Podcasts about Artistry

Adam Wicks is a top-performing seller at Gainsight who has achieved extraordinary results, including a 600% year by combining precision, discipline, and creativity. In this episode, he breaks down a simple but powerful idea: sales is both art and math. On one side, there's the rigor - qualification, pipeline quality, risk management, and deal economics. On the other, there's the craft - understanding people, reading situations, and adapting in real time. Adam's approach is about operating in both worlds at once. The result is a more complete model of sales success: one that prioritizes internal alignment, deep curiosity, and human connection just as much as metrics and process.

Episode Title: Sheri Doss… From Redken to Costa Rica to Bumble and BumbleHosts: Corey Gray and Katie May Guest: Sheri Doss, Education and Artistry at Bumble and BumbleEpisode SummarySheri Doss spent 30+ years at Redken before walking away to be near her mom in Costa Rica. She opened an 80-seat taco restaurant and thought she was done. Then Bumble and Bumble came calling.As of February 2025, Bumble is on Salon Centric shelves for the first time ever... and Sheri is leading the education behind it. Corey and Katie May dig into what that means for every hairstylist in America.What We CoverWhy a third of hairdressers leave the industry every yearHow 50 hours of cutting curriculum isn't enough to survive behind the chairWhat Bumble's Salon Centric partnership means for suite stylists and independentsBuilding a team around mission... not contracts or post quotasThe House of Bumble New York Experience launching June 2025How to get into brand education as a working stylistAbout Sheri DossSheri grew up the daughter of a struggling salon owner in Southern California. She earned her manicuring license first, then her cosmetology license, built a color clientele fast, and was recruited by Redken as an artist. She spent 30+ years educating, managing teams, and helping hairdressers build sustainable careers. She now leads Education and Artistry at Bumble and Bumble.Find Bumble and Bumble Pro Instagram: @bumblepro YouTube: Bumble and Bumble ProSearchable Terms bumble and bumble education 2025, sheri doss bumble, hair industry podcast, why hairdressers quit, how to work for a hair brand, salon centric bumble, razor cutting education, your day off podcast, hairdustry, Katie May hairdustry, Corey Gray hairdustry

Lizzie Armanto joins us in the studio for Chapter 391 of Gypsy Tales. Lizzie is one of the most influential skateboarders of her generation, helping pave the way for women in skateboarding while building an incredible career of her own. From filming iconic parts with Thrasher Magazine and landing the cover of Thrasher, to turning pro with Birdhouse Skateboards, working alongside Tony Hawk, and creating her signature shoe with Vans, Lizzie has helped change what's possible for women in skateboarding. She's even been featured in Vogue, showing how far skate culture has reached beyond the streets. In this Chapter, Lizzie talks about her journey through skateboarding, the evolution of women's skateboarding, launching YEPA helmets with Tony Hawk, and what it really takes to build a career in skateboarding.Gypsy Gang enjoy this chapter and remember to like and subscribe so you never miss a new drop!-00:00:00 Intro 00:02:31 What drew Lizzie Armanto to Skate Boarding 00:13:31 Loving the Process of Skating and Learning New Tricks 00:17:35 The Artistry of Lizzie's Skating 00:24:59 The First Tricks Lizzie Mastered 00:30:49 Lizzies Late Start in Skating 00:37:39 What the World Has Exposed Us To 00:41:47 Finding the Positives in Life 00:49:46 Fist Handwear Ad 00:51:11 The Biggest Injury of Lizzie's Career 01:04:56 How Important Visualization Is to Action Sports Athletes 01:12:35 Finding the Positive in the Hardest Moments 01:15:41 Lizzie Armonto on Skating in the Olympics 01:24:13 Being a Girl Growing up in Skate Culture 01:29:47 Lizzies Parents Influence on Her Life 01:43:47 Dixxon Flannel Ad 01:49:11 The love of Competition 01:54:04 Traveling the World Skating 02:00:14 When Skating Become Lizzies Career! 02:09:16 Lizzie Armonto Fire 02:18:29 Lizzie turns Pro 02:26:08 Becoming a Monster Athlete 02:31:05 Moving Across California 02:33:06 Grateful to be Skating 02:39:27 Vans The Lizzie 02:51:25 Cash App Ad 02:59:33 Lizzies Best Years are Ahead 03:08:02 LA Home Remodel - Domino Lizzie Armonto 03:16:31 YEPA - Lizzie Armonto and Tony Hawks Brand 03:26:59 Thank you Lizzie Armonto -Monster Energy

Let's welcome to the Georgia Songbirds Family a local singer-songwriter from Georgia Ben Gardner. If you are around North Georgia you know Ben, if not you are in for a treat. Pull up a chair and listen in as we talk about Madlife, Business vs Artistry, One Hit Wonders, and so much more. Ben even plays us a few songs. So come sit a spell

Fluent Fiction - Italian: Finding Artistry in Piazza Navona's Dance of Life Find the full episode transcript, vocabulary words, and more:fluentfiction.com/it/episode/2026-03-13-22-34-01-it Story Transcript:It: La luce del sole di primavera inondava Piazza Navona, facendo brillare le pietre del pavimento e riempiendo l'aria di energia vivace.En: The spring sunlight flooded Piazza Navona, making the stones of the pavement shine and filling the air with lively energy.It: I turisti scattavano foto, gli artisti esponevano le loro opere, e il suono dell'acqua che scorreva nelle fontane rilassava l'animo.En: The tourists snapped photos, the artists displayed their works, and the sound of water flowing in the fountains relaxed the soul.It: Era una giornata perfetta per un'escursione dell'accademia d'arte.En: It was a perfect day for an art academy excursion.It: Gianni contemplava la tela bianca davanti a sé, cercando di ignorare i dubbi che gli affollavano la mente.En: Gianni contemplated the blank canvas in front of him, trying to ignore the doubts crowding his mind.It: "Dai, Gianni," disse Lorenzo, dandogli una pacca sulla spalla.En: "Come on, Gianni," said Lorenzo, giving him a pat on the shoulder.It: "Puoi farcela.En: "You can do it.It: Piazza Navona è bellissima oggi.En: Piazza Navona is beautiful today.It: Sfrutta l'ispirazione."En: Use the inspiration."It: Marcella, l'insegnante d'arte, girava tra gli studenti, offrendo parole di incoraggiamento.En: Marcella, the art teacher, wandered among the students, offering words of encouragement.It: Quando passò vicino a Gianni, gli sorriso con calore.En: When she passed near Gianni, she smiled warmly at him.It: "Lascia che il tuo cuore guidi il pennello," disse dolcemente.En: "Let your heart guide the brush," she said gently.It: Ma Gianni era bloccato.En: But Gianni was stuck.It: La piazza era troppo.En: The square was too much.It: Troppo colore, troppo movimento.En: Too much color, too much movement.It: Sentiva il bisogno di impressionare Marcella e, ancora di più, se stesso.En: He felt the need to impress Marcella and, even more, himself.It: Voleva dimostrare che era davvero un artista capace, ma la tela continuava a restare vuota.En: He wanted to prove that he really was a capable artist, but the canvas remained blank.It: Decise di prendersi una pausa.En: He decided to take a break.It: Osservò la gente che passava: un bambino che rincorreva un palloncino, due signori che discutevano animatamente seduti su una panchina, una coppia di anziani che si tenevano per mano.En: He observed the people passing by: a child chasing a balloon, two gentlemen animatedly discussing on a bench, an elderly couple holding hands.It: Gianni cercava un momento, un'emozione da catturare.En: Gianni was searching for a moment, an emotion to capture.It: Proprio allora, la musica di un chitarrista di strada riempì la piazza.En: Just then, the music of a street guitarist filled the square.It: Una melodia allegra e invitante.En: A cheerful and inviting melody.It: Una giovane coppia cominciò a ballare, spontanea e senza preoccupazioni, ridendo e girando.En: A young couple began to dance, spontaneous and carefree, laughing and twirling.It: L'energia del momento colpì Gianni come un fulmine.En: The energy of the moment hit Gianni like a lightning bolt.It: Era questo!En: This was it!It: Questa era Piazza Navona: una miscela di vita, amore e libertà.En: This was Piazza Navona: a blend of life, love, and freedom.It: Con nuova determinazione, Gianni tornò alla sua tela.En: With new determination, Gianni returned to his canvas.It: Il pennello si muoveva con sicurezza, guidato dai ricordi appena assorbiti.En: The brush moved confidently, guided by the memories he had just absorbed.It: Dipinse la coppia danzante, le risate nei loro occhi, le luci della piazza che li avvolgevano.En: He painted the dancing couple, the laughter in their eyes, the lights of the square enveloping them.It: Ogni pennellata era una parte del suo cuore.En: Each brushstroke was a piece of his heart.It: Quando il sole cominciò a calare, il quadro era finito.En: When the sun began to set, the painting was finished.It: Gianni lo guardò con orgoglio.En: Gianni looked at it with pride.It: Aveva catturato l'essenza di quel momento e nel farlo, aveva trovato anche la sua fiducia.En: He had captured the essence of that moment and in doing so, had found his confidence too.It: Marcella si avvicinò e annuì, soddisfatta.En: Marcella approached and nodded, satisfied.It: "È meraviglioso, Gianni.En: "It's wonderful, Gianni.It: Sei riuscito a capirlo."En: You've managed to understand it."It: Sorriso, Gianni si voltò verso Lorenzo.En: Smiling, Gianni turned to Lorenzo.It: "Forse avevi ragione," disse, "Potevo farcela dopo tutto."En: "Maybe you were right," he said, "I could do it after all."It: Mentre la giornata finiva, una nuova sicurezza brillava negli occhi di Gianni.En: As the day ended, a new confidence shined in Gianni's eyes.It: Piazza Navona non era solo un quadro per lui, ma un inizio.En: Piazza Navona was not just a painting for him, but a beginning.It: Un inizio in cui il vero artista dentro di lui aveva trovato la sua voce.En: A beginning where the true artist inside him had found his voice. Vocabulary Words:the sunlight: la luce del solethe pavement: il pavimentothe works: le opereto snap photos: scattare fotothe canvas: la telathe doubts: i dubbithe shoulder: la spallathe heart: il cuorethe brush: il pennelloto wander: girarethe emotion: l'emozionea break: una pausathe child: il bambinothe gentlemen: i signorithe elderly couple: la coppia di anzianithe painter: l'artistathe guitarist: il chitarristathe melody: la melodiathe moment: il momentothe lightning bolt: il fulminethe blend: la miscelathe confidence: la fiduciato twirl: girarethe laughter: le risatethe lights: le lucithe brushstroke: la pennellatathe pride: l'orgoglioto nod: annuirethe voice: la vocethe beginning: l'inizio

Show Notes Crystal Manich Crystal Manich - Instagram Crystal Manich - IMDb Crystal Manich - YouTube Laura Kaminsky Time to Act Documentary  

Send a text90s R&B personified! Portrait!

I am delighted to have Lara Bianca Pilcher back on the podcast as we celebrate the launch of Lara's new book Audacious Artistry: Reclaim Your Creative Identity and Thrive in a Saturated World. Lara's personal artistic journey and her experience coaching artists come together beautifully in her message of hope for artists--that it is possible to thrive in today's noisy world!Lara shares practical wisdom, powerful mindset shifts, and stories that will ignite your passion to show up boldly as an artist. I am so inspired by Lara's encouragement to "do it afraid" and the insights she shares from her experience building a life of audacious artistry. We dive into navigating overwhelm, handling rejection, overcoming burnout, and facing loneliness. Lara's game-changing Creative Brief Framework detailed in Audacious Artistry is a tool you can return to time and time again to reconnect to your identity, direction, and purpose. No matter your season of life, Lara's message will help you move forward with courage and find your creative rhythm.Gather some artist friends and take your community deeper with the free group study at larabiancapilcher.com/bookDo you want to hear more from Lara? Check out episodes 13 and 98 of the podcast where she shares more of her journey!. . . . .Welcome to The Creative Impact Podcast, where you will find encouragement to live out your calling as an artist.. . . . .Watch this episode on YouTube! Check out our YouTube Channel and be sure to like and subscribe!⁠http://www.youtube.com/@creativeimpactpodcast⁠Join our Patreon community for behind-the-scenes and bonus content!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ patreon.com/creativeimpactpodcast⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Find the show notes and more at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://creativeimpactpodcast.com/episode-140/⁠⁠Some topics we chat about in today's episode include:Creativity, artist identity, overwhelm, Audacious Artistry, community, burnout, consistency, The Creative Brief Framework, emotional processing, and the artistic journey.. . . . .Let's Connect!Instagram & Facebook:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@creativeimpactpodcast⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. . . . .The podcast music was produced by Michael Cash.

