Podcasts about Barad

In this energizing episode of the JAMODI Podcast, Matt Sayman sits down with high school coaching legend Coach Joseph Dix of East Hall High School. Known for his aggressive, high-energy style of play, Dix shares his coaching philosophy, the power of pressing defense, and why identity and belief in your system matter more than Xs and Os.From embracing deep rotations and getting 12–15 players involved, to cultivating a culture that supports multi-sport athletes, Coach Dix offers a masterclass in building a sustainable, competitive, and exciting high school basketball program.Whether you're a coach looking to deepen your impact or a basketball fan who loves strategy and passion, this episode is full of insight, laughs, and authentic moments.

In this episode of RAPM Focus, executive editor Steven Cohen, MD, discusses the September 2024 publication of “Current state of the pain medicine match: perspective and an eye to the future,” with Meredith Barad, MD, Anuj Aggarwal, MD, and Lynn Kohan, MD. This letter explores the rationale behind reassessing the NRMP's utility for pain medicine, examining historical and current trends, and considering the implications of withdrawing from the match. Despite a recent decline in applicants and an increase in unfilled positions, the APPD advocates for continued participation in the match. The match ensures equitable and stable recruitment, preventing the chaotic pre-match environment of competitive, early offers. Data from similar specialties highlight the pitfalls of non-match systems, such as increased applicant pressure and reduced program visibility. The APPD supports maintaining the NRMP match while implementing reforms like preference signaling to address evolving challenges. The APPD aims to preserve the match's benefits and ensure a stable future for pain medicine fellowship recruitment. Dr. Barad is a clinical associate professor in anesthesiology (pain) and neurology at Stanford. She is the co-director of the Stanford Facial Pain Program and focuses on headache and facial pain. She completed her undergraduate work at the University of Texas at Austin and graduated from Stanford University Medical School in 2003. After her internship at Santa Clara Valley Medical Center in San Jose, CA, she went on to a neurology residency and pain fellowship at Stanford. She is board certified in neurology, headache, and pain. She is the associate division chief of education and program director for the pain fellowship. She is the current president of the American Pain Program Directors. She serves as the chair of the headache and facial pain special interest group for the American Academy of Pain Medicine and is on the editorial board of Pain Medicine. Dr. Aggarwal is a clinical assistant professor of anesthesiology and the associate program director of the pain medicine fellowship at Stanford University, where he specializes in headache and orofacial pain. In addition to his work in pain medicine, he helps lead the teaching of medical students serving as director of pharmacology and as associate director for the Science of Medicine.  Dr. Kohan is a professor of anesthesiology and pain medicine at the University of Virginia. She is the division chief and the chronic pain program director. She serves on the board of directors for national pain societies including ASRA Pain Medicine. *The purpose of this podcast is to educate and to inform. The content of this podcast does not constitute medical advice, and it is not intended to function as a substitute for a healthcare practitioner's judgement, patient care, or treatment. The views expressed by contributors are those of the speakers. BMJ does not endorse any views or recommendations discussed or expressed on this podcast. Listeners should also be aware that professionals in the field may have different opinions. By listening to this podcast, listeners agree not to use its content as the basis for their own medical treatment or for the medical treatment of others. Podcast and music produced by Dan Langa. Find us on X @RAPMOnline, LinkedIn @Regional Anesthesia & Pain Medicine, Facebook @Regional Anesthesia & Pain Medicine, and Instagram @RAPM_Online.

Our interview guest this week is Tanya Barad, Sergeant at Arms at Birmingham New Street Speakers.This episode is published on 5th April 2025 with Paul O'Mahony & Moira O'Brien DTM, edited & produced by Moira O'Brien.Contact us :email: ⁠info@irishtalkers.com⁠Website: ⁠www.irishtalkers.com⁠District 71 Website: d71toastmasters.orgDistrict 91 Website: d91toastmasters.org.ukToastmasters International: toastmasters.org

Join the Tolkien fandom and community — along with The Man of the West and The Lord of the Mark — for the PPP's 10th annual Tolkien Reading Day, observed every March 25 in honor of the destruction of the Ring and the downfall of Barad-dûr. This year's theme, as chosen by the Tolkien Society, is Fellowship and Community — and not only do we have some incredible readings that showcase this year's them, the PPP is demonstrating its own fellowship by bringing in each of the co-hosts from the last two seasons! Matt stops the story of Beleg where it ought to have ended, Don sings a bath song, James prepares to say goodbye to Rivendell, Sara leaves the Quenya for Alan, and Shawn makes Alan feel at home. Learn more about your ad choices. Visit megaphone.fm/adchoices

While people often learn lessons from Hashem hardening Pharaoh's heart, this shiur focuses more on the lessons to be learnt from Pharaoh hardening his own heart. It also discusses the confusing issue of who hardened Pharaoh's heart after Barad.

Tolkien tells us that the Fall of Barad-dûr was about 6000 years ago as The Man of the West continues his run through the Letters on Tolkien Tuesdays. Learn more about your ad choices. Visit megaphone.fm/adchoices

An EPIC conversation with Ellie Barrett. We delve into the philosophical and artistic histories of materials. We talk about Ellie's art practice working with various materials and in collaboration with both her mum and daughter.. Ellie is a sculptor, practice-based researcher, writer, academic and artist-mother, who is invested in exploring sculpture as a collaborative discipline. Using material engagement as a means of activating different circumstances and experiences as sites for making. She is an advocate for artist-m*thers. The PhD: https://eprints.lancs.ac.uk/id/eprint/152305/1/2020BarrettPhD.pdfE.Barrett's website: https://elliebarrett.com/Put It To Work: https://putittowork.wordpress.com/E.Barrett's Instagram: https://www.instagram.com/elliecbarrett/?hl=en-gbLinks to sited texts and works (in order of mention)Aristotle's Hylomorphism: https://metaphysicsjournal.com/articles/10.5334/met.2New Materialism: https://www.oxfordbibliographies.com/display/document/obo-9780190221911/obo-9780190221911-0016.xmlMaterial Literacy, A.S.Lehmann: https://www.academia.edu/35213411/A_Lehmann_Material_Literacy_Bauhaus_Zeitschrift_Nr_9_2017_20_27Glitter with R.Coleman and N.Seymour, The Mater Podcast: https://podcasts.apple.com/gb/podcast/the-mater-podcast/id1749226924?i=1000670752060O. Bax: https://www.oliviabax.co.uk/R.Molloy: https://www.artthou.co.uk/editorial/12/rebecca-molloyJ. Shannon The Disappearance of Objects: https://www.abebooks.co.uk/9780300137064/Disappearance-Objects-New-York-Art-0300137060/plpThe Goat, R.Rauschenberg: https://www.royalacademy.org.uk/article/rauschenberg-goatDominique White: https://blackdominique.com/E.Barrett Salt Dough Exhibition: https://elliebarrett.com/explain-things-to-me/J.Bennett Vibrant Matter: https://www.dukeupress.edu/vibrant-matterC.Oldenburg, London Knees: https://www.moma.org/collection/works/77314Object Oriented Feminism: https://www.jstor.org/stable/10.5749/j.ctt1g2knjgObject Oriented Onology: https://www.artspace.com/magazine/interviews_features/the_big_idea/a-guide-to-object-oriented-ontology-art-53690Lion Salt Works: https://lionsaltworks.westcheshiremuseums.co.uk/about-us/Art & Agency by A.Gell: https://monoskop.org/images/archive/4/4d/20150328075023%21Gell_Alfred_Art_and_Agency_An_Anthropological_Theory.pdfSPACE podcast: https://spacestudios.org.uk/events/out-of-space-episode-4-looking-after-the-art/Bad Vibes Club - Ten Texts on Sculpture, Maintenance: https://podcasts.apple.com/gb/podcast/ten-texts-on-sculpture-10-maintenance/id1220925467?i=1000659524759E.Thomas: https://www.herts.ac.uk/uhbow/students/meet-the-artist-elly-thomasE.Thomas, Play and the Artist's Creative Process: https://www.worldofbooks.com/en-gb/products/play-and-the-artists-creative-process-book-elly-thomas-9781032178370E.Barrett's, Processes and Forms for Artist-Motherhood, In Situ residency text: https://www.in-situ.org.uk/post/in-residence-ellie-barrett-and-nora-2-yrsK.Barad, Meeting the Universe Halfway: https://www.jstor.org/stable/j.ctv12101zqE.Barrett, The Sculpture Kit: https://elliebarrett.com/the-sculpture-kit/R.Morris: https://www.artnews.com/art-in-america/features/robert-morris-62842/B.Le Va: https://www.artnews.com/art-news/news/barry-le-va-dead-post-minimalist-sculptor-1234582161/H.Judah, How not to exclude artist mothers and other parents: https://www.hettiejudah.co.uk/how-not-to-exclude-artist-mothers-and-other-parentsE.Barrett's w/ mum and daughter: https://putittowork.wordpress.com/2023/08/26/how-to-work-as-a-mum/Hand-made Soft Play: https://elliebarrett.com/handmade-soft-play/E.Barrett, Vibrancy and Natural Dyeing: https://putittowork.wordpress.com/2023/09/20/agency-and-natural-dyeing/ Hosted on Acast. See acast.com/privacy for more information.

Orofacial pain comprises many disorders with different etiologies and pathophysiologies. A multidisciplinary approach combining medication, physical therapy, and procedural and psychological strategies is essential in treating patients with orofacial pain. In this episode, Teshamae Monteith, MD, FAAN, speaks with Meredith Barad, MD; Marcela Romero-Reyes, DDS, PhD, authors of the article “Orofacial Pain,” in the Continuum® October 2024 Pain Management in Neurology issue. Dr. Monteith is the associate editor of Continuum® Audio and an associate professor of clinical neurology at the University of Miami Miller School of Medicine in Miami, Florida. Dr. Barad is a clinical associate professor of anesthesiology, perioperative and pain medicine, and neurology and neurological sciences and codirector of the Stanford Facial Pain Program at Stanford Medicine in Stanford, California. Dr. Romero-Reyes is a clinical professor and director of the Brotman Facial Pain Clinic and Department of Neural and Pain Sciences at the University of Maryland in Baltimore, Maryland. Additional Resources Read the article: Orofacial Pain Subscribe to Continuum: shop.lww.com/Continuum Earn CME (available only to AAN members): continpub.com/AudioCME Continuum® Aloud (verbatim audio-book style recordings of articles available only to Continuum® subscribers): continpub.com/Aloud More about the American Academy of Neurology: aan.com Social Media @ContinuumAAN Host: @headacheMD Guest: @meredith_barad facebook.com/continuumcme Full episode transcript available here Dr Jones: This is Dr Lyell Jones, Editor-in-Chief of Continuum, the premier topic-based neurology clinical review and CME journal from the American Academy of Neurology. Thank you for joining us on Continuum Audio, which features conversations with Continuum 's guest editors and authors who are the leading experts in their fields. Subscribers to the Continuum Journal can read the full article or listen to verbatim recordings of the article and have access to exclusive interviews not featured on the podcast. Please visit the link in the episode notes for more information on the article, subscribing to the journal, and how to get CME. Dr Monteith: This is Dr Teshamae Monteith, associate editor of Continuum Audio. Today I'm interviewing Drs Meredith Barad and Marcela Romero-Reyes about their article on oralfacial pain, which appears in the October 2024 Continuum issue on pain management and neurology. Welcome to the podcast, ladies. How are you?  Dr Barad: Excellent.  Dr Romero-Reyes: Fine, happy to be here.  Dr Monteith: I am so happy to see you. I mean, I think both of you I've known for like ten years. Dr Romero-Reyes: Yeah.  Dr Barad: Yes.  Dr Monteith: So why don't you introduce yourselves? While I know you, our audience, some of them, may not know you.  Dr Romero-Reyes: I'm Dr Marcella Romero Reyes. I am a neuropathial pain specialist, clinical professor, and director of the Provident Special Pain Clinic here in the University of Maryland School of Dentist. Dr Monteith: Excellent.  Dr Barad: My name is Meredith Barad. I'm a clinical associate professor at Stanford and I work- I'm the codirector of our headache and facial pain clinic in the Stanford pain management clinic. Dr Monteith: Well, first of all, thank you for writing this article. It is extremely detailed and up-to-date and very informative. And in neurology, I think we don't get enough pain management. I'm interested in both of your backgrounds and, you know, what led you even to become an expert in this area? And both of you have complementary areas. I think we can see in the quality of this article. But why don't we start with you, Dr Romero-Reyes? Dr Romero-Reyes: Well, for me to get interested in orofacial pain, I will say more than an interest was like a calling that I wanted to take care of this patient population. So, as you know, my background is dentistry and at that time I was very interested in patients with complex medical issues. And was the time I was- I started to be interested in temporomandibular disorders. But what really picked completely my attention was the first time I saw a patient with trigeminal neuralgia. This was my last year in dental school. This patient already had, like, almost a full upper quadrant of teeth extracted where pain was not resolved. So when the patient came to us and I did my exam and, you know, and I triggered the pain, the sharp shoot electrical pain, that really broke my heart. And I took an x-ray and I didn't find anything that will explain it was something wrong until I talked to my professor and he said, no, this is medical. There's nothing wrong with it, with that tooth and needs to be, you know, followed with proper management and medication. And for me, that was like, wow, what a proper diagnosis and proper management can take care of these of these patients. And when the patient got better, that really said, oh, you know, I want to do this.  Dr Monteith: That's a crazy story. It's always that last patient of the day.  Dr Romero-Reyes: And you know, think about it, at least in dentistry at that time, I learned about trigeminal neuralgia from a book, right, my classes. But when you see the patient, this is it. That completely, you know, made me say yes, I want to study this.  Dr Monteith: Yeah. And unfortunately, that's not an uncommon scenario where patients with trigeminal neuralgia get, you know, their extractions and pain can sometimes be more complicated. What about you, Dr Barad? Dr Barad: Well, I guess I'm sort of like the opposite. So as a neurologist and a trained pain physician, I saw a lot of patients with neuralgic pain and headache pain, but I also saw many patients who would say, I have TMJ. And as, as Dr Romero has educated us, that's like saying I have shoulder or I have knee. But I quickly realized that I needed to work with a multidisciplinary team to really understand more about orofacial pain. It's not just neuralgic. There are other ideologies. And so that's how we started working together and that's how we practice in our clinic at Stanford. Dr Monteith: So, why don't you tell us about the objectives of this article? Dr Barad: I think our objectives were to help the neurologist broaden the differential diagnosis on facial pain to encompass below the nose, the oral cavity, the temporal mandibular joint. And to just think more broadly about facial pain and to understand some of the more recent diagnostic criteria that have been developed for facial pain and to- how to diagnose properly and how to begin treatment for some of the other conditions that are non-neurologic.  Dr Romero-Reyes: And I think I will ask about what Dr Barad say that also to bring awareness to the neurologist about the vast classification of oral facial pain disorder, craniofacial and orofacial. I think that was also a key thing too. And also, to show how well we can work together, you know, the multi-disciplinary management that is indicated for these cases. Dr Monteith: Cool. And you mentioned some of the new diagnostic criteria. I want to talk just briefly about the new international classification of orofacial pain, ICOP. When did that come out and what was the process there in really fine-tuning the diagnosis of orofacial pain disorders? Dr Romero-Reyes: So, in 2019 the orofacial head pain especially interest group of the International Association for the Study of Pain, the International Network for Orofacial Pain and Related Disorders methodology and the American Academy of Orofacial Pain and the International Headache Society. They partnered together to develop to develop this international classification of orofacial pain. And these, I think- it's such a great effort, you know, all the main people doing pain about this area, and goes very well together with the international classification of headache disorders. So, for example, you know, some disorders that International Classification of Headache Disorders doesn't present such as and the ICOP, International Classification of Orofacial Pain, presents, like the persistent idiopathic dental Viola pain. You have it in the ICOP. It's not, you know, mentioned in the in the International Classification of Headache Disorders, as well as, also we have the- I think it's item number five, the orofacial representations headache disorder or primary headache disorder. The ICOP gives you a nice, clean diagnostic criteria.  Dr Monteith: So, I guess I would ask Dr Barad with this classification in mind, how useful is it in neurology practice? And I know obviously you see patients with pain, but how useful even in managing patients with headache? Dr Barad: I think it's great because I've had a lot of dentists and ENT doctors who have started referring patients to me because they've realized that they've increased their awareness about orofacial pain and realized that pain in the sinuses, for example, accompanied by light sensitivity and sound sensitivity and rhinorrhea, may not be a recurrent monthly sinus infection. And so that kind of broadens our awareness of these of these disorders. And it's been, it's brought new patients into my clinic that we can help and treat. So that's been exciting.  Dr Monteith: And what about in the world of dentistry? Obviously, I think people in orofacial pain worlds are highly attuned to this, but I would hope this would hopefully have been disseminated into dentists and regular practice at C patients with trigeminal neuralgia. Dr Romero-Reyes: Going back for the, what you were discussing about the ICOP. So, it's what we're trying now as a new specialty. Well that we have been for the last four years, but finally in 2020 we have been recognized by the American Mental Association to disseminate this knowledge. But also, you know, can you imagine in in the realm in orofacial pain or dentistry have a patient with this recurrent pain, phonophobia, photophobia, throbbing dental pain is throbbing, but it's nothing wrong with your tooth. And that did they tell you that actually you have an orofacial or facial migraine or a neurovascular or facial pain. How crazy, right? And that is managed with migraines therapy. So it really, you know, to make you think like that. Wow, so these weird tooth things that used to come every week or these with facial pain, it's nothing to deal with, you know, with my teeth or any structure, you know, inside my mouth. Dr Barad: It sounds to me like what you're saying is that we've, this has encouraged patient education as well, not only interdisciplinary education, but really helping provide an explanation for the patient about what is going on with them. So rather than just getting sent away to another tertiary specialist, the patient is getting a more robust understanding of what's going on.  Dr Romero-Reyes: And going back to what you were saying about trigeminal neuralgia, you know, at least in dentistry also we're teaching now a new awareness like for two things, right? What about from the neurology setting? The patient has captured electrical pain. The trigger is intraoral. If it's pain inside your mouth, the first practitioner you're going to see who will be maybe the dentist that the dentist knows that could be a possibility of a disorder that doesn't deal with teeth, but also, it's important and we discussed that in our paper. What about that actually that weird trigger actually, it's not a general. What about if it's a cracked tooth has that singing sensation too. So, you see, it's two ways; one, to teach dentist to learn about this disorder and you know, we have learned, but you know, it's much more awareness now that this is great that, you know, these disorders you're not going to treat with dental procedures. Right? It's medical and vice versa, that the neurologist also has the awareness that oh, central trigger. Have you gone to the to the dentist? Have you checked that out? Dr Monteith: So what should neurologist know about dental sources of pain? Dr Barad: Well, maybe they should read the paper?  Dr Romero-Reyes: Yeah. Yeah, you need to read the paper. Yeah.  Dr Monteith: Top three, don't treat this with gabapentin.  Dr Romero-Reyes: Like well, dental pain is not going to be resolved with gabapentin. That would need to make a diagnosis if and you know it's that examination that come comes with a radiographic evidence that shows that maybe could be a cavity or could be a problem. You know in the in the practical tissues of the tooth that is given a symptomatology. Not only dental could be a lot of different disorders inside there now that can produce pain that also the readers can check our paper and learn about and see the wonderful interesting pictures that we have added there. Dr Monteith: Yeah. And so why don't we talk a little bit about TMD disorders and what is the new thinking around these conditions? Dr Romero-Reyes: Well, I will say for the last decade, maybe a little bit more has been a change in the evidence. They evidence based understanding of the theologia pathophysiologist and for mandibular disorders. Imagine that what's the shift in the in the paradigm that in dentistry prevails for a long, long time. That is that really focus and I will call it the pathological mechanistic point of view. What I mean by that I was focusing your bite, your occlusion, how the relation between in your maxilla mandible. That was the only issues that would create in temporomandibular disorders. So now we know that temporomandibular disorders are complex, are multifactorial and you need to understand them and see them within a biopsychosocial framework. And this dictate the main way to management for the primary way that we start will be conservative, reversible and basing evidence that the best evidence available that we have. Dr Monteith: And what about for trigeminal neuralgia? Is there newer kind of classification around trigeminal neuralgia? and what are some key points that we should consider when diagnosing these patients and treating these patients, Dr Barad?  Dr Barad: There haven't been any new diagnostic criteria, but I would say that there's been an increased awareness that classical trigeminal neuralgia is more likely than not related to neurovascular compression or we should say, maybe I should say neurovascular contact or compression. There is a developing grading system of that. That's an evolution as we speak. I think it's an exciting time for facial neuralgia because it's opened the door for us to look at other neuralgia also as vascular compressions and to think about how we can treat them with decompression or possibly with peripheral nerve stimulation or medicine or Botox. Or who knows what's the future is going to hold? But it is I think a change in the way we are thinking about the definition of neuralgia of, of trigeminal neuralgia in that is caused by a compression which is different than other neuralgia in other parts of the body. I should, I just want to classify there's about maybe ten twelve percent of people who present with classical trigeminal neuralgia who there is not evidence on imaging of a vascular contact or compression. But the majority of cases do seem to have some somewhere in the spectrum from contact to compression.  Dr Monteith: Even contact I find to be a bit vague sometimes say, well, thanks for letting me know that they're touching. But and then some of the neurosurgeons have different perspective when you open the patient up. So, I didn't know about the grading.  Dr Barad: Yeah, I think you've hit on it exactly like that is a big problem in the field right now. How do we understand what patients will be the best patients for surgery? And it used to be that you have the classical trigeminal neurologist symptomology plus some imaging that shows something versus nothing. And now we're getting into parsing out the imaging and trying to understand who's the best candidate for that with the imaging.  Dr Monteith: Dr Romero, anything to add?  Dr Romero-Reyes: No, that I agree about that, you know, and I think now maybe for the patients that I have seen with that, because under partial pain settings, sometimes we're the ones that, oh, actually what you have is trigeminal neuralgia idea, you know, so we start to have our small disciplinary management, but you know, when they come out, I already have an MRI doctor, but, and they say that these are compression, but what degree? And some patients that they don't have symptoms can have a compression. And I'm thinking maybe right that later on when we have more time and maybe nicer imaging, we're going to really find out or if it's the development angle is the measurement has some other characteristics, who knows. So, I think for trigeminal neuralgia, the things is still evolving, right? For our understanding. I have to help us to make a more- I will not say definitive diagnosis, but maybe some parameters will change in the future. Dr Monteith: So now we have a lot of people listening, international folks listening, and they always want some treatment, a tip, some clinical tips. So, can you give us a little bit of clinical insight to how to treat patients with trigeminal neuralgia and when you're seeing patients for second and third opinions, what might you see that may explain why their pain is not well controlled? We all get into interdisciplinary care, but in terms of pharmacology? Dr Barad: I think people are a little reluctant to use some of these medications that neuromodulating medications because, in general, it's an older population and they're rightly worried about falls and dizziness and confusion and low sodium. And so, I think they hesitate to go to the doses that are needed to help with pain control. So, a lot of our, my initial management is gingerly and gently titrating that to try to get to see if we can get control of the pain. Dr Monteith: Dr Romero?  Dr Romero-Reyes: I could add, for example, one thing that I in the realm of facial pain addition to pharmacology. Let's say that we have a patient with that intraoral trigger and we were able to localize that intraoral trigger. Sometimes we can even also use topical medication. And in the topical medication we can use, for example, an anticonvulsant, let's say gabapentin, oxcarbazepine for example, to add in the cream. And we use, we call it a neurosensory stent in my looks like a Nygard, but it's not a Nygard that can cover that area. So, the patient can add that cream very delimited in that area. And that helps, you know, can help with the pain sometimes. What we can find is that, at least in my, in my experience, and that when we add a topical, maybe we don't need to increase as much. The systemic medication, of course, depends from case to case.  Dr Monteith: So those are two great tips. Not being afraid to push those doses up in a safe manner and maybe with monitoring as well as of maybe utilizing more topicals. And I think we could probably hear a lot more from you on topicals at some other point. But thank you also for the table. I think it's, it's really nice the way all the treatments are laid out. So what other cranial neuralgia advances have there been? Dr Barad: I would say the main advancements have been in applying the knowledge that neurosurgeons have learned from microvascular decompression of the trigeminal nerve, to the glossopharyngeal nerve, to the geniculate nerve, and really trying to optimize imaging and optimize neurosurgical techniques to try to treat these neuralgias. If the patient has failed medicine, if the patient is a good candidate for surgery and if the patient desires that. Dr Monteith: Great. So now let's talk about multidisciplinary approaches. I know both of you are big fans of that, and you may do things a little bit differently at your institution, especially with your background. So maybe Dr Romero, do you want to tell us about your experience? And then we'll have Dr Brad. Dr Romero-Reyes: But in my experience from study management, let's say depend, of course, also the started we're talking about. But let's say for example about temporomandibular disorders, you know that for TMD is one of these overlapping pain conditions and we know that TMD is common with primary headache disorders, especially migraine. So, if we're able to utilize, you know, the expertise of neurologist specializing headache. With me, for example, or a facial pain person that is that is helping you manage a patient with this comorbidity. This is super effective because we know the presence of TMD in a migraineur can help the disorder to, to progress some more chronic form. So, you see, this is super important and effective to provide, you know, optimal care for the patient. For example, in the patients that I do see with neuralgias, like in addition to trigeminal neuralgia, let's say nervous intermediates neuralgia, that sometimes they can come to me like, oh, the pain is in my ear and my EMT or, or I think maybe it's my TMJ and for the pain is charged shooting inside the ear doesn't follow the for the diagnosis of temporomandibular disorders. And I can maybe help the patient to get a proper imaging or already penalize it with a neurologist to make sure. And maybe at least my way will be maybe I'm the one that can catch those disorders and help, you know, the patient to go for the next step. Dr Barad: I think Marcella, Dr Romero-Reyes, hit on a nice point that maybe this group is not as familiar with and that is that temporal mandibular dysfunction TMD is a, is one of the disorders that we call chronic overlapping pain conditions or COCPs. And those include headache. it's not, it's not specified fibromyalgia, irritable bowel syndrome, chronic pelvic pain and several other chronic pain syndromes. And they suggest a central sensitization to one's pain. And the way that we treat centrally sensitized pain is not just through medications, it's in a biopsychosocial framework because we see much higher rates of depression and anxiety in this group. And so, using a pain psychologist to help the patient develop coping strategies to help them manage their pain, using a physical therapist to help them learn this, the stretching exercises and using medications to help with not only with their pain syndrome, but also sometimes with their psych comorbidities. And then additionally, procedures sometimes play a role in the process to help usually turn down the pain. Interestingly, when we look at trigeminal neuralgia, we see much less overlapping pain disorders. It's much rarer to see somebody with TN who has other COCPs or the kind of chronic levels of depression and anxiety that we see in these patients. So, the approach is very different, and I think it requires the use of a multidisciplinary team to help guide the treatment pathways for these patients. Dr Monteith: Today, I've been interviewing Drs Meredith Barad and Marcelo Romero-Reyes, whose article on orofacial pain appears in the most recent issue of Continuum on pain management and neurology. Be sure to check out Continuum Audio episodes from this and other issues. And thank you to our listeners for joining today. Dr Monteith: This is Dr Teshamae Monteith, associate editor of Continuum Audio. If you've enjoyed this episode, you'll love the journal, which is full of in-depth and clinically relevant information important for neurology practitioners. Use this link in the episode notes to learn more and subscribe. AAN members, you can get CME for listening to this interview by completing the evaluation at continpub.com/AudioCME. Thank you for listening to Continuum Audio.

Today an old friend of the show stops by for his 2nd visit! The Boys welcome again Mike Barad, Founder of the Great Lakes Tequila Club, to talk all things tequila and share the GLTC Single Barrel Picks to date: Reposados from Suerte Tequila, Codigo 1530, Yeyo, and El Gran Legado de Vida. Listen along as Mike reveals his dedication,  thoughtfulness, and intention in building an inclusive community and curating a line of single barrels with something for everyone. These bottles are on shelves only in the Chicagoland area, but luckily these brands likely have other single barrel picks in your area.  So scoop 'em up, invite your friends, share a dram, listen along, and Make It A Happy Friday™.

As a podcaster, you occasionally get to talk about what's going on in your mind and, since October 7, 2023, I've spent much time thinking about the world's perception of Israel and Jews after the horrific Hamas terrorist attack that killed 1,200 people on that date. So, I invited my Israeli friend, Giddon Barad, on the show to discuss our thoughts and feelings regarding the manner in which Israel and Jews in general have been treated throughout the world over the past year. Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Bienvenidos a este vídeo donde vamos a hablar sobre la simbología que aparece en el video promocional de La Six Kings Slam con Djokovic, Nadal, Alcaraz, Sinner, Medvedev y Rune. El Six Kings Slam es un torneo de exhibición de tenis que se celebrará en Riad, Arabia Saudita, del 16 al 19 de octubre de 2024, como parte del evento Riyadh Season. Este torneo reunirá a seis de los mejores jugadores de tenis del mundo, incluidos grandes leyendas y jóvenes estrellas. Los participantes confirmados son Novak Djokovic, Rafael Nadal, Carlos Alcaraz, Jannik Sinner, Daniil Medvedev y Holger Rune. El formato del torneo es de eliminación directa, con dos jugadores (Djokovic y Nadal) avanzando directamente a las semifinales. Los enfrentamientos iniciales serán entre Sinner vs. Medvedev y Rune vs. Alcaraz el 16 de octubre, y los ganadores se enfrentarán a Djokovic y Nadal al día siguiente. Tras un día de descanso el 18 de octubre, la final y el partido por el tercer lugar se disputarán el 19 de octubre. Este evento no está sancionado por la ATP, por lo que no otorga puntos de ranking, pero ofrece grandes premios económicos. Cada jugador recibirá un mínimo de 1.5 millones de dólares solo por participar, y el ganador obtendrá el mayor premio en la historia del tenis: 6 millones de dólares 002 Lo primero que podemos ver es una especie de restos arqueológicos en medio de un desierto de arena y un circulo mitad ODS y mitad azul junto al nombre de la entidad que lo organiza, El Riyadh Season. 003 El Riyadh Season es un festival cultural y de entretenimiento organizado anualmente en Riad, la capital de Arabia Saudita. Este evento forma parte de la iniciativa más amplia llamada Saudi Vision 2030, un ambicioso plan del gobierno saudí para diversificar la economía del país y reducir su dependencia del petróleo, impulsando sectores como el turismo, el entretenimiento y el deporte. La organización de este evento está a cargo de la Autoridad General de Entretenimiento de Arabia Saudita, encabezada por Turki Al-Sheikh, un influyente empresario y político que también es asesor del gobierno saudí y ha estado detrás de varias iniciativas para atraer eventos deportivos y de entretenimiento de renombre mundial. Desde su creación en 2019, Riyadh Season ha incluido conciertos de artistas internacionales, espectáculos teatrales, competiciones deportivas (incluidos eventos de la WWE, boxeo, fútbol y ahora tenis con el Six Kings Slam), y exposiciones culturales que atraen a millones de visitantes. El objetivo del Riyadh Season es no solo ofrecer entretenimiento de clase mundial, sino también posicionar a Arabia Saudita como un destino global para el turismo y los grandes eventos internacionales, al mismo tiempo que promueve la modernización social dentro del país. 004 Estos objetivos de desarrollo sostenible vienen impulsados por la ONU mediante la implantación mundial de la Agenda 2030. Todo el mundo, incluso los que parecerían estar en posiciones antagónicas, desde los jesuitas hasta personajes supuestamente de izquierdas como Pablo Iglesias. Un dirigente que como el mismo decía utilizo la crisis sanitaria del Covid 19 para impulsar la Agenda 2030, en forma de palanca, o más bien de esvástica. Los Objetivos de Desarrollo Sostenible llamados en su acrónimo como ODS tienen las manos manchadas de sangre y pretenden hacer aquello que decia el Foro Económico Mundial de “no tendrás nada y serás feliz”. Mientras unos tenistas multimillonarios se repartirán unos cuantos millones de dólares una gran cantidad de la población cada vez será más pobre. 005 Luego vemos unas letras de película épica que nos anuncian “La llamada de los reyes”, el proceso mágico ritual para convocar a unos reyes dioses del tenis. La escena siguiente nos muestra el interior de ese monumento que se aprecia en la superficie del desierto sumergiéndonos en un enorme aljibe. Un deposito monumental de agua en pleno desierto. Esto es una inversión simbólica clara entre la sequedad de la superficie y la humedad de las profundidades. Allí tres personajes con antorchas están buscando el mecanismo que permitirá reunir a los seis reyes del tenis que disputarán este torneo. El que avanza primero se nota que es el jefe ya que va mejor vestido y tiene una mascara de hierro de más calidad. No se les ve portar armas por lo que se nos antoja bastante extraño que todos lleven mascaras protectoras y el que hace se jefe porte un yelmo de este estilo. Se trata de un casco parecido al de los espartanos pero con el protector de la nariz que baja tapando la boca y los laterales cerrados. Mas tarde nos muestran una imagen donde se ve a seis figuras jugando al tenis y lo que nosotros entendemos como una pirámide truncada en el centro, donde la parte superior esta formado por una especie de trofeo que tiene un ojo, vamos, lo que viene siendo la pirámide truncada con el ojo que todo lo ve arriba. Todo con aires egipcios y una mística de semidioses paganos. En cuanto a lo de elegir seis reyes del tenis nos parece que esta relacionado con los seis reyes judios que aparecen en la fachada de la Basílica de El Escorial y que pudimos leer en el capitulo 2 del articulo Los reyes del tiempo de puntal de dios. ¿Al igual que nos podemos preguntar como aparecen reyes judios en un lugar tan catolico nos preguntamos porque aparecen una especie de semidioses paganos en un evento patrocinado por un pais fervoroso creyente del Islam? 006 Después se les ve atravesar lo que parecen unos pilares flotando en el aire, algo que ya vimos en la película “el chico de oro” cuando Eddie Murphy debe encontrar la daga de Ajanti, un artefacto místico y poderoso que juega un papel crucial en la trama. Aunque aqui no van con la cautela del señor Murphy si no haciendo volteretas y chuleandose. Los tres enmascarados llegan a una cámara hexagonal con un gran tragaluz en forma hexagonal por donde penetra la luz. 006a Luz que llega exactamente en el segundo 33. Esto nos recuerda a la torre octogonal de la Iglesia modernista de San José en Le Havre. La iluminación llega a un altar hexagonal en forma cenital. En la forma como nos muestran la escena diríamos que vemos un ojo encima de dicho altar. La puerta por la que han penetrado a la cámara se cierra tras ellos y vemos claramente como las paredes representan a los 6 reyes del tenis. El jefe saca una gema verde, posiblemente una esmeralda, con forma de pirámide. Eso va a ser el activador para reclamar la presencia de estos seis reyes del tenis. Recordemos que el billete de dólar es verde y contiene múltiples hexagramas. Entendemos que hablan de dinero, ya el millón y medio de dólares por participar sumado a los 6 millones que percibirá el ganador son suficiente reclamo para venir al desierto a jugar tres partidos de tenis. La zona donde encaja la joya en forma de pirámide tiene estilo mudéjar como los techos de muchas de nuestras iglesias cristianas como la Iglesia de la Anunciación de cortes de Baza en Granada. Cuando desde el altar se inicia el proceso de encendido de esta maquina mágica que debe llamar a los reyes observamos las tres fases de la Luna que se dedican en honor de Hecate. 007 Hécate es una antigua diosa griega asociada con la magia, la brujería, las encrucijadas y el inframundo. A menudo se la representa como una deidad triple, vinculada a las tres fases de la luna: creciente, llena y menguante, simbolizando los ciclos de nacimiento, vida y muerte. En la Wicca, Hécate es honrada como una poderosa diosa lunar y protectora de los misterios. Su culto incluye rituales nocturnos, invocaciones en momentos de transición o cambio, y ofrendas en lugares liminales como cruces de caminos. Los wiccanos la veneran como una guía espiritual, especialmente en trabajos relacionados con la magia y la protección. 008 Aparecen unas ondas encima de esas fases lunares simbolizando el poder de la Luna sobre el agua. Y es en este momento cuando los seis paneles de piedra se encienden o activan con la luz que desprende el altar y que se enfoca en una especie de sensores bajo cada uno de ellos. Podemos ver bien tres de los paneles. A la derecha Medvedev a lomos de un oso gigante, en medio a Alcaraz viendo su propio reflejo y a la izquierda a Djokovic rodeado de lobos y flotando en el aire en un cementerio de raquetas. Aqui es cuando la esmeralda verde se convierte en una pelota de tenis dorada al ser encerrada dentro de dicho objeto que surge del altar. Tras esto la pelota empieza a levitar y tras ella surge una mano dorada que le imprime velocidad de rotación, en clara alusión al saque de la pelota en el tenis que surge también de las manos del tenista. La pelota empieza a girar mas y mas rápido hasta que en una explosión de energia asciende por la torre hexagonal disparada como si se tratase de una bala disparada por un cañón. Las piedras habrían aplastado a los enmascarados, pero nos muestran un fundido a negro mientras la salida de la pelota nos recuerda al pelo alborotado de un unicornio rosa. La pelota atraviesa las dunas del desierto hasta dirigirse a una pista de tenis espejada que refleja la figura de un Carlos Alcaraz ataviado con un traje plateado que nos recuerda mas a un traje espacial que al equipamiento de un tenista. Vemos una clara intencionalidad de mostrar la pista con forma de paralelogramo, del típico monolito que nos mostró Kubrick en 2001, una Odisea del Espacio. La forma en que baja el plano es muy parecida a la famosa escena con la conjunción del Sol y la Luna que nos mostró el famoso director de esa aventura espacial. Alcaraz parece estar jugando solo pero una especie de robot aparece de la nada cuando la pelota choca la pista y le devuelve la jugada exactamente en el minuto 11 segundos mientras la raqueta adopta la forma de un ojo apenas perceptible por nuestro cerebro. La cámara nos muestra un primer plano de la cara del robot que nos recuerda mucho a los robots de metal liquido que aparecían en Terminator. El reflejo en su cara del horizonte se nos antoja una linea negra como la rendija del visor del mutante llamado Cíclope de la patrulla X. Lo que decíamos sobre Terminator nos es confirmado cuando el tenista español le hace un agujero al robot al devolverle la pelota de tenis, viéndose a través de un agujero en la espalda del robot. 009 Veremos que el orden de aparición en el clip se debe a la edad y la importancia de los jugadores, aunque deberían haber comenzado por el jugador con menor puntuación en la ATP que es Rafael Nadal, que se ha retirado un 10 del 10, o sea, en un 11 masónico que no aparece en el top 20 debido a su ausencia por lesiones y falta de actividad reciente. Sin embargo Nadal será junto con Novak Djokovic - No. 1 del mundo (9,725 puntos) los que pasen directamente a semifinales y son mostrados al final del clip. Los otros jugadores son, Carlos Alcaraz con el puesto numero 2 de la ATP con 8,805 puntos, Jannik Sinner - No. 3 (8,310 puntos), Daniil Medvedev - No. 4 (7,765 puntos) y en ultimo lugar Holger Rune con el numero 7 (3,875 puntos). Suponemos que no han contado con los tenistas que ocupan el puesto quinto, Alexander Zverev y sexto, Andrey Rublev, por contar ya con un ruso. Alcaraz se encuentra con la bola que lo anda buscando y le da el raquetazo exactamente en el primer minuto y 33 segundos. Iremos viendo a lo largo del trailer como hay momentos cruciales siempre al llegar a los 33 segundos, un nivel muy importante dentro de la masonería. 010 En la siguiente escena vemos al tenista italiano Jannik Sinner ataviado como un centurión romano disparando pelotas de tenis a una figura de David de Miguel Angel con la cara del tenista. Una visión apresurada nos llevaría a la conclusión de que esta destruyendo la escultura, pero es todo lo contrario, la está esculpiendo con sus pelotazos y lo vemos enorgullecerse por ello. Dispara bolas en una sala cuyo suelo nos recuerda una trama de cubos en 3D y es a la vez un ajedrezado masónico. Lo vemos como retira la piedra entre los dedos indice y pulgar de la mano izquierda de la escultura. Luego observamos como se sopla el polvo del mármol que ha caído en su hombro derecho mientras en su hombro izquierdo luce una enorme pajarita. 011 Si buscáis sobre corbatas o pajaritas y masonería vais a encontrar un enorme montón de paginas que os venderán todo tipo de estos elementos dotados de toda la simbología que envuelve a la masonería como las escuadras, el compas, los círculos con un punto, los rombos, el sol, estrellas, escaleras y por supuesto el archiconocido ajedrezado blanco y negro masónico. El uso de la pajarita (o corbata de lazo) en la masonería tiene connotaciones simbólicas que se alinean con el carácter discreto y formal de la orden. La pajarita, al igual que otros elementos del vestuario masónico, se usa en ceremonias y reuniones para simbolizar ciertos valores y principios fundamentales de la masonería. La masonería, como sociedad esotérica, otorga importancia al simbolismo y la indumentaria es parte de ese lenguaje simbólico. En este contexto, la pajarita se asocia a menudo con la sobriedad, elegancia y uniformidad, aspectos clave en los rituales masónicos. El atuendo formal es un reflejo de los ideales de respeto y seriedad en los trabajos de la logia. Además, algunos estudios sugieren que la pajarita, debido a su forma de nudo en el centro, puede estar vinculada simbólicamente al concepto de equilibrio y dualidad, temas recurrentes en la filosofía masónica. Si bien no todos los masones adoptan la pajarita como un accesorio esencial, en varias logias, especialmente en ceremonias más formales, se usa para resaltar la naturaleza solemne del evento. Este uso es menos explícito que otros símbolos masónicos, como el mandil o el compás, pero forma parte de la estética que subraya el orden y la tradición dentro de la masonería. Lo que resulta aún más increíble es que el propio invento de la corbata sea evidentemente utilizado a modo de ritual sin que la gente común se aperciba de ello. Os voy a leer un pequeño extracto del Codex Magica de Texe Marrs un libro imprescindible para poder empezar a reconocer estos símbolos utilizados abiertamente por las sociedades secretas que a su vez practican todo tipo de rituales satanico luciferinos. Este texto nos habla de algo tan mundano, normal y aparentemente aburrido como son las corbatas: “La fraternidad masónica enseña el objetivo ilusorio de que todos los que son iniciados en sus filas están unidos por la "Corbata Mística" de la comunión. Por supuesto, esto es una alegoría, y sin embargo la corbata parece tener un lugar especial en la tradición y la simbología masónicas. Se cree que tanto el corbatín como la corbata tradicional son de diseño simbólico masónico. La corbata tiene dos triángulos que descienden, uno más grande y otro más pequeño. Está atado con un "nudo" en el cuello, lo que significa solidaridad y unidad. El cuello en sí, como parte de la anatomía humana, representa la virtud del sacrificio. En términos de una orden o sociedad secreta, simboliza el sacrificio del individuo para el bien común de la organización. La corbata también se ve como un puente a otros dos triángulos: los del cuello de la camisa. Todos los triángulos, en el lazo y en el cuello de la camisa, tienen su punta, o lanza, hacia abajo, hacia el reino que es la fuerza controladora de la Masonería.” La lanza de longinos apuntando hacia abajo, hacia el reino de Satanas, eso es lo que simboliza todo esto. 012 Mira con orgullo a su obra como constructor, como masón, viéndose reflejado en la cara de la estatua. De repente la pelota que disparo Alcaraz cae exactamente por en medio de la bóveda de cristal rectangular y penetra por la cabeza de la escultura troceandola. El tenista ha cambiado el semblante y devuelve de un raquetazo la pelota destructora de esculturas enviándola al más profundo oceano. 013 La siguiente escena está protagonizada por el tenista danés Holger Rune y suponemos que por eso lo han caracterizado como un guerrero vikingo. No se trata de un simple barco vikingo si no de una escuadra completa de barcos como podemos ver si ampliamos la imagen. Es bastante desconocido que los vikingos llegaron a atacar ciudades tan al sur como Sevilla en el año 844 DC. La imagen se centra en uno de los drakkar vikingos mostrándonos el mascarón de proa en forma de cabeza de dragón con cuernos. Y no, nunca existieron dichos mascarones de proa. Los dragones con cuernos en los mascarones de proa de los drakkar vikingos no son históricamente precisos. Los vikingos sí usaban mascarones de proa en forma de criaturas, especialmente dragones o serpientes, que tenían una función simbólica para infundir temor en los enemigos y proteger la nave. Sin embargo, los cuernos son un mito que se asocia erróneamente con la cultura vikinga, en gran parte debido a interpretaciones artísticas del siglo XIX. Este mito de los cuernos también se aplica a los cascos vikingos, ya que no hay evidencia arqueológica de que los vikingos usaran cascos con cuernos. Los artefactos históricos, como los barcos de Oseberg y Gokstad, muestran que los vikingos preferían diseños más realistas y simples en sus barcos, sin incluir detalles tan extravagantes como los cuernos en los dragones. 014 Nos llama la atención el tocado de este guerrero vikingo en el que vemos la cara de una mujer. No hay constancia de que ninguna mujer vikinga tomase parte en las invasiones vikingas. Luego nos destacan a un vikingo con una herida de espada en el ojo derecho. Es una gran herida que nos recuerda un rayo, precisamente se trata del mismo ojo que lucia David Bowie en la famosa canción Starman. La pelota de tenis se acerca a toda velocidad y este guerrero es el único que se apercibe de ello. 014a Exactamente en el segundo minuto y 33 segundos del trailer, tenemos otro momento crucial en un numero maestro. Rápidamente crean una formación en tortuga con los escudos para intentar soportar el impacto. Por supuesto la formación adopta una forma hexagonal. Ya saben la relación del hexágono con el poder oscuro que nos gobierna. El hexágono está relacionado con el culto a Saturno, al hipercubo y también con la masonería, esto tiene raíces muy antiguas. El 9 11 se puede entender como un culto al hipercubo, o sea, a Saturno. Podemos simbolizarlo como las dos columnas que guardan los secretos de la masonería con su escuadra y su compás o un hexagrama dentro de un círculo. Como he dicho antes, el culto al hexágono significa culto a Saturno, Cronos o el tiempo. La propia NASA nos mostró cómo en un polo del planeta anillado había un hexágono y en el otro un pentágono. Desde muy antiguo los magos negros o hechiceros llevaban el llamado Talisman de Saturno, Salomón o de Renfan (nombre de un demonio) observese como una cara es un pentágono y la otra un hexágono. El culto al cubo negro, Saturno, proviene como digo de la antigüedad, pero se le sigue rindiendo culto hoy dia. No faltaron hexágonos y cabras satánicas en la inauguración del túnel de San Gotardo en Suiza. El culto al cubo es a la vez el culto al 9 11 o el culto a la serpiente infinita. La representación de dicho cubo muestra 8 vértices y una pajarita en medio, un símbolo del infinito, lo cual nos lleva a la estrella de 8 puntas o estrella de Isthar. 015 Atraviesa la vela bicolor vikinga y destruye la apretada formación como si fuese de plastilina. Vemos volar a los guerreros, sus escudos y sus armas, destacando algunas espadas como si fueran cruces. Curiosamente algunas se remarcan como cruces invertidas. Y no se trata de una mera casualidad ya que se mantienen en el tiempo y centradas…tu cerebro lo ha visto. Tras esto volvemos a ver al tenista danés en primer plano teniendo el mascaron de proa detrás de el. Así que parece que tenga cuernos, pero en una mirada más cercana nos recuerda a una mariposa con las alas desplegadas para volar. Las pavesas que flotan en el aire nos recuerda también al vuelo de las mariposas. Ahora veremos que es el rayo lo que da poder a este guerrero vikingo, a este rey del tenis, para enfrentarse a la bola que los está llamando. Despliega una espada y de esta surge una raqueta con forma hexagonal, los rayos y truenos van a darle la fuerza necesaria para golpear la bola. 016 El raquetazo hace que la pelota de tenis abra las aguas como lo hizo Moises en la huida de Egipto. Una escena con un ruso a lomos de un oso gigante en un mundo donde vemos la fuerza del agua, lado izquierdo de la imagen, y del fuego, lado derecho. Esto se remarca cuando Daniil Medvedev hace saltar al oso para recepcionar la bola. Un primer plano con el tenista dando un raquetazo precisamente cuando el Sol está en su ocaso centrándose la raqueta en la zona de dicha puesta de Sol. Es la oscuridad la que le da el poder de devolución de la pelota de tenis. 017 Vamos a irnos ahora a la isla de Mallorca. La bola desciende sobre la isla del tenista mallorquin destacando como veis los dos cuernecitos que forman la bahía de Pollensa. La Bahía de Pollensa, ubicada en la costa norte de Mallorca, está llena de paisajes impresionantes y algunas leyendas locales que han perdurado a lo largo del tiempo. Una de las más populares es la historia relacionada con los "cuernos", unas formaciones rocosas en el entorno del cabo de Formentor, que algunos dicen que parecen cuernos saliendo del mar. Uno de los mitos más conocidos es el de un antiguo demonio que, según cuenta la leyenda, habitaba en esta región. La historia habla de un diablo que acechaba las aguas de la bahía, aterrorizando a los marineros y habitantes de la zona. Este ser malvado, con cuernos que sobresalían como las mismas rocas, causaba tormentas violentas y hacía naufragar a los barcos que navegaban cerca de su dominio. Sin embargo, el demonio fue finalmente derrotado por un monje cristiano que vivía en un monasterio cercano. Se dice que el monje invocó a las fuerzas divinas, y el demonio fue desterrado, quedando atrapado en las rocas de la bahía, sus cuernos visibles para siempre en forma de las formaciones rocosas. Otro cuento popular menos oscuro es el que conecta las formaciones rocosas con la mitología clásica. Algunas versiones locales sugieren que los "cuernos" son el rastro de criaturas mitológicas, como los faunos o sátiros, que habitaban en los bosques y montañas cercanas. Se cree que, en tiempos antiguos, estas criaturas acudían a la bahía para festejar durante la noche, dejando huellas mágicas en el paisaje. En resumen, la Bahía de Pollensa no solo es un lugar de belleza natural, sino también un sitio lleno de mitos que entrelazan elementos sobrenaturales y místicos con la naturaleza. Estas historias han ayudado a mantener un aire de misterio en la zona, haciendo que la bahía no solo sea un destino turístico, sino también un punto de interés para aquellos curiosos por la cultura y las leyendas mallorquinas. 018 Es famosa la propaganda que luce Rafael Nadal que parecen los "cuernos de una cabra”. Oficialmente está relacionada con el logotipo de su patrocinador deportivo Nike. Desde hace años, Nadal lleva una línea de ropa y accesorios que luce el logotipo de un toro estilizado. Este logotipo representa al "Toro de Manacor", el apodo que se le ha dado a Nadal en referencia a su tenacidad y fuerza en la cancha, además de su lugar de origen, Manacor, en la isla de Mallorca. El toro es un símbolo poderoso, asociado tradicionalmente con la fuerza, la determinación y el coraje, cualidades que definen el estilo de juego de Nadal. El logotipo muestra una cabeza de toro con cuernos prominentes, que a veces puede recordar visualmente a los "cuernos de una cabra", pero está inspirado en la figura del toro. Nadal ha adoptado este símbolo como parte de su imagen de marca, reforzando su identidad en el mundo del deporte. El símbolo es especialmente relevante en España, donde el toro tiene una fuerte carga cultural. Sin embargo, en el contexto del tenis y de la imagen de Nadal, la representación del toro con los cuernos tiene más que ver con su mentalidad feroz y la implacable lucha que exhibe en la cancha. Esta imagen ha acompañado a Nadal durante gran parte de su carrera, volviéndose un ícono fácilmente reconocible para sus fans. Nadal es una figura iconica en los medios de comunicación y como celebridad tuvo un papel destacado al pedir que la gente se pusiese la mascarilla, aceptase los estados de alarma ilegales o se vacunase con una pócima experimental. Vendió un montón de bozales con su silueta tras ponerla de moda al ganar Roland Garros. Hablaremos después de su papel supuestamente antagonista en este tema frente a su máximo rival Djkovic. 019 La pelota mensajera cae cerca del cabo de Ferrutx en uno de los entornos naturales mas restringidos de Mallorca dentro del parque natural de la península de Levante. Un paraje donde hacer salir al monstruo de la tierra, a Rafael Nadal. Y lo hace exactamente en el minuto 3 y 33 segundos, ya saben como les gusta el 33 a estos tipos. Rafael Nadal es el indiscutible rey de la tierra batida, un guerrero imparable que domina este terreno como si fuera una extensión de su propio ser. En la pista de arcilla, se transforma en un auténtico monstruo de arena, absorbiendo cada golpe de sus oponentes y devolviendo con más fuerza, como si la tierra misma alimentara su poder. Cada desliz sobre el polvo rojizo deja huellas imborrables, símbolos de su resistencia y tenacidad inquebrantable. Nadal no solo juega en la tierra; es la tierra, una fuerza elemental que moldea su leyenda con cada raquetazo, implacable y devastador como una tormenta de polvo. 020 Se pone en marcha un proceso donde los trozos de tierra que ha arrancado la pelota de tenis terminan convirtiéndose en un tenista gigante. “El monstruo de la tierra batida” mira como la pelota de tenis crea un eclipse anular de Sol al igual que ocurrió este pasado 2 de octubre pudiendo observarlo bien solo desde tierra de fuego. Vemos, como de nuevo, el poder de la oscuridad es el que supuestamente otorga sus poderes a estos reyes del tenis. ¿Nos están diciendo subliminalmente que han firmado un pacto con el rey de las tinieblas? Tras devolver la pelota, se resquebraja la figura de tierra y aparece en carne y hueso el tenista de Manacor tapando con su potente brazo izquierdo el Sol, apenas visible entre nubes de polvo. En la imagen satelital que vemos a continuación vemos como la bola sale proyectada desde una zona cercana a esos cuernos de la bahía de Pollensa que comentamos antes. Obviamente no se trata de un error de racord si no de una forma de volver a destacar esos cuernos naturales que tiene la isla. El raquetazo más bien parece la estela que deja el lanzamiento de un misil balístico. 021 Suponemos que la pelota se dirige a Kopaonik que es definitivamente la montaña serbia más famosa y el centro de esquí más grande de Serbia. Un enorme parque natural donde hay, por supuesto, lobos. La raqueta de tenis atravesada por una bola se antoja un ojo y a través de el vemos al tenista serbio flotando en el aire. Los lobos se dirigen hacia el desde direcciones opuestas, todas las direcciones están controladas. Luego observamos como seis lobos forman de nuevo un hexágono, ya saben, marca de la casa. La pelota de tenis hace su aparición rozando una montaña y casi provocando un alud. Entonces vemos en una imagen circular como Djokovic flota en el aire vestido como un mago. 022 Los lobos le avisan de la inminente llegada de la bola. Pero el permanece impasible en estado de meditación mientras levita en el aire. Poco a poco se produce un primer plano de la cara del tenista serbio apreciando que esta con los ojos cerrados. ¿Saben en que minuto abre los ojos? Ja, ja, ja, sí, precisamente en el cuarto minuto y 33 segundos, en ese 33 que es tan importante para ellos y que simboliza que han llegado a un estadio profundo de maestría o iluminación. Como dice Zawezo en su canción 33: 022a (propia canción) “Que tan importante es el número 33 para los ocultos Hagamos un examen Jesús llevo a cabo 33 milagros y muchos como el A la edad de 33 (Unju!) Fue crucificado, maltratado y enterrado (Yeah!) A la edad de 33 (Walah) Resucita al tercer día 33 grados conectando profecías (Arrgh!) Que tan especial es el número 33 Es lo que queremos entender El rey David reino en total por 40 años Pero en Jerusalén fuen′ 33 3, 6, 9 uva, purple, testla El número arquitecto del universo se refleja 33 columnas, 33 de altura Busca la geometría en la arquitectura 33 rangos, 33 miembros 33 sectores en el mundo entero La columna vertebral humana Adecuadamente cuenta con 33 vértebras Nuestro cuerpo resuena en 33 octavas Mientras la tierra resuena en 33 armónicas” 023 La pelota se posiciona y detiene frente a la cara del tenista e inmediatamente se detiene y congela. Este a su vez pasa de levitar y pone los pies en tierra. Djokovic procede a lanzar un aullido de lobo, dando a entender que su fuerza procede del espíritu de este animal. 024 El espíritu del lobo ha sido asociado, en diversas tradiciones paganas y cultos esotéricos, con una fuerza oscura que encarna lo salvaje, lo indomable y lo oculto. En culturas antiguas, el lobo simbolizaba la conexión con lo primigenio y lo instintivo, siendo venerado en rituales que buscaban canalizar su poder para acceder a dimensiones ocultas de la psique y del mundo espiritual. En algunas prácticas esotéricas, el lobo representaba el lado sombrío del alma, una energía que debía ser comprendida y dominada, pero que también implicaba el riesgo de perderse en el caos y la oscuridad. Esta figura oscura encarnaba tanto la libertad como el peligro inherente a los misterios más profundos de la naturaleza y del ser humano. Volvemos a ver por tanto como la fuerza de estos reyes del tenis procede del mundo oscuro y oculto. Por supuesto, todo esto son elucubraciones y suposiciones que se hacen sin animo de ofender, calumniar ni insultar a nadie. Tan solo buscamos el conocimiento y la verdad. 025 Un lado oscuro de Djokovic que pudimos ver durante los JJOO de Paris alabando a la medalla con el hexágono satanico guardada en un armario de Louis Boutton. 025a (video 0202.mp4) Por cierto, aqui podemos ver a Djokovic rezando ante este baúl. Y es que los héroes que crea el poder-religión para que existan dos bandos y por tanto se genere la dualidad que les permita generar dos polos energéticos son muy necesarios para mantener el sistema tal y como esta. La supuesta revolución anti vacunas que genero este tenista al negarse a inocularse la supuesta vacuna del covid queda empañada cuando miramos en profundidad los hechos. Es más que evidente que este ídolo de masas acompaña sus fotos icónicas con los mismos signos, en este caso el ojo de Horus, que el resto de iconos mundiales. Aquí vemos como su hermana, que es la que gestiona su fundación para apoyar a los niños, le manda un mensaje de agradecimiento a Marina Abramovic que parece que en este video es nuestro portador de la oscuridad. También pidió apoyo a los Clinton en 2013. 025b Un verdadero despierto y más siendo cristiano jamás habría besado de esa manera la medalla satánica de los JJOO de París en forma de hexágono. 026 Tras el raquetazo definitivo, ya que este es el sexto rey oscuro convocado por la bola, veremos como esta va ganando en velocidad y energia conforme avanza hasta llegar a convertirse en el ojo de este trofeo. Nos recuerda un poco a esas esculturas de culto a Baal, o Moloch al que se le ofrecían bebes en sacrificio. Algo que todavía se hace por ejemplo a través de la vacunación. 027 La luz pasa de verde a rojo y es entonces cuando se activa una especie de mecanismo de lava y fuego que terminara conformando una pista de tenis en el suelo. Destacan como cuando dos lineas se cruzan producen una mayor energia, ya saben aquello de encontrar al diablo en los cruces de caminos que cantaba Dylan. Vemos a los seis reyes posando junto a la pirámide truncada que es el propio trofeo en medio de llamas, humo y pavesas. Diriamos que estamos en el infierno. La pista de tenis se ve junto a la silueta de la ciudad donde se disputara el torneo, en Riad, Arabia Saudita, como parte de las festividades de la Riyadh Season en 2024. Se destaca en la imagen el Kingdom Centre, también conocido como Kingdom Tower o Kingdom Center Point, un rascacielos icónico ubicado en Riad, la capital de Arabia Saudita. Nos recuerda a la famosa Barad-dûr (‘torre oscura’ en sindarin) la torre ficticia descrita por el escritor británico J. R. R. Tolkien, que aparece en su novela El Señor de los Anillos. Vemos su arco parabólico invertido iluminado en color violeta, el color del andrógino, el color de la era de Horus, de la combinación del rojo y el azul, de las columnas del Sol rojo y la Luna azul. La inversión simbólica de estos colores la pudimos ver en una escena de Eyes Wid Shut de Kubrick donde el hombre vestía de azul y la mujer de rojo. Una pelota en llamas y al fondo esa icónica torre iluminada de lila, del color del poder. La competencia se desarrollará del 16 al 19 de octubre de 2024, ofreciendo la posibilidad de volver a ver jugar a Nadal tras su retirada que anuncio el 10 del 10…esto es un 11 simbólicamente. Vemos muy importante y simbólica la fecha de la celebración de los partidos con ese 11 que se forma con las primeras cifras y ese 6 9 que simboliza la eternidad, el yin y el yang, lo que nos daría también un 9 11. El trailer finaliza mostrando otras vez los colorines de la Agenda 2030 y como en Arabia Saudi comparten los ideales de todo esto mostrando su compromiso con Visión 2030. ………………………………………………………………………………………. …. UTP Ramón Valero @tecn_preocupado Un técnico Preocupado un FP2 IVOOX UTP http://cutt.ly/dzhhGrf BLOG http://cutt.ly/dzhh2LX Ayúdame desde mi Crowfunding aquí https://cutt.ly/W0DsPVq ………………………………………………………………………………………. Enlaces citados en el podcast: La Six Kings Slam con Djokovic, Nadal, Alcaraz, Sinner, Medvedev y Rune pinta realmente bien. https://x.com/jmgmoron/status/1840084411716370464 ………………………………………………………………………………………. Música utilizada en este podcast: Tema inicial Heros Zawezo - 33º https://www.youtube.com/watch?app=desktop&v=6iCZ2yjLPDY ………………………………………………………………………………………. Epílogo Canción sobre Shangri-La (autor desconocido) La canción está inspirada en la mítica ciudad utópica de Shangri-La, que aparece en la novela Lost Horizon (1933) de James Hilton, que fue adaptada al cine en 1937 como Horizontes perdidos (o Lost Horizon en inglés). La novela y la película retratan un lugar de paz y armonía en los Himalayas, y el concepto de Shangri-La ha sido un símbolo de paraíso terrenal en la cultura popular.

Óvszer, fogamzásgátló tabletta, spirál, implantátum, gél, gyűrű, hőmérőzés, imádkozás, vazektómia: ahány ember, ahány nőgyógyász, annyi fogamzásgátlási módszer.  A fogamzásgátló tabletta piacra dobása a hatvanas években a szabadság euforikus érzésével öntötte el a nőket, joggal érezték, hogy végre kezükbe vehették a saját testük irányítását. Azóta viszont a nőgyógyászati vizsgálatok, a tabletta miatti hercehurca és a kellemetlen fizikai mellékhatások mellett legtöbbször még az anyagi terheket is mi, nők cipeljük.  A nőgyógyászat a mai napig olyan téma, amiről nehezen beszélünk, a legtöbbeknek van a tarsolyukban legalább egy (de inkább több) rossz tapasztalat is. A fogamzásgátlás még ezen belül is hot topic, hiszen rengeteg kérdés merül fel az emberben, amiket sokszor még feltenni se igazán merünk. Hogy hogyan lehet erről a témáról jól beszélni, azt két (férfi!) nőgyógyásszal, dr. Baradács Istvánnal és dr. Czébely-Lénárt Andrással, közismertebb nevükön a Nődokikkal beszéljük át. Disclaimer: azért velük, mert így egy sor olyan kérdést is feltehetünk nekik, amiket más - férfi - nőgyógyászokkal nem biztos, hogy meg tudnánk beszélni. A Nődokikról - akik hárman vannak, két vendégünk mellett dr. Csirzó Ádám is közéjük tartozik - azt kell tudni, hogy a TikTok-csatornájukon egy sor olyan nőgyógyászati témáról beszélnek fesztelenül, amik oldhatják a páciensek szorongását, aggodalmait, és segítenek abban, hogy tudatosabban álljunk a testünkhöz. Onnantól, hogy kell-e vizsgálat előtt borotválni (NEM!) az orgazmus-szakadékon át egészen ijesztő orvosi kifejezések magyarázatáig számtalan rövid, érthető videót tettek már közzé. Mi viszont kifejezetten a fogamzásgátlással kapcsolatban kérdeztük őket (persze szóba került más is, szokás szerint). Bővebben: 00:00:11 - Ez a negyedszázadik adásunk, ami egyben azt is jelenti, hogy már majdnem egy éves a Tyúkól.  00:01:27 - Így lett a Nődokik. 00:02:55 - Férfihoz vagy nőhöz menjek, avagy lehet-e hiteles egy nőgyógyász, ha férfi?  00:07:57 - Orvoshoz járni senki sem szeret, nőgyógyászhoz meg pláne nem. Kinek a feladata, hogy megteremtődjön a biztonságos légkör?  00:11:27 -  Generációváltásnak vagyunk tanúi? A patriarchális viszony a partnerséges orvoslással szemben. 00:12:47 - Nem csak az árvíz ellen védekezünk idén ősszel. Az a jó fogamzásgátló, amit ténylegesen használsz is.  00:14:05 - Hogyan válasszam ki a megfelelőt?  00:19:48 - Tökéletes használat, Pearl-index, vazektómia, hormonmentesség és a spirál, ami valójában nem is az. 00:29:56 - Első találkozás a nődokival - mikor és hogyan? Na és a férfiak mikor mennek először urológushoz? 00:36:00 - Ezért nincs férfi fogamzásgátló tabletta.  00:38:43 - Kinek a felelőssége a védekezés? Élethelyzet-, elv- és preferenciafüggő a válasz.  00:44:14 - Egyéjszakás kaland. Mennyibe kerül a fogamzásgátlás havonta? És mennyit költünk rá évente?  00:46:12 - Élő angolna a 444 szerkesztőségében. 00:46:38 - Az anyagi vonzaton túl - mi nehezítheti még a fogamzásgátláshoz való hozzáférést?  00:47:53 - Szűrés, szűrés, szűrés! 00:49:18 - Hogyan beszéljek a nőgyógyászommal olyasmiről, amire nincsenek megfelelő szavaim?  00:51:39 - „Esemény” utáni tabletta, hetvenkétórás - milyen előnyei, kockázatai, hátrányai lennének a recept nélkül hozzáférhető sürgősségi fogamzásgátlásnak? 00:55:10 - Az adatgyűjtések nehézségei, avagy ezért nincsenek igazán jó nőgyógyászat statisztikák.  Podcastunk kéthetente jelentkezik új adással, és meghallgatható a 444 Spotify- és Apple-csatornáján is. Korábbi adásaink itt találhatók. Javaslataid, ötleteid, meglátásaid a tyukol@444.hu címre várjuk.  Illusztráció: Kiss Bence/444See omnystudio.com/listener for privacy information.

After falling into the abyss in Númenor, Sauron re-establishes his kingdom in Mordor and makes war upon Men and Elves. Sauron takes Minas Ithil. Isildur flees in search of Elendil. Anárion fights back Sauron, but recognizes that a greater force is needed. The Last Alliance is formed, and war is waged against Sauron. Anárion is slain, but the assault comes all the way to the tower of Barad-dûr, where it is sieged for seven years. Sauron comes forth and kills Gil-galad and Elendil, but Isildur cuts the Ruling Ring from Sauron's hand, and he is vanquished for a time. Elendil refuses to destroy the One Ring. Three friends read and react to the greatest story you've never heard — the Silmarillion by J.R.R. Tolkien. 01:45 Cameron reads pages 292-297 from the Silmarillion, 2nd Edition 19:03 Summary 20:38 Discussion Watch this Episode on ⁠⁠⁠⁠⁠YouTube⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Send feedback to beforethefellowship@gmail.com Follow us as we follow Tolkien: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠TWITTER⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠DISCORD⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ The Rings of Power comes to Amazon, but nothing compares to the real story JRR Tolkien wrote. Is the Silmarillion his masterpiece? The Silmarillion is a book everyone should read, but it can be intimidating. Go on a journey with us. Witness the creation of Tolkien's universe, meet the villain that's bigger and badder than Sauron, and hear a love story that will leave you in tears. We are not experts, we're just fans like you. And we're having a blast going through this masterpiece of fiction, 15 minutes at a time. Grab a cup of tea or your favorite scotch (or your steering wheel!) and join us every week! --- Support this podcast: https://podcasters.spotify.com/pod/show/beforethefellowship/support

June 18, 2024: Reid Stephan, VP and CIO of St. Luke's Health System, interviews Dr. Ashis Barad MD, CDIO, and Joey Seliski, Director of Operations and Strategy (Digital Health), from Allegheny Health Network. They discuss the transformative potential of ambient listening technologies like AI scribes, questioning how these tools can improve note quality and diagnosis accuracy without merely increasing clinician workload. What does it mean to truly humanize healthcare through technology, and how can we balance the excitement of digital health innovations with the necessity of practical, ROI-driven implementations? Ashis and Joey share their experiences and predictions, diving into the evolving role of clinicians in an AI-enhanced landscape and the impact of personalized patient engagement on care outcomes.Categories: Digital Health & Emerging TechnologySubscribe: This Week HealthTwitter: This Week HealthLinkedIn: Week HealthDonate: Alex's Lemonade Stand: Foundation for Childhood Cancer

Barad Dûr: A Slice of Life in Mordor Welcome back to another special episode of Extra Pieces! Today's episode takes us to the Land of Mordor, where the shadows lie, any by shadows, we mean a 5,471-piece 73cm tall Barad-Dur LEGO set, that's due to be released on the 1st of June! Last year, we dedicated an entire episode to Rivendell, and we felt like we had to do the same for Barad-Dur, lest we upset the Dark Lord Sauron, so here's a deep geeky dive into all things Barad-Dur, Tolkien and the Lord of the Rings! LEGO Barad-Dur Reveal: https://jaysbrickblog.com/news/lego-unveils-10333-barad-dur-a-towering-5471-piece-model-of-saurons-stronghold/ How Tall Is Barad-Dur? https://jaysbrickblog.com/news/heres-how-tall-lego-10333-barad-dur-is-plus-how-it-compares-to-orthanc-and-other-tall-sets/ The Rambling Brick's Reveal, Spaculation and Costing out of full play set range vs Annual commitment: https://ramblingbrick.com/2024/05/15/10333barad-dur-revealed-new-minifigures450usd-speculation/ We hope you enjoy the episode. If you do, please leave a 5 star review on your pod-paying platform of choice, as it helps others to find the podcast. We love your questions and feedback, too: leave your comments on our socials @extrapiecespod and or send an email to extrapiecespod@gmail.com

On this week's Bricking News,  we explore the impressive Barad-dûr set from the Lord of the Rings series, come June 1st, which brings the dark tower of Sauron to life with stunning detail. Next, we venture into the world of Hyrule with the rumored. highly anticipated Legend of Zelda set, promising fans epic quests and iconic characters in brick form. Lastly, we discuss the exciting developments in the LEGO Group's partnership with Fortnite, including a new art print and how Fortnite has become the future of LEGO gaming. Join us as we unpack these incredible news stories on this week's Bricking LEGO News!Thank you, Patrons! - Bellefonte Bricks Studio, Ryan Moore, Franco Portelli,  Jimmy Tucker, Ryan S, David, Matthew Vanden Boogart, Paul Snellen, Lee JacksonSet Review: 10297 Boutique HotelRebrickable MOC Review: Midi scale Barad Dur moc by dopey479Barad Dur - LEGO.comFell BeastAlien Space DinerMonkie Kid anniversaryJurassic World 2024SimbaHorizon collab rumorsHMS EnduranceFortnite art printLegend of Zeldafluid movement with LEGOFortnite is the futureEmissions reduction = bonusesMay 15th releasesIdeas Gift With PurchaseTake your LEGO sets vertically! Head to Elevenmark.com and use code BACK2BRICK to take 10% off your order.Support on PATREON!!!Buy the latest LEGO merchandise from the Back 2 Brick Wear Etsy Store!Support the Show.See some of the designs I've built - REBRICKABLE.COMHead over to Back2brick.com for links to the latest LEGO set discounts!Support the podcast through our affiliate links AND join the Back 2 Brick Patreon!Have a question? Want to be a guest? Send me a message!backtobrick@gmail.comBack 2 Brick Podcast is not an affiliate nor endorsed by the LEGO Group.LEGO, the LEGO logo, the Minifigure, and the Brick and Knob configurations are trademarks of the LEGO Group of Companies. ©2023 The LEGO Group.

Today the LEGO Group, in partnership with Warner Bros. Discovery Global Consumer Products, reveals the LEGO® Icons Lord of the Rings: Barad-Dûr set, inspired by the award-winning film adaptations. Now in brick form, the epic dark tower and Eye of Sauron build has many hidden fan “treasures” and story references from the Lord of the Rings.Prepare to journey deep into the heart of Middle-earth with the unveiling of the spectacular LEGO Icons Lord of the Rings: Barad-Dûr set! The LEGO® Icons Lord of the Rings: Barad-Dûr set are available for LEGO Insiders from 1st June 2024 at www.LEGO.com/LOTR and LEGO Stores for all from 4th June priced at €459.99 / £399.99/ $459.99/699.99 AUD/3899 CNY/189990 HUF/599.99 CAD/10999 MXN.  When purchasing the set between 1-7th June, fans will also get a free LEGO Lord of the Rings Fell Beast set.Enjoying the show...give us a like and comment on all platforms. Help us make the LEGO world available to all!Find us everywhere through LinkTreeMusic: www.bensound.comLEGO, the LEGO logo, the Minifigure, and the Brick and Knob configurations are trademarks of the LEGO Group of Companies. ©2024 The LEGO Group.THE BRICKS KING PODCAST IS NOT ENDORSED BY THE LEGO GROUP OR AFFILIATED IN ANY WAY.Become a supporter of this podcast: https://www.spreaker.com/podcast/the-bricks-king-podcast-lego--4920139/support.

It is May the 4th and as promised the boys are back. We begin our watch through of 'Resistance' with S1 E1 Part 1: 'The Recuit' Some minor hiccups along the way, but the boys dust off the pipes and eventually lose complete track of the show. Standard Clone Cast faire! Regularly scheduled episodes will resume on 5/8 and release on Wednesdays going forward. It is great to be back! Send in your Sega Bass Fishing SFX numbers on the SBF channel in the Discord! Check out The Bondsman's Store: ⁠⁠https://irmasfinlandhouse.com/⁠⁠ and use the promo code "clonecast" at checkout for 10% off Please share the show with anyone that you think will dig the pod! Each download is one validation star given to our psyche. Reach out to us at clonecastpod@gmail.com Follow us on Instagram/twitter/TikTok @clonecastpod Leave a 5 star review on Apple Podcasts or your podcast platform of choice! Join us on the Discord! DM us on Twitter for an invite Check out our Podcast network @podawans on twitter You have your mission, CloneCastanovas!

Join us in this episode as we engage with Dr. Ashis Barad, Chief Digital and Information Officer at Allegheny Health Network. Dr. Barad shares insights on his journey, lessons learned, and the vision he's leading at AHN, providing listeners with a deeper understanding of the healthcare landscape. Tune in for an insightful discussion on healthcare innovation and digital transformation.

Join us in this episode as we engage with Dr. Ashis Barad, Chief Digital and Information Officer at Allegheny Health Network. Dr. Barad shares insights on his journey, lessons learned, and the vision he's leading at AHN, providing listeners with a deeper understanding of the healthcare landscape. Tune in for an insightful discussion on healthcare innovation and digital transformation.

In this podcast, we frequently delve into the realm of third-party reproduction. However, today we're taking a fresh perspective on the pregnancy journey. Donor conception isn't the perfect fit for everyone, and for some, it simply isn't an option. So, let's explore an alternative approach. Meet Dr. Gleicher and Dr. Barad, partners at the Center for Human Reproduction in New York. Their focus over the years has gravitated towards women categorized as having an "advanced maternal age". In this episode, they generously share insights into the strategies that have brought success to their patients. What's reassuring is their commitment to ensuring informed consent. They steer clear of empty promises and quick fixes. Instead, they lay out the reality, often modest success rates for women in their 40s, empowering patients to make informed decisions about their treatment paths. Despite embracing some unconventional methods, their research garners respect within the medical community. If you, or a loved one, want to attempt pregnancy at an advanced maternal age, you will find this episode very helpful.     If you are interested in any of the topics discussed in this episode... Subscribe to the YouTube channel here: https://www.youtube.com/@thecenterforfamilybuilding You can also find me and lots of great resources at https://familybuilding.net/ Join our community, We would love to have you. https://familybuilding.net/newsletter-sign-up/ Author: Building Your Family; The Complete Guide to Donor Conception https://read.macmillan.com/lp/building-your-family/ Follow me here: Instagram: https://www.instagram.com/thecenterforfamilybuilding/ Facebook: https://www.facebook.com/thecenterforfamilybuilding/ Twitter: https://twitter.com/FamilyBuild TikTok: https://www.tiktok.com/@familybuildingcenter Looking for My Lifebook? https://a.co/d/deSACrM  

Put your own priorities aside and get ready to do the hard thing as you join us for the PPP's ninth annual celebration of Tolkien Reading Day, observed every March 25 in honor of the destruction of the Ring and the fall of Barad-dûr. This year's theme, as chosen by the Tolkien Society, is Service and Sacrifice — and wow, there are lots of great passages to choose from! The Man of the West and The Shield-maiden of Rohan join forces to highlight this powerful theme seen throughout Tolkien's writing: from Éowyn and her frustration with ‘duty', to the obvious Húrin moment; from Galadriel's diminished joy, to a wet bicycle ride. Plus, Amandil's private island is now head canon.

Avadh Barad is originally from India. He now lives in Inverness and works at the Inverary Manor as a physical therapy assistant.

Rundown -    Mario Nicolais - 05:23   Alan Molk - 41:28   Leora Joseph - 47:03   Ed Barad - 55:15   Albert Alschuler - 01:01:28   Rich Kaudy - 01:20:54   John Jackson - 01:30:20   Special times called for special podcasts. Craig's Colorado Corner features six accomplished attorneys reacting to the immunity ruling by the DC Circuit on 2.6.24 and the upcoming insurrection (Trump v. Anderson) oral argument on 2.8.24 before the United States Supreme Court.    Attorney for lead party Norma Anderson is friend of the podcast, Mario Nicolais, who joins us from Washington D.C on the late Tuesday night before the big Thursday argument. It was Mario who found Norma Anderson to be lead plaintiff in Trump v. Anderson, as wonderfully described in this top trending article in the Washington Post. https://www.washingtonpost.com/politics/2024/02/05/trump-supreme-court-ballot-norma-anderson/   Mario Nicolais cross-examined Rep. Ken Buck at the Denver District Court trial where Trump was found to have committed insurrection. We discuss that experience and how Ken Buck just threw monkey wrench in GOP plans to impeach Mayorkas. Big things are happening in Washington DC including this podcast! https://www.c-span.org/video/?531586-103/president-trump-14th-amendment-hearing-colorado-day-4-part-4   Listen to what it's like for Mario to be in the thick of American history. Learn how the Immunity case ruling bodes well for the Anderson side. Mario Nicolais gives his ranking of the best amicus briefs as legal scholars and historians weigh in.    Alan Molk is a Colorado attorney for over four decades with a tremendously successful civil justice practice. A former Arapahoe County prosecutor, Molk diplays fine humor and perspectives regarding dangerous MAGA fascism and the responsibilities of lawyers to demand and defend the Rule of Law.   Leora Joseph is passionate about the US Constitution and Rule of Law too. She has served as a top level prosecutor in numerous offices before taking on her current job as Director, Office of Civil & Forensic Mental Health, State of Colorado. Leora Joseph wants to be Dever District Attorney and she's calling out MAGA.   Ed Barad, a retired partner at the powerhouse Denver law firm, Brownstein Hyatt Farber Schreck, joins us from the summit of Steamboat Ski Mountain to tell us about his glee that the DC Circuit ruled against Trump immunity. Ed also provides us his wise counsel handicapping the outcome of the Colorado ballot DQ case.   Professor Emeritus Albert Alschuler is the renowned law professor who taught Craig at CU Law before serving decades afterwards as an esteemed professor at Chicago Law. Jonathan Mitchell, the advocate for Trump on 2.8.24 in the US Supreme Court, was Professor Alschuler's bright pupil. Hear all about it. https://www.law.uchicago.edu/faculty/alschuler   Richard Kaudy is one of Colorado's best civil litigators. He's outspoken in defense of the Rule of Law and is Colorado's Senior Life Fellow with the American Board of Trial Advocates. Rule of Law is important to Rich and he gives us fiery rants in support of justice. https://www.kaudylaw.com/about   John Jackson is a freedom fighter. A member of the Armed Forces of Ukraine, this Colorado man gives us a non-lawyer perspective on what these MAGA court battles mean to the cause of freedom in America and Ukraine. Follow John's new social media ventures on X and YouTube. https://twitter.com/hissgoescobra/status/1754059854925160934

Frodo understands that when you can't crawl, you find someone to carry you; Matt understands that when you can't get a reference, you find someone to explain it to you. Join us as we offer a brief lesson on vulcanology in our third episode on the chapter Mount Doom. Frodo crawls towards a road, Sam wonders how it got there, and an old friend drops by to say “Wicked masster”. We talk about talking objects, put skill points in Domination, and debate at length about the height of Barad-dûr. Also, where there's a whip, knock it off!

In this episode we sit down with Dr. Sonal Barad of Beyond Core Wellness, to talk all things pelvic floor and core.Don't forget to subscribe and leave us a review if you enjoyed the show. And, as always, stay tuned for more incredible stories and adventures on NBS Fitness Radio.Talk to Us About Your Goals: https://www.nbsfitness.net/Connect with NBSWebsite: https://www.nbsfitness.net/YouTube: https://www.youtube.com/c/nbsfitnessFacebook: https://www.facebook.com/nbsfitnessmemphisInstagram: https://www.instagram.com/nbs_fitness/

On this episode of DGTL Voices, Ed welcomes Dr. Ashis Barad, Chief Digital and Information Officer at Allegheny Health Network. They cover the first video visit in Epic, formalizing the Chief Digital Officer role at Baylor Scott & White, and his journey to digital health.       

This episode tries to explain the astounding pasuk: ואשר לא שם לבו אל דבר ה' ויעזב...

Discover the World of Agential Realism, Demystified for All - Whether You're New to the Concept or an Avid Enthusiast. Dive into Barad's Groundbreaking Approach to Understanding Reality, Agency, and More. Explore the Secrets of Agential Realism, Simplified for Dummies and Experts Alike!

In this episode of our podcast, we explore the fascinating world of science, philosophy, and social theory through the lens of influential thinker Karen Barad. Barad's agential realism posits that phenomena or objects do not exist independently but emerge through interactions, challenging traditional understandings of agency. We discuss her work, which draws heavily from the works of Michel Foucault and Judith Butler, and explore the implications of her ideas for the fields of feminist technoscience and social inequalities. source:https://en.wikipedia.org/wiki/Agential_realism

In this episode, we're continuing our journey through the Fall of Númenor by exploring the chapter c1000 SAURON CHOOSES MORDER. After our deep dive in to the story of Númenor's pivotal 6th king, Tar-Aldarion, we return now to Sauron, and take a look at the founding of Mordor and the building of Barad-dûr.WATCH THE VIDEO » https://youtu.be/Lkjvn-3A1SE EXECUTIVE PRODUCERS:- Kaitlyn of Tea with Tolkien- John R- Jacob Lockham- John H- Melkor27- KGFOLLOW & SUPPORT THE TOLKIEN ROAD:PATREON » SUPERFANS!TWITTERFACEBOOKINSTAGRAMLINKS & MATHOMS:- take 10% OFF Tolkien Road merch at True Myths Press » https://truemythspress.com/discount/TENOFF (enter code TENOFF at checkout)- listen to TOLKIEN'S WORKS for FREE » https://www.audibletrial.com/everon- buy Tolkien's Requiem » https://tolkiensrequiem.com/ - buy Tolkien's Overture » https://tolkiensoverture.com/SPECIAL THANKS TO THE FOLLOWING PATRONS:- John R- Kaitlyn of Tea with Tolkien- Jacob Lockham- John H- Melkor27- KG- Emilio P- Jonathan D- Robert H- Paul D- Julia- Werty- JoeBagelMan- Richard K- Matt R- Matthew W- John W- Eugene D- Chris B- Daniel S- Seb M- Cory C- Carolyn S- Ms. Anonymous- Andrew T- Redhawk- Shannon S- Brian O- Zeke F- James L- Chris L- Asya V- Ish of the Hammer- Teresa C- David of Pints with Jack- Eric BAS WELL AS THOSE CELEBRATING THEIR PATRON ANNIVERSARY IN AUGUST OF 2023- Anne E- Garrett P- Mario G- Matt R- Ben D- Lauren H- William H- Henry B- Jonathan L- Austin B- Carroll WThis show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/5222755/advertisement

Today the boys bring a few friends to join the zoom room to discuss Clubs.  Listen along as Jason Langreder, Founder of The Wheaton Whisky Club, and Mike Barad, Founder of the Great Lakes Tequila Club, discuss their motivations, challenges, and victories in starting and maintaining a spirits-themed club. Find The Wheaton Whisky Club on the interwebs and socials:  https://thewheatonwhiskyclub.com/ https://www.facebook.com/groups/658110408295251/ https://www.instagram.com/the_big_red_dram/   Find The Great Lakes Tequila Club on the interwebs and socials: https://www.greatlakestequilaclub.com/ https://www.facebook.com/groups/332551178875708 https://www.instagram.com/greatlakestequila/  

Notes:Stephanie is an author of fantastical and thoughtful stories and poems. Her independently published fantasy debut YA novel A Land of Light and Shadow was released in May ‘20 and a collection of fairytale retelling short stories were published under the title Flower and Cloak in January ‘22. Stephanie also published a collection of fairytale inspired poems on February 1, 2023 under the title The Wistful Wild: Fairy Tale Poems of Longing and Ferocity which also features poems from authors - Stephanie Escobar, Caitlin Gemmell, Cortney Joseph, Jess Lynn, and our own Fable - Beth Stedman.Stephanie has an author newsletter where she talks about her life and what she's currently working on (available here) and you can connect with her on Instagram at @author.stephanieascough and on her website at StephanieAscough.wordpress.com. We highly recommend checking out her honest, thought-provoking, and whimsy-filled Instagram posts, which is how we first connected with her.Stephanie has been a guest twice on the Fable and the Verbivore podcast for an author interview and in an episode ealier this year talking about The Wistful Wild poem collection. Here are those episodes: - Episode 50: Interview with Stephanie Ascough - Episode 182: The Wistful WildKate is an author of dark fantasy romance and contemporary fantasy stories. Her short story ‘Daughter of Darkness & Son of the Sun' was published last year in the Worldsmyth's Darkness & Moonlight anthology and her short story Deconstructed won first place in Tribus Polaris's 2020 flash fiction contest. Kate published her Greedy: A Lust & Lore Novella on April 14th, 2023 and is currently working on her debut novel The Guardian (Book 1 of The Terramica War planned trilogy). Kate's website is KieranLamoureux.com and her Instagram account is @kjlamoureux.writes. We'd highly recommend checking out her bibliophile posts, atmospheric pictures, teasers of her current work, and the flash fiction pieces located in her Instagram stories. We also love her open and candid posts about her personal life and creating as a neurodiverse writer. Her website also lists the micro editing with heart services that she provides - line editing, copy editing, proofreading, and pitches, blurbs, and synopses – as well as her current rates.Kate has been a guest twice on the Fable and the Verbivore podcast as part of panel episodes earlier this year - with one episode talking about writing sex scenes and another on neurodiversity and creativity. Here are those episodes: - Episode 175: Writing sex scenes- Episode 190: A panel on neurodiversity and creativityTowards the beginning of this episode, Fable mentions a post that Kate had on Instagram about the male friendships in this series. That post can be found here. In this conversation, we reference several different quotes from the LOTR books. They are:Sam: “His thought turned to the Ring, but there was no comfort there, only dread and danger. No sooner had he come in sight of Mount Doom, burning far away, than he was aware of a change in his burden. As it drew near the great furnaces where, in the deeps of time, it had been shaped and forged, the Ring's power grew, and it became more fell, untameable except by some mighty will. As Sam stood there, even though the Ring was not on him but hanging by its chain about his neck, he felt himself enlarged, as if he were robed in a huge distorted shadow of himself, a vast and ominous threat halted upon the walls of Mordor. He felt that he had from now on only two choices: to forbear the Ring, though it would torment him; or to claim it, and challenge the Power that sat in its dark hold beyond the valley of shadows. Already the Ring tempted him, gnawing at his will and reason. Wild fantasies arose in his mind; and he saw Samwise the Strong, Hero of the Age, striding with a flaming sword across the darkened land, and armies flocking to his call as he marched to the overthrow of Barad-dur. And then all the clouds rolled away, and the white sun shone, and at his command the vale of Gorgoroth became a garden of flowers and trees and brought forth fruit. He had only to put on the Ring and claim it for his own, and all this could be. In that hour of trial it was his love of his master that helped most to hold him firm; but also deep down in him lived still unconquered his plain hobbit-sense: he knew in the core of his heart that he was not large enough to bear such a burden, even if such visions were not a mere cheat to betray him. The one small garden of a free gardener was all his need and due, not a garden swollen to a realm; his own hands to use, not the hands of others to command. 'And anyway all these notions are only a trick, he said to himself.”― J.R.R. Tolkien, The Return of the KingFrodo: 'It's a pity Bilbo didn't kill Gollum when he had the chance.'Gandalf: 'Pity? It's a pity that stayed Bilbo's hand. Many that live deserve death. Some that die deserve life. Can you give it to them, Frodo? Do not be too eager to deal out death in judgment. Even the very wise cannot see all ends. My heart tells me that Gollum has some part to play in it, for good or evil, before this is over. The pity of Bilbo may rule the fate of many.' Frodo: 'I wish the Ring had never come to me. I wish none of this had happened.'Gandalf: 'So do all who live to see such times, but that is not for them to decide. All we have to decide is what to do with the time that is given to us. There are other forces at work in this world, Frodo, besides that of evil. Bilbo was meant to find the Ring, in which case you were also meant to have it. And that is an encouraging thought.”― J.R.R. Tolkien, The Fellowship of the Ring“A time may come soon," said he, "when none will return. Then there will be need of valour without renown, for none shall remember the deeds that are done in the last defence of your homes. Yet the deeds will not be less valiant because they are unpraised."She answered: "All your words are but to say: you are a woman, and your part is in the house. But when the men have died in battle and honour, you have leave to be burned in the house, for the men will need it no more. But I am of the House of Eorl and not a serving-woman. I can ride and wield blade, and I do not fear either pain or death.""What do you fear, lady?" he asked."A cage," she said. "To stay behind bars, until use and old age accept them, and all chance of doing great deeds is gone beyond recall or desire.”― J.R.R. Tolkien, The Return of the KingWe also referenced several movie clips from the films in this conversation. They are:- LOTR: The Fellowship of the Ring - The Death of Boromir- Lord of the Rings: The Return of the King (2003) - I Am No Man Scene | Movieclips- LOTR The Two Towers - Gollum and SméagolTowards the end of this episode, the Verbivore references a funny conversation between the actors who played Merry (Dominic and Pippin (Billy Boyd) on their podcast where they talk about lines where they'd put a cuss word into the LOTR films - including the “Fool of a Took” scene in Moria. Here is that video clip:- Billy & Dom Discuss Profanity in Lord of the Ring Quotes | The Friendship Onion with Billy & DomBooks and Movies Mentioned: - The Lord of the Rings Book Set by J. R. R. Tolkien - The Lord of the Rings: The Fellowship of the Ring - Directed by Peter Jackson - The Lord of the Rings: The Two Towers - Directed by Peter Jackson - The Lord of the Rings: The Return of the King - Directed by Peter Jackson - The Hobbit by J. R. R. Tolkien The Hobbit trilogy - Directed by Peter Jackson - The Hobbit Movie (1977) - Directed by Jules Bass and Arthur Rankin Jr. - The Proverbs of Middle-earth by David Rowe - Tolkien - Directed by Dome Karukoski Music from: https://filmmusic.io ‘Friendly day' by Kevin MacLeod (https://incompetech.com) Licence: CC BY (https://creativecommons.org/licenses/by/4.0/)

We're back in the Veridian Dynamics Division as newcomers Adam and Siobhan take on seasoned vet Larra! I mean…Adam and Siobhan are also taking on each other, I suppose. It's still a 1v1v1 competition. They're not teaming up AGAINST Larra, unless they did so under the radar and none of us noticed their devious plot. Regardless of whatever intentions or secret alliances there may be or not be (alliances that have been purely conjectured by the author of this copy, based on the dicey syntax of the first sentence that could have just been edited, but instead spun off into whatever this paragraph has become), our three players drop knowledge of film scores, pop music, and the place where their titles meet. Then things really heat up in round two when we talk about the non-royal performances of actors who've played kings and queens of England. NOTES ⚠️ Inline notes below may be truncated due to podcast feed character limits. Full notes are always on the episode page.

Season 18, Episode 16: Set Review (Lord of the Rings: Tales of Middle-Earth) Morde and Manacymbal join forces to analyze the best Modern cards from Lord of the Rings: Tales of Middle-Earth. Very few of these cards seem flashy enough for 2023 Modern, but heed Tolkien's advice: all that is gold does not glitter. A brave little hobbit, such as Rosie Cotton of South Lane, might have the right stats to enable a new infinite combo, and the interactive value provided by Orcish Bowmasters gets more powerful in older formats. A legendary land cycle has generous activated abilities, and Equipment decks get a new toy in Forge Anew. Will any of these cards break in to the brutally powerful Modern meta? Let's find out! Like our content? Support us on Patreon and join our brewing community! Decklists for this episode can be viewed at FaithlessBrewing.com Timestamps [2:47] Housekeeping [4:02] Middle-Earth: First impressions [10:37] Barad-dur [11:51] Minas Tirith [13:02] Mines of Moria [13:55] Many Partings [15:31] Delighted Halfling [17:50] Oliphaunt + Generous Ent [19:20] Long List of the Ents [22:50] Shelob's Ambush [25:44] Orcish Bowmasters [28:44] Westfold Rider [30:13] Council's Deliberation [32:39] Nasty End [33:17] Boromir, Warden of the Tower [34:56] Rosie Cotton of South Lane [38:46] Forge Anew [42:17] Grishnakh, Brash Instigator [44:18] Swarming of Moria [45:13] Fires of Mount Doom [47:38] Nazgul [53:59] Bill the Pony [56:19] Hew the Entwood [58:16] Tom Bombadil [59:07] Gandalf the White [1:06:30] Aragorn, the Uniter [1:07:50] Sauron, the Dark Lord [1:09:38] March from the Black Gate [1:15:24] Closing thoughts: the future of mini-sets

Season 2 Grant Major is an Academy Award-winning Production Designer. Designing films such as The Lord Of The Rings trilogy, The Power of the Dog, Mulan, & King Kong FDP Host - Max Lincoln is a Production Designer for Commercials and Music Videos.
 ••• Highlights:
 From New Zealand to the BBC & back to New Zealand / Designing LORD OF THE RINGS / Playing with perspective between Hobbits and other characters / Using miniatures & bigatures / Matte Paintings / Designing battlegrounds / Collaborating with costume on armour / Digital extras / Designing the different looks of the groups of Middle Earth / The Tower of Barad-dûr / The Mines of Moria / Creating the world of Mulan & the Tang dynasty / Designing for VFX / The throne room / Finale fight on scaffolding / Creating the fortresses / Creating the volcanic floor / Creating the look of The Power of the Dog / Designing the house / Colour: A reductionist theme / Pareidolia / Creating the jungles of King Kong / Pre visualisation and working with VFX / What he looks for in an assistant / The collaborative nature of the process / Dealing with anxiety & starting a new project / Favourite part of the job 
••• 
Credits
Guest: Grant Major IMDB Show's Creator: Max Lincoln instagram.com/maxlincolnart  /  maxlincoln.net Intro Track Composed by Sam McGrail instagram.com/sammcgrail93 Intro Track Mixed by Max Bloom instagram.com/maxbloommusic Art Work by Alec Jagodzinski instagram.com/alec__ok 
••• Links Film & TV Talent Lists for Underrepresented Groups - Worldwide: Lookbeyondthelist.com

Building engagement tools in a way that “surfaces through the care team” is a critical goal for Ashis Barad, MD, Chief Digital and Information Officer at Allegheny Health Network. But it can't be “built in a way that's just adding burden to the care teams by having more alerts put in front of them,” he said in this interview. Source: Q&A with Allegheny Health CDIO Ashis Barad, MD: “We Need to Do the Hard Work of Laying Down the Foundation.” on healthsystemcio.com - healthsystemCIO.com is the sole online-only publication dedicated to exclusively and comprehensively serving the information needs of healthcare CIOs.

Michael Cherkezian and Justin BaradChubbyButtons.io Today's episode is a 20-minute masterclass on solving big business problems when you're new to entrepreneurship. Our guests are Michael Cherkezian and Justin Barad, inventors of the world's first wearable Bluetooth remote, developed their product without any engineering or product development background and got a spot on Shark Tank shortly after. Today, their product, Chubby Buttons, has amassed thousands of 5-star reviews and is ready to dominate multiple consumer markets. Cherkezian and Barad eagerly share their dramatic success story and reveal helpful tips for old problems in bootstrapping, marketing, talent recruitment, and management. Whether you're new to entrepreneurship or not, this exciting episode will inspire you to do more. In today's episode of the Harvest Growth podcast, we'll cover: ●          Why entrepreneurs must shatter societal expectations to find success.●          How a healthy relationship with customers can benefit marketing and product development and reduce business costs.●          How to land a spot on Shark Tank.●          How to find great talent on a bootstrapper's budget.●          And so much more! Visit chubbybuttons.io to see the world's first wearable Bluetooth remote in action! Use code 'harvest' at checkout for a 15% discount on purchases. Do you have a brand that you'd like to launch or grow? Do you want help from a partner that has successfully launched hundreds of brands that now total over $2 billion in revenues? Visit HarvestGrowth.com and set up a free consultation with us today! 

Jared, Oriana and Ned talk about Ned's choice of topic: the Rankin-Bass adaptation of The Return of the King. When Rankin-Bass's 1977 adaptation of The Hobbit was shown on American network TV, the animation studio was already well into planning a further effort adapting The Lord of the Rings in some form as a sequel; the positive attention and ratings success of their Hobbit doubtless made them think they were on the right track. But when Arthur Rankin Jr. confessed in a 2003 interview that their version of The Return of the King was “not a very good film,” that was an understatement to say the least. While their Hobbit had flaws but was still a reasonably entertaining, focused translation of the story into a particular medium heightened by striking background work from their partners at the Japanese animation studio Topcraft, the Rankin-Bass Return of the King, which aired in 1980 and which continued to showcase work by Topcraft, was otherwise at best a muddled mess and at worst just a flat out disaster, with scattered positive elements not offsetting the series of baffling adaptation decisions that look even weirder following the success of Peter Jackson's version of the book. What makes the pacing of the film so incredibly bizarre and frustrating, and how did the decision to tell which parts of the story in greater detail compromise the wider scope as a whole? How does the vocal casting and the respective performances end up underselling the flow of the story as a whole? Are there any good parts to the whole at all, and do they actually provide any upside to the end result? And why, why, WHY in the world are there so many bad songs throughout – even if there's disagreement over whether “Where There's a Whip” slaps or not?SHOW NOTES.Jared's doodle – and it really is all that is deserved.Come join us in Portland for our live episode recording if you can! April 22, 2023 is the date, we'll be at Passages Bookshop, and we'll be there with our fellow podcasts It's Just a Show and Game Show 1939! News of more Rings of Power casting. Good luck, everyone.Ciarán Hinds really is all that. But as mentioned in a post-recording edit, Ned made a mistake and muddled two There Will Be Blood scenes – the confrontation scene he talks about is absolutely stunning for sure, but the one where for the first couple of minutes Hinds just very carefully watches, smokes and takes it all in is the one nearer the beginning where Paul Sunday first sits down with Daniel Plainview. The UK National Archives post on the newly discovered letters by Tolkien.The Rankin-Bass Return of the King! It sure did return.Our earlier episode on the Rankin-Bass Hobbit. A lot of information on Rankin-Bass in general which also applies to this production is linked there, so we won't repeat it all here. (And since we do mention Bakshi's film a couple of times, here's our episode on that.)Oh I think we all know about the Star Wars Holiday Special. But the forthcoming documentary could be interesting.The John Culhane New York Times piece from 1977 where Rankin's quote about their plans for The Return of the King comes from.The 1980 LA Times piece by Charles Solomon mentioned is available to read via Newspapers.com though only via a free trial; its first part can be found here along with the awesome Joan Jett photo.If you really actually want to watch the Rankin-Bass Return of the King, don't say we didn't want you.Rick Goldschimdt's interview with Rankin; the quote about Return of the King is towards the end of the clip.The one-album vinyl redaction of the movie from 1980.Want a view of that Seattle Kraken tentacle? Enjoy.Oriana's fine with the orcs not being depicted in a racist fashion, Jared likes the design of Minas Tirith. We'll take what we can get.The Last Homely House does look like it should be snow covered in the Swiss Alps or something.Ah the minstrel. Yes. Yes indeed.Where there's a whip! (But yeah, some love or at least nuance for the orcs, we love to see it, as we argued in our own episode about them.)Barad-dûr is…odd. Neuschwanstein Castle, if you ever want to check it out.Sauron, though, that's pretty interesting. And definitely not Mike Wazowski.Our Silver Call duology episode. Still a very strange piece of work.Bring on The War of the Rohirrim! *crossed fingers*Support By-The-Bywater on Patreon. Thanks!

Tolkien gives us a pretty clear timeline of the major events of the Second Age, including when construction of the Barad-dur, Sauron's fortress, was begun. Elrond tells us the foundations were made with the power of the Ring. The only problem is, the Ring was made 600 years later…. Other Links: Utreon: https://utreon.com/c/TolkienLorePodcast/ Rumble: https://rumble.com/c/c-355195 Odysee: https://odysee.com/@TolkienLore:f Twitter: https://twitter.com/jrrtlore Patreon: https://www.patreon.com/tolkiengeek Discord server invite link: https://discord.gg/EVKynAj2m9 (If link is expired contact me at tolkienloremaster@gmail.com and I'll send a fresh invite link). --- Support this podcast: https://podcasters.spotify.com/pod/show/joshua6469/support

Pack your bags and renew your passports as you join us for the PPP's eighth annual celebration of Tolkien Reading Day, observed every March 25 in honor of the destruction of the Ring and the fall of Barad-dûr. This year's theme, as chosen by the Tolkien Society, is Travel and Adventure! Alan and his new co-host Marcel, the Tolkienist, go through some of their favorite Tolkien passages to highlight the theme, from the Great Elven Road Trip to the Fellowship's Final Journey. Plus, a correction about Dol Goldur and #ambitiousorc starts trending. Also, there may be singing.

Today, we're excited to get to know Justin Barad, CEO and Co-Founder of Osso VR, a surgical training platform that uses virtual reality to accelerate surgical training and improve surgical outcomes. Designed for medical device companies and practicing surgeons of all skill levels, Osso uses cinema quality-VR to offer a realistic, hands-on training environment. In two recent randomized peer-reviewed studies, surgeons training with Osso VR showed anywhere from a 230% to a 306% improvement in overall surgical performance compared to traditional training. Today, Osso VR is available in more than 40 countries, partnering with leading global medical device partners including Johnson & Johnson, Stryker, Zimmer Biomet, Medtronic, Endologix, and Smith + Nephew. Osso recently raised a $66M Series C led by Oak HC/FT. In this episode, Justin tells the story of his unlikely journey from video game developer to orthopedic surgeon to VR company founder. He also gives valuable advice about prototyping, early recruiting, and the difference between seed fundraising and Series A. Finally, Justin shares what he's excited about for the future of virtual reality.

Imrahil and Gandalf save the day, along with Faramir's body; who will ride out to save Alan and Matt? Join us as we follow Gandalf's Magic Flashlight™, as we near the end of The Siege of Gondor! Gandalf is unveiled, Imrahil has words for Denethor, the Witch-king's forces prepare, and Denethor abdicates his role. Once again, we are joined by our favorite pedant and military historian, Bret Deveraux, who teaches us all we could ever want to know about siege warfare (which is a lot). Finally, we spend far too much time working out what Denethor saw in the palantír, and what Barad-dûr's HR department is like.

SPEAKERSAlecia Jackson, Liza Mazzei, Jessica Van Cleave Jessica Van CleaveHello and welcome to qualitative conversations, a podcast hosted by the qualitative research SIG of AERA, the American Educational Research Association. I'm Jessica Van Cleave, Chair of the Qualitative Research SIG and Associate Professor of Curriculum and Instruction at Gardner Webb University. The Qualitative Conversations podcast doesn't have a regular host. Instead, each episode is organized by our podcast committee. Today I have the pleasure of hosting this episode, in which I interviewed Dr. Lisa Mazzei and Dr. Alecia Jackson about their recently published second edition of Thinking with Theory in Qualitative Research. Lisa Mazzei is Professor of Education Studies and Alumni Faculty Professor of Education at the University of Oregon, where she is also affiliated faculty in the department of philosophy. She is a methodological innovator in post human inquiry, and her work is widely read and cited across disciplines such as education, psychology, sociology, political science, anthropology, business and medicine. She is the author of Inhabited Silence in Qualitative Research from 2007. Alecia Jackson is Professor of Educational Research at Appalachian State University in Boone, North Carolina, where she is also affiliated faculty in the Gender, Women's and Sexuality Studies program. Dr. Jackson's research interests bring feminist post structural and post human theories of power, knowledge, language, materiality and subjectivity to bear on a range of overlapping topics deconstructions of voice and method conceptual analyses of resistance freedom and agency in girls and women's lives and qualitative analysis and the posts. Her work seeks to animate philosophical frameworks in the production of the new and her current projects are focused on the ontological turn qualitative inquiry and thought. Together they are co-authors of Thinking with Theory in Qualitative Research, first and second editions, and coeditors of Voice in Qualitative Inquiry from 2009. Their forthcoming edited book, Postfoundational Approaches to Qualitative Inquiry, will be published in 2023. Lisa and Alecia, thank you so much for joining us on this episode of Qualitative Conversations. Liza MazzeiDelighted to be here. Thanks for inviting us. Alecia JacksonThank you for the invitation. Jessica Van CleaveAbsolutely. So some of our listeners may not be familiar with your work, or maybe new to your work. So would you be willing to tell us a little bit about yourselves, how you came to write together, and how you came to write Thinking with Theory in Qualitative Research? Liza MazzeiWell, Alecia and I say that we share an academic genealogy. We first met at AERA in 2005, I think I was presenting a paper on some of my voice work. Alecia came to attend the session. And she came and introduced herself at the end of the session. And I had just finished reading an article that she had written about subjectivity with new teachers. And so I was so excited to meet her and I had just been reading her work. And so we sat out in the hallway for about an hour. And we're talking about projects. And we said that we should propose a session for AERA the following year on voice because we were both looking at voice and challenging conventional understandings. And so that was right before I was moving to England, I moved to England in 2006, was attending the British Education Research Association Conference, started chatting with a book editor. And like a good editor, he always says, What's your current project? And so I told him about this idea that Alecia and I had for a session and he said, that sounds fabulous. Can you get a book proposal to me in a month? So I'm at this conference, emailing this woman that I've met in person once saying, can we put a book together, a book proposal, and that was the proposal we wrote for voice and qualitative inquiry. And the reviews were very positive for the book. But people who read the proposal didn't think that we could secure some of the authors that we had said we would put that would contribute. And they didn't know that I had studied with Patti Lather at Ohio State University, Alecia had studied with Bettie St. Pierre at the University of Georgia, and through these feminist networks, we had connections with some scholars who were doing some very interesting work. So that was the that was the beginning of our long and fruitful partnership. Alecia JacksonYeah, when we were working on the voice book, I traveled to Manchester. And so we had some writing time together. So one thing I do want to say is that Lisa and I have, ever since the collaboration began, we've never we've never lived in the same time zone. Is that right? Yeah, that's right. Yeah. Yeah. So I think that's something that, you know, is really unique to the way that we've made things work. But we went to Manchester, we worked on the voice book, and then you came here, and we were working on Thinking with Theory. So we've had a couple of times that we've worked together, but in you know, Lisa has explained kind of the origin story. And then how Thinking with Theory came about is that after the voice book, we got really interested in we both were doing separately, we both were working on philosophically informed inquiry. And it didn't have that name at the time. Nobody was calling it that. Nobody was you know, calling it thinking with theory. It didn't have a name. And but it's what we were doing. And we started because we're reading each other's work and through the voice book, we realized is that, you know, what, what would it be like to, you know, to write something together, that was an alternative to, quote, data analysis. We were both talking about how to teach this way of doing this kind of analytic work and conceptual work. And there were lots of journal articles that people doing this kind of analytic thinking. But there wasn't anything that was out there cohesive, that we could use me, really to us in our teaching, that was kind of the impetus. So we were at the Congress. And we were out to dinner with Philip Mudd, who was our editor for the voice book. And we pitched this idea of taking, you know, one data set, and we will talk about how we don't really use that language anymore in a moment. But we talked to him about how to maybe conceptualize a book where we had one set of data that we looked at, that we analyzed across different theories. And he really loved it. And at that dinner, you know, he said, Yeah, let's put this together and see, see what it's like. Jessica Van CleaveThank you so much. It's really fantastic to sort of trace that process, obviously, briefly from that first meeting, until the beginnings of thinking with theory. So as you began the process of writing, thinking with theory and moving through to publication, what were your hopes for the book at the time? Liza MazzeiI think I don't know, I don't know what our hopes were, I think our hopes were that it would be I mean, we've talked, we talked about our work when we started envisioning a new project as what kind of intervention do we want to make? And I remember extending what Alecia was saying, I remember being at the Congress, and we started talking about wanting something for our teaching and going to the book exhibit and looking at what was what was presented as analysis. And it was all about coding. And so our I think, you know, our initial hope was, well, this, this isn't what this is not representative of the kind of work that we do. This isn't how we teach our students. And so as Alecia said, We wanted something for our own teaching. And maybe I guess the hope was that it would be picked up by others and be useful to them. So Alecia Jacksonyes, I think it was a matter of, of what Lisa said, the intervention, I think, is a really good word. We, as I mentioned, what we did there wasn't a name for what we were doing. And we said, we wanted that we you know, Bettie St. Pierre always says write something that people can cite. And so that was something that, you know, she's always said to, and you've probably heard it too, Jessica, write something that people can cite. And, and, and put something out in the world that people can, you know, can use, and I really have a big part of part of the impetus for both of us, I think was to give this alternative to the field and name it in some way and have it so that, you know, it was it would become something that was recognizable that people could use, and really to take the field into that direction. I think that we, you know, back in the early 2010 to 12 qualitative research was shifting. It was shifting away from, you know, interpretive work and even critical work. And it was just time, it was time to bring it all together and give it a name and give it a place. And there was just so much enthusiasm right away because I think people were really didn't feel like coding was really analysis. So, you know, we had already done some work on that talking, writing about pieces, we're writing about how coding is not analysis and, and I thought this was just a way to give it a place in in the in the in the field Jessica Van CleaveWell, I mean, it's fascinating because as you said, Yes and that advice from Bettie it's definitely something that that I think all of us who have ever worked with her have heard, and it's so true. since y'all have published the first edition of Thinking with Theory, there's been an explosion of all of the you know, the methodologies without methodology, and concept as method and anti-methodology. You know, this sort of thing that you said there was a hunger for at the time. I mean, I think there's no better evidence than how much has proliferated since then. So in the years since its initial publication, Thinking with Theory has become a staple in qualitative inquiry. People are citing it not only in dissertations, but in articles across the field, across publications. Instructors are using your text in their masters and doctoral level courses, Thinking with Theory has really become part of the canon of what qualitative analysis can be and can mean. And one thing also from Bettie, that comes up for me a lot when I think about what work does, especially aside from what your hopes might have initially been, is Alcoff's, quote, to paraphrase, you never know where your work goes and what it does there. So what do you think about where your work has gone? And what it's done there? How it's been taken up and received, since you published? Liza MazzeiDo you want to start Alecia or? No? Um, you know, I think, what do I think? This isn't about I remember the first time I was at AERA decades ago, and I had a piece that had come out in ED Researcher, and I was walking, like, from building to building and there was someone sitting on a bench. And I happened to glance and they were reading my article. And I thought, oh, my gosh, what, what? What a, what a validation, I guess, of one's work to know that someone would take the time to actually pick it up and read it. And so I think that the fact that people are talking about thinking with theory as a methodology is not something that I ever imagined would happen. I think one of the things that I'm most proud of in terms of the work that Alecia and I've done together is that people will say to us at conferences, or students will say to us how pedagogical the work is how, how much it helps them understand. And that was really a primary goal of ours was to, to extend the reach of this way of thinking, so that people would consider a new analytic, if you will. I'm not I don't feel like I'm really answering your question. I don't go ahead, Alecia. Alecia JacksonNo, I think it's, I think that Lisa and I are both very, I don't know, humble people, and we just didn't really write this book in order to, you know, do anything other than, I don't know, I think we kind of wrote it for ourselves, at first, you know, and then because we wanted to do something together. And then I think, I've been most surprised, I guess, at how it's not just in educational research, like when I've had to go through and do my, you know, annual reviews, and, you know, going up for promotion, and all that. And you pull up the, you know, the Google Scholar citations, and it's just surprising to me that all sorts of social science disciplines have picked up this work. It's not just educational research, but it's, you know, people in, in all sorts of disciplines that I never would have imagined. I think there was even some citations from a business journal. And I just thought, wow, you know, so I guess what's been most delightful is that it's crossed all kinds of boundaries, which I believe that's one of our missions in, you know, is reaching into other found, you know, do some do some deterritorialized thing through the book, in terms of qualitative research, but it moving across all these other fields, you know, anthropology, sociology, business, I mean, just, there's just a whole, a whole lot of other disciplines that have taken it up. And just the expansion of that has been really surprising. I would have never thought that the work would go there. But it's really, I think, it's exciting. It's humbling. It's very endearing for people, you know, on social media to, you know, make comments about that. They have it, they've read it. It's, you know, I had a colleague who did a Fulbright in Australia. And she got there and was working with a faculty member. And the first thing they said is, oh, you work with Alecia Jackson, look, I have the book, you know, do you know. And it's just so it's just wonderful that it's just connected us, to so many people. And it's been so useful and so helpful. So. Jessica Van CleaveSo then you get asked to write a second edition of this incredibly impactful book that has gone all of these places and done all of these things. When you were first asked to write that second edition, how do you approach that as a project, especially given how big Thinking with Theory is? Alecia JacksonIt was very difficult. And we've been working on the second edition for a while the pandemic hit us, and it slowed everything down as it did for a lot of people. We changed editors, in in the at somewhere in the middle of all this, but we, we wanted to do something because it will talk a little bit about how the book is different. But in the intervening years after this was published, we began to critique some of the things that we had done in the first edition. And we wanted to update some of the things that we had written in chapter one in particular, the way we were conceptualizing some different aspects of it. And we'll get into that, but the main thing we struggled with was, do we add more theoretical chapters? Do we keep them really, you know, they work? Why change them? Do we want to add? So it took us a while, a couple of years to really think about how we wanted it to look and what we wanted to say that would be different enough, so that people would, you know, find the second edition, you know, an actual extension of what we had done. Something different. So it, it took a while. It was a process, but once we really figured out what we were doing, it flowed pretty well, you know, we were able to really work with it. Quickly. So. Liza MazzeiI mean, yeah, I think, I think initially, when we first started talking about the project, we thought that it would not, it would not involve as much new writing as it did. And when we started even, even the chapters that we that we said, Okay, well, you know, we're pretty solid with the with Derrida, there's not a lot we need to change. But then when we started really getting into it, it's like, oh, everything has to change, because all of our thinking and languaging is different. And as both of you have talked about, you know, I think when the first edition was published, that was about the time when, when Bettie published her first piece on post qualitative inquiry, and then we had special issues on data analysis after coding and so forth. And so everything that was informing our thinking, in addition to the way we were doing our own work had shifted, and, and then what we learned from working with students and the places that, that we were able to be more that we were able to show more well, what we were doing, or what we thought we were doing, because we had been doing it, you know, in the intervening time, we've been teaching it, we've been working with students around these texts in the intervening time. So I think it was it's, it's a completely different text in many ways. Jessica Van CleaveSo that kind of leads in you, you have spoken to this, I think a little bit already with that, that your thinking and your languaging and your processes and your experiences and your inter and intra actions had all shifted since the initial publication, but how did you end up deciding then what to include, what to change ,and what not to include in that second edition? Alecia JacksonThat was a process. I think that emerged from what Lisa was saying about the teaching, you know, using the book and teaching what really kind of confused students, you know, what, what was what were some things that they just couldn't, you know, make the turn into, because it was some languaging. Also related to where the book has gone. What it's done is we have done lots of workshops, using this text at the Congress in particular, but also individually, we've gone to institutions and have done workshops together and individually. And we just started to notice there were some some languaging, that that didn't really quite represent what we really wanted to do. And part of that was if we wanted to really make a break, we really wanted to escape conventional qualitative inquiry and go on this line of flight, we would need to really, really change how we talked about it. So the second edition, we dropped data altogether, it's not even in the title anymore. We don't use that word anywhere in in the book, and we call it instead, we came up with a concept, you know, so we were very much into this work is about concept creation, and, and so we came up with performative accounts. And that's how we talk about the so called stories that are that are part of the part of the plugging in. So performative accounts helps us to say something differently about, about memory, about language about subjectivity, what words do, what stories do and rather than representing reality or experience that they're, that these are actually ontological stories and the process of plugging in is a performative and so we use that language in Butler's chapter. And we just decided to pick it up and use it in the intro to make well actually, in the preface, we, we describe that shift from data to performative accounts, and then we had to rewrite the whole, you know, all of the middle chapters because data was everywhere. And really reconceptualize not just replace the word throughout, but really rewrite what was going on in plugging in if we call this entire process performative. So that was that was one. Lisa, if you want to talk about a couple of the others. Liza MazzeiYeah, I think we do a much better job in this edition talking about the questions and the emergence of the questions. That was also a thing that I think, through workshops and teachings that students were, how do I, you know, how do I do this? And so so an example when I sit on dissertation committees and students would, you know, in their proposal say, well, this is my analytic question. Well, now we call them becoming questions, but I would, but then it's like, no, you're you're missing the point. Because you can't identify that question up front, because you don't know what's going to emerge until you are actually immersed in the texts, both the conceptual philosophical texts and the research texts. So I think we did, we spent a lot of time talking about how to explain the process and the way that we sort of came to the process, or the process came to us. I think, another thing and Alecia picked up on the, the nature, the ontological nature of this work that, particularly in the last chapter, we we talk about the ontological nature of writing, and we talk about the way in which the very act of doing is producing these new ontological formations. And so that, that that language, I think, is also present throughout and it's, it's showing how we're shifting in our, in our present work both individually and together. Alecia JacksonYes, a couple of other new changes and additions, I think, we do a better job in the second edition addressing thought and thinking. In the first edition, we were really focused on theory and I think in that first chapter, really justifying the use of theory and the importance and also in the handbook chapter four. We, we really focused on that and and in, in this second edition, we do a lot with thought and the movement of thought we rely a lot on Erin Manning's work. And in her collaboration with Massumi, and in writing about thinking and thought and in the ontology of that so that's some something that's, that's new. The Barad chapter is brand new, practically, of in the first edition, when it came out in 2000. When we were writing in 2010 and 11 new you know, Barad's book was very that's what everyone was reading. And everyone was there a lot of conference presentations on you know, using Barad, and we had to do it in the first edition, what we thought was some background work on new materialism some historical kind of description and tracing of how the emergence of this particular theory into the qualitative profession, but when we read it, when we read, we read it in terms of the revisions were like, we don't really need this background anymore ever. It's it's been around now for 10 years. People are very familiar with them. And it's new materialism and Barad and, and intra-action. And so we felt like we could do, you know, take a lot of that conversation out around some of the other feminists who were working on new materialism. So the Barad chapter is very much more focused on just Barad and intra-action, and we bring in power and we move the Barad chapter to follow Butler and Foucault that made it a little bit more sense to us, since we also added a section on post human performativity, it flows better, and we added a section on power in Barad. So both of those, the post human performativity, and the materialization of power are nice sections in Barad that flow from Foucault and Butler. So we felt like those three chapters just work together better. And then we moved Deleuze and added Guattari to the end. Liza MazzeiSo and just a note on the the flow. I'm I'm teaching a course this term and the students one of our texts is thinking with theory. And so last night, we started looking at we introduced her concepts last week. And so we actually took one of the performative accounts in class last night, and looked at the way it was talked about differently with Butler's concept of performativity. And then looking at the same account with post humanist performativity. And it really, it was a fantastic discussion, and the connection was much more clear for students. Alecia JacksonSo I think it's, we've just really worked to connect, you know, really pull through the coming questions, you know, game, we don't call them analytic questions. And we really make as obvious as we can the process of the emergence of those questions, how plugging in works, and just trying to be a lot more pedagogical, with with the process. Jessica Van CleaveSo I feel like you've already discussed this, and in your response to the last question, but I didn't know if there was anything else that you wanted to add in terms of thinking with theory as a as a concept or as a text. How, how would you say it has shifted for you both over the last decade? Liza MazzeiWell, I think maybe I think we did talk about this, but but the emphasis on thought, the emphasis on newness. One of the things we talked about, I think in the preface of the second edition is how in the first edition, and we've talked about this in other ways that we were, we were still in the mode of of writing against or, or deconstructing some of the, the interpretivist hooks, if you will. And we started from that place still with this addition. And then at one point, we both said, we don't need to do this anymore, we need to push into this different territory. And so I think that's one of the that was a very important but also very freeing moment, because it's like we can, we can let go of some of this language. And we had fabulous support with our editors, partly because I think of the success of the first edition. And so then we were able to say, this is what we're going to do and you know, dropping things like the starting with method, which we did in the first book. We don't we don't do that anymore. So that we I think we felt a lot more confident in our in the acceptance of us saying this is this is how the work is now and we're not going to pretend that it we're not going to try to fit it into another way of making itself intelligible. Jessica Van CleaveSo one of the one of the other things that has changed a lot in the last 10 years is the material discursive conditions of the world. So in what way does do those shifts mean that we should or need to, or might, think with theory differently or think with different theory or what? How do y'all think about those kinds of things? Liza MazzeiI'll start and then Alecia. I mean, one of the things that we do in this edition is we, we deal with the idea of the collective. Deleuze and Guattari, this idea of collective enunciation, we talk about memory in a very different way. I think even the way that we mobilize Barad's concepts is an attention to the the formation of subjectivity and and the way things are, the way not talking about agency as some even though we worked against humanist agency in the first book, it's not even attributing agency to individuals and things and talking about agentic capacities. And so I think it's a it's a reconceptualization, and I've had some students in recent years really do some very interesting work, I think that, you know, moving and thinking very differently. So that's a that's a beginning answer to that question. Alecia JacksonUm, I'm very excited about the way in which we talk about or write about power in in the new Barad chapter in terms of the materiality of power, I think it's a very different way of conceptualizing it. So that that's something that I think, that we've, that we paid really close attention to. I think that that's a concept that, that once you plug it into materiality, you know, because it's history is really connected to knowledge. You know, Foucault's famous couplet or doublet, the power knowledge workings, and, you know, when we get into the materialization of power in the Barad chapter, I think it just really opens up, you know, a whole conversation and I think it's got, we have a lot to say about about that, in terms of, like Lisa was mentioning the collective. And how that that is working, were much more, I think, smarter about assemblage in the second edition, I think that has some some implications for materiality, language, subjectivity, all of that. So we've got some real, I think, shifts in, in how we're bringing those, those theories in, not only in the Barad chapter, but also when in chapters one and eight. When we're talking about thinking, we talk, we, you know, we are using some of the material discursive theories around how thought is, is material, how thinking is, is material and that that's Barad, you know, we, we quote her on that, and then, and write about what that what that looks like. So I think those theories also allowed us to make the shift away from epistemology to ontology. You know, this book is not a knowledge project. It's not representation. So we, you know, we really relied on those theories to make arguments for how research is creation, it is creation. So when we're in this, this ontology, these theories that you've mentioned, Jessica, we, we can't talk about research as knowledge production. Really, we're in a, you know, an ontology where research is helping us to imagine the worlds that we want to live in. So that's what we talk about a lot in my classes is, so what's the what's the use? You know, why are we doing this? If we're not, you know, we know so much already. Like, why do we want to keep asking the same questions. I was somewhere one time, I don't remember maybe getting my hair cut, I don't know. And I was talking to someone about what I do. And I was in that that semester, in particular, I was teaching a women's studies course and feminist theory was a graduate feminist theory course. And she said, Oh, that sounds so, so cool. And so awesome. And I'll say, Well, it's kind of depressing, because for 10 years, we've been talking about the same things, you know, in this feminist theories class, and, and nothing is really different. So I've started thinking about that and talking with doctoral students in my research courses saying, Well, what if research was became something completely different, you know, its use its purpose. And I think what we're doing in this book, is we're saying that we're making worlds, when we think with theory, we're creating something new, we're creating openings for possibilities that have been unthought. So and I see students doing this in their dissertations now. So they're picking up, you know, their theories, you know, we just went to a defense last week of a student, I was chairing a dissertation for and she's, she has a son who has autism. And so she basically did a power knowledge reading of all the, the materials of autism, all the the documentation, the special ed, you know, just everything that the path to diagnosis is what she called it and, and just recreated an entirely different world. Through that work, you know, the outcome of what she did the she got to the end and, and she said, this is this is what we need to do to the DSM to make this entire framework less deficit oriented, and less damage centered. So she recreates she did her critique, you know, her thinking her thinking with, but what came from that was her own creation, you know, a creation of a different concept, you know, how do we redefine this? How do we, you know, how do we talk about it differently? Y'all know, Heather Cox Richardson, that the historian on Facebook has been doing her letters, and posting a lot. And as a historian, she said something recently that that I've been using in my class, and she said, the way that we make change is that we have to change the way that we that people think about something. And the only way we can change the way people think about something is to change the way that we talk about it. That's it from a historian's perspective, that's, that's how change happens. And so it is about language, but it's also about worlding. And I think that, with this, these new theories and the material discursive turn and attending to ontology, in qualitative work, we can begin to create the worlds through the words that we use, changing the way that we talk about it, changing the way that people think about it, and then the doing. So I think that this book, in particular makes those connections between thinking and doing creation, experimentation, and really pushes that, again, what we talked about this in the chapter eight, what we do in research is unleash becomings. And that still is so I can read chapter eight and see what we have to say about unleashing becomings. But, but that's what I I envision, I would like to see research moving in that direction. I think that that's what those these theories, these post foundational theories enable us to do. And students are doing it like, I see them taking risks in ways that are very exciting. Liza MazzeiThey recognize that the descriptive project is not is not moving us. I mean, we talked about that in class last night. Okay, we know we know what's happening. So how do we what are the mechanisms for, for creating these new worlds that Alecia is talking about? Jessica Van CleaveSo that was really exciting, because I was hoping you all would have something fabulous and, and generative and opening up to say, in relation to that, and I wildly underestimated what might happen. So I really appreciate that. That was, that was really helpful. I'm sure the, the audience is going to get a lot out of that. And I think, as I go back to the second edition of Thinking with Theory, I will now be reading it differently because of hearing the ways that you all frame it and how it's now being taken up and seeing where it goes with your students and in relation to the current projects that you have going on. So thank you for that. Um, so I'm gonna shift a little bit, if you don't mind to talk about the writing process. And you said that you have shifted and talked about writing as an ontological project as well. So what does that look like in terms of your writing partnership or your coauthorship? Either for this book, obviously, you've published a lot together and separately, so what does coauthorship look like and how has that shifted for you over the years? Liza MazzeiI'm not sure it has shifted. I think that we're I think we're very appreciative of the generative nature of our collaborations together. And we often when we have not worked together on a project before, and we're working on something separately, it's like, oh, we miss we miss this. Because it does, there is a, there is an energy. And a, I don't even know how to talk about it the way in which I think we've established a great deal of trust in one another. And so it's not. So there's not maybe a hesitation that there might have been at the beginning. But it's, I can't imagine not having projects to work on together. And we keep coming, we keep dreaming up new ones. Alecia JacksonIt feels often like it just a zigzag, you know, we're just kind of in it, we're in the middle of something. Sparks fly, and Lisa will write a word. And it'll remind me, I can you know, she'll she'll write a word that will just spark an idea. And then I can develop a paragraph from that, vice versa. We're not sensitive to, we don't hang on to our we're not, you know, if I write something, I'm not hanging on to it. And I think how many times have I said in the margin? I'm not wedded to this, or this is terrible. Just rewrite it? Or, you know, I think that we just have a real? I don't know, we see it, we look at it as as equals we don't, you know, we take turns on lead. You know, who's first? Who's second, but don't really track that. I mean, I couldn't even tell you, like, who's first, who's second on however many. It's very 50 50, I think, you know, on both of our leaders, we have that written very clearly that, that it's it's 50 50. And that way, it's in these collaborations we've done in the last decade with me on the East Coast, and Lisa on the West Coast, you know, we've had, we've joked a little while I'll get up and maybe work first, you know, and then and then, you know, Lisa will sometimes say, Oh, I can't wait to go in and see, you know, like what you've done and, and then I'll come back in the afternoon to kind of see, so it always feels like a gift. You know, when I go into the document, I there's never a time where I'm not a little bit excited to see what's developed and what's what's being made. Because it isn't an act of creation. And you know, we're not, but we're just you know, we're reading the same things. You know, it's just, it's, it's a collaboration in every sense of the word, you know, from reading the writing to, you know, the publishing, it's just yeah, it's, you know, we're respectful of when there's other things going on, you know, travel or family stuff. And, you know, it's just, yeah, it's just easy. Jessica Van CleaveWould that we all could have such lovely, collaborative relationships that are just easy. That's wonderful and of course, we all get to be the beneficiaries of that easy work for you. Not that it's easy, but um, so is there anything else that you want to share with the qualitative conversations audience either about thinking with theories, specifically, or qualitative research broadly or anything else that comes to mind? Liza MazzeiThis is not my this is not my original thought. This is something that you know, Bettie St. Pierre says all the time, but that I say to students, if you if you want, I mean, two things, I guess, you get into the middle of a project and you think that you want to think with this particular concept? Well start thinking with it. But if it's not doing the work that you want it to do, then try something else. But you have to be willing to spend the time to immerse yourself in the reading and the study in order to be able to, to do the work. I mean, Alecia, and I talked about with the first edition, people say, Well, how did you choose these theories? Well, some of them were ones that we had, because we had worked with them in pre, you know, with some of our other work. But then we as we started thinking, for example, with Barad, it was okay if we're going to do this, we need to really spend some time with it to see if it if it is doing something for us. And if it's not, then we need to find something else. So that's, I mean, we we talked about that a little bit in the book, but I think it's just really emphasizing that it's, it's it's not easy work, but it's such exciting and generative work. And I think once the students start, start encountering it then it's hard for them to imagine not doing their work in this way. Alecia JacksonYeah, I think that what, what Lisa just said reminds me of how I talk about theory is that it just finds you, you know, that's something I say, in every class, we're, you know, we're, we have two theory classes that we offer in our doctoral program. We just call it theory one, theory two, and it's just, it's pretty linear. You know, it starts with positivism. And then just, by the time we get to the end of theory two, we're in post humanism. So it's, you know, just going through those frameworks, and and there were some times students just nothing really speaks to them. And so we just say, you know, just keep reading, and something, you know, that language. You know, I tell the story of how, when I first read Foucault, it was like, wow, this is language that I've always sensed, and felt that I couldn't articulate, I didn't know what I needed to say. And then here's somebody who's saying it for me. And then all I had to do is plug it into, you know, what I was encountering in the world. And, and that helped me to think differently about it and opened up to the end thought so, you know, a lot of what I like to say to students is, you know, this, this work is the pursuit of the unthought it is the pursuit of what we, you know, can't imagine yet, the not yet. We were back to the movement between the first and second edition. And, and, you know, Jessica, you read a chapter for us on Manning, because we thought we need to add a new theorist, you know, and we'd both been reading a lot of affect and gone with the affect conference. And, and we thought that that was something that was missing from the book. And so we thought, well, let's just add a Manning chapter. And it didn't, it didn't fit well. It didn't, it didn't, it didn't, it wasn't working the way that we wanted it to work. But Manning was working on us, but we couldn't figure out what was going on. So we just kept wrestling with it. And and, you know, you read it, and we got great feedback from you. And it made us really ask some questions about what what is, what are we doing? And how are we putting this to work? And what happened is, I remember we were going back and forth on it. And, and I think I texted you, Lisa, or sent you an email, and I said, I think we're using Manning, Manning methodologically like as a technique. And so we're like, whoa, that's exactly what's going on. It's not that we need to plug Manning into the performative accounts, we need to plug it into writing and thinking and doing. And so chapter eight is where Manning shows up and affect because we do a lot with pre individual sensing, and how that is part of of a thought. That thought is not just cognitive, but it's this pre individual syncing of something coming into being of the coming that's emerging. So we just stayed with Manning, but it it shifted and helped us to say something about writing and thinking and ontology that we could never have planned for. So the last thing, yeah, I'll just say is that you just don't know where you'll end up. And all of this is emergent, contingent, relational, all of those things. So just stay, as Donna Haraway says, just stay with the trouble and you know, something will will come, Donna Haraway says something, something always happens, and it always will. So I think that that's part of what the message is in in the the second edition. Jessica Van CleaveWell, I want to thank you both so much for your time today. This has been a delightful conversation for me, and I know our QR SIG listeners are really going to appreciate your, your descriptions of the text, as well as the connections that that you are making and thinking about, both in their roles with students and in their roles as instructors as well as methodologists. So thank you both so much for your time this afternoon. Liza MazzeiThank you, Jessica. And thanks for prompting us to think more about our own process. Alecia JacksonYeah, it's very nice to, to articulate it and, and be able to really appreciate, you know, what, what we've done, I don't think I really sat and thought about the, you know, I mean, I know what the differences are between first and second edition, that really going back on this journey in time and space has been a real treat. So thank you. Jessica Van CleaveThank you. Thank you. It's been a gift this afternoon.

Hosts Alan Sardana & Dr. Joshua Liu speak with Dr. Ashis Barad, Chief Digital & Information Officer at Allegheny Health Network, about "Why Healthcare needs to be Designed for Consumers and not just Patients, Using Tech to Scale Trust, Finding Clinical Champions to Win at Digital Health, and more." Find all of our network podcasts on your favorite podcast platforms and be sure to subscribe and like us. Learn more at www.healthcarenowradio.com/listen/

Osso VR is a company that uses virtual reality to teach surgeons how to use medical devices and perform surgeries and assessment. Imagine being able to practice many times over before performing on a live patient. Imagine what this level practice will do prevent medical errors and save lives.   With me is Dr. Justin Barad, a pediatric orthopedic surgeon who also has a passion for gaming. Originally interning to become a game developer at Activision-Blizzard, Justin decided to find a way to combine his passions and use his technology background to solve medical challenges after a personal family health incident introduced him to the world of healthcare. During his residency, he identified what could be one of the most pressing medical challenges of this century: how we are training our surgeons and proceduralists. With a strong interest in gaming and a first-hand understanding of the challenges facing residents and experienced doctors, he co-founded Osso VR with a mission to improve patient safety and democratize access to modern surgical techniques.   Show notes:  Books:  The Pizza Bible: The World's Favorite Pizza Styles, from Neapolitan, Deep-Dish, Wood-Fired, Sicilian, Calzones and Focaccia to New York, New Haven, Detroit, and More; by Tony Gemignani  The Hard Thing About Hard Things: Building a Business When There Are No Easy Answers by Ben Horowitz And Doctors: The Biography of Medicine by Sherwin B. Nuland.

Aragorn has revealed himself to Sauron in the palantír, the initial assault on Gondor has begun, Théoden leads Rohan into the fray hoping they are not too late, and Faramir has suffered a grievous injury. Today we move on into one of, if not, the most climactic sections of this novel and entire series with the events that occur from Chapter 6 through Chapter 10 in The Return of the King.   Join us as we jump into the full battle on the Pelennor Fields of Gondor, see the fall of King Théoden, watch The Lord of the Nagûl meet his match, observe unsuspecting reinforcements come to the aid of one side, the healing of important individuals, plans for a last stand, and a final march to the Black Gate.   With Chase & Josh taking you through one of the most action packed segments of the novel, highlighting key moments and dialogue, breaking down the logic behind certain decisions, and debating a couple topics that could have changed a few outcomes, you don't want to miss this.   "We must walk open-eyed into that trap, with courage, but small hope for ourselves. For, my lords, it may well prove that we ourselves shall perish utterly in a black battle far from the living lands; so that even if Barad-dûr be thrown down, we shall not live to see a new age. But this, I deem, is our duty. And better so than to perish nonetheless – as we surely shall, if we sit here – and know as we die that no new age shall be."

Bring a friend and come along with us for our seventh annual celebration of Tolkien Reading Day, observed every March 25 in honor of the fall of Barad-dûr. This year's theme chosen by the Tolkien Society is Love and Friendship. We've selected some of our favorite passages from the legendarium to showcase the theme, including friendship that spans generations, romantic love that blooms in wartime, the loyalty of lifelong companionship, and the unlikely love between would-be enemies. Plus, a reading from outside the legendarium reminds us that it's never too late to reach out to another in friendship.