(s)], Overcharge Reactors [5 Point(s)], Arcana Benefice, Frag grenades, Prime Unit (Logistical Benefit (Mech)) Magos [155 Point(s)]: Cybernetica, Cortex controller [10 Point(s)], Cyber-familiar [20 Point(s)], Machinator array [20 Point(s)], Overcharge Reactors [5 Point(s)], Arcana Benefice, Frag grenades ## Troops [110 Point(s)] Tech-Priest [55 Point(s)]: Reductor, Cyber-familiar [20 Point(s)], Deactivate Limiters [5 Point(s)], Chainsword, Bolt pistol, Arcana Benefice, Frag grenades, Prime Unit (Combat Veterans) Tech-Priest [55 Point(s)]: Cybernetica, Cyber-familiar [20 Point(s)], Overcharge Reactors [5 Point(s)], Chainsword, Bolt pistol, Arcana Benefice, Frag grenades # ++ Mech - Logistical Benefits Detachment ++ [260 Point(s)] ## Heavy Assault [260 Point(s)] Castellax Destructor Maniple [260 Point(s)]: Cybernetica • 4x Castellax [65 Point(s)]: Shock chargers, 2x Bolter, Darkfire cannon [15 Point(s)] # ++ Auxiliary - Armoured Support ++ [530 Point(s), 1 Auxiliary Detachment(s)] ## Armour [530 Point(s)] Karacnos Assault Tank [235 Point(s)]: Macrotek, Flare Shield, Searchlight • 1x Karacnos   Hull (Front) Mounted Karacnos mortar battery (Hull (Front) Mounted Karacnos mortar battery), Two Sponson Mounted lightning locks (Sponson Mounted lightning locks) Krios Battle Tank [135 Point(s)]: Centreline Mounted lightning cannon, Macrotek • 1x Krios Krios Venator [160 Point(s)]: Centreline Mounted pulsar-fusil, Macrotek • 1x Krios # ++ Auxiliary - Combat Pioneer ++ [270 Point(s), 1 Auxiliary Detachment(s)] ## Recon [270 Point(s)] Vorax Attack Maniple [270 Point(s)]: Cybernetica, Pair of power blades, Twin rotor cannon • 6x Vorax [45 Point(s)]: Lightning gun # ++ Auxiliary - First Strike ++ [100 Point(s), 1 Auxiliary Detachment(s)] ## Fast Attack [100 Point(s)] Vultarax Stratos Squadron [100 Point(s)]: Cybernetica, Arc blaster, Dendrite talons • 1x Vultarax   Vultarax missile-launcher (Vultarax missile-launcher - Airburst, Vultarax missile-launcher - Shaped Charge) # ++ Auxiliary - Taghmata Cohort ++ [340 Point(s), 1 Auxiliary Detachment(s)] ## Support [340 Point(s)] Thallax Cohort [160 Point(s)]: Reductor, Frag grenades • 4x Thallax [30 Point(s)]: Phased plasma-fusil [10 Point(s)] • 2x Thallax [20 Point(s)]: Lightning gun Thallax Cohort [180 Point(s)]: Reductor, Frag grenades • 4x Thallax [35 Point(s)]: Multi-melta [15 Point(s)] • 2x Thallax [20 Point(s)]: Lightning gun # ++ Apex - Command Maniple ++ [875 Point(s), 1 Apex Detachment(s)] ## Elites - Automata Only [300 Point(s)] Domitar Battle Maniple [300 Point(s)]: Cyclone missile launcher, Graviton hammers, Domitar fists, Cybernetica • 1x Domitar (Paragon of Metal) [100 Point(s)]: Arcana Benefice • 2x Domitar [100 Point(s)]   Prime Unit (Paragon of Metal) ## Support - Automata Only [330 Point(s)] Castellax Battle Maniple [330 Point(s)]: Cybernetica • 1x Castellax (Paragon of Metal) [60 Point(s)]: Pair of power blades [10 Point(s)], Mauler bolt cannon, 2x Bolter, Arcana Benefice • 3x Castellax [50 Point(s)]: Shock chargers, Mauler bolt cannon, 2x Bolter • 2x Castellax [60 Point(s)]: Pair of power blades [10 Point(s)], Mauler bolt cannon, 2x Bolter   Prime Unit (Paragon of Metal) ## War-Engine - Automata Only [245 Point(s)] Thanatar Siege Maniple [245 Point(s)]: Cybernetica, Shock chargers, Twin mauler bolt cannon, Arcana Benefice • 1x Thanatar (Paragon of Metal)   Calix Configuration [20 Point(s)] (Graviton ram, Sollex heavy-las), Prime Unit (Paragon of Metal) The Heresy Accountabilibuddies Podcast is brought to you by: Our patrons at Patreon. Join us for exclusive access and benefits. https://www.patreon.com/HeresyAccountabilibuddiesPodcast Our sponsors: Elric's Hobbies, where you can use code HERESYABB at checkout for a discount. Monument Hobbies, where by following our affiliate link, and using code HERESYABB at checkout, you can get a 5% discount on all purchases. https://monumenthobbies.com/?ref=heresyaccountabilibuddiespodcast Pop Goes the Monkey, where you can get 10% off your first order over $125 with code HERESYABB at checkout.. Music credit: Dethroned by Karl Casey @ White Bat Audio