Movies open a window into our collective soul. In Screen Captures: Film in the Age of Emergency (Lever Press, 2026), Stephen Lee Naish guides us through recent cinematic phenomena that reflect/refract our contemporary political existence. Stephen Lee Naish is a writer, independent researcher, and cultural critic. He is the author of several books on film, politics, music, and pop culture. He lives in Kingston, Ontario. He has appeared on the New Books Network three times for previous books: Create of Die: Essays on the Artistry of Dennis Hopper (2016), Deconstructing Dirty Dancing (2017), Riffs and Meaning (2018) From Star Wars-scope blockbusters and Hollywood coming-of-age comedies to independent horror productions, Naish draws out the ways these movies shape, and are shaped by, their audience's own dissatisfactions. In his discussion of the Star Wars franchise, Naish highlights a conflict between internet discussion-fueled fandom vs the Disney Empire that shares features with the ongoing rebellions depicted in the films themselves. A passionate fan base who can now voice their discontent via the internet is feeding back into the studio's agenda and criticizing the actions of characters within the film and the actors alike. Chapters on the super-heroes genre and disaster movies draw out the climate-based social tensions these reflect. Depictions of masculinity ("Men on the Verge of a Nervous Breakdown") on screens large and small bleed into discussions of the work and presence of Nicholas Cage, David Lynch, and Dennis Hopper -- with a side-excursion into Valerie Solanas's strikingly prescient SCUM Manifesto. Stephen Lee Naish's Screen Captures adds a sharpening filter to the film-goer's experience on the big and little screen. Joel Tscherne is an Adjunct History Professor at Southern New Hampshire University. His Twitter handle is @JoelTscherne. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Movies open a window into our collective soul. In Screen Captures: Film in the Age of Emergency (Lever Press, 2026), Stephen Lee Naish guides us through recent cinematic phenomena that reflect/refract our contemporary political existence. Stephen Lee Naish is a writer, independent researcher, and cultural critic. He is the author of several books on film, politics, music, and pop culture. He lives in Kingston, Ontario. He has appeared on the New Books Network three times for previous books: Create of Die: Essays on the Artistry of Dennis Hopper (2016), Deconstructing Dirty Dancing (2017), Riffs and Meaning (2018) From Star Wars-scope blockbusters and Hollywood coming-of-age comedies to independent horror productions, Naish draws out the ways these movies shape, and are shaped by, their audience's own dissatisfactions. In his discussion of the Star Wars franchise, Naish highlights a conflict between internet discussion-fueled fandom vs the Disney Empire that shares features with the ongoing rebellions depicted in the films themselves. A passionate fan base who can now voice their discontent via the internet is feeding back into the studio's agenda and criticizing the actions of characters within the film and the actors alike. Chapters on the super-heroes genre and disaster movies draw out the climate-based social tensions these reflect. Depictions of masculinity ("Men on the Verge of a Nervous Breakdown") on screens large and small bleed into discussions of the work and presence of Nicholas Cage, David Lynch, and Dennis Hopper -- with a side-excursion into Valerie Solanas's strikingly prescient SCUM Manifesto. Stephen Lee Naish's Screen Captures adds a sharpening filter to the film-goer's experience on the big and little screen. Joel Tscherne is an Adjunct History Professor at Southern New Hampshire University. His Twitter handle is @JoelTscherne. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/critical-theory

Fluent Fiction - Norwegian: Allergies and Artistry: Capturing Spring Through Teary Eyes Find the full episode transcript, vocabulary words, and more:fluentfiction.com/no/episode/2026-03-07-23-34-01-no Story Transcript:No: Det var en klar morgen i Vigeland Park.En: It was a clear morning in Vigeland Park.No: Snøen fra vinteren trakk seg tilbake, og trærne begynte å vise hint av vår med små, grønne knopper og noen forsiktige blomster.En: The snow from winter was retreating, and the trees began to show hints of spring with small green buds and some cautious flowers.No: Lars sto med kameraet sitt i hendene.En: Lars stood with his camera in his hands.No: Han var klar til å fange øyeblikket da Oslo våknet fra sin dvale.En: He was ready to capture the moment when Oslo awoke from its slumber.No: Greta og Jonas var hans trofaste følgesvenner, alltid sammen med Lars når han trengte dem.En: Greta and Jonas were his faithful companions, always with Lars when he needed them.No: De visste hvor viktig dette var for ham.En: They knew how important this was for him.No: Men det var en utfordring.En: But it was a challenge.No: Lars hadde vårallergi.En: Lars had spring allergies.No: Nesen klødde, øynene rant, og han nøs ustanselig.En: His nose itched, his eyes watered, and he sneezed incessantly.No: En dårlig kombinasjon når man prøver å fange et perfekt motiv.En: Not a great combination when trying to capture a perfect scene.No: "Denne gangen må jeg klare det," sa Lars til seg selv, mens han stusset ved en stor skulptur.En: "This time I must succeed," Lars said to himself as he paused by a large sculpture.No: Lysstrålene fra den gryende solen danset på marmoren og skapte et vakkert spill.En: The rays of the rising sun danced on the marble, creating a beautiful play.No: Dette var øyeblikket han hadde ventet på.En: This was the moment he had been waiting for.No: Han løftet kameraet og satte innstillingene for det perfekte bildet.En: He raised the camera and set the settings for the perfect picture.No: Som han fokuserte og ventet på det rette lyset, kjente han den kriblende følelsen i nesen.En: As he focused and waited for the right light, he felt the tingling sensation in his nose.No: Ikke nå, tenkte han, mens han kjempet imot en kraftig nys.En: Not now, he thought, as he fought against a powerful sneeze.No: Greta så bekymret på ham.En: Greta looked at him with concern.No: "Kanskje vi skal ta en pause?En: "Maybe we should take a break?"No: " foreslo hun forsiktig.En: she suggested gently.No: Men Lars ristet på hodet.En: But Lars shook his head.No: Dette var viktig.En: This was important.No: Med et dypt pust skjøt han bildet akkurat idet han merket en intens trang til å nyse.En: With a deep breath, he snapped the picture just as he felt an intense urge to sneeze.No: Ørene hans fyltes med støyen fra sitt eget nys rett etterpå, og han fryktet det verste.En: His ears filled with the noise of his own sneeze right afterward, and he feared the worst.No: Hadde han ruinert alt?En: Had he ruined everything?No: Han trakk seg tilbake fra kameraet, holdt pusten og gikk gjennom bildene.En: He stepped back from the camera, held his breath, and went through the pictures.No: Der, imellom flere utydelige skudd, fantes det ett.En: There, among several blurry shots, there was one.No: Det perfekte bildet.En: The perfect picture.No: Vårsolen skinte gjennom grenene, og hvert blad var klart.En: The spring sun shone through the branches, and every leaf was clear.No: Dette var ikke bare et bilde, men en historie om utfordringene han hadde overvunnet.En: This was not just a picture but a story of the challenges he had overcome.No: Lars smilte.En: Lars smiled.No: Han visste nå at perfeksjon ikke alltid var målet, men reisen, øyeblikket og ufullkommenhetene som gjorde hans verk spesielt.En: He now knew that perfection was not always the goal, but the journey, the moment, and the imperfections that made his work special.No: Kanskje ikke den dekorerte parkens skjønnhet, men hans egen utholdenhet, som egentlig var dagens mest betydningsfulle fangst.En: Perhaps not the decorated park's beauty, but his own perseverance, was actually the day's most significant capture.No: Hans allergiholdte pust hadde vært prisen på veien til en ny forståelse.En: His allergy-induced breath had been the price on the path to a new understanding. Vocabulary Words:retreating: trakk seg tilbakehints: hintbuds: knopperslumber: dvalefaithful: trofastecompanions: følgesvennerallergies: allergiitched: kløddeincessantly: ustanseligcombination: kombinasjonsucceed: klarepaused: stussetsculpture: skulpturrays: lysstrålenetingling: kriblendeconcern: bekymreturged: trangruined: ruinertblurry: utydeligeperseverance: utholdenhetdecorated: dekorertesignificant: betydningsfullecapture: fangstinduced: allergiholdtemarble: marmorenfocus: fokuserefelt: merketstepped back: trakk seg tilbakesignificant: betydningsfulleunderstanding: forståelse

Healing through Rhythm: Exploring Drums & Rattles with RobynJoin us in this inspiring conversation with Robyn, artist and Métis healer, as she shares her journey into making drums and rattles, their cultural significance, and how these sacred tools facilitate healing and self-discovery. Discover practical insights on crafting, using, and connecting with these powerful instruments in your personal practice.In this episode:Robyn's background as a Métis artist and healer specializing in rattles and drumsThe cultural and spiritual significance of Métis, Cree, and other Indigenous traditionsHow crafting drums and rattles serves as a process of healing and ancestral reconnectionThe different roles of drums (mirrors) and rattles (guides) in ceremonies and energy sessionsChoosing the right animal and material for your drum based on intention and spiritual guidanceThe importance of ceremony, reciprocity, and connection when sourcing rawhide and crafting toolsHow intuition develops through trauma healing, spiritual deconstruction, and practiceWorkshop formats, group sizes, and how community energy enhances the healing processFuture visions for rattles as accessible healing tools and interactive art installationsTimestamps: 00:00 - Introduction and the healing potential of drums & rattles02:05 - Robyn's Métis identity and cultural background04:00 - The process of crafting rattles and drums as healing tools06:15 - Cross-cultural origins of drums and rattles worldwide08:30 - Sourcing rawhide: tradition, ceremony, and modern support10:45 - The ancestral connection to drum-making and medicine work12:18 - Roles of drums as mirrors and rattles as guides in healing14:06 - Developing intuition: trauma, spirituality, and trusting your call16:38 - The evolution of Robyn's relationship with her craft and tools18:00 - How drums activate primal energy; examples of transformative experiences20:10 - The structure and purpose of Robyn's workshops; group dynamics22:50 - Customization of materials, animal choices, and energetic significance25:00 - Interpreting spirit animal energies in drum and rattle selection28:10 - Future visions for rattles: art, healing, and educational installations30:34 - Personal stories of rattles and drums guiding life shifts32:37 - Artistry and quality in making heirloom tools35:00 - The subtle yet profound power of rattles' feminine energy37:20 - Sharing a live rattle experience and its effects39:52 - Feedback from clients: epiphanies, ancestral guidance, and breakthroughs43:15 - Supporting clients when their drum or rattle shows physical manifestations46:20 - Exploring sound frequency and intentional use in healing48:39 - Personal experiences: ice-fire sensations and energy activation50:00 - How to work with your tools intuitively, beyond words52:17 - Guided mini session to connect with your own rattling or drumming55:32 - Connecting with Robyn online and upcoming workshops57:00 - Raffle for a beautiful rainbow rattle — enter now!58:38 - The symbolic meaning behind the rainbow, love, and earth in Robyn's work59:34 - Final thoughts: trust your intuition and the spiritual guidance of toolsResources & Links:⁠Robyn's Website⁠⁠Instagram - Robpross Wholeness⁠⁠Email: robpross.wholeness [at] gmail [dot] com⁠During the guided mini session, Robyn invites you to simply listen, notice sensations, and trust your intuition — there's no right or wrong experience. Remember: These sacred tools are actives of transformation. Trust your inner voice, and allow their sound and energy to lead you toward healing and deeper connection.

Guests - Brittany Sprung and Giovanni AllenHosted By - Courtney Ortiz and Lesley MealorIn Episode 257 of Making The Impact - A Dance Competition Podcast, we're discussing how to keep artistry at the forefront of competitive dance choreography in an arena where it can sometimes feel like tricks have overtaken the stage. Topics Include: The creative process and tips for choreographers of all ages and levels What aspects of artistry the judges are looking for on stage How to help your students develop their own creative and artistic voiceHelp support our podcast! Join Making The Impact's Platinum Premium Subscription today! Your membership includes:Monthly Q&A episodes released to members onlyPriority to have your questions answered each month on the live Q&A.Ad-free listening for all of Seasons 4 through 7. No sponsored ads!20% off all IDA MerchandiseExclusive bonus content released throughout the yearDiscounted IDA Online CritiqueGroup Zoom check-ins 3x per season with Courtney Ortiz!Your support helps us produce future episodes of Making The Impact for years to come!Making The Impact's Platinum Premium - Sign up now for only $5/month!Follow your Hosts & Guests!Courtney Ortiz - @courtney.ortizLesley Mealor - @miss.lesley.danceBrittany Sprung - @bsprung514Giovanni Allen - @Giovannicallen, @GroundworksdancecoThis episode is sponsored by:The DanceOne Summit The premier event for dance teachers and studio owners to unite. share. inspire! This summer in New York City - August 13-16th, 2026Register now for $100 off using promo code: DOS26IMPACT Check out IDA-affiliated event Uproar Dance Competition! Visit their website for more info on their 2026 season!Join our FREE Facebook Group and connect with us! Making The Impact - A Dance Competition Podcast Community Leave us a review on Apple Podcasts! We would love to hear from you! Join our Newsletter for weekly episode releases straight to your inbox! Follow Impact Dance Adjudicators on social media @impactdanceadjudicators and for a list of IDA Affiliated dance competitions, visit our website at www.impactdanceadjudicators.comSupport the show

Do you write, sing, play music, paint, sculpt, dance, etc., but you’re afraid to say you’re an artist? You are not alone! Hear from panelists who have struggled themselves with owning their artistry and still struggle sometimes. Bring questions and expect diverse answers, knowing we are in this together, figuring this thing out called artistry.See omnystudio.com/listener for privacy information.

Send a textThe soulfully smooth jazzy sounds of Lindsey Webster!

