Podcasts about as ward

If there's anything to be learned from the monumental successes of Beyonce and Taylor Swift, it's that music artists can do more than simply record and perform music. Certainly, each has established themselves as exceptional artists. But they have also cultivated remarkably strong seemingly interpersonal bonds with their fans ranging from Beyonce's “Bee Hive” to Taylor's “Swifties.”  A few rungs down the ladder, yet furiously climbing higher and higher, sits the uniquely engaging Zsuzsanna Eva Ward. She is better known as ZZ Ward and was our most recent guest on The Load Out music podcast.  Ward's fan community is known as “Dirty Shine,” a term revolving around being one's authentic self—imperfections and vulnerabilities included. The term itself, “Dirty Shine,” that is, has become something of a mission statement and rallying cry for the singer-songwriter and multi-instrumentalist, whose alternative, blues and hip-hop-blending music has quietly exploded amongst her passionate fanbase. “The concept of ‘Dirty Shine' is larger than the record,” Ward said of her new album. “When I put out my first album (2012's Til the Casket Drops), my fans and I started saying we are dirty shine. It was about embracing who you are—we are all dirty, a little rough around the edges. I've always had this vibe, but I feel like this time in my life is like dirty shine on steroids. I can fully be myself, and nothing can stop me.”  Ward, however, has gone beyond embracing her who she is, embracing her fans and polishing that dirty shine through her relationships each and every day, noting that she chats “with my fans on Discord every day.” Ward's Til the Casket Drops made a notable entry into the AAA Radio Charts Top 10. Her sophomore album, The Storm, clinched the number one spot on the Billboard Blues Charts. On her third and latest effort, Dirty Shine sets a new bar as more of a cinematic piece with a diverse blend of sounds—from bold electronic textures, rugged hip-hop beats, to juke joint harmonica. The album was recorded in collaboration with renowned producers such as Ludwig Göransson, Mike Elizondo, Jason Evigan and more. The single "On One," features Jean Deaux and is inspired by Ward's new role as a mother. It carries an empowering message, defying the stereotype that motherhood equates to weakness.   “You just have to run your own race and do your own thing,” Ward said. As Ward expands her role in making music she has gone beyond artist and become a video director, record label owner, a new mom, and she hand-makes versions of her signature fedoras that are available for purchase via her website Watch her polish that dirty shine as we enjoy a great conversation with ZZ Ward on the latest edition of The Load Out music podcast.

Bryce Ward is an imaginative author and the creative mind behind the captivating book, "The Short Stories of A Dungeon Master." This enthralling collection of 38 fantasy-themed short stories invites readers into an untamed world where magic reigns and danger lurks at every corner. With his masterful storytelling skills, Ward unveils a realm where monsters, both ancient and malevolent, prowl the lands, posing a constant threat to the civilized races.Within the pages of this extraordinary book, readers will delve into the intriguing narratives that showcase the relentless struggles between the monstrous beasts and the valiant heroes who dare to confront them. As Ward weaves his tales, giant spiders with their insatiable hunger observe their prey from the depths of the ominous woods. A nefarious cult steadily grows in size, relentlessly kidnapping inmates from their cells to fuel their sinister cause. Meanwhile, the townspeople themselves vanish, their very existence fading from the collective memory of the realm.Bryce Ward's remarkable ability to transport readers into these mesmerizing stories immerses them in a world where mystery, bravery, and enchantment intersect. With each turn of the page, readers will find themselves captivated by the vivid descriptions, intricate plot twists, and profound insights into the human condition that Ward masterfully incorporates into his work."The Short Stories of A Dungeon Master" is a testament to Ward's exceptional storytelling prowess, drawing readers into a realm teeming with magic and peril. It is a must-read for fans of fantasy literature, offering an exhilarating journey that combines elements of suspense, adventure, and a deep exploration of the indomitable spirit of humanity. Whether you are a seasoned fan of fantasy or new to the genre, Ward's book will leave you spellbound, craving for more tales from his imaginative mind. Hosted on Acast. See acast.com/privacy for more information.

 Denzel Ward has spent the last three games, plus one quarter, away from the field. That will change when the Browns Pro Bowl cornerback returns in Sunday's game at the Miami Dolphins. Ward has been out since sustaining a concussion at just under the 14-minute mark of the Browns' Oct. 9 loss to the Los Angeles Chargers. It happened while he was trying to tackle Austin Ekeler at the end of a 17-yard run. The concussion led to Ward miss the next three games, losses to New England and Baltimore and a win over Cincinnati. The bye week, though, allowed him to continue his recovery while not missing out on any on-field time.The concussion wasn't due to a violent head-on collision. As Ward was bringing Ekeler down, he rolled under the Chargers back, leading to his head bouncing off the ground. It was almost immediately obvious that Ward had sustained a concussion. He stumbled as he got off the ground, and medical personnel on the sideline took away his helmet almost as soon as he got to the bench. Ward wasn't surprised by the diagnosis. It was the third time in his NFL career he has been diagnosed with a concussion. That fact may be a cause for concern for some. Ward isn't one of those people. "I mean, it's not affecting me right now, so I'm good," Ward said. "My focuses on football, but I mean, I do wanna take care of my health then make sure I'm good and try to do the things I can to prevent it from happening again and just to keep my health up. So I think I'm good, though.”None of the Browns' coaches have officially said Ward will play against the Dolphins. All coach Kevin Stefanski would say when asked about Ward on Wednesday was that he wasn't sure he was "fully cleared yet," but that he was "hitting all the benchmarks right now." Those benchmarks are part of the NFL's concussion protocol, which players must pass through before they can be cleared to play. The interest twist to Ward returning against the Dolphins is that the league adjusted the protocol after the uproar which came out when Miami quarterback Tua Tagovailoa sustained a concussion on Sept. 29 at Cincinnati just days after leaving and then returning to a game against Buffalo with what appeared to be concussion-like symptoms.The protocol existed when Ward was a rookie in 2018. However, he acknowledges that it's changed from that time. “Yeah, in a good way," Ward said. "I definitely think it's a little harder than when I was a rookie and I had got a concussion. So I mean that's a good thing, though, taking care of guys and making sure they're ready to play once they get back.” If the Browns could pick exactly one team to get Ward back against, it may very well be the Dolphins. Miami is ranked second in the league in passing offense, with 293.6 yards per game, Tagovailoa is leading the league in passer rating at 115.9 and average gain per pass at 9.17. Of course, what's helped the third-year quarterback is the presence of two of the top five receivers in the league, Tyreek Hill (first in the league with 1,104 receiving yards and 76 catches) and Jaylen Waddle (fifth in the league with 812 yards on 47 catches).Ward doesn't have any experience playing against Tagovailoa or Waddle, both of whom were still at the University of Alabama in 2019, the last time the Browns played Miami. He had two solo and one assisted tackle, plus a tackle for loss and a pass defensed in that 41-24 win in Cleveland. Who Ward is very familiar with is Hill, who was acquired by the Dolphins this offseason in a trade with the Kansas City Chiefs. Hill's played against the Browns twice − in the 2020 AFC Divisional Round and the 2021 regular-season opener − and has had a combined 15 catches for 266 yards, including a 75-yard touchdown catch in last year's opener. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Denzel Ward has spent the last three games, plus one quarter, away from the field. That will change when the Browns Pro Bowl cornerback returns in Sunday's game at the Miami Dolphins. Ward has been out since sustaining a concussion at just under the 14-minute mark of the Browns' Oct. 9 loss to the Los Angeles Chargers. It happened while he was trying to tackle Austin Ekeler at the end of a 17-yard run. The concussion led to Ward miss the next three games, losses to New England and Baltimore and a win over Cincinnati. The bye week, though, allowed him to continue his recovery while not missing out on any on-field time. The concussion wasn't due to a violent head-on collision. As Ward was bringing Ekeler down, he rolled under the Chargers back, leading to his head bouncing off the ground. It was almost immediately obvious that Ward had sustained a concussion. He stumbled as he got off the ground, and medical personnel on the sideline took away his helmet almost as soon as he got to the bench. Ward wasn't surprised by the diagnosis. It was the third time in his NFL career he has been diagnosed with a concussion. That fact may be a cause for concern for some. Ward isn't one of those people. "I mean, it's not affecting me right now, so I'm good," Ward said. "My focuses on football, but I mean, I do wanna take care of my health then make sure I'm good and try to do the things I can to prevent it from happening again and just to keep my health up. So I think I'm good, though.” None of the Browns' coaches have officially said Ward will play against the Dolphins. All coach Kevin Stefanski would say when asked about Ward on Wednesday was that he wasn't sure he was "fully cleared yet," but that he was "hitting all the benchmarks right now." Those benchmarks are part of the NFL's concussion protocol, which players must pass through before they can be cleared to play. The interest twist to Ward returning against the Dolphins is that the league adjusted the protocol after the uproar which came out when Miami quarterback Tua Tagovailoa sustained a concussion on Sept. 29 at Cincinnati just days after leaving and then returning to a game against Buffalo with what appeared to be concussion-like symptoms. The protocol existed when Ward was a rookie in 2018. However, he acknowledges that it's changed from that time. “Yeah, in a good way," Ward said. "I definitely think it's a little harder than when I was a rookie and I had got a concussion. So I mean that's a good thing, though, taking care of guys and making sure they're ready to play once they get back.” If the Browns could pick exactly one team to get Ward back against, it may very well be the Dolphins. Miami is ranked second in the league in passing offense, with 293.6 yards per game, Tagovailoa is leading the league in passer rating at 115.9 and average gain per pass at 9.17. Of course, what's helped the third-year quarterback is the presence of two of the top five receivers in the league, Tyreek Hill (first in the league with 1,104 receiving yards and 76 catches) and Jaylen Waddle (fifth in the league with 812 yards on 47 catches). Ward doesn't have any experience playing against Tagovailoa or Waddle, both of whom were still at the University of Alabama in 2019, the last time the Browns played Miami. He had two solo and one assisted tackle, plus a tackle for loss and a pass defensed in that 41-24 win in Cleveland. Who Ward is very familiar with is Hill, who was acquired by the Dolphins this offseason in a trade with the Kansas City Chiefs. Hill's played against the Browns twice − in the 2020 AFC Divisional Round and the 2021 regular-season opener − and has had a combined 15 catches for 266 yards, including a 75-yard touchdown catch in last year's opener. Learn more about your ad choices. Visit podcastchoices.com/adchoices

 Denzel Ward has spent the last three games, plus one quarter, away from the field. That will change when the Browns Pro Bowl cornerback returns in Sunday's game at the Miami Dolphins. Ward has been out since sustaining a concussion at just under the 14-minute mark of the Browns' Oct. 9 loss to the Los Angeles Chargers. It happened while he was trying to tackle Austin Ekeler at the end of a 17-yard run. The concussion led to Ward miss the next three games, losses to New England and Baltimore and a win over Cincinnati. The bye week, though, allowed him to continue his recovery while not missing out on any on-field time. The concussion wasn't due to a violent head-on collision. As Ward was bringing Ekeler down, he rolled under the Chargers back, leading to his head bouncing off the ground. It was almost immediately obvious that Ward had sustained a concussion. He stumbled as he got off the ground, and medical personnel on the sideline took away his helmet almost as soon as he got to the bench. Ward wasn't surprised by the diagnosis. It was the third time in his NFL career he has been diagnosed with a concussion. That fact may be a cause for concern for some. Ward isn't one of those people. "I mean, it's not affecting me right now, so I'm good," Ward said. "My focuses on football, but I mean, I do wanna take care of my health then make sure I'm good and try to do the things I can to prevent it from happening again and just to keep my health up. So I think I'm good, though.” None of the Browns' coaches have officially said Ward will play against the Dolphins. All coach Kevin Stefanski would say when asked about Ward on Wednesday was that he wasn't sure he was "fully cleared yet," but that he was "hitting all the benchmarks right now." Those benchmarks are part of the NFL's concussion protocol, which players must pass through before they can be cleared to play. The interest twist to Ward returning against the Dolphins is that the league adjusted the protocol after the uproar which came out when Miami quarterback Tua Tagovailoa sustained a concussion on Sept. 29 at Cincinnati just days after leaving and then returning to a game against Buffalo with what appeared to be concussion-like symptoms. The protocol existed when Ward was a rookie in 2018. However, he acknowledges that it's changed from that time. “Yeah, in a good way," Ward said. "I definitely think it's a little harder than when I was a rookie and I had got a concussion. So I mean that's a good thing, though, taking care of guys and making sure they're ready to play once they get back.” If the Browns could pick exactly one team to get Ward back against, it may very well be the Dolphins. Miami is ranked second in the league in passing offense, with 293.6 yards per game, Tagovailoa is leading the league in passer rating at 115.9 and average gain per pass at 9.17. Of course, what's helped the third-year quarterback is the presence of two of the top five receivers in the league, Tyreek Hill (first in the league with 1,104 receiving yards and 76 catches) and Jaylen Waddle (fifth in the league with 812 yards on 47 catches). Ward doesn't have any experience playing against Tagovailoa or Waddle, both of whom were still at the University of Alabama in 2019, the last time the Browns played Miami. He had two solo and one assisted tackle, plus a tackle for loss and a pass defensed in that 41-24 win in Cleveland. Who Ward is very familiar with is Hill, who was acquired by the Dolphins this offseason in a trade with the Kansas City Chiefs. Hill's played against the Browns twice − in the 2020 AFC Divisional Round and the 2021 regular-season opener − and has had a combined 15 catches for 266 yards, including a 75-yard touchdown catch in last year's opener. Learn more about your ad choices. Visit podcastchoices.com/adchoices

On this episode of Straight Outta Crumpton, Host Tyler Kern and Greg Crumpton talked with former NASCAR driver Ward Burton, who won the 2002 Daytona 500. He now operates the Ward Burton Wildlife Foundation, whose mission is to conserve America's Land and Wildlife through wise stewardship. They talk about his foundation, NASCAR, and how kindness benefits everyone.Greg grew up watching Ward, just as Ward was also growing up, as they are near the same age. As Ward progressed through his NASCAR career, or Phase One of his life, according to Crumpton, he noted that he always admired how Burton handled his sponsorships. While growing up in Atlanta, Greg attended some of Ward's races. But, Crumpton noted that professional athlete aside, he always admired how Burton carried himself and how he was a nice guy."It is really easy to be kind and available if they want a story about you, versus being the other way, so I was never aloof on any of that." - Ward Burton"In business and in personal life, that goes so far," Crumpton said. "How you treat your people: your interviewers and your co-competitors. You set a good bar for that."Back in the days of print reporters in pit row and TV network reporters, Burton noted that those folks had a job to do, too."It is really easy to be kind and available if they want a story about you versus being the other way, so I was never aloof on any of that," Burton said. He always took time to be available for requests because not only would you get a good message out about your team or partners, but it was about working together.

Ward Burton – a social media darling, snake wrangler extraordinaire, southern linguistic aficionado, and one of The Dale Jr. Download's most highly-requested guests – sits down at the table for a deep dive into his career and life with Dale Earnhardt Jr.After Ward's brother Jeff Burton's appearance on the show in 2019, the crew has eagerly been anticipating this conversation with Ward. Dale Jr. and co-host Mike Davis quickly learn that Jeff's episode has recently been on Ward's mind as well. Find out what realization Ward came to with his brother ahead of this interview.The three Burton brothers experienced three completely different upbringings in South Boston, Virginia. Hear Ward's perspective on his life as a child, why he was sent to military school and the impact their parents divorce had on each brother.Ward details where his life turned once he became an adult and how a few years later, he ended up living alone in the woods for two years. Find out where he stayed, how he ate, where he bathed, and why he finds peace outdoors.Upon his return to society, racing became an interest of Ward's. Learn how he got into racing, why it quickly became a priority in his life and the difference between his path and Jeff's. Hear about the night Ward beat Jeff and what that meant to the eldest Burton brother.As Ward ascended the racing ranks, he tells Dale Jr. about his late model days, moving to the Busch Series and the race at Charlotte that garnered him the attention of the sport. Hear how his first Cup Series opportunity came about and the decision behind leaving his first team to partner with Bill Davis Racing. Then Ward shares about his time driving for Bill Davis, when they peaked and what ultimately led to the team's downfall.The two Daytona 500 winners trade memories of the emotion winning that race brought them and what it feels like in the moment. While Ward won the 2002 running, hear why he believes he would have been a player in the 2001 Daytona 500 finish and what he admits his team did to gain an advantage that day.For the first time, Dale Jr. and Ward discuss their infamous run-in at Bristol Motor Speedway in 2002. Dale first shares his side of the story and Ward recalls what was running through his mind that night. Then he provides insight into his decision not to throw his helmet and why he wishes his car restarted.Next, Ward tells Dale and Mike about getting fired from Bill Davis Racing and why his loyalty cost him a shot at other rides in the sport through the years. He shares what he learned through that experience and what he needed at that time in his career to continue racing. Then he recalls his decision to call it quits.Now Ward enjoys other endeavors in his life, including helping his son Jeb Burton grow his racing career. Ward gets deep talking about times helping Jeb brought him to tears. Lastly, he explains how racing has given his full-time life a voice. Hear why he started a conservation organization and the emotional rollercoaster he went through growing the Ward Burton Wildlife Foundation.In a special edition of Ask Jr. Presented by Xfinity, Dale takes questions from Xfinity Series drivers. Hear who asked a question, what Dale Jr. says about Matt Kenseth on and off the track, and what advice he has for young racers. To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

Ward Burton – a social media darling, snake wrangler extraordinaire, southern linguistic aficionado, and one of The Dale Jr. Download's most highly-requested guests – sits down at the table for a deep dive into his career and life with Dale Earnhardt Jr. After Ward's brother Jeff Burton's appearance on the show in 2019, the crew has eagerly been anticipating this conversation with Ward. Dale Jr. and co-host Mike Davis quickly learn that Jeff's episode has recently been on Ward's mind as well. Find out what realization Ward came to with his brother ahead of this interview. The three Burton brothers experienced three completely different upbringings in South Boston, Virginia. Hear Ward's perspective on his life as a child, why he was sent to military school and the impact their parents divorce had on each brother. Ward details where his life turned once he became an adult and how a few years later, he ended up living alone in the woods for two years. Find out where he stayed, how he ate, where he bathed, and why he finds peace outdoors. Upon his return to society, racing became an interest of Ward's. Learn how he got into racing, why it quickly became a priority in his life and the difference between his path and Jeff's. Hear about the night Ward beat Jeff and what that meant to the eldest Burton brother. As Ward ascended the racing ranks, he tells Dale Jr. about his late model days, moving to the Busch Series and the race at Charlotte that garnered him the attention of the sport. Hear how his first Cup Series opportunity came about and the decision behind leaving his first team to partner with Bill Davis Racing. Then Ward shares about his time driving for Bill Davis, when they peaked and what ultimately led to the team's downfall. The two Daytona 500 winners trade memories of the emotion winning that race brought them and what it feels like in the moment. While Ward won the 2002 running, hear why he believes he would have been a player in the 2001 Daytona 500 finish and what he admits his team did to gain an advantage that day. For the first time, Dale Jr. and Ward discuss their infamous run-in at Bristol Motor Speedway in 2002. Dale first shares his side of the story and Ward recalls what was running through his mind that night. Then he provides insight into his decision not to throw his helmet and why he wishes his car restarted. Next, Ward tells Dale and Mike about getting fired from Bill Davis Racing and why his loyalty cost him a shot at other rides in the sport through the years. He shares what he learned through that experience and what he needed at that time in his career to continue racing. Then he recalls his decision to call it quits. Now Ward enjoys other endeavors in his life, including helping his son Jeb Burton grow his racing career. Ward gets deep talking about times helping Jeb brought him to tears. Lastly, he explains how racing has given his full-time life a voice. Hear why he started a conservation organization and the emotional rollercoaster he went through growing the Ward Burton Wildlife Foundation. In a special edition of Ask Jr. Presented by Xfinity, Dale takes questions from Xfinity Series drivers. Hear who asked a question, what Dale Jr. says about Matt Kenseth on and off the track, and what advice he has for young racers. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Christina Ward’s newest book American Advertising Cookbooks: How Corporations Taught Us to Love Spam, Bananas, and Jell-O (Process Media, 2019) examines a familiar but understudied sub-genre of commercially published cookbooks. Advertising cookbooks were most popular in the middle decades of the 20th century. They are usually published by a company or industry interest group rather than an individual chef or writer, and they serve as instructions for consumers to use the products of that company or industry. As Ward explains, advertising cookbooks introduced American consumers to new convenience foods like Jell-O and SPAM or to unfamiliar ingredients like pineapples and bananas.  Ward tells a history of cookbooks that draws a direct line between Puritan austerity and gender roles, Amelia Simmons, World’s Fairs, Home Economists, and Jell-O recipes. Essentially, Ward argues that American cooks at each stage needed (or wanted) experts to tell them how to eat and cook. Advertising cookbooks fill a specific gap in knowledge home cooks can’t rely on inherited or communally held knowledge to use new ingredients or appliances. Part of this story is also the story of advertising itself and how it changed dramatically with Edward Bernays through the practices of “psychological coercion” and the birth of public relations. The book is organized into photo chapters that provide readers with an archive of examples of advertising cookbooks at work with their garish colors (the result of low quality printing, Ward suggests) and unusual combinations in elaborate arrangements. The cookbooks give today’s readers a lot to laugh at (like ham wrapped bananas with cheese sauce), but Ward also highlights the “sinister side” of advertising cookbooks. The United Fruit Company brought pineapples and bananas to consumers in creative ways, but they also participated in colonial projects that created the term “banana republic.” Similarly, advertising cookbooks played into ethnic stereotypes and created racist caricatures such as Aunt Jemima and Uncle Ben. Advertising cookbooks play a unique role in American food culture; it isn’t always clear if the cookbooks created demand or responded to an existing demand in the market. Either way, Ward suggests that these cookbooks represent an American cuisine and culture worthy of more scholarly attention. Christina Ward is an author and editor at Feral House. She is a contributor to Serious Eats, Edible Milwaukee, The Wall Street Journal, The Milwaukee Journal/Sentinel, Remedy Quarterly, and Runcible Spoon magazines. Eliza Weeks is a recent graduate of the Master of Food Studies program at Chatham University in Pittsburgh, PA. Carrie Helms Tippen is Assistant Professor of English at Chatham University in Pittsburgh, PA, where she teaches courses in American Literature. Her 2018 book, Inventing Authenticity: How Cookbook Writers Redefine Southern Identity (University of Arkansas Press), examines the rhetorical strategies that writers use to prove the authenticity of their recipes in the narrative headnotes of contemporary cookbooks. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/gender-studies

Christina Ward’s newest book American Advertising Cookbooks: How Corporations Taught Us to Love Spam, Bananas, and Jell-O (Process Media, 2019) examines a familiar but understudied sub-genre of commercially published cookbooks. Advertising cookbooks were most popular in the middle decades of the 20th century. They are usually published by a company or industry interest group rather than an individual chef or writer, and they serve as instructions for consumers to use the products of that company or industry. As Ward explains, advertising cookbooks introduced American consumers to new convenience foods like Jell-O and SPAM or to unfamiliar ingredients like pineapples and bananas.  Ward tells a history of cookbooks that draws a direct line between Puritan austerity and gender roles, Amelia Simmons, World’s Fairs, Home Economists, and Jell-O recipes. Essentially, Ward argues that American cooks at each stage needed (or wanted) experts to tell them how to eat and cook. Advertising cookbooks fill a specific gap in knowledge home cooks can’t rely on inherited or communally held knowledge to use new ingredients or appliances. Part of this story is also the story of advertising itself and how it changed dramatically with Edward Bernays through the practices of “psychological coercion” and the birth of public relations. The book is organized into photo chapters that provide readers with an archive of examples of advertising cookbooks at work with their garish colors (the result of low quality printing, Ward suggests) and unusual combinations in elaborate arrangements. The cookbooks give today’s readers a lot to laugh at (like ham wrapped bananas with cheese sauce), but Ward also highlights the “sinister side” of advertising cookbooks. The United Fruit Company brought pineapples and bananas to consumers in creative ways, but they also participated in colonial projects that created the term “banana republic.” Similarly, advertising cookbooks played into ethnic stereotypes and created racist caricatures such as Aunt Jemima and Uncle Ben. Advertising cookbooks play a unique role in American food culture; it isn’t always clear if the cookbooks created demand or responded to an existing demand in the market. Either way, Ward suggests that these cookbooks represent an American cuisine and culture worthy of more scholarly attention. Christina Ward is an author and editor at Feral House. She is a contributor to Serious Eats, Edible Milwaukee, The Wall Street Journal, The Milwaukee Journal/Sentinel, Remedy Quarterly, and Runcible Spoon magazines. Eliza Weeks is a recent graduate of the Master of Food Studies program at Chatham University in Pittsburgh, PA. Carrie Helms Tippen is Assistant Professor of English at Chatham University in Pittsburgh, PA, where she teaches courses in American Literature. Her 2018 book, Inventing Authenticity: How Cookbook Writers Redefine Southern Identity (University of Arkansas Press), examines the rhetorical strategies that writers use to prove the authenticity of their recipes in the narrative headnotes of contemporary cookbooks. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/popular-culture

Christina Ward’s newest book American Advertising Cookbooks: How Corporations Taught Us to Love Spam, Bananas, and Jell-O (Process Media, 2019) examines a familiar but understudied sub-genre of commercially published cookbooks. Advertising cookbooks were most popular in the middle decades of the 20th century. They are usually published by a company or industry interest group rather than an individual chef or writer, and they serve as instructions for consumers to use the products of that company or industry. As Ward explains, advertising cookbooks introduced American consumers to new convenience foods like Jell-O and SPAM or to unfamiliar ingredients like pineapples and bananas.  Ward tells a history of cookbooks that draws a direct line between Puritan austerity and gender roles, Amelia Simmons, World’s Fairs, Home Economists, and Jell-O recipes. Essentially, Ward argues that American cooks at each stage needed (or wanted) experts to tell them how to eat and cook. Advertising cookbooks fill a specific gap in knowledge home cooks can’t rely on inherited or communally held knowledge to use new ingredients or appliances. Part of this story is also the story of advertising itself and how it changed dramatically with Edward Bernays through the practices of “psychological coercion” and the birth of public relations. The book is organized into photo chapters that provide readers with an archive of examples of advertising cookbooks at work with their garish colors (the result of low quality printing, Ward suggests) and unusual combinations in elaborate arrangements. The cookbooks give today’s readers a lot to laugh at (like ham wrapped bananas with cheese sauce), but Ward also highlights the “sinister side” of advertising cookbooks. The United Fruit Company brought pineapples and bananas to consumers in creative ways, but they also participated in colonial projects that created the term “banana republic.” Similarly, advertising cookbooks played into ethnic stereotypes and created racist caricatures such as Aunt Jemima and Uncle Ben. Advertising cookbooks play a unique role in American food culture; it isn’t always clear if the cookbooks created demand or responded to an existing demand in the market. Either way, Ward suggests that these cookbooks represent an American cuisine and culture worthy of more scholarly attention. Christina Ward is an author and editor at Feral House. She is a contributor to Serious Eats, Edible Milwaukee, The Wall Street Journal, The Milwaukee Journal/Sentinel, Remedy Quarterly, and Runcible Spoon magazines. Eliza Weeks is a recent graduate of the Master of Food Studies program at Chatham University in Pittsburgh, PA. Carrie Helms Tippen is Assistant Professor of English at Chatham University in Pittsburgh, PA, where she teaches courses in American Literature. Her 2018 book, Inventing Authenticity: How Cookbook Writers Redefine Southern Identity (University of Arkansas Press), examines the rhetorical strategies that writers use to prove the authenticity of their recipes in the narrative headnotes of contemporary cookbooks. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/food

Christina Ward’s newest book American Advertising Cookbooks: How Corporations Taught Us to Love Spam, Bananas, and Jell-O (Process Media, 2019) examines a familiar but understudied sub-genre of commercially published cookbooks. Advertising cookbooks were most popular in the middle decades of the 20th century. They are usually published by a company or industry interest group rather than an individual chef or writer, and they serve as instructions for consumers to use the products of that company or industry. As Ward explains, advertising cookbooks introduced American consumers to new convenience foods like Jell-O and SPAM or to unfamiliar ingredients like pineapples and bananas.  Ward tells a history of cookbooks that draws a direct line between Puritan austerity and gender roles, Amelia Simmons, World’s Fairs, Home Economists, and Jell-O recipes. Essentially, Ward argues that American cooks at each stage needed (or wanted) experts to tell them how to eat and cook. Advertising cookbooks fill a specific gap in knowledge home cooks can’t rely on inherited or communally held knowledge to use new ingredients or appliances. Part of this story is also the story of advertising itself and how it changed dramatically with Edward Bernays through the practices of “psychological coercion” and the birth of public relations. The book is organized into photo chapters that provide readers with an archive of examples of advertising cookbooks at work with their garish colors (the result of low quality printing, Ward suggests) and unusual combinations in elaborate arrangements. The cookbooks give today’s readers a lot to laugh at (like ham wrapped bananas with cheese sauce), but Ward also highlights the “sinister side” of advertising cookbooks. The United Fruit Company brought pineapples and bananas to consumers in creative ways, but they also participated in colonial projects that created the term “banana republic.” Similarly, advertising cookbooks played into ethnic stereotypes and created racist caricatures such as Aunt Jemima and Uncle Ben. Advertising cookbooks play a unique role in American food culture; it isn’t always clear if the cookbooks created demand or responded to an existing demand in the market. Either way, Ward suggests that these cookbooks represent an American cuisine and culture worthy of more scholarly attention. Christina Ward is an author and editor at Feral House. She is a contributor to Serious Eats, Edible Milwaukee, The Wall Street Journal, The Milwaukee Journal/Sentinel, Remedy Quarterly, and Runcible Spoon magazines. Eliza Weeks is a recent graduate of the Master of Food Studies program at Chatham University in Pittsburgh, PA. Carrie Helms Tippen is Assistant Professor of English at Chatham University in Pittsburgh, PA, where she teaches courses in American Literature. Her 2018 book, Inventing Authenticity: How Cookbook Writers Redefine Southern Identity (University of Arkansas Press), examines the rhetorical strategies that writers use to prove the authenticity of their recipes in the narrative headnotes of contemporary cookbooks. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

Christina Ward’s newest book American Advertising Cookbooks: How Corporations Taught Us to Love Spam, Bananas, and Jell-O (Process Media, 2019) examines a familiar but understudied sub-genre of commercially published cookbooks. Advertising cookbooks were most popular in the middle decades of the 20th century. They are usually published by a company or industry interest group rather than an individual chef or writer, and they serve as instructions for consumers to use the products of that company or industry. As Ward explains, advertising cookbooks introduced American consumers to new convenience foods like Jell-O and SPAM or to unfamiliar ingredients like pineapples and bananas.  Ward tells a history of cookbooks that draws a direct line between Puritan austerity and gender roles, Amelia Simmons, World’s Fairs, Home Economists, and Jell-O recipes. Essentially, Ward argues that American cooks at each stage needed (or wanted) experts to tell them how to eat and cook. Advertising cookbooks fill a specific gap in knowledge home cooks can’t rely on inherited or communally held knowledge to use new ingredients or appliances. Part of this story is also the story of advertising itself and how it changed dramatically with Edward Bernays through the practices of “psychological coercion” and the birth of public relations. The book is organized into photo chapters that provide readers with an archive of examples of advertising cookbooks at work with their garish colors (the result of low quality printing, Ward suggests) and unusual combinations in elaborate arrangements. The cookbooks give today’s readers a lot to laugh at (like ham wrapped bananas with cheese sauce), but Ward also highlights the “sinister side” of advertising cookbooks. The United Fruit Company brought pineapples and bananas to consumers in creative ways, but they also participated in colonial projects that created the term “banana republic.” Similarly, advertising cookbooks played into ethnic stereotypes and created racist caricatures such as Aunt Jemima and Uncle Ben. Advertising cookbooks play a unique role in American food culture; it isn’t always clear if the cookbooks created demand or responded to an existing demand in the market. Either way, Ward suggests that these cookbooks represent an American cuisine and culture worthy of more scholarly attention. Christina Ward is an author and editor at Feral House. She is a contributor to Serious Eats, Edible Milwaukee, The Wall Street Journal, The Milwaukee Journal/Sentinel, Remedy Quarterly, and Runcible Spoon magazines. Eliza Weeks is a recent graduate of the Master of Food Studies program at Chatham University in Pittsburgh, PA. Carrie Helms Tippen is Assistant Professor of English at Chatham University in Pittsburgh, PA, where she teaches courses in American Literature. Her 2018 book, Inventing Authenticity: How Cookbook Writers Redefine Southern Identity (University of Arkansas Press), examines the rhetorical strategies that writers use to prove the authenticity of their recipes in the narrative headnotes of contemporary cookbooks. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

Christina Ward’s newest book American Advertising Cookbooks: How Corporations Taught Us to Love Spam, Bananas, and Jell-O (Process Media, 2019) examines a familiar but understudied sub-genre of commercially published cookbooks. Advertising cookbooks were most popular in the middle decades of the 20th century. They are usually published by a company or industry interest group rather than an individual chef or writer, and they serve as instructions for consumers to use the products of that company or industry. As Ward explains, advertising cookbooks introduced American consumers to new convenience foods like Jell-O and SPAM or to unfamiliar ingredients like pineapples and bananas.  Ward tells a history of cookbooks that draws a direct line between Puritan austerity and gender roles, Amelia Simmons, World’s Fairs, Home Economists, and Jell-O recipes. Essentially, Ward argues that American cooks at each stage needed (or wanted) experts to tell them how to eat and cook. Advertising cookbooks fill a specific gap in knowledge home cooks can’t rely on inherited or communally held knowledge to use new ingredients or appliances. Part of this story is also the story of advertising itself and how it changed dramatically with Edward Bernays through the practices of “psychological coercion” and the birth of public relations. The book is organized into photo chapters that provide readers with an archive of examples of advertising cookbooks at work with their garish colors (the result of low quality printing, Ward suggests) and unusual combinations in elaborate arrangements. The cookbooks give today’s readers a lot to laugh at (like ham wrapped bananas with cheese sauce), but Ward also highlights the “sinister side” of advertising cookbooks. The United Fruit Company brought pineapples and bananas to consumers in creative ways, but they also participated in colonial projects that created the term “banana republic.” Similarly, advertising cookbooks played into ethnic stereotypes and created racist caricatures such as Aunt Jemima and Uncle Ben. Advertising cookbooks play a unique role in American food culture; it isn’t always clear if the cookbooks created demand or responded to an existing demand in the market. Either way, Ward suggests that these cookbooks represent an American cuisine and culture worthy of more scholarly attention. Christina Ward is an author and editor at Feral House. She is a contributor to Serious Eats, Edible Milwaukee, The Wall Street Journal, The Milwaukee Journal/Sentinel, Remedy Quarterly, and Runcible Spoon magazines. Eliza Weeks is a recent graduate of the Master of Food Studies program at Chatham University in Pittsburgh, PA. Carrie Helms Tippen is Assistant Professor of English at Chatham University in Pittsburgh, PA, where she teaches courses in American Literature. Her 2018 book, Inventing Authenticity: How Cookbook Writers Redefine Southern Identity (University of Arkansas Press), examines the rhetorical strategies that writers use to prove the authenticity of their recipes in the narrative headnotes of contemporary cookbooks. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

Christina Ward’s newest book American Advertising Cookbooks: How Corporations Taught Us to Love Spam, Bananas, and Jell-O (Process Media, 2019) examines a familiar but understudied sub-genre of commercially published cookbooks. Advertising cookbooks were most popular in the middle decades of the 20th century. They are usually published by a company or industry interest group rather than an individual chef or writer, and they serve as instructions for consumers to use the products of that company or industry. As Ward explains, advertising cookbooks introduced American consumers to new convenience foods like Jell-O and SPAM or to unfamiliar ingredients like pineapples and bananas.  Ward tells a history of cookbooks that draws a direct line between Puritan austerity and gender roles, Amelia Simmons, World’s Fairs, Home Economists, and Jell-O recipes. Essentially, Ward argues that American cooks at each stage needed (or wanted) experts to tell them how to eat and cook. Advertising cookbooks fill a specific gap in knowledge home cooks can’t rely on inherited or communally held knowledge to use new ingredients or appliances. Part of this story is also the story of advertising itself and how it changed dramatically with Edward Bernays through the practices of “psychological coercion” and the birth of public relations. The book is organized into photo chapters that provide readers with an archive of examples of advertising cookbooks at work with their garish colors (the result of low quality printing, Ward suggests) and unusual combinations in elaborate arrangements. The cookbooks give today’s readers a lot to laugh at (like ham wrapped bananas with cheese sauce), but Ward also highlights the “sinister side” of advertising cookbooks. The United Fruit Company brought pineapples and bananas to consumers in creative ways, but they also participated in colonial projects that created the term “banana republic.” Similarly, advertising cookbooks played into ethnic stereotypes and created racist caricatures such as Aunt Jemima and Uncle Ben. Advertising cookbooks play a unique role in American food culture; it isn’t always clear if the cookbooks created demand or responded to an existing demand in the market. Either way, Ward suggests that these cookbooks represent an American cuisine and culture worthy of more scholarly attention. Christina Ward is an author and editor at Feral House. She is a contributor to Serious Eats, Edible Milwaukee, The Wall Street Journal, The Milwaukee Journal/Sentinel, Remedy Quarterly, and Runcible Spoon magazines. Eliza Weeks is a recent graduate of the Master of Food Studies program at Chatham University in Pittsburgh, PA. Carrie Helms Tippen is Assistant Professor of English at Chatham University in Pittsburgh, PA, where she teaches courses in American Literature. Her 2018 book, Inventing Authenticity: How Cookbook Writers Redefine Southern Identity (University of Arkansas Press), examines the rhetorical strategies that writers use to prove the authenticity of their recipes in the narrative headnotes of contemporary cookbooks. 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

Welcome back fellow Defenders to our penultimate podcast as we return with our Iron Fist Episode 12 Review and our top five points about "Bar The Big Boss" in our Spoiler filled discussion.  As always make sure you've watched the episode before listening to the podcast. Iron Fist Episode 12 Review Podcast "Bar The Big Boss" Spoiler filled Synopsis Written by: Scott Reynolds Directed by: Andy Goddard Ward Meachum (Tom Pelphrey), restrained and coming down from his addiction, is visited by two people at Birch Psychiatric Hospital, one of whom offers him a deal he simply can’t refuse; as he escapes both his physical and mental confines he heads straight for the penthouse of Harold Meachum (David Wenham) where the Meachum family dysfunctionally reacquaint with each other. As Ward, gun in hand, demands that Joy Meachum (Jessica Stroup) comes with him to escape Harold, Bakuto  (Ramon Rodriguez) and his operatives arrive. Ward’s deal with Bakuto quickly heads south as Joy is shot and seriously wounded, and Harold is threatened a more permanent form of death unless Danny Rand (Finn Jones) hands himself over to The Hand. Just before Harold is decapitated Danny arrives and is taken by Bukuto. As they leave the Penthouse Danny, Davos (Sacha Dhawan) and Colleen Wing (Jessica Henwick) spring their surprise, taking down Bukuto’s operatives as he flees the scene. They make chase and Colleen is forced to confront and battle her old Sensei but it is Davos who strikes the killing thrust at Bukuto to the astonishment of Danny. As they face-off against one another Danny states that he wishes to be both Rand and the Iron Fist forcing Davos to depart back to K’un Lun. However in all the commotion Bakuto's body has gone and Harold, now at the hospital with Joy and Ward, engineer’s another set-up this time against Danny as the dojo is attacked by DEA agents. Thanks so much again for all of your feedback and voicemails for this episode and of course for listening to our Iron Fist Episode 12 Review Podcast we've loved to hearing from listeners about your thoughts on all 100 of our podcasts so far. If you would like to send any of your thoughts in please send them to feedback@defenderstvpodcast.com join us on facebook at Facebook.com/groups/defenderstvpodcast or follow us on Twitter @defenderscast and you can now record your thoughts for the podcast directly from our website defenderstvpodcast.com by clicking the “Send Voicemail” button. We're almost at the end of the series now we will return with with our review of the season finale of Iron Fist Episode 13 ”Dragon Plays with Fire” on Tuesday the 25th of April. Thanks for listening John, Chris and Derek Defenders TV Podcast Date recorded: 15/04/2017 Date published: 21/04/2017 MP3, 74.16 mins, 96kbps, 51.2 MB All images and audio clips are copyright of Netflix no infringement is intended. The intro and outro music for our show is provided by Mississippi MacDonald you can find more of his music at his website MississippiMacdonald.com .

It's time for our Iron Fist Episode 7 Review is our now as we discuss our top five points about "Felling Tree With Roots" the seventh episode of the Marvel Netflix show Iron Fist in our Spoiler filled podcast. As always make sure you've watched the episode before listening to our podcast. Iron Fist Episode 7 Review Podcast "Felling Tree With Roots" Spoiler filled Synopsis Written by: Ian Stokes Directed by: Farren Blackburn Harold Meachum (David Wenham) is in trouble with the Hand as they grow suspicious of his connection with Danny Rand (Finn Jones), which is confirmed when Danny arrives at Harold’s penthouse while he is being interrogated by two Hand operatives. In the aftermath of this bloody encounter Harold looks to his put upon son Ward Meachum (Tom Pelphrey) to dispose of the bodies as their relationship becomes increasingly strained. Elsewhere relationships look brighter as Colleen Wing (Jessica Henwick) and Danny’s connection grows closer just as another man from her past, her martial arts mentor, Bokuto (Ramon Rodriguez), returns with unknown intentions. As Danny starts investigating his father's past at Rand Enterprises he spots a familiar face - Madame Gao (Wai Ching Ho). As he learns of the level of infiltration at Rand Enterprises by the Hand he persuades Colleen and Hai-Qing Yang (Henry Yuk) and his Hatchet Men to help them fight The Hand. In an attack on the Hand to rescue Radovan, he reveals to Danny that Gao has departed for Anzhou, where Rand's family was flying to fifteen years ago. Another vacation is on the cards as Joy Meachum (Jessica Stroup) convinces her brother Ward to get away from it all after Danny announces a decision that has serious consequences for their role on the Rand Enterprises Board. As Ward is prevented from going on vacation by his father, the pressure and strain of their relationship spills over and runs a deep and angry shade of red. Thanks so much for listening to our Iron Fist Episode 7 Review Podcast we've loved to hearing from listeners about your thoughts on all of our podcasts so far. If you would like to send any of your thoughts in please send them to feedback@defenderstvpodcast.com join us on facebook at Facebook.com/groups/defenderstvpodcast or follow us on Twitter @defenderscast and you can now record your thoughts for the podcast directly from our website defenderstvpodcast.com by clicking the “Send Voicemail” button. There's a lot more to come in the series and Defenders TV Podcast will return with Iron Fist Episode 8 "The Blessing of Many Fractures" on Friday the 7th of April and then every Tuesday and Friday until the end of Iron Fist Season 1. Thanks for listening John, Chris and Derek Defenders TV Podcast Date recorded: 29/03/2017 Date published: 04/04/2017 MP3, 69.16 mins, 96kbps, 47.7 MB All images and audio clips are copyright of Netflix no infringement is intended. The intro and outro music for our show is provided by Mississippi MacDonald you can find more of his music at his website MississippiMacdonald.com .

As Ward and Steve finish up LVO prep, we sit down to discuss green stuff and textured basing pads, as well as the next instalment of the Gathering Storm series from Games Workshop! Eldar get a new god, and more vowels!

  Rising Tide: An Agents of S.H.I.E.L.D. Podcast Ep#20 [Nothing Personal] RECAP: While May meets up with Hill in Washington, D.C., Coulson's team discovers that May, Ward, and Skye left Providence. Simmons discovers Koenig's body while Fitz finds a message left by Skye informing them that Ward is a member of Hydra. Providence is invaded by Talbot and his troops, having been led there by Hill; when Talbot demands the team turn themselves in, Coulson manages to convince Hill to help him and they escape. Meanwhile, Skye leads Ward to the diner where she met Mike Peterson and secretly tips off the police. She reveals that she knows his secret and escapes while he fights the police, but Deathlok appears and captures her. Skye refuses to decrypt the hard drive, forcing Deathlok to nearly kill Ward with one of his weapons to convince her. As Ward tries to fly the Bus away, he is confronted by Hill and Triplett, who stall long enough for Coulson to sneak on board through the landing gear. Coulson frees Skye, and they escape from Deathlok in Coulson's flight-capable car, Lola. Deathlok then attempts to convince Ward to let them go now that the drive is decrypting on Garrett's orders, but Ward refuses. The team retires to a hotel where Skye reveals she left a trap in the hard drive while Hill returns to D.C. Later, May returns and shows Coulson the contents of a flash drive she recovered from his "grave", specifically a message to Fury from the director of T.A.H.I.T.I. The file is a video of Coulson himself informing Fury that T.A.H.I.T.I. must be shut down because of horrific side effects the drugs had on test subjects, which could only be mitigated by erasing the victim's memory of what happened. 

At the Seventeenth Komsomol Congress in 1974, Leonid Brezhnev announced the construction of the Baikal-Amur Mainline Railway, or BAM. This “Path to the Future” would prove to be the Soviet Union’s last flirt with socialist gigantism. The cost, poor planning, waste, and environmental damage associated with the construction BAM’s 2,687 miles of track served as an allegory for the Soviet system as a whole. To say that the BAM, which was to serve as an alternative to the strategically vulnerable and aging Trans-Siberian Railway, was a colossal failure is a colossal understatement. It’s troubles linger even today. But BAM’s story is not merely tragic. As Christopher Ward‘s book Brezhnev’s Folly: The Building of BAM and Late Soviet Socialism demonstrates, the tale of BAM is also a window into the complexities of the Brezhnev era. Historians commonly view this period as one of “zastoi,” or stagnation. The BAM project, however, suggests a rather different interpretation. As Ward shows, we find a lot of things in the BAM initiative that are not captured by the “zastoi” interpretation, for example: a nascent Soviet environmental movement at loggerheads with the ecological destructiveness of Soviet Prometheanism; a flood of young volunteers driven by enthusiasm, opportunity, and a desire for freedom in the more libertine Soviet Far East; and, finally, a lot of crime, corruption, and sex (together with futile attempts to regulate and punish all of them). Ward’s study of BAM suggests that the Soviet Union under Brezhnev wasn’t so much stagnating as it was running about without any real idea of where it was going. Learn more about your ad choices. Visit megaphone.fm/adchoices

At the Seventeenth Komsomol Congress in 1974, Leonid Brezhnev announced the construction of the Baikal-Amur Mainline Railway, or BAM. This “Path to the Future” would prove to be the Soviet Union’s last flirt with socialist gigantism. The cost, poor planning, waste, and environmental damage associated with the construction BAM’s 2,687 miles of track served as an allegory for the Soviet system as a whole. To say that the BAM, which was to serve as an alternative to the strategically vulnerable and aging Trans-Siberian Railway, was a colossal failure is a colossal understatement. It’s troubles linger even today. But BAM’s story is not merely tragic. As Christopher Ward‘s book Brezhnev’s Folly: The Building of BAM and Late Soviet Socialism demonstrates, the tale of BAM is also a window into the complexities of the Brezhnev era. Historians commonly view this period as one of “zastoi,” or stagnation. The BAM project, however, suggests a rather different interpretation. As Ward shows, we find a lot of things in the BAM initiative that are not captured by the “zastoi” interpretation, for example: a nascent Soviet environmental movement at loggerheads with the ecological destructiveness of Soviet Prometheanism; a flood of young volunteers driven by enthusiasm, opportunity, and a desire for freedom in the more libertine Soviet Far East; and, finally, a lot of crime, corruption, and sex (together with futile attempts to regulate and punish all of them). Ward’s study of BAM suggests that the Soviet Union under Brezhnev wasn’t so much stagnating as it was running about without any real idea of where it was going. Learn more about your ad choices. Visit megaphone.fm/adchoices