Podcasts about artifacts

This week, we're looking into missing Egyptian artifacts and animal rescues from a pig and a snake to nearly 150 cats, Then, we'll hear about a serial pooper in Tulsa, Oklahoma, and we'll learn what that blood moon eclipse on Thursday was all about. Featuring audio from KNX News in Los Angeles, WWJ Newsradio in Detroit, 1010 WINS in New York and the Dana & Parks show out of KMBZ in Kansas City.

This week, we're looking into missing Egyptian artifacts and animal rescues from a pig and a snake to nearly 150 cats, Then, we'll hear about a serial pooper in Tulsa, Oklahoma, and we'll learn what that blood moon eclipse on Thursday was all about. Featuring audio from KNX News in Los Angeles, WWJ Newsradio in Detroit, 1010 WINS in New York and the Dana & Parks show out of KMBZ in Kansas City.

Want more exclusive content?! http://prometheuslens.supercast.com to sign up for the "All Access Pass" and get early access to episodes, private community, members only episodes, private Q & A's, and coming documentaries. We also have a $4 dollar a month package that gets you early access and an ad free listening experience!====================In this episode, we sit down with Dr. Aaron Judkins and Dr. Judd Burton for a deep dive into Gobekli Tepe, biblical archaeology, and the big questions surrounding ancient history. What makes this site so significant? Could it reshape how we understand the early post-flood world, the Tower of Babel, and the development of religion?We explore the evidence behind evidential apologetics, the role archaeology plays in confirming biblical historicity, and the theories presented in Aaron Judkins' book Decoding Gobekli Tepe. From the mystery of the towering T-pillars to the symbolism of the moon god, bull imagery, and possible linguistic clues, this conversation connects ancient stones to a much larger biblical narrative.Whether you're interested in archaeology, Genesis, biblical timelines, or how ancient sites may reinforce faith, this episode is packed with insight, debate, and fresh perspective.Topics covered:Gobekli Tepe and its purposeArchaeology and biblical confirmationThe Tower of Babel and biblical chronologyTheories on Adam, Eve, and ancestor venerationLuwian logograms and ancient language cluesThe significance of the T-pillars and sacred symbolismIf you enjoy discussions that connect Scripture, archaeology, and ancient history, this is an episode you won't want to miss.====================

This is a Grave Talks CLASSIC EPISODE! PART TWOCan an object hold onto something long after it was created? Not just energy—but intention. Ritual. Something that was meant to be there.For Heather Lynn, those questions aren't theoretical. Through her work studying the intersection of archaeology and the occult, she's explored how ancient cultures didn't just fear unseen forces—they actively worked with them, sometimes binding them to objects meant to last far beyond a single lifetime.From burial sites to everyday items, there are cases where something seems to remain—something aware, something attached, and not easily separated from the physical world.Are these stories shaped by belief… or are there instances where the object itself becomes the vessel?As accounts of cursed artifacts and modern attachments continue to surface, the line between history and something far more unsettling begins to blur—and raises a question that's hard to ignore: if something was invited in… did it ever truly leave?#TheGraveTalks #CursedObjects #HauntedArtifacts #ParanormalPodcast #OccultHistory #DemonicArtifacts #HauntedItems #AncientMysteries #ParanormalResearch #SupernaturalEvidenceLove real ghost stories? Don't just listen—join us on YouTube and be part of the largest community of real paranormal encounters anywhere. Subscribe now and never miss a chilling new story:

Bill and Jeffery grumble about Apple's Mac mini and Mac Studio price increases and Jeffery's love for the Supernote Manta, then spend most of the episode remembering photographer Jay Maisel, touring stories and photos from his cavernous bank-building archive and debating what makes a photographic legacy. They wrap up with this week's Photographer of the Week, Life magazine shooter Nina Leen. Supernote Manta Jay Maisel ‘Favorites' John Loengard portraits of photographers Joel Meyerowitz “Cape Light” The Family of Man PotW Nina Leen

This is a Grave Talks CLASSIC EPISODE!Can an object hold onto something long after it was created? Not just energy—but intention. Ritual. Something that was meant to be there.For Heather Lynn, those questions aren't theoretical. Through her work studying the intersection of archaeology and the occult, she's explored how ancient cultures didn't just fear unseen forces—they actively worked with them, sometimes binding them to objects meant to last far beyond a single lifetime.From burial sites to everyday items, there are cases where something seems to remain—something aware, something attached, and not easily separated from the physical world.Are these stories shaped by belief… or are there instances where the object itself becomes the vessel?As accounts of cursed artifacts and modern attachments continue to surface, the line between history and something far more unsettling begins to blur—and raises a question that's hard to ignore: if something was invited in… did it ever truly leave?#TheGraveTalks #CursedObjects #HauntedArtifacts #ParanormalPodcast #OccultHistory #DemonicArtifacts #HauntedItems #AncientMysteries #ParanormalResearch #SupernaturalEvidenceLove real ghost stories? Don't just listen—join us on YouTube and be part of the largest community of real paranormal encounters anywhere. Subscribe now and never miss a chilling new story:

Julie Suen shares a powerful transmission on Star Children, hybrid children, telepathy, New Earth education, non-verbal children, and humanity's cosmic legacy. In this session, Julie explores how today's children — especially those labeled autistic, neurodivergent, non-verbal, or highly sensitive — may be carrying frequencies, wisdom, and transmissions that are essential for the next evolution of humanity. She speaks about children as councils, the Star Children Summit, New Earth Trust, hybrid children, the Telepathy Tapes, education reform, cosmic remembrance, and the deeper role of love as the universal language that transcends all forms of communication. This session also includes a guided transmission to connect with the inner cosmic hybrid child and receive a forgotten gift from the heart. ABOUT THE SPEAKER: Julie Suen is a cosmic oracle, Star Mother, New Earth architect, attorney, and founder of New Earth Trust and Star Children Academy. Her work bridges multidimensional wisdom with grounded real-world systems for Star Children, conscious families, parents, educators, and visionary creators. Through children's councils, family retreats, education initiatives, Star Children Academy, New Earth Trust, and global conversations on telepathy and future-ready education, Julie helps create spaces where children can be honored as wise beings, not forced into outdated systems. CONNECT WITH THE SPEAKER: Website: https://www.trustnewearth.com/ YouTube: @julie_suenshine

How did a freshly looted Egyptian antiquity end up in the Metropolitan Museum of Art? Why did it take Kim Kardashian to crack the case? And how much of what you see in any museum is stolen? (Part 1 of “Stealing Art Is Easy. Giving It Back Is Hard,” first published in 2023.)   SOURCES: Andrea Bayer, deputy director of collections and administration at the Metropolitan Museum of Art. Matthew Bogdanos, assistant district attorney in the Manhattan District Attorney's Office and chief of the Antiquities Trafficking Unit. Patty Gerstenblith, professor emeritus of law at DePaul University College of Law. Jim Marrone, staff data scientist at StubHub. Victoria Reed, Bettina Burr chair for provenance at the Museum of Fine Arts in Boston.   RESOURCES: "Is the Metropolitan Museum of Art Displaying Objects That Belong to Native American Tribes?" by Kathleen Sharp (ProPublica, 2023). "More Than 1,000 Artifacts in Metropolitan Museum of Art Catalog Linked to Alleged Looting and Trafficking Figures," by Spencer Woodman, Malia Politzer, Delphine Reuter, and Namrata Sharma (International Consortium of Investigative Journalists, 2023). "The Art Market 2022: An Art Basel & UBS Report," by Clare McAndrew (2022). "The Tomb Raiders of the Upper East Side," by Ariel Sabar (The Atlantic, 2021). "Kim Kardashian's Met Gala Photo Helped Solve Looted Gold Egyptian Coffin Case," by Samantha Ibrahim (New York Post, 2021). "Tracking and Disrupting the Illicit Antiquities Trade With Open-Source Data," by Matthew Sargent, James V. Marrone, Alexandra Evans, Bilyana Lilly, Erik Nemeth, and Stephen Dalzell (RAND Corporation, 2020). "Provenience and Provenance Intersecting with International Law in the Market for Antiquities," by Patty G. Gerstenblith (North Carolina Journal of International Law, 2020).   EXTRAS: "The Hidden Side of the Art Market," series by Freakonomics Radio (2021). Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Nick Thorpe, BBC Central European Correspondent

“The Problem of Bread: Art and Nature in Thomas's Ontology of Artifacts” by Matthew Lomanno (University of St. Thomas, Houston). Presented at the Thomas Aquinas College 2026 Thomistic Summer Conference.

I interviewed Kate Voet & Victor Maes about A Long Goodbye on Saturday, August 30, 2025 at Venice Immersive in Venice, Italy. Here is the story synopsis for A Long Goodbye: "A Long Goodbye tells the story of Ida, a 72-year-old pianist living with dementia. In this animated, interactive VR experience, we walk in Ida's shoes. We experience a day in her life, as her reality is fading. The apartment, where she spent a lifetime with her beloved husband Daniel, first feels empty and undefined. When we interact with objects and play the tape recordings of her husband, her playful world gradually comes to life, as if drawn in paint before our eyes. Like pieces of a puzzle, memories and conversations help Ida to rediscover herself. But we also discover Daniel's struggles, as he hopes to stay connected and realises their remaining time together may be short. A Long Goodbye is a poetic experience about the impact of dementia, but above all it is about love and the long goodbye of two lovers who shared a life together." Here are the contextual domains that are explored: Self and Identity [1], and the loss [8] of memory [1]. All the ways that we capture and record our identity [1]. "Like pieces of a puzzle, memories and conversations help Ida to rediscover herself." Artifacts of shared experiences and memories shared within the spatial context of a home [4], Husband [7] caretaker [7] of the main character with Ida, "72-year-old pianist living with dementia." Music [5], wihch was a part of her career [10], and the various adventures they had together [9] Here is the Elemental Center of Gravity: 1st Center of Gravity of Emotional Presence: Narrative-driven, animation with lots of immersive & interactive components. The pacing is gated with interactive actions, and the movement of your body seamlessly blends into various things like change blindness edits. An incredible score with different themes for different characters, and the world starts to change and dissolve as the main protagonists memory also fades giving you a sense of time, and unfolding processes. Victor is also a cinematographer, and so there's lots of canny translations of cinematic grammar into an emerging spatial grammar. VERY EMOTIONALLY IMPACTFUL2nd Center of Gravity of Earth Element / Environmental and Embodied Presence: An incredibly transportative world with a very distinct water coloreque aesthetic. Lots of embodied movement through this piece. Also some mashing up of contexts between these worlds that is reminescent of Meow Wolf. There's quite a lot of void space to help direct attention, but also makes excellent use of available space. There's physical movements paired with virtual locomotion. And the physical installation with post-it notes also helped created a strong magic cirlce for the piece. You are also embodied as Ida - as you learn about yourself as she has to do each and every day. From their artist statement, Kate and Victor said, "When we put the VR headset on, the first questions that come to mind are: Who am I? And where am I? This confusion is exactly what our protagonist is dealing with and this became the starting point of the story."3rd Center of Gravity of Fire Element / Active Presence: Interactions that gate the narrative in order to help modulate the pacing of the story. Free to physically move within space, but also paired with virtual locomotion. They aspired to allow people to be able to wander through the story and you get a bit lost along the way. So TRUE!4th Center of Gravity of Air Element / Mental and Social Presence: Dialogue amongst the characters, and also tape recording. Nice blend of metaphoric memory and dream logic with an amazingly well-written script. But also a puzzle-like structure as you piece together the story. Archetypal Themes and Character Explored: Memory. Loss, Grief, Death. The slow dissolving of the structures of memory as reflected within the sparse void-like architecture of the piece itself reflecting this slipping away into liminality. The love that they share within their partnership. "a poetic experience about the impact of dementia, but above all it is about love and the long goodbye of two lovers who shared a life together." So talking about the details of the condition, but also the caretaker / partner who is living with this condition "A Long Goodbye is at once a personal and a universal story about human connection. It serves as a reminder that people are always so much more than their illness. Instead of focusing on what is lost, we need to stay close and hold on to shared affection." Artist Statement: "When we put the VR headset on, the first questions that come to mind are: Who am I? And where am I? This confusion is exactly what our protagonist is dealing with and this became the starting point of the story. We were drawn to this theme because of Victor's grandfather who lived with Alzheimer's disease, and whose health declined rapidly after Victor's grandmother passed. The experience of having witnessed this emotional transformation close by, made us explore how dementia is experienced and how it influences the relationship with your past, with yourself and with your loved ones. A Long Goodbye is at once a personal and a universal story about human connection. It serves as a reminder that people are always so much more than their illness. Instead of focusing on what is lost, we need to stay close and hold on to shared affection." https://www.youtube.com/watch?v=9-kttoua1PA This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

For the last couple of weeks, I've been sharing with you a series on how to use Claude.AI in your small business. We started with how to set up Claude so he can have access to your system and do work for you.  In that episode, we started using an analogy to explain how Claude is a very competent Executive Assistant. Last week, I explain the different tools that he uses to get the work done for you. Those tools are Chat, Projects, and Artifacts. Chat is your office intercom system. Projects are the filing cabinets to organize everything. And artifacts are very unique self-service kiosks that you can use to help other team members when you are not available. This week, we're going to cover the staff that Claude brings with him. So, if Claude is your assistant, then this additional staff are similar to independent contractors that you can hire to do specific jobs.  The titles that Claude uses for these Contractors are Cowork, Chrome, Code, and Microsoft 365. Each of these contractors has a specific expertise, so it's important to explain the different roles that each plays. Otherwise, it would be like hiring an outside accountant to do technical work on your website.  So today, I explain the different roles, and give you a few examples of how to get values from these different contractors. Show Notes: How to Use Claude AI to Increase Your Margins(https://www.leadersinstitute.com/how-to-use-claude-ai-to-increase-your-margins/)

