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On the podcast today we talk to the first of our Freelance Journalism Awards winners from 2025. Hannah Fearn won Best News Story and Best Opinion Writer for her work on social affairs. In this episode she talks about how she investigated a report from inside a children's prison. She also shares her invaluable tips on how to pitch to opinion desks.GuestHannah Fearn https://www.linkedin.com/in/hannahfearn/Bluesky @hannahfearn.bsky.socialResourcesHannah's powerful story on lockdown in child prisons stood out for its impact and writingHannah's columns on social affairs were called “well-researched and passionately argued”Freelance rights guide https://www.womeninjournalism.co.uk/guidelines/oldo7g1jr7say9zn95edt9agt3kviwInside Housing https://www.insidehousing.co.uk/Health Service Journal https://www.hsj.co.uk/

When Indian cricket fans unleash fury on Twitter about disputed LBW calls, host Steve Davis fields the abuse meant for someone else. This episode brings together both Steve Davises for the first time. The retired umpire who stood in 57 Test matches shares what it’s like to make split-second decisions in front of millions, survive a terrorist attack in Lahore, and maintain composure when Shane Warne announces his next delivery to the batter. The SA Drink of the Week features Ballycroft Vineyard and Cellars’ 2024 Small Berry Montepulciano from Langhorne Creek, tasted and endorsed by both Steve Davises. The wine presents an intriguing contradiction, its dark appearance suggesting heavy Barossa Shiraz, yet delivering a lighter, fruit-forward palette that Joe Evans recommends chilling for summer enjoyment. The Musical Pilgrimage features Steve Davis and the Virtualosos with “From the Cathedral to the City End,” weaving together Test cricket, Adelaide Oval, and the 1662 Book of Common Prayer into a meditation on how this game brings us together. You can navigate episodes using chapter markers in your podcast app. Not a fan of one segment? You can click next to jump to the next chapter in the show. We’re here to serve! The Adelaide Show Podcast: Awarded Silver for Best Interview Podcast in Australia at the 2021 Australian Podcast Awards and named as Finalist for Best News and Current Affairs Podcast in the 2018 Australian Podcast Awards. And please consider becoming part of our podcast by joining our Inner Circle. It’s an email list. Join it and you might get an email on a Sunday or Monday seeking question ideas, guest ideas and requests for other bits of feedback about YOUR podcast, The Adelaide Show. Email us directly and we’ll add you to the list: podcast@theadelaideshow.com.au If you enjoy the show, please leave us a 5-star review in iTunes or other podcast sites, or buy some great merch from our Red Bubble store – The Adelaide Show Shop. We’d greatly appreciate it. And please talk about us and share our episodes on social media, it really helps build our community. Oh, and here’s our index of all episode in one concisepage. Running Sheet: Steve Davis Talks Cricket With Former Umpire Steve Davis 00:00:00 Intro Introduction 00:01:50 SA Drink Of The Week The SA Drink Of The Week this week is a 2024 Ballycroft Montepelciano. Joe Evans of Ballycroft Vineyard and Cellars made an unexpected connection five weeks before this recording. During a Barossa wine tour for friends visiting from England, Steve Davis the umpire introduced himself at the cellar door. Joe mentioned knowing another Steve Davis from Adelaide, someone involved in cricket. The dots joined. Both Steve Davises then converged on this episode, linked by Langhorne Creek grapes and the patron saint of Adelaide. The 2024 Small Berry Montepulciano arrives in the glass looking deceptively heavy. Its dark colour suggests bold Barossa Shiraz, thick and commanding. Yet the first sip tells a different story. Light fruit dances on the palette, a brightness unexpected from that brooding appearance. Joe recommends chilling it slightly and serving through summer, perfect with Italian or Mexican food. Steve the umpire remembers that 10:30am Sunday morning tasting at Ballycroft. When Joe poured this wine, Steve thought immediately of Barossa Shiraz. That’s his drink. But then came the taste, revealing something gentler yet structured. The wine builds as it sits on the palette, gaining weight and presence. Like a pitch heading into day three or four, settling into its rhythm rather than losing life. The conversation meanders through wine, travel and cuisine. West Indies food has never won Steve’s heart, so more of this Montepulciano would help those meals considerably. Host Steve notes how the wine shifts from what seems like a marriage between Pinot Noir and rosé to something with genuine body and staying power. It’s not Pinot weight, not Grenache or Merlot either. The complexity reveals itself slowly, rewarding patience. The 2024 Small Berry Montepulciano from Ballycroft Vineyard and Cellars, endorsed by two Steve Davises, stands as this week’s South Australian drink. 00:10:25 Steve Davis and Steve Davis INTRODUCTION:So, I need to come clean about something. For years on Twitter, I’ve been fielding abuse meant for someone else. Indian cricket fans would see “Steve Davis” and unleash fury about a disputed LBW or a missed edge – and when I’d reply, mortified apologies would flood in. They’d meant the *other* Steve Davis. The one who stood in 57 Test matches, 137 ODIs, survived a terrorist attack in Lahore, and spent 25 years making split-second decisions in front of millions. Today, finally, I get to meet the bloke whose honour I’ve been accidentally defending. Steve Davis, welcome to The Adelaide Show. NOTES: The conversation begins with a revelation. Far from being retired, Steve Davis the umpire spends twelve months a year refereeing cricket across two continents. Every six months he travels to England for County Cricket, returning to Australia for Sheffield Shield and Big Bash matches. When he thought retirement from umpiring might leave him lost, the England and Wales Cricket Board offered him a lifeline that turned into a globe-trotting vocation. His cricket origins trace back to Elizabeth, newly formed with perhaps eight houses when his parents arrived as ten-pound Poms. His father Dave Davis played for WRE Cricket Club alongside John Scarce, whose son Kevin Scarce kept wicket for Steve at Elizabeth High School and later became Governor of South Australia. Cricket in Adelaide was woven through family, friendship and those Saturday afternoons where you’d stand in as a sub fielder, watching your father’s team and falling deeper into the game’s rhythm. The path to international umpiring began humbly in D Grade after finishing his playing career at West Torrens. Within two seasons he’d progressed to A Grade, and by November 1990 he was officiating his first Sheffield Shield match. His debut came partly through circumstance rather than genius. When Tony Crafter retired to become Australia’s first full-time umpire manager, a vacancy opened among South Australia’s two eligible international umpires. Steve joined Darryl Harper in that select group. On 12 December 1992, exactly 33 years ago yesterday, he walked onto Adelaide Oval for his first One Day International. Pakistan versus West Indies. His home ground, but the nerves were overwhelming. Terry Prue, his Western Australian colleague, radioed from square leg to report that Richie Richardson had noticed Steve missing all of Wasim Akram’s no balls. In his nervousness, he’d forgotten to look down at the front foot. When he finally started calling them, Wasim’s response was gentlemanly: “Oh, come on, we’re all friends out here. Give me a bit of warning.”The umpire’s process demands intense concentration. First, watch the front foot land. The moment it’s safe, eyes shoot straight to the bottom of the stumps, letting the ball come into view. As soon as the ball dies, switch off briefly, then begin again. Steve ran his counter one ball ahead, clicking after each delivery so the number five meant two balls remaining. This meant no clicking back for no balls, just not clicking forward. Tim May once stopped mid-delivery and demanded Steve stop clicking his counter during the run-up. His Ashes Test debut at Adelaide Oval in 1997, just his second Test match, stands as one of his finest days. He got every decision right on a 44-degree day when England lost the toss and their bowlers were bowling one-over spells in the heat. Steve Bucknor, his partner that day, also had a flawless match. Alex Stewart still calls him “legend” when they meet at English grounds. The Decision Review System arrived while Steve was umpiring, transforming the role completely. Some umpires, like Mark Benson, couldn’t handle seeing their decisions overturned repeatedly. Benson flew home after two days of a Test match in Australia and never returned to international cricket. Steve embraced DRS immediately. His philosophy was simple: we’re going to end up with the right decision. Better that than five days of a team reminding you about that first-ball error while the batter you gave not out compiles a century. These days, third umpires call all no balls in televised matches. The technology highlights the foot crossing the line, removing that split-second judgment from the on-field umpire. Steve wonders if he’d survive in today’s game, his neural networks so hardwired to glance down then up that retraining might prove impossible. The theatre of the raised finger remains cricket’s most iconic gesture. Steve took his time with it, though not as long as his late friend Rudy Koertzen, dubbed “Slow Death” for the excruciating journey his hand took from behind his back to above his head. Some umpires point at the batter instead of raising the finger, a practice Steve abhors. The law says raise the index finger above your head. The drama lies in that pause, that moment of tension before the finger rises. He carried the essentials: a counter, a wallet-style kit with sprig tightener, pen and pencil, notepad for recording incidents, light meter readings, and lip balm. Some umpires packed their pockets with everything imaginable, but Steve kept it minimal. His process worked. He knew what every ball demanded of him. Shane Warne’s deliveries would fizz through the air with such spin and accuracy that he’d announce his intentions to batters. “This is my wrong one. This one’s going on your leg stump.” It worked brilliantly, planting doubt even as batters wondered if he really meant it. Murali presented different challenges. Steve couldn’t predict where his deliveries would spin until he noticed Sangakkara’s gloves lining up behind the stumps. The great wicketkeeper knew exactly where every Murali ball was heading, providing Steve a crucial visual cue. The conversation turns to safety. Fast bowlers send the ball down at 150 kilometres per hour. When batters connect with the full force of their bats, that ball can come back even faster. Steve got hit more than once. At St Lucia during a West Indies versus Pakistan match, he turned at the wrong moment and the ball struck him square in the backside. Looking up at the big screen, he saw himself mouthing the words that immediately came out, while David Boon and Paul Reiffel, his Australian colleagues that day, doubled over in laughter. The Pakistani batter complained that Steve cost him four runs. Steve’s reply: “Bad luck. You cost me a bruised bum.” The smashing of glass still triggers something in him. Loud noises. Fireworks. His wife Annie says he didn’t get enough counselling after Lahore. She’s probably right. On 3 March 2009, terrorists attacked the Sri Lankan team’s convoy in Lahore. Steve’s van, carrying the umpires, was the only vehicle left in the roundabout after the team’s bus escaped. Every window was shot out. The driver died instantly from a gunshot wound. All five security outriders were killed. Lying on the floor among broken glass, Steve thought: this is not the way I should die. Not here. Not on the way to umpire a Test match. They survived. The terrorists realised the Sri Lankan team had escaped and stopped firing. Steve returned to umpiring but never went back to Pakistan. He did return to other parts of the subcontinent, to other places that required trusting local security. During the drive back to the hotel after the attack, past kids playing cricket on dust bowls, he knew Pakistan wouldn’t see international cricket for years. Those kids who loved the game wouldn’t see their heroes. The political and ideological conflicts would keep cricket away. Asked which game he’d relive for eternity, Steve chooses that second Test match at Adelaide Oval. The Ashes. England versus Australia. His home ground. Forty-four degrees. Every decision correct. Recognition from players like Alex Stewart who still speak warmly of his performance. It represents everything he worked towards: getting it right when it mattered most, on the ground where he grew up watching cricket, in the series that defines the sport. He umpired with characters who became dear friends. Ian Gould, whose father was also named Cyril George, just like Steve’s dad. An impossibly unlikely pairing of names that bonded them immediately. In Calcutta, when Gould was being carted off to hospital with dehydration, he had to fill out a form listing his father’s name while smoking and drinking black tea. Steve looked over his shoulder and saw “Cyril George” written there. On Gould’s final stint umpiring in Birmingham, Steve was the referee. They spent every evening walking the canals with a few pints, the only four-day match where Steve never filed a meal claim. Rudy Koertzen. Steve Bucknor. These were the colleagues who made the profession worthwhile. The spirit of cricket exists, though interpretation varies. Steve recalls Andrew Strauss making a fair point during the Steve Finn incident at Leeds. Finn had a habit of knocking the bails off at the bowler’s end with his knee during his delivery stride. Both batsmen, Graeme Smith and Alvaro Petersen, complained it was distracting. When Finn did it again and Smith edged to Strauss for a catch, Steve had already signalled dead ball. Strauss came over and said quietly: “Why didn’t you tell me you were going to do that?” Steve acknowledged it was a fair point. He probably should have warned the captain. The laws changed after that Test. If stumps are dislodged at the bowler’s end, it’s now a no ball. Cricket people sometimes call it the Steve Finn Steve Davis law change. Cricket’s hierarchy remains clear. Test cricket stands at the pinnacle. Always has, always will. Ask any umpire who the best officials are, and they’ll list those who’ve done the most Tests. Steve’s 57 Tests mean everything to him. The 137 ODIs are nice, but Tests define an umpiring career. The Hundred in England draws families beautifully, but Test cricket is where greatness lives. At the end of play, Steve would call “Time, gentlemen. That’s time.” A simple phrase marking the end of another day’s combat, another day of split-second decisions, theatre, and that noble spirit that still runs through cricket despite everything that tries to corrupt it. 02:00:15 Musical Pilgrimage In the Musical Pilgrimage, we listen to From The Cathedral To The City End by Steve Davis & The Virtualosos. IThe Cathedral looms over Adelaide Oval, watching cricket unfold from the city of churches. Steve Davis and the Virtualosos have woven together Test cricket, the Cathedral End, and the 1662 Book of Common Prayer into “From the Cathedral to the City End.” The song opens with the Prayer of Humble Access rewritten: “We do not presume to come to this thy over trusting in our own righteousness.” Host Steve explains his childhood love for that beautiful English language, attending Church of England services where those words embedded themselves in his memory. The prayer’s cadence and dignity stayed with him. When writing this song, he wanted to capture three elements: Test cricket, Adelaide Oval’s special significance through Bradman and Bodyline, and that cathedral presence overlooking the ground. The question arises: have you ever stood as an umpire and thought a captain made a terrible decision bringing on a particular bowler at the wrong end? Steve the umpire smiles. Sure, sometimes you think it’s surprising, maybe even adventurous under your breath. But someone who knows better than you made that choice, usually the bowler themselves selecting their preferred end. Most decisions are sound, even if they don’t prove successful. You can’t roll your eyes. You can’t show any reaction. Commentators now need special accreditation to enter certain areas. The hierarchy maintains that barrier. Umpires can visit the press box, but commentators can’t come into the umpires’ area without risking trouble. It’s a good separation. Before play they chat on the field, saying hello to the numerous commentators modern broadcasts require. Steve never worried about Tony Greig sticking his key into the pitch. Didn’t seem to do much damage. The song plays, capturing that ritual: hours before proceedings commence, sandwiches thoughtfully made, pushing close to the fence, ladies and gentlemen on the village green putting down their glasses. Two thousand balls, two thousand trials, each one potentially a wicket or hit for miles. Concentration demanded because no two are the same. From the Cathedral to the City End, making cricket bring us together again, forever and ever and ever.Support the show: https://theadelaideshow.com.au/listen-or-download-the-podcast/adelaide-in-crowd/See omnystudio.com/listener for privacy information.

It's the final Curve Weekly of the year and yes, we somehow open with eggs, sleep, and the pillow-fort Sophie made last night on her sleepover. But once we snap out of the delirium, we're diving into a wild week in finance: Warner Brothers is officially the belle of the ball with Netflix and Paramount clawing for it's attention (hostile bids, political puppeteering, billion-dollar drama - it's basically Succession but with more streaming). Then we chat about the world's biggest ice-cream brand going public, yep, Magnum is now a standalone stock, though the whole “health and wellness trend meets frozen sugar block” debate gets very real. Nvidia's China green light is finally confirmed, bringing in billions (and maybe some legally questionable tax mechanics). And to close out 2025? The best global news for women we've seen all year: India has started compensating women for unpaid domestic labour. No strings attached. No forms. Just cash, dignity, and a serious shift in economic power. If you need a year-end episode with corporate drama, sweet treats, geopolitical spice, and a big feminist mic drop… this one's for you!WTF does that mean? A guide to all the jargony bits:Acquisition – One company buys another.Bidding War – Companies fighting over who gets to buy something.Hostile Takeover – A takeover nobody asked for.Shareholder – Someone who owns a slice of a company.Equity – Shares.Spin-Off – A company turning part of itself into a new company.Conglomerate – One big company made of lots of little ones.GLP-1 Drugs – Ozempic-style appetite suppressants.Addressable Market – Everyone a company could sell to.Lobbying – Schmoozing politicians for business wins.Revenue – Money coming in (before bills).Red Tape – Annoying admin that slows everything down.Takeover Target – A company everyone suddenly wants to buy.Credits:Hosts: Victoria Harris & Sophie HallwrightProducer & Editor: Emily RigbySocial & Digital Manager: Lucy Munro⁠⁠Leave us a message on The Curve Hotline

What if the moment you stop waiting to be rescued is the moment real freedom begins?In this episode of Dare to Be Free, we explore the liberating truth that no one is coming to save you — and why that realization becomes the doorway to your power, your pleasure, and your wealth.You'll learn how the fantasy of rescue keeps you stuck, what radical ownership actually looks like, and how self-sourcing your safety shifts you from waiting to creating. We talk about energetic sovereignty, pleasure as self-trust, and the kind of freedom that can't be taken from you.Ready to reclaim your power and lead your life from within?Tune in — and meet the version of you who isn't waiting anymore.✨ Grab a copy of my book, Dare to Desire, and learn the steps to move from fear to freedom.

Join us as Austin Ridge preaches from Romans 10:9-13 to conclude our series.

Political commentator Robert Godden returns to The Adelaide Show with a thesis that cuts to the bone: The South Australian Liberal Party has no realistic chance of winning the forthcoming election. But his essay raises an even more unsettling question: can they realistically ever win another one? This episode doesn’t feature an SA Drink of the Week, allowing more time for a forensic examination of what’s gone wrong with liberalism itself, and the party that bears its name. In the Musical Pilgrimage, Steve shares “Spring Gully Road”, his song chronicling four generations of the Webb family’s beloved pickle company, from Edward McKee’s small brown onions in 1946 to the recent appointment of administrators, drawing a tenuous but poignant parallel to the Liberal Party’s own decline. You can navigate episodes using chapter markers in your podcast app. Not a fan of one segment? You can click next to jump to the next chapter in the show. We’re here to serve! The Adelaide Show Podcast: Awarded Silver for Best Interview Podcast in Australia at the 2021 Australian Podcast Awards and named as Finalist for Best News and Current Affairs Podcast in the 2018 Australian Podcast Awards. And please consider becoming part of our podcast by joining our Inner Circle. It’s an email list. Join it and you might get an email on a Sunday or Monday seeking question ideas, guest ideas and requests for other bits of feedback about YOUR podcast, The Adelaide Show. Email us directly and we’ll add you to the list: podcast@theadelaideshow.com.au If you enjoy the show, please leave us a 5-star review in iTunes or other podcast sites, or buy some great merch from our Red Bubble store – The Adelaide Show Shop. We’d greatly appreciate it. And please talk about us and share our episodes on social media, it really helps build our community. Oh, and here’s our index of all episode in one concisepage. Running Sheet: Do The Liberals Have No Chance Of Winning This Forthcoming South Australian Election? 00:00:00 Intro Introduction 00:00:00 SA Drink Of The Week No SA Drink Of The Week this week. 00:05:07 Robert Godden Before diving into party politics, Steve and Robert tackle a fundamental question: what is liberalism itself? Drawing on American political philosopher Patrick Deneen’s work (as sampled from the glorious podcast, Econtalk, episode July 9, 2018), they explore how liberalism originally meant self-governance within community, where individuals held themselves accountable within the framework of church and society. Deneen argues that modern liberalism, both classical and progressive, has fractured into two economic camps: classical liberals claiming government interferes with freedom, and progressive liberals arguing that economic inequality prevents people from achieving liberty. Robert offers his working definition: liberalism has always been about “the bigger pie theory”. Classical liberals like John Locke, Adam Smith and John Stewart Mill championed free markets as the path to prosperity for all. But as Robert notes, these philosophers wrote their treatises while people lived in gutters within ten miles of them, suggesting their definitions had blind spots about who they actually represented. The conversation turns to neoliberalism, which Robert describes as taking the apple of classical liberalism and focusing on its core: free market capitalism, fiscal austerity, individual responsibility, and globalisation. The problem? Many neoliberals benefited from generous government support before pulling up the ladder behind them. As Robert puts it, they’re “more like a wild jackal in a wolf’s clothing”, presenting themselves as something more palatable whilst pursuing fundamentally conservative ends. When Steve asks about the overlap between liberalism (lowercase L) and the Liberal Party (uppercase L), Robert’s answer is stark: “The Venn diagram of liberalism and the Liberal Party is not a perfect circle. It’s more like a third overlap.” John Howard’s famous declaration that the Liberal Party is “a broad church” marked both the high point and the beginning of the end. Where Howard allowed diverse opinions united by shared values, today’s party demands conformity. Robert observes you could “literally interchange” Angus Taylor with five other Liberal members and several Nationals, they’ve become so ideologically uniform. Robert shares a revealing personal story from his childhood in Whyalla. At age 12 or 13, he wagged school to attend a lunch where Malcolm Fraser was speaking. After enduring mumbled warnings about Bill Hayden, young Robert lined up afterwards and asked the Prime Minister where he could find out what the government would actually do if re-elected. The dismissive response and perfunctory policy booklet were Robert’s first disillusionment with political rhetoric over substance. This leads to a broader discussion about accountability’s erosion in Australian politics. Robert identifies a turning point: when Jay Weatherill wasn’t held responsible for abuse discovered in South Australian schools because “nobody had told him”. This represented a complete rewriting of Westminster conventions about ministerial responsibility. Compare that to Barry O’Farrell resigning as New South Wales Premier over failing to declare a $300 bottle of wine, or John Howard’s principled approach to the GST, admitting he was wrong, explaining why he’d changed his mind, and taking that position to an election. The discipline of the Fraser and Howard years came from a culture where the party room would discuss issues on merit, then Fraser or Howard would determine the right course, and the party would follow with discipline, not through fear but through shared purpose. Today’s Liberal Party has abandoned that model for something closer to authoritarianism without the competence to make it work. When discussing South Australia specifically, Robert doesn’t hold back about Vincent Tarzia’s challenges. Beyond policy positions, there’s the fundamental problem of presence. Robert recalls a body language seminar by Alan Pease where five people were cast for different film roles based purely on appearance. We can’t help making these visual judgements. Tarzia, Robert notes, is “one of the 5% of the population that never blinks”, creating an unfortunate vampire quality. He looks like “a Muppet version of Dracula”. Combined with a voice lacking joy, he presents as “the joyless undead” when facing off against Peter Malinauskas’s considerable charisma. Robert’s assessment of the Malinauskas government is admirably even-handed for someone with Liberal roots. He calls it “the best government in Australia” whilst adding the qualifier “a totalitarian dictatorship that makes you feel good”. Everything is done Malinauskas’s way, but unlike Putin or Trump, he’s careful never to say anything that isn’t actually true. He might make predictions that don’t pan out, but he won’t barefaced lie, and if an idea isn’t popular, he simply doesn’t voice it. The result is what Robert calls “preshrunk jeans” of political messaging. Robert’s father, a lifelong Liberal voter and member, has only been impressed by two political figures: Gough Whitlam, whose charisma was “absolutely off the chart” despite taking four people to dinner when a Whyalla event was mistakenly under-attended, and Peter Malinauskas, who regularly visits the Whyalla Men’s Shed. This speaks to something fundamental about political success. As Robert observes, great Labor leaders have consistently been better communicators and sellers of vision because their message is easier: “you’re being ripped off by the system, and we’re going to sort it for you” beats “if we govern ourselves, all will be great” in almost any contest. The federal picture offers one glimmer of hope: Victoria’s new opposition leader, Jess Wilson. In her thirties, a lawyer and former business advisor to Josh Frydenberg and the Business Council of Australia, she represents exactly the kind of moderate Liberal who should have been in the party all along but whom the party’s rightward drift has made anomalous. As Robert puts it, “the idea that Jess Wilson should be in the Liberal Party is an idea that is eight years out of date. She should be a teal.” The teals, after all, are liberal party people who haven’t gone down the right-wing rabbit hole. This raises the central question: are there eight to ten members of parliament the federal Liberals could have had? Yes, the teals. “All of those teal candidates could have been Liberal Party candidates and would have been 15 or 20 years ago if they had not wilfully taken this blindness about the climate.” Speaking of climate, Robert dissects Susan Ley’s recent positioning as if she’s discovered that abandoning net zero and embracing fossil fuels will bring electoral victory. The polling suggests otherwise. Among diverse Australians, Labor’s primary vote sits at 46%, the Coalition at 17%. Gen Z voters break 51% Labor, 10% Coalition. The Liberals are “aiming at the wrong target”, trying to chip 10% from groups with 10% when they should be targeting Labor’s 46%. They should be saying “your ideas are great, it’s a pity you’re not smarter, we’re going to get to where you want to get but we’ll do it better.” Instead, they get their facts from Facebook. The cognitive dissonance is staggering. National Party MPs stand up claiming farmers don’t want renewable energy whilst farmers lead the way with innovative approaches: solar panels in fields that collect water, provide shade for sheep grazing underneath, and generate income. Farmers don’t want bushfires or floods, they want to make money. Watch ABC’s Landline, Robert suggests, though the Nationals would dismiss it as left-wing propaganda. Looking ahead, Robert sees no Liberal victory on any horizon in the next five to six years. More likely? “No Liberal Party, or let me put it another way: the Liberal Party not being the opposition.” They’re seriously under threat of other parties overtaking them. Federally, if you separate the Coalition partners, the numbers are nowhere near the historical imbalance where Nationals made up numbers for the Liberals. Now those numbers are close. A One Nation-National coalition would be numerically viable. Victoria represents the critical test. If Jess Wilson’s woeful Liberals manage to topple a deeply unpopular Victorian government by picking the right leader, “that’ll be a critical moment for the Liberals to take that lesson.” Robert’s prediction? “The only reason we have to think they’re incapable of learning is all the evidence.” Robert’s father once said that Don Dunstan’s departure horrified him, not because of policy agreement, but because Dunstan was a strong leader with ideas who made the state feel good about itself. That’s what’s missing from the contemporary Liberal Party: ideas that inspire rather than divide, leaders who build rather than tear down, and the humility to recognise when the world has changed and they haven’t. The conversation closes with Winston Churchill’s 1920s quote distinguishing socialism from liberalism. Robert agrees it was “100% correct” for about 1924, when those ideologies were genuinely competing and distinct. But it’s become a caricature over the intervening century. The quote doesn’t really apply to 2025, when the ideologies have mingled, adapted, and in the case of the Australian Liberal Party, lost their way entirely. 01:14:33 Musical Pilgrimage In the Musical Pilgrimage, we play Spring Gully Road, a song written by Steve Davis and performed by Steve Davis & The Virtualosos, chronicling the four-generation story of Spring Gully, one of South Australia’s most beloved food companies. The story begins in 1946 when Edward McKee returned from the war and started growing small brown onions outside his back door on Spring Gully Road. His pickled onions became a South Australian staple. The company expanded under Allen and Eric, then weathered storms under Ross and Kevin’s leadership, before Russ and Tegan faced the modern challenge of cheap imports and changing market appetites. Steve reveals a personal connection: his colleague Domenic at Funlife Fitness in Ingle Farm remembers his father growing small onions and cucumbers, taking sacks to Spring Gully weekly to be weighed and paid. It was simply part of the fabric of South Australian life. In full disclosure, Steve is friends with Russell Webb, who along with Tegan led the company through its recent challenges before administrators were appointed. Most believe it’s written off and gone, but Steve holds hope for a way forward. They were doing innovative things to fight back against retailers bringing in cheap overseas alternatives, gutting the market for local sovereign food production capability. The song’s folk-influenced simplicity captures something essential about generational enterprise, family legacy, and the challenge of maintaining local production in a globalised economy. The repeated refrain, “Turn the earth, turn the earth when it’s harvest time, pick the bounty and preserve it in your sweetly seasoned brine”, becomes a meditation on the cycles of growth, harvest, and preservation that sustained Spring Gully through good years and hard years. Steve offers a tenuous but poignant link to the episode’s political discussion: the Liberal and Country League, precursor to the modern Liberal Party in South Australia, formed in 1932 and became the South Australian Division of the Liberal Party in 1945. Spring Gully started in 1946. Now in 2025, we have administrators appointed for Spring Gully, and Robert Godden suggesting you might as well call them in for the Liberal Party as well. Both represent South Australian institutions facing existential questions about their future in a changed world. Both have served their communities for generations. Both are confronting the reality that what worked for decades may not work anymore. And both deserve more than a quiet fade into history.Support the show: https://theadelaideshow.com.au/listen-or-download-the-podcast/adelaide-in-crowd/See omnystudio.com/listener for privacy information.

Join us as Pastor Bryan continues in our series.

The Day the Worst City Got the Best News (Jonah 3:1-10) - Morning SermonPastor Mitchell Leach

The Day the Worst City Got the Best News (Jonah 3:1-10) - Morning SermonPastor Mitchell Leach

Join us as Pastor Bryan continues in our series.

The ozone layer is healing—and that means good news for life on Earth!

Join us as Pastor Walter begins our series on the bad news.

In this special episode of Stories for the Future, I moderate a panel at the Beyond Oil Conference 2025: Changing Climate Futures conference in Bergen. Our theme: Actionable Hope in a Changing Climate Future.We talk about what hope does when the world feels like it's unraveling — and what it looks like when hope becomes something you act on. In this episode you'll hear voices from science, media, creative arts and strategy — and come away with ideas for how to lean into hope, not just as a feeling, but as a modality of change.

For months, as an algal bloom wreaked havoc on the South Australian coast, most residents steered clear but not Johanna Williams. She’s been down to Glenelg Beach daily, ruler and phone in hand, methodically tracking the carnage. What started as a small, concerned step by a self-described occupational therapist soon transformed into a citizen science project with over 10,000 observations of dead and dying marine life, offering a grim, close-up view of the ecological disaster. Johanna’s commitment, though personally confronting, gives scientists and the community essential data and a crucial human perspective. This episode does not feature the SA Drink of the Week segment. The show concludes with a Musical Pilgrimage that connects directly to the episode’s urgent environmental theme. We hear Steve Davis & The Virtualosos’ “While the Ocean Died,” a lyrical and sonic reflection on the collective pain and political complexities surrounding the algal bloom event. You can navigate episodes using chapter markers in your podcast app. Not a fan of one segment? You can click next to jump to the next chapter in the show. We’re here to serve! The Adelaide Show Podcast: Awarded Silver for Best Interview Podcast in Australia at the 2021 Australian Podcast Awards and named as Finalist for Best News and Current Affairs Podcast in the 2018 Australian Podcast Awards. And please consider becoming part of our podcast by joining our Inner Circle. It’s an email list. Join it and you might get an email on a Sunday or Monday seeking question ideas, guest ideas and requests for other bits of feedback about YOUR podcast, The Adelaide Show. Email us directly and we’ll add you to the list: podcast@theadelaideshow.com.au If you enjoy the show, please leave us a 5-star review in iTunes or other podcast sites, or buy some great merch from our Red Bubble store – The Adelaide Show Shop. We’d greatly appreciate it. And please talk about us and share our episodes on social media, it really helps build our community. Oh, and here’s our index of all episode in one concisepage. Running Sheet: Algal Bloom Beach Witness Johanna Williams 00:00:00 Intro Introduction 00:00:00 SA Drink Of The Week No SA Drink Of The Week this week. 00:02:55 Johanna Williams Arriving home from a holiday to find Glenelg Beach “covered in dead fish” , Johanna Williams had a choice: unpack and write an angry Facebook post, or take action. She chose the latter, inadvertently becoming one of the state’s most dedicated, non-professional "marine biologists". Initially hoping the algal bloom would be a “transient, short-term event,” the surreal extent of the death spurred her to use the citizen science platform iNaturalist to upload her observations, believing this crucial “coalface” data would reach qualified scientists and government bodies to “formulate responses”. Her daily 500-metre trek between Pier Street and the Jetty has revealed a tragic yet fascinating marine diversity. What she’s documenting—now over 10,000 observations—includes rare deep-sea fish like the long snout boar fish and warty prowl fish, species scientists rarely encounter alive. This wealth of data is heartbreakingly significant, as it allows researchers to collect, age, and perform genetic and toxicological testing on specimens that could never be found otherwise, highlighting the deep reach of the bloom into the ecosystem. The work is intensely confronting, involving more than just dead fish. Johanna describes a traumatic encounter with a still-alive, spiky globe fish whose eyes were “really gazing and tracking” her. This and finding a paralysed silver gull due to toxic effects highlight the profound emotional toll and moral dilemmas faced by citizen scientists, such as whether to “prolong its death by putting it back in the water”. Johanna discusses how a supportive network of friends and a new community, including people from the university, has helped her “channel that energy” and despair into empowerment and meaningful data collection. This environmental disaster also casts a shadow over the Glenelg foreshore, with Johanna noting a ripple effect of reduced foot traffic and the closure of local businesses, a “double whammy” alongside local tram disruptions. For listeners wanting to help, Johanna suggests starting with iNaturalist uploads, or connecting with projects like the SA Marine Mortality Project 2025 to assist with collecting fish for testing or contributing to local rehabilitation efforts, such as making oyster beds (wind chimes) to help filter the water. Great Southern Reef Website Mission: “Our mission is to inspire and empower society to protect and sustain Australia’s Great Southern Reef by promoting recognition, stewardship, and sustainable actions through impactful education, community engagement, and collaborative science.” Janine Baker OzFish Unlimited Website Description: OzFish Unlimited is a not-for-profit organisation dedicated to helping the millions of Aussie recreational fishers take control of the health of their rivers, lakes and estuaries and shore up the future of the sport they love. OzFish Unlimited partners with fishers and the broader community to invest time and money into the protection and restoration of our waterways, counteracting decades of degradation. Brad Martin Data gathering for South Australian 2025 marine mortality events Project Link Description: This project is set to automatically add aquatic vertebrates and macroinvertebrates annotated ‘dead’ from Feb 2025 onwards. Janine Baker is a key contact for this projects and has links with universities and researchers. SA Surf and Bloom SA hub for information on our bloom. Share surfing/algae/ocean/coastal pictures and videos. Ask questions. I aim to share the love we have for our oceans, and keep surfers informed of the symptomatic surf spots. Facebook Group ADELAIDE ALGAE BLOOM DISASTER Facebook Group Description: A place to upload pictures of this marine disaster that’s going to impact the Adelaide fishing scene for many years to come. Phytoplankton Society of South Australia Facebook Group Description: This group is for sharing knowledge on the Phytoplankton of South Australia, particularly in regard to the 2025 algal bloom we are experiencing. We welcome photos of microscopic phytoplankton (and accompanying pics of where they were taken) and especially experts who can identify them. This is a citizen science project for the benefit of everyone. We are also on iNaturalist. Big Thanks to Faith and Peri Coleman, Gabby at www.asisscientific.com.au, the Big Duck Boat, Victor Harbor Dolphin Watch and others who have made this possible. Sarah Hanson-Young, Manager of Greens Business in the Senate & Senator for South Australia Annual Report 2025 Further articles: “Harmful Algal Bloom Aerosols and Human Health“ “Thousands of seadragons dead in South Australia’s worst recorded harmful algal bloom — IUCN Seahorse, Pipefish & Seadragon“ An underwater guide to plants and animals in South Australia PDF Guide PIRSA Factsheet – What to do if you have seen sick or dead birds PDF Factsheet Birdlife Australia: Helping injured birds Article Fishwatch SA If you find an injured fish on the beach, stay a safe distance away and do not touch it. Report the animal by calling the local fish authority, such as FISHWATCH in South Australia (1800 065 522), or a wildlife rescue hotline, as professionals are trained to handle these situations. 00:37:06 Musical Pilgrimage In the Musical Pilgrimage, we play a deeply personal and thematically appropriate piece by Steve Davis and the Virtualosos, titled “While the Ocean Died”. The song, which Johanna describes as an “earworm” that helps her “process what’s going on”, was inspired by Johanna’s ground-level work, leading Steve to appreciate the “cost of this whole thing”. The host reveals that songwriting is his way of thinking out loud to process complex issues. The track’s bridge reflects on the political challenge leaders face in times of crisis, where a long chain of “short-cuts and shortcomings” has left the region vulnerable to a multitude of causes—from the River Murray flood of nutrients to the sea heatwave—that have fuelled the toxic bloom. It’s a poignant, urgent piece that closes the show by connecting the human story of witnessing with the broader South Australian environmental tragedy.Support the show: https://theadelaideshow.com.au/listen-or-download-the-podcast/adelaide-in-crowd/See omnystudio.com/listener for privacy information.

The papers still dangle the dream of a sun-dappled retirement. Yet millions have nowhere near the savings they'll need, while a fortunate few are amassing family wealth that could change Britain forever. Meanwhile the generational wealth gap is forcing younger people to forget about starting families. Is the old “work hard and you'll make it” model broken? And do we need a wealth tax to fix it? Will Snell of the Fairness Foundation joins Andrew and Hannah to discuss a growing crisis.   • Our partner pod American Friction  just won Best News and Politics show at the Independent Podcast Awards. Listen and see what you've been missing.   ESCAPE ROUTES   • Will recommends Chief of War on Apple TV+.   • Hannah recommends going to see Self Esteem, still just about on tour.   • Andrew went to see The Magnetic Fields perform their classic 69 Love Songs.    • Head to https://www.nakedwines.co.uk/ohgodwhatnow to get 6 top-rated wines from our sponsor Naked Wines for £39.99, delivery included. • Advertisers! Want to reach smart, engaged, influential people with money to spend? (Yes, they do exist). Some 3.5 MILLION people download and watch our podcasts every month – and they love our shows. Why not get YOUR brand in front of our influential listeners with podcast advertising? Contact ads@podmasters.co.uk to find out more  • Back us on Patreon at https://www.patreon.com/ohgodwhatnow for ad-free listening, bonus materials and more.   Written and presented by Andrew Harrison with Hannah Fearn. Audio and video production by award-winning Chris Jones. Theme music by Cornershop. Art direction: James Parrett. Produced by award-winning Chris Jones. Managing Editor: award-winning Jacob Jarvis. Group Editor: Andrew Harrison. OH GOD, WHAT NOW? is a Podmasters production.  www.podmasters.co.uk  Learn more about your ad choices. Visit podcastchoices.com/adchoices

After the collapse of the China spying case, do we have to accept that Britain is way past being able to spar with Beijing? Especially when we depend so much on their students? Green MP Siân Berry talks about the party's future under new eco-populist leader Zach Polanski, how to square green infrastructure with their support's suspicion of development, and whether the Greens would enter a coalition with Labour to keep Farage out. And in the Extra Bit for Patreon people… Sunak's back, sort of. What do ex-PMs get up to these days? And the terror of the A.I. Margaret Thatcher ChatBot.  • Our partner pod American Friction just won Best News and Politics show at the Independent Podcast Awards. Listen and see what you've been missing.  ESCAPE ROUTES  • Raf recommends Film Club on BBC iPlayer.  • Rachel recommends The Finest Hotel In Kabul by Lise Doucet.  • Siân Berry recommends The French Lieutenant's Woman .  • Ros recommends The Line on ITVX.  Buy The Finest Hotel In Kabul through our affiliate bookshop and you'll help fund OGWN by earning us a small commission for every sale. Bookshop.org's fees help support independent bookshops too. • Head to nakedwines.co.uk/ohgodwhatnow to get 6 top-rated wines from our sponsor Naked Wines for £39.99, delivery included. • Get our exclusive NordVPN deal here: nordvpn.com/ohgodwhatnow. It's risk- free with Nord's 30-day money back guarantee! • Advertisers! Want to reach smart, engaged, influential people with money to spend? (Yes, they do exist). Some 3.5 MILLION people download and watch our podcasts every month – and they love our shows. Why not get YOUR brand in front of our influential listeners with podcast advertising? Contact ads@podmasters.co.uk to find out more • Back us on Patreon for ad-free listening, bonus materials and more.  Written and presented by Ros Taylor with Rachel Cunliffe and Rafael Behr. Audio production by Tom Taylor. Theme music by Cornershop. Art direction: James Parrett. Produced by award-winning Chris Jones. Managing Editor: award-winning Jacob Jarvis. Group Editor: Andrew Harrison. OH GOD, WHAT NOW? is a Podmasters production. www.podmasters.co.uk Learn more about your ad choices. Visit podcastchoices.com/adchoices

By the time you hear this podcast, you already know that on October 13, 2025, all living hostages held by Hamas were returned to their families in Israel. But when we recorded this podcast the evening before, we still weren't sure if the deal would hold. Sure, we were optimistic...but couldn't exhale until everyone was safely back home. Under that backdrop, we shared songs of homecoming, hope, optimism, and the promise of a better tomorrow - songs that are even more relevant now that we know THEY'RE FREE. It's hard to believe that our national nightmare is over (though we still pray for the return of 19 murdered hostages), but it is glorious to know that our country can begin to heal from two long, difficult, painful years of war and trauma. (Original Air Date: October 12, 2025) 'The Emotional Soundtrack of Israel: Two Years in 20 Songs' - get it here! https://joshwave354.gumroad.com/l/emotional-soundtrack-israel Full YouTube playlist at https://tinyurl.com/edyxrrby Love the show? Please help us grow by becoming a member of MyIsraeliMusic.com: https://myisraelimusic.com/membership

Welcome to NCFM Today! Today, we're reviewing the Best News in North Carolina Family Medicine: The 65.50 AAFP credits available at the 2025 Winter Family Physicians Weekend, the recent Medicaid rate and service cuts, how one NCAFP became a world leader in Family medicine, and other topics!Learn more about the Academy at www.ncafp.com!

The red stage of the Semaphore Workers Club provides the backdrop for conversations that capture the essence of community-driven music culture. Festival director Debra Thorsen explains how she’s become a “mother” to the music scene, connecting emerging artists with opportunities that change their careers. The festival spans multiple venues across Semaphore, creating what participants describe as a “love fest” where friendships form naturally over shared musical experiences. With no SA Drink of the Week this episode, focus remains entirely on the music and community connections that define this seaside suburb’s cultural heartbeat. Although, “Green Death” does get a mention. The extended Musical Pilgrimage becomes an intimate exploration of songwriting craft with Don Morrison, featuring two of his compositions alongside stories of guitar-making, touring with Midnight Oil and Bo Diddley, and the creative process behind songs that capture Grand Junction Road’s gritty poetry. You can navigate episodes using chapter markers in your podcast app. Not a fan of one segment? You can click next to jump to the next chapter in the show. We’re here to serve! The Adelaide Show Podcast: Awarded Silver for Best Interview Podcast in Australia at the 2021 Australian Podcast Awards and named as Finalist for Best News and Current Affairs Podcast in the 2018 Australian Podcast Awards. And please consider becoming part of our podcast by joining our Inner Circle. It’s an email list. Join it and you might get an email on a Sunday or Monday seeking question ideas, guest ideas and requests for other bits of feedback about YOUR podcast, The Adelaide Show. Email us directly and we’ll add you to the list: podcast@theadelaideshow.com.au If you enjoy the show, please leave us a 5-star review in iTunes or other podcast sites, or buy some great merch from our Red Bubble store – The Adelaide Show Shop. We’d greatly appreciate it. And please talk about us and share our episodes on social media, it really helps build our community. Oh, and here’s our index of all episode in one concisepage. Running Sheet: Semaphore Workers Strike Up The Music 00:00:00 Intro Introduction 00:00:00 SA Drink Of The Week No SA Drink Of The Week this week. 00:04:24 Debra Thorsen, Don Morrison, Sally Mitchell Our three guests take us deep into different parts of Semaphore’s musical DNA. The Semaphore Music Festival Debra Thorsen’s eyes light up when describing a recent moment that encapsulates her role in Adelaide’s music ecosystem. A young musician approached her at Don Morrison’s fundraising show, wrapping her in a grateful hug after she’d connected his duo with booking agent John Howell. That introduction led to their first interstate gig at the Echuca Moama Blues Festival. “He put his arms around me, gave me the biggest hug, and said, ‘we think of you like a mother,'” Thorsen recalls, her voice catching slightly at the memory.This nurturing approach has shaped the Semaphore Music Festival‘s character over 21 years. Rather than simply booking acts, Thorsen cultivates relationships that extend far beyond single performances. The festival operates across multiple venues throughout Semaphore, creating what has been described as “the joy of going from one venue to the next with your friends and catching up with people along the way.”Don Morrison, observing from his perspective behind the scenes, notes the festival’s uniqueness lies in its sprawling, community-integrated format. “We get to play all over Semaphore, you know, and Debra’s organising it and organising all these venues all over the place,” he explains, acknowledging the massive coordination effort required. The Semaphore Workers Club Sally Mitchell arrives mid-conversation, bringing with her the institutional memory of the Semaphore Workers Club‘s transformation from exclusive yacht squadron to community music hub. The venue’s journey mirrors broader social change, she explains, describing how a dying men’s club was revitalised by members who prioritised music and inclusion over tradition.The club’s unique positioning becomes clear through Mitchell’s description of its diverse patronage. “We have people who travel here regularly from the likes of Mallala and Clare to come here for shows,” she notes, before adding the observation that captures the venue’s spirit: “People come from all walks of life, all political persuasions, all economic backgrounds, but they come here because of the music and the place that it is.”This levelling effect extends to behaviour expectations. Steve then teases out a discussion about Geoff Goodfellow’s birthday party story, where “crooks, poets and federal court judges” mingled naturally, with a poet lighting her cigarette from a coal provided by a judge managing the barbecue. The poet’s comment, “isn’t it good to have friends in high and low places,” could serve as the club’s unofficial motto. Musical Craft and Community Connection Don Morrison’s relationship with songwriting emerges through discussion of the Semaphore Songs project, where local artists created works inspired by their experience of Semaphore and Port Adelaide. His contribution, “Semaphore Workers Club,” captures the venue’s character with lines like “they got cougars there by the dozen, some of them look like they might have killed their husband,” delivered with characteristic dry humour.When pressed about his songwriting process, Morrison remains characteristically modest: “Once I’ve finished a song, I sort of look back and said, well, where does that come from? And I can’t think of it. It just flows out.” This intuitive approach extends to his guitar-making, where instruments crafted from the rubble of his father’s childhood home in Perponda and his grandmother’s cottage in Broken Hill became his primary performance guitars.The conversation touches on broader questions about community participation in music-making. Morrison recalls the ukulele groups that flourished a decade ago, bringing together people who “had never played in a band before” but would “come along and they’d learn a song and then we’d all sing it together.” This grassroots musical participation contrasts with the professionalisation that can distance audiences from creative expression. The October Long Weekend Thorsen drops a significant announcement near the episode’s end: for the October long weekend festival, South Australian public transport will feature blues musicians in the front carriage of the 12:17 train from Adelaide to Glanville. This innovation, months in negotiation with the Department for Infrastructure and Transport, creates a musical journey that begins before festival-goers reach Semaphore.The train connection resonates with both hosts’ memories of using public transport to access Semaphore’s music scene, creating a full-circle moment that links past and present community experiences. 00:48:02 Musical Pilgrimage In the Musical Pilgrimate, we play two tracks by Don Morrison, Grand Junction Road, and Five Men In A Car. Instruments Built from Memory Don Morrison’s guitar-making extends far beyond craft into emotional archaeology. His most treasured instruments were constructed from materials salvaged from family homes, creating objects that carry both musical and personal history. “I didn’t really care nor expect that they would turn out to be very good guitars,” he admits, “because I just wanted to make something out of the memories.”The irony that these memory-guitars became his primary performance instruments speaks to the intersection of sentiment and practicality in Morrison’s artistic life. With close to 500 guitars, 60 mandolins and 80 ukuleles crafted over his career, Morrison has built instruments that found their way across America, where the once-favourable exchange rate made his handmade resonator guitars accessible to blues musicians seeking alternatives to vintage Nationals. Grand Junction Road’s Poetry Morrison’s most-streamed song, “Grand Junction Road,” emerged from a Christmas Day observation that reveals his songwriter’s eye for finding universal themes in specific places. Walking home from family lunch, he encountered a sex worker operating on Christmas Day, which crystallised his understanding of the road’s character and the people whose lives intersect with its industrial landscape.The song’s final verse connects personal history with broader social observation: “My father worked in a factory there just down from the prison, sometimes six days a week, but most often seven. And I wonder what he thought about all those years, he drove first thing every morning down Grand Junction Road.” Family Music and the Raging Thirst Morrison’s current project, Raging Thirst, brings together his sons Eddie and Jake in a configuration that demonstrates musical heredity. “They’re so good at their instruments that they wouldn’t be playing with me unless I was their dad,” Morrison jokes, characterising their involvement as “a charity move.”The family dynamic reveals itself through natural musical communication. “We don’t even need to practice quite often,” Morrison explains, crediting their shared rhythmic sensibility to familial connection. His observation that “what they got from me was music is a human thing you can do” suggests an approach to musical education that prioritises accessibility over formal training. Memphis Blues Challenge Ahead Morrison’s upcoming representation of Adelaide at the Memphis International Blues Challenge places him on Beale Street alongside musicians from around the world. His preparation remains characteristically low-key, with set lists roughly planned but not overthought. The competition format includes various performance lengths, from 20-minute sets to half-hour showcases, requiring versatility in song selection and pacing.His plan to potentially sell his handmade guitar in Memphis rather than transport it home reveals the practical mindset that underlies his artistic career, where sentiment and business considerations maintain careful balance. Five Men in a Car The episode concludes with Morrison’s reflection on his touring days with The Bogie, encapsulated in “Five Men in a Car.” The song captures the grinding reality of professional musicianship in the 1980s Australian circuit, where bands would “finish at the Mansfield room at four o’clock in the morning and then hop in the van to drive back down to Melbourne for a gig the next night.”These experiences, detailed in Morrison’s autobiography “This Could Be Big: 45 Years at the Dag End of the Australian Music Industry,” provide context for understanding the difference between romantic notions of musical career and its often-unglamorous reality. Yet the song’s tone suggests fondness for those shared experiences, even when “not sure where we’re going” becomes both literal navigation and career metaphor.Support the show: https://theadelaideshow.com.au/listen-or-download-the-podcast/adelaide-in-crowd/See omnystudio.com/listener for privacy information.

Robin Sellick arrived at Don Dunstan’s Norwood home in the early 1990s having accidentally addressed his letter to “Sir Donald Dunstan” – a mistake that could have ended the conversation before it began. Instead, it launched one of the most distinctive portrait photography careers in Australian cultural history. From that swimming pool session with our most colourful premier to intimate moments with Julia Gillard before her rise to power, Sellick’s lens has documented the moments when Australia stopped apologising for itself and started celebrating. The SA Drink Of The Week features tasting notes of Beresford’s latest pinot noir, where winemaker John Gledhill guides us through savoury raspberry and that curious sensation Steve describes as “freshly cut red lawn” – a vintage perfect for the upcoming Pinot and Pasta Afternoon at McLaren Vale. Our Musical Pilgrimage takes a melancholic turn with an original composition mourning the loss of the West End Brewery, capturing not just the building’s demolition but the dissolution of simple pleasures that once bound South Australian communities together. You can navigate episodes using chapter markers in your podcast app. Not a fan of one segment? You can click next to jump to the next chapter in the show. We’re here to serve! The Adelaide Show Podcast: Awarded Silver for Best Interview Podcast in Australia at the 2021 Australian Podcast Awards and named as Finalist for Best News and Current Affairs Podcast in the 2018 Australian Podcast Awards. And please consider becoming part of our podcast by joining our Inner Circle. It’s an email list. Join it and you might get an email on a Sunday or Monday seeking question ideas, guest ideas and requests for other bits of feedback about YOUR podcast, The Adelaide Show. Email us directly and we’ll add you to the list: podcast@theadelaideshow.com.au If you enjoy the show, please leave us a 5-star review in iTunes or other podcast sites, or buy some great merch from our Red Bubble store – The Adelaide Show Shop. We’d greatly appreciate it. And please talk about us and share our episodes on social media, it really helps build our community. Oh, and here’s our index of all episode in one concisepage. Running Sheet: Photographing Australian Icons With Robin Sellick 00:00:00 Intro Introduction 00:04:05 SA Drink Of The Week Th SA Drink Of The Week is the Beresford Estate 2024 Emblem Pinot Noir. Winemaker John Gledhill (from Gledhill Vignerons and our regular wine palate) joins Steve for the tasting of Beresford’s latest cool climate expression from Adelaide Hills fruit. The wine presents as light, translucent crimson with legs suggesting moderate alcohol content sitting around 12 to 12.5 percent. Steve’s unusual tasting note of “freshly cut red lawn” proves surprisingly apt, capturing the wine’s distinctive red fruit character that Gledhill translates as autumn leaves and forest floor earthiness. The palate delivers a ball of fruit on entry followed by crisp acid structure, with minimal tannin creating what Gledhill describes as “soft and round” mouthfeel. The conversation flows naturally toward food pairing, with Gledhill suggesting tomato-based pasta dishes with mild salami and black olives – perfect for Beresford’s Pinot and Pasta Afternoon scheduled for September 13th at their McLaren Vale cellar door. 00:13:05 Robin Sellick and The Sellick Archive Robin Sellick started taking dog portraits in Broken Hill at 15, not knowing he’d spend the next three decades documenting Australia’s cultural coming of age. From Don Dunstan‘s Norwood loungeroom to Cate Blanchett‘s first editorial shoot, from Sir Donald Bradman‘s quiet Adelaide home to Kylie Minogue on a North Adelaide balcony, his lens captured the moments when we stopped apologising for being Australian and started celebrating it. His portraits hang in the National Portrait Gallery, but more than that, they’ve shaped how we see ourselves. Today, he’s releasing museum-grade collector editions from his archive of over 600+ portrait sessions via is website gallery, The Sellick Archive. What intrigues me about Robin is that he didn’t just document our stars, he helped create the visual language that made Australia look like somewhere that mattered. The conversation begins with photography’s fundamental challenge: separating snapshot from art. “The key with photography is you have to be able to look at something emotionally and objectively within five seconds of the same thing,” Sellick explains, describing the mental gymnastics required to capture more than mere documentation. His journey from 15-year-old dog portrait photographer in Broken Hill to documenting Australia’s cultural awakening reveals an artist who understood that great portraiture demands risk-taking. Sellick’s approach stems from Henri Cartier-Bresson’s decisive moment theory, but with a crucial difference. “Every photograph you take, you are in because you made a decision to point the camera in that direction,” he notes. Where photojournalism seeks objectivity, portraiture embraces collaboration. “A portrait is always a collaboration… you involve the person in that process.” The Don Dunstan swimming pool photograph emerged from this collaborative boldness. Arriving at the Norwood home, Sellick complimented the pool, Dunstan mentioned his morning swim, and within moments South Australia’s most flamboyant premier was diving back into his Speedos. “I’m not there to take an ordinary photograph. I’m there to take a great photograph to the best of my ability,” Sellick recalls of his unflinching approach. The technical mastery behind his distinctive 1990s look came from cross-processing slide film in colour negative chemicals – a technique discovered accidentally during his Broken Hill photo lab days. This created the hyperreal, saturated images that helped define Australian editorial photography. “Back then, the only photographic awards in Australia were through the Australian Institute of Professional Photography… they were still very much in the late seventies mindset. So these pictures that I produced were just right out of the box.” His famous Julia Gillard portrait required different psychology. Photographing her in 2006 at her home, Sellick positioned her against a shed – traditionally masculine domain – lit with purple light. “It was an image about this woman stepping into the domain of men,” he explains. The prescience proved remarkable: within years she would become Australia’s first female Prime Minister. The technical challenges of film photography created their own discipline. Shooting the Bradman portrait on 400 ASA film pushed five stops to 12,800 ASA created that distinctive grain, but it was calculated risk. “You underexpose it by five stops… 32 times underexposed,” he explains. “You’ve gotta walk across the high wire to get to the good stuff.” The Kylie Minogue session broke new ground as the first major celebrity shoot conducted outside Sydney or Melbourne. Working from his Palmer Place mansion in North Adelaide, Sellick convinced Mushroom Records to trust Adelaide’s creative infrastructure. The balcony shot that became iconic was the day’s final frame, taken after the production machine dispersed. “I sent the assistants away and it was just her and me,” creating intimacy impossible amid the dozen-person entourage. His approach to celebrities reveals portraiture’s deeper psychology. “You actually fall in love with the person while you’re taking their photograph… you go through the process of falling in love with them before the shoot, and then you’re in love with them while you’re taking the photograph. And then it’s over.” The Steve Irwin elephant photograph required moving the elephant rather than the hyperactive conservationist. “Every time I started to take photographs, he started to perform… it was easier to move the elephant than it was to move Steve.” This anecdote captures Sellick’s ability to navigate celebrity psychology whilst maintaining his artistic vision. Looking toward Australia’s photographic identity, Sellick identifies our cultural immaturity. “We still tend to celebrate mimicry rather than celebrate individuality and expression that expresses the identity of Australia.” He traces creative development through four stages: mimicry, experimentation, commitment, legacy. “We get stuck in that mimicry stage and we don’t seem to encourage experimentation.” His current archive project offers museum-grade collector editions of more than 600 portrait sessions, using German papers and high-end giclée printing for works designed to last centuries. The photographs document not just individuals but Australia’s cultural coming of age – moments when a young nation found confidence to celebrate its own stories. 01:34:45 Musical Pilgrimage In the Musical Pilgrimate, we play a track by Steve Davis & The Virtualosos, Shout Your Mates Another Round, his reflection on the loss of the West End Brewery. Steve Davis & The Virtualosos deliver a melancholic tribute to the demolished West End Brewery, mourning not just architecture but the simple pleasures that bound South Australian communities. The song weaves together memories of shared amber glass bottles, family tables where beer flowed freely, and the brewery’s role supporting local sports teams. The composition balances nostalgia with acceptance, acknowledging that whilst West End “wasn’t great, it wasn’t best, but it was ours from east to west.” The Pickaxe bottle imagery connects to South Australia’s brewing heritage, when consortiums created shared glass manufacturing to serve multiple breweries across the state. Steve’s personal connection deepened when his father revealed the family link: his grandfather worked at the original Hindley Street brewery before operations consolidated in Thebarton. This discovery adds genealogical weight to the cultural mourning, emphasising how industrial heritage intertwines with personal memory.Support the show: https://theadelaideshow.com.au/listen-or-download-the-podcast/adelaide-in-crowd/See omnystudio.com/listener for privacy information.

Steve Davis survived his first SA Variety Bash and lived to tell the tale. More importantly, he brings two bash stalwarts into the studio to share what really drives people to spend weekends fundraising all year, then eight days together in old cars traversing some of South Australia’s most remote terrain. Current chair Darren Greatrex recently delivered a record-breaking $2.7 million fundraising result, while veteran Sir Peter “Curly” Curtis OAM brings 35 years of bash wisdom to the conversation. The SA Drink of the Week features Little Blessings Brewing’s Tropical Trinity Gin, a deep orange concoction that Steve discovered during a spontaneous tasting in the middle of nowhere between William Creek and Coober Pedy. The gin’s tropical fusion of pineapple, passion fruit and orange creates what Steve describes as walking backwards into a tropical plantation with a toucan tapping on your shoulder. The Musical Pilgrimage presents “A Lot of Nothing,” an original composition by Steve Davis and the Virtualosos, written in the backseat during the bash as the vast South Australian landscape inspired reflections on finding yourself in the emptiness of the outback. Episode photo of Monkey Business Car 13 by Keryn Stevens Photography. You can navigate episodes using chapter markers in your podcast app. Not a fan of one segment? You can click next to jump to the next chapter in the show. We’re here to serve! The Adelaide Show Podcast: Awarded Silver for Best Interview Podcast in Australia at the 2021 Australian Podcast Awards and named as Finalist for Best News and Current Affairs Podcast in the 2018 Australian Podcast Awards. And please consider becoming part of our podcast by joining our Inner Circle. It’s an email list. Join it and you might get an email on a Sunday or Monday seeking question ideas, guest ideas and requests for other bits of feedback about YOUR podcast, The Adelaide Show. Email us directly and we’ll add you to the list: podcast@theadelaideshow.com.au If you enjoy the show, please leave us a 5-star review in iTunes or other podcast sites, or buy some great merch from our Red Bubble store – The Adelaide Show Shop. We’d greatly appreciate it. And please talk about us and share our episodes on social media, it really helps build our community. Oh, and here’s our index of all episode in one concisepage. Running Sheet: A Deep Dive Into The SA Variety Bash 00:00:00 Intro Introduction 00:02:45 SA Drink Of The Week Th SA Drink Of The Week is the Tropical Trinity Gin by Little Blessings Brewing, based in Laura. Between William Creek and Coober Pedy, Steve encountered Little Blessings Brewing’s Tropical Trinity Gin during an impromptu roadside tasting that perfectly captured the bash’s serendipitous spirit. The Laura-based distillery operates from an old chapel, creating this distinctive deep orange gin that shakes cloudy with fruit sediment. Steve’s initial reaction, captured on camera in the desert, speaks for itself: “It’s like I have walked backwards into a tropical plantation of citrus and there’s a toucan tapping on my shoulder.” The gin combines sweet pineapple, tangy passion fruit and zesty orange while maintaining gin’s traditional robust structure. Steve likens it to a film set for Gilligan’s Island, where tropical botanicals create convincing scenery over gin’s reliable framework. The colour resembles his parents’ 1970s kitchen cupboards painted “burnt orange” – a deep hue that wants to be red but stops several steps short. Steve recommends trying this gin neat, particularly for those who typically avoid straight gin, describing it as a feast for both palate and eyes with its beautiful label work and sunset-reminiscent colour. The timing proves providential, as Curly’s pet parrot chirps throughout the interview, creating an unintentional tropical soundtrack that complements the gin’s character perfectly. 00:08:00 Peter “Curly” Curtis OAM and Darren Greatrex Here we have two blokes who’ve discovered something most of us spend our lives searching for: a perfect fusion of adventure, community, and purpose. Darren Greatrex, the current Bash Chair, and Peter “Curly” Curtis OAM, the larrikin legend who helped shape what the SA Vareity Bash has become. Between them, they’ve got over 35+ years of Bash stories, from Curly’s first adventure in 1988 to Darren’s record-breaking $2.7 million result in 2025. But this isn’t about the money, the miles, or even the mechanics. This is about what drives people to spend a week wrestling with 25-year-old cars in the middle of nowhere, all in the name of helping kids they’ve never met. We previously covered the Variety Bash in 2024, when Steve sat in with The Bakers car before they left Adelaide in episode 398. Peter “Curly” Curtis OAM opens with a story that would terrify most first-timers: his inaugural 1988 bash experience leaving Burke at 8:30am and arriving in Tibooburra at 4:00am the following morning after getting bogged, lost, and possibly detained in a pub or two. “We slept on the ground outside the pub,” Curly recalls matter-of-factly. “We were up at seven o’clock not to be left behind.” The conversation reveals how fundraising has evolved from basic entry fees to sophisticated year-round campaigns. Darren Greatrex explains the diversity of approaches: “You see anything from a sausage sizzle at Bunnings, you see people selling donuts, you see people putting on concerts.” The legendary Hogs, visiting Victorian fundraisers who shake collection tins outside supermarkets, can raise $3,000 to $10,000 per weekend through sheer persistence and community generosity. A particularly moving moment comes when Darren describes arriving at Bendleby Ranges to publicly donate towards the local, Orroroo Community Playground project and then surprising the locals with the additional $50,000 they needed to complete it. “What variety did is they quickly got together and had a meeting only about three days prior to us arriving,” he explains. The decision to fund the shortfall spontaneously demonstrates how the bash operates beyond its structured grant process. The human dynamics emerge through discussions of team formation and survival strategies. Curly observes that “very few people that raise the minimum, which is $10,000 per vehicle” and credits a culture where people “have that feeling of need” to give more. In discussion about coping with camping in remote areas and going without showers, Darren notes the transformation from 95% male participation in early years to today’s 45% female participation, has revealed that women adapt “much, much better than the men.” Steve’s rookie perspective provides fresh insights into the bash’s social dynamics. His observation about the ease of talking to anyone on the bash, boils down to the principles at work during costume parties where playing a character removes the “peril of being, making a fool of yourself” and that resonated with both veterans. “You are a persona,” Steve notes. “Remove that and the bash would be harder for new people to be included so quickly.” Curly confirms: “The bash would not be the bash without the themes and the cars and the costumes.” The logistics discussion reveals staggering complexity behind the apparent chaos. Planning for 2026 began four months before the 2025 event, with infrastructure, catering, and fuel coordination for 400 people entering small communities. Mobile workshops carry spare parts and fuel, while three medical teams including Royal Flying Doctor Service personnel ensure safety across thousands of kilometres. Personal stories punctuate the technical details. Darren’s memory of flying a blind child to Kangaroo Island with a braille computer demonstrates variety’s direct impact: “Just watching that impact on that kid was a turning point for me.” Meanwhile, Curly’s Tarcoola food horror story (“which one’s which?”) provides historical perspective on how much the event has improved. The interview concludes with Steve’s proposal for mandated silence during one stop to appreciate the vast landscape. Both veterans embrace the concept, with Darren recalling standing at Sunset Ridge in misty fog: “We just looked at each other and just went, my God, look, this is just something you’d never, ever see.” 01:03:45 Musical Pilgrimage In the Musical Pilgrimate, we play a track by Steve Davis & The Virtualosos, A Lot Of Nothing, to round off our deep drive into the SA Variety Bash. “A Lot of Nothing” emerged from Steve’s backseat contemplation during the vast drives between destinations. The landscape between William Creek and Coober Pedy, where roads barely exist on station country, inspired lyrics about finding yourself in emptiness and the redemptive power of isolation. Steve Davis and the Virtualosos crafted a composition that captures both the physical reality of endless horizons and the psychological journey of people who “choose” to live in remote areas of South Australia. The song’s central image – “There’s a lot of nothing as far as you can see, the shimmer in the distance is a sweet infinity” – reflects Steve’s realisation that true understanding comes from turning off music and phones to “face the real you who’s been buried in the silence of this place.” The piece connects to Steve’s proposed moment of mandated silence during future bashes, recognising that the vast South Australian landscape offers transformative experiences for those willing to embrace the apparent emptiness. As the lyrics suggest, sometimes you must navigate the weather until you find yourself.Support the show: https://theadelaideshow.com.au/listen-or-download-the-podcast/adelaide-in-crowd/See omnystudio.com/listener for privacy information.

The LATE FOR CHANGEOVER Show has been nominated for 3 awards: "Best News and Current Events Podcast", "Best Entertainment and Pop Culture Podcast" and "Air Force Podcast of the Year"!   Go to https://paradedeck.com/creator-awards/6191 and vote for us! On today's episode, the Late Crew talks about the passing of Apollo 13 astronaut Jim Lovell (06:28),  an Airman has been arrested for the death that prompted an Air Force-wide safety review of the Sig M18 (16:28), the Army has released a spirituality fitness guide and battle book (24:50), we play the guess the Movie E-7 game (41:46), and Japan surrenders to the Allies on 15 August 1945 (59:17). https://lateforchangeover.com/

Welcome to NCFM Today! Today, we're reviewing the Best News in North Carolina Family Medicine: The 2025 Winter Family Physicians Weekend, the expected impacts of the recent HR 2 federal bill, which NCAFP members are moving into new leadership roles, and other topics!Learn more about the Academy at www.ncafp.com!

VolQuest's Brent Hubbs recaps the best news from SEC Media Days + a new rule changeSee omnystudio.com/listener for privacy information.

VolQuest's Brent Hubbs recaps the best news from SEC Media Days + a new rule changeSee omnystudio.com/listener for privacy information.

Bruce and Gaydos explain why you won't have to take off your shoes the news time you to through airport security.

Second Thessalonians | 2 Thessalonians 2:6-12 | Todd Burgett Watch on YouTube

Sermon Series: “The Gospel: God's Power in Our Salvation” Sermon Text: Romans 5:1-11 Sermon Title: “Glorification: Tomorrow's News – Today” Sermon Slides: SLIDE 1 – Sermon Title Slide= SLIDE 2 – Today's Big Idea: Glorification is the Best News of the Gospel. It is the Capstone of our Salvation in Jesus… and the Consummation of Christ's Glory to Us. SLIDE 3 – Point 1: Glorification is… the Capstone of our Salvation in Jesus. (vv. 1-9) SLIDE 4 – Point 2: Glorification is… the Consummation of Christ's Glory to Us. (vv. 10-11) SLIDE 5 – Sermon Uses: Three about God's Glory. SLIDE 6 – We Must Deflect All Glory from Ourselves… SLIDE 7 – …So, We May Give All Glory to God Alone. SLIDE 8 – This Releases Us… to Live All of Life for the Glory of Jesus Christ.

Welcome to NCFM Today! Today, we're reviewing the Best News in North Carolina Family Medicine: The Care First Act (and its progress through the NC House!), the 2025 Family Medicine Match results, the Collaborative Care Management Capacity Building Fund, and other key topics!Learn more about the Academy at www.ncafp.com!

A lot of people who go to church think, "You do good, you get good." But that totally misses the concept of salvation. We can never be good enough to get into heaven. Rather, if we simply repent of our sin and then trust Jesus as our Savior, heaven is where we're going! All the law does is tell us we're a mess. But when we look to Jesus, we see our Savior.

They couldn’t—or wouldn’t—tell Biden it was time to go. Journalist Chris Whipple reveals the human drama behind the political failure, captured in his must-read book Uncharted. Why did no one stop Joe Biden from running again? In this eye-opening interview, Chris and Katie pull back the curtain on the 2024 election, delving into the loyalty, fear, and misjudgment that shaped the race.

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Call of the Day

From the NC Academy of Family Physicians, this is The Best News in North Carolina Family Medicine! This month's episode includes the 25th anniversary of state oral health plans, new CDC vaccine guidance, the installation of NCAFP member Dr. Dev Sangvai as the new NCDHHS Secretary, and much more!

Farmer is the Baillie Gifford Professor of Complex Systems at Oxford's Institute for New Economic Thinking. Before joining Oxford in 2012, he worked at Los Alamos National Laboratory and the Santa Fe Institute, where he studied complex systems and economic dynamics. During the 1990s, he took a break from academia to run a successful quantitative trading firm using statistical arbitrage strategies.Farmer has been a pioneer in chaos theory and complexity economics, including the development of agent-based models to understand economic phenomena. His work spans from housing markets to climate change, and he recently authored Making Sense of Chaos exploring complexity science and economic modeling.In This Episode* What is complexity economics? (1:23)* Compliment or replacement for traditional economics (6:55)* Modeling Covid-19 (11:12)* The state of the science (15:06)* How to approach economic growth (20:44)Below is a lightly edited transcript of our conversation. What is complexity economics? (1:23)We really can model the economy as something dynamic that can have its own business cycles that come from within the economy, rather than having the economy just settle down to doing something static unless it's hit by shocks all the time, as is the case in mainstream models.Pethokoukis: What does the sort of economics that people would learn, let's say, in the first year of college, they might learn about labor and capital, supply-demand equilibrium, rational expectations, maybe the importance of ideas. How does that differ from the kind of economics you are talking about? Are you looking at different factors?Farmer: We're really looking at a completely different way of doing economics. Rather than maximizing utility, which is really the central conceptual piece of any standard economic model, and writing down equations, and deducing the decision that does that, we simulate the economy.We assume that we identify who the agents in the and economy are, who's making the decisions, what information do they have available, we give them methods of making the decisions — decision-making rules or learning algorithms — and then they make decisions, those decisions have economic impact, that generates new information, other information may enter from the outside, they make decisions, and we just go around and around that loop in a computer simulation that tries to simulate what the economy does and how it works.You've been writing about this for some time. I would guess — perhaps I'm wrong — that just having more data and more computer power has been super helpful over the past 10 years, 20 years.It's been super helpful for us. We take much more advantage of that than the mainstream does. But yes, computers are a billion times more powerful now than they were when Herb Simon first suggested this way of doing things, and that means the time is ripe now because that's not a limiting factor anymore, as it was in the past.So if you're not looking at capital and labor per se, then what are the factors you're looking at?Well, we do look at capital and labor, we just look at them in a different way. Our models are concerned about how much capital is there to invest, what labor is available. We do have to assign firms production functions that tells, given an amount of capital and labor and all their other inputs, how much can the firms produce? That part of the idea is similar. It's a question of the way the decision about how much to produce is made, or the way consumers decide how much to consume, or laborers decide at what price to provide their labor. All those parts are different.Another difference — if I'm understanding it correctly — is, rather than thinking about economies that tend toward equilibrium and focusing how outside shocks may put an economy in disequilibrium, you're looking a lot more at what happens internally. Am I correct?We don't assume equilibrium. Equilibrium, it has two senses in economics: One is supply equals demand. We might or might not run a model where we assume that. In many models we don't, and if that happens, that's great, but it's an outcome of the model rather than an assumption we put in at the beginning.There's another sense of equilibrium, which is that everybody's strategy is lined up. You've had time to think about what you're doing, I've had time to think about what I'm doing, we've both come to the optimal decision for each of us to make, taking the other one into account. We don't assume that, as standard models typically do. We really can model the economy as something dynamic that can have its own business cycles that come from within the economy, rather than having the economy just settle down to doing something static unless it's hit by shocks all the time, as is the case in mainstream models. We still allow shocks to hit our models, but the economy can generate dynamics even without those shocks.This just popped in my head: To whom would this model make more intuitive sense, Karl Marx or Adam Smith?Adam Smith would like these models because they really allow for emergent behavior. That is, Smith's whole point was that the economy is more than the sum of its parts, that we get far more out of specializing than we do out of each acting like Robinson Crusoes. Our way of thinking about this gets at that very directly.Marx might actually like it too, perhaps for a different reason. Marx was insightful in understanding the economy as being like, what I call in the book, the “metabolism of civilization.” That is, he really did recognize the analogy between the economy and the metabolism, and viewed labor as what we put together with natural resources to make goods and services. So those aspects of the economy are also embodied in the kind of models we're making.I think they both like it, but for different reasons.Compliment or replacement for traditional economics (6:55)There are many problems where we can answer questions traditional methods can't even really ask.The way I may have framed my questions so far is that you are suggesting a replacement or alternative. Is what you're suggesting, is it one of those things, or is it a compliment, or is it just a way of looking at the world that's better at answering certain kinds of questions?I think the jury is out to find the answer to that. I think it is certainly a compliment, and that we're doing things very differently, and there are some problems where this method is particularly well-suited. There are many problems where we can answer questions traditional methods can't even really ask.That said, I think time will tell to what extent this replaces the traditional way of doing economics. I don't think it's going to replace everything that's done in traditional economics. I think it could replace 75 percent of it — but let me put an asterisk by that and say 75 percent of theory. Economists do many different things. One thing economists do is called econometrics, where they take data and they build models just based on the data to infer things that the data is telling them. We're not talking about that here. We're talking about theories where economists attempt to derive the decisions and economic outcomes from first principles based on utility maximization. That's what we're talking about providing an alternative to. The extent to which it replaces that will be seen as time will tell.When a big Wall Street bank wants to make a forecast, they're constantly incorporating the latest jobless claims numbers, industrial production numbers, and as those numbers get updated, they change their forecasts. You're not using any of that stuff?Well, no. We can potentially could ingest any kind of data about what's going on.But they're looking at big, top-down data while you're bottom-up, you're sort of trying to duplicate the actual actors in the economy.That is true, but we can adjust what's at the bottom to make sure we're matching initial conditions. So if somebody tells us, “This is the current value of unemployment,” we want to make sure that we're starting our model out, as we go forward, with the right level of unemployment. So we will unemploy some of the households in our model in order to make sure we're matching the state of unemployment right now and then we start our simulation running forward to see where the economy goes from here.I would think that the advent of these large language models would really take this kind of modeling to another level, because already I'm seeing lots of papers on their ability to . . . where people are trying to run experiments and, rather than using real people, they're just trying to use AI people, and the ability to create AI consumers, and AI in businesses — it would have to be a huge advance.Yes. This is starting to be experimented with for what we do. People are trying to use large language models to model how people actually make decisions, or let's say, to simulate the way people make decisions, as opposed to an idealized person that makes perfect decisions. That's a very promising line of attack to doing this kind of modeling.Large language models also can tell us about other things that allow us to match data. For example, if we want to use patents as an input in our modeling — not something we're doing yet, but we've done a lot of studies with patents — one can use large language models to match patents to firms to understand which firms will benefit from the patents and which firms won't. So there are many different ways that large language models are likely to enter going forward, and we're quite keen to take advantage of those.Modeling Covid-19 (11:12)We predicted a 21.5 percent hit to UK GDP in the second quarter of 2020. When the dust settled a year later, the right answer was 22.1. So we got very close.Tell me, briefly, about your work with the Covid outbreak back in 2020 and what your modeling said back then and how well it worked.When the pandemic broke out, we realized right away that this was a great opportunity to show the power of the kind of economic modeling that we do, because Covid was a very strong and very sudden shock. So it drove the economy far out of equilibrium. We were able to predict what Covid would do to the UK economy using two basic ideas: One is, we predicted the shock. We did that based on things like understanding a lot about occupational labor. The Bureau of Labor Statistics compiles tables about things like, in a given occupation, how close together do people typically work? And so we assumed if they worked closer together than two meters, they weren't going to be able to go to their job. That combined with several other things allowed us to predict how big the shock would be.Our model predicted how that shock would be amplified through time by the action of the economy. So in the model we built, we put a representative firm in every sector of the economy and we assumed that if that firm didn't have the labor it needed, or if it didn't have the demand for its product, or if it didn't have the inputs it needed, it wouldn't be able to produce its product and the output would be reduced proportional to any of those three limiting factors.And so we started the model off on Day One with an inventory of inputs that we read out of a table that government statistical agencies had prepared for each sector of the economy. And we then just looked, “Well, does it have the labor? Does it have demand? Does it have the goods?” If yes, it can produce at its normal level. If it's lacking any of those, it's going to produce at a lower level. And our model knew the map of the economy, so it knew which industries are inputs to which other industries. So as the pandemic evolved day by day, we saw that some industries started to run out of inputs and that would reduce their output, which, in turn, could cause other industries to run out of their inputs, and so on.That produced quite a good prediction. We predicted a 21.5 percent hit to UK GDP in the second quarter of 2020. When the dust settled a year later, the right answer was 22.1. So we got very close. We predicted things pretty well, industry by industry. We didn't get them all exactly right, but the mistakes we made averaged out so that we got the overall output right, and we got it right through time.We ran the model on several different scenarios. At the time, this was in April of 2020, the United Kingdom was in a lockdown and they were trying to decide what to do next, and we tested several different scenarios for what they might do when they emerged from the full lockdown. The one that we thought was the least bad was keeping all the upstream industries like mining, and forestry, and so on open, but closing the downstream, customer-facing industries like retail businesses that have customers coming into their shop, or making them operate remotely. That was the one they picked. Already when they picked it, we predicted what would happen, and things unfolded roughly as we suggested they would.The state of the science (15:06)Mainstream models can only model shocks that come from outside the economy and how the economy responds to those shocks. But if you just let the model sit there and nothing changes, it will just settle down and the economy will never change.I'm old enough to remember the 1990s and remember a lot of talk about chaos and complexity, some of which even made it into the mainstream, and Jurassic Park, which may be the way most people heard a little bit about it. It's been 30 years. To what extent has it made inroads into economic modeling at central banks or Wall Street banks? Where's the state of the science? Though it sounds like you're really taking another step forward here with the book and some of your latest research.Maybe I could first begin just by saying that before Jurassic Park was made, I got a phone call and picked up the phone, and the other end of the line said, “Hi, this is Jeff Goldblum, have you ever heard of me?” I said, “Yeah.” And he said, “Well, we're making this movie about dinosaurs and stuff, and I'm going to play a chaos scientist, and I'm calling up some chaos scientists to see how they talk.” And so I talked to Jeff Goldblum for about a half an hour. A few of my other friends did too. So anyway, I like to think I had a tiny little bit of impact on the way he behaved in the movie. There were some parallels that it seemed like he had lifted.Chaos, it's an important underlying concept in explaining why the weather is hard to predict, it can explain some forms of heart arrhythmias, we use it to explain some of the irregular behavior of ice ages. In economics, it was tossed around in the '90s as something that might be important and rejected. As I described in the book, I think it was rejected for the wrong reasons.I'm proposing chaos, the role it plays in here is that, there's a debate about business cycles. Do they come from outside? The Covid pandemic was clearly a business cycle that came from outside. Or do they come from inside the economy? The 2008 financial crisis, I would say, is clearly one that came from inside the economy. Mainstream models can only model shocks that come from outside the economy and how the economy responds to those shocks. But if you just let the model sit there and nothing changes, it will just settle down and the economy will never change.In contrast, the kinds of models we build often show what we call endogenous business cycles, meaning business cycles that the model generates all on its own. Now then, you can ask, “Well, how could it do that?” Well, basically the only plausible way it can do that is through chaos. Because chaos has two properties: One is called sensitive dependence on initial conditions, meaning tiny changes in the present can cause large changes in the future; but the other is endogenous motion, meaning motion that comes from within the system itself, that happens spontaneously, even in very simple systems of equations.Would something like consumer pessimism, would that be an external shock or would something more internal where everybody, they're worried about the futures, then they stop spending as much money? How would that fit in?If the consumer pessimism is due to the fear of a nuclear war, I would say it's outside the economy, and so that's an external shock. But if it's caused by the fact that the economy just took a big nose dive for an internal reason, then it's part of the endogenous dynamicsI spent many years as a journalist writing about why the market's going up, the market's going down, and by the end of the day, I had to come up with a reason why the market moved, and I could — I wasn't always quite confident, because sometimes it wasn't because of a new piece of data, or an earnings report, they just kind of moved, and I had no real reason why, even though I had to come up . . . and of course it was when I was doing that was when people started talking about chaos, and it made a lot of intuitive sense to me that things seem to happen internally in ways that, at least at the time, were utterly unpredictable.Yeah, and in fact, one of the studies I discuss in the book is by Cutler, Poterba, and Summers — the Summers would be Larry Summers — where they did something very simple, they just got the 100 largest moves of the S&P index, they looked up what the news was the next day about why they occurred in the New York Times, and they subjectively marked the ones that they thought were internally driven, versus the ones that were real news, and they concluded they could only find news causes for about a third of them.There is always an explanation in the paper; actually, there is one day on the top 12 list where the New York Times simply said, “There appears to be no cause.” That was back in the '40s, I don't think journalists ever say that anymore. I don't think their paper allows them to do it, but that's probably the right answer about two-thirds of the time, unless you count things like “investors are worried,” and, as I point out in the book, if the person who invests your money isn't worried all the time, then you should fire them because investors should worry.There are internal dynamics to markets, I actually show some examples in the book of simple models that generate that kind of internal dynamics so that things change spontaneously.How to approach economic growth (20:44)I'm not saying something controversial when I say that technological change is the dominant driver of economic growth, at least for the economy as a whole. You recently founded a company, Macrocosm, trying to put some of these ideas to work to address climate change, which would seem to be a very natural use for this kind of thinking. What do you hope to achieve there?We hope to provide better guidance through the transition. We're trying to take the kind of things we've been doing as academics, but scale them up and reduce them to practice so they can be used day-in and day-out to make the decisions that policymakers and businesspeople need to make as the transition is unfolding. We hope to be able to guide policymakers about how effective their policies will be in reducing emissions, but also in keeping the economy going and in good shape. We hope to be able to advise businesses and investors about what investments to make to make a profit while we reduce emissions. And we think that things have changed so that climate change has really become an opportunity rather than a liability.I write a lot about economic growth and try to figure out how it works, what are the key factors. . . What insights can you give me, either on how you think about growth and, since I work at a think tank, the kind of policies you think policy makers should be thinking about, or how should they think about economic growth, since that seems to be on top-of-mind in every rich country in the world right now?I'm not saying something controversial when I say that technological change is the dominant driver of economic growth, at least for the economy as a whole. And we've spent a lot of time studying technological change by just collecting data and looking for the patterns in that data: What does the technology cost through time and how rapidly is it deployed? We've done this for 50 or 60 technologies where we look at past technological transitions, because typically, as a technology is coming in, it's replacing something else that's going out, and what we've seen are a couple of striking things:One is, many technologies don't really improve very much over time, at least in terms of cost. Fossil fuels cost about the same as they did 140 years ago once you adjust for inflation. In fact, anything we mine out of the ground costs about the same as it did a hundred years ago.In contrast, solar energy from solar photovoltaic panels costs 1/10,000th what it did when it was introduced in the Vanguard satellite in 1958. Transistors have been going down at 40 percent per year, so they cost about a billionth of what they did back in 1960. So some technologies really make rapid progress, and the economy evolves by reorganizing itself around the technologies that are making progress. So for example, photography used to be about chemistry and film. Photography now is about solid-state physics because it just unhitched from one wagon and hitched itself to another wagon, and that's what's happening through the energy transition. We're in the process of hitching our wagon to the technologies that have been making rapid progress, like solar energy, and wind energy, and lithium ion batteries, and hydrogen catalyzers based on green energy.I think we can learn a lot about the past, and I think that when we look at what the ride should be like, based on what we understand, we think the transition is going to happen faster than most people think, and we think it will be a net saving of moneySo then how do you deal with a wild card, which I think if you look at the past, nuclear power seems like it's super expensive, no progress being made, but, theoretically, there could be — at least in the United States — there could be lots of regulatory changes that make it easier to build. You have all these venture capital firms pouring money into these nuclear startups with small reactors, or even nuclear fusion. So a technology that seems like it's a mature technology, it might be easy to chart its future, all of a sudden maybe it's very different.I'm not arguing we should get rid of nuclear reactors until they run their normal lifetime and need to be gotten rid of, but I think we will see that that is not going to be the winning technology in the long run, just because it's going to remain expensive while solar energy is going to become dirt cheap.In the early days, nuclear power had faced a very favorable regulatory environment. The first nuclear reactors were built in the '50s. Until Three Mile Island and Chernobyl happened, it was a very regulatorily friendly environment and they didn't come down in cost. Other countries like France have been very pro-nuclear. They have very expensive electricity and will continue to do so.I think the key thing we need to do is focus on storage technologies like green hydrogen. Long-term storage batteries have already come down to a point where they're beginning to be competitive; they will continue to do so. And in the future, I think we'll get solid-state storage that will make things quite cheap and efficient, but I don't think small modular reactors are going to ever be able to catch up with solar and wind at this point.On sale everywhere The Conservative Futurist: How To Create the Sci-Fi World We Were PromisedMicro Reads▶ Economics* United States Economic Forecast - Deloitte* The Hidden Threat to National Security Is Not Enough Workers - WSJ▶ Business* DOGE Can't Do It All. Here's What It Can Do. - Politico* AI Startup Perplexity Closes Funding Round at $9 Billion Value - Bberg▶ Policy/Politics* US Homeland Security chief attacks EU effort to police AI - FT* The Trump Bump: The Republican Fertility Advantage in 2024 - IFS* House unveils AI ‘road map' but punts on setting priorities - Wapo* Did Tariffs Make American Manufacturing Great? - Cato▶ AI/Digital* Call ChatGPT from any phone with OpenAI's new 1-800 voice service - Ars* Homo-Silicus: Not (Yet) a Good Imitator of Homo Sapiens or Homo Economicus - SSRN* Is AI finally ready to replace your doctor? - NS* The Age of Quantum Software Has Already Started - WSJ* This is where the data to build AI comes from - MIT* The New AI Stock Pickers Are Destined to Disappoint - Bberg Opinion▶ Clean Energy/Climate* Fusion Start-Up Plans to Build Its First Power Plant in Virginia - NYT* Will the World's First Nuclear Fusion Power Plant Be Built in Virginia? Here's Why We're Skeptical - SciAm* The deepest hole on Earth: Inside the race to harness unlimited power from our planet's core - SF* Dubai transforms into walkable city with air-conditioned paths - New Atlas* Oklo inks record deal for using nuclear to power data centers - E&E▶ Robotics/AVs* AI Robots Are Coming, and They'll Be Made in Asia - Bberg Opinion▶ Space/Transportation* Boeing Starliner crew's long awaited return delayed to March - Wapo▶ Up Wing/Down Wing* What Could Go Right? The Best News of 2024 - The Progress Network▶ Substacks/Newsletters* Why Don't EU Firms Innovate? The Hidden Costs of Failure - Conversable Economist* Why Did the Industrial Revolution Happen? - Oliver Kim* One Down, Many To Go - Hyperdimensional* The Experience Curve - Risk & Progress* The case for clinical trial abundance - Slow Borin* Nuclear Waste: Yes, In (or Under) My Backyard - Breakthrough Journal* Answer Time: Can We Imagine Pluralistic Futures? - Virginia's Newsletter* What just happened - One Useful ThingFaster, Please! is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit fasterplease.substack.com/subscribe

 Down Right Sports: College Football Playoff Preview, NBA's Megastar Problem, and What's Going on in Sports? On this episode of Down Right Sports, Brent Reid, The Notorious Sports Critic, takes you on a ride through the biggest stories in sports this week.   College Football Playoff First-Round PreviewThe playoff matchups are set, and we're breaking them all down: Indiana at Notre Dame: Can the Hoosiers shock the world in South Bend? SMU at Penn State: Will the Mustangs bring the magic to Happy Valley? Clemson at Texas: A clash of titans—who has the edge? Tennessee at Ohio State: Can the Volunteers topple the Buckeyes in the Horseshoe?  The State of the NBAIs the NBA losing its spark? Brent dives into why the league might be becoming unwatchable, whether it's in desperate need of a new megastar, and what needs to change to recapture the magic.  The Best News in Four MinutesA rapid-fire roundup of the week's biggest and quirkiest sports stories.  What's Going on in Sports?From the chaos to the controversy, Brent unpacks the moments and headlines that have left fans everywhere scratching their heads. It's a packed episode full of bold takes, sharp analysis, and plenty of surprises.  Subscribe now and don't miss a second of Down Right Sports!

Stand Up is a daily podcast. I book,host,edit, post and promote new episodes with brilliant guests every day. This show is Ad free and fully supported by listeners like you! Please subscribe now for as little as 5$ and gain access to a community of over 700 awesome, curious, kind, funny, brilliant, generous souls Today's News Segment starts at 11 minutes  My interview with Christian starts at 36 minutes Subscribe to Christian's Music NewsLetter "New Music for Olds" I teased him for not letting me giving out his Venmo account to make him whole but I thought it would be funny if anybody wants to send him a couple of bucks as a way to thank him for joining us so often here on the show. if you want to buy Christian a coffee, send it to Christian-finnegan-1 (if it asks for the last four digits of his phone number it's 1814) Christian Finnegan  is an American stand-up comedian, writer and actor based in New York City. BUY HIS NEW ALBUM--- "Show Your Work: Live at QED"   Finnegan is perhaps best known as one of the original panelists on VH1's Best Week Ever and as Chad, the only white roommate in the “Mad Real World” sketch on Comedy Central's Chappelle's Show. Additional television appearances as himself or performing stand up have included “Conan”, “The Late Late Show with Craig Ferguson”, "Would You Rather...with Graham Norton", “Good Afternoon America” and multiple times on The Today Show and Countdown with Keith Olbermann, and on History's I Love the 1880s. He hosted TV Land's game show "Game Time". As an actor, Finnegan portrayed the supporting role of "Carl" in the film Eden Court, a ticket agent in "Knight and Day" and several guest roles including a talk show host on "The Good Wife". In October 2006, Finnegan's debut stand up comedy CD titled Two For Flinching was released by Comedy Central Records, with a follow-up national tour of college campuses from January to April 2007. “Au Contraire!” was released by Warner Bros. Records in 2009. His third special "The Fun Part" was filmed at the Wilbur Theatre in Boston on April 4, 2013 and debuted on Netflix on April 15, 2014. The Stand Up Community Chat is always active with other Stand Up Subscribers on the Discord Platform.   Join us Thursday's at 8EST for our Weekly Happy Hour Hangout!  Pete on Threads Pete on Tik Tok Pete on YouTube  Pete on Twitter Pete On Instagram Pete Personal FB page Stand Up with Pete FB page All things Jon Carroll  Follow and Support Pete Coe Buy Ava's Art 

A new MP3 sermon from Grace Audio Treasures is now available on SermonAudio with the following details: Title: The best news that unbelievers could ever hear! Subtitle: Puritan Devotional Speaker: C. H. Spurgeon Broadcaster: Grace Audio Treasures Event: Devotional Date: 11/19/2024 Bible: Job 34:21-22; Hebrews 4:13 Length: 3 min.

Here's a preview of the final episode of MASTER PLAN, The Lever's investigative audio series exposing the 50-year plot to legalize corruption in America—winner of awards for Best Writing and Best News & Politics Podcast. To listen to the whole series for free, search Master Plan in your podcast app or visit MasterPlanPodcast.com.

The Best News Report Youll Hear All Year.

The Best Games of July, The Best News Updates, The Best Gaming Podcast 481 Join this channel to get access to perks: https://www.youtube.com/channel/UCK9_x1DImhU-eolIay5rb2Q/join MORE REVIEWS Harold Halibut review Broken Roads Review https://youtu.be/gkNlnk7obpQ Dragons Dogma 2 Review https://youtu.be/eKu3cwSuBYw Outcast Review https://youtu.be/PqoxaijDdsw Thaughmaturge https://youtu.be/Nd3V3ngVmNQ Mudrunner Expeditions https://youtu.be/dEZKwoXVA_w Final Fantasy 7 Rebirth Review https://www.youtube.com/watch?v=z_ruTLZEs08 Mudrunner Expeditionhttps://youtu.be/gulgq7rNM08 House Flipper 2 https://youtu.be/5nhTC-JcFK8 Pacific Drive https://youtu.be/Dna0YoHTjvI Avatar Review https://youtu.be/u_OU9zUVZrA House Flipper https://youtu.be/5nhTC-JcFK8 Super Mario RPG https://youtu.be/ppSHru7XwV4 Like a Dragon Gaiden the Man who erased his name review The Invincible Review https://youtu.be/kutO8ubdgU0 Alan Wake 2 Review https://youtu.be/200uGF8YMOY Spiderman 2 Review https://youtu.be/kufRnn6wjOA Walking the Walk Game Dev Videos https://www.youtube.com/playlist?list=PL62tz83FJJjl6XM--ouEggi7Y007zG-xB 2 podcast weekly, game reviews for titles I buy with my cash and give out to patrons, behind the scenes videos, discords private streams, and swag. Join the acg discord now and get 100% on BS gaming coverage Want to support the channel randomly https://bmc.link/ACGGaming

The war in Gaza has been among the deadliest for civilians, including children, of any war in the 21st century. After spending five weeks volunteering and administering at a field hospital in Rafah, Mohammad Subeh, an American doctor, describes what he saw to Intercepted co-hosts Jeremy Scahill and Murtaza Hussain. Subeh spent weeks treating wounded Palestinian children, many of them orphaned by Israeli attacks. He also described treating those who survived the aftermath of “mass casualty incidents” in which dozens of civilians were killed or wounded; many of these attacks appeared deliberately targeted at civilians, Subeh says, rather than “indiscriminate.” As the Strip reels from the consequences of a breakdown of public health infrastructure following the destruction of most Gazan hospitals, Subeh says that ordinary civilians are paying a gruesome price for Israel's military assault.Intercepted has been nominated for a Webby award under the category of Best News and Politics podcast. Help us win by casting your vote today.If you'd like to support our work, go to theintercept.com/join, where your donation, no matter what the amount, makes a real difference.And if you haven't already, please subscribe to the show so you can hear it every week. And please go and leave us a rating or a review — it helps people find the show. If you want to give us additional feedback, email us at Podcasts@theintercept.com. Hosted on Acast. See acast.com/privacy for more information.

The conflict in Gaza has galvanized a new generation of young anti-war activists, in the same way that opposition to the Vietnam War and apartheid South Africa did in decades past. A backlash is now building in the United States, led by right-wing activist and pro-Israel groups aimed at eliminating any public dissent over U.S. foreign policy in the Middle East.As the death toll of Palestinians rises, a new authoritarian climate is sweeping across the U.S. — particularly on college campuses, which have transformed into laboratories for censorship and surveillance. Intercepted host Murtaza Hussain discusses this new political reality with Sahar Aziz, distinguished professor of law at Rutgers Law School and author of a new report on free speech and discrimination in the context of the Gaza conflict.Intercepted has been nominated for a Webby award under the category of Best News and Politics podcast. Help us win by casting your vote today. If you'd like to support our work, go to theintercept.com/join, where your donation, no matter what the amount, makes a real difference.And if you haven't already, please subscribe to the show so you can hear it every week. And please go and leave us a rating or a review — it helps people find the show. If you want to give us additional feedback, email us at Podcasts@theintercept.com. Hosted on Acast. See acast.com/privacy for more information.