“One of my favorite parts of teaching younger students is getting to see them experience things for the first time. I was their introduction to choir a lot of the time, their first choir teacher. I got to see them have those moments like, ‘Whoa, we can do this, we can sing together, we can sound really cool.' Eventually, they can tell you, ‘we were not singing with tall vowels right there.' They call each other out on it. With kids that young, a lot of it is just that they're not used to that soundscape; they're not used to singing in a group. That exposure helps raise the ability level.”Molly Toups is a second-year graduate student at Louisiana State University (LSU) currently pursuing a Master of Music degree in Choral Conducting. Born and raised in Baton Rouge, Louisiana, she graduated summa cum laude from LSU in 2018, earning her undergraduate degree in vocal music education and obtaining a University Medal. Throughout her studies, she has performed with the LSU A Cappella Choir, LSU Chorale, LSU Chamber Singers, and LSU Gospel Choir. Additionally, she has conducted the LSU Chamber Singers and LSU Chorale while obtaining her graduate degree.Ms. Toups taught music and choir in local public schools for six years before returning to graduate studies. In her most recent position, she worked as choir director and music teacher at Copper Mill Elementary in Zachary Community School District from 2021 to 2024. During her tenure there, the choral program doubled in size. Her choirs consistently achieved superior ratings at assessments, and her students were frequently selected for honor choirs at the local, state, regional, and national levels. She has been an active member of the American Choral Directors Association and Louisiana Music Educators Association (LMEA), previously serving as Elementary Co-Chair and Secretary of her local choral directors' association. She recently served as guest clinician for the LMEA District VIII Elementary Honor Choir in February 2025, and she has been a frequent adjudicator for honor choir auditions and vocal rallies.Ms. Toups has sung with a variety of choral ensembles in recent years, including Red Shift Choir, Opus Ensemble, VIVA, and the Baton Rouge Symphony Chorus. She currently serves as the music director at Christ the King Catholic Church at LSU and is a cantor at various churches within the Diocese of Baton Rouge.Ms. Toups believes in providing quality musical opportunities for all students and fostering a life-long pursuit of learning. She has completed Level I of Kodály training and Levels I, II, and III of Orff Schulwerk certification.To get in touch with Molly, you can email her at mollytoups1@gmail.com.Email choirfampodcast@gmail.com to contact our hosts.Podcast music from Podcast.coPhoto in episode artwork by Trace Hudson

My guest today is RIKÉ, a singer songwriter based out of Omaha. His music is influenced by R & B, Rap, and Pop. He also works in public health and is passionate about community advocacy.His artistry and advocacy culminated in 2022 when he created Tilt, an annual arts showcase aimed at providing an inclusive platform for artists in Omaha.

HOST:  Hildy Grossman, CO-HOST: Jordan Rich GUEST: Sumati Ram-Mohan, Vice President of Upstage Lung Cancer Why did singer and cabaret performer Hildy Grossman launch Upstage Lung Cancer 18 years ago? In this episode, Hildy describes how a fluke accident resulted in early detection of her lung cancer and put her on a life-changing path. When faced with an early diagnosis, Hildy didn't just ask "Why me?"—she asked, "What now?" She realized that while anyone with lungs can get lung cancer, not everyone has a stage to fight it. Thus, Upstage Lung Cancer was created as the only lung cancer organization to exclusively produce concerts and the performing arts to raise awareness, reduce stigma and fund cutting edge medical research. In a meeting of Art & Science, our guest, Sumati Ram-Mohan, a scientist and dancer, shares her story of how and why she reached out to Hildy. Now the Vice President of Upstage Lung Cancer, Sumati discusses how her experience in lung research and her passion for the stage help move this organization forward. Among other things, this podcast series, now ranked in the top 5 out of 40 lung cancer podcasts, was created to be both engaging, enjoyable and informative. They discuss almost two decades of outreach and impact, ending with a look ahead to this year's Fall Concert – an evening of joy aimed at this difficult disease. We thank our sponsors Lilly, Bristol Meyers Squibb, Revolution Medicines, Boehringer Ingelheim, and Takeda for their generous support of our podcast series Backstage @ Upstage.

Kemi-Bo Jacobs, starring as Agnes in ‘Hamnet' at Chicago Shakespeare Theater on Navy Pier, joins John Williams to talk about the production, how the Chicago Shakespeare Theater is a magical place to perform, what you can expect when you see this production, what is so wonderful about this play, the influence of the source material […]

Send a textKellen Mond shares his journey from surviving the chaotic world of professional football to finding peace and passion in photography and art. Hear about his upcoming debut show, the lessons learned from high-pressure NFL environments, and how his unique lens helps him capture the beauty in imperfection and chaos.-Quick Episode Summary:Kellen Mond discusses NFL challenges, art, photography, and embracing chaos.-SEO Description:Former NFL quarterback Kellen Mond shares his journey from pro sports to art, exploring growth, mental health, and finding beauty in chaos on Passing The Torch.-

Kemi-Bo Jacobs, starring as Agnes in ‘Hamnet' at Chicago Shakespeare Theater on Navy Pier, joins John Williams to talk about the production, how the Chicago Shakespeare Theater is a magical place to perform, what you can expect when you see this production, what is so wonderful about this play, the influence of the source material […]

Kemi-Bo Jacobs, starring as Agnes in ‘Hamnet' at Chicago Shakespeare Theater on Navy Pier, joins John Williams to talk about the production, how the Chicago Shakespeare Theater is a magical place to perform, what you can expect when you see this production, what is so wonderful about this play, the influence of the source material […]

What happens when creativity becomes a conversation with something greater than us? In this episode, we're joined by Valerie, the intuitive artist behind Channeled Artistry, to talk about channeling, creativity, and the subtle ways energy communicates through art. Valerie opens up about trusting her intuitive gifts, moving past doubt, and how her work supports emotional and energetic healing. We also explore how anyone can access intuition in everyday life—and why you don't need to be an “artist” to create from the soul. Connect with Valerie https://www.channeledartistrybyvalerie.com/ https://www.instagram.com/channeled_artistrybyvalerie/ https://www.facebook.com/profile.php?id=61580404387127  Watch the video version in the wholeness library. Explore The Wholeness Library App FREE! Apple: https://apps.apple.com/us/app/wholeness-library/id1545002697 ⁠ Android: https://play.google.com/store/apps/details?id=com.thewholenessnetwork.thewholenessnetwork On the web https://www.thewholenessnetwork.com/⁠ Follow us ⁠https://www.instagram.com/thewholenessnetwork/⁠ ⁠https://www.facebook.com/thewholenessnetwork⁠ Leave us a message! TEXT or CALL 1+646-883-3350 Information is intended for entertainment only Learn more about your ad choices. Visit megaphone.fm/adchoices

Send a textA unique fusion of classical violin, hip hop and R&B. Black Violin changes the game!!

Morgan Price makes history again with the first-ever perfect 10 for Arkansas! Another coaching suspension at GAGE, Simone Biles' advice to Winter Olympians, and the start of the 2026 Elite season. From Nemour's new skill in Cottbus to Hezly Rivera's dominant Winter Cup performance, we've got your full gymnastics elite and NCAA update.  HEADLINES Simone Biles went to the Winter Olympics to cheer on Team USA Morgan Price, who earned Fisk's first ever 10, got another 10 this week for Arkansas Two more GAGE coaches were suspended in addition to Al Fong and Armine Karla Grimes was suspended from all contact Tiffany Davenport (GAGE) was hit with a Center temporary suspension Elite season is warming up with Winter Cup and the Cottbus World Cup ELITE SEASON IS WARMING UP: COTTBUS Why does the Cottbus World Cup matter in terms of Olympic qualification? Sugihara Aiko did not defend her floor world title here, with several OOB deductions Anna Kalmykova (AIN) won FX and VT with an ode to Mother Paseka A shocking upset on bars where Kaylia Nemour, the reigning Olympic Champion, finished 7th Elisa Iorio won bars with a 14.266, Milana Kayumova (AIN) finished second, and Giulia Perotti (Italy) took the bronze Why wee are giving the GymCastic Award for Elegance (Cottbus version) to Lea Marie Quaas Nakashima Karin is taking the GymCastic opportunity for comedy award Can we talk about the fart noises during Makovickova's floor? Someone please get Sam Mikulak a polo shirt that fits him better!! Artistry discussion: Anna Kalmykova edition WINTER CUP So apparently everyone missed the memo that Winter Cup is supposed to be a flop? Hezly Rivera won the all-around with a monstrous 56.750, winning beam and floor New senior Charleigh Bullock took silver with a 55.200, winning bars Claire Pease took bronze with a 54.350, taking the vault title with two vaults The American Cup roster has been announced with Hezly Rivera, Charleigh Bullock, and Claire Pease all on the squad The US will send Charleigh Bullock, Reese Esponda, Greta Krob, Caroline Moreau, and Simone Rose to Jesolo And now for a Spencer Rage-O-Meter: Winter Cup Edition DID THEY JUST PICK THE TOP 3 AA FOR A MIXED TEAM, NON-AA COMPETITION? Why Reese Esponda deserves justice after this decision If Winter Cup is the selection competition, why aren't we using Winter Cup scores to select the team? NCAA We have four more 10s this weekend Kailin Chio is on fire and got 10s on vault and beam Morgan Price's 10 on vault Avery Neff's 10 on vault The race between Kailin Chio, Jordan Chiles, and Selena Harris-Miranda for the gym slam Ranking updates Oklahoma stays in no. 1, followed by LSU, Alabama, Florida, and UCLA NQS season is upon us! How will this shift the rankings? Jordan Chiles still leads the all-around standings Chio moves ahead of Fatta for the no. 1 position on vault Chloe LaCoursiere maintains the no. 1 position on bars Chio breaks the tie and moves ahead of Torrez on beam Chiles and Nikki Smith stay 1-2 on floor GYMTERNET NEWS Suni Lee did an interview with the Today Show, leaving the door open for the 2028 Olympics Jade Carey made a post on the socials, hinting at an elite return Sabrina Voinea underwent a successful emergency appendectomy surgery Rhys McClenaghan adds a new title, MBE, to his collection of accolades Helen Kevric leaves Stuttgart gym, where Aimee Boorman is coaching FEEDBACK Has there ever been a gymnast taller than Casey Brown competing in the NCAA? CHAPTERS 0:00:00 – Intro: Morgan Price Makes History & 2026 Elite Season Begins 0:01:07 – Simone Biles at the Winter Olympics: Counseling the "Quad God" 0:02:22 – Morgan Price's Historical 10: From Fisk to Arkansas 0:03:12 – Headline News: More GAGE Coaching Suspensions & New SafeSport Investigations 0:04:03 – Cottbus World Cup: Individual Apparatus World Championships Qualifications 0:06:20 – Floor Routine Debates: Should Gymnasts Have to Get New Routines Each Year? 0:10:48 – Flying Banana Jesus: Dramatic Vaults at Cottbus 0:12:31 – Nemour's New Bars Skill & The In-Bar Arms Race 0:18:35 – GymCastic Award for Elegance: Lea Marie Quaas & "Cherish the Beam" 0:37:14 – Winter Cup: Did they not get the memo that Winter Cup is supposed to be bad? 0:43:05 – Winter Cup Senior Analysis: Hezly Rivera's Dominant Performance 0:56:09 – Gymnasts in the Winter Olympics: Recruiting "Fast Twitch" Athletes for Bobsled 0:59:43 – NCAA Update: Avery Neff & The Race for the First Gym Slam 1:22:12 – Feedback: Tallest Gymnast in NCAA 1:23:58 – Closing & Upcoming College & Cocktails: Georgia at Kentucky UP NEXT Fantasy Gymnastics podcast every Wednesday College & Cocktails: This week's meet is Georgia at Kentucky, Friday, February 27 at 5pm Pacific Cocktail of the week: Code Hacker  2026 Cocktail and Mocktail menu here Add exclusive Club Content to your favorite podcast player (instructions here). SUPPORT OUR WORK Club Gym Nerd: Join Here Fantasy: 2026 College Fantasy Game now open all season with weekly winners Merch: Shop Now Team Bronze Design  College and Cocktails  Live Shows Replay tickets on sale for our fundraiser show with all the tea from Cecile Landi 2026 Live Show Season Pass is now available, 4 shows for the price of 3 Newsletters The Balance Beam Situation: Spencer's GIF Code of Points Gymnastics History and Code of Points Archive from Uncle Tim Resistance Resources

If your art keeps collapsing under the weight of your life, this episode will help you rethink the structure holding it.You're listening to Healthy Wealthy Wise Artist, the podcast that helps artists, performers, makers, storytellers, and creative souls of any kind reconnect with their creative identity in a world that moves too fast.In this launch week episode, Lara explores what it really means to build a life as an artist — not just a body of work. This conversation dives into sustainable creative life design, nervous system regulation, and long-game artistry. You'll walk away with a grounded framework for building structural support around your creative identity instead of relying on emotional momentum alone.Blog version: https://larabiancapilcher.com/2026/02/13/how-to-build-a-life-that-can-hold-your-art/↗

Aaron and Joel sit down together to laugh, talk friendship and Joel's album ‘Groanings'.Check out our website, Thehandlebarpodcast.com for more information, merch, how to partner with us and more. You can subscribe to our YouTube channel here: https://www.youtube.com/@thehandlebarpodcastYou can purchase BIG JESUS here: https://upperroom.store/products/big-jesus

Nick Jeffery read Robert Browning's The Ring and the Book, a Victorian epic poem about a murder mystery in 17th Century Italy, to test a theory. John Granger's best guess after surveying the chapter headings of Hallmarked Man last September was that, of all 77 sources for the 139 epigraphs in Strike8, Browning's poem was the most likely to hold a secret message or special meaning inside it. John had said something similar about another Browning poem and Ink Black Heart, Elizabeth Barrett Browning's Aurora Leigh, and Nick had confirmed that through his own reading and confirmation by Rowling herself. He thought John's track record of spotting important epigraph sources merited a test reading.He published his findings on Friday in a post titled ‘The Ring and The Book – A Rowling Reading.' In brief, the murder in Browning's poem is a point-to-point model for the Ironbridge murder mystery in Hallmarked Man with characters in Rowling-Galbraith's book — most notably, Chloe Griffiths, Tyler Powell, and Ian Griffiths — having their astonishing equivalents in Ring. The less obvious but more important links between the two are in their implicit feminism and other messages: Both works critique abusive relationships and patriarchal power: Guido's control of Pompilia and Dino Longcaster's control of Decima Mullins. The legal system (Books 8–9 especially) is satirized as formalistic, pedantic, and often blind to moral reality. True justice requires personal moral intuition beyond mere evidence or procedure. The Pope's monologue (Book 10) weighs this tension most profoundly. In The Hallmarked Man the police are slow to act on new information gained by Strike and Robin and Farah Navabi manages to hoodwink the courts into escaping punishment for her part in Patterson's crimes.The Ring and The Book dramatizes the eternal struggle between good and evil. Pompilia embodies instinctive purity, sacrificial love, and spiritual insight despite her suffering. Guido represents sophisticated, calculating evil that twists morality to justify cruelty. Browning affirms that evil exists but that good can somehow arise from or shine through evil's consequences. In The Hallmarked Man evil is real, monstrous, and often cloaked in normalcy or power structures, but it can be exposed and defeated through persistence, intuition, and moral courage.Nick also discusses in this article the chiastic structure of Ring (!) and the ‘conversation' he heard between Robert Browning in this poem with Aurora Leigh, the masterpiece by his late wife. His ‘Rowling Reading' of Ring and the Book, consequently, will soon be a touchstone piece not only in Rowling Studies but Browning Studies as well (#ArmstrongBrowningLibraryAndMuseum @ Baylor). As they have done before with Nick's ‘Rowling Reading' articles. the Hogwarts Professor team recorded their conversation about the piece (listen to their discussions of I Capture the Castle and Aurora Leigh). Seven High Points of that Ring and the Book epigraph conversation include:* Nick's review of why Serious Strikers and Rowling Readers should read The Ring and the Book along with the story of his immersion in it;* John's explanation of why he was so confident that Browning's poem was a template of some kind for Hallmarked Man even though only six of Strike8's 139 epigraphs were taken from it;* Their survey of Rowling's previous work with epigraphs — Deathly Hallows and Casual Vacancy all the way to Running Grave and Hallmarked Man — for works with similar embedded-in-the-epigraph texts and those without one (or in which it hasn't yet been discovered);* Nick's discussion of Rowling's previous comments about epigraphs and her answer to the question, ‘Which Came First, the Epigraph or the Story?';* John's best guess pre-publication about the text that will be the epigraph source in Sleep Tight, Evangeline and which Strike text it will most resemble with its Whiskey Shambles title;* Nick's commitment to exploring Blue Oyster Cult epigraphs in Career of Evil to see if one of that band's albums, all of which supposedly had sci-fi themes and story continuity, served as a text-within-the-text for Strike3; and* John's suggestion that the relationship of Elizabeth Barrett Browning and Robert Browning, a great love with a shared vocation, might be a point of reflection for Serious Strikers as a template for understanding the Strike-Ellacott partnership.Nick and John will be recording their group charting of Hallmarked Man's Part Eight this week with Sandy Hope and Ed Shardlow (and Presvytera Lois?), a survey of readers is in the works, and the long-awaited close look at the Strike series in light of the Cupid and Psyche myth draws ever nearer. Stay tuned!The Ten Questions, Epigraph Charting, and Links to Previous Epigraph Discussions Here and Elsewhere:The Ring and The Book – A Rowling Reading, Nick Jeffery, February 2026Intro to Epigraphs 101, John Granger, September 2022The Heart is Not About Emotions and Affection but the Human Spiritual Center, John Granger, October 2022A Rowling Reading of Aurora Leigh, Nick Jeffery, November 2025Beatrice Grove's Pillar Post Page at HogwartsProfessor.com* Scroll down for Prof Groves' posts about epigraphs and literary allusion in Cuckoo's Calling, The Silkworm, Troubled Blood, and Ink Black HeartLethal White: Ibsen's ‘Rosmersholm', John Granger, December 2018Rowling, Dylan Thomas, and the I Ching: Three Thoughts on Strike7's Epigraphs, John Granger, April 2023‘Deathly Hallows' and Penn's ‘Fruits of Solitude,' John Granger, October 2008The Aeschylus Epigraph in ‘Deathly Hallows,' John Granger, October 2008Maid of the Silver Sea Epigraphs: Louise Freeman Davis' Collected Posts, 2025The Faerie Queene Epigraphs in Troubled Blood* Scroll down the Troubled Blood Pillar Post for the Faerie Queene commentary by Beatrice Groves, Elizabeth Baird-Hardy and John GrangerRobert-Galbraith.com Posts about the Epigraphs in Each Book* Hallmarked Man's Epigraphs: The Poetry* Hallmarked Man's Epigraphs: The Prose* Scroll Down the site's ‘Features' Page for all the other Epigraph PostsAgents of Fortune: The Blue Oyster Cult Story, Martin Popoff, May 2016Pompilia: A Feminist Reading Of Robert Browning'S The Ring And The Book, Anne Brady, May 1988Roman Murder Mystery: The True Story of Pompilia, Derek Parker, January 2001Sleep Tight, Evangeline: Nick Jeffery and John Granger talk with Dimitra FimiHallmarked Man Epigraphs: The Tally SheetMatthew Arnold: 17 poems, 25 epigraphs, 6 from Merope: A Tragedy* 3, 17, 52, 103, 108, 110 (Merope), 21, 33, 68, 38, 97, 41, 45, 59, 58, 69, 73, 76, 80, 86, 96, 106, 119, 122, 124Robert Browning: 26 poems, 38 epigraphs including frontispiece, 6 from The Ring and the Book* 44, 75, 62, 64, 102, 118 (Ring and Book), frontispiece, 2, 9, 11, 107, 13, 16, 20, 26, 28, 32, 35, 37, 114, 39, 42, 93, 44, 75, 47, 51, 62, 64, 67, 116, 71, 77, 79, 84, 87, 120, 90, 91, 100, 102, 109, 118, 126A. E. Housman: 5 works, 25 poems, 28 epigraphs, 10 from Last Poems* 1, 5, 7, 53, 19, 92, 56, 65, 74, 105 (Last Poems), 23, 30, 34, 36, 40, 43, 46, 49, 57, 63, 78, 82, 89, 94, 98, 112, 115, 125John Oxenham: 1 work, 26 epigraphs* Parts 1-10, Epilogue, 15, 18, 22, 25, 27, 55, 60, 66, 83, 85, 88, 95, 111, 113, 127 (Maid of the Silver Sea)Albert Pike: 3 works (?), 22 epigraphs, 16 from Morals and Dogma* 4, 16, 12, 121 (Liturgy), 8, 10, 14, 29, 31, 48, 50, 54, 61, 70, 81, 99, 101 (Morals and Dogma), 24, 72 (Ancient and Accepted Rite?)Most epigraphs: Robert BrowningFrontispiece: Robert BrowningMost from one poem: Tie, Robert Browning 6 Ring and Book, Matthew Arnold 6 Merope: A TragedyMost from one novel: John Oxenham 26 Maid of the Silver SeaMost from one didactic or discursive argument: Albert Pike 22 (24?) Morals and DogmaConclusions: Ring and Book your best bet as template, Re-read Maid of the Silver Sea, read Merope: A TragedyTally Sheet of Epigraphs for Ink Black Heart:Poet: epigraph numbers, (total)* Christina Rossetti: 8, 14, 22, 24, 25, 35, 38, 50, 52, 54, 56, 84, 86, 90, 98, 103, 105, 107 (18)* Elizabeth Barrett Browning: 12, 21, 33, 39, 42, 45, 47, 58, 67, 71, 72, 82, 96, 101, 102, 104 (16; all but #s 21 and 58 from ‘Aurora Leigh')* Mary Elizabeth Coleridge: Book, 1, 18, 20, 49, 79, 81, 91, 93, 94, 106 (11)* Emily Dickinson: 11, 31, 53, 58, 59, 65, 70, 76, 99 (8)* Charlotte Mew: 16, 17, 40, 55, 66, 92, 95 (7)* Felicia Hemans: 6, 10, 15, 63, 100 (5)* Amy Levy: 7, 23, 32, 80, 85 (5)* Jean Ingelow: 9, 27, 29, 37, 64 (5)* LEL!: 62, 68, 69, 83 (4); see also Rossetti 52 ‘LEL')* Mary Tighe: 36 (Psyche), 43, 60, 88 (4)* Helen Hunt Jackson: 4, 87, 89 (3)* Joanna Baillie: 13, 21, 34 (3)* Augusta Webster: 44, 48, 51 (3)* Emily Pfeiffer: 3, 75 (2)* Charlotte Bronte: 19, 74 (2)* Adah Isaacs Menken: 30, 57 (2)* Constance Naden: 41, 46 (2)* Mathilda Blind: 61, 97 (2)* Mary Kendall: 73, 77 (2)* Martha Jane Jewsbury: 2 (‘To My Own Heart')* Anne Evans: 28* ‘Michael Field' (Katherine Bradley and Edith Cooper): 78The Heart and Vision epigraphs in Ink Black Heart by chapter number:* Heart: 20, 106 (MEC); 21, 67; 52, 107; 68, 85; 2; 63, 80, 85; 17, 40, 55, 95 (Mew); 19, 74; 27; 30; 36, 60; 87 (23)* Vision: Frontispiece, 1, 49, 81 (MEC); 22, 25, 38, 90, 98 (CR); 59; 3; 34; 95; 57; 88; 48; 46 (17)Tally Sheet of Epigraphs for Cuckoo's Calling:* Frontispiece: Rossetti -- A Dirge* Prologue: Lucius Accius, Telephus* Part One: Boethius, The Consolation of Philosophy* Part Two: Virgil, Aeneid* Part Three: Virgil, Aeneid* Part Four: Pliny the Elder, Historia Naturalis* Part Five: Virgil, Georgics* Epilogue: Horace, Odes* [Closing Poem: Tennyson, Ulysses]Brackets/Latch: 19th Century English poets (see Groves)Most epigraphs: Virgil (3); no other author has more than oneMost frequently referenced work: Aeneid (2), shades in UlyssesCenter of Chiasmus: Aeneid (true if ring has 5, 8, or 9 parts)Turtleback lines: Not evident in authors list, perhaps in meanings of specific epigraphsConclusions:* Read Aeneid to look for Cuckoo's parallels;* Study epigraphs to look for parallelsOnline Literature Review for ‘Epigraphs of Cuckoo's Calling:‘https://robert-galbraith.com/epigraphs-of-the-cuckoos-calling/* 2025 connecting the dots between epigraphs and chapter set to follow (generic)* No mention of Strike as Aeneashttps://strikefans.com/the-cuckoos-calling-epigraphs/* Reprinting of epigraphs without commentary* No mention of Strike as Aeneashttps://thesefilespod.com/blog/the-cuckoos-calling-epigraphs/* Includes a very helpful link to The Rowling Library and an article there about the ‘real world' crime serving as a template for the Landry murder* No mention of Strike as Aeneashttps://mugglenet.wpenginepowered.com/2017/09/literary-allusion-cuckoos-calling-part-1-christina-rossettis-dirge/* Brilliant discussion of the Rossetti poem but curiously without reference to resurrection meaning* No mention of Strike as Aeneashttps://mugglenet.wpenginepowered.com/2017/09/literary-allusion-cuckoos-calling-part-2-tennysons-ulysses/* Brilliant discussion of Strike as Ulysses* No mention of Strike as Aeneas, curious becauseh Virgil models Aeneas on UlyssesThe Ten Questions of This Conversation (Sort Of!)1, (Nick) So, John, I finally wrote up my findings about The Ring and the Book as the story template for Hallmarked Man's murder mystery and, as we did with my posts about Aurora Leigh and I Capture the Castle, let's talk about it, expanding on the correspondences between the Browning poem and Strike 8. The natural place to begin is with your guess about Ring and the Book being a template based on your tally of the Hallmarked Man epigraphs, a theory you shared on our first show post-publication. Can you explain your process and what made you so confident about Ring and the Book?2. (John) Looking at that tally, then, Arnold's Merope and Oxenham's Maid of the Silver Sea are quantitatively more likely equivalents to Aurora Leigh in Ink Black Heart, but the Browning frontispiece, number of his epigraphs, the hidden quality of the Ring and Book poem titles, and the relationship with Barrett Browning made it seem the most likely. That the poem is considered one of the great feminist tracts written by a man didn't hurt. I still want to go back to the Arnold poem, though, because of the centrality of his epigraphs in the center Parts and Oxenham deserves a re-read, too, or just a trip to Louise Freeman Davis site, the home of Oxenham Studies online. What struck me while reading your post, Nick, was in the correspondences you found between Ring and the Book and Hallmarked Man. Can you give us the highlights of that?3. (Nick) The Ironbridge murder mystery, then, is largely lifted from the death of Pompilia. Which is unusual isn't it? Has Rowling-Galbraith ever used her epigraphs to point to the template of her story?4. (John) I think, then, that at least four of the previous Strike novels give us the embedded template, per Beatrice Groves The White Divel and The Revenger's Tragedy (and even Hamlet) gives us important clues about The Silkworm crime, Rosmersholm and its incestuous backdrop inform the murder of Lethal White, the Janus deceiver in Faerie Queene should have been a give-away about the poisoner in Troubled Blood, and, as Rowling confirmed and you demonstrated Nick, Aurora Leigh is the working model for Ink Black Heart. I think the closest Rowling epigraph suggestions to story template was in the Rossetti poem that opens Cuckoo's Calling and the Aeschylus epigraph in Deathly Hallows. What has Rowling said, though, about her epigraph sources? Do they precede the novels or follow the writing?5. (Nick) So it's not one or the other, I think, that is, she has a template in mind and if the source doesn't have sufficient quotable pieces to serve a epigraphs for the whole book, she uses other sources from the genre in play or that highlight her central theme (cf., the Gray's Anatomy heart epigraphs in tandem with the hearty women Victorian poets in Ink Black). What I'm struck by here, though, is the shift in importance of epigraphs to Rowling-Galbraith. The numbers are startling, no, between Cuckoo and Hallmarked?6. (John) Not only do we see a jump from eight or nine epigraphs in Strike1 to 139 in Stike8, but Team Rowling is pushing readers to think more seriously about them by posting reviews of the epigraphs in each book, drawing the dot-to-dot correspondences. I confess the Strike novel whose epigraphs are not like the others, Nick, is Career of Evil and its Blue Oyster Cult lyrics. You've been reading a book about Blue Oyster Cult so I'll defer to you in this despite my great fondness for heavy metal groups with sci-fi themed lyrics...7. (Nick) What about the book we haven't got in hand, John: Sleep Tight, Evangeline? We have been told -- sort of! -- the title is from a 2014 song from an American blues band called ‘The Whiskey Shambles.' Which of the previous epigraph models Rowling has used, from Deathly Hallows to Hallmarked Man, do you think we'll be seeing in Strike9? What are your thoughts on that, especially as the best link we have for Sleep Tight, Evangeline is from a rock and blues band?8. (John) So I hope that we're going to see another Running Grave type epigraph experience in Evangeline, though Grave was unique among Rowling novels and their epigraphs in not having a story-book, poem, or play as its primary source. The I Ching, cannot be a story-template per se because it is a divination tool or means to reflection. Unless you think Pike's Morals and Dogmas Freemasonry encyclopedia qualifies as an equivalent of sorts to the I Ching? That's another outlier, isn't it?9. (Nick) To put a Fourth Generation focus on this, John, we should be looking for a technique that Serious Readers can use for Sleep Tight, Evangeline to hunt for the embedded source if its hidden as were Aurora Leigh and The Ring and the Book. You've found the ones no one else noticed in Ink Black Heart and Hallmarked Man, how did you do that and do you think the same method will work for Cuckoo and Career as well as Evangeline?10. (John) So, yes, I found them but you had the first confirmed by Mrs Murray and then connected the dots between the Browning poems and Rowling's work. If this method is going to work on Cuckoo, Career, and Evangeline it will have to involve a spotter and a shooter, though they can be the same person. The spotter technique is nothing but grunt work; chart the epigraphs used and spot the author most frequently referenced and the work of theirs most frequently cited. The shooter work is actually a lot more involved and interesting; tell us about your experiences with the two Browning's' epic poems, that thrill of discovering correspondences. Do you think that excitement is something Rowling is offering her readers a a treasure hunt or as a point of reflection in terms of meaning? This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit hogwartsprofessor.substack.com/subscribe

Fluent Fiction - Catalan: Finding Artistry: Laia's Journey Through Park Güell's Sunset Find the full episode transcript, vocabulary words, and more:fluentfiction.com/ca/episode/2026-02-21-23-34-02-ca Story Transcript:Ca: Laia caminava lentament per Park Güell.En: Laia walked slowly through Park Güell.Ca: El sol d'hivern brillava, però l'aire era fresc i li roçava la cara.En: The winter sun was shining, but the air was crisp and brushed against her face.Ca: Feia poc havia sortit d'una cirurgia menor a la mà dreta, i encara sentia molèsties.En: She had recently undergone minor surgery on her right hand, and still felt discomfort.Ca: Les seves pinzellades havien quedat en espera, i això la frustrava.En: Her brushstrokes had been put on hold, and this frustrated her.Ca: Oriol i Marta, els seus amics de tota la vida, l'acompanyaven.En: Oriol and Marta, her lifelong friends, accompanied her.Ca: Els racons del parc eren plens de colors i formes màgiques.En: The corners of the park were full of colors and magical shapes.Ca: Laia somiava amb trobar la inspiració que tant necessitava.En: Laia dreamed of finding the inspiration she so needed.Ca: “Aquí, segur que la trobes,” li deia Marta mentre miraven les escales exuberants que pujaven fins al famós drac de Gaudí.En: “Here, you're sure to find it,” Marta said to her as they looked at the exuberant stairs leading up to Gaudí's famous dragon.Ca: Laia, amb la seva mà esquerra, va començar a dibuixar.En: Laia, with her left hand, began to draw.Ca: Els seus gestos eren insegurs, però les línies sobre el paper revelaven qui era.En: Her gestures were uncertain, but the lines on the paper revealed who she was.Ca: “No et preocupis.En: “Don't worry.Ca: Així és com les grans obres neixen,” Oriol la encoratjava.En: This is how great works are born,” Oriol encouraged her.Ca: El dia avançava i la frustració creixia.En: The day advanced and the frustration grew.Ca: Tot i l'entorn meravellós, la mà dreta sembla que no responia.En: Despite the wonderful surroundings, her right hand seemed unresponsive.Ca: La pressió d'haver de lliurar la seva nova sèrie d'art era cada cop més present.En: The pressure of having to deliver her new art series was more present every moment.Ca: Necessitava aquest èxit, no tant per als altres, sinó per si mateixa.En: She needed this success, not so much for others, but for herself.Ca: Mentre el sol baixava, els colors de les rajoles del parc canviaven.En: As the sun was setting, the colors of the tiles in the park changed.Ca: De cop, el cel es va encendre amb un taronja i rosa profund.En: Suddenly, the sky lit up with a deep orange and pink.Ca: Laia va aixecar la mirada i va veure la ciutat de Barcelona banyar-se en aquells colors.En: Laia lifted her gaze and saw the city of Barcelona bathed in those colors.Ca: Era màgic.En: It was magical.Ca: Va sentir una espurna dins seu, una claredat inesperada.En: She felt a spark inside her, an unexpected clarity.Ca: “Laia, aquest és el teu moment,” va murmurar Marta.En: “Laia, this is your moment,” Marta murmured.Ca: Laia es va adonar que no necessitava ser perfecta per crear bellesa.En: Laia realized she didn't need to be perfect to create beauty.Ca: El que veia, el que sentia en aquell instant, era suficient.En: What she saw, what she felt at that moment, was enough.Ca: Amb aquesta nova perspectiva, va decidir incorporar aquells colors i sensacions al seu treball.En: With this new perspective, she decided to incorporate those colors and sensations into her work.Ca: Un canvi havia tingut lloc dins seu.En: A change had taken place within her.Ca: La seva imperfecció era, de fet, una meravellosa font de creativitat.En: Her imperfection was, in fact, a wonderful source of creativity.Ca: Amb una última ullada al sol ponent, Laia va somriure.En: With one last glance at the setting sun, Laia smiled.Ca: Sabia que a casa, davant el cavallet, la seva mà trobaria el seu camí.En: She knew that at home, in front of the easel, her hand would find its way.Ca: Els colors del capvespre a Park Güell serien les primeres pinzellades d'una nova i prometedora obra artística.En: The colors of the sunset at Park Güell would be the first brushstrokes of a new and promising artistic work.Ca: La seva por i frustració s'havien convertit en força i inspiració.En: Her fear and frustration had transformed into strength and inspiration.Ca: Havia trobat la seva veu, i estava decidida a fer-la brillar.En: She had found her voice, and she was determined to make it shine. Vocabulary Words:exuberant stairs: les escales exuberantsspark: l'espurnaclarity: la claredatbrushstrokes: les pinzelladesdiscomfort: les molèstieslifelong friends: els amics de tota la vidagesture: el gestlines: les líniespromising: la prometedoraartistic work: l'obra artísticafrustration: la frustraciósurroundings: l'entornsuccess: l'èxitchange: el canvieasel: el cavalletfear: la porstrength: la forçainspiration: la inspiracióimperfection: la imperfecciósource: la fontundergo: sotmetre'sencourage: encoratjarreaction: la respostamoment: el momentperspective: la perspectivatiles: les rajolesmurmur: murmurarunexpected: inesperadacreative: creativadelight: el delit

AI-generated content and deepfakes are rewriting the rules of creative ownership. So what are writers, artists, and performers doing about it? In this panel discussion from the AI House at the World Economic Forum in Davos, Switzerland, SAG-AFTRA National Executive Director and Chief Negotiator Duncan Crabtree-Ireland joined multidisciplinary artist Emi Kusano and MIT Technology Review Editor-in-Chief Mat Honan for a discussion about how performers secured contract protections for digital replicas, how artists are using AI ethically in their own creative practice, and how journalists are setting boundaries around AI-generated content in newsrooms. The panel was moderated by Nicholas Thompson, CEO of The Atlantic. *The views expressed by guests are their own and do not necessarily reflect the views of their organization or SAG-AFTRA. Any mention of products or services does not imply endorsement.

Send a textThe smooth and unique so g stylings of Chrisette Michele!

How do you stay audacious in a world that's noisier and more saturated than ever? How might the idea of creative rhythm change the way you write? Lara Bianca Pilcher gives her tips from a multi-passionate creative career. In the intro, becoming a better writer by being a better reader [The Indy Author]; How indie authors can market literary fiction [Self-Publishing with ALLi]; Viktor Wynd's Museum of Curiosities; Seneca's On the Shortness of Life; All Men are Mortal – Simone de Beauvoir; Surface Detail — Iain M. Banks; Bones of the Deep – J.F. Penn. This episode is sponsored by Publisher Rocket, which will help you get your book in front of more Amazon readers so you can spend less time marketing and more time writing. I use Publisher Rocket for researching book titles, categories, and keywords — for new books and for updating my backlist. Check it out at www.PublisherRocket.com This show is also supported by my Patrons. Join my Community at Patreon.com/thecreativepenn Lara Bianca Pilcher is the author of Audacious Artistry: Reclaim Your Creative Identity and Thrive in a Saturated World. She's also a performing artist and actor, life and creativity coach, and the host of the Healthy Wealthy Wise Artist podcast. You can listen above or on your favorite podcast app or read the notes and links below. Here are the highlights and the full transcript is below. Show Notes Why self-doubt is a normal biological response — and how audacity means showing up anyway The difference between creative rhythm and rigid discipline, and why it matters for writers How to navigate a saturated world with intentional presence on social media Practical strategies for building a platform as a nonfiction author, including batch content creation The concept of a “parallel career” and why designing your life around your art beats waiting for a big break Getting your creative rhythm back after crisis or burnout through small, gentle steps You can find Lara at LaraBiancaPilcher.com. Transcript of the interview with Lara Bianca Pilcher Lara Bianca Pilcher is the author of Audacious Artistry: Reclaim Your Creative Identity and Thrive in a Saturated World. She's also a performing artist and actor, life and creativity coach, and the host of the Healthy Wealthy Wise Artist podcast. Welcome, Lara. Lara: Thank you for having me, Jo. Jo: It's exciting to talk to you today. First up— Tell us a bit more about you and how you got into writing. Lara: I'm going to call myself a greedy creative, because I started as a dancer, singer, and actress in musical theatre, which ultimately led me to London, the West End, and I was pursuing that in highly competitive performance circles. A lot of my future works come from that kind of place. But when I moved to America—which I did after my season in London and a little stint back in Australia, then to Atlanta, Georgia—I had a visa problem where I couldn't work legally, and it went on for about six months. Because I feel this urge to create, as so many of your listeners probably relate to, I was not okay with that. So that's actually where I started writing, in the quietness, with the limits and the restrictions. I've got two children and a husband, and they would go off to school and work and I'd be home thinking, ha. In that quietness, I just began to write. I love thinking of creativity as a mansion with many rooms, and you get to pick your rooms. I decided, okay, well the dance, acting, singing door is shut right now—I'm going to go into the writing room. So I did. Jo: I have had a few physical creatives on the show. Obviously one of your big rooms in your mansion is a physical room where you are actually performing and moving your body. I feel like this is something that those of us whose biggest area of creativity is writing really struggle with—the physical side. How do you think that physical practice of creativity has helped you in writing, which can be quite constrictive in that way? Lara: It's so good that you asked this because I feel what it trained me to do is ignore noise and show up. I don't like the word discipline—most of us get a bit uncomfortable with it, it's not a nice word. What being a dancer did was teach me the practice of what I like to call a rhythm, a creative rhythm, rather than a discipline, because rhythm ebbs and flows and works more with who we are as creatives, with the way creativity works in our body. That taught me: go to the barre over and over again—at the ballet barre, I'm talking about, not the pub. Go there over and over again. Warm up, do the work, show up when you don't feel like it. thaT naturally pivoted over to writing, so they're incredibly linked in the way that creativity works in our body. Jo: Do you find that you need to do physical practice still in order to get your creativity moving? I'm not a dancer. I do like to shake it around a bit, I guess. But I mainly walk. If I need to get my creativity going, I will walk. If people are stuck, do you think doing something physical is a good idea? Lara: It is, because the way that our body and our nervous system works—without going into too much boring science, although some people probably find it fascinating—is that when we shake off that lethargic feeling and we get blood flowing in our body, we naturally feel more awake. Often when you're walking or you're doing something like dance, your brain is not thinking about all of the big problems. You might be listening to music, taking in inspiration, taking in sunshine, taking in nature, getting those endorphins going, and that naturally leads to the brain being able to psychologically show up more as a creative. However, there are days, if I'm honest, where I wake up and the last thing I want to do is move. I want to be in a little blanket in the corner of the room with a hot cocoa or a coffee and just keep to myself. Those aren't always the most creative days, but sometimes I need that in my creative rhythm, and that's okay too. Jo: I agree. I don't like the word discipline, but as a dancer you certainly would've had to do that. I can't imagine how competitive it must be. I guess this is another thing about a career in dance or the physical arts. Does it age out? Is it really an ageist industry? Whereas I feel like with writing, it isn't so much about what your body can do anymore. Lara: That is true. There is a very real marketplace, a very real industry, and I'm careful because there's two sides to this coin. There is the fact that as we get older, our body has trouble keeping up at that level. There's more injuries, that sort of thing. There are some fit women performing in their sixties and seventies on Broadway that have been doing it for years, and they are fine. They'll probably say it's harder for some of them. Also, absolutely, I think there does feel in the professional sense like there can be a cap. A lot of casting in acting and in that world feels like there's fewer and fewer roles, particularly for women as we get older, but people are in that space all the time. There's a Broadway dancer I know who is 57, who's still trying to make it on Broadway and really open about that, and I think that's beautiful. So I'm careful with putting limits, because I think there are always outliers that step outside and go, “Hey, I'm not listening to that.” I think there's an audience for every age if you want there to be and you make the effort. But at the same time, yes, there is a reality in the industry. Totally. Jo: Obviously this show is not for dancers. I think it was more framing it as we are lucky in the writing industry, especially in the independent author community, because you can be any age. You can be writing on your deathbed. Most people don't have a clue what authors look like. Lara: I love that, actually. It's probably one of the reasons I maybe subconsciously went into writing, because I'm like, I want to still create and I'm getting older. It's fun. Jo: That's freeing. Lara: So freeing. It's a wonderful room in the mansion to stay in until the day I die, if I must put it that way. Jo: I also loved you mentioning that Broadway dancer. A lot of listeners write fiction—I write fiction as well as nonfiction—and it immediately makes me want to write her story. The story of a 57-year-old still trying to make it on Broadway. There's just so much in that story, and I feel like that's the other thing we can do: writing about the communities we come from, especially at different ages. Let's get into your book, Audacious Artistry. I want to start on this word audacity. You say audacity is the courage to take bold, intentional risks, even in the face of uncertainty. I read it and I was like, I love the sentiment, but I also know most authors are just full of self-doubt. Bold and audacious. These are difficult words. So what can you say to authors around those big words? Lara: Well, first of all, that self-doubt—a lot of us don't even know what it is in our body. We just feel it and go, ugh, and we read it as a lack of confidence. It's not that. It's actually natural. We all get it. What it is, is our body's natural ability to perceive threat and keep us safe. So we're like, oh, I don't know the outcome. Oh, I don't know if I'm going to get signed. Oh, I don't know if my work's going to matter. And we read that as self-doubt—”I don't have what it takes” and those sorts of things. That's where I say no. The reframe, as a coach, I would say, is that it's normal. Self-doubt is normal. Everyone has it. But audacity is saying, I have it, but I'm going to show up in the world anyway. There is this thing of believing, even in the doubt, that I have something to say. I like to think of it as a metaphor of a massive feasting table at Christmas, and there's heaps of different dishes. We get to bring a dish to the table rather than think we're going to bring the whole table. The audacity to say, “Hey, I have something to say and I'm going to put my dish on the table.” Jo: I feel like the “I have something to say” can also be really difficult for people, because, for example, you mentioned you have kids. Many people are like, I want to share this thing that happened to me with my kids, or a secret I learned, or a tip I think will help people. But there's so many people who've already done that before. When we feel like we have something to say but other people have said it before, how do you address that? Lara: I think everything I say, someone has already said, and I'm okay with that. But they haven't said it like me. They haven't said it in my exact way. They haven't written the sentence exactly the way—that's probably too narrow a point of view in terms of the sentence—maybe the story or the chapter. They haven't written it exactly like me, with my perspective, my point of view, my life experience, my lived experience. It matters. People have very short memories. You think of the last thing you watched on Netflix and most of us can't remember what happened. We'll watch the season again. So I think it's okay to be saying the same things as others, but recognise that the way you say it, your point of view, your stories, your metaphors, your incredible way of putting a sentence togethes, it still matters in that noise. Jo: I think you also talk in the book about rediscovering the joy of creation, as in you are doing it for you. One of the themes that I emphasise is the transformation that happens within you when you write a book. Forget all the people who might read it or not read it. Even just what transforms in you when you write is important enough to make it worthwhile. Lara: It really, really is. For me, talking about rediscovering the joy of creation is important because I've lost it at times in my career, both as a performing artist and as an author, in a different kind of way. When we get so caught up in the industry and the noise and the trends, it's easy to just feel overwhelmed. Overwhelm is made up of a lot of emotions like fear and sadness and grief and all sorts of things. A lot of us don't realise that that's what overwhelm is. When we start to go, “Hey, I'm losing my voice in all this noise because comparison is taking over and I'm feeling all that self-doubt,” it can feel just crazy. So for me, rediscovering the joy of creation is vital to survival as an author, as an artist. A classic example, if you don't mind me sharing my author story really quickly, is that when I first wrote the first version of my book, I was writing very much for me, not realising it. This is hindsight. My first version was a little more self-indulgent. I like to think of it like an arrowhead. I was trying to say too much. The concept was good enough that I got picked up by a literary agent and worked with an editor through that for an entire year. At the end of that time, they dropped me. I felt like, through that time, I learned a lot. It was wonderful. Their reason for dropping me was saying, “I don't think we have enough of a unique point of view to really sell this.” That was hard. I lay on my bed, stared at the ceiling, felt grief. The reality is it's so competitive. What happened for me in that year is that I was trying to please. If you're a new author, this is really important. You are so desperately trying to please the editor, trying to do all the right things, that you can easily lose your joy and your unique point of view because you are trying to show up for what you think they all need and want. What cut through the noise for me is I got off that bed after my three hours of grief—it was probably longer, to be fair—but I booked myself a writing coach. I went back to the drawing board. I threw a lot of the book away. I took some good concepts out that I already knew were good from the editor, then I rewrote the entire thing. It's completely different to the first version. That's the book that got a traditional publishing deal. That book was my unique point of view. That book was my belief, from that grief, that I still have something to say. Instead of trusting what the literary agent and the editor were giving me in those red marks all over that first version, I was like, this is what I want to say. That became the arrowhead that's cut into the industry, rather than the semi-trailer truck that I was trying to bulldoze in with no clear point of view. So rediscovering the joy of creation is very much about coming back to you. Why do I write? What do I want to say? That unique point of view will cut through the noise a lot of the time. I don't want to speak in absolutes, but a lot of the time it will cut through the noise better than you trying to please the industry. Jo: I can't remember who said it, but somebody talked about how you've got your stone, and your stone is rough and it has random colours and all this. Then you start polishing the stone, which you have to do to a point. But if you keep polishing the stone, it looks like every other stone. What's the point? That fits with what you were saying about trying to please everyone, you end up pleasing no one. I also think the reality of what you just said about the book is a lot of people's experience with writing in general. Certainly for me, I don't write in order. I chuck out a lot. I'm a discovery writer. People think you sit down and start A and finish Z, and that's it. It's kind of messy, isn't it? Was that the same in your physical creative life? Lara: Yes. Everything's a mess. In the book I actually talk about learning to embrace the cringe, because we all want to show up perfect. Just as you shared, we think, because we read perfect and look at perfect or near-perfect work—that's debatable all the time—we want to arrive there, and I guess that's natural. But what we don't often see on social media or other places is the mess. I love the behind the scenes of films. I want to see the messy creative process. The reality is we have to learn to embrace the messy cringe because that's completely normal. My first version was so messy, and it's about being able to refine it and recognise that that is normal. So yes, embrace it. That's my quote for the day. Embrace the cringe, show up messy. It's all right. Jo: You mentioned the social media, and the subtitle of the book mentions a “saturated world.” The other problem is there are millions of books out there now. AI is generating more content than humans do, and it is extremely hard to break through. How are we to deal with this saturated world? When do we join in and when do we step away? Lara: I think it's really important not to have black and white thinking about it, because trust me, every day I meet an artist that will say, “I hate that I have to show up online.” To be honest with you, there's a big part of me that does also. But the saturation of the world is something that I recognise, and for me, it's like I'm in the world but not of it. That saturation can cause so much overwhelm and nervous system threat and comparison. What I've personally decided to do is have intentional showing up. That looks like checking in intentionally with a design, not a randomness, and then checking out. When push comes to shove, at the end of the day, I really believe that what sells books is people's trust in us as a person. They might go through an airport and not know us at all and pick up the book because it's a bestseller and they just trust the reputation, but so much of what I'm finding as an artist is that personal relationship, that personal trust. Whether that's through people knowing you via your podcast or people meeting you in a room. Especially in nonfiction, I think that's really big. Intentional presence from a place where we've regulated ourselves, being aware that it's saturated, but my job's not to be focused on the saturation. My job is to find my unique voice and say I have something to bring. Be intentional with that. Shoot your arrow, and then step out of the noise, because it's just overwhelming if you choose to live there and scroll without any intentionality at all. Jo: So how do people do that intentionality in a practical way around, first of all, choosing a platform, and then secondly, how they create content and share content and engage? What are some actual practical tips for intentionality? Lara: I can only speak from my experience, but I'm going to be honest, every single application I sent asked for my platform stats. Every single one. Platform stats as in how many followers, how many people listening to your podcast, how many people are reading your blog. That came up in every single literary agent application. So I would be a fool today to say you've got to ignore that, because that's just the brass tacks, unless you're already like a famous footballer or something. Raising and building a platform of my own audience has been a part of why I was able to get a publishing deal. In doing that, I've learned a lot of hard lessons. Embrace the cringe with marketing and social media as well, because it's its own beast. Algorithms are not what I worry about. They're not going to do the creativity for you. What social media's great at is saying, “Hey, I'm here”—it's awareness. It's not where I sell stuff. It's where I say, I'm here, this is what I'm doing, and people become aware of me and I can build that relationship. People do sell through social media, but it's more about awareness statistically. I am on a lot of platforms, but not all of them work for every author or every style of book. I've done a lot of training. I've really had to upskill in this space and get good at it. I've put myself through courses because I feel like, yes, we can ignore it if we want to, but for me it's an intentional opting in because the data shows that it's been a big part of being able to get published. That's overwhelming to hear for some people. They don't want to hear that. But that's kind of the world that we are in, isn't it? Jo: I think the main point is that you can't do everything and you shouldn't even try to do everything. The best thing to do is pick a couple of things, or pick one thing, and focus on that. For example, I barely ever do video, so I definitely don't do TikTok. I don't do any kind of video stuff. But I have this podcast. Audio is my happy place, and as you said, long-form audio builds trust. That is one way you can sell, but it's also very slow—very, very slow to build an audio platform. Then I guess my main social media would be Instagram, but I don't engage a lot there. So do you have one or two main things that you do, and any thoughts on using those for book marketing? Lara: I do a lot of cross-posting. I am on Instagram and I do a lot of creation there, and I'm super intentional about this. I actually do 30 days at a time, and then it's like my intentional opt-in. I'll create over about two days, edit and plan. It's really, really planned—shoot everything, edit everything, put it all together, and then upload everything. That will be 30 days' worth. Then I back myself right out of there, because I don't want to stay in that space. I want to be in the creative space, but I do put those two days a month aside to do that on Instagram. Then I tweak things for YouTube and what works on LinkedIn, which is completely different to Instagram. As I'm designing my content, I have in mind that this one will go over here and this one can go on here, because different platforms push different things. I am on Threads, but Threads is not statistically where you sell books, it's just awareness. Pinterest I don't think has been very good for my type of work, to be honest. For others it might. It's a search engine, it's where people go to get a recipe. I don't necessarily feel like that's the best place, this is just my point of view. For someone else it might be brilliant if you're doing a cookbook or something like that. I am on a lot of platforms. My podcast, however, I feel is where I'm having the most success, and also my blog. Those things as a writer are very fulfilling. I've pushed growing a platform really hard, and I am on probably almost every platform except for TikTok, but I'm very intentional with each one. Jo: I guess the other thing is the business model. The fiction business model is very, very different to nonfiction. You've got a book, but your higher-cost and higher-value offerings are things that a certain number of people come through to you and pay you more money than the price of a book. Could talk about how the book leads into different parts of your business? Because some people are like, “Am I going to make a living wage from book sales of a nonfiction book?” And usually people have multiple streams of income. Lara: I think it's smart to have multiple streams of income. A lot of people, as you would know, would say that a book is a funnel. For those who haven't heard of it, a way that people come into your bigger offerings. They don't have to be, but very much I do see it that way. It's also credibility. When you have a published book, there's a sense of credibility. I do have other things. I have courses, I have coaching, I have a lot of things that I call my parallel career that chug alongside my artist work and actually help stabilise that freelance income. Having a book is brilliant for that. I think it's a wonderful way to get out there in the world. No matter what's happening in all the online stuff, when you're on an aeroplane, so often someone still wants to read a book. When you're on the beach, they don't want to be there with a laptop. If you're on the sand, you want to be reading a beautiful paper book. The smell of it, the visceral experience of it. Books aren't going anywhere, to me. I still feel like there are always going to be people that want to pick it up and dig in and learn so much of your entire life experience quickly. Jo: We all love books here. I think it's important, as you do talk about career design and you mentioned there the parallel career—I get a lot of questions from people. They may just be writing their first book and they want to get to the point of making money so they could leave their day job or whatever. But it takes time, doesn't it? So how can we be more strategic about this sort of career design? Lara: For me, this has been a big one because lived experience here is that I know artists in many different areas, whether they're Broadway performers or music artists. Some of them are on almost everything I watch on TV. I'm like, oh, they're that guy again. I know that actor is on almost everything. I'll apply this over to writers. The reality is that these high-end performers that I see all the time showing up, even on Broadway in lead roles, all have another thing that they do, because they can still have, even at the highest level, six months between a contract. Applying that over to writing is the same thing, in that books and the money from them will ebb and flow. What so often artists are taught—and authors fit into this—is that we ultimately want art to make us money. So often that becomes “may my art rescue me from this horrible life that I'm living,” and we don't design the life around the art. We hope, hope, hope that our art will provide. I think it's a beautiful hope and a valid one. Some people do get that. I'm all for hoping our art will be our main source of income. But the reality is for the majority of people, they have something else. What I see over and over again is these audacious dreams, which are wonderful, and everything pointing towards them in terms of work. But then I'll see the actor in Hollywood that has a café job and I'm like, how long are you going to just work at that café job? They're like, “Well, I'm goint to get a big break and then everything's going to change.” I think we can think the same way. My big break will come, I'll get the publishing deal, and then everything will change. The reframe in our thinking is: what if we looked at this differently? Instead of side hustle, fallback career, instead of “my day job,” we say parallel career. How do I design a life that supports my art? And if I get to live off my art, wonderful. For me, that's looked like teaching and directing musical theatre. It's looked like being able to coach other artists. It's looked like writing and being able to pivot my creativity in the seasons where I've needed to. All of that is still creativity and energising, and all of it feeds the great big passion I have to show up in the world as an artist. None of it is actually pulling me away or draining me. I mean, you have bad days, of course, but it's not draining my art. When we are in this way of thinking—one day, one day, one day—we are not designing intentionally. What does it look like to maybe upskill and train in something that would be more energising for my parallel career that will chug alongside us as an artist? We all hope our art can totally 100% provide for us, which is the dream and a wonderful dream, and one that I still have. Jo: It's hard, isn't it? Because I also think that, personally, I need a lot of input in order to create. I call myself more of a binge writer. I just finished the edits on my next novel and I worked really hard on that. Now I won't be writing fiction for, I don't know, maybe six months or something, because now I need to input for the next one. I have friends who will write 10,000 words a day because they don't need that. They have something internal, or they're just writing a different kind of book that doesn't need that. Your book is a result of years of experience, and you can't write another book like that every year. You just can't, because you don't have enough new stuff to put in a book like that every single year. I feel like that's the other thing. People don't anticipate the input time and the time it takes for the ideas to come together. It is not just the production of the book. Lara: That's completely true. It goes back to this metaphor that creativity in the body is not a machine, it's a rhythm. I like to say rhythm over consistency, which allows us to say, “Hey, I'm going to be all in.” I was all in on writing. I went into a vortex for days on end, weeks on end, months and probably years on end. But even within that, there were ebbs and flows of input versus “I can't go near it today.” Recognising that that's actually normal is fine. There are those people that are outliers, and they will be out of that box. A lot of people will push that as the only way. “I am going to write every morning at 10am regardless.” That can work for some people, and that's wonderful. For those of us who don't like that—and I'm one of those people, that's not me as an artist—I accept the rhythm of creativity and that sometimes I need to do something completely different to feed my soul. I'm a big believer that a lot of creative block is because we need an adventure. We need to go out and see some art. To do good art, you've got to see good art, read good art, get outside, do something else for the input so that we have the inspiration to get out of the block. I know a screenwriter who was writing a really hard scene of a daughter's death—her mum's death. It's not easy to just write that in your living room when you've never gone through it. So she took herself out—I mean, it sounds morbid, but as a writer you'll understand the visceral nature of this—and sat at somebody's tombstone that day and just let that inform her mind and her heart. She was able to write a really powerful scene because she got out of the house and allowed herself to do something different. All that to say that creativity, the natural process, is an in-and-out thing. It ebbs and flows as a rhythm. People are different, and that's fine. But it is a rhythm in the way it works scientifically in the body. Jo: On graveyards—we love graveyards around here. Lara: I was like, sorry everyone, this isn't very nice. Jo: Oh, no. People are well used to it on this show. Let's come back to rhythm. When you are in a good rhythm, or when your body's warmed up and you are in the flow and everything's great, that feels good. But what if some people listening have found their rhythm is broken in some way, or it's come to a stop? That can be a real problem, getting moving again if you stop for too long. What are some ways we can get that rhythm back into something that feels right again? Lara: First of all, for people going through that, it's because our body actually will prioritise survival when we're going through crisis or too much stress. Creativity in the brain will go, well, that's not in that survival nature. When we are going through change—like me moving countries—it would disconnect us a lot from not only ourselves and our sense of identity, but creativity ultimately reconnects you back into life. I feel like to be at our optimum creative self, once we get through the crisis and the stress, is to gently nudge ourselves back in by little micro things. Whether it's “I'm just going to have the rhythm of writing one sentence a day.” As we do that, those little baby steps build momentum and allow us to come back in. Creativity is a life force. It's not about production, it's actually how we get to any unique contribution we're going to bring to the world. As we start to nudge ourselves back in, there's healing in that and there's joy in that. Then momentum comes. I know momentum comes from those little steps, rather than the overwhelming “I've got to write a novel this week” mindset. It's not going to happen, most of the time, when we are nudging our way back in. Little baby steps, kindness with ourselves. Staying connected to yourself through change or through crisis is one of the kindest things we can offer ourselves, and allowing ourselves to come into that rhythm—like that musical song of coming back in with maybe one line of the song instead of the entire masterpiece, which hopefully it will be one day. Jo: I was also thinking of the dancing world again, and one thing that is very different with writers is that so much of what we do is alone. In a lot of the performance art space, there's a lot more collaboration and groups of people creating things together. Is that something you've kept hold of, this kind of collaborative energy? How do you think we can bring that collaborative energy more into writing? Lara: Writing is very much alone. Obviously some people, depending on the project, will write in groups, but generally speaking, it's alone. For me, what that looks like is going out. I do this, and I know for some writers this is like, I don't want to go and talk to people. There are a lot of introverts in writing, as you are aware. I do go to creative mixers. I do get out there. I'm planning right now my book launch with a local bookstore, one in Australia and one here in America. Those things are scary, but I know that it matters to say I'm not in this alone. I want to bring my friends in. I want to have others part of this journey. I want to say, hey, I did this. And of course, I want to sell books. That's important too. It's so easy to hide, because it's scary to get out there and be with others. Yet I know that after a creative mixer or a meetup with all different artists, no matter their discipline, I feel very energised by that. Writers will come, dancers will come, filmmakers will come. It's that creative force that really energises my work. Of course, you can always meet with other writers. There's one person I know that runs this thing where all they do is they all get on Zoom together and they all write. Their audio's off, but they're just writing. It's just the feeling of, we're all writing but we're doing it together. It's a discipline for them, but because there's a room of creatives all on Zoom, they're like, I'm here, I've showed up, there's others. There's a sense of accountability. I think that's beautiful. I personally don't want to work that way, but some people do, and I think that's gorgeous too. Jo: Whatever sustains you. I think one of the important things is to realise you are not alone. I get really confused when people say this now. They're like, “Writing's such a lonely life, how do you manage?” I'm like, it is so not lonely. Lara: Yes. Jo: I'm sure you do too. Especially as a podcaster, a lot of people want to have conversations. We are having a conversation today, so that fulfils my conversation quota for the day. Lara: Exactly. Real human connection. It matters. Jo: Exactly. So maybe there's a tip for people. I'm an introvert, so this actually does fulfil it. It's still one-on-one, it's still you and me one-on-one, which is good for introverts. But it's going out to a lot more people at some point who will listen in to our conversation. There are some ways to do this. It's really interesting hearing your thoughts. Tell people where they can find you and your books and your podcast online. Lara: The book is called Audacious Artistry: Reclaim Your Creative Identity and Thrive in a Saturated World, and it's everywhere. The easiest thing to do would be to visit my website, LaraBiancaPilcher.com/book, and you'll find all the links there. My podcast is called Healthy Wealthy Wise Artist, and it's on all the podcast platforms. I do short coaching for artists on a lot of the things we've been talking about today. Jo: Brilliant. Well, thanks so much for your time, Lara. That was great. Lara: Thank you.The post Audacious Artistry: Reclaiming Your Creative Identity And Thriving In A Saturated World With Lara Bianca Pilcher first appeared on The Creative Penn.

Jason Eastwood is a guitarist and educator known for Guitarfulness, an approach that blends guitar playing with mindfulness, presence, and emotional awareness. Eastwood teaches how focused listening, slow practice, breath control, and intentional sound exploration can transform guitar practice into a meditative experience. His work emphasizes creativity, relaxation, and personal expression—helping musicians reduce performance anxiety, deepen musical connection, and experience playing as both an artistic and mindful journey.Become a supporter of this podcast: https://www.spreaker.com/podcast/the-x-zone-radio-tv-show--1078348/support.Please note that all XZBN radio and/or television shows are Copyright © REL-MAR McConnell Meda Company, Niagara, Ontario, Canada – www.rel-mar.com. For more Episodes of this show and all shows produced, broadcasted and syndicated from REL-MAR McConell Media Company and The 'X' Zone Broadcast Network and the 'X' Zone TV Channell, visit www.xzbn.net. For programming, distribution, and syndication inquiries, email programming@xzbn.net.We are proud to announce the we have launched TWATNews.com, launched in August 2025.TWATNews.com is an independent online news platform dedicated to uncovering the truth about Donald Trump and his ongoing influence in politics, business, and society. Unlike mainstream outlets that often sanitize, soften, or ignore stories that challenge Trump and his allies, TWATNews digs deeper to deliver hard-hitting articles, investigative features, and sharp commentary that mainstream media won't touch.These are stories and articles that you will not read anywhere else.Our mission is simple: to expose corruption, lies, and authoritarian tendencies while giving voice to the perspectives and evidence that are often marginalized or buried by corporate-controlled media

In this episode of Talking Art, music educator and performer CJ Parker reflects on building a creative life with intention. As band director at Rivermont Collegiate, lead vocalist for 10 of Soul, and a solo artist preparing to release his new album "Move", CJ shares how he balances teaching, performing, and songwriting while staying grounded in what truly matters.

At the end of January, we lost a wonderful musician, teacher, and pedagogue, Marvin Blickenstaff. You've probably heard me talk about Marvin on the podcast before—he had a profound impact on my teaching.With a career spanning over six decades, Marvin dedicated himself to serving piano students and teachers worldwide. He valued deep emotional expression at the keyboard and a human connection through the music. He once said, “The only reason that music exists is to express who we are and how we feel.”Today, I'm sharing some of the most important things I learned from Marvin and how they show up in my teaching and practice.For show notes + a full transcript, click here.Resources Mentioned*Disclosure: some of the links in this episode are affiliate links, which means if you decide to purchase through any of them, I will earn a small commission. This helps support the podcast and allows me to continue creating free content. Thank you for your support!The New School for Music StudyInspired Piano Teaching (Marvin Blickenstaff)Ep. 041 - Focus On the MusicEp. 074 - What a First Piano Lesson Looks Like (Here's My Lesson Plan)Ep. 076 - 7 Things to Carry Into the New School YearEp. 079 - From Technique to Musical Identity: Six Things I'm Focusing on in LessonsEp. 084 - Recital Recap & Year-End ReflectionLearn Faster, Perform Better (Molly Gebrian)Ep. 089 - The Science of Practicing: What I'm Learning from Molly Gebrian's BookA Quick Warm-Up Routine for Piano AccompanistsIf you enjoyed this episode, please leave a review in Apple Podcasts >>Find me on Instagram: @ashleydanyewWhenever you're ready, here are three ways we can work together:1️⃣ Need fresh teaching ideas? Schedule a quick 25-min. call and we'll brainstorm on a topic of your choice. Build an idea bank that you can pull from in the months to come.2️⃣ Have questions about teaching or managing your music career? Book a 60-min call and get personalized advice, creative ideas & step-by-step strategies on up to 3-4 teaching/business topics.3️⃣ Develop the skills and strategies you need to plan the year, refine your teaching methods, and manage your time more effectively with a suite of online courses and professional development trainings

Send a textSinger, songwriter and producer of R&B and Funk. It's Curt Jones!

Art is impactful to the patron as they find themselves in it. We enjoy art from our own worldview. The ultimate Rorschach Test. Artistry, on the other hand, is a singular journey. How you, the artist, take us from here to there is idiosyncratic. Can you choose to be a chameleon? Let's talk Bernie Madoff. Original Episode Number: 48 | Original Air Date: 4/20/2021 Links & Resources: Host: Sean Low of The Business of Being Creative Have your own opinion on Sean's tips and advice? Talk Back!! Email Shawn or record a voice message directly through his show's site! Link: Join Sean's Collective of Business Creatives Follow Sean on social media: Instagram: @SeanLow1 | Facebook: Facebook.com/Sean.Low.35 | LinkedIn | Twitter: @SeanLow — Podcast Network: The Wedding Biz Network Production House: Flint Stone Media Copyright of The Wedding Biz, LLC. 2021.

I'm showing you how to build a magnetic brand and a bank account using your creative genius—no more building your brand backwards by chasing viral hooks while losing your soul to the AI noise of 2026. In this episode, I'm giving it to you clean with a bottom-up approach that focuses on your roots so your creative fruits can actually sustain themselves. Buckle in, because we're moving past the surface-level shizz to dive into the six foundational pieces—like personal mythology, brand archetypes, and real-ass magnetism—that turn your brand into a compounding investment and ensure you get paid the most for what comes easiest to you. I break down why the traditional "top-down" approach of focusing on tactics and aesthetics alone leads to a seething sense of incongruence and vanity metrics that don't equate to revenue. I share how to address the root of your brand by moving from performing for the masses to niching down and communicating your true essence.  Listen in as I share the six-part framework I use inside Creator Catalyst to help you stop chasing trends and start building a brand that is a compounding investment for your entire life. Here's a glance at what you'll learn from me in this episode: •    The Bottom-Up Philosophy: Why addressing the somatic roots of your brand is non-negotiable before you ever touch a posting schedule. •    Personal Mythology: How to use storytelling—the most ancient human technology—to build a world where your audience finds belonging. •    Philosophy and Principles: Why being polarizing and standing for your anti-values is exactly what creates deep trust and magnetism. •    Magnetism and Paradox: How to combine universal archetypes with your personality "plot twists" to become completely unforgettable. •    The Genius Trifecta: Identifying your medicine, skills, and mastery so you can get paid the most for what comes easiest to you. •    The Triple Threat Content Method: A system of Authority, Artistry, and Audience posts to keep you energized instead of exhausted. Timestamps: •    00:00 – Introduction •    01:17 – Why most people build brands backwards and end up with zero community. •    05:16 – Front stage vs. back stage self: The high cost of brand incongruence. •    07:54 – Element 1: Personal Mythology and the ancient technology of storytelling. •    16:23 – Element 2: Using philosophies and principles to transform from a vendor to a thought leader. •    19:39 – Why standing for your anti-values is required for deep trust. •    21:50 – Element 3: Magnetism—Universal Archetypes meets the multi-dimensional paradox. •    25:19 – The Alex Hormozzi Case Study: Why the "Gym Bro" paradox is magnetic. •    28:14 – Element 4: Identifying your Zone of Genius (Medicine, Skills, and Mastery). •    34:14 – Element 5: Signature Style and the visual identity blueprint. •    36:44 – Element 6: The Triple Threat Content Flow: Authority, Artistry, and Audience. •    40:17 – Building a brand that doesn't require a rebrand every six months. Links: ·       Creator Catalyst: https://joincreatorcatalyst.com/ ·       Instagram: https://www.instagram.com/rachelbell/ ·       Work of Art Website: https://workofartpodcast.com/

Ian Von sits down with Grammy-nominated singer, songwriter, and Love King Raheem DeVaughn for a raw convo on artistry, independence, and love as a lifestyle. Raheem breaks down why he's often seen as an “underground king,” his path from background singer for Ginuwine to respected solo artist, and how he's stayed consistent and independent for 20+ years. He talks creative process (rarely writing lyrics down), balancing sensuality with socially conscious “edutainment,” his community work, and why his best song is still ahead of him. They also touch on the state of R&B, the streaming era's flood of music, live performance strategy, generational influences, and dream collabs. If you love real R&B and game from an OG still ascending, this episode delivers.

The president just suggested nationalizing elections. The constitution has something to say about that. So does our guest, Matt Crane, the head of the Colorado County Clerks Association. Then, two Colorado-based figure skating coaches talk about the artistry, pressure, and finding balance as three of their skaters get ready to compete at the Olympics. Plus, why some parents are opting for landlines instead of smart phones for children. And the Colorado South Asian artist collective celebrates its first anniversary in Evergreen and looks forward to the future. 

Today on the Invest In Her Podcast, host Catherine Gray talks with Priya David Clemens, a seasoned journalist, storyteller, and the founder of Bridge Media Company and Keepsake Studios. With more than two decades of experience as an anchor and correspondent for national broadcast platforms including CBS News, NBC News, and MSNBC, Priya has covered everything from presidential elections to cultural and technological shifts around the world. An Edward R. Murrow Award recipient and multiple-time Emmy Award nominee, she now helps organizations, civic leaders, and families tell meaningful stories that connect people to purpose and preserve legacy. In this episode, Catherine and Priya explore the power of storytelling as both a business tool and a human connector. Priya shares her transition from traditional broadcast journalism into entrepreneurship, why authentic narrative matters more than ever in a crowded media landscape, and how intentional storytelling can drive impact, trust, and long-term value. The conversation also dives into legacy—what it means to capture stories that matter, how founders and leaders can articulate their "why," and why women's voices and perspectives are essential in shaping the future of media, business, and culture. Websites Mentioned https://bridgemediacompany.com https://keepsakestudios.co https://www.showherthemoneymovie.com www.sheangelinvestors.com    Follow Us On Social Facebook @sheangelinvestors Twitter (X) @sheangelsinvest Instagram @sheangelinvestors & @catherinegray_investinher LinkedIn @catherinelgray & @sheangels   #InvestInHer #FinancialWellness #WomenInFinance #FinancialEmpowerment #MoneyMindset #InclusiveFinance #FintechForGood #BehavioralEconomics #WealthBuilding #FinancialHealth #EmpowerWomen #MoneyMatters #SheAngelInvestors #InvestInYourself #FinancialFreedom  

Send us a textThe Smooth R&B song stylings of Ms. Toni Redd!! 

Alexa is joined by vocal performance coach Juliet Russell for a rich conversation about identity, artistry, and contemporary vocal training. Juliet shares how she helps singers identify and trust what makes them unique, evolve their voices alongside life and experience, and connect more deeply with audiences — drawing on her work across major TV formats as well as her one-to-one coaching with artists. We explore how to make vocal exercises more musical and stylistically relevant, how voice science can be translated into practical studio tools, and what Juliet sees as key pillars of contemporary vocal training for singing teachers today. The episode also dives into Juliet's new app Do Your Sing, a contemporary training toolkit designed to support singers with creative, performance-led vocal development. About the presenter HEREWHAT'S IN THIS PODCAST?2:19 How to help an artist identify what makes them unique17:54 What do artists tend to overlook about their craft?20:43 What is ‘talent' and what can be learned?24:08 The difference between a singing teacher, vocal coach and performance coach30:08 Translating voice science in the studio34:18 Contemporary teaching tools1:04:10 Parting advice to contemporary singers and singing teachersRELEVANT MENTIONS & LINKSJoshua AlamuJai RamageJono McNeilSinging Teachers Talk - Ep.198 Mastering Singing for Stage, Screen & the Music Industry Singing Teachers Talk - Ep.123 Insights Into TV Vocal Coaching Singing Teachers Talk - Ep.124 Mastering Vocal Style: Licks, Riffs and Runs with Emer TullySinging Teachers Talk - Ep.241 Is Your Pelvic Floor Affecting Your Voice? A Deep Dive with PhysiotherapistJenevora WilliamsSinging Teachers Talk - Ep.242 Understanding Motor Learning: How It Can Help Us Give Better Singing Lessons Singing Teachers Talk - Ep.169 How to Use Gesture for Better Singing ABOUT THE GUESTJuliet Russell stands as one of the UK's leading vocal performance coaches, with an exceptional track record with award-winning artists and groundbreaking shows. As a vocal coach and arranger on Netflix's breakout hit show Building the Band, Juliet helped shape the voices that captivated millions globally. She also coaches on BAFTA winning shows The Voice UK and Michael McIntyre's Big Show.  SEE FULL BIO HEREDo Your Sing App | Website

Breathing is something we all do, but most of us were never really taught how to use it as an intentional part of our ballet technique and artistry.In this episode, I'm joined by recurring guest Chelsea Weidmann (The Geeky Ballerina) as we explore breath as one of the core elements of artistry in ballet. Instead of treating breath as an add-on or a reminder, we talk about breath as part of coordination — supporting how we initiate movement, find lightness or groundedness, and shape musical phrasing.Together, we discuss how breath supports plié, why so many of us hold our breath without realizing it, and how chronic breath-holding can lead to fatigue, tension, and dancing that looks technically correct but still feels flat. We also dig into one of the most searched questions among adult dancers: when to inhale versus exhale — offering guiding principles and exercises to try in your own practice.This episode is the beginning of an ongoing series on the nine elements of artistry in ballet, which we'll be returning to throughout the year.Check out these YouTube videos that showcase musicians' use of breath: https://www.youtube.com/watch?v=GRLeTziFsHshttps://www.youtube.com/watch?v=9GnJBLwOjFoConnect with Chelsea:Website: www.geekyballerina.com Instagram: @geekyballerinaPurchase her book: Artistry Inside Ballet Technique (vol 1)Support the showFollow Hannah on Instagram @thebusybunheadExplore blog posts, merchandise & resources for adult ballet dancers like you at thebusybunhead.comPodcast produced by Mission Bridge Media.www.MissionBridgeMedia.com

In this episode, Medusa: The Raft of Artistry and Tragedy, we dive into the powerful story behind Théodore Géricault's controversial masterpiece, The Raft of the Medusa. Does The Raft of the Medusa invoke beauty of these true events, or does it reveal a romanticized idealization of something truly tragic? Find out as we explore Théodore Géricault's controversial masterpiece on Exploring Art Podcast.

Send us a textWe are bringing you Soul Music from the Caribbean! Heston is in the house!

Send us a textSoulful Smooth songs Stylings of Avery Sunshine!

New real-world data suggest that GLP-1 receptor agonists used for adolescent obesity are associated with roughly half the rate of asthma exacerbations, fewer emergency visits, and reduced steroid and rescue inhaler use, indicating a possible dual benefit beyond weight loss. In HIV care, Phase 3 ARTISTRY-2 topline results show a once-daily bictegravir/lenacapavir tablet was non-inferior to Biktarvy at 48 weeks, with no new safety signals, potentially expanding durable treatment options. Finally, experimental data demonstrate that even a single 10-minute bout of vigorous exercise can rapidly trigger molecular changes that suppress pathways linked to colon cancer development.

In this candid and inspiring interview, Sheila Bella, founder of Pretty Rich Bosses, sits down with Destiny Dickow, Lost Artistry Lash trainer, to unpack what it really takes to build a successful beauty business when you don't feel ready, qualified, or confident yet. Sheila shares her full entrepreneurial journey — from building a multi-million-dollar brick-and-mortar permanent makeup business, losing everything during COVID, and pivoting into a second multi-million-dollar online company — all while navigating uncertainty, criticism, motherhood, faith, and leadership. This episode is a masterclass in taking action before you feel ready, selling through conversation, building systems that scale, and trusting God even when the path forward isn't clear. If you've been waiting to feel "ready" before you post, sell, hire, or grow — this conversation will shift your mindset completely. ⭐ 5 Key Points from the Episode 1. "I Wasn't Ready — But I Went Anyway" Sheila explains why waiting for confidence, clarity, or perfection keeps entrepreneurs stuck. Growth happens after action, not before it. 2. Marketing — Not Talent — Built Her Multi-Million Dollar Business Sheila breaks down how being a better marketer (not a better artist) allowed her to scale faster than others with more technical skill. 3. Sales Come from Conversations, Not Posts Whether booking artists, selling events, or scaling online, Sheila emphasizes one truth: more conversations = more sales. 4. Systems Are What Scale a Business From hiring early to building automations, email lists, and backend processes, Sheila shares what people don't see behind seven-figure brands. 5. Faith, Worship & Resilience Are Non-Negotiables Sheila opens up about how worship, faith, and obedience to God grounded her through the darkest seasons — and why success is never just about you.   // BEAUTY BIZ SECRETS FACEBOOK GROUP!  // BOOKED AND BUSY CHALLENGE // FREE BEAUTY BUSINESS AUDIT // www.SheilaBella.com |  // Instagram: @CEOglowshow & @realsheilabella //  YOUTUBE Channel youtube.com/@SheilaBella

How did Misty Copeland break barriers and become one of the world's most famous ballerinas? In this powerful talk, she charts her rise from childhood adversity to history-making dancer at the prestigious American Ballet Theatre — and gives a peek at what she plans to do next. Hosted on Acast. See acast.com/privacy for more information.