A live recording from The Big Romance about a 2008 Sub Pop-released classic album of the 2000s. Listen on Apple | Android | Patreon | Pocketcasts | CastBox | Stitcher | Spotify | RSS Feed | Podlink Step into a world of misty melodies and cavernous echoes with Seattle band Fleet Foxes' landmark debut – a defining record of the late-2000s indie folk revival. Led by Robin Pecknold, the album blends the lush, pastoral harmonies of the 1960s with a haunting baroque-pop sensibility and lyrical themes rooted in nature, tradition, and introspection. Like the Bruegel painting on its cover, every track reveals a dense, beautiful world that evokes a timeless – almost mythic Americana sound. This podcast episode is a live recording from our listening party in The Big Romance in April, with guest journalist and Fleet Foxes fan Aoife Barry. Our next Listening Party is Smashing Pumpkins later this month and it's sold out. Listen Closely: Fleet Foxes – Fleet Foxes (2008) A Nialler9 listening party, hosted by Niall Byrne with guest Aoife Barry. Before the album Niall: Hello everyone, how are you? Welcome to the Listen Closely album listening party. I'm Niall, and this is Aoife Barry. Aoife: Hello. Niall: We're here tonight because Aoife picked this album, as she has before. You picked Jeff Buckley last year. Aoife: Yeah, and we ended up doing three of them. Niall: We did, we went to Cork. We did two here and then we went to Cork to talk about Jeff Buckley. And you were at the My Bloody Valentine listening party last year as well, back in October. Aoife: It must have been October, yeah. Niall: Well, obviously we're here for a very different album tonight: Fleet Foxes by Fleet Foxes, from 2008. As you heard there, we played a bit of the Sun Giant EP by the band, which came out a few months before this album, because we want to give the album its full due. They're a little different, and we'll talk about that. But yeah, you picked the record. Aoife: I did. I obviously must like it. And it's such an incredible record. Is there anybody here who hasn't heard it? That's really exciting, if so. I'm excited for you to hear it. You got a sneak peek there of what the vibe is going to be. I picked it because I love this record, but I also had a funny story about how I first heard them. Back in 2008, when this record came out, I'd read about this band called Fleet Foxes in a music magazine. I don't even think I'd heard a song yet, this is back in the day. And I was on holidays in Berlin, and in the tiny little hostel we were staying in, they had a sign up on the wall: "Who's playing tonight? Fleet Foxes, Café Zapata." I said to my boyfriend, "I think that's a band I read about in the magazine, will we go see them?" And he was like, "Grand." So we went, and they were unbelievable. It was so good. Beach House were supporting them. So it was 2008 smacking you in the face. Niall: Come on. Aoife: And I took photos, which I found. I have photos. Artifacts. One is terrible, the other one's not so terrible, taken on one of those little Canon digital cameras. And I still have the ticket, I kept the ticket, I'm one of those hoarders who keeps all their gig tickets. But it was so good: the venue they played in had a dragon that breathed fire out every fifteen minutes. Niall: So they'd be playing and this dragon… Aoife: I'm not even exaggerating. Fire would just shoot out of this mechanical dragon. It was so Berlin. And Fleet Foxes were so stunning, and Beach House were so stunning. I love Crosby, Stills, Nash & Young, I love all those harmony vibes, I wish I was born in the seventies, sadly I was not. So I fell in love with them immediately, and I've been a big fan ever since. Although I'll say I probably dipped a little bit around the Crack-Up era, their third album, but then I saw them when Shore came out, their most recent album, and fell right back in love with them. Niall: We're going to talk about all the albums that come afterwards, but we'll start with this one, because this is presumably your favourite, or one of them. Aoife: Shore is up there as well for me, but yeah. Niall: So what was it about Fleet Foxes at the time? For context: in 2008 there was quite a lot of this kind of music around. We previously did Bon Iver's For Emma, Forever Ago as a listening party, and the funny thing, which I only found out when we did this, is that they have the same origin story in a way. Both songwriters went to a cabin in the woods to pour their heart out and write the songs. Aoife: I think Justin Vernon just got there first in terms of the marketing. Niall: So they must have pulled back on talking about it too much, because it's basically the same thing. They never really talked about Robin Pecknold's writing process in those terms. Aoife: For Emma was such a massive moment, everybody was obsessed with this guy who broke up with a girl and went to a cabin and wrote a record about it. It was the ur indie-folk album. Niall: What was really appealing about Fleet Foxes is that they were so young, between about twenty-two and twenty-seven, and Robin Pecknold was twenty-one when he wrote the record. Which is frankly offensive, you shouldn't be allowed to be so talented at twenty-one. Aoife: I know. And they were clearly these people from Seattle, which we associate with grunge, and then it becomes this place where they're bringing out all the pastoral, outdoorsy, mountain-and-sea vibes of the Washington area. They're obviously really influenced by the seventies too, by Crosby, Stills, Nash & Young, by Laurel Canyon, but also by Appalachian folk. There's a real purity to what they're doing. The harmonies are unbelievable, there's even a bit of a gospel feeling. So these young guys made this album that was being called an iconic American record on release. The Guardian called it a landmark American album, something like that. And that's special, because you don't get that many records immediately being called landmark. Niall: It was a very exciting time for music around then. I actually brought some records. We mentioned Beach House and Teen Dream earlier, that's a bit later, 2010. I wanted to do a listening party for that at some point, that'd be good craic. Around that time you had Animal Collective and Panda Bear, Person Pitch was right there, that was the apex for that very experimental scene. A few years later we had Sufjan, our very first listening party. And Bon Iver, of course. There's also stuff like Neutral Milk Hotel very much of that vibe. Aoife: I've noticed people covering Neutral Milk Hotel more now. Niall: I think when we got to it, it was on its second go-round, and now it's getting a third, which is great. It's a great record. So, the band were from Seattle, they had a bit of the scruffy flannel-shirt look, but obviously didn't sound like that. The album was written in the woods, in the cabin, brought to the band, and recorded with Phil Ek. Aoife: Who did a lot of stuff with Built to Spill. Niall: Yeah, and he worked with The Shins, and Modest Mouse, a really long history. Aoife: Are The Shins from Seattle as well? Niall: I think they might be. Band of Horses is another one. So they recorded it themselves with Phil Ek, paid for it all themselves, and then the local major independent label Sub Pop came calling. Obviously known for a lot of grunge traditionally, but they'd clearly been releasing this kind of music around then too, The Shins had been on the label for a few years, Band of Horses. When it came to it, they signed to Sub Pop. Apparently there was a bidding war. Aoife: They'd become quite popular on MySpace. Anybody remember MySpace? Every time I do one of these I feel older and older, mentioning the top eight, the randomers you'd put in your top eight. Word could spread quite quickly once you got popular on MySpace. Niall: What I thought was really interesting, that I discovered when I was researching, is that recording the album was actually a total pain for them. They didn't have much money, so they ended up recording a lot of it in their houses, or in Robin Pecknold's family home. And he re-did all the vocals right before they mastered the record, because he'd been sick during the initial sessions and his voice wasn't in great shape. They recorded it all in one go, scrapped that, did another version, and kept moving the running order around. I'm always fascinated by albums where the creation was a total pain and they had no idea it would even work out. Robin Pecknold actually said, "I hope nobody cares about this album, because I just want to move on to the next one." And then it becomes this iconic record. Aoife: Isn't every artist sick of their album by the time it's done? You're like, "my paintings." Yeah. Niall: 2008 was an interesting time for it to land. The album draws on the Beach Boys and Brian Wilson, Crosby, Stills, Nash & Young, Nick Drake, Simon & Garfunkel, Fairport Convention, Judee Sill, very much old-timey or sixties folk and pastoral stuff. And in 2008 there's a financial crash. The album was worked on before that, but it was released into that environment, and a lot of this music seemed to catch. When things go bad, we retreat, we dream, we listen to music that's maybe the opposite of what we're feeling. There was a gentleness, an unhurriedness to it that resonated. Aoife: Grizzly Bear is another band from that time. When Jay-Z and Beyoncé went to see Grizzly Bear in Brooklyn, that was kind of where all the indie music peaked. Niall: And the other part of it, which I was involved in, was the MP3 blogs, that's where you'd hear this music. Especially the American and Canadian stuff, no one was promoting it over here yet, so you'd be months ahead. You'd hear Fleet Foxes in these MP3 formats. That was a mad period, it showed how the internet could collapse geography, a song could spread really quickly on the blogs. And in an American context, this came out post-Bush, with the Obama era coming in, a more hopeful tone. You had the Lehman Brothers crash, these global pressures, and then these hopeful times too. It's interesting to wonder whether these albums are a reaction to it, or whether they appeal to us because we want nice, happy things. I feel like Fleet Foxes have so much emotional depth: there's yearning, sadness, hope, nostalgia. Aoife: I loved Yellow House by Grizzly Bear, their first record, a complex, complicated, almost jazzy thing that sounded beautiful but had a lot going on. We weren't going for simplistic music, but we wanted music that gave us depth and beauty. Is art a solution to the world collapsing? Niall: We could be answering that in 2026. We live in a cursed timeline, as I keep saying. That's all I'm going to say. But what else happened in 2008 in the wider circle of music? Portishead returned with Third. TV on the Radio released Dear Science. MGMT released Oracular Spectacular, 'Kids' and all that. Cut Copy released In Ghost Colours, Indie Sleaze night on Saturday, folks, come on. Kanye put out 808s & Heartbreak, that was November that year. Rihanna was at the peak of her powers. Aoife: Katy Perry appeared that year. And 'American Boy'. Niall: 'American Boy', still one of the best pop songs, fire. Iron & Wine was the other one I forgot to mention. So it was a really vibrant, varied year. As you heard, there's the Sun Giant EP too. Aoife: The thing about that is it came out before the album, but was recorded after. The album was done, in the bag. Niall: They decided to go into the studio and record Sun Giant, a collection of songs intended to sell on tour. It ended up being quite popular, and for a lot of people it was their first time discovering Fleet Foxes. Aoife: It wasn't like The Coronas' 'San Diego Song', their summer-holiday anthem, or anything like that. But it came out before the album, and then the album arrives. Niall: So what was the reaction at the time? Was it immediate? Aoife: Things happened really quickly. In January that year they got all the MySpace attention, and by June the album was coming out. Really, really quick. There was so much chatter about them, which is partly why I'd seen the name, and a music blog like yours would have seen it too, and known they were one of the big bands. In a way that's harder now. Niall: These days you see bands like Geese getting a lot of attention because they use companies that help them go viral. You didn't really have that then. Now you'd dress yourself up in some gimmick, polka dots, whatever, and go viral all over the internet for it. I couldn't imagine these lads doing that. Aoife: No. But maybe in a way they were cosplaying living in the forest, on the Puget Sound. Niall: Anyway, when the album came out, people loved them, and it really hit it off. Because they sound so seventies, your parents would love the records and you'd love the records. There's almost a lullaby quality to the folk stuff too. The music is applicable to anybody of any generation, and there's something lovely about nostalgic music that reminds you of a better time. To finish on that point: I think there's something very mysterious about Fleet Foxes, they feel out of time. They're these young, scruffy lads with the beards, but there's a mystery to them. They didn't come across as the hipster end of things, they weren't leaning into anything. They were presented as the kind of band that wouldn't have had phones, would have lived off-grid, which is funny because they were a MySpace band. They're the most un-MySpace band you can imagine. Surprise people, do something a bit different, don't be exactly what people want you to be, and they'll love you for it. And then your songs are unbelievable too, soaring and stunning. Can we talk for a second about the cover? It's an original painting from 1559 by Pieter Bruegel the Elder, Netherlandish Proverbs. It depicts a densely populated Flemish village scene illustrating 126 folk proverbs. There's a lot there. Some on this side are cut off, but for example, this woman here, she's putting the blue cloak on her husband, meaning she deceives him. This guy is casting roses before swine, wasting effort on the unworthy. And right at the top there's a man running through a field with his arse on fire, chasing pigs, "he who eats fire craps sparks," do not be surprised at the outcome if you attempt a dangerous venture. There are 126 of those. Aoife: The interesting thing is that the band managed to get permission to use it. Really unusual to be allowed use it as commercial artwork. Niall: And apparently the museum that holds the artwork were delighted. A lot of stars aligned for them. It's an iconic cover because it's so different from what anybody else was doing, clearly of a particular period, and it has that Where's Wally quality. I have a quote about it. Robin said: "We were trying to figure out what we wanted to do, and my brother had been working some stuff out, when I saw this Bruegel painting in a book my girlfriend had. I liked that it had a really intriguing meaning, there's a story to each little scene, which felt fitting for the record. It was dense but unified, not a collage. It has a Where's Waldo quality, something you could look at for a long time on a vinyl sleeve and keep finding new little things. It was very easy to get the museum in Berlin that has it to say yes, they were super excited the band wanted to use it, and put it in their newsletter. When you open it up, on the inside there's a Paisley pattern traced from the back of a book that Skyler's mum got me. We wanted two very different feelings." So, what to look out for when we press play very shortly? Aoife: When I was going back to this, I had it in my head that every song was one of these big songs, because there are so many big moments. But actually there are two tracks that are pretty much acoustic, so it's interesting to notice how they go from the big sound to the small. And for me they're a real emotion-and-feeling band, so notice how you feel listening to it. I always feel this swell of emotion with Fleet Foxes, I was walking down the road listening to Shore and I was like, my God. So lean back and feel into the emotions they're bringing you. And listen to the lyrics if you can make them out, because they're so out of time, all about pack horses and this amazing imagery. Robin Pecknold said he didn't write about a lot of personal stuff because he didn't have enough life experience yet, so instead he wrote these beautifully poetic narratives about pastoral and rural life. So I'd say the lyrics and the feelings are the two things. Niall: Track two, 'White Winter Hymnal', is probably the biggest one, watch out for that. And a few other people thanked and cited as influences, for some extra context: Brian Wilson, Joanna Newsom, Bob Dylan, Noah Lennox and all the lads from Animal Collective, Levon Helm and Robbie Robertson of The Band, Blitzen Trapper, who they toured with at the time and who were bigger than them then. For some reason Joni Mitchell and Neil Young are listed together, which is fair enough. Marvin Gaye, Damien Jurado, Paul Simon and John Lennon listed together. Townes Van Zandt, a legend. Vashti Bunyan, and Van Morrison. There's a nice quote from Robin Pecknold I'll read afterwards. Let's just open it up and listen. I'll play it at full volume, it's about thirty-nine minutes, two sides. Close your eyes, whatever you want to do, vibe away in your own way. [The album plays: Fleet Foxes – Fleet Foxes, 39 minutes.] After the album Niall: It's quite an economical album, isn't it? It doesn't stick around long, thirty-nine minutes. Aoife: I like an economical album. It's also one of the first fairly short records we've done here. Niall: That's part of why I was thinking about Sun Giant in that context too. I'm going to read a bit from the liner notes, because for an album that's very much about feelings, with only a few direct songs, some of what's written here is interesting: "My first memory has always been of me and my mom on a cold grey day down at some beach in Washington, along the Puget Sound somewhere near Seattle. I would be around two or three years old, and we were with a friend of mine from the neighbourhood and his mom, walking among the driftwood looking for crabs. Even now I can remember the smell and temperature of the air, the feeling of the sand and the swaying tall grass. I can even remember looking over at my friend and how his face looked when he smiled back at me. Another memory I'll sometimes recall as my first is dressing up in the dead of summer as Jack London, with tennis rackets on my feet and wearing my dad's hiking pack, after seeing Disney's terrible version of White Fang. Or the memory of stealing my neighbour's Big Wheel and riding it halfway down the block before getting caught and having to turn around defeated. Or wearing a fireman's outfit while washing my parents' car, or eating an orange popsicle from the ice cream truck. These have always been some of my most distinct and persistent memories of childhood. So it came as a disappointment when, one day as a teenager, I opened up a photo album and found pictures of each and every one of these memories. I didn't have a single memory that didn't belong to, or somehow grow from, those pictures my parents had. I guess I've seen all these photographs at some point, forgotten they were just photographs, and over time made them into my most tangible memories. That's scary to me in a way. This leads me to something weird about the power music has: its transportability. Any time I hear a song or record that meant a lot to me at a certain moment, I'm instantly taken back to that place in full detail. Whenever I hear 'Feel Flows' by the Beach Boys, I'm taken straight to the back of my parents' car on the way to my grandparents' place, with Surf's Up in my Walkman and the Cascade Mountains going by in the window. Any song off Radiohead's Kid A brings back the airport near Seattle, from when we were on the way to Colorado for a wedding and Kid A was the only record I brought or wanted to bring. 'Crayon Angels' by Judee Sill is the whole winter of last year. And Brian Wilson's solo version of 'Surf's Up' takes me back to driving my parents' car around town alone at sixteen, windows down at night. I can't ascribe exact memories to songs by The Microphones, Joni Mitchell, Built to Spill, Dungen, Harry Nilsson and so many others, and it's a form of recall I can actually trust, there's no visual element to complicate things, no chance of a planted memory that wasn't actually supposed to be there. Maybe I should be concerned that I'm alone in almost all of these memories, but I guess I was just a private kid, and music was a private experience for me. Music activates a certain mental freedom in a way nothing else can, and that is so empowering. You can call it escapism if you like, but I see it as connecting to a deeper human feeling than the one found in the day-to-day world." Aoife: That's lovely. It's a nice addendum. And he was only twenty-one. Niall: For some reason it's signed "Warren Gamaliel Bancroft Winnipeg Harding," Warren G. Harding being the 29th president of the United States. I don't know why, he thought it was funny. Dated April 6th, 2008, Chicago, Illinois. So, any particular highlights, anything that stood out? Aoife: I was reminded how much I love 'Blue Ridge Mountains', the second-to-last song. I just love those four- and five-part harmonies so much. There's something that really gets me about beautiful harmonies stacked on each other that sound so natural. My dad was really into Neil Young and all of that era, my mum's really into Simon & Garfunkel, so I feel like I came out of the womb going, this is the music I love. Niall: There was another one I meant to mention. Aoife: I'm really bad at remembering song names, which isn't great for an arts journalist. They go in one ear and out the other. Niall: 'He Doesn't Know Why'. Aoife: That was it. I always forget the name of that one, and it's an absolute banger. It's quite a direct song, the last one on the first side. Niall: He mentions his brother Sean in 'Blue Ridge Mountains', which is interesting. And Oliver James is his younger brother, that's the last song. Aoife: His sister is Aja, after the Steely Dan album. The parents were really into them. Niall: It holds up so well. The harmonies and vocals sound incredible, there are those beautiful little flourishes, a flute on one of the tracks, the guitar is stunning, lovely little bass lines. I love the way Robin Pecknold and the band hear music. There's a really good Song Exploder episode with him talking about a song from Crack-Up, and the way he thinks about translating his thoughts and emotions into music is so illuminating. He has a beautiful melodic flow that's really similar to the flow of water and nature. There are so many nature references, it's almost parody there are so many. Aoife: You could do a Portlandia sketch about it. "Power of nature, man." "Come down from the mountain, you've been gone too long." Niall: In terms of the line-up: alongside Robin Pecknold on vocals there was Skyler Skjelset on lead guitar, his best friend from Nathan Hale High School, later joined by Casey Wescott, Christian Wargo on bass, and Nicholas Peterson on drums, who left after this album. Aoife: And who came in as the drummer? Niall: A man who's been a main character in one of these listening parties himself: Josh Tillman, Father John Misty, played drums with them. Aoife: For how long? Niall: Only a year or two, pretty short. As I said, main character, he was making his own record. Any Father John Misty fans? He writes really good songs and he's handsome, so we all love him, but he's also a bit of a pain, and he didn't get on very well with Robin Pecknold, which isn't surprising. When I was looking back at the Pitchfork interview they did in 2008, a few months after the album came out, it was a big joint interview with Robin and Josh Tillman, and Tillman is answering the questions at the start. That's confidence. Do you want to hear a quote from what Robin Pecknold said? I've written it in my little notebook, so old-school, that's the only way I remember these things. In a 2020 Reddit AMA, Pecknold said that on that tour, the Helplessness Blues tour, Tillman was supposed to bring out his own record, but his label said he could only release it after the tour. So he was on tour thinking, "I want to bring out my own record, I'm tired of Fleet Foxes." Pecknold said he "had to endure being around a lot of substance abuse, sabotaged shows, general ill treatment and shit-talking, all while paying him for songs he didn't have anything to do with. It sucked." And then Tillman left the band. Whereas in that Pitchfork interview he'd said, "I love playing in this band, these are all my friends, I'm having the best time, I'm sorry if that's a corny quote, but that's the best thing about this experience right now." Aoife: So he was lying through his teeth. I think he's the kind of person who really has to be a solo artist, too iconic a personality. You wouldn't want to wrangle him out of bed to get to the next show. Niall: Too big a price. You mentioned Pitchfork, the album was number one on their end-of-year list in 2008, and they listed Sun Giant alongside it, breaking the traditional conventions of end-of-year lists. What they said was: listing Fleet Foxes' debut album and EP together may be awkward, but it just feels right, they're two sides of a coin that equally express the band's mastery, "a catch-all Americana that takes a wide slice of our popular music spectrum and pulls it through a reverse prism to create a gorgeous and focused sound of the band's own. The threads of Brian Wilson's coastal pop, Appalachian folk, modern indie rock, Grateful Dead jams and other influences are masterfully synthesised in the band's harmonies." Robin Pecknold's sense of dynamics, they said, flows like a river, wild and free but logical, filling what needs to be filled and moving on. I swear I didn't rip that off Pitchfork, I came up with something similar on my own. Aoife: Very good. Niall: It was Uncut's album of the year too. But more than anything, and this is a strange accolade, the album was ranked number 36 on Rolling Stone's list of the greatest stoner albums. Aoife: I don't think Robin Pecknold was a stoner. It doesn't really fit. He's a reader. Niall: So what came after? Helplessness Blues, which is really difficult to say, in 2011, then Crack-Up in 2017, then Shore in 2020. Big long gaps, some personnel changes. And Robin Pecknold, as we've established, is a very literary guy, he went to Columbia to do an undergrad in English literature, because he'd left high school early and gone to a community college, and he really wanted that college experience. So that was part of the break. He's also had difficult times, he's spoken about mental health issues and suicidal ideation, many tough experiences that contributed to the gaps too. They haven't released anything since 2020, and he does a lot of cover events. There are two live records. He's actually playing a gig tonight, I think, where he covers Judee Sill. Any Judee Sill fans? Aoife: Oh my gosh, she's amazing. Nobody ever knows Judee Sill. If you listen to anything, listen to Heart Food, it's iconic. He loves her, mentions her on this record. She's the one who does 'The Kiss', people might have seen her perform it on the Old Grey Whistle Test, it's on YouTube. She had a really tragic life. Niall: One of those I've been meaning to listen to properly for years. She only has two records, so it's easy to get into. There's a documentary about her as well, which I haven't seen. Aoife: She's one of those ill-fated seventies musicians, really religious imagery, did a lot of drugs, really interesting. Niall: Did you get to see them again after your first foray in Berlin? Aoife: I saw them when they toured, though it's really bad when you can't remember what you were doing in the 2010s. Niall: Did anybody see them at that Dublin gig, the outdoor one in 2022? Wasn't it amazing. They've played here a fair bit: Vicar Street in 2008, Electric Picnic 2009, The Marquee in Cork 2011, the Iveagh Gardens in 2017. I don't know if I've missed any, maybe you can tell me. So if you were to pick, is there any further listening or reading you'd suggest to somebody, not necessarily Fleet Foxes? Aoife: Some of it is obvious. As I said, I'd definitely check out Judee Sill, because if you really like Fleet Foxes you'd really vibe with her. And he mentions Harry Nilsson, also unbelievable, more well known than Judee Sill, did the cover of 'Everybody's Talkin''. I'd also mention a guy people would have known at one point but isn't very well known now: Richard Swift. He sadly passed away a couple of years ago. He was friends with Robin Pecknold, a hugely talented musician who struggled with addiction. He has an amazing double album from around 2005 or 2006 that's brilliant, and a record called The Hex, which is referenced on 'Sunblind' on Shore, that's the song where Robin name-checks a lot of musicians he loves, like Elliott Smith, David Berman and Richard Swift. It's such a beautiful record for finding new people to listen to, and it's lovely to hear a musician pay tribute to musicians he loves. The imagery is him talking about this beautiful day where he'll go for a swim and listen to all these beautiful bands, an ecstatic kind of song. So check out all of those records, but Richard Swift deserves more fans, and The Hex is really, really good. Niall: Good shout. What we'll do now is play a tune, and then maybe give Sun Giant another go if you want to stick around. Our next listening party is on the 27th of May, and it's an indie-rock album very close to my heart: Broken Social Scene's You Forgot It in People. I've been wanting to do this one on record for a long time. They're playing here later in the year, but I want to give this record its flowers, it's incredible. My niece has just turned seventeen and I bought her a copy, because it's an anthemic record for a seventeen-year-old. I can't believe that band are still going, which is kind of mad, but it's hard to underline what Broken Social Scene meant to a certain segment of indie. Aoife: And there's four hundred of them on stage. They're from Canada, and we were all like, my God, these people are the best. Niall: For me it's the MP3 times again, we'll talk about this next month. I heard about them through the music blogs, and then I got to see them in the Button Factory, which was the Temple Bar Music Centre at the time. It was one of the first things I ever wrote about, back in 2005. A transcendental experience. Aoife: They're so good live. Niall: I once DJ'd in Galway after one of their gigs, and one of the members of the band, I'll leave him nameless, came over and turned off the decks while I was DJing. Aoife: On purpose? Niall: He was that drunk. I can't remember what I was playing, but I was like, great, DJing after Broken Social Scene and then a band member ruins it. I don't think he liked it. No, I think he was just really drunk and thought it was funny. Thumbs down to him. In a way it's surprising a man like that has managed to persist in a band with so many members. Anyway, I digress. We'll talk about it next month, May 27th. Aoife: I cannot wait. I've been listening to it a lot lately again, it's fantastic. Niall: Thank you for being here. Let's play a bit of this and see what happens. Thanks for being here, appreciate it.

Society & Culture · Danny Brown

This week on Limited Resources Marshall and Luis cover every single common and uncommon in The Hobbit! In what feels like a return to Magic's fantasy roots (even though it's technically not), The Hobbit seems to be made to appeal to fans of the fantasy genre and also has a more core set vibe with even a (gasp) vanilla creature in the set! The guys go over ever single common and uncommon so you can get prepared for your prerelease, release, and subsequent events, enjoy! You can support Limited Resources on the LR Patreon page here: https://www.patreon.com/limitedresources LR is brought to you buy Ultimate Guard! Check out the best gear here: https://ultimateguard.com/en/ Your Hosts: Marshall Sutcliffe and Luis Scott-Vargas Marshall's Twitter: https://twitter.com/Marshall_LR Luis's Twitter: https://twitter.com/lsv LR Community Subreddit: http://www.reddit.com/r/lrcast Mechanics and Archetypes: 00:00:00 Gold: 00:14:36 Red: 00:45:52 Green: 01:15:30 White: 01:42:00 Blue: 02:04:22 Black: 02:39:48 Artifacts and Lands: 03:03:50

For the last couple of weeks, I've been sharing with you a series on how to use Claude.AI in your small business. Last week, we went through the set up process and finished by explaining the Connectors.  Just as a refresher, we are using an analogy to explain hoe Claude is a very competent Executive Assistant. And last week, those connectors were you giving Claude the keys to the office and getting him set up as an employee. This week, I explain the different tools that he uses to get the work done for you. Those tools are Chat, Projects, and Artifacts. Chat is your office intercom system. Projects are the filing cabinets to organize everything. And artifacts are very unique self-service kiosks that you can use to help other team members when you are not available. These tools are really cool, and you are only limited by your creativity!Show Notes: How to Use Claude AI to Increase Your Margins(https://www.leadersinstitute.com/how-to-use-claude-ai-to-increase-your-margins/)

Hillis Pugh guides a powerful transmission on soul remembrance, Lemurian and Sirian light, fourth-density transformation, trauma clearing, and the deeper truth beyond starseed identity. Rather than attaching to one galactic label, Hillis invites us to return to the primordial source within — the place where we remember we are not separate, not fragmented, but living expressions of source energy. This conversation explores Earth as a school, trauma as a catalyst for remembrance, fifth-density consciousness, and the healing truth that everything begins and ends in love. ABOUT THE SPEAKER: Hillis Pugh is an Omni Resonance Architect, Soul Mentor, author, teacher, speaker, and rare Sirian-Lemurian lineage teacher. Through psychic mediumship, Reiki, Lemurian light energy, soul blueprint work, and primordial source transmissions, Hillis helps people release trauma, reconnect with their soul essence, and remember the deeper love that exists beneath every experience. His work focuses on energetic restoration, gratitude, resonance, and guiding others back into harmony with who they truly are. CONNECT WITH THE SPEAKER: Website: https://hillispugh.com/

When photographer Bill Wishner began his career more than three decades ago, his focus was music—particularly jazz. His photographs documented performances and musicians, eventually leading to his role as co-editor of Monterey Jazz Festival: 40 Legendary Years. Over time, however, his photographic interests shifted from the stage to the urban environment, where he began looking for the unexpected images hidden in the walls and surfaces of cities around the world. Beginning in 2012, Bill embraced the role of what he calls a "Visual Hunter," turning his attention to the transformative visual art and aesthetics found on urban walls. His Art of the City Wall project explores the layers, textures, shapes, and juxtapositions created by graffiti, posters, weathering, and the passage of time. Rather than simply documenting what he finds, Bill uses framing and observation to transform these fragments of the urban landscape into photographs that invite us to see familiar environments in entirely new ways. His books Artifacts and De-Faced extend this exploration, while his longtime commitment to photography also includes founding f8 Pasadena Salon and co-directing Pasadena Photography Arts, organizations dedicated to fostering dialogue, education, and opportunities for photographers. Resources: Bill Wishner https://billwishner.com/ Pasadena Photography Arts http://pasadenaphotographyarts.org F8 Pasadena Salon Blog Archive https://f8pasadenasalon.weebly.com/f8-weekly-blog Support Ibarionex & The Candid Frame Patreon https://www.patreon.com/thecandidframe Buy Me a Coffee https://buymeacoffee.com/thecandidframe Education Resources: Los Angeles Center of Photography https://lacphoto.org/ Nobechi Creative https://nobechi.com/ X-Peditions (F8 Photographic Workshops) https://f8workshops.com/ Candid Frame Resources The Candid Frame Newsletter & Substack Blog http://ibarionex.substack.com/welcome Making Photographs: Developing a Personal Visual Workflow https://www.amazon.com/dp/1681983990/ Contribute a one-time donation to the show through Buy Me a Coffee https://buymeacoffee.com/thecandidframe Support the work at The Candid Frame by contributing to our Patreon effort. You can do this by visiting https://www.patreon.com/thecandidframe or the website and clicking on the Patreon button. You can follow Ibarionex on Instagram. https://www.instagram.com/ibarionex/

Polina Oversoullight guides a deep transmission on oversoul embodiment, multidimensional DNA, personal freedom, and the shift into future timelines. Rather than seeing ourselves through old stories, past trauma, or fixed identities, Polina invites us to experience consciousness as fluid, sovereign, and connected across many dimensions of existence. This session includes a 12D light transmission, heart chakra activation, diamond rainbow bridge visualization, and a powerful reminder that your awareness is the technology that moves you into your next reality. ABOUT THE SPEAKER: Polina Oversoullight is a multidimensional oracle, trance channel, mentor, and founder of Soul Code Ascension School. Her work supports starseeds, leaders, and visionaries in activating soul mission, multidimensional DNA, divine genome remembrance, and higher-dimensional embodiment. She channels the unified fields and councils of Sirius B, Arcturus, and Andromeda, offering transmissions designed to restore coherence, awaken soul memory, and help people align with their divine blueprint and highest timeline. CONNECT WITH THE SPEAKER: Website: https://www.oversoullight.org/

Julie Suen shares a powerful transmission on Star Children, New Earth education, cosmic embodiment, and the next stage of humanity's awakening. Rather than only remembering where we come from, Julie invites us to embody our multidimensional nature through the body, the heart, our families, and the systems we are here to build. This conversation explores the bridge between human and cosmic consciousness, the role of today's children, Lemurian remembrance, soul purpose, and the sacred responsibility each of us carries as a thread in the larger tapestry of a new civilization. ABOUT THE SPEAKER: Julie Suen is a cosmic oracle, Star Mother, New Earth architect, attorney, and founder of New Earth Trust and Star Children Academy. Her work bridges multidimensional wisdom with grounded real-world systems for Star Children, conscious parents, visionary creators, and future-ready education. Through New Earth Children Roundtables, family retreats, education initiatives, and her work with children and parents, Julie helps create spaces where the next generation can feel seen, supported, and free to embody who they truly are. CONNECT WITH THE SPEAKER: Website: https://www.trustnewearth.com/

There are roughly 100x more people who use code than who can write code. As code that “just works” becomes easier to generate, this group may be the biggest prize of all — if you can get the agentic interface right.A key trend we have been tracking over at AINews is the absolute explosion in Codex usage this year, with MAU now up >10x from Jan 2026. Less than two weeks after their July 9th launch, OpenAI said ChatGPT Work and Codex had reached 10M users combined (as we cover in the pod, Codex now powers ChatGPT Work, so all ChatGPT Work users are now users of the Codex harness, even if they aren't traditional engineers) — showing the early innings of what happens when you graduate from coding agents to knowledge work agents:We've been calling out how coding agents are “breaking containment” to do everything else this year to power every other part of knowledge work - and it started with the org chart, with a major reorg last month that amounted to two of Codex's most prominent leaders, Greg and Tibo, taking responsibility over product and ChatGPT specifically, completing a “Superapp” consolidation cycle first discussed in March.With these updates Codex is no longer just a coding tool. In June, OpenAI said knowledge workers already accounting for roughly 20% of Codex's user base and growing more than 3x as quickly as developers. A product dedicated for knowledge workers was being pulled out of the Codex team.However, knowledge work has a different set of problems and environments than coding. For decades, knowledge work has been scattered across different primitives like documents for writing, spreadsheets for analysis, slide decks for communication, and specialized applications for everything else. ChatGPT Work now enables users to work across every primitive with agents. Instead of opening an application and manually operating its features, the user can describe an outcome and collaborates with an agent that can assemble the tools, context, and artifact needed to reach it.From building no-code products at Airtable to leading Productivity Engineering at OpenAI, Akshay Nathan has spent much of his career trying to make the power of software accessible to people who do not write code. In this episode, Akshay joins swyx and Vibhu to unpack the launch of ChatGPT Work, why Codex unexpectedly took off among non-developers inside OpenAI, and the company's broader plan to bring useful agents from software engineers to knowledge workers and eventually everyone.We go deep on the shared agent harness behind Codex and ChatGPT Work, why OpenAI brought the experiences together without making them identical, and how persistent computers, artifacts, Sites, plugins, memory, and sub-agents are changing what people can delegate to AI. Akshay explains why some teams are replacing decks and spreadsheets with interactive websites, how agents can gather context across code, Slack, documents, and local files, and what OpenAI learned from personal-agent products like OpenClaw.Side note: also don't miss Abhihek's sandbox track keynote at AIE, which now powers a lot of the sandboxing for ChatGPT Work… and yes was also broken by an unreleased OpenAI model in the recent HuggingFace incident.Akshay also reflects on how AI is transforming product development itself: why more people will become generalists with a specialty, why ideas and taste become the bottlenecks when almost anyone can build, why LLMs still struggle to generate genuinely grounded new ideas, and why teams must distinguish increased motion from actual progress.We discuss:* Why Codex unexpectedly took off among non-developers inside OpenAI* Why employees felt like using Codex gave them a new superpower* The product insight that led OpenAI to build ChatGPT Work* Why Codex and ChatGPT Work share the same underlying agent harness* How their UX, Git visibility, artifacts, and sandboxing defaults differ* Why OpenAI merged its agent experiences instead of building separate products* How AI is blurring the boundaries between engineering, design, strategy, and operations* Why OpenAI wants the default model configuration to work for most users* When power users should use deeper reasoning, Ultra, or multi-agent modes* Artifacts, agentic spreadsheets, and creating high-fidelity work products* Why interactive Sites may replace decks and spreadsheets* The challenge of designing a simple interface for an agent that can build almost anything* Why users should retry tasks that models could not handle three or six months ago* How AI can gather context for performance reviews without replacing human judgment* The OpenAI automation that turns internal Slack and document activity into memes* What reaching ten million ChatGPT Work and Codex users means for the product* How OpenClaw inspired persistent environments, scheduled tasks, and personal agents* Using ChatGPT for financial planning, budgeting, workouts, meals, and household management* The design tradeoffs behind sub-agents and how much of their work users should see* ChatGPT memory, Chronicle, and long-term context* Why AI may make more people generalists with deep specialties* Why ideas and taste become more important when almost anyone can build* Why LLMs still struggle with the instruction “bring me new ideas”* Measuring productivity through quality at-bats instead of commits, tokens, or pull requests* The critical difference between AI-generated motion and meaningful progressAkshay Nathan* LinkedIn: https://www.linkedin.com/in/akshaynathan/* X: https://x.com/akshaynathan_Timestamps00:00:00 Introduction and Bringing the Power of Code to Everyone00:01:33 Joining OpenAI and Preserving a Startup Culture00:02:40 What OpenAI Learned from Enterprise AI Adoption00:05:28 Why OpenAI Built ChatGPT Work00:07:17 Codex vs. ChatGPT Work and the Shared Agent Harness00:12:07 Why OpenAI Merged Its Agent Experiences00:16:24 Models, Reasoning Levels, and Choosing the Right Default00:20:26 Artifacts, Agentic Spreadsheets, and Model–Product Collaboration00:24:22 Why Sites Could Replace Decks and Spreadsheets00:30:08 Designing an Agent That Can Build Almost Anything00:34:28 From Developer Agents to Knowledge Work—and Everyone00:36:07 Power-User Advice and AI-Assisted Performance Reviews00:40:41 OpenAI's Internal AI Memes and the Ten-Million-User Launch00:44:39 OpenClaw, Personal Agents, and ChatGPT as an Operating System00:50:24 Sub-Agents, Ultra Mode, and How Much Control Users Need00:54:39 ChatGPT Memory, Personalization, and Chronicle01:00:19 How AI Is Reshaping Product Development and Tech Roles01:03:15 Ideas, Taste, and Why LLMs Struggle to Generate New Ideas01:04:42 Measuring Productivity, Quality At-Bats, and Motion vs. ProgressTranscriptIntroduction: Akshay Nathan, ChatGPT Work, and the No-Code ArcSwyx [00:00:00]: We're here in the studio with Akshay from OpenAI. Welcome.Akshay Nathan [00:00:07]: Thank you.Swyx [00:00:08]: And with our trusty co-host, Vibhu. So you recently launched ChatGPT Work. You lead Core Product Engineering. It's been a long journey, into all this. I find it very interesting that you started with no code or low code, with Walrus and Airtable. And to some extent, ChatGPT Work is like the super app of super apps of, well, here is the ultimate no code. You just write a prompt.Akshay Nathan [00:00:32]: Yeah. It's funny how things come, full circle. I think for a long time in my career, I started my career working consumer fintech, but then after that, like, there's this hypothesis that, the things that we were able to do with code, like, as engineers, like, if we could bring that to many more people in a more, accessible way, then that would be truly magical. We were working on a startup. It's funny, like, before LLMs, before vision LLMs, on how to do automated testing with AI. It was just kinda jank, back then, but doing what we can, and then worked at Airtable for a while on the same thesis that, like, if we can bring a database or the primitives behind a database to people, that'd be really useful to them. But once LLMs came onto the scene, it became clear that, this was the missing piece, like, the missing technology required to, like, bring the magic of code to everyone without them having to know what's going on underneath the hood. And so, like, I think this launch and a lot of the stuff that we've been up to is, like, the manifestation of that.From Walrus and Airtable to OpenAIVibhu [00:01:33]: How was stuff when you joined? So you joined OpenAI 2023. Now we've got, so much more stuff, so ChatGPT, Codex app, ChatGPT Work. Have things changed?Joining OpenAI and What Hasn't ChangedAkshay Nathan [00:01:44]: I think the more interesting thing is how things haven't changed. Like, one, I joined I remember when I joined, it was, like, five hundred people. One thing I was worried about was, like, I was looking for something, more early stage and, like, was it gonna feel startup enough? And I joined, and I was like, “This feels even more startup-y than I could ever imagine.” And, like, that really hasn't changed even till now. I think the, like, level of, like, bottoms-up ambition and, like, the ability of anyone to, like, do anything or have an idea and ship it is really cool. But on the, like, mission side, I think what was really compelling to me is this mission of, bringing frontier intelligence to everyone. Like, building AGI and then bringing it to everyone. And, I think acknowledging back then that, like, that vision is gonna, not be a linear progression. Like, we're probably gonna, like, try different products and have different things that succeed and don't. But the vision has stayed the same, and the mission has stayed the same, and we're starting to see the pieces, fall together, and that's really cool.Enterprise Lessons: No One-Size-Fits-All AISwyx [00:02:40]: You worked on Enterprise. What A lot of people never touch ChatGPT Enterprise. What is something that you learned from there that you're bringing into your work now?Akshay Nathan [00:02:52]: I think how there's no one-size-fits-all solution in Enterprise. I remember in the early days of ChatGPT Enterprise, like, when we talked to customers and, like, everyone. That was, like, when I think it was a year after ChatGPT was released, and everyone was so excited to bring, AI into their enterprise. And, there were all these teams being stood up. It was, like, the AI deployment team with, like, these enormous budgets. And if you asked anyone, like, what were they excited about? Like, what were they excited about solving? Like, at first, you'd get, like, kinda like the baseline answers of, like, “Yeah, we have all this context and data and all this stuff.” But then if you ask them, like, “What was, like, a discrete use case that, like, they want AI to enable in their workplace?” You get such a different, like, variance, like, explosion of, different types of answers. And it's interesting, like, you using, like, these models and these products, you have this box, and you can say anything to it, which is the magic. But it'on the flip side, it also means that, like, you don't know what to do with it. And in Enterprise, I think a big part of that is, like, meeting the users where they are, like, what use case were they trying to solve, and then teaching them how they can use AI to, like, gain leverage there.Swyx [00:03:56]: Do you meaningfully differentiate that from forward-deployed engineering?Akshay Nathan [00:04:01]: I think there is the go-to-market side of it and then there is the product side of it. I think you need someone on the product side. And I think, like, however good we get at FDE motion, like, I think at the end of the day, if we have a user who's, like, looking at their computer or looking at their phone, like, it's our job in the product to, like, be enabling them and showing them where to go. So we're really excited about that.Vibhu [00:04:24]: Do you think there's been changes, over the past three years of adoption? So there have been, step function changes. You have reasoning models and whatnot. Is there still the same problems of Enterprise has black box, don't know what to do with it, or have things changed?Adoption, Agents, and the Next 10x MarketAkshay Nathan [00:04:39]: We're seeing now that, like, there's this huge uptake, right? Everyone is extremely excited about it. It feels like, many people are, millions, hundreds of millions of people are using ChatGPT. They understand, like, how generally to work with AI. But then, like, every time, like, a new capability gets unlocked, so now, like, we're seeing with agents, like, there is probably a contingent of, like, early adopters still who, truly get it, who are like, “ we you can do anything. You just have to make sure the right context is there, it's connected to the right tools, and that you are supervising it, but, like, anything is possible.” But then there's, like, this, like, 10x or 100x bigger market where, like, they don't yet get that, or they don't yet see that. And so I think that's the next stage here. So to answer your question, like, I think the adoption is there and growing fast, but I think the opportunity is, like, far bigger than that. That's where we wanna play, especially with ChatGPT Work.ChatGPT Work, Codex, and the Super App MergeSwyx [00:05:27]: Yeah. well, let's, let's skip ahead to ChatGPT Work. only, like, a month ago or so, announced. what was the decision process that led into it? there was this, overall merging of the super app. Is that what we're officially calling it? you deprecated the browser as well. Just, summarize your last, like, couple months of working on this thing.Akshay Nathan [00:05:50]: Yeah. It feels like forever now, but it's only been a few months. I think maybe the one, impetus that, like- Is most salient is when we release Codex, or even internally had Codex, like, it was really surprising to us, I think we recently put out some stats on this, that there was this, like, real inflection of, like, adoption among non-developers at OpenAI. And, I, through this product development process, like, would go to, like, these UXR sessions to talk to people internally. And the thing that stuck out to me is, like, one, like, you go talk to, like, strategic finance or marketing or whatever, and they're all using Codex for, their use cases. That part's cool, but the thing that really stuck out to me is how proud people were that they were using Codex. Like, how, likeSwyx [00:06:34]: It's like, “I'm not supposed to be using it, but I am.”Akshay Nathan [00:06:36]: It was that. It was, like, that they were, early to this, like, new thing, but it was also this thing of, like, they felt like they had a superpower, right? And, what we recognized then is that, like, the power of Codex, the power of agents, like, we already had this massive distribution base of people who have, come to know and love ChatGPT. Like, how do we show that to them? Like, how do we bring it to them? Which is, like, a hard product problem, and it's, like, a tricky thing, right? There's many ways you can go about it. And so that's what we called the Merge and the Super App over time, and ultimately launched it in ChatGPT Work, is how do we do that? But it came from that initial realization that, like, the power was not only for developers, like, much earlier than probably even we thought. Like, it could be extended to everyone.Swyx [00:07:17]: How do you see the products differently? So, like, who is it for, right? So Codex started out even CLI, then app. Now there's a merge of ChatGPT Codex and ChatGPT Work, so is it the opening for the average user, for enterprise, for work? How do you position it?Akshay Nathan [00:07:36]: I think we want to get it to position it for if you're doing work-related things, for lack of a better word, right?Who ChatGPT Work Is ForAkshay Nathan [00:07:42]: I think productivity is what, like, the pillar that I support. Like, that's the name of the team. And the reason for that, the reason we call it productivity and not, like, enterprise or, like, work or something like that, is because there's also personal productivity, right? And, like, I think ChatGPT Work is I've seen people do things in their personal lives that you wouldn't classify as, like, work technically, but, like, these agents are, super capable for. Like, one recent example that someone posted about, on our Slack is, like, someone had, like, a missed package, like they didn't receive it, and then they got, like, the picture of it, from Amazon or whoever the courier was, and they, like, asked ChatGPT Work to, like, find out where that package is. And, like, the agent, is extremely tenacious and, like, took the image and, like, looked at a bunch of, like, listings around their neighborhood and figured out exactly the apartment complex in which the package was, like, gave them some information. And so, like, I think there's all these things that, like, you, work-related or productivity-related things, I think that's what we want the product to be. You asked about Codex. I think we think Codex is, a durable brand, but we have a principle that, like, the user we don't want a user to get stuck in a tab or an experience where they don't get the power of the product. And so, like, everything that you can do, in the Codex portion of the product on desktop, you can do in ChatGPT Work and vice versa. But we made some opinionated product decisions on, like, how much of the Git state, if you're in a Git repo, do we wanna expose to the end user? Or how much do we wanna make the experience of seeing the agents thinking, like, diff forward so that you get exposed to the diffs out of the box. And then, like, on the safety side, like, how do we wanna think about, like, sandboxing and making sure that we have the right defaults in one state versus the other? So, there's, like, some opinions that go behind that, but we do want We don't want the user to need to choose which experience they're in.Swyx [00:09:26]: That is a good goal for AGI, right? Like, people don't want, like, to hide to choose what version of AGI they want. They just want the AGI to decide for them. can I get an answer or, like It's not super clear to me. Is the Codex harness and the ChatGPT Work harness the same? Is it just UI affordances, or are there prompt level or even deeper differences?Shared Harness, Different UX: Codex vs. WorkAkshay Nathan [00:09:49]: So the harness is the same. The harness is shared. on In both of the products, we made improvements to the harness to make it good for knowledge work, especially as it relates to plug-ins or computer use or artifacts. You get that power regardless of which experience you're in. On the UX side, there's opinionated takes that we have when you're in Codex mode, what the UX should be how the UX should behave, and some stuff around the sandbox like I mentioned, but the underlying harness and capabilities should be the same.Swyx [00:10:16]: I'm just kinda curious. Maybe we can, -- Is there a query that we can run that would look different in the two modes?Akshay Nathan [00:10:23]: Yeah. I tried to create, like ask it to create, like, a retirement calculator spreadsheet or something, in both modes. And then in Codex mode, you might have to be in a repo for this, but you'll see, like, the diffs of, like, the sheet that it's creating and stuff like that, and the file edits. But in Work you won't be able to see that.Swyx [00:10:42]: I think that's, that's super clear. And then also the other thing I wanted to dive into was your, the productivity team. what else is there? first of all, what are the top-level teams other than productivity? Isn't productivity everything?Productivity Teams and Core ChatAkshay Nathan [00:10:55]: SoSwyx [00:10:55]: Science?Akshay Nathan [00:10:55]: We have a team focused on ChatGPT. Like, the core chat experience, for consumer, which is like, not, I think all productivity. Like, there'People are using ChatGPT every day for search to, figure out how to write messages to loved ones, to think about, how to, like, learn a new topic, et cetera. And so there's so much more inside to create images. And there's so much more in chat that, the hundreds of millions of users are using that warrants, like, a very dedicated effort. And there's teams focused on enterprise and infrastructure and API and stuff like that, so.Swyx [00:11:33]: I will bring it up.Retirement Calculator Demo and Git-First UXSwyx [00:11:34]: Yeah. So I have them both running. This is ChatGPT Work. There's a Codex version here. I picked “Five Little Ducks” song, so this will take a while.Akshay Nathan [00:11:43]: Huh.Swyx [00:11:43]: I think we'll just keep it in the background and, as they finish, we'll look into some of the differences.Akshay Nathan [00:11:48]: Yeah. But immediately, I think if you flip back to the Codex version you'll see that,Swyx [00:11:53]: That it assumesAkshay Nathan [00:11:54]: Like theSwyx [00:11:54]: It assumes Git. Yeah. Yeah.Akshay Nathan [00:11:56]: The, like, dynamic island assumes that you're in a Git repo. And you might miss some stuff because some of it is, like, in the actual chain of thought with those changes and how we display that, but yeah.Swyx [00:12:07]: Is there an unintuitive like, is there a thing that you wanted to ship and then you got feedback, and you were like, “No, let's not do it?” Like, what's the thinking behind that?Why Merge the ExperiencesAkshay Nathan [00:12:14]: In, ChatGPT Work?Akshay Nathan [00:12:17]: I think one direction we could have gone with this is, like, keeping the experiences, like, completely separate. So it's like, whySwyx [00:12:22]: Different apps.Akshay Nathan [00:12:23]: Exactly, like different apps or even in the same app, like different, completely different experiences. Like, why merge it all? Like, what is. Codex, people love. Like, why bring these products together? And I think the intuition here is that, like, all of our jobs are, like, changing dramatically with AI. Like, for, like, every few months, like, I feel like I wake up, and I'm, like, doing a completely different thing than I was doing a few months ago. And my hypothesis here is that, or I should say our hypothesis is that, like, part of what we're, we're building, this technology is giving people leverage. Like, the things, maybe it's the more mundane parts of your job or parts that, like, if you were able to automate, you'd be able to share more ideas faster or whatever, like, you're able to do now. And because of that, like, that might blur the lines between someone who's, like, only writing code or creating strategy docs or, planning events or, helping with marketing or doing podcasts or whatever, right? And so, like, these things are gonna get blurred over time. And so, like, trying to draw a hard boundary based on, like, the who you are is gonna be, is gonna be tough. And, like, we should enable users to choose, but we shouldn't box them in. And so a lot of the work that went in here, like, keeping the primitives the same, like for example, plugins are, like, unified across, this product and ChatGPT and the cloud, was because of that. It's this thesis that, like, eventually things are gonna come together and we don't wanna be Like, we wanna be prescriptive about when to be in either experience, but we don't want to box anyone in.Swyx [00:13:45]: I wonder if there's users who are very tuned to the old ChatGPT harness that is effectively now replaced by the Codex harness. I can't imagine what that was, but maybe they're more the more conversational side. Can you compare and contrast the two harnesses? ‘Cause only you've seen it.Akshay Nathan [00:14:02]: Yeah. I think ChatGPT, the existing harness, like, still exists today. Like, it exists in this app,Harness Engineering: ChatGPT vs. CodexSwyx [00:14:08]: The classic, right?Akshay Nathan [00:14:09]: TheVibhu [00:14:09]: You just start a new chat, and you don't go under Work, right?Akshay Nathan [00:14:13]: Yeah. If you startVibhu [00:14:13]: SoAkshay Nathan [00:14:14]: A new chat and go to chat, then you're, you're talking to ChatGPT with the instant model.Vibhu [00:14:16]: Oh, we can technically do another. But on instant.Swyx [00:14:21]: Yeah. So this one's not gonna code or it's gonna be in line. It's on a in line in a sandbox.Akshay Nathan [00:14:26]: It'llVibhu [00:14:27]: Oh, that's coolAkshay Nathan [00:14:27]: We try to push you to go to Work if you're creating a spreadsheet. Yeah, but this isSwyx [00:14:30]: And this is a router decision? Sorry. Is it a router decision?Akshay Nathan [00:14:34]: This is the decision that, the model is making, and then, like it sees that you're able to. or you're trying to do something that would be better served in Work mode. But I think your question was like, what are the advantages of, like, the chat, like ChatGPT chat harness?Swyx [00:14:48]: It's more broadly, like, I wanna, do an oral history of harness engineering. Right? the ChatGPT harness lasted us from, let's call it the ‘01 era, until now, and now it's being replaced by the Codex harness effectively. And they're, they're overlapping somewhat, but I'm curious what changed if there is.Akshay Nathan [00:15:10]: My perspective on this is, like, there's, there's, there's there's like a constant process of, like, divergence, convergence, divergence, convergence. And in chat, like, many of the use cases I was talking about before, like, search or learning, I think we're, we're really optimizing for latency and optimizing for personality and, like, different things that, over time, like the product The reason people love ChatGPT is because we've been optimizing for those things and working on them for so long. Codex, what we learned was that, like, if you give the agent access to this infinitely flexible environment as a computer, it can do really powerful things. And so when we think about, like, okay, well, for knowledge work, like, what is which mode should we choose? It was like it felt more natural to us to bring that to this, like, computer environment and, maybe abstract some of the details of this computer away from users who might not be used to that, but, like, give them that same power. But ultimately, I think that we want the power in all places, right? We wanna meet people where they are. So I'm sure there'll be work down the road in order to get things to be, equivalently capable in all scenarios. But it's just a question of, like, what we've been focusing on the product on historically and what we're focusing on now.Models, Defaults, and the Reasoning SliderVibhu [00:16:24]: I think alongside that, outside of just harness and when to use Codex, ChatGPT, or Work, there's also the new models you've released, right? any guidance there? So people love to min-max what to use, like only use Terra on high reasoning versus, for this, you wanna use Sol here, ignore all theseAkshay Nathan [00:16:44]: There's 32 options.Vibhu [00:16:46]: But, that being said, for people that are expanding, so, productivity trying stuff for work that don't have the breakdown of what all this is what's, what's the advice, right?Akshay Nathan [00:16:59]: Well, I think before the advice, like the first thing is, like, none of this would be possible without these models. Like, the, I think you asked earlier, like, what was, like, the inspiration for work and, like, early on, like I mentioned, like, what we were seeing with Codex, but that was also because the models were getting infinitely more capable. That's happening again. I think it's like another step function jump now. And to answer the question on advice, like we want this default to be the best possible. Like, we wanna be opinionated about the default, and so we've we've chosen a default that we think is gonna be the best for everyone. And, we have for power users options under the hood. We could One could argue that there might be too many right now, and we're, working on simplifying it. But you can extend, the reasoning level, and you can change between the different model classes if you need to, but the default should be the best for most use cases. So my advice to most people would be to stick to that. And then, if you reach a situation in which you think that you could, you wanna try, a different configuration, if you're not seeing either the efficiency on the cost side or the quality on the intelligence side, then you can change the defaults and see if you can get something better. But we think that the default should be good enough.Swyx [00:18:09]: I have, I'm just gonna run something by you since you have way more experience than me. I've recently been doing Sol Lite but with goal, with the idea that the goal augments the reasoning effort, but with more terminations and turns.Swyx [00:18:24]: Is that a good way to think about it as opposed to Sol Ultra or Sol, Extra High?Akshay Nathan [00:18:29]: Yeah. It's hard to say becauseSwyx [00:18:31]: Yeah. It's like an interaction effect.Akshay Nathan [00:18:33]: exactly. It's like there's a preference on, for you as an individual, like how do you like to collaborate with the models? Like how many of those like terminations, as you call them, do you want where, you can steer or make sure that it's doing the right thing?Akshay Nathan [00:18:46]: I think generally people should try whatever works for them. I think that like using Ultra or the like multi-agent setups are best for like when you have like tasks that are either incredibly complicated, like open explorations or very paralyzable. I think even for tasks using goal, I think is best for tasks that you'll be able to make consistent progress in a way that's verifiable over time. But I think for most tasks, they don't fall into either of those buckets. And so like at least when they're starting, and so that's why I think the best first step is like trying it with the default configuration and then seeing like where you wanna go from there.Swyx [00:19:29]: Right. You guys worked on a slider, which is super helpful for reducing the amount of panic.Vibhu [00:19:36]: It's nice on mobile at least. There's a nice slider there.Swyx [00:19:38]: It's nicer.Vibhu [00:19:39]: I haven't tried it.Swyx [00:19:40]: So you have the advanced view there, but if you click advanced view. Yeah.Vibhu [00:19:44]: Ooh, it's just a nice slider. Yeah.Swyx [00:19:46]: Very pretty, very colorful.Akshay Nathan [00:19:48]: Yeah. The idea was here was like reduce it to like one dimension even though there's multiple dimensions, right? Try to project it onto a single dimension for the user. Like, something from that represents like, speed and efficiency on one side and then like quality and thoroughness on the other side.Artifacts, Spreadsheets, and the Work LaunchSwyx [00:20:04]: I am just puzzled that it uses Sol so much, like the lowerVibhu [00:20:07]: NoSwyx [00:20:07]: Grounds I would've usedVibhu [00:20:08]: I think the slider, if I'm not mistaken, isSwyx [00:20:09]: Terra.Vibhu [00:20:10]: Oh, it is.Swyx [00:20:11]: Yeah. See? So they preset Terra to only be the light one. But like I think a lot of people would more people should use Terra. One, because Sol keeps running out of capacity.Vibhu [00:20:22]: I'm the reason. Here's ten minutes of ourSwyx [00:20:24]: There you goVibhu [00:20:25]: Retirement calculator.Swyx [00:20:26]: Oh, that's the Excel thing working for you.Vibhu [00:20:28]: This is,Swyx [00:20:28]: Oh my God. Look at thatVibhu [00:20:28]: This is work, and then Codex is still cooking, so we'll get back into it. I think it'll be interesting to see the thought process, the reasoning, and also, this is eight minutes on work. Codex is still cooking.Swyx [00:20:41]: Yeah. And by the way, so I've, do Gabriel Chua? He's part of the OpenAI Singapore team. He showed me this, and I was like pretty shocked that this looks like Excel. It edits Excel files. You never paid an Excel license, right? Like, but somehow this is like workable and it's agentic Excel.Akshay Nathan [00:21:01]: Yeah. one of the big like pushes that we made for this launch was like artifacts, right?Akshay Nathan [00:21:05]: Like both on the model side, like I think if you compare this with GPT-5.5 and GPT-5.4 before that, you'll see that there's been pretty dramatic improvements in the quality of these artifacts and then also on the product side.Vibhu [00:21:16]: The UX side is also crazy, like hosted sites and whatnot. No longer needing to host your own little webpage, like itSwyx [00:21:23]: Oh, I have a story about that. I can do, a separate thing. I'll need to take the visuals here, but we-we'll, we'll cut to that later. Was there co-training, because you were moving making this big move and you launched GPT-5.6 on the same day as ChatGPT Work? Was there influence between the model training teams and the harness teams, or did they did the launch dates just happen to line up the same day?Akshay Nathan [00:21:46]: I think the we collaborate heavily with the research teams, and I think that's like one of the most magical parts of the job, like the most fun parts of the job. But yeah, just using artifacts as an example. Like, a lot of what you're seeing, like underneath the hood, there's a lot of work that went into making sure that like, we had the right infra to be able to train the models to get better at this. And then on the product side, like had the right experience for users to be able to collaborate with the model on an artifact like this. In fact, like this whole viewer, like the intuition here is that like, it's not necessarily that you wouldn't need an Excel license. This is stage one, right? Like, this is probably not what you meant when you're like making a retirement calculator.Vibhu [00:22:24]: Yeah, you can iterate very easily. Yeah.Akshay Nathan [00:22:24]: You wanna iterate and like when you're seeing it, and if this thing is high fidelity to like what you would see in or what your coworkers would see if you were to send this to Sean, like that I think makes it so easier and makes you trust the product in terms of iteration.Vibhu [00:22:39]: When you say coworkers would see, do you see a multiplayer, multi-team collaboration with artifacts? Any things you guys think about that?Multiplayer Artifacts and CollaborationSwyx [00:22:46]: You can already share it, right?Akshay Nathan [00:22:48]: Yeah. It's inter It's something that, we're actively thinking about. one thing that, we've noticed internally without talking too much about the roadmap is that like there's many times when someone will ping me about something, and I will ask ChatGPT Work the question, and then I'll ping them back the answer.Akshay Nathan [00:23:04]: And then I'll be thinking likeVibhu [00:23:04]: Like the simplest would be, the three of us are just all on one hosted.Akshay Nathan [00:23:07]: Exactly. And I'll think about like was I required in this loop or and then maybe it was, rephrase like what they were asking or pulled from certain context or whatever. But like, when I gave them back the answer, that process was also lossy, right? Like I gave them just like my interpretation of what ChatGPT Work cooked up. But like underneath the hood, there's so much context like in the rollout and stuff that could be interesting.Vibhu [00:23:28]: Yeah, it'sSwyx [00:23:28]: So like the answer was preemptively respond to every inbound request?Akshay Nathan [00:23:33]: No, it was just like literally like this is what I do sometimes as my job.Swyx [00:23:36]: I know you copy-paste and then you're just a message forwarding serviceAkshay Nathan [00:23:39]: Yeah. Yeah, exactlySwyx [00:23:39]: From AI to AI.Vibhu [00:23:40]: But I think it's interesting, right? It helps people understand the capability of what you can ask and delegate that oftentimes people don't realize until they try or someone shows you, and then you're like, “Oh, okay. Okay, I see.”Swyx [00:23:52]: I think it's als there's also like a, light security issue, where like you're the permissions layer. Like yes, I could query everything that you query, and I could get an automated response, but maybe I'm not supposed to see it. And that there's no way I would know because I'm not supposed to know what I don't know.Akshay Nathan [00:24:07]: Especially as like, with ChatGPT Work, we're, we're asking you to connect your plug-ins and, it's pulling from your local files and stuff like that. Like the amount of context that the agent has access to is like- Deeply personal and like that's something I think we need to preserve, so that'll be definitely a challenge.Swyx [00:24:22]: There's Excel, there's PowerPoint, there's Docs, the, grand trio of work. What other formats of work do you think about? like you worked on Airtable. Is there a future where there's like OpenAI Airtable? Like what does that look like if you ever ended up doing it?Akshay Nathan [00:24:41]: It's a really good question. I think,Formats of Work: Sites as Knowledge ArtifactsAkshay Nathan [00:24:43]: one that you didn't bring up was Sites, and I think that wasSwyx [00:24:46]: SitesAkshay Nathan [00:24:46]: A core part of this launch. There's one side of Sites that I think people commonly talk about, especially on Twitter and stuff or X, of like, this like prototyping tool. And like we saw that happen with this launch even. The model slider that you guys were referencing earlier, like that was developed almost fully in a Site. Like, the collaboration between design and engineering and product on that was like on a site where we play with, the affordance and figure out how it feels and all of that. But the other aspect that I think is a little bit less talked about is like Sites as like an artifact for knowledge work. I was talking to someone the other day who's on like our corporate finance team, and like we were mentioning how like now when they have these reports that they're, they're working on as a team month to month, historically those things were in slide decks and in spreadsheets, and now they're just in Sites. And like Sites is the mechanism that they collaborate across the team. And the reason is ‘cause it's like, it's like somewhat higher bandwidth. Like, at these tools like PowerPoint and Excel are like infinitely flexible, but at some point you reach the boundary of like either as a human you may not know how to use some feature or something, or the product itself doesn't support it. But with a site you can do anything. You ask for anything and you can get that. once people see that magic, I think it's been really valuable.Swyx [00:26:02]: Yeah, let me show you my case study. this involves all the hot topics including ChatGPT Work, but also GPT-5.6 token billionaires and token maxing and Sites and auto research. I'm a fan of this game called Strata. It's, it's like a little board game that youSites, Auto Research, and Research DashboardsSwyx [00:26:17]: That you play with, physical blocks, that come on top of it like that. So over the weekend I took like thirty photos and just threw into ChatGPT. one point seven billion tokens later, out comes this site with a fully playable thingAkshay Nathan [00:26:32]: WowSwyx [00:26:32]: With 3D, block placement and everything. Because it requires physical blocks and I needed friends to train on it so they can get better, so I can play against them. But also, I could also, do things like train an AI on it and that's, thatAkshay Nathan [00:26:45]: That's your auto researchSwyx [00:26:46]: That gets into auto research. So, you want to train your own AIs, and then make sure they self-play against, each other. I need to set both AIs. So this is AI versus AI, and they're, they're gonna self-play. the AIs start out bad and then you want to define a loss function and get good. I wasn't gonna supervise all this. I was at, I was down in San Mateo, attending a conference. What I ended up doing was, auto researching and on this and creating benchmarks and that there was just way too many parameters for me to read. So I started asking it for a site, and it's created this lab, panel. Where is there a, is there a shortcut for a site that is created?Akshay Nathan [00:27:28]: You should be able to go in the sidebar to Sites, top of the sidebar. The left sidebar.Swyx [00:27:33]: This one? Oh, left?Akshay Nathan [00:27:35]: Yeah. Just scroll all the way to the top.Swyx [00:27:36]: Oh. Oh, it says Sites. Oh, there you go. Yeah.Akshay Nathan [00:27:39]: Ooh.Swyx [00:27:40]: So it create, it creates the sites. I don't, I don't think this is, it is exactly what I wanted, but let me show you what it popped up, right? Like I think as a research artifact, it is very important to communicate, exactly, what is being done. Outputs this thing which I eventually started publishing. So I moved it off of Sites because I wanted more, database and infrastructure than Sites afforded me. But this is like a research output that you can start to mess with and like try to think about like what hyperparameters are you tuning for training AIs. And like I was trying to make like scaling laws and everything and doing all sorts of like game optimization stuff. And the fact that you can just throw this up as a research artifact, like I no longer need to read ChatGPT output. I read Site output. But then there's also a huge sprawl. Like look at how long this thing is. There's so many numbers. It is pretty overwhelming, so then I have to start pruning it from there. But, it's an interesting transition from Markdown effectively that you're putting out to, you're putting out a whole functional site.Akshay Nathan [00:28:41]: I think Markdown just isn't that optimal for people to read, right? Might as well just write HTML website and I don't know. I think you can do a lot with customizing this, right? You have your skills that explain what you want. Like I noticed they're quite verbose. I don't need a lot of this information.Swyx [00:28:57]: It's very verbose.Akshay Nathan [00:28:58]: So and then the nice thing of having a site side by side is, you just iterate on what you want and what you don't, right?Swyx [00:29:05]: Yeah. I don't know if, any that triggers any stories for you of how it's run internally. Am I doing this right?Akshay Nathan [00:29:11]: Yeah. I think that this is like a workflow that we're seeing like all different types of teams use, where like the canonical artifact that was previously a deck or something is now becoming a site. And like with a site you, because it's just HTML, you can like. It's infinitely flexible. And so, if you want to give more prominence to a certain thing that like in a slide deck would, feel like it was buried, like you can do that. You can have it be like the hero image, right? And so I think that like, people are starting to see that. There's more work to be done to make these things like much more easier, easy to collaborate on. You mentioned that they're very, they're long and verbose, could be broken up. I'm sure that there's still something to do there.Swyx [00:29:53]: They're super long. Yeah.Akshay Nathan [00:29:54]: Yeah. But I think we're starting to see that like there is this aspect of this is a really interesting, format, for people to use, that's like much more flexible than what they ever had before.Swyx [00:30:07]: I think your job also comes becomes meta. You're not designing the products. You're designing a product to make products, and I'm curious how you manage that.Designing a Product That Makes ProductsAkshay Nathan [00:30:18]: I think one thing that we've been Like when we look at the UX, like that we've been thinking a lot about is how can we balance like simplicity with capability? Like if we're designing a product, like you said, that like is made to make up build other things, right? You can build so many different things. But we can't put that all in front of you because you'll get overwhelmed.Vibhu [00:30:41]: Yes.Akshay Nathan [00:30:41]: And so we had similar problem or similar challenges even Chat-with ChatGPT, but especially now, like when there's so much that can be done, I think the balance that we're constantly trying to strike is like, how can we give the user enough of a UI surface where, they can be expressive, they can tell the agent what they need, they can verify that it's using the right tools, it's pulling from the right sources, et cetera, but then it gets out of the way. And then how can we build the right system such that we can show them instead of telling them what can be done? Because so much of this is gonna be like, how do they discover the next use case and the next one after that if they really want to be super powered by the AI.Games, Private Evals, and Show-Don'TellVibhu [00:31:19]: Yeah. It's interesting. I feel like everyone also just has a different way to do it, right? I made a similar version of this same game. I didn't take any pictures of board or rule game. I threw in at goal eighteen minutes, fifty-three seconds later, a lot of tokens later, I've got a similar version. not with all the auto research and whatnot, butAkshay Nathan [00:31:39]: You gotta do all the latest trends.Vibhu [00:31:40]: And yeah, I did it with, did it with Codex, not Work, but it's interesting, right?Akshay Nathan [00:31:45]: Yeah. And this is GPT Image generating the pro avatars. Very good for game design. LikeVibhu [00:31:51]: AndAkshay Nathan [00:31:52]: A lot of game designers were like really into GPT Image for assets.Vibhu [00:31:54]: I will say like the broader takeaway probably is the reason that we do this is more so just to test the tools, right? Like, this was also a test for GPT-5.6 came out. I had done the game on GPT-5.5, right? The ability for me to no longer need it to. I had to feed it the rules. It's, it's a pretty niche game. It couldn't find how to do this on its own.Akshay Nathan [00:32:15]: Oh, yeah.Vibhu [00:32:15]: GPT-5.6Akshay Nathan [00:32:16]: It is out-of-distribution, which is why I was also very keen on testing the GPT-5.6 capability.Vibhu [00:32:21]: But, this is just as work comes out, as new things come out, these are just our side ways to test things, right?Akshay Nathan [00:32:27]: Yeah. It's some private eval. That is not this private.Vibhu [00:32:31]: But also valuable because now you can send this to your friends and I learned about this game through seeing this.Akshay Nathan [00:32:36]: It's a hard game. He's very good.Vibhu [00:32:39]: It's good to when no one is competing with you. But yes, it's a classic RL problem of like self-play, bootstrapping your game AI. yeah, you see how easily work becomes personal and personal becomes work because the thing I do for personal, it directly informs people I work with because I showed it to them. They were like, “Oh, you can do that with GPT?” Which like I imagine is the growth strategy.Akshay Nathan [00:33:02]: Yeah. The show not tell is a big piece that, I think we've we're not still not fully cracked of like, showing people all the things that they can do with the product versus like trying to teach that to them through like, articles or onboarding or whatever.Akshay Nathan [00:33:18]: So meeting them in the moment.Vibhu [00:33:19]: It's a career risk for me, because I used to be in developer relations, right? Where your job is to show, and then you're like, “What do you mean? You don't, you don't need.” your job is to tell. And then. But the product people are like, “Well, we don't need you if our product is intuitive enough.” SoAkshay Nathan [00:33:37]: Yeah. that's the magic of the models. So you can tailor the telling or the showing to like specifically what the user needs, like what they care about, what they've done in the past, exactly where they are on the adoption journey. So I think that's like gonna be a super big opportunity.Vibhu [00:33:50]: Seems easier and easier now to tailor custom showing, right? People have different use cases. As much as you said you don't wanna segment different people into different buckets, right? It's also not that hard to for people that are in different categories. But the question, is you said your team is more broadly on. What was the term you used? Productivity?From Developers to Knowledge Work to EveryoneAkshay Nathan [00:34:12]: Productivity.Vibhu [00:34:12]: Productivity. So howAkshay Nathan [00:34:12]: Which is now work.Vibhu [00:34:14]: Is it work? Is there another distribution that we're not hitting? Is there a group of people that will have something different than ChatGPT, Codex or Work? Is there more that the mass isn't targeting?Akshay Nathan [00:34:28]: I see it as like a sequencing, like. The vision is like bring useful agents to everyone. We started with like developers. Like developers historically are like early adopters that are willing to put up with more friction, set things up, et cetera. Like that's where, Codex started. I think the next opportunity is like what we call general knowledge work, all the other functions around developers. I think when you go from developers to this segment, like there's inherent challenges with like, this show not tell thing that we're talking about, making the product more understandable, bringing in new capabilities that matter more for this cohort than matter for developers, things like artifacts, things like computer use, et cetera. And then I think like the same learnings, like similarly how we took the learnings from developers and brought it to, general knowledge work, the next stage will be like taking the learnings from general knowledge work and bringing it to everyone no matter what they're doing in their lives. And we're already seeing that a little bit. Like this game example that you have is, something that's like on the border of like fun and personal life to, your professional life. I use ChatGPT Work full-time at home for everything, like for whatever I'm doing. I used it the other day to come up with a meal plan and like, save that on the like computer environment that it has and something that I can continue going back to. Like is everyone doing that yet? Probably not because the thing says work on it, but eventually, we wanna get people there.Vibhu [00:35:51]: ChatGPT life.Akshay Nathan [00:35:52]: Yeah, exactly. ChatGPT cooking. But I think there's a lot of, there's a lot of opportunity there, but I see it as like, we're, we're built we built a foundation in software engineering, and we're gonna take the same learnings that we take from software engineering to knowledge work to everyone.Vibhu [00:36:07]: Do you have any power user advice? I feel like, there's a group of people that will live it, use it for everything, stay on it twenty four-seven. And then there's a bit of a gap between that crew and people that, okay, I use it for work. I use it occasionally. Sometimes I type questions. any advice, any learnings, anything you recommend or just, takeaways that you've found that help bridge that gap?Power User Advice: Push the Frontier of ImaginationAkshay Nathan [00:36:30]: I think a couple things that I've seen is like, one, that it really helps to broaden your imagination of what's possible, and this has been a learning even for me. Like, the technology has progressed so fast that, something that, like, even three months ago, like, no way the models can do this. Like, now it's like, wow, it's like it can. Like,Swyx [00:36:52]: Give an exampleAkshay Nathan [00:36:52]: We're going through right now our, like, review cycle internally, and, people always talked about this as, like, a thing that the models are good at and like, there's a cliché of like: Okay, like, no one wants to be writing reviews and, like, we just use AI to do it. But in all seriousnessSwyx [00:37:09]: And it can evaluate it as well.Akshay Nathan [00:37:10]: Yeah, exactly. In all seriousness, before it was, like, just, like, slop and, like, I think it was helpful, but, not super productive. Now I've found that, like, the model can do a much better job than me, especially in this environment of, like, pulling context on, like, what people are up to, how they've like the things that they've done to make a difference, highlighting like, wins that they've had that, like, I might may not even have seen. It has access to, like, everything, right? Like the code, like, things that they've caught, reviews, Slack, everything. And so it's, like, incredibly powerful in that domain and, like, just like six months ago, the last time we did this cycle, like, I didn't even I tried using it, but it was not at all helpful. And this time it's been, like, incredibly helpful and, like, so I think continuing to push the frontier of imagination of what's possible, even if you tried something before, I think is maybe the my biggest piece of advice. The other, thing is, like, the more you put in, especially in this environment where, like, the model has access to everything on your computer or in ChatGPT Work, like you can create, artifacts over time and save them in your library and, like, the model will continue having access to those. Like, the more information you give it about whatever domain you're in, whether it's your life or your work, the more valuable it becomes, and it'll become valuable in, like, ways that might surprise you. Like, it might pull from context in a way that, may be proactive and that you might not even have thought about. But it needs to have access to those, to that those tools or that context first.Reviews, Agentic Search, and Context GatheringSwyx [00:38:27]: One thing I just wanna talk about the review stuff because I'm still that's a very sensitive thing and you're, you're a founder, you've managed people, you've hired people. As manager myself, I'm very reticent to put out any LLM-generated things especially when it comes to people, ‘cause it feels like you don't care.Swyx [00:38:46]: Presumably at OpenAI, people are more open to being eval rated by GPT. But are there any unofficial rules around this? Like, what's the etiquette?Akshay Nathan [00:38:57]: Oh, I think the etiquette is that, like, I would never write something via, like, well, solely via AI and, like, present it as, like, a review for someone. What I was talking about is more, like, gathering context. That's the place where it's incredibly helpful.Swyx [00:39:08]: So it's just search.Akshay Nathan [00:39:09]: Yeah, exactly.Swyx [00:39:09]: It's agentic search. Yeah.Akshay Nathan [00:39:10]: It's like agentic search, but, that you can tailor and steer much more capably than you could before, ‘cause, like, the thing is it's all there's a flywheel happening, right? Because of Codex, people are able to do, and because of ChatGPT, people are able to do so much more now than ever before. And if you're able to do so much more, it's easy to miss things as well. And so, like, I think we need to use these same tools to keep up with all the impact that people are having and understand, where we can be helpful.Swyx [00:39:39]: I think the thing, like, I run a small company, so easy to search, but at the scale of OpenAI with the amount of messages that you guys put in Slack, do you think that it misses things?Remembering What Humans MissAkshay Nathan [00:39:50]: Probably, but I think that I also miss things.Swyx [00:39:52]: Like, it doesn't matter, right?Vibhu [00:39:53]: I think sometimes it'sSwyx [00:39:53]: Like it's, as it needs to be human-levelAkshay Nathan [00:39:54]: It's all relative, right? Yeah.Vibhu [00:39:56]: Sometimes it's nice when it finds things you wouldn't, right? Like right now, my Codex system prompts, they're set up in such a way that every project I have has a secret- separate, notes MD, and it just writes learnings to there. And then the global one can pull from all these. So sometimes it'll be like: Oh, there's this project you did like four months ago. Here's a note that we had, and it randomly pulls it back into context that I would never do, I haven't thought about.Vibhu [00:40:20]: And I'm like, okay, this is quite superhuman, right? Like, stuff that would. And, it'll save like hours on chunking of stuff or find something that's already been done. I'm like, as much as it might miss stuff, I would too, but it's very useful when it finds stuff. And I have like a very, non-super engineered solution to this. It's just marked down files that get pulled whenever they want.Akshay Nathan [00:40:41]: Yeah. I have a funny anecdote about this. Like, recently gearing up to this launch, the team has been, really cooking on it for a couple months, and over that time, like there's so much conversation and chatter going on in Slack and Docs and elsewhere. And, one of the members of the team set up this, scheduled tasks, like automation to like look at everything that's going on and, like, come up with the best memes and then post it in one of our shared channels. And like, there are two cool things about this. Like, the first is, like, I think the models are, over time, like starting to become like funny.Swyx [00:41:13]: Funny. Nice.Akshay Nathan [00:41:13]: Whereas like, a year ago, like that was not at all the case. The second is, it was what you were saying, like they find things that in surprising ways that you may not have thought of and like create connections that you may not have thought of. And that really helps with like the meme generation because then you can see something that, genuinely surprises you and, is funny in that way. So yeah, that's like not like the most productive, use of this the technology, but it does it does uncover this, like this capability that's emerging, which is just like to find information that you otherwise would not know of.Launch Momentum and the 10 Million User MilestoneSwyx [00:41:43]: Talking about the launch, I think, I have pretty much said this is the most successful launch in a long time. I think even more successful personally than 5.0, and they're announcing ten million users. Does it feel different? You've been through a lot of launches.Akshay Nathan [00:41:58]: I think it feels like a culmination. Well, I think two things. One, it feels like a culmination, like I was mentioning earlier, like this like vision mission that we've been on for a long time. Like I said, we saw the magic of Codex internally, and then we're like extremely excited to bring this to many more people and to see it working, to like see us reach, the distribution goal, numbers that you mentioned, like I think that's like huge and super exciting. The flip side of that is like, there's so much more to do too. Like, that's also really exciting. Like, ChatGPT as a whole, like the this product that, everyone almost equates to AI and like loves, has hundreds of millions of users. And so like ten million is really cool, but like we need to get this to everyone. Like, we need everyone to feel this magic. And so that's the next step from here. But yeah, I think extremely pumped about how it's going so far and the opportunities.Swyx [00:42:46]: Awesome. I did want to also Because I've, I've, I've been tracking the number closely, it transitioned at some point from just Codex users to Codex plus ChatGPT Work, because they're same harness. The whole point is that you don't, you can't, count them separately. Do you have roughly a billion, ChatGPT users? Why did it just jump to one billion right away? Like, isn't that the default on ChatGPT or no?Codex, ChatGPT Work, and the Developer BrandAkshay Nathan [00:43:11]: We don't default you into ChatGPT Work if you're on ChatGPTSwyx [00:43:14]: If you're free. YeahAkshay Nathan [00:43:15]: It's also only available to paid users right now. And I think there's like a process of, educating users of what is the value of this product, having them try it, learning from their feedback, and making it better over time. But the goal is to, get as many of the people who love ChatGPT today to like feel the power of ChatGPT Work. But I think it'll be a journey.Swyx [00:43:36]: Yeah. And Codex will still be alive as a brand for the foreseeable future. And we'll just toggle between them as needed for UI stuff.Akshay Nathan [00:43:44]: Yeah, I think it's even stronger point than that. Like, I think we fully intend to like, treat developer. Like, developers have been, a core market for us for so long, and like there's, there's so much more that we can do to make Codex great specifically for, software development, and we'll continue to do that. This doesn't take away from that at all. If anything, it should increase the utility of something like Codex, because now you can move seamlessly between writing a diff to creating an artifact or, doing a search over your factor.Swyx [00:44:11]: I do wonder how much this terminology leaks to the non-technical user. Like, do they have to learn to say artifact if I want artifact? Or.Akshay Nathan [00:44:20]: It's funny, like we call it artifacts internally ‘cause that's what the teams call it.Swyx [00:44:23]: It's nice. Yeah.Akshay Nathan [00:44:23]: But like externally, like no one says that, no one calls it an artifact. But I think that people like often, like describe things, whatever they're used to, right? So if, ChatGPT Work is good at creating slides, they'll say ChatGPT Work is good at creating slides, and that's what we want.OpenClaw, Personal OS, and Persistent ComputersSwyx [00:44:38]: One big Another, it's July of twenty-six. One big thing that also happens in, for OpenAI was OpenClaw, and that's I think a lot of people's first time really maxing a agent for personal stuff, but also crossing over to work in essence same way. As far as I understand, OpenClaw is still independent, but did you go through your own OpenClaw moments? Were there any lessons you took from OpenClaw to Codex or back? Whatever.Akshay Nathan [00:45:06]: I think there's a lot of inspiration. I did go through my own OpenClaw moment. I,Swyx [00:45:10]: Yeah, tell the storyAkshay Nathan [00:45:10]: Me and my wife like set up an OpenClaw to like try to manage everything in our house. Not that there's like a ton, but it was like quite useful. We gave it a calendar. It started, creating events for us and stuff. At some point, the laptop that we were running on, it died and never got a chance to pick it back up. But there was a lot of inspiration there, like, in ChatGPT Work, in web and mobile, like you get access to this like persistent computer environment where, you can store files, and those files stay around between sessions. And the idea is to be able to enable use cases like this. one of the members of our team uses ChatGPT Work for what they used OpenClaw from before, and then feel like it has like completely transitioned, which is like, workout planning and like meal tracking. which again, it's like a work-related thing, right? It's like not work necessarily, but it's like in personal productivity space. But it has all the same primitives. So it has scheduled tasks. It has the ability to store files on a file system. It has the ability to like reference those things over time. And so you start to see the same types of use cases emerge, which has been really cool.Swyx [00:46:14]: Is there a point that ChatGPT Work completely replaces OpenClaw? they're independent, so.Akshay Nathan [00:46:20]: Yeah, I'm, I'm not close to it, so I can't speak to the OpenClaw roadmap, but I don't think so. I think that there's gonna be, there's always a need for like this like incredible, like open source technology that team has built. And I think that we can draw inspiration, in the product and, ChatGPT, I think many more people have like heard about and used ChatGPT than have used OpenClaw. And if we can take the magic from OpenClaw and bring it to them, I think that'll be a success. I think that like one thing on the ChatGPT Work side that we feel strongly about is that like the core experience is that you come to this product and you have a conversation, start a session, whatever you wanna call it, with this agent. And the magic of the product is that you can do anything in that moment. And we would like to create a product where you don't have to click a button or to go to a different place, whatever, and you can get whatever functionality exists in, your finances app or where or any other product like in this one place. And so that's the goal. It's like it we want an extensible system with plugins where you can connect to the tools that you need in order to be able to accomplish like a financial task, where you can, if you're doing like science work, like we have an ability to like extend the system in such that you can like write the tech and it performs well. There'll always be like products that we support that are best in class at those things, but we want as much of the magic as possible in that core experience.Swyx [00:47:45]: Yeah. Do you think that you can do everything you used to do with Wealthfront in ChatGPT Finance?Finance, Data Access, and Centralized ContextAkshay Nathan [00:47:50]: I tried it. like ChatGPT doesn't yet custody, cash and assets for me. So that part, no, not yet. But I, there was like a whole component of like retirement planning and, like financial planning and budgeting and stuff that, we were looking into when I was there. And like with the finances plugin, like that's all possible with ChatGPT today. So, I feel

Diana Divine guides a powerful conversation and activation on embodiment, kundalini energy, galactic Akashic records, nervous system coherence, and reconnecting with your original divine blueprint. She shares how we are moving through a major energetic shift where old timelines, densities, and programming are rising to be cleared so we can hold more light, remember our multidimensional nature, and create from a deeper place of alignment. This session includes grounding with Mother Earth, activating the chakras, opening the heart, reconnecting with star family, and remembering the body as sacred technology for ascension. ABOUT THE SPEAKER: Diana Divine is a galactic Akashic records reader, shamanic quantum healer, QHHT practitioner, crystalline soul healer, Reiki Master, and high-brain living facilitator. Her work weaves together quantum healing, light language, kundalini activation, astrology, human design, shamanic wisdom, and multidimensional soul remembrance. Through one-on-one sessions, masterclasses, and certification programs, she helps people activate their soul blueprint, reconnect with their star lineage, and embody their next level of spiritual mastery. CONNECT WITH THE SPEAKER: Website: https://www.dianadivine.com/

Maria Martinez guides a powerful activation into the field of creation, helping you reconnect with your divine blueprint, starseed DNA, higher self, and multidimensional intelligence. Through light language, energetic clearing, and transmissions from Andromedan, Sirian, Lyran, Pleiadian, and Mantis lineages, Maria invites you to release old programming, stop playing small, and step into the master architect of your own reality. This is a deeply experiential session for anyone ready to activate their gifts, embody more of their soul technology, and remember the truth of who they came here to be. ABOUT THE SPEAKER: Maria Martinez is a quantum alchemist, intuitive guide, and founder of 360 Prosperity. Her work bridges multidimensional healing, divine sovereignty, starseed awakening, light language, wealth consciousness, and energetic architecture. Through one-on-one sessions and group programs, Maria helps people activate their higher wisdom, unlock their codes of creation, and embody the fullest expression of their soul in this lifetime. CONNECT WITH THE SPEAKER: Website: https://www.360prosperity.com/

The religion of ancient Egypt said that when a king died, his soul ascended to the heavens to join with the god Osiris, in the modern-day constellation Orion. His tomb was filled with items he might need to help him on his way. And in the case of at least one pharaoh, some of those items probably came from the heavens. The tomb of King Tutankhamen contained thousands of artifacts. Many of them were made of gold, including a dagger buried inside his coffin. But the boy king also had a second dagger, made of iron. When Tut was buried, more than 3300 years ago, Egypt hadn’t started to work with iron ore, so the dagger probably was made from an iron meteorite – a space rock that fell to Earth. The composition of the dagger’s metal is much like that of a metallic meteorite – a mixture of iron and nickel, with a pinch of cobalt. Another Tut artifact was an elaborate piece of jewelry known as a pectoral. Its centerpiece is a scarab beetle carved from yellow glass. The glass formed about 26 million years ago, when an asteroid or comet plunged toward Earth. It either hit the surface or exploded in the atmosphere. Heat from the explosion melted some of the desert sand, creating chunks of glass. One of those chunks eventually made its way to an Egyptian artist, and then to Tut’s tomb – a piece of glass from the heavens for a king traveling to the heavens. Tomorrow: into the void. Script by Damond Benningfield

What if your body isn't just a physical structure but a living transmitter and receiver of cosmic information? Jessica Taylor, channel and Pleiadian messenger, breaks down why the human body is fundamentally a system of frequencies, how your cells communicate through light, and why healing the biofield — your energetic terrain — is the foundation of all true transformation. She also unpacks how Pleiadian frequencies are interacting with human DNA right now, why so many people are experiencing physical symptoms as their consciousness upgrades, and how to work with sound, light, and frequency to accelerate your own cellular evolution. About the Guest Jessica Taylor is a channel, medium, and spiritual guide who works primarily with Kistos — a seventh-dimensional Pleiadian consciousness — alongside other galactic and interdimensional beings. Beginning her journey in mediumship, Jessica's vibration progressively elevated to galactic frequencies, transitioning from communicating with disincarnate humans to receiving transmissions about consciousness, dimensional reality, and humanity's ascension path. Her work focuses on helping individuals raise their frequency, open the heart center, and prepare for direct galactic contact through inner alignment rather than external seeking. Connect with Jessica Taylor

Most people visit Chichen Itza and leave. But the Yucatan holds something far deeper — hidden pyramids, sacred caves, alien carvings, underground cenotes, and living Mayan wisdom keepers who carry knowledge the world hasn't fully decoded yet. Neil, Nanakasha, and Chris Noble sit down to pull back the curtain on a sacred journey into the heart of the Maya — exploring how these ancient sites were built as power plants, initiation portals, and star maps, and why the land itself seems to heal everyone who arrives. From Atlantean origins and Pleiadian connections to crystal activations and levitation experiences, this is the Yucatan nobody talks about.

Streamed live on Feb 27, 2026 #nephilim #paleo #oldtestament #torah #hebrewbible #escatology #torahportion #torahcommunity #torahdiscussion #torahpodcast #paleo #hebrewscriptures #genesis #nephilim #biblestudy #bibleverse #oldtestament #sabbath #sabbathfellowship #sabbathkeeper #wisdom #millennialkingdom #parables #cathedral #unicorn #antiquitech #menorah 2026 TUC YEARLY FINANCIAL GOAL (Paleo Hebrew Scriptures): https://www.givesendgo.com/The-Paleo-... Contact: noelhadley@yahoo.com TUC BOOK CLUB (Patreon):   / membership   PayPal: paypal.me/noeljoshuahadley Venmo: https://account.venmo.com/u/Noel-Hadley TUC Store: https://store.theunexpectedcosmology.... 2026 TUC Catalogue: https://unexpected-cosmology.nyc3.dig... Website: The Unexpected Cosmology Link: https://theunexpectedcosmology.com/ Archives page: https://theunexpectedcosmology.com/ar... TUC Discord Community:   / discord   TUC 2 YouTube:    / @theunexpectedcosmology2   Hebrew Match Dating: https://www.hebrewmatch.com/ Shelves of Shalom Publishing: https://shelvesofshalompublishing.com/ Facebook:   / theunexpectedcosmology  

Send us Fan MailOn this month's episode, Chris, Stephanie, and Brittany discuss war, artifacts, and archives throughout our nation's 250 years with a retired Rock Island Arsenal Historian! You will not want to miss this one!

Heather Taylor Demo has lived a life most people couldn't imagine surviving — trafficked at 13, gang life in Orange County, face ripped off by a dog at age 2, and six near-death experiences across childhood and adulthood. But what she brings back from the other side each time isn't fear — it's medicine. In this raw and remarkable conversation, Heather shares what she was shown during her NDEs, the moment the Reaper told her karma was complete and she could leave, and why she chose to stay for her five kids. She also breaks down the science and soul behind crystal singing bowls, how sound frequency pulled her out of a wheelchair, and why the ancient technology of vibration is only now catching up with mainstream science. About the Guest Heather Taylor Demo is a six-time near-death experiencer, sound healing practitioner, herbalist, author, and co-creator of Divine Bowls — a direct-to-market crystal singing bowl company rooted in the original 1975 quartz bowl technology developed for the semiconductor industry. A 10th-generation preacher with indigenous and druid lineage, Heather survived trafficking, gang life, a decade in a wheelchair, and multiple brushes with death before stepping fully into her role as a healer, teacher, and storyteller. Her work bridges ancient plant medicine, frequency healing, and modern science — and she's currently expanding Divine Bowls globally while developing a Netflix series launching first in Japan. Connect with Heather Taylor Demo Website: https://www.gettaylored.love/ Instagram: / heatherfacilitator YouTube: ‪@GetTaylored‬

This is Episode 120 of Breakup Gaming Society, a podcast for board game freaks, hip hop junkies, late adopters, and reluctant participants in the 21st Century.I am your host, The Colonel Hector Bravado…in Park Hill, Denver, Colorado. I'm visiting the folks. I wanted to see if the wildfire smoke and pollution here in Denver had a different nose or character than what I breathe down south. I'm still compiling my tasting notes. Keep an eye out for my byline in Filthy Air Enjoyer Quarterly.Also, a quick apology for my valued regular listeners who were dismayed by the fabricated tale I posted on YouTube about the home invasion incident. Quick fact scorecard here: I do, for the moment, live in Starkville, Colorado. I do have a large tub of Warhammer 40,000 Conquest cards. The crime and orange chicken things were invented. Extra apologies to listener, frequent guest and friend of the show Noisy Andrew, who asked for my orange chicken recipe after seeing the video. That orange chicken is made of lies. My advice, Noisy, would be to just get hold of an orange and a chicken and see where things go from there.On to the table and the act of play. This week I've got two interview excerpts teed up:• You'll meet miniature wargame designer Phil Yates, known for the Flames of War franchise and others — and learn about his upcoming WW2 miniatures dogfighting game and why he and partner Ian Burgos are making a bid to get a new breed of player in the cockpit for the Battle of Britain.• Also, a guest reading from Nate Tyler, one of a handful of people who make being on LinkedIn tolerable. He has craft and soul and a generous Midwestern wit.When I found out he played hobby games with his kids, I wanted to hear his story. He over-delivered: A collection of vignettes that spans family play over four generations, from playing Mexican Train with grandma in the Midwest to, today, teaching newer strategy classics to his own kids in Taiwan. Then he raised his hand when I asked him if he wanted to read it. What a guy.Nate's piece got me all misty for well-made “back in the day” type hip hop songs, so I'm gonna pop in here and there for nostalgic interludes from Artifacts and Slick Rick.MusicDow Jones and D.O. The Fabulous Drifter, “Wash Ya Ass”℗ 2006 Five Points PlanColor Parade, “Boom Bap” Uppbeat License Code: C8DCPMY8FKAXCEKDCécile Chaminade and Hans Barth, “The Flatterer,” 1924. Audio. https://www.loc.gov/item/jukebox-71450/.Slick Rick, “Memories”℗ 1999 Def Jam RecordingsArtifacts, “Whayback”℗ 1994 Big Beat Recordings#BoardGames #TabletopGames #MiniatureWargaming #WW2 #BattleOfBritain #FlamesOfWar #Wargaming #GameDesign #FamilyGaming #Tabletop #HipHop #SlickRick #Artifacts #Podcast

Jerome Martin was a construction worker building landfills when five blue light beings phased through his truck engine and changed everything. What started as strange dreams became a years-long training program with Arcturian beings — teaching him to float, move objects with his heart, communicate telepathically, and eventually bring other people's consciousness onto the ship. In this conversation, Jerome breaks down how he developed his light body, what the reptilian races actually represent in our DNA and shadow self, why darkness is a catalyst not an enemy, and why disclosure isn't coming from the outside — it's already happening individually, one activated soul at a time. About the Guest Jerome Martin is a galactic contact facilitator, light body trainer, and founder of LightBody Boot Camp — a progressive training system modeled after the same development process he underwent during his Arcturian contact experiences beginning in 2017. Starting with no spiritual background, Jerome went from construction worker to teaching people how to activate their Merkaba, develop their clairsenses, access altered states while awake, and make direct contact with extraterrestrial beings. His work bridges galactic consciousness with practical embodied training, drawing on transmissions from Arcturian, Sirian, and Pleiadian beings. Connect with Jerome Martin Website: https://jeromemartin3.com/ Facebook: https://www.facebook.com/projectstarb...

Get ready to question everything you thought you knew about history!

How do extraterrestrial craft actually move through space — and what does quantum entanglement have to do with it? Adam Apollo, physicist, galactic ambassador, and consciousness researcher, unpacks the real science behind spacetime bubbles, wormhole networks, and why warp drive is a dead end. But that's just the beginning. This conversation goes deep into the science of the aura (proven at NASA), how energetic cords form between people, what intentional psychic hooking actually looks like, why dark magic carries a threefold karmic backlash, and how holding space for someone's wound is the most powerful thing you can do — even for the most dangerous people in the room. About the Guest Adam Apollo is a physicist, futurist, galactic consciousness researcher, and the founder of the Resonance Academy for Unified Physics. A self-described Sirian ambassador and ancient dragon in human form, Adam has spent over two decades bridging cutting-edge physics with ancient wisdom traditions, indigenous initiatory knowledge, and extraterrestrial contact. His work spans unified field theory, light body development, sacred geometry, and planetary stewardship. He is also the creator of Core Nexus — a next-generation AI-powered platform launching in 2025 that combines social intelligence, course creation, and impact-driven philanthropy into one ecosystem. Connect with Adam Apollo Platform: https://www.adamapollo.com/ YouTube: ‪@AdamApollo‬

We're talking about the problems at the Lincoln Memorial undercroft, that viral July 4 photo of a woman on the Metro, and World Cup specials. Plus, in a members-only fourth segment, we'll get into the proposed very expensive upgrades to Audi Field — that D.C. taxpayers are going to pay for Want some more DC news? Then make sure to⁠ sign up⁠ for our morning newsletter City Cast DC. You can text us or leave a voicemail at: ⁠(202) 642-2654⁠. You can also ⁠become a member⁠, with ad-free listening, for as little as $10 a month. Learn more about the sponsors of this July 17th episode: ⁠DC Department of Behavioral Health⁠ Interested in advertising with City Cast? Find more info⁠ HERE⁠.

The Year of the Fire Horse doesn't slow down for anyone. Master Clarice Chan, Chinese astrology master and Feng Shui expert, breaks down exactly what this fire year means for humanity — why secrets and corruption are being exposed at an unprecedented rate, how the dragon and snake years were preparing us for this moment, and what you need to do right now before the fire burns through you instead of for you. She also unpacks the real difference between yang and yin energy, why the feminine is rising not to overpower but to balance, and how Feng Shui is really about spiritualizing every aspect of your life — not just rearranging your furniture. About the Guest Master Clarice Chan is a certified Chinese Astrology and Feng Shui master based in Singapore, specializing in the Four Pillars of Destiny (BaZi) and classical Feng Shui. With decades of practice bridging ancient Chinese metaphysical wisdom with modern life transformation, Master Clarice helps individuals and organizations align with natural cosmic cycles to create prosperity, clarity, and elevated consciousness. She is the author of Master Clarice Chan's Guide to 2026, available online and at select events. Connect with Master Clarice Chan: Website: https://masterclaricechan.com/ YouTube: ‪@MasterClariceChan‬

Shima Moore has been in the consciousness space since 1994 — before the internet, before it was cool, before anyone knew what to call it. In this conversation, she reflects on 30 years of watching humanity wake up, shares the spontaneous download that cracked her open in college, and breaks down why right now is one of the most cosmically significant moments in recorded history. Saturn and Neptune are meeting at zero degrees Aries — a conjunction that hasn't happened in 6,000 years — and what that means for manifestation, collective potential, and the changing of the ages. If you've ever wondered why everything feels so accelerated right now, this is your answer. About the Guest Shima Moore is a longtime astrologer, educator, and consciousness event pioneer who has been a driving force in the conscious expo world since the early 1990s. A former program director and editorial director for multiple conscious living expos, Shima has dedicated her life to bringing esoteric wisdom, astrology, and self-knowledge to the public. She lives in Mount Shasta, California, and continues to teach astrology, lead panels, and curate transformational events that bridge cosmic awareness with everyday life. Connect with Shima Moore Instagram: / shimamoore2020 YouTube: ‪@iamshimamoore‬

James is Associate Professor of Religious Studies at Northwestern University. He is the author of five books, most recently "Materializing the Bible: Scripture, Sensation, Place." His current research focuses on the secondhand circulation of Christian material culture.I spoke with James about his path into studying material religion and why materiality is essential for understanding religious practice. We discussed the Bible as a powerful object, how creativity functions in the context of literal interpretations of Scripture, and the ways religious artifacts circulate, gaining new meanings and values. James shared insights on the remixing of objects, the journey of the Gauchi brothers' Holy Land model, and the ethics of collecting and selling Christian items. We also talked about how we can be surprised by  material culture, the role of intentionality, and how secondhand spaces reveal both the endurance and transformation of Christianity in everyday life, especially in relation to popular culture.

Uri Lee went from fashion consultant in downtown LA to moon priestess, clinical hypnotherapist, and mushroom ceremony facilitator — and the journey in between involved angelic beings fighting over her soul, a divorce that cracked her open, and seven years of deep work with plant medicine that changed everything. In this conversation, Yuri breaks down the difference between psilocybin and Amanita muscaria, why the Vatican labeled Amanita poisonous to keep people controllable, how she combines regression therapy with mushroom ceremonies to help people time travel and heal subconscious blockages, and why mushroom's single message to humanity is simply this: be fearless. About the Guest Uri Lee, known as the Mushroom Lady, is a clinical hypnotherapist, moon priestess, regression therapist, and plant medicine ceremonialist based in Los Angeles. After a career in fashion and a decade-long personal healing journey through marriage, divorce, and spiritual awakening, Yuri spent three years in Sedona deepening her practice before building a unique healing modality that combines regression therapy, breathwork, mushroom ceremonies, and moon rituals. She works primarily with psilocybin and Amanita muscaria — offering microdosing products, tinctures, and guided ceremonial experiences designed to dissolve subconscious blockages and restore fearlessness. Connect with Uri Lee: Website: https://mysticuri.com/ YouTube @urilee

The Santa Ynez Band of Chumash Indians is celebrating the return of ancestral remains from Harvard and Yale. And, California State University is reimagining its Basic Needs Initiative.

Send us Fan MailIn this week's episode we discussed America celebrating its 250th anniversary, we're taking a look inside the nation's official time capsule and exploring the stories, symbols, and artifacts chosen to represent our era. Then we turn the question to the future: If people 250 years from now were creating a new time capsule, what should they include from today's world?Our Links:Retrospect

…that is, these ancient artifacts discovered in Japan shouldn't exist as far as mainstream archaeology is concerned… In this exclusive interview, I sit down with friend, researcher and explorer Michael Collins  AKA “Wandering Wolf.” Fresh back from his recent expedition to Japan, Michael guides us on a journey deep into a remote region of Japan where some very little known ancient sites have revealed some very mysterious out-of-place-artifacts. How could the ancients, using primitive hand-tools, have precision fashioned some of these impossible relics as the mainstream narrative theorizes? Are these astounding discoveries actually far older than we know? Were they made with ancient technology by a lost civilization?FOLLOW MICHAEL HERE JOIN ME ON A TOUR HERE

Back in the 1950s, facing the threat of nuclear annihilation, federal officials sat down and pondered what American life would actually look like after an atomic attack. They faced a slew of practical questions like: Who would count the dead and where would they build the refugee camps? But they faced a more spiritual question as well. If Washington DC were hit, every object in the the National Archives would be eviscerated in a moment. Terrified by this reality, they set out to save some of America's most precious stuff. Today, we look back at the items our Cold War era planners sought to save and we ask the question: what objects would we preserve now? We first released this episode back in 2020, but with our big fourth of July – 250 years! – just around the corner, we thought it was a strange but profound reflection on what this whole America thing that we're celebrating… actually is. Special thanks to Luke Manon, Ben Irving, Bill Pretzer, Jason Spier, and Garrett Graff for all his reporting that made this episode possible. LATERAL CUTS -The Cataclysm Sentence (https://radiolab.org/podcast/cataclysm-sentence) EPISODE CREDITS:  Reported by - Simon Adler with help from - Tad Davis Produced by - Simon Adler Original music and sound design contributed by - SIMON ADLER and Edited by  - Pat Walters Signup for our newsletter!! It includes short essays, recommendations, and details about other ways to interact with the show. Sign up (https://radiolab.org/newsletter)! Radiolab is supported by listeners like you. Support Radiolab by becoming a member of The Lab (https://members.radiolab.org/) today. Follow our show on Instagram, Twitter and Facebook @radiolab, and share your thoughts with us by emailing radiolab@wnyc.org. Leadership support for Radiolab's science programming is provided by the Simons Foundation and the John Templeton Foundation. Foundational support for Radiolab was provided by the Alfred P. Sloan Foundation. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

An airport director discusses air service and passenger growth, airport expansion, ATC impacts, and the implementation of a new RNP approach. In the news: DCA changes may increase the likelihood of helicopter-on-helicopter collisions, Collaborative Combat Aircraft airframers are selected while mission autonomy software is decoupled, Canada and the Global Combat Air Programme (GCAP), harmonizing FAA and EASA certification rules, and another runway near-miss. Guest Paul Bradbury is the Airport Director at the Portland Jetport in Maine. We look at Air service and passenger statistics, and Paul announces the Jetport's first seasonal transcontinental service with United to San Francisco and Los Angeles. He explains the opportunities small hub airports can realize through continued upgauging of aircraft. Paul notes that passengers have been willing to pay higher fares due to increased fuel prices.    See: United Airlines Launches Nonstop Flights from SFO and LAX to Portland Maine. To address parking capacity issues, Paul is now wrapping up the design and permitting for the revised $8.6 million surface parking plan, which the Portland City Council approved in April. This has been a lengthy process, and opposition from some area residents had to be resolved. See: Portland approves $10 million Jetport parking expansion. Paul also tells us about the challenges of Air Traffic Control capacity issues and the FAA’s capping of flights. We also learn about how the Jetport worked with Flight Tech Engineering to implement a new RNP approach to PWM that keeps flights over water. This approach was published on April 16, 2026, but is just now available for assignment by PWM ATC. Aviation News Helicopter collision risk higher after D.C. airspace changes, Coast Guard leaders say Following the January 2025 midair collision, the FAA made changes to the congested airspace around Washington, D.C. But in a public Transportation Research Board (TRB) meeting, U.S. Coast Guard representatives criticized the FAA, saying the revisions may increase the risk of a serious accident between helicopters. The Air Current reports that USCG pilots suggested that “the FAA did not adequately weigh the risks of a helicopter-on-helicopter collision when moving to eliminate helicopter routes and change airspace procedures to protect against close calls between rotorcraft and fixed-wing aircraft.”  The changes put helicopters closer together and made it harder for crews to train for proficiency. The pilots said there was an increased risk of helicopter controlled flight into terrain. In a written statement, FAA assistant administrator for communications Hannah Walden said, “Claims that these changes increased the risk of helicopter-to-helicopter collisions are not supported by the data.” She added that the FAA’s actions were guided by the National Transportation Safety Board’s emergency recommendations following the 2025 crash. The Transportation Research Board is part of the National Academies of Sciences, Engineering, and Medicine. The Board seeks “to anticipate and solve complex transportation-related challenges.” This is accomplished through more than 5,500 engineers, scientists, and other transportation researchers and practitioners from the public and private sectors and academia. The program is supported by state departments of transportation, federal agencies, and other organizations and individuals. Air Force picks General Atomics, Anduril to build first CCA drone wingmen The Air Force selected General Atomics and Anduril to build the U.S. military’s first Collaborative Combat Aircraft, beating out Lockheed Martin, Boeing, and Northrop Grumman in a re-solicited competition. The Anduril FQ-44A Furry and the General Atomics FQ-42A Dark Merlin will be fielded as production aircraft. The acquisition strategy is unique in that the Air Force is pursuing a “software sold separately” approach, in which the purchase of the airframe and the CCA’s mission autonomy software are decoupled. Anduril, RTX Collins Aerospace, and Shield AI were awarded production options for the autonomy software and will compete in a six-month head-to-head round. A primary autonomy provider is expected to be named by summer 2027. Canada Throws A Curveball As It Signals Interest In Joining GCAP Sixth-Gen Fighter Program In a Tokyo meeting, David McGuinty, the Minister of National Defense of Canada, said he is “interested in learning more about” the Global Combat Air Programme (GCAP). That next-generation fighter program is a joint venture with BAE Systems (UK), Leonardo (Italy), and Japan Aircraft Industrial Enhancement Co Ltd (JAIEC). Each holds a one-third share in Edgewing. The Tempest is a crewed fighter with a targeted service date of 2035. A demonstrator is currently underway with BAE Systems in the UK. McGuinty said, “I'll take it back to my team and see what it looks ‌like.” The speculation is that Canada could join the GCAP program with “observer status.” FAA Proposes to Speed New Commercial Aircraft Certifications The FAA recently proposed changes to modernize and harmonize commercial aircraft certification rules with EASA. The proposal would provide consistent requirements and reduce the cost, time, and complexity of certifications. This would streamline certification and benefit manufacturers. Aircraft Certification: Comparison of U.S. and European Processes for Approving New Designs of Commercial Transport Airplanes The U.S. Government Accountability Office issued GAO-22-104480 on June 30, 2022. The study directly compared FAA and EASA certification processes and found a significant asymmetry that harmonization could eliminate in the wrong direction. EASA uses a risk-based approach to evaluate compliance findings and reviews the technical basis for compliance determinations, including oversight of all aspects of the airplane’s design. The FAA, by contrast, reviews the completeness of certification packages and compliance determinations in high-risk areas, but this review does not customarily include an independent review of the technical basis for compliance determinations. American Airlines flight aborts takeoff in Miami after business jet enters the same runway After American Airlines Flight 308 bound for Bermuda received takeoff clearance at Miami, the flight crew observed NetJets Flight EJA434 entering the same runway and aborted their takeoff. Addressing the NetJets plane, the controller said, “You just crossed an active runway.” The pilot responded, “You just told me to cross the runway, sir.” The controller said, “No, we said Amerijet 461.” National Air and Space Museum Celebrates 50 Years With Opening of Five New Galleries Hillel attended the National Air & Space Museum media preview for the opening of the five new galleries. He recorded the opening remarks by Christopher Browne, the John and Adrienne Mars Director of the Smithsonian’s National Air and Space Museum. Chris joined the museum as deputy director in 2017 and served as acting director from 2021 to 2022, when he was named director. Hillel also interviewed Carolyn Russo, the curator of the art and trophy collections and the temporary curator of the poster collection. She has over 30 years of experience at the Museum, and is the author of four books: Art of the Airport Tower (Washington, DC: Smithsonian Books, 2015), In Plane View: Abstractions of Flight (New York: powerHouse Books, 2007), Artifacts of Flight (New York: Harry N. Abrams, 2003), and Women and Flight: Portraits of Contemporary Women Pilots (Boston, New York, London: Bulfinch Press, 1997). Mentioned Cirrus announced the opening of its Duluth Talent Center, a multi-million-dollar investment that serves as a hub for community engagement, recruiting, and workforce development. Designed to connect individuals with careers in aerospace, the Talent Center provides direct access to recruiting, technical training, and career development resources in one centralized location. Plane Spotting C-130 Hercules spotted by Micah. Upcomming Hosts this Episode Max Flight, our Main(e) Man Micah, Rob Mark, and David Vanderhoof.

While researching a Revolutionary War  Document, simply holding it brings you closer to a moment in history. Being able to touch the item makes it more than a story in a history book, it makes it real!

In this bonus episode, Ryan is takes you inside his office and walks through the books, objects, notes, and reminders that shape how he works and lives.

Updates on wild weather this summer, as dangerous heat grips parts of the South and much of Europe while severe storms threaten the Midwest to the Mid-Atlantic. Also, President Trump faces a rebuke from lawmakers as the Senate votes to check his powers in the war with Iran. Plus, a legal battle ensues over artifacts from the Titanic between the U.S. government and the company that owns the rights to the legendary shipwreck. And, the growing popularity of nostalgia brands like Hot Wheels and Lunchables. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

On today's MJ Morning Show:9 breakfast foods to avoidMorons in the newsDetoxing in hours87-year-old lottery winner takes monthly payoutMJ and family tried the new Wendy's treat promoting the new "Minions" movieBailey's "Love Island" storyWoman tried to return expired products at BP store that won't accept returnsSheriff Grady Judd on woman who hid fentanyl in her VirginiaStolen copper cable in SarasotaA minivan in Jacksonville with a pole through the back tail gate through side door, and then someToday is alien abduction day at the World Cup game in Miami, according to a Brazilian psychicAmazon driver rips up lawn while delivering packageIs it ok for a company to sell off artifacts from the Titanic?Listener e-mailThe way you care for your car reflects on yourselfBailey met a guy in a bar... he had a record (not a musical record)Burger King president says they need to do this item betterWoman charged in attack with a pickleball paddleStarbucks rolled out a new rewards cardCarnival Cruise brawl in MiamiIs it ok that this person took their dog out of a carrier on a flight?Tesla drove through a house in Texas, sadly killing a woman insideSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Host Todd welcomes Dennis Tayman of Tayman Tutoring to preview “America Comes Alive,” a free community event at Anchorage's Mountain City Church celebrating America's 250th anniversary. Dennis shares his remarkable collection of artifacts, documents, and relics spanning the 1700s to today, giving families a hands-on chance to see, touch, and experience real American history. He explains why faith, family, and freedom form the essential lens for understanding our nation's divine thread—from the Founders and great awakenings to today's challenges. Attendees will enjoy interactive exhibits, period clothing, kids' activities, special talks, and live musket demonstrations. The event runs July 4 from noon to 6 PM and July 5 from 2 to 6 PM, with opportunities to contribute your own family heirlooms and stories. This inspiring conversation is must-listening for parents and patriots who want to pass on the authentic story of liberty and providence this semiquincentennial. Don't miss this unique Anchorage celebration of who we are and where we came from.   Dennis Tayman https://taymantutoring.com/   Americas 250th Anniversary Celebration https://mountaincity.church/events/americas-250th-anniversary-celebration/ July 4, 2026: 12-2pm July 5, 2026: 2-6pm   SPONSORS: Must Read Alaska: https://mustreadalaska.com/subscriptions/ Promo Code: thesocial10 for 10% off the 'All In' or 'In For News' prepaid annual plans Tuttle Twins: www.tuttletwins.com/MRAK    

This week on Limited Resources Marshall and Luis cover every single common and uncommon in Marvel Superheroes! That's right, the guys fly right into the action with a card-by-card breakdown of every common and uncommon in the set, with the hopes of preparing you for your upcoming prerlease events, release events, and subsequent drafts etc! Enjoy!  You can support Limited Resources on the LR Patreon page here: https://www.patreon.com/limitedresources LR is brought to you buy Ultimate Guard! Check out the best gear here: https://ultimateguard.com/en/ Your Hosts: Marshall Sutcliffe and Luis Scott-Vargas Marshall's Twitter: https://twitter.com/Marshall_LR Luis's Twitter: https://twitter.com/lsv LR Community Subreddit: http://www.reddit.com/r/lrcast Start: 00:00:00 Gold: 00:14:04 Black: 00:52:26 Red: 01:37:04 Green: 02:24:09 White: 03:08:14 Blue: 03:55:25 Artifacts and Lands: 04:42:07