La sanación energética, la geometría sagrada, el ADN y la guía de los ángeles son claves cuando existen bloqueos físicos, emocionales o de conciencia. En esta entrevista con Virginia Vassallo exploramos cómo estas energías actúan en el cuerpo y la conciencia, generando procesos de transformación interior. Junto al Arcángel Metatrón, la geometría sagrada se presenta como una herramienta de limpieza, reprogramación y regeneración energética que permite recuperar equilibrio, salud y armonía interior. Virginia Vassallo Es canalizadora y coach espiritual. Trabaja con los ángeles para ayudar a sanar, prosperar y liberar bloqueos energéticos. https://virginiavassallokekhut.com https://www.instagram.com/kekhut https://www.tiktok.com/@virginiavassallokekhut 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. #Sanación #ArcángelMetatrón #GeometríaSagrada

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

"Preventative Measures" | Pastor Evan Hood | 3.8.26 by ARC of Carson City, NV

Amazon reviews are the currency of credibility—and one misstep can cost you both visibility and account standing. In this episode, we break down exactly how to earn more reviews, keep the ones you get, and build a system that works long term—without crossing Amazon's invisible lines.We start with what actually moves the needle. Why the first five reviews matter more than most authors realize. Why trust increases dramatically at twenty. And why books with fifty-plus reviews consistently convert at higher rates. But here's the nuance: momentum matters more than a one-day spike. A steady cadence of authentic feedback outperforms a suspicious surge—both in reader perception and algorithmic trust.Then we get specific.You'll learn:How to structure a compliant review ask that invites honesty without incentivesWhen to activate early readers—and how to stagger timing to avoid red flagsHow to build a launch team that produces sustainable resultsThe exact back-of-book language that turns satisfied readers into reviewersWhy repeated phrasing, shared IP activity, and review swaps quietly trigger removalsWe also address the shortcuts. Paid review schemes, manipulation tactics, and “review clubs” may look tempting—but they rarely survive scrutiny and can jeopardize your account.Instead, we outline a reader-first system built on newsletter growth, ARC strategy, consistent outreach, and ethical momentum. The goal isn't a quick spike. It's compounding social proof that strengthens every future release.If you want reviews that stick—and a strategy that protects your publishing career—this episode gives you the playbook.If you found this helpful, follow the show, share it with an author friend, and leave an honest rating wherever you listen. What review strategy has worked for you? We want to hear it.Send us your feedback!Help shape our 2026 content by taking our 30-second listener poll!

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.

Introducing our new Archaeology Research Center, a.k.a. The ARC!Gary and Dr. Collins give you a short tour of the brand new facility for studying the Tall el-Hammam Excavation Project. This is very exciting for us. We hope for you, too!Follow Tall-el Hammam and TSU on Social Media:Facebook: X: Instagram: Substack:

공 하나에서부터 퍼져 나가는 믿을 수 없이 판타스틱한 이야기. Everything Everywhere All at Once 이후의 최고 수확... 꿀잼.---✍️ 녹취록: https://aimdreaming.imaginariumkim.com/through-the-arc-of-the-rainforest-공-마술적-사실주의-박진감-플롯-테크노-everythi/☕️ 한아임한테 ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠커피 사주기⁠⁠⁠⁠⁠: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://buymeacoffee.com/ithaka⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠

En este nuevo episodio tiramos de sintetizadores, secuencias y sobre todo de mucho dolor y oscuridad con la historia de Barrel of a Gun de Depeche Mode, tema de apertura del álbum Ultra (1997). Presenta Ricardo Portman. Escucharemos Barrel of a Gun (Home demo), Barrel of a Gun y Painkiller. 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

durée : 00:04:30 - Le Reportage de la rédaction - Timothée Durand, seul potentiel repreneur et petit fils de l'ancien dirigeant, a jusqu'à aujourd'hui pour finaliser son plan de reprise de la verrerie, en redressement judiciaire depuis le 7 janvier. 800 suppressions de postes prévus, sur les 3 500 actuels. Un choc pour toute la ville et la région.

"The Hidden Ministry" | Pastor Evan Hood | 3.4.26 by ARC of Carson City, NV

Great D&D encounters don't happen by accident—they're designed.In this episode of How to Be a Better DM, we break down the first three core rules of encounter design that help Dungeon Masters create encounters that feel meaningful, engaging, and worth the players' time.First, we talk about why simplicity is one of the most powerful tools in encounter design. Overcomplicating encounters often slows the game down, while simple encounters can create fast, exciting, and memorable moments at the table.Next, we introduce the CASE framework—how every encounter should fit into your Campaign, Arc, Session, and Encounter structure. When encounters serve the bigger story, your game starts to feel intentional instead of random.Finally, we cover a rule that many DMs overlook: the party has to want something on the other side of the encounter. Whether it's treasure, progress, information, or simply survival, players need a reason to engage.These three rules will help you design encounters faster, run smoother sessions, and keep your players invested in the game.And this is just the beginning.In Part 2, we'll dive deeper into additional encounter design rules that will help you turn good encounters into unforgettable ones.Thanks for listening to today's show. If you like our stuff and want to support us, here are some sponsor links and links to our other stuff:​Worldsmith: http://session0studios.com/worldsmith​Hire a Professional Dungeon Master: https://session0studios.com/dungeon-master-for-hire/​Roll and Play Press:http://session0studios.com/rollandplay​Phantasm Studios: https://session0studios.com/fantasms​Discord: http://session0studios.com/discord​Patreon:https://session0studios.com/patreon​Dungeon Master Level Up Guide: https://session0studios.com/newsletter

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.

In this episode, Grayson Harris sits down with Katie Collins-Ihrke, Executive Director of The Arc of Howard County, to discuss the organization's 65-year legacy of supporting people with intellectual and developmental disabilities, the realities of operating in a challenging funding environment, and the importance of mission alignment in nonprofit leadership.Katie shares how The Arc balances advocacy and direct services, navigates state and federal budget pressures, and builds long-term sustainability while staying rooted in dignity and community inclusion.About The Arc of Howard CountyPart of the broader national network of The Arc, The Arc of Howard County provides:Advocacy for people with intellectual and developmental disabilitiesCommunity-based housing and residential supportEmployment assistance and job coachingSkill-building and community integration servicesThe organization supports individuals across approximately 30 properties throughout Howard County, helping people live, work, and participate fully in their communities.

The epic legend of Joan of Arc has never been portrayed with so much fun until “Joni, Joni, Save France.” Author and illustrator Nick Burchard comes on the show to explain the process of adapting a historical figure to a long-form gag comic strip. We also discuss his influences which My Chemical Romance, and we break down how important collaboration is to the comics creation process. There's way more that we discussed so please check out the interview and then go read “Joni, Joni, Save France!” Link to the book: https://cosmiclionproductions.com/comics-shop/ols/products/joni-joni-save-france Nick's Website: https://www.tinyvikingdesigns.com/ Nick's instagram: https://www.instagram.com/tinyvikingdesigns/ Nick's Shortfilm “The Ghost Light”: https://youtu.be/FlDa1JwCFe4?si=15U0-hz6PVpaHkpq Be safe, be nice to each other and go out there and make some comics! Thank you!

Years ago, Michelle Lo Horton reached out to me after losing her biggest client. Payroll pressure. Nervous system in survival mode. A business that looked stable from the outside but felt shaky within.Today, she has shut down her nine-year agency, moved to New York, and rebuilt from scratch around a single conviction: storytelling isn't branding fluff. It's business infrastructure.In this episode, we unpack her reinvention and the birth of Story ARC — built on the ARC framework: Audience Relationship Capital.ARC rests on three pillars: familiarity, memory, and intent. If people know you but don't remember you, you don't convert. If they remember you but don't trust you, they don't buy. Storytelling, done right, builds all three.We talk about why virality without depth is wasted, how AI content is eroding trust, why founder-led brands outperform faceless ones, and why growth lives on the other side of cringe.This episode lives where bold pivots, business growth, and the future of marketing collide.Explore Michelle's work at https://thestoryarc.io/Follow her on Instagram at https://www.instagram.com/michellelohorton/If you care about reinvention, revenue, and building trust in a noisy world, press play.------Come say hi

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.

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.

This archived episode of the Texas Predator Hunting Podcast comes from a live Instagram Q&A session.Wade answers two straight hours of listener questions covering:• 6 ARC gas system tuning• 22 ARC vs 22 Creedmoor• Adjustable gas blocks & bleed-off mode• Suppressor setups (flow-through vs traditional)• AR buffer weights & tuning philosophy• Barrel life (22-250, 22 Creed, 6 ARC)• Proof Research barrels• Bolt & BCG myths• Load development basics• Cleaning procedures for bolt guns & ARs• Titanium vs stainless suppressors• Trigger recommendations• Factory ammo performance insightsThis one goes deep into real-world rifle setup, tuning for cold weather, and maximizing AR platform performance for predator hunting.If you're running 6 ARC, 22 ARC, 22 Creed, or tuning a suppressed AR, this episode is packed.allymunitions.com

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.

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Send a textStart with a helmet-required skyrace where five to six hours at altitude is just the warm-up, then jump to an Olympic mixed relay finish decided by seconds. That's the energy we ride as we unpack a month that felt like a full season: Four Refugios fireworks, Anna Gibson and Cam Smith nearly nabbing a medal, and a Black Canyon weekend that proved how fast trail running has become.We break down why Kelly McChrystal's course record matters beyond a single win—technical fluency, risk management, and South American depth are resetting expectations. Then we relive the Olympic sprint-to-relay arc and ask the big what-if: how would a vertical event tip the podium toward pure uphill specialists? Back in Arizona, we parse the 50K and 100K storylines—from late-race surges to course record composure—and talk honestly about why road stars can shake up the field yet still face a different sport on dirt: downhill economy, fueling on uneven terrain, and heat pacing.The business side hits just as hard. We map free agency moves—Grayson Murphy and Joseph Gray's open lanes, Arc'teryx landing Jane Moss and Kyle Richardson, Nike ACG adding Jennifer Lichter—and what they signal about team-building and athlete value. Then we translate the alphabet soup of series into plain English: Golden Trail now counts four best results plus a heavyweight final, adds segment points and team rankings; Skyrunner splits red vs white races to concentrate elite matchups; WRMA World Cup rewards volume and brings the strongest governance and testing. If you're choosing a calendar, we outline how travel, recovery, and points interact so you can peak where it pays.We also debut two fresh mountain tests: Cirque Series Jay Peak in Vermont and Mount Baldy in Southern California, creating a true coast-to-coast arc from June to October. Finally, we detail US selections for WRMA finals in Quebec and Poland, and how athletes can thread series goals with national team ambitions without burning matches too early. Tap play for strategy, results, and a candid look at where short trail running is headed this year—then tell us what you'd race and why. If you're into smart training, bold racing, and real talk on contracts and points, hit follow, share with a friend, and drop a review with your biggest takeaway.Follow Rachel on IG ! - @rachrunsworldFollow James on IG - @jameslauriello Follow the Steep Stuff Podcast on IG - @steepstuff_pod

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.

Japan has become the world's most in demand travel destination since the pandemic, but beyond cherry blossoms, bullet trains, Lawson runs, anime and those dangerously good 7-Eleven egg salad sandwiches, there's a deeper pull that audiophiles can't ignore.In this episode of the eCoustics podcast, resident Japanophile Eric Pye (@audioloveyyc) and reluctant future convert Mitch Anderson (@blackcircleradio) go all in on Japan's cultural gravity and its quiet takeover of audio: the pilgrimage to e-Earphone, late night jazz kissa listening rooms, Technics heritage, Three Blind Mice pressings, JICO styli, portable travel rigs, flying JAL, record hunting in back alleys, and why Japan still treats music as ritual instead of background noise. This isn't tourism hype it's immersion, listening culture, and what the rest of us may have forgotten.Links for further information:Japanese Jazz Kissa and the Art of the Piano Trio: Exit to Vintage StreetJazz Kissa Culture Goes Global: Exit to Vintage StreetJazz City online store: Purchase Jazz Kissa magazines and booksTokyo Jazz Joints website@jazz_kissa on InstagramThank you to our sponsor SVS & Shure for supporting this episode!https://www.svsound.comhttps://www.shure.comIn the Episode:Eric Pye, Vintage Audio ColumnistMitch Anderson, ProducerCredits:Original intro music by The Arc of All.Voice Over Provided by Todd Harrell of SSP Unlimited.Production by Mitch Anderson, Black Circle Studios.Keep up-to-date with all the latest Hi-Fi, Music, Home Theater, and Headphone news by visiting:https://www.ecoustics.com#hifi #audiophile #vintageaudio #jazzkissa #japanesejazz #vinylcommunity #consumerelectronics #podcast #jico #ecousticsd #blackcircleradio #audioloveyyc #instavinyl #vinylcommunity

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.

"Contrary Winds" | Rev. Antwon Ervin | 3.1.26 by ARC of Carson City, NV

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!

Oscar-nominated writer/director Joachim Trier (Sentimental Value) talks with Host Ben Mankiewicz about how being raised in a filmmaking family shaped his worldview and his career. Ben and Joachim bond over E.T., Hitchcock's villains, and the enduring humor of Step Brothers. At the end you get a rare peek at a couple of Ben's prized movie posters. Films Mentioned: Sentimental Value The Passion of Joan of Arc (aka La Passion de Jeanne d'Arc) The Worst Person in the World Oslo, August 31st Tarzan the Ape Man Mon Oncle E.T. The Hunt (aka The Chasers) The Pinchcliffe Grand Prix The Champ, 1979 and The Champ, 1931 F1 Annie Hall Salò Solaris Notorious Amarcord Flashdance Fame Flight of the Eagle The Emigrants The New Land Butch Cassidy and the Sundance Kid The Sting Slap Shot Step Brothers One Battle After Another Kes Harry and Tonto Where Eagles Dare Learn more about your ad choices. Visit podcastchoices.com/adchoices

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

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

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/ 

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