Podcasts about Birmingham

HUGE BLACK FRIDAY SALE | All masterclasses 50% off! Subliminals 3 for 1! FREE month in the Book Club B*tches! This week we're talking about living your future, dream life right now, Wintering, snow days, and… my 2026 surgery goals (yes, the tits are coming).But the heart of this episode comes from an amazing question I was asked by a woman in the audience at my Birmingham event:“When you're stuck between two decisions and you can't choose… what do you do?”Because this kind of stuckness, deliberating, debating, thinking in circles energy? It is a HUGE energy leak & we've all been there.Do I stay in this job or leave?Do I move city or stay put?Is this relationship right?What is the “right” next chapter?That stuck energy can absolutely paralyse you.THE TWO-PART SOLUTIONPART ONE: Bring the focus back to YOUWhen you don't know the big answer yet, redirect the energy.You might not know:Where you want to live…but you know you want to feel healthier and more grounded.What your dream job is…but you know you want more fun, more joy, more friends, more life.Who your future husband is…but you know you want your home to feel beautiful, peaceful, organised.So start there.Start with what you do know.Pour your energy into strengthening YOU instead of obsessing over the decision.PART TWO: What do you actually want from the change?Instead of obsessing over the label (“new job,” “new city,” “new partner”), ask:How would my daily or weekly life actually change?Would you dress differently?Would your routine be different?Would you socialise in different places or with different people?Would you walk more?Go to the gym?Work around others instead of alone?Say yes to more invitations?And then ask the golden question:What elements of that dream life can I have RIGHT NOW, where I am?THE TWO RESULTS1️⃣ You start LIVING your future life now which attracts more of itYou can't manifest a joyful, full, creative, connected, healthy life while living like a drained shell of yourself waiting for a sign.Manifestation requires ACTION and (yes) a bit of delulu energy.2️⃣ You realise you can experience so many parts of your dream life in your CURRENT realitySuddenly the “big decision” matters less.Because you're already building a life that feels good now.Live the life you want before it arrives - and you'll be shocked at how fast it finds you.Thank you so much for listening, find me on the gram @francescaamber & @lawofattractionchangedmylife Get your 2026 goal setting tickets!See you next week, Fran xxx Hosted on Acast. See acast.com/privacy for more information.

emocleW, emocleW, emocleW to the Distraction Pieces Podcast with Scroobius Pip!This is your bonus FRIDAY REWIND episode! Today, we catch up with Benjamin Zephaniah, originally episode 353 from 2020-11-11.Original writeup below:Pure enjoyment from the Birmingham legend as he and Pip catch up and talk about all things poetry but so much more… Beginning at the beginning of time itself, they move through viruses, “unpredictable” times, nature, the meat industry, finance and politics, squashing Twitter beefs, Bob Marley, doing gigs and slowly finding his crew, Life & Rhymes and everything contained within, finding and celebrating music in the words, performance poetry vs page poetry and of course, Peaky Blinders! Amazing. Commence listening immediately.PIP'S PATREON PAGE if you're of a supporting natureONLINELIFE & RHYMESBENJAMIN in THE GUARDIANDAN LE SAC VS SCROOBIUS PIP BANDCAMPPIP TWITCH • (music stuff)PIP INSTAGRAMSPEECH DEVELOPMENT WEBSTOREPIP TWITTERPIP IMDBPOD BIBLE Hosted on Acast. See acast.com/privacy for more information.

Winnie M Li is an American author and activist who has written for travel guidebooks, produced independent feature films, programmed for film festivals, and developed eco-tourism projects. Her first novel Dark Chapter was nominated for an Edgar Award and translated into ten languages, followed by the critically acclaimed Complicit. A survivor and advocate against gendered violence, she is an assistant professor of creative wriiting at the University of Birmingham in the UK. Her new novel is What We Left Unsaid, just out from Simon & Schuster. Listen in as she and I discuss what are we asking a writer to do when we ask her to write into a trauma, and so much more. The QWERTY podcast is brought to you by the book The Memoir Project: A Thoroughly Non-Standardized Text for Writing & Life. Read it, and begin your own journey to writing what you know. To learn more, join The Memoir Project free newsletter list and keep up to date on all our free webinars, instructive posts and online classes in how to write memoir, as well as our talented, available memoir editors and memoir coaches, podcast guests and more.

Join an active community of RE investors here: https://linktr.ee/gabepetersenTURNKEY REAL ESTATE INVESTING FOR BUSY PROFESSIONALS

This is the Thursday evening liturgy during the Fall season of Ordinary Time for the Compline podcast from the Center for Worship and the Arts at Samford University. For more about the Center for Worship and the Arts, as well as the resources we provide, visit us at https://www.samford.edu/worship-arts/.CREDITS:© 2021 Center for Worship and the Arts, Samford University.Engineered and produced by Wen Reagan for the Center for Worship and the Arts at Samford University.SPOKEN WORD:Wen Reagan, Stacy Love, Tracy Hanrahan, Meagan Kennedy, Pierce Moffett, Eden Walker.MUSIC:“Compline #5” by Wen Reagan, © 2020 Sursum Corda Music (BMI).“Wishing Elsewhere” by Emily Hanrahan, © 2020 Emily Hanrahan.“My Savior Left His Throne Above” by Julie Anne Vargas and Zac Hicks, © 2015 Unbudding Fig Music (ASCAP) & Julie Anne Vargas, CCLI #7056910.TEXTS:The liturgical words for this podcast series include original phrasings, but were primarily curated and designed from several public domain sources, including “An Order for Compline” from the Anglican and Episcopal Book of Common Prayer and collects collected from Grace Cathedral and the University of Notre Dame.SOUNDS:The following sound effects were used in this podcast series and are licensed under the Creative Commons Attribution 3.0 Unported License. To view a copy of this license, visit http://creativecommons.org/licenses/by/3.0/ or send a letter to Creative Commons, PO Box 1866, Mountain View, CA 94042, USA."Door, Front, Opening, A.wav" by InspectorJ (www.jshaw.co.uk) of Freesound.org."Door, Front, Closing, A.wav" by InspectorJ (www.jshaw.co.uk) of Freesound.org.“06 – Crackling Candle.wav” by 14GPanskaLetko_Dominik of Freesound.org.“Lights a Candle Light with a Match” by straget of Freesound.org.The following sound effects were used in this podcast series and are licensed under the Creative Commons Attribution-NonCommercial 3.0 Unported License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc/3.0/ or send a letter to Creative Commons, PO Box 1866, Mountain View, CA 94042, USA.“Soft Shoes Walking on a Dirt Road” by Nagwense of Freesound.org.“Match Being Lit.wav” by Jeanet_Henning of Freesound.org.“Candle Blow.wav” by Bee09 of Freesound.org.Mentioned in this episode:Discover Samford's Center for Worship and the Arts - the creator...

Welcome to Episode #63 of the No Conference for Old Men Podcast. The Houston Cougars won a big one over Auburn in Birmingham to get to 4-0 for the season. All three freshmen balled out on the big stage, but ultimately, it was the Kingston Flemings Showcase. Flemings has staked an early claim as the alpha on this season's team.  "Feast Week" games await after playing Rider on Thursday, as the team prepares to travel to Las Vegas to take on Syracuse, Tennessee, & a third team TBD. Please have a listen as the 3 Old Men weigh in and discuss what to look out for with this Houston Cougar team early in the season, as well as provide some quick-hit game summaries and previews. - No Conference for Old Men is available for free via Spotify / Apple Podcast / SoundCloud & the GoCoogs.com website; we're also available via the Republic of Football Podcast feed from the folks at Dave Campbell's Texas Football as their only basketball-centric offering. - Intro / Exit music: Ground Zero provided by FreeBeats.io - Please follow us on gocoogs.com/old-men/ Learn more about your ad choices. Visit megaphone.fm/adchoices

This is the Wednesday evening liturgy during the Fall season of Ordinary Time for the Compline podcast from the Center for Worship and the Arts at Samford University. For more about the Center for Worship and the Arts, as well as the resources we provide, visit us at https://www.samford.edu/worship-arts/.CREDITS:© 2021 Center for Worship and the Arts, Samford University.Engineered and produced by Wen Reagan for the Center for Worship and the Arts at Samford University.SPOKEN WORD:Wen Reagan, Stacy Love, Tracy Hanrahan, Meagan Kennedy, Pierce Moffett, Eden Walker.MUSIC:“Compline #5” by Wen Reagan, © 2020 Sursum Corda Music (BMI).“Wishing Elsewhere” by Emily Hanrahan, © 2020 Emily Hanrahan.“My Savior Left His Throne Above” by Julie Anne Vargas and Zac Hicks, © 2015 Unbudding Fig Music (ASCAP) & Julie Anne Vargas, CCLI #7056910.TEXTS:The liturgical words for this podcast series include original phrasings, but were primarily curated and designed from several public domain sources, including “An Order for Compline” from the Anglican and Episcopal Book of Common Prayer and collects collected from Grace Cathedral and the University of Notre Dame.SOUNDS:The following sound effects were used in this podcast series and are licensed under the Creative Commons Attribution 3.0 Unported License. To view a copy of this license, visit http://creativecommons.org/licenses/by/3.0/ or send a letter to Creative Commons, PO Box 1866, Mountain View, CA 94042, USA."Door, Front, Opening, A.wav" by InspectorJ (www.jshaw.co.uk) of Freesound.org."Door, Front, Closing, A.wav" by InspectorJ (www.jshaw.co.uk) of Freesound.org.“06 – Crackling Candle.wav” by 14GPanskaLetko_Dominik of Freesound.org.“Lights a Candle Light with a Match” by straget of Freesound.org.The following sound effects were used in this podcast series and are licensed under the Creative Commons Attribution-NonCommercial 3.0 Unported License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc/3.0/ or send a letter to Creative Commons, PO Box 1866, Mountain View, CA 94042, USA.“Soft Shoes Walking on a Dirt Road” by Nagwense of Freesound.org.“Match Being Lit.wav” by Jeanet_Henning of Freesound.org.“Candle Blow.wav” by Bee09 of Freesound.org.Mentioned in this episode:Discover Samford's Center for Worship and the Arts - the creator...

Alistair Bruce-Ball, Chris Sutton and Statman Dave return from international duty to look ahead to Gameweek 12 and discuss the big issues in the FPL world. Producer Joe, currently sitting top of the BBC Sport League and 23rd in the world, comes on to share some of his infinite wisdom.Is this a week to get away from captaining Haaland? When's the right time to bench boost? Will producer Joe keep his job once former producer Grace listens to this pod?Chris takes on Joe at a Harry Kane-themed Sutton Death and a listener reveals his father's shady past which led to Chris missing out on a house outside Birmingham 20 years ago.Make sure you enter your team into the BBC Sport League! The all-important code is bbcfpl. To get in touch - email fpl@bbc.co.uk or Voice notes on WhatsApp to 0800 028 9369. Premier League commentaries on 5 Live and BBC Sounds this week –Saturday 22nd November - 3pm - Liverpool v Nottingham Forest Saturday 22nd November - 3pm - Fulham v Sunderland (Sports Extra) Saturday 22nd November - 5:30pm - Newcastle v Manchester City Sunday 23rd November - 2pm - Leeds v Aston Villa Sunday 23rd November - 4:30pm - Tottenham Hotspur v Arsenal

On this week's episode of That Peter Crouch Podcast, the lads sit down with Premier League and England goalkeeping legend Joe Hart for an unbelievably honest, funny and revealing chat about the wildest moments of his career. From the chaotic early days at Manchester City and their takeover era, to the surreal Aguero title-winner scenes, Joe takes us inside the dressing room, the pressure, and the mentality of surviving as a top-level No.1.He opens up on the brutal moment Pep Guardiola told him he wasn't part of the new City vision, the emotional rollercoaster of being England's first-choice keeper, and the madness of shooting sessions with Beckham, Rooney, Gerrard, Lampard and Crouchy himself. The lads also go deep on team culture, loans, being replaced, punditry life, and even why goalkeepers should be allowed to wear hats again.And of course, there are stories from the 2010 World Cup dartboard battles, arguments with Declan Rice, and Joe's new extreme-challenge podcast. Let us know in the comments — what would YOU have done in Joe's position when Pep arrived?Chumbawamba 00:00 – England negativity & international break chat 00:08:58 – Joe Hart introduced; 2010 World Cup darts stories 00:13:36 – Quick-fire round: stadiums, managers & teammates 00:18:34 – Goalkeeper hats, towels & old-school traditions 00:36:02 – The Man City takeover & Robinho signing shock 00:37:24 – Loan to Birmingham; rivalry with Shay Given 00:38:02 – Paddy Power's Big Weekend Fixture and predictions break00:45:16 – Becoming City No.1 with Shay Given on the bench 00:51:14 – Pep Guardiola arrives & drops Joe Hart 00:52:53 – Joe explains talking with Pep afterwards 00:54:40 – Aguero moment & iconic celebration behind the scenes 00:59:30 – Title-winning night & surreal Man United awards 01:01:19 – Being England No.1 & dealing with constant changes 01:05:41 – England shooting sessions with elite attackers 01:23:48 – Working on Match of the Day as a pundit 01:25:39 – Joe Hart's new podcast & the “mind over everything” conceptFollow our Clips page https://www.youtube.com/channel/UCLNBLB3xr3LyiyAkhZEtiAA For more Peter Crouch: Twitter - https://twitter.com/petercrouch Therapy Crouch - https://www.youtube.com/@thetherapycrouch For more Chris Stark Twitter - https://twitter.com/Chris_StarkInstagram - https://www.instagram.com/chrisstark/For more Steve Sidwell Twitter - https://twitter.com/sjsidwell Instagram - https://www.instagram.com/stevesidwell14 #PeterCrouch #ThatPeterCrouchPodcast Hosted on Acast. See acast.com/privacy for more information.

Fannie Flagg grew up in Birmingham, Alabama, where she had close family ties to the Irondale Cafe, a restaurant that's still serving fried chicken, creamed corn, and of course…fried green tomatoes. The beloved local spot was run by her aunt, Bess Fortenberry, and served as inspiration for her 1987 novel Fried Green Tomatoes at the Whistle Stop Cafe, which she also adapted for the famous 1991 film. It was no accident that Fannie found success in the movie business. Both her father and grandfather worked as motion picture machine operators, which exposed Fannie to the magic of films at a young age. It also gave her just enough knowledge to bluff her way into running the spotlight at the local theater, where she eventually became both a performer and a writer. Now she's out with her eleventh book, Something to Look Forward To, a collection of short stories featuring a lot of the quirky Southern characters she's known for. Sid talks to Fannie about her early days in Birmingham, her very funny grandmother, and the upcoming movie adaptation of her novel, A Redbird Christmas. For more info visit: southernliving.com/biscuitsandjam Sid Evans - Editor-in-Chief, Southern Living Krissy Tiglias - GM, Southern Living Lottie Leymarie - Executive Producer Michael Onufrak - Audio Engineer & Editor/Producer Jeremiah Lee McVay - Producer Learn more about your ad choices. Visit podcastchoices.com/adchoices

In a special episode of the Film Stories podcast, Simon brought Mark Kermode and Jenny Nelson to his home town of Birmingham in the UK. There, Mark and Jenny were on stage to talk about movie music, as they talked about their new book, Mark Kermode's Surround Sound. You're getting the full, lively conversation here, complete with audience questions at the end. With huge thanks to the team at the Midlands Arts Centre in Birmingham. Mark Kermode's Surround Sound is available now, published by Picador. Please buy it from an independent bookshop if you can! Learn more about your ad choices. Visit megaphone.fm/adchoices

This is the Tuesday evening liturgy during the Fall season of Ordinary Time for the Compline podcast from the Center for Worship and the Arts at Samford University. For more about the Center for Worship and the Arts, as well as the resources we provide, visit us at https://www.samford.edu/worship-arts/.CREDITS:© 2021 Center for Worship and the Arts, Samford University.Engineered and produced by Wen Reagan for the Center for Worship and the Arts at Samford University.SPOKEN WORD:Wen Reagan, Stacy Love, Tracy Hanrahan, Meagan Kennedy, Pierce Moffett, Eden Walker.MUSIC:“Compline #5” by Wen Reagan, © 2020 Sursum Corda Music (BMI).“Wishing Elsewhere” by Emily Hanrahan, © 2020 Emily Hanrahan.“My Savior Left His Throne Above” by Julie Anne Vargas and Zac Hicks, © 2015 Unbudding Fig Music (ASCAP) & Julie Anne Vargas, CCLI #7056910.TEXTS:The liturgical words for this podcast series include original phrasings, but were primarily curated and designed from several public domain sources, including “An Order for Compline” from the Anglican and Episcopal Book of Common Prayer and collects collected from Grace Cathedral and the University of Notre Dame.SOUNDS:The following sound effects were used in this podcast series and are licensed under the Creative Commons Attribution 3.0 Unported License. To view a copy of this license, visit http://creativecommons.org/licenses/by/3.0/ or send a letter to Creative Commons, PO Box 1866, Mountain View, CA 94042, USA."Door, Front, Opening, A.wav" by InspectorJ (www.jshaw.co.uk) of Freesound.org."Door, Front, Closing, A.wav" by InspectorJ (www.jshaw.co.uk) of Freesound.org.“06 – Crackling Candle.wav” by 14GPanskaLetko_Dominik of Freesound.org.“Lights a Candle Light with a Match” by straget of Freesound.org.The following sound effects were used in this podcast series and are licensed under the Creative Commons Attribution-NonCommercial 3.0 Unported License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc/3.0/ or send a letter to Creative Commons, PO Box 1866, Mountain View, CA 94042, USA.“Soft Shoes Walking on a Dirt Road” by Nagwense of Freesound.org.“Match Being Lit.wav” by Jeanet_Henning of Freesound.org.“Candle Blow.wav” by Bee09 of Freesound.org.Mentioned in this episode:Discover Samford's Center for Worship and the Arts - the creator of

In episode 61 of Going anti-Viral, Dr Yvonne Maldonado joins host Dr Michael Saag to discuss the evidence for vaccine safety and effectiveness. Dr Maldonado is a Professor in the Stanford University School of Medicine where she has achieved national and international recognition for her scholarship in the epidemiology and control of infectious diseases. She has served on several national and international committees including, until recently, the CDC Advisory Committee on Immunization Practices (ACIP). Dr Maldonado and Dr Saag provide an overview of how vaccines work and discuss where aluminum adjuvants are used in vaccines and address the validity of anti-vax claims about the use of aluminum in vaccines. Dr Maldonado emphasizes the crucial role of vaccination, particularly the measles vaccine, as a key indicator of public health and discusses the high infectiousness of measles and its implications for community safety, especially for children and immunocompromised individuals. Dr Saag and Dr Maldonado also discuss current recommendations for the COVID-19 vaccine, its safety, and whether pregnant women and infants should receive the vaccine. Finally, Dr Saag and Dr Maldonado discuss the work of public health in the future and the importance of communicating the safety and effectiveness of vaccines.0:00 – Introduction1:46 – Overview of vaccines and how they work5:07 – Different vaccine types and where an aluminum adjuvant is used 12:41 – Motivations behind vaccine opposition16:20 – The business model of vaccine development 19:07 – The pros and cons of mandatory vaccinations 25:19 – Who should get vaccinated against COVID-19 30:46 – Should pregnant women and infants get vaccinated against COVID-19 35:02 – Will vaccine controversies continue in the futureOther Resources:Episode 50 - How Vaccines Get Approved in the US: The RSV Story and the Role of the ACIP – Dr Yvonne MaldonadoEpisode 51 - The Measles Outbreak and the Role Anti-Science Plays in Threatening Public Health – Dr Peter Hotez__________________________________________________Produced by IAS-USA, Going anti–Viral is a podcast for clinicians involved in research and care in HIV, its complications, and other viral infections. This podcast is intended as a technical source of information for specialists in this field, but anyone listening will enjoy learning more about the state of modern medicine around viral infections. Going anti-Viral's host is Dr Michael Saag, a physician, prominent HIV researcher at the University of Alabama at Birmingham, and volunteer IAS–USA board member. In most episodes, Dr Saag interviews an expert in infectious diseases or emerging pandemics about their area of specialty and current developments in the field. Other episodes are drawn from the IAS–USA vast catalogue of panel discussions, Dialogues, and other audio from various meetings and conferences. Email podcast@iasusa.org to send feedback, show suggestions, or questions to be answered on a later episode.Follow Going anti-Viral on: Apple Podcasts YouTubeXFacebookInstagram...

In many East Asian cultures, childbirth marks not just a beginning, but a sacred period of recovery known as Zuò Yuè Zi, or “sitting the month.” Rooted in Traditional Chinese Medicine, this postnatal confinement practice emphasizes rest, warmth, and nourishment to restore balance and vitality after delivery, which is said to deplete the mother's qi, or vital life force. In the modern and busy world of working mothers with unpaid maternity leave, is it possible to incorporate facets of an ancient rejuvenating practice into the home?In this episode, we are joined by Dr. Kristal Lau, MBBS, MPH, BMedSc. Dr. Lau is a board-certified physician with over a decade of experience, the leading postpartum wellness consultant, author of 'Postpartum 30' (double winner at the NYC Big Book Award), and the founder of Bridges in Health and Mama's Wing Woman, a consulting company that creates wellness experiences for individuals and families and provides postpartum planning, coaching, and wellness programs to new parents and their families.Dr. Lau received her MBBS from the University of Queensland in Brisbane, MPH in Health Care Organization and Policy from the University of Alabama at Birmingham, and General Medicine residency in Australia. Dr. Lau has then become an expert in postpartum practice, having served as an Advisor and the Co-Chair of the Women's Health Lifestyle Medicine Initiative at European Lifestyle Medicine Organization, Postnatal Retreat Development Consultant at Sanu, Family Resiliency Expert at the United States Army, and Director of Education at the Military Birth Resource Network & Postpartum Coalition. Dr. Lau has been featured on Goop, Medium, CEO Weekly, KTLA, Exeleon Magazine, EIN Presswire, and ABNewswire.Follow Friends of Franz Podcast: Website, Instagram, FacebookFollow Christian Franz (Host): Instagram, YouTube

 They put in their cover letter, “Honestly, we're just gonna go up to Yellowstone around that time and we would love to swing by and show the movie.”Rudi Womack is the Director of the Wyoming International Film Festival and the creator of the YouTube channel The Film Festival Guide.In this conversation, Rudi talks about:* What watching thousands of film festival submissions has taught him about good storytelling* The biggest mistake filmmakers make when they submit to festivals* Why transparency matters and why he published all of the submission and acceptance stats for the Wyoming International Film Festival * The importance of a compelling poster and thumbnail* How to write a good description of your movie* The most important questions filmmakers must askHere is a link to Hiike, the new film festival submission platform that Rudi mentioned.If you enjoyed this episode please forward to a friend.Here is an AI-generated transcript of my interview with Rudi. Don't come for me.79. Film Festival Director Rudi WomackBEN: Hi everyone. This is Ben Guest and this is The Creativity Education and Leadership Podcast. My guest today is Rudy Womack, who is the director of the Wyoming International Film Festival, and also Rudy has a fantastic YouTube page called The Film Festival Guide. So for all my filmmakers out there who are interested in submitting to festivals in this interview and on Rudy's YouTube page, he breaks it down. Enjoy.Rudi, thank you so much for joining us.RUDI: Hey, it's my pleasure to be here. Thank you for having me.BEN: So I always start off with a fun question, and we're entering the holiday season, so very important holiday question. Is Die Hard a Christmas movie?RUDI: Absolutely. A hundred percent. Come on.BEN: I love it. So I, I told you this off Air, I found you through the Rate YouTube channel.You have the Film Festival Guide. Is that the right name? I wanna make sure I get the name right. Yeah. The filmRUDI: festival guide. Yep.BEN: On YouTube Film Festival Guide on YouTube. Please. Any filmmakers out there go and subscribe. The information is so helpful. What, why did you start the this YouTube page?RUDI: I, as a filmmaker have gone through the festival circuit several times and I made a lot of amateur mistakes. I didn't know what I was doing. Definitely fell on my face a couple of times, but I also had some successes. And as I did more film festivals, I started learning more about the circuit.I got invited by a film festival to become a programmer, and so I started reviewing a lot of films and seeing a lot of the submissions. And I think instantly that made me a better filmmaker just because I saw what was working, what wasn't working, and how other filmmakers really brought to, brought their stories to life on the screen.And it, it was truly inspirational. Very long story short, the Wyoming International Film Festival was started by a gentleman named Alan Oi, and he's a, he's a documentarian out of Wyoming, which is where I'm from. I'm from Wyoming. So Alan had the film festival and he had run it for some years and it was going great and everything.But then Alan retired and now he's retiring. He wants to move outta Wyoming and he doesn't wanna run a live event. ‘cause it is a lot of work in his words. And I quote, it's a young man's game. And at the same time, COVID hit and he didn't wanna do the whole online thing and it was just a big mess.So Alan was like, I'm done with the festival, it's done. I'm just gonna let it die. And I was begging him, no, Alan, you can't do it. It's so important for indie filmmakers. And at the time I'm just finding my feet in the festival circuit as well as both a filmmaker and now I'm a programmer.I'm begging him like don't let it die. It's important, maybe I can help out. And he was like, why don't you run it? And I was like, absolutely not, man. What are you talking about? That's crazy. No way. No way. And I was like, I'm going to be your director of programming. That's what I'm going to do.I'm gonna help you get films in so you don't have to do that work. Very long story short, I ended up running it. I ended up taking over the festival from Alan. I did so reluctantly. But when I started working with the festival, working with the community, working with my hometown filmmakers and my home state filmmakers, and just seeing how important a film festival can be for a local community to uplift indie filmmakers to help them along the way I fell in love with it and here I am now, I run the film festival.And your question was, how did I start the YouTube channel? Sorry, I'm getting there. But I got a lot of questions from filmmakers about festivals, like how to navigate ‘em. And there's just so much mystery behind film festivals ‘cause it's so opaque. There's not a lot of transparency from film festivals.Film festivals are sketchy about which films they do select and which they don't. And frankly, there's a lot of misinformation out there about festivals. So I started answering a lot of questions and I started repeatedly answering the same question again and again and again. And I had some friends who told me, you should write a book.But I was like, yeah, but books, there are books, like people have already written books, bluntly, frankly, people far more experienced and knowledgeable than myself have written books. And so if you're not reading those books, then you're probably not gonna read my book. So that's when I decided, you know what, the YouTube channel is a great way to just do very easy outreach.Take one single topic, break it down for 10 minutes, and hopefully help filmmakers along on their film festival journey.BEN: I love it. And you said something for all the filmmakers who are listening. I'm gonna come back to it. Don't worry. You said something about once you started programming and watching so many films, you got a good sense of what works and what doesn't.So I definitely wanna come back to that. I know the filmmakers listening want to hear that. But before that you mentioned 10 minute videos. You strike me as somebody who, does research and takes time to Yes. Before they do something. What did you discover about running a YouTube page?What things work, what things don't work?RUDI: I'm still very early on in my own YouTube development. I'm still trying to learn what does and doesn't work. So I'm probably the worst person on earth to give advice. Definitely that first 32nd hook is so important on YouTube, just like it is on a film that, that intro, how we come into the story, whatever, on YouTube, you can see a massive drop off and apparently it's that way on every channel.Again, I'm not a YouTube guru, so I don't give advice, but that first 32nd hook is a big deal, but also just my presence on camera. I come from the post world. I'm an editor, so I'm not just behind camera. I'm behind, behind the camera. So I'm very much not used to an on-camera presence, so I'm developing that and learning it as well.What kind of energy I can bring. How to make it engaging. But also I don't wanna be zany and too quirky or anything because I am trying to give good guidance to filmmakers, but I also don't want to lecture them and bore them to death. So it's finding that balance of information that's valuable, but also entertaining enough that people don't wanna click off.And it's actually quite a complex thing that I'm still unraveling one video at a time. But the best advice that I saw was some YouTube guru who is just focus on getting 1% better on every single video. So is that little bit better graphics or better delivery, or better audio, or better editing or whatever it is.And after a hundred videos, you're now a hundred percent better. So that's what I've been focusing on. Just very small baby steps.BEN: Yeah, that's such a great way to break it down, right? It just makes it bite-sized, get 1% better.RUDI: I think you can apply that to life in general. There's a lot of things in life just today be 1% better.That's it,BEN: so you mentioned once you start a programming scene, get enough feel for what works, what doesn't, especially with short films, both narrative and docs. What are you seeing that works and doesn't work?RUDI: In the shorts world I'm seeing a couple of things. One, a self-contained story, and this is something that I had a problem with because oftentimes I would go for more of a quote unquote scene instead of a full beginning, middle and in, in a story.So a self-contained story typically is gonna make your short film much more successful. This can be hard for some filmmakers because they're trying to make a proof of concept short film that they're gonna go and get financing for their future. So one of the things that they often do is they just take a scene outta their feature and then just shoot that, which has mixed results.And the problem is the films that have gotten financed and been made from shorts that have done that are the ones that you see. So it's actually a survivor bias, where it's like it, it works for those particular films and therefore everybody thinks it's gonna work for their film. But obviously the films that it doesn't work for, you're never going to see.So you don't understand, actually for the majority of films, it doesn't work. So if you have a proof of concept, I actually say, don't pull a scene outta your feature. I say write its own scene, or sorry, your own short film. That exists in the same world and universe with the same characters as what your feature film is.And I think that's gonna have much more success on the film festival circuit. And that will lean you or lead you to whatever your goal is, financing or distribution or whatever. So that's a big thing with short films that makes ‘em successful is make sure it is actually a self-contained story and it doesn't have any loose ends, so to speak.What doesn't work is something that I myself struggle with, ironically as an editor. And that's things being too long and you need to parse them down. Now a lot of people will say, shorter, the better, which is true, but I actually think that's a result of actually getting to the core of the problem.And that's make your film as concise as possible. Get the idea. The emotion, the story out as concise as you can. And what that does by happenstance is it makes your film shorter. So it's not that shorter is better. I know there's it almost sounds like I'm just splitting hairs here, but I've seen plenty of five minute films that didn't work.I've seen plenty of 10 minute films that board me to death. So shorter isn't necessarily better. It's more concise of your story is better. And sometimes that still manifests as a 20, 30, 40 minute film. But if it's a very interesting 20, 30, 40 minutes, that's not gonna matter.BEN: It's such a great point. And for me, when I get to a certain point in the edit, I like to just bring in a couple friends and have them watch it. And then I just sit there and watch them watch it and whatever feedback they're gonna provide afterwards. 95% of what I need, I can just tell from Body Language as they're watching the film.RUDI: Yep.BEN: You come fromRUDI: theBEN: Go ahead.RUDI: Oh I was just gonna piggyback off that and just say, audience feedback is worth its weight and goal.BEN: Yeah.RUDI: And every filmmaker when you hit that fine cut stage, like you said, get your friends and family together, buy everybody some burgers and fries or whatever.Get ‘em all together. Gather ‘em up in a room, watch them, watch your film. That's gonna tell you more than anything else. We'll be able to about the success of your film and where it's strong, where it's weak, where you can still fix things. And I always suggest do it in your fine cut stage because nothing's locked in and you can still move things around and adjust, or whatever it is you need.BEN: Love it. And I think earlier what you are really getting at is telling a good story. Yes. And I'm amazed at, not amazed, but maybe a little disappointed, especially in today's world, the technical side of filmmaking. Even for an amateur, even for an indie filmmaker that you can, things can be d done so well technically, but there's no story.RUDI: Yes. All the time. So when I get onto Reddit, ‘cause you mentioned Reddit earlier if I go onto our filmmakers, right? Yeah. I don't have to look far to see people just geeking out over the newest Camerons. It's, and it's always cameras. Everybody always talks about. This camera is so fancy and it has so many stops above and this lens can do this and blah, blah, blah, blah, blah, blah, blah.It has this big bit rate, whatever. Everybody gets so excited about cameras and I always say to myself, man, if they got this excited about audio, I wouldn't have to reject half the films that we have to reject because the audio is just blah. So if we're gonna talk tech, if we're gonna talk about the quote unquote quality of the filmmaking, I think what filmmakers need to understand is there are so many films out there we're that is just the foundation.It is the base level, it is the bare minimum that the film looks good. It sounds good. It feels good. So for us, festival guys, we see so many of these films. You're super gorgeous cinematography, you're really fancy, VFX, whatever it is that you think really separates your film from the pack. I don't wanna discourage you, I don't wanna sound jaded or anything, but it's not as impressive to us as you might believe it is, simply because we see hundreds and sometimes thousands of films like that.So for us it constantly falls back to originality and the story. Is the story well done? Is it well told? Is it a new and interesting story that we've never seen before? Is it a story that we've seen before but told in a very unique way, from a specific point of view, that is what is going to move us as festival people.‘cause when I put it into the theater and my audience walks in and they pay a ticket. My audience is used to going down to the theater and seeing a hundred million dollar movies. So for them, quality is just a given. It's just assumed they're not going to be thinking about it for them. They go and watch a movie ‘cause they're interested in, and I think if more filmmakers really dialed in on their story, they're going to find more success.BEN: So many great points there and a hundred percent agree with what you were saying about people get excited about the camera. And so I did my MFA at USC and there were three different times where I was on a set that, that I felt was unsafe. Not that I felt it was unsafe, what they were doing. Geez. And I walked off and it was always to get the cool shot.Like no one's ever hanging off a balcony to get room tone. You know what I mean? It's just, it's always to get the cool shot that, again, if you're not telling a good story, it doesn't matter. And to your point, I've always felt good audio is more important than good video.RUDI: Good image.BEN: Yeah.RUDI: Look at the documentary. Look at the nonfiction world. We see verite stuff all the time. We see stuff people recorded on their phone or, security camera footage or whatever, like at the end of the day in the nonfiction world is a great example of the quality of the shot doesn't necessarily matter so much as the quality of the story and how it's being told and how it's being revealed to us.And the audio is always gonna be very clean, very top notch, even if it's quote unquote found footage or. Veritate footage or whatever, the audio is always peak. I saw that Netflix doc recently, it was super heartbreaking. The perfect neighbor. And most of it is police body cam footage, but the audio is clean so we're able to follow the story so no one sits back and thinks of themselves this isn't a good shot.Of course it's not, it's police potty cam footage. Like it doesn't look good and it's not meant to,BEN: but it sounds good. And so you can follow it.RUDI: Yes.BEN: What what are some tropes that you think you've gotten tired of seeing in, especially in short films?RUDI: So every year it's a little bit different.You would be surprised what things pop up and what don't. The one trope that kind of rubs me the wrong way, I, I don't know how to describe it any other way than filmmaker self therapy. Like they, they're definitely going through something at the moment and they're not focused on creating a good story.They're more focused on using their art form to emotionally process whatever it is they're going through, which fine, you are an artist that makes sense to do, but also I can't sell my audience on that. So while I don't wanna discourage someone from making a film that is very near and dear and personal to them, at the end of the day, it might not be a good fit for film festivals.And so I, I would really think twice about whether or not that is a story that an audience, frankly, needs to see. Filmmaker cell therapy is one that when I get it, I'm always eh I don't know what to do with it. I just, I don't know what to do. Some other tropes that we see very commonly are like.Obviously right now, tech and AI and stuff like that gives a lot of people anxiety. So there's a lot of like evil robot takes over or the big reveal at the end of the movie, they were a robot the whole time, or the whole thing was a simulation or whatever. That's being very well tread right now.For me, I'm I am not a political person and anytime some big thing is in the news, we see tons of films on it. So I understand politics do affect people's day to day and their lives, so I understand that manifest. But man, I probably have a hundred immigration films right now and that's a lot. And I'm not gonna screen that many, so I'm only gonna pick like one, maybe two, so that's a tough one to do.Anything that's like a hot button political issue. We always see a big wave of those come in. And then honestly, romance dramas get tough. It isn't evergreen. We do have an audience for it. We usually do have some kind of a selection of them. Romance dramas have existed since the beginning of time.It's always been a thing. But filmmaker broke up with his girlfriend, so now he has a character who breaks up with his girlfriend. It gets it, it doesn't get very original. I, it just it gets exhausted. So those are some of the kind of general tropes I would avoid. I have heard other festival directors talk about like cancer films and Alzheimer's films and stuff like that.This year I'm not seeing so much of those, but I have seen those in the past. So tho those are some other. Tread stories we'll see.BEN: One of the things that I appreciate about. Your series of videos is your transparency, and you have one video where you literally break down. Here are all the films the number of films, Wyoming International Film Festivals received. Here's how it breaks down, here's how many we, we accepted, et cetera, et cetera.You have another one where you literally show the viewer, this is what we see as a programmer on our film freeway portal. Here's the scoring sheet. I think it's a little bit different from the one you guys use internally, but basically here's what the scoring sheet on film freeway looks like. Why is transparency so important to you?RUDI: Because I'm a filmmaker, because I've been to so many festivals where I have no idea what the hell's going on. I've been to festivals where I think my film is gonna be a good fit. I think based on what I've been able to investigate on my own, digging through their website, digging through their archive.Seen what they've programmed before. I think I'm a good fit, but I don't actually know. And I've submitted to festivals where later on, I see what they programmed or I got rejected or even accepted and then gone to the festival itself and have been a little disappointed when was like I this festival didn't fit my goals the way that I thought it would, or, this festival wasn't going to do the things for me.Or this festival, like really promoted themselves very heavily as this big event. And then you get there and then it's not, and that's a little bothersome. So when I stepped into my role at the Wyoming International Film Festival, I made a whole bunch of changes. But one of the changes that I made was, we are going to be transparent.I don't ever want a filmmaker to submit to our festival, get in, get accepted to the festival, drive all the way out to Wyoming and be disappointed. I don't want them to do that. That's not good for them. It's not good for us. It's not good for the community. It's not good for indie film at large.What's better is if we just be what we are in Wyoming, we're straight shooters. We just say it as it is. So I'm going to tell you exactly how many films were submitted, which films we accepted, what the percentage rates are, how many shorts versus features, how many docs versus narratives, how many music videos, all of this stuff.And we've been releasing the data for the past couple of years. This year, like we went all out with the data it was much more thorough than what we've done in years past. And even me, the director of the festival, I sit back, I look at the data and I can see some weak spots in it. I can see where we need to improve as a festival, where we need to start, bringing in a certain type of film or where other films might be overrepresented or how we can give more of an experience to our filmmakers.Just by boiling it down to numbers and looking at it. I can start seeing some of our weak spots and I want to improve on that ‘cause I want to have a good festival. And I think if more festivals were to do that, I think the filmmaking community at large would be much more appreciative. And I think film festivals need to understand.That if you have fewer submissions, that's not a bad thing because the submissions that you are going to get are filmmakers that really want to be in your festival and that's good for the health of your festival, the community, the filmmakers, everything. So I, I think the only way we get there is by being transparent.And thankfully there are other festivals that are publishing their data, which is great. And that makes me very happy to see. And I hope that trend continues and I hope even more festivals start publishing more of their data and showing how they review films, what their scorecards look like, what they're looking for.‘cause ultimately I genuinely believe that just serves the filmmakers better and ultimately makes everybody have a better experience on the film festival circuit, including the festivals themselves.BEN: When you took over as directorWhat were the biggest challenges?RUDI: So our biggest challenge to this day is our venue.So there's only one movie theater in Cheyenne, Wyoming. It is owned by a company outta Casper, Wyoming. They own pretty much a monopoly of movie theaters across the state, like most of them. And they don't allow anybody into their theaters at all. They don't allow her private screenings or corporate events or, in individuals who wanna screen their film or film festivals.I'm not the only film festival in Wyoming. I talk with other festival directors. They can't get in either. It's funny, the film commissioner of the state can't even get in. You would think the movie theater would at least want to partner with the state film Commission, but no. So for us, the challenge has been a venue and luckily our partners over at Laramie County Community College.Have graciously allowed us to use their facilities for the last couple years. They have a beautiful auditorium that we do some of our screenings in, but we also have screening rooms in a black box theater that they have as well as a conference room. And when I say conference room, most filmmakers like their heart drops a little bit.They're like, oh man, I'm just, I'm going into a conference room. It's not a proper movie theater. And that's fine. We publish that data on our film freeway page on hike. We are transparent about that. So when you submit, you might be in the conference room. But ironically, I think it has some of the best audio and it has some of the best projection.So even though it's the quote unquote least movie theater, like I actually think it has some of the best projection, best color. But venue is probably one of our biggest challenges and we continue to develop that. We continue to. Trying to innovate. We're trying to build our own screening room there on the campus.Like we're trying to use one of their big classrooms for it. And what we wanna do is we wanna turn it into a lounge. We wanna bring in like couches and sofas and comfy chairs where it's like much more of a chill environment in there. And that's the type of film we wanna screen in. There's some you can literally sit back, settle in and relax.So there's things that we're doing to create a better environment for our filmmakers and of course our audience, our guests at the festival.BEN: I love it. What's been the biggest reward?RUDI: The, I get to meet you. That's what the biggest reward is. I get to meet so many filmmakers. I get to hear their stories.I get to be inspired. I get to learn stuff. I was talking with a festival director a couple of days ago. Who asked me about how we do our audience award scores and how we process that and what they do. And I just like I lit up, I'm like, oh my God. It's such a better way, it's more efficient, it's easier on the staff.It's more representative of how the audience actually feels about the film, the way the scores are aggregated and counted. It's so great. I get to meet so many people in this world of film and every single day it's like a new, whole new world is opened up to me and I get to hear so many fantastic points of view.I get to see so many awesome films, like just how many great movies are out there is a cinephile. It's like the most rewarding thing in the world. I'm an addict. I'm totally addicted to it. It's so great.BEN: I love it. I remember I used to coach basketball in my first year as a head coach. I was like, yeah, everybody's gonna be pretty competitive, other coaches and so forth.And they were, and I was. But at the same time, when coaches would get together, it was just so supportive. And people are sharing, this is what I'm doing in practice. I'm looking at this offense, this defense. And I imagine it's the same with other film festival directors and programmers. Oh, yeah. Just a supportive environment comparing notes.RUDI: It is. And the more that I meet, the more I truly do understand. 99% of festival directors out there are programmers, people who work in it. They have some tie to cinema. Most of them are filmmakers. Those who aren't, have a deep passion and love for cinema and for storytelling, and.Everybody's a volunteer. Everybody has a day job. Nobody makes money on this. They do it from the love of their heart. They truly do. And the way that they serve their communities, the way that they serve their filmmakers, some of the cool ideas they come up with there's some really neat festivals out there with like very interesting hooks or events or whatever.And I think it is such an incredible ecosystem and I think I'm truly privileged to be part of it.BEN: What are some lesser known or maybe mid-tier festivals or local festivals that you love to attend?RUDI: Okay, so one of my favorite festivals I guess you said lesser known. This one is not lesser known, but Film Quest over in Provo, Utah, damn man, pe like festival people talk about building community. They're on a different level. They've built a family. Like everybody who goes to that festival is just so tight knit there. There's no other festival like Provo or sorry, film Quest in Provo. It is just, it's on another level. And how well they treat their filmmakers is fantastic.Some years ago I was invited to be a jury member at the Fair Film Festival, which is in Ferazi Kosovo. So that is in southeastern Europe. It's a landlocked country, just a little bit above Greece, a little bit north of Greece and north of Macedonia. And Fari is a small town. And I went to that festival and first off, wow.What a great festival. I strongly suggest you submit your film to fair film. It's so good. But the cool part of being in this European festival, and frankly a small European country, most of the films are international, obviously. And so there's filmmakers coming in from like Jordan and Spain and Germany and Slovakia and Slovenia and like all over the place, Greece, Turkey, you name it.And how interesting it is to have this incredible cross section of languages and cultures and peoples, but we're all united by this one singular thing. And that's our love for storytelling and our love for movies. It had to be one of the most incredible experiences of my life. And the next movie I make, taking it back to cosBEN: Fantastic.Just had a question. What was it? Oh okay. So with the huge caveat of besides making. A good film, a film that tells a story. Besides that, are there any tips or tricks, things on the margins that filmmakers can do when they're applying to festivals to be aware of? Sometimes festivals. Ask for a cover letter orRUDI: Yes.BEN: Press kit, things like that. Okay.RUDI: So with, sorry, my phone is loud. I should turn that down. So obviously with a huge caveat of make a good film or whatever, what's the easiest way to get it? All of the stuff on film Freeway, and I do have a video on this, on my YouTube page if you wanna check it out, where I give you a tour of film, freeway from the festival side of things like what the festival can see and how we see it and how we navigate it.On the festival end of things. We can see your cover letter, your screenings and awards your. Cast and crew information, your director's bio, your director's statement, your photographs, your EPK, that's your electronic press kit your trailer, all of that. All of that. As much of that as you can possibly make, you should make it.It's very important. And you never know which piece is gonna be more important to a particular film festival. For instance, here's something crazy. I was meeting with some of my programmers last night. They had a whole bunch of films that they wanted to recommend to go to the next level programming.And we require films. Tell us where in the world or where in the United States the film was made. And every single one of ‘em was California. California. California. California. California. Which fine, whatever. California has a big film industry. That's, it's a very big state, population wise. Makes sense, right?But I am sitting back thinking, okay. I don't want it just to be a bunch of California movies. We have a big country here. I would like to see something else. And something caught my attention. One of the filmmakers, their address was in Birmingham, Alabama, but the film was shot in California, so I am suspicious.I haven't dug into it myself. I'm suspicious either that filmmaker's from Alabama and they have moved to California, or that filmmaker lives in Alabama and they shot their film in California. So they're answering where it was shot correctly. But for me, I'm like, there you go. When everybody's from California.I want that unique perspective. I wanna see someone's from Alabama and what their perspective is now. I haven't watched the film yet. I don't know if it's what we're looking for. Obviously it's a good film if my programming team has recommended it, there's no doubt in my mind it's good film. Now there's other considerations we're gonna have, but.That alone was something, even my, like I myself did not know that I would be looking for. So filling out all of that data on film, freeway, all of your information that you possibly can, your cover letters your screenings, your awards, whatever it is, the more information you give us as a festival, the more we have to make our selections.And it only benefits you. It only helps you out. So filmmakers don't get lazy. Fill out all of that information. We need it. We use it. It's important. Just do it.BEN: You mentioned a meeting with your programmers last night. Take us inside that conversation. What does that look like? What do you discuss, et cetera.RUDI: So there's. There's a big programming team and it's divided up into two different groups. There's our kind of first round screeners and then there's our senior programmers and the senior programmers pretty much review the films that have gone through that first round of screening that are getting recommended to go onto the next one.So typically when I'm talking with my screeners and everything, it's a very different conversation on the bottom end of it where they're just sorting through all of the submissions versus a different conversation I have with the senior programmers who are on the top end of it. We're now trying to decide how to block films together, how we're gonna organize it, what's the schedule maybe look like, what's the overall tone and vibe of the festival going to be, okay.If we wanna have a sci-fi block, do we even have enough sci-fi films? If we don't. Where else can we find homes for ‘em? Stuff like that. So those conversations are a little bit more high end, if you will. And it tends to be less about the story of the film itself and more about how that film is going to fit into the festival.Whereas when I'm talking with the screeners, it's much more on the story end. Like what about the story did you like or you didn't like? Or what was the unique point of view? Or whatever. So depending on which group I'm talking to it, it's gonna be different. And then of course that divides out further on features and shorts and documentaries and narratives and music videos.So like obviously my conversation with the music video people are gonna be much different than my like short documentary people.BEN: Shout out to short documentary people as a documentarian primarily makes shorts I'll ask a question for us folks. In one of the videos, as I mentioned, you literally show here's what the scoring sheet looks like.Yes. And that was for narrative with, I think one of the categories was acting and so forth. So for a documentary or documentary shorts, what does that scoring sheet look like? What do those discussions entail?RUDI: Film freeway does not allow us to have more than one scoring sheet.So unfortunately, there's just this one scoring sheet that's for everything. What I tell my screening team, and we definitely double check everything, like there's multiple people who look at something. So it's not just one person's opinion. You have at least two, oftentimes three, pretty often four.So for something like documentary they skip over that. That's what they do. So if there's no acting in the film, they skip over that. They don't rate acting if there is no acting. But you'd be surprised. There are documentaries that have acting in ‘em. There are like docudramas or documentaries with recreation In the recreation is like actual scenes and performances and stuff like that.So in those cases, even though it's a nonfiction and a documentary, yeah, we'll still judge it for the acting ‘cause that's what it has. I get the question. I'm gonna hijack your question for a second, but it is applicable. I get the question, do we accept AI in our film festival, we do not have any official policy for or against ai, which scares some filmmakers.But we do rate AI on the same standards as we would anybody else. So when it comes to creativity and originality, guess what, you're getting a nothing. ‘cause AI didn't create it. AI is not original. AI just mashes together a bunch of information from other people. So that's no creativity and originality.Same thing for something like, I don't know, art design. If you have a AI character walking through a scene or whatever you're getting zero on your art design. Nobody built those sets. Nobody costumed that actor. Nobody was the makeup artist or the hair or whatever other art deck or, PD or anything on the set.So we will accept ai. We have accepted one single AI film so far because despite all of its quote unquote handicaps, and it was a music video. It still was successful in other categories that had a good enough score. We as a team sat down, said Yes, that it still is a good film. The audience is still gonna enjoy it.The filmmaker definitely had a vision with it. They wrote out a whole thing on like why they chose to use ai. ‘cause they're also an experimental filmmaker, so it made sense for them and everything. So we were like, you know what? That's legit. Let's put it in. But other AI submissions, like I got an AI children's animation the other day and I'm like they didn't animate it themselves.They didn't voice act it themselves. It's not getting good scores on any of these. So we'll see. We'll see. We'll see if it gets through or not, but already you're shooting yourself in the foot. So don't do ai.BEN: Okay. Couple little. I don't know, around the edges or micro questions. One of the things that you talked about in one of your recent videos was having a good poster and you talked about designing your poster for your film prudence.RUDI: Yeah.BEN: Talk, talk to me about,RUDI: I specifically gave my posters an example, not a great poster,BEN: But talk to me about that.For the no budget or low budget filmmaker that can't afford to hire a a designer to make a poster. Talk to me about poster design and how that impacts the presentation of the film for festivals.RUDI: So I strongly believe that a big part of filmmaking and marketing and packaging your film together, all of that is psychology.And as much as we want to sit back and say, Hey, don't judge a book by its, cover it, that literally goes against human psychology. People are not hardwired to do that. It, it is. In our DNA, it's not just a bad habit, it is literally a survival mechanism. So if you want to stand out, you do need to have everything put together.Your cover letter, your synopsis, your photographs, all of that, and of course all of your key art. That's your poster. That's any banners that you have, that's how you're going to be promoting the film. And you have to understand it's not just about making your film look pretty to get filmmakers to go, or sorry your programmers go, Ooh, and ah, it's a pretty film.We are looking at that as a mechanism for us to advertise the festival. You gotta understand if I have 150 films in the festival, I have to get an audience for those films. And the easiest way for me to do that is through your marketing materials. We don't have the capacity. To design marketing materials for 150 different films.We are relying on the filmmakers to do that so we can go out and promote the festival. So people show up to your screening, which I would presume is what you want if you're going to a film festival. So anything you're trailer, any photographs that you can provide, which some filmmakers only provide BTS photographs, BTS is fine.It's great. Give me some good key art I can also use, please. That's what newspapers, that's what the local news that's what podcasters, whatever, that's what they want to see. So that's what I can provide. And of course, your poster. Now, there are a lot of online tools to help in poster design, frankly, I don't have an excuse for making a bad poster like I did, which is one of the reasons I use it as an example is I am shaming myself being like, this could be better and it should be. But there's a lot of online resources that can help with poster design. And also for filmmakers who are a little bit strapped for cash, you would be surprised what people will do for in kind, service for service.So if you have a friend or if there's someone that you can find that's Hey, they'll design your poster if you can design whatever their website or whatever it is that your skills might be there, there's a lot of exchange that you can do on that part. So yeah your marketing, your packaging, all of that together is actually quite important.BEN: Such a great point. And I've written and published a memoir and through that, I've worked with other authors on, on. Both writing and marketing their books, editing and marketing their books. And I tell people the exact same thing. People judge a book by its cover all the time. And in this day and age, they judge it for listeners, I'm holding my thumb and forefinger part as a thumbnail on a computer screen.Yeah, that's the size. So even for a programmer or a festival director watching it on film freeway through their platform, they're not gonna see the poster like we see it in the movie theater. They're gonna see it as a thumbnail image. Yeah. So it has to work as a thumbnail image. And if you can't read the title as a thumbnail or can't make out what's on the image, what's on the poster as a thumbnail, then you've failed that part of the process.RUDI: One, one of the things that like really clued me into how important a poster is, I went to a film festival, I believe it was Kansas City Film Festival. Some years ago, and they had a bunch of posters of films out, but there was one that was like bright pink. It was like super bright pink and had like very eye popping design and everything on it.And it was like in a whole field of like dark drama posters that are all like gritty and everything. And I'm like that stands out. That really drew my eye to it. And I think that was like my big light bulb moment of like how important this stuff actually is. And one of the things that I've been saying for some years, I've said it on the channel, I think, I don't know, some, sometimes I record things and edit out.So I don't know what I've said on the channel sometimes but one of the things that I say is making a film is half of film making. The other half is marketing, the other half is getting butts in the seats. The other half is getting eyeballs on your movie. The other half is selling your film to an audience or a film festival or a distributor or a programmer or whatever you're trying to do with it.It's getting it out there. So making a film is half a filmmaking. The other half marketing, that's what it is.BEN: I'm just nodding along with everything you're saying and I've always felt both with films and with books, with art in general, you're trying to make an emotional connection from what's in your head and your heart to the audience.And if you don't do your job, getting your film out there and helping an audience come and see your film. Then you're not helping that connection. You're missing sort of the point of making this, unless it's just for yourself. It's for, it's to connect with other people and for other people to connect with your work.And that is marketing.RUDI: It's valid. If you're just making a film for yourself, that's absolutely valid. It's in art form. You can make a film for yourself, but if you're sending it to me at a film festival, you're not you're literally trying to find an audience. So these are the things you need to consider.BEN: I love it. I got two more just in the weeds detail questions.RUDI: Alright, let's do it.BEN: Let's talk description. And what I've seen ‘cause I'm in the middle of applying to festivals. And by the way just for. Listeners, this might interest you. So I discovered Rudi's YouTube page and I was like, this is so helpful.And then I went to the Wyoming International Film Festival page and all the transparency and statistics that, that Rudi puts out, that the festival puts out. And I realized, okay, so the short documentary I have is not a good fit for this festival. Exactly what Rudi's saying. So just for anybody listening, thank you for doing research.RUDI: Thank you. That's good. That's not a bad thing, right? That means it saves you time, it saves you money, it saves you heartbreak. It's so good. Do research before you submit. I'm sorry, but I, it's in, in almost every single one of my videos, I tell filmmakers, do your research before you submit. Find the festivals that gel with your film.And if it, if they don't screen the type of movie that you have, don't submit to ‘em. You're wasting your time, you're wasting your money. And the festival, like the programmer behind the screen, might love your film. They truly might love your film, but they're programming for a very specific audience and they know what that audience's taste is.So that's why they're driving specific films to that audience. So even if they love it, they might not include it, which is why you should always do your homework and do your research before you submit. I'm sorry to interrupt, but it's so importantBEN: And yes. And the flip side of that coin is now I also know what the Wyoming International Film Festival looks for.So in the future, if I have a doc or a film, I'm like, oh, this would be a great fit for this festival.RUDI: Yes.BEN: It helps both ways.RUDI: It does. And it helps you dial in. Which festivals you should target, which festivals are gonna help you with your specific goals. Whatever your goals are with the film it's gonna help you with your budgeting and your travel plans and your own personal calendar.It's gonna help with your mental health. It just, it helps on so many different aspects. And on the film festival side of things, I appreciate it when I hear from filmmakers say, Hey man, I looked into your festival looks good, but you don't have the kind of film that I have. And I'm like, not a problem man.Maybe I can point you in the right direction. Maybe I know some film festival programmers, I can make a recommendation, on your behalf too, that's not a bad thing. We love movies and we want to see them successful, but not every single fest or film and story is going to be successful in every single market.So it's very important to find your audience. And believe me, we are going to be cheering you the whole way.BEN: I want get back to my kind of in the weeds questions, but you've mentioned something that is big picture, that's so important. I feel like I've buried the lead here. And you mentioned this you've mentioned this multiple times in your videos.Is that a Phil, it's key. Maybe the most important part of this process is of the film festival submission process is a filmmaker needs to understand what are their goals in applying to a festival. Yes. So can you just talk a little bit about that?RUDI: So film festivals are a tool. And they can be a tool for many different things, but they are a tool.And just every single tool is not right for every single job, every film festival is not gonna be right for every film and vice versa. So before you go out to film festivals, you just need to ask yourself why? Why am I going out to film festivals? Why am I spending the money, the time, the energy, the effort?What do I want out of film festivals? And that's where you need to identify your goal. And the more specific you can be with the goal, the better it's going to be you going on your film festival journey. So for many filmmakers, a common reason they go out to film festivals is networking. So I'm gonna use that as an example.So let's say your goal is I want to network, I want to meet other. Filmmakers, I wanna meet, directors of photography and producers and other people that I can hire for my projects, or they're gonna hire me for their projects, and I want to build that network and I want to meet more filmmakers.Fantastic. Great. That's your goal. So the first thing that you need to do is you need to be looking at festivals that have networking events. And in this particular instance, you need to ask yourself two things. One, does it have networking? Is there in-person networking parties or networking events?And two, do the types of people that I want to meet actually attend those networking events. So us at the Wyoming International Film Festival, we have a pretty broad spectrum. We have filmmakers that are just beginning their journey. They're totally new, wet behind the ears. They're green they're just starting their journey.That's great. All the way up to every year we have multi Emmy award-winning filmmakers. Like people who do this professionally they're in unions or professional organizations, or they're a member of the academy, motion picture Arts and sciences or the TV Academy or sometimes like the Grammys and stuff like that.I, myself, I'm a professional editor, so there's people like me who professionally work, but they're like below the line. They're cinematographers editors, gaffers, what have you. So if your goal is to meet some like high-end producer that's gonna throw, a million dollars at your movie our festival is not the festival that's gonna help you with your goal.So you should skip over us because we don't have that kind of person in attendance. But if your goal is to meet other filmmakers at your level that you can collaborate with or get hired by or whatever. We're a great festival. We have tons of networking, and we bring in a ton of those filmmakers.We're a great event for you. So when you identify what your goal is and you're very specific about it, it's easier to identify which festivals you should start targeting. I take that one step further, and then once you've narrowed down which festivals are gonna help you with your goal, then you look into their history and see which of them have screened movies like yours in the past.So if you have a, you know I use the example, if you have a seven minute comedy coming of the age film, now you know which festivals have good networking, which festivals have the kinds of people you want to network with. Now you look at which ones have screened short coming of age comedy films in the past, and have a history of doing that.So that's gonna help you filter it even further. And by doing that, you're gonna really start to develop your film festival strategy. Now I do have some exciting news. There is something coming now, it's called Hike, H-I-I-K-E. It's hike with two I. And what Hy is doing, it's a submission platform similar to film Freeway, but among many of the tools that they're giving filmmakers, they're giving filmmakers customized festival strategies and they're scraping all of that data from film festivals, what they've programmed in the past.And when you as a filmmaker, join Hike, you take a little quiz, you tell them what your goals are, what your film is, you know how long it is, what the genre is, tell them about yourself. And they literally have. Data scientist who's built this like machine learning algorithm that pairs the data from the film festival to what the filmmaker provides.That literally gives you a compatibility score. So it's, it comes out and tells you, if you want to network with, professional filmmakers but not mega producers and you have a short comedy coming of age film Wyoming International Film Festival has that crowd screens those types of films and you would have a 90% compatibility.So it actually helps you develop your festival strategy for you.BEN: It's so needed. And Rudi has a great video on how to spot scam film festivals. Yes. That's something that is just prevalent these days. So for filmmakers who are getting ready to submit, I encourage you to watch that video. I'll link to it in the show.I'll link to everything that we're discussing in the show notes. The. So Rudi talked about one goal a filmmaker can have is to network other goals at various points in my, film festival my limited film festival career I've applied to festivals ‘cause I wanted to go to that city, new Orleans Fest, new Orleans Film Festival.TravelingRUDI: is totally legitimate reason to go.BEN: People apply because they want distribute, they wanna meet distributors or financiers for the next film. Although, that's what everybody wants. SoRUDI: you, you would be surprised. So in, in 2018, I had a feature film and my, my goal like most feature films was to land a distribution deal.But I was like, that's not specific enough. There are many steps to land a distribution deal. So what I need is I need good press on my film. So that was a goal. So I wanted to target festivals that had press. I wanted laurels. I wanted to win some awards with it, but I also knew my film was. Small and kind of small scale.So it wasn't gonna win laurels at big festivals. So I was like, okay, I need festivals with press. I need festivals that are legitimate and above board, but also small enough where I'm gonna be competitive. And then I wanted to actually meet distributors. And I know they only go to big festivals, so I actually had to target three different kinds of festivals.‘cause I had three, let's call ‘em conflicting goals with my own film. So that's what I did. I did a split strategy. I targeted festivals where I was gonna be this tiny little fish in a very big pond. And no one's really gonna notice me, but I'm just happy to be there. I targeted festivals where I know that I was going to get very good press and very good reviews on the film.And I targeted festivals that were small, still legitimate, but I was gonna be competitive and maybe bring home some trophies. And so that was my strategy and it worked, and I landed a distribution deal.BEN: That's so great. I, I'd love to do a part two at some point we can talk distribution deals and all of the, yeah.Things like that. But I think for people listening, the big takeaway is even with this multi-pronged goal, three different goals connected to each other. Once you identify what your goals are, then you work backwards and you create your strategy to Yes, to achieve those. Okay. Back to the two in the weeds.Two more in the weeds questions. Yeah. So description, and as I'm looking at other film descriptions, and I saw this at USC all the time as well, and we talked about earlier, filmmakers wanting to sit in emotion or sit in something traumatic and have the audience experience that I notice a lot of times in descriptions of short films.Can so and so come to terms with this? Can, and just as someone who has a little bit of experience marketing stories, where's the action? What's the active what's this person actively trying to accomplish, rather than can they just come to terms with something? Can you talk a little bit about film description, just three or four lines.What pops?RUDI: So just like your poster, just like your marketing and everything, a film description is your way to reach through the screen, grab the audience, grab the programmer, and pull them into your movie. Keep in mind, your whole entire goal is to get people to watch your film, get them excited about your film.And so if you just have a very drab, like description that's just yeah, has to face consequences for a decision they made or come to terms with something when I, that's a good V one, that's a good place to start, but that's not going to get an audience excited about your film.I saw film, I don't know if it was at my festival. It wasn't at my festival. We didn't screen it, but I'm saying, I don't know if it was submitted to my festival or if I saw it at another festival, but I remember one of the descriptions it was great. It was whatever the two character names were, John and Jane, I forget what the characters are, but like John and Jane are on a date, there's a bomb in the other room.I I hope the date goes well, or something like that. Let's hope the date goes well. And I'm like, what is this movie? That gets you really excited for it. You're. It, it creates so much mystery. And also just the cavalier way that it was written immediately tells me this is gonna be a comedy, or it's not taking itself too seriously.It's not some like gritty, dive into the underworld or whatever. Like just how blunt it was about the dis of the film and just that like small little description. I know I'm paraphrasing what it was, but it stuck with me for years at this point. ‘cause I'm like, that is how you write a description for a film.That is how you get someone excited to see what is this movie about? Let's jump in. Piggybacking off a description. Titles are another great way to do that. In, in my own repertoire of films I've had film called Prudence. Okay, fine, whatever. Prudence doesn't really tell you much about that film.I had a film that I'm very proud of. It's artsy, it's a little bit magical realism and it's called in this gray place, and it has that artsy mystique around it in this gray place. And I love that title. I did it, I did a film back in film school. It's terrible, but the title's great.It's called Back to Fort Russell. It was a Western and I, to this day, it's one of my favorite titles that I've ever had. But it tells you something. It clues you into what this film is going to be, what the journey of this movie is going to be. And some films do that better than others. And some films, yeah, it's not necessary.But I, I get more excited when I hear something like the Texas Chainsaw Massacre than I do something that's just like love. Or mom or something.BEN: I think this is the last question. So again, with all these little details, cover letter, talk to me about cover letters.RUDI: It's so interesting you asked me that question ‘cause hearing about four or five days, I'm posting a video on the YouTube channel about cover letters. It's short, it's only four or five minutes long, but cover letters are so important.Should absolutely write a cover letter. And a couple of days ago I was talking with programmers at dances with films, and if you don't know dances with films, look ‘em up. They are an incredible film festival. They are in the big leagues for sure. And I was talking with a couple of programmers and I asked them about covert letters and they said, it's so important it.How the filmmaker is going to put an audience in the theater is very important for their festival. How they're going to get people to attend is very important for them and they're like, a good indication in a cover letter is when they, the filmmaker indicates how they're going to market their film and they use the example of football.Let's say it's a movie about football. They're like, if it's a movie about football and you tell me in the cover letter that you're part of several like football organizations, or you're gonna be reaching out to sports organizations or youth organizations for sports or something like that, to attend the film.That's a very good indication for them in the cover letter. For me, I think a cover letter is very important in that it shows. You're going the extra mile to show the festival you care. You're not just submit and quit. We're not just one festival on a list of 50 that you're submitting to. There is a reason you want to screen with us, and that's a specific reason.Either you feel that your film is good fit for our audience, or there's something that you want to connect with. In Wyoming, I had one cover letter and we did accept this film and it was really funny. They put in their cover letter like their film was a comedy, so their cover letter was also very comedic, but they're like, honestly, we're just gonna go up to Yellowstone around that time and we would love to swing by and show the movie.And I laughed. I laughed so hard at that and I'm like. But that shows me they care. Like they want to be there. And the film was good and it was funny and we screamed it and they were there. So it's a way to show a film festival enthusiasm and it's way to inform the festival about yourself, about your film, and how that's gonna gel with their particular event and their audience.BEN: I love it. And that reminds me, I got one more, I got a bonus question. Yeah. Can you talk about applying early?RUDI: Yes. Statistically, when I look at our own data, statistically, it does seem to be that the earlier you apply, the better chance that you have. And so I don't want to give the impression that if you applied late.You have no chance. I think in the video where I literally broke down the data and the statistics, I think at our festival we had a one in five chance of getting in on the late deadline, which is about a 20% acceptance rate. But it was much higher the earlier it came in. So just with the raw data taking out my opinions, my emotions on it, whatever, just the data itself shows earlier is better.Now, here's where my opinions and my feelings towards it come from. I think it's a couple of things. One, when you get in early, you set the pace for the rest of the festival, you're telling us, okay, it's a drama. We're gonna compare your film against others. Like you have now become the benchmark that we're gonna compare other films to when it comes to like dramas or whatever.What it also does. It's something I'm going to discuss in my video and cover letters, but it also engages something, what's called mere exposure effect in psychology, which is essentially the more that you are exposed to something, the more preference you have towards it. Which means if you get in early, you are exposing yourself, your film, and your story to the programmers more often and more readily than late submissions are.So it's more likely that the programmers form some attachment to your film, and that's just human nature, that's just psychology. There's some practical reasons for it as well. Obviously, earlier submissions, earlier deadlines are cheaper, so it's better to get in. It's just gonna cost you less money to do and then lastly, there are many festivals that are developing their program as they go. So as films are coming in, they're shaping. We got a ton of dramas. Maybe we need two drama blocks, or, we, we don't have enough sci-fi for a sci-fi blocks, we gotta spread it out or whatever. So if you come in late, you're now trying to elbow some other film out of the way in order to find your screening slot.Which don't get me wrong, there are plenty of programmers that are absolutely gonna go to bat for you. They're gonna fight hard to get you in. Doesn't matter if you come in early or late or whatever, but the chances are just better. And the data shows that if you get in early. All that said, a couple of years ago, the very last film that came in with only two hours left in our deadline, we ended up programming it.So it, it is possible.BEN: Rudi, I cannot thank you enough. I can't tell you how helpful this has been. There's so much great information for filmmakers. Filmmakers submitted to festivals, people just interested in going to festivals. So thank you so much for taking the time.RUDI: Hey it's always a pleasure.I always love talking film festivals and for any filmmakers out there, head on over to YouTube hit up the Film Festival Guide. That's my YouTube page. I'm coming out with videos every two or three weeks. That's about what I put ‘em out there for. So if you need any guidance or any, I don't know, insight for film festivals that's where I am.BEN: Film Festival Guide. I'm a subscriber. I can't recommend it enough. Any other social media where people can find you?RUDI: Oh no, I'm terrible on social media. YouTube's enough for me right now.BEN: So Film Fest.RUDI: I will probably expand in the future and I'll probably make some announcement on the YouTube channel.Got it. But for right now, I'm just trying to get good information out there to as many filmmakers as possible.BEN: Thank you so much for doing that. It's such a huge benefit for film.RUDI: Thank you very much for the support and thank you very much for having me on. I enjoyed this. This was a lot of fun.BEN: Me too. This was great. Thank you. And that was my interview with Rudy Womack, director of the Wyoming International Film Festival and creator of the great YouTube page, the Film Festival Guide. Hope you enjoyed this episode. If you did, please forward it to one person. Thank you and have a great day. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit benbo.substack.com

READ: Norlander on UConn's win over BYU - https://www.cbssports.com/college-basketball/news/uconn-byu-score-results-aj-dybantsa-dan-hurley-silas-demary-kennard-davis-keba-keita/ Parrish and Norlander recap the weekend in college basketball. The No. 1 team in the AP Poll escapes a loss in Birmingham, plus a great game between UConn and BYU in Boston. All that and plenty more from the weekend in college hoops. 0:00 Intro! #moreofus 1:00 Houston holds on to beat Auburn 73-72 16:30 UConn beats BYU 86-84, AJ Dybantsa scores 25 points + Silas Demary Jr. was awesome 29:29 Weekend Whiparound Time! 29:50 Arizona 69, UCLA 65 (Kareem could write columns for GP) 37:54 Gonzaga 77, Arizona State 65 38:30 Michigan 67, TCU 63 42:45 Buzz Williams, Josh Pastner get wins against former schools + a Memphis crisis 54:00 More weekend action 1:05:30 Massive freshman performances 1:07:15 Looking ahead - Champions Classic on Tuesday  Theme song: “Timothy Leary,” written, performed and courtesy of Guster Eye on College Basketball is available for free on the Audacy app as well as Apple Podcasts, Spotify and wherever else you listen to podcasts. Follow our team: @EyeonCBBPodcast @GaryParrishCBS @MattNorlander @Boone @DavidWCobb @TheJMULL_ Visit the ⁠betting arena on CBSSports.com⁠ for all the latest in ⁠sportsbook reviews⁠ and ⁠sportsbook promos⁠ for ⁠betting on college basketball⁠. You can listen to us on your smart speakers! Simply say, “Alexa, play the latest episode of the Eye on College Basketball podcast,” or “Hey, Google, play the latest episode of the Eye on College Basketball podcast.” Email the show for any reason whatsoever: ShoutstoCBS@gmail.com Visit Eye on College Basketball's YouTube channel: ⁠https://www.youtube.com/channel/UCeFb_xyBgOekQPZYC7Ijilw⁠ For more college hoops coverage, visit ⁠https://www.cbssports.com/college-basketball/⁠ To hear more from the CBS Sports Podcast Network, visit ⁠https://www.cbssports.com/podcasts/ To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

Justin and Dan recap Auburn basketball nearly pulling off an upset of No. 1 Houston in Birmingham with a virtually brand-new roster. Topics for this episode include:* how Auburn truly believed it could beat Houston on Sunday* the resiliency Auburn showed it responding to every punch in this game* the Tigers' rebounding holding up in a physical showdown* Keyshawn Hall buying into the Auburn culture and not just being a scorer* how Hall's early injury exit made a difference down the stretch* KeShawn Murphy proving his immense value again in his return* Sebastian Williams-Adams and Elyjah Freeman showing that they're ready now* Tahaad Pettiford looking more like his old self in this one* Auburn's ability to dominate the foul battle…* …but miss out on a win at the free-throw line* the defensive issues and the continued work toward consistency on that end* why Auburn should keep playing these types of games* Grubserver: a review of Johnny's Restaurant in HomewoodIf you're receiving this free podcast episode and would like to upgrade to a paid subscription that gives you access to all stories and premium podcast episodes, subscribe using the button below or clicking this link.Follow Dan (@dnpck) and Justin (@JFergusonAU) on Twitter. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.auburnobserver.com/subscribe

Lamentations 3:1–33 (Listen) Great Is Your Faithfulness 3:1   I am the man who has seen affliction    under the rod of his wrath;2   he has driven and brought me    into darkness without any light;3   surely against me he turns his hand    again and again the whole day long. 4   He has made my flesh and my skin waste away;    he has broken my bones;5   he has besieged and enveloped me    with bitterness and tribulation;6   he has made me dwell in darkness    like the dead of long ago. 7   He has walled me about so that I cannot escape;    he has made my chains heavy;8   though I call and cry for help,    he shuts out my prayer;9   he has blocked my ways with blocks of stones;    he has made my paths crooked. 10   He is a bear lying in wait for me,    a lion in hiding;11   he turned aside my steps and tore me to pieces;    he has made me desolate;12   he bent his bow and set me    as a target for his arrow. 13   He drove into my kidneys    the arrows of his quiver;14   I have become the laughingstock of all my people,1    the object of their taunts all day long.15   He has filled me with bitterness;    he has sated me with wormwood. 16   He has made my teeth grind on gravel,    and made me cower in ashes;17   my soul is bereft of peace;    I have forgotten what happiness2 is;18   so I say, “My endurance has perished;    so has my hope from the LORD.” 19   Remember my affliction and my wanderings,    the wormwood and the gall!20   My soul continually remembers it    and is bowed down within me.21   But this I call to mind,    and therefore I have hope: 22   The steadfast love of the LORD never ceases;3    his mercies never come to an end;23   they are new every morning;    great is your faithfulness.24   “The LORD is my portion,” says my soul,    “therefore I will hope in him.”

This is the Monday evening liturgy during the Fall season of Ordinary Time for the Compline podcast from the Center for Worship and the Arts at Samford University. For more about the Center for Worship and the Arts, as well as the resources we provide, visit us at https://www.samford.edu/worship-arts/.CREDITS:© 2021 Center for Worship and the Arts, Samford University.Engineered and produced by Wen Reagan for the Center for Worship and the Arts at Samford University.SPOKEN WORD:Wen Reagan, Stacy Love, Tracy Hanrahan, Meagan Kennedy, Pierce Moffett, Eden Walker.MUSIC:“Compline #5” by Wen Reagan, © 2020 Sursum Corda Music (BMI).“Wishing Elsewhere” by Emily Hanrahan, © 2020 Emily Hanrahan.“My Savior Left His Throne Above” by Julie Anne Vargas and Zac Hicks, © 2015 Unbudding Fig Music (ASCAP) & Julie Anne Vargas, CCLI #7056910.TEXTS:The liturgical words for this podcast series include original phrasings, but were primarily curated and designed from several public domain sources, including “An Order for Compline” from the Anglican and Episcopal Book of Common Prayer and collects collected from Grace Cathedral and the University of Notre Dame.SOUNDS:The following sound effects were used in this podcast series and are licensed under the Creative Commons Attribution 3.0 Unported License. To view a copy of this license, visit http://creativecommons.org/licenses/by/3.0/ or send a letter to Creative Commons, PO Box 1866, Mountain View, CA 94042, USA."Door, Front, Opening, A.wav" by InspectorJ (www.jshaw.co.uk) of Freesound.org."Door, Front, Closing, A.wav" by InspectorJ (www.jshaw.co.uk) of Freesound.org.“06 – Crackling Candle.wav” by 14GPanskaLetko_Dominik of Freesound.org.“Lights a Candle Light with a Match” by straget of Freesound.org.The following sound effects were used in this podcast series and are licensed under the Creative Commons Attribution-NonCommercial 3.0 Unported License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc/3.0/ or send a letter to Creative Commons, PO Box 1866, Mountain View, CA 94042, USA.“Soft Shoes Walking on a Dirt Road” by Nagwense of Freesound.org.“Match Being Lit.wav” by Jeanet_Henning of Freesound.org.“Candle Blow.wav” by Bee09 of Freesound.org.Mentioned in this episode:Discover Samford's Center for Worship and the Arts - the creator of...

I'm delighted to speak with Dr Alan McKay in this week's episode. Alan is an HCPC sport psychologist, researcher, and practitioner. He completed his PhD in sport psychology with the Football Association of Wales (FAW) and is currently working as a senior research assistant at the FAW Centre for Football Research, housed at the University of South Wales. In this role he helps to produce multidisciplinary, world-leading, applied performance science research to enhance the performance of Welsh athletes and organisations. Alan also works within elite level sport at both Welsh Triathlon and in his own company Mindframe Performance, where he has supported athletes competing at both the 2022 Commonwealth Games in Birmingham and the 2024 Olympic Games in Paris. In this episode Alan and I discuss behaviour-based approaches to mental toughness in sport.

The Houston Cougars, led by freshmen Kingston Flemings and Chris Cenac, beat Auburn in Birmingham, 73-72. The GoCoogs gang of Galen, Brad, and Ryan discuss the game and the two awesome freshmen. The Cougar After Thoughts Show (CATS!) is the most-watched podcast following Houston Cougar basketball games. We have expert commentary, current and former players joining us, lots of laughs, and more. Our suite of GoCoogs Podcasts are the top shows covering Houston Cougar Basketball. We have expert commentary, current and former players joining us, and more. CATS! is the #1 postgame show, Talkin' Bout Them Cougars Live! is our Sunday night interview show with UH coaches, players, and administrators, broadcasters, while No Conference For Old Men analyzes UH Hoops while covering the Big 12 conference, too. Follow us on YouTube today! Turn on notifications to know every time GoCoogs publishes a video on our YouTube page. Cover photo by Mario Puente Music by the Cougar Brass Or follow GoCoogs.com on - Twitter: https://twitter.com/gocoogs1 Facebook: https://facebook.com/gocoogs1 Instagram: https://instagram.com/gocoogs1 Learn more about your ad choices. Visit megaphone.fm/adchoices

Send us a textIn this insightful conversation, we explore the question: Is myopia truly a disease? Join us as Mark Bullimore sheds light on the intricate nuances of this visual condition and its impact on our overall eye health.Discover the significance of each diopter and gain a deeper understanding of why it matters. About Mark Bullimore:Professor Bullimore is an internationally renowned scientist, speaker, and educator based in Boulder, Colorado. He received his Optometry degree and PhD in Vision Science from Aston University in Birmingham, England. He spent most of his career at the Ohio State University and the University of California at Berkeley and is now Adjunct Professor at the University of Houston. He is Associate Editor of Ophthalmic and Physiological Optics and the former Editor of Optometry and Vision Science. His expertise in myopia, contact lenses, low vision, presbyopia, and refractive surgery means that he is consultant for a number of ophthalmic, surgical, and pharmaceutical companies. This work has resulted in approval of, among others, Paragon CRT, Alcon's iLux, and CooperVision's MiSight lens.Resources Mentioned:Myopia Calculator linkhttps://bhvi.org/myopia-calculator-resources/Why every diopter mattershttps://journals.lww.com/optvissci/Abstract/2019/06000/Myopia_Control__Why_Each_Diopter_Matters.11.aspxThe Risks and Benefits of Myopia Controlhttps://www.aaojournal.org/article/S0161-6420(21)00326-2/fulltext

Who or what are you trusting in? Today Mark is discussing Isaiah 13-39."Draw near, O nations, to hear, and give attention, O peoples! Let the earth hear, and all that fills it; the world, and all that comes from it. For the Lord is enraged against all the nations, and furious against all their host.... Strengthen the weak hands...say to those who have an anxious heart, 'Be strong; fear not!'... Then the eyes of the blind shall be opened,.. And the ransomed of the Lord shall return and come to Zion with singing; everlasting joy shall be upon their heads; they shall obtain gladness and joy, and sorrow and sighing shall flee away." —Taken from Isaiah 34:1-2; 35:3-5,10 >>Watch on YouTubeDr. Mark Gignilliat is professor of divinity at Beeson Divinity School, where he teaches courses in Old Testament and Hebrew. Mark also serves as theologian in residence at St. Peter's Anglican Church in Birmingham. Dr. Gignilliat is married to Naomi, and they have four children.

Jude Washington joins The Writer's Block podcast to talk about his candidacy and campaign for the Jefferson County Sheriff's Office in Alabama! Washington talks about his past experiences that have led him to this point, ten key initiatives for the sheriff's office, separating corrections from enforcement, developing a full-time SWAT unit, and much more!Sponsor the show: Gary.Lloyd87@gmail.com.#thewritersblock #podcast #sheriff #police #jeffersoncounty #alabama #policing #jeffco #policecar #sheriffsoffice #Birmingham #deputy #deputies #corrections #enforcement #law #lawenforcement #jail #prison #undercover #SWAT #crime

Cedric DixonBA, CAS, 1998MAE, EDU, 2005MAE, EDU, 2013EDS, EDU, 2015MAE, EDU, 2018Bryant Park Elementary School, Assistant PrincipalMore InformationSelma Times-Journal - Cedric Dixon chronicles journey after basketballAmazon.com - After the Ball Stops BouncingSports-Reference.com - Cedric Dixon

Adrian Goldberg discusses Home Secretary Shabana Mahmood's plans for asylum seekers to the UK with Dr Sohail Jannesari, a migration and mental health researcher at King's College London, and Lauren Starkey, an independent social worker specialising in working with refugee children and young people. Produced in Birmingham, UK by Adrian Goldberg. Learn more about your ad choices. Visit megaphone.fm/adchoices

Dans un monde où beaucoup d'entre nous passent de longues heures assis — au bureau, devant l'écran ou au volant — adopter une alimentation adaptée devient un vrai levier de santé. Une récente étude de l'Université de Birmingham, publiée dans The Journal of Physiology, montre l'intérêt de certains composés alimentaires spécifiques pour contrer les effets négatifs du comportement sédentaire.Les chercheurs ont montré que chez 40 jeunes hommes en bonne santé — 20 « hautement entraînés » et 20 « moins entraînés » — la consommation d'un breuvage riche en flavanols (environ 695 mg) avant deux heures consécutives d'inactivité assise permettait de préserver la fonction endothéliale, c'est-à-dire la capacité des vaisseaux sanguins à se dilater. En revanche, le breuvage à faible teneur en flavanols (moins de 6 mg) ne protégeait pas. En clair, certains aliments peuvent aider nos artères à rester souples même lorsque l'on bouge peu.Que retenir pour les sédentaires ? Trois grandes familles d'aliments se distinguent.Les aliments riches en flavanols et polyphénols. Ce sont eux que l'étude met en avant : cacao, chocolat noir, thé vert ou noir, pommes, baies… Ces molécules végétales puissantes contribuent à une meilleure santé vasculaire. Pour quelqu'un qui reste souvent assis, en consommer régulièrement peut aider à préserver la circulation sanguine et limiter le risque cardiovasculaire.Les légumes colorés et les fruits riches en fibres et antioxydants. Même si l'étude se concentre sur les flavanols, elle s'inscrit dans un schéma plus large. Les légumes-feuilles (épinards, kale), les betteraves, les fruits rouges et les agrumes soutiennent la régulation du métabolisme et limitent l'inflammation chronique souvent accentuée par la sédentarité.Les bonnes graisses et les protéines modérées. Chez les personnes peu actives, le métabolisme des graisses ralentit. Mieux vaut donc miser sur les acides gras insaturés (huile d'olive, noix, avocat) et les protéines maigres (poissons, légumineuses) plutôt que sur les graisses saturées qui favorisent la prise de poids.En conclusion, même sans activité physique intense, votre alimentation peut devenir un allié précieux. Les aliments riches en flavanols, comme l'a montré l'étude de l'Université de Birmingham, aident à maintenir un système vasculaire sain malgré la sédentarité. C'est une forme de protection nutritionnelle simple, mais scientifiquement prouvée. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

November is Adoption Awareness Month! This month specifically is meant to raise awareness about adoption, celebrate families formed through adoption, and highlight the need for permanent homes for children in foster care.On this episode of the podcast, Sammie's friend and coworker, Johnston Moore, sits down and has a conversation with Chris Johnson, a pastor and adoptive dad who works with church engagement at Lifeline Children's Services.The two discuss Chris's background, family life, and testimony - which inevitably dives into a conversation related to God's call to the Church, and to individual Christians, to care for vulnerable children and their families, whether biological, adoptive, or foster. Johnston Moore serves as the Adoption/Orphan Care Consultant for Anglicans for Life and has been featured on the You Were Made for More podcast before - the perfect reason to invite him in to host an episode! Johnston is charismatic, generous, and has a heart for all of God's children.Chris Johnson serves as the Sr. Director of Church Partnerships & External Advocacy at Lifeline Children's Services. With over two decades of pastoral experience and a background as the Executive Director of the Kentucky Governor's Office of Faith and Community Based Initiatives, Chris is a seasoned leader and advocate for vulnerable children and families.A native of metro Atlanta, Georgia, Chris now resides in Birmingham, Alabama, with his wife, Alicia. Together, they have 10 children, seven of whom were adopted from foster care, and are proud grandparents, including two grandchildren adopted through foster care. Their commitment to serving children extends to fostering over 40 children throughout the years, embodying their dedication to family and community.Be sure to stay up to date with Abundant Life: You Were Made for More by visiting our blog - and if you're loving the podcast, send guest recommendations to us or leave us a star-rating/review on your favorite listening platform to spread the word about the you were made for more message.You Were Made for More Social Media: FacebookTwitterInstagram

Jainism, along with Buddhism and Hinduism, is one of India's great dharmic traditions – though far less well known than its siblings. Emerging around the second century BCE, it is best-known for valuing ahimsa in pursuit of liberation – a devout practice of non-violence. Yet there is far more to Jain philosophy than liberation and ahimsa. Jainism offers a rich way of understanding the self, the cosmos, and the divine. It's a philosophy with a vision of reality that continues to challenge Western preconceptions on, well, just about everything: from the nature of souls and knowledge to the meaning of life and the origin of the universe. Today, we'll be exploring Jainism with Dr Marie-Hélène Gorisse. Dr Gorisse is currently Dharmanath Assistant Professor in Jain Studies at the University of Birmingham, where she's co-project lead of the Global Philosophy of Religion Project 2. Marie-Hélène's work explores South Asian philosophy of religion and, most specifically, she is a world-leading expert on Jaina philosophy. In this episode, we'll trace how Jainism arose, how its sages taught that the self can escape the cycle of rebirth, and the purpose of the universe. And perhaps more importantly, we'll explore how Jainism can help us all live better lives for the sake of ourselves, and the world around us. This episode is produced in partnership with The Global Philosophy of Religion Project at University of Birmingham, funded by the John Templeton Foundation. Links Marie-Hélène Gorisse, University of Birmingham The Global Philosophy of Religion Project 2, Website

This is the Sunday evening liturgy during the Fall season of Ordinary Time for the Compline podcast from the Center for Worship and the Arts at Samford University. For more about the Center for Worship and the Arts, as well as the resources we provide, visit us at https://www.samford.edu/worship-arts/.CREDITS:© 2021 Center for Worship and the Arts, Samford University.Engineered and produced by Wen Reagan for the Center for Worship and the Arts at Samford University.SPOKEN WORD:Wen Reagan, Stacy Love, Tracy Hanrahan, Meagan Kennedy, Pierce Moffett, Eden Walker.MUSIC:“Compline #5” by Wen Reagan, © 2020 Sursum Corda Music (BMI).“Wishing Elsewhere” by Emily Hanrahan, © 2020 Emily Hanrahan.“My Savior Left His Throne Above” by Julie Anne Vargas and Zac Hicks, © 2015 Unbudding Fig Music (ASCAP) & Julie Anne Vargas, CCLI #7056910.TEXTS:The liturgical words for this podcast series include original phrasings, but were primarily curated and designed from several public domain sources, including “An Order for Compline” from the Anglican and Episcopal Book of Common Prayer and collects collected from Grace Cathedral and the University of Notre Dame.SOUNDS:The following sound effects were used in this podcast series and are licensed under the Creative Commons Attribution 3.0 Unported License. To view a copy of this license, visit http://creativecommons.org/licenses/by/3.0/ or send a letter to Creative Commons, PO Box 1866, Mountain View, CA 94042, USA."Door, Front, Opening, A.wav" by InspectorJ (www.jshaw.co.uk) of Freesound.org."Door, Front, Closing, A.wav" by InspectorJ (www.jshaw.co.uk) of Freesound.org.“06 – Crackling Candle.wav” by 14GPanskaLetko_Dominik of Freesound.org.“Lights a Candle Light with a Match” by straget of Freesound.org.The following sound effects were used in this podcast series and are licensed under the Creative Commons Attribution-NonCommercial 3.0 Unported License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc/3.0/ or send a letter to Creative Commons, PO Box 1866, Mountain View, CA 94042, USA.“Soft Shoes Walking on a Dirt Road” by Nagwense of Freesound.org.“Match Being Lit.wav” by Jeanet_Henning of Freesound.org.“Candle Blow.wav” by Bee09 of Freesound.org.Mentioned in this episode:Discover Samford's Center for Worship and the Arts - the creator of...

Tyler and Travis live from Birmingham. 

Adrian Goldberg is joined by economist Professor Branko Milanovic to talk about his new book The Great Global Transformation - National Market Liberalism In A Multipolar World. They discuss the rise of China and other countries in Asia as a result of neo-liberalism - and the populist backlash in the West that has ensued. Produced in Birmingham, UK by Adrian Goldberg and Harvey White. Learn more about your ad choices. Visit megaphone.fm/adchoices

Phish Punch You in the Eye 12:18 2025/09/14 Birmingham, AL Phish Army of One > 4:24 2025-09-19 Hampton, VA Phish Ya Mar 7:10 2025-09-19 Hampton, VA Phish The Wedge 7:10 2025-09-19 Hampton, VA Phish Undermind 8:45 2025/09/20 Hampton, VA Phish Birds of a Feather 11:35 2025/09/20 Hampton, VA Phish Bouncing Around the Room 3:33 2025/09/20 […]

This is a free preview of a paid episode. To hear more, visit www.auburnobserver.comJustin and Dan talk a lot of Auburn basketball in this episode, looking back at the Wofford win and previewing a massive showdown with No. 1 Houston in Birmingham before talking DJ Durkin and reviewing a bag of Skittles. Topics include:* Keyshawn Hall continuing to be a bucket* Tahaad Pettiford's shooting slump to start the season* A…

Griffin Warner and Big East Ben talk college basketball for Friday and Saturday. Griffin Warner and Big East Ben break down upcoming college basketball matchups for the weekend, revisiting their early-season bets and observations. They start with Arizona vs UCLA at the Intuit Dome, debating home-court dynamics and lineup strengths, with both leaning toward UCLA as undervalued despite early struggles. They move to BYU vs UConn in Boston, discussing BYU's shift away from ball movement, concerns over efficiency, and UConn's defensive reliability, with Ben favoring UConn while Griffin worries about BYU's depth. They dive into Clemson vs Georgetown, contrasting KenPom and Torvik projections, critiquing Clemson's roster turnover, and noting Georgetown's strong defensive pieces despite awful three-point shooting; Ben likes the under, Griffin leans Georgetown. They preview Houston vs Auburn in Birmingham, emphasizing Houston's physicality, Auburn's flawed roster, and questions about Bruce Pearl's absence, with both expecting Houston to control the matchup. Ben presents his best bet: High Point -2.5 at UAB, praising High Point's talent, depth, and upside while mocking UAB's transfers and program direction. Griffin's best bet is Georgetown as a short home underdog or up to -3, backing Buzz Williams' early momentum. They close with promo details, scheduling notes, jokes about their dads' picks, and plans for more episodes as the season ramps up. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode, Claudia Radiven and Saeed Khan spoke with Professor John Holmwood about the UK's Prevent policy, part of the Counter Terror Strategy concerned with radicalisation. We discussed the trajectory of Prevent from its beginnings where it focussed on community cohesion, to changes between 2011 and 2015 after the Trojan Horse Scandal in Birmingham, to the recent review by William Shawcross in 2023. Professor Holmwood is an emeritus professor of Sociology at the University of Nottingham, whose work has focussed on colonialism, modern social theory, religion and schooling. With Therese O'Toole he wrote the book ‘Countering Extremism in British Schools? The Truth about the Birmingham Trojan Horse Affair' and he has worked with the organisation Prevent Watch, a community initiative supporting those affected by Prevent. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In this powerful episode, Alabama native and political candidate Dakarai Larriett talks about what it really means to lead with authenticity in one of the toughest states to do it. From surviving a false arrest to running openly as a gay Black man, Dakarai's story is a masterclass in courage, empathy, and conviction. In this episode we unpack the realities of running for office, reforming broken systems, and staying true to yourself when the odds are stacked high. What you will learn Authenticity wins hearts — how Dakarai's story of resilience and faith helps voters connect beyond politics. Systemic change requires courage — the truth about law enforcement reform, qualified immunity, and real accountability. Leadership through empathy — why compassion and conviction matter more than party lines in shaping Alabama's future. About Dakarai Dakarai Larriett is a proud Alabama native, entrepreneur, and community leader now running for public office to serve the people of his home state. The son of a U.S. Army veteran and a public-school teacher, Dakarai grew up with a deep respect for service, education, and hard work—values that continue to guide his life and leadership. An honors graduate of the University of Alabama (Magna Cum Laude) and MBA holder from NYU, Dakarai built a successful corporate career with L'Oréal and Whirlpool before launching his own nationally recognized pet-care company. His entrepreneurial journey—from garage startup to thriving business—reflects his belief that opportunity grows when we invest in people and communities. Since returning to Birmingham in 2021, Dakarai has become known for his servant leadership and civic engagement, volunteering with United Way, Meals on Wheels, and the Humane Society. He also leads the board representing 60 families and small businesses at Mercantile on Morris, a mixed-use development in downtown Birmingham. Grounded in faith and fueled by purpose, Dakarai is running for office to bring accountable leadership, economic opportunity, and community pride back to Alabama. When he's not serving or campaigning, you'll find him at the shooting range on Saturdays or at First United Methodist on Sundays—always proud to call Alabama home. Connect With Dakarai Website Instagram Facebook LinkedIn Hey Guys, Check This Out! Are you a guy who keeps struggling to do that thing? You know the thing you keep telling yourself and others you're going to do, but never do? Then it's time to get real and figure out why. Join the 40 Plus: Gay Men Gay Talk, monthly chats. They happen the third Monday of each month at 5:00 pm Pacific - Learn More! Also, join our Facebook Community -

Host Tyler Jones (@TylerJonesLive) is joined by WJOX Birmingham Host Molly Robinson (@GollyMissMollyR), Bryan O'Connor (@CoachBoKnowsShow) & Thomas Bridges (@Thomas_Bridges).(0:30-17:10) If you could have one thing named after you, what would it be?(17:10-33:15) Around the NFL: The Patriots are back, the Seahawks' Super Bowl chances, and why the Cardinals will move on from Kyler Murray.(33:15-1:05:10) Big 12/SEC Breakdown: Hot Takes on Texas Tech, Oklahoma State, Brian Kelly's buyout issues, why Coach Prime could be done at Colorado, and CFB Playoff Rankings. Plus, Big 12 and SEC Week 12 Preview.(1:05:10-1:36:55) Molly Robinson on Oklahoma vs Alabama, as well as the Auburn coaching search.(1:36:55-2:26:40) Coach Bo's Football Fix Presented By O'Connor Advisory Group: Brian Daboll fired, Matthew Stafford's strong season, deaths of Paul Tagliabue/Nick Mangold. Plus, NFL Week 11 Preview: TB/BUF, DET/PHI, KC/DEN, SEA/LAR. Fernando Mendoza Heisman favorite, 3-loss SEC team in the CFP chances. Also, CFB Week 12 Preview: ND/PITT, IOWA/USC, OU/BAMA, TEX/UGA.(2:26:40-2:41:00) Tom Foolery Story of the Week: Pennsylvania man claims he got shot by his dog.Today's show is sponsored by O'Connor Advisory Group. Start planning for your future now at https://oconnoradvisorygroup.com!Follow Tyler Jones on Twitter: https://twitter.com/TylerJonesLiveFollow Tyler Jones on Instagram: https://www.instagram.com/tylerjoneslive/Follow Tyler Jones on Facebook: https://www.facebook.com/tylerjonesliveFollow Studio Soapbox on Twitter: https://twitter.com/Studio_SoapboxFollow Studio Soapbox on Facebook: https://facebook.com/studiosoapboxFollow The Jones Report on Instagram: https://instagram.com/jones_report

Tyler and Travis live from Birmingham getting Sooner fans ready for OU v Bama.

Live from Birmingham. Butkus blitz with Brian Bosworth.

In this episode of MyHeart.net, cardiologist Dr. Alan Bouchard sits down with Dr. Timothy Garvey, Professor of Medicine in the Department of Nutrition Sciences at the University of Alabama at Birmingham, to discuss the evolving definition of obesity as a disease. Drawing from The Lancet's 2025 clinical framework, Dr. Garvey explains when excess adiposity begins to impair organ function, how this redefinition changes patient care, and why understanding obesity as a chronic disease is essential for preventing cardiometabolic complications.About the TeamDr. Alain Bouchard is a clinical cardiologist at Cardiology Specialists of Birmingham, AL. He is a native of Quebec, Canada and trained in Internal Medicine at McGill University in Montreal. He continued as a Research Fellow at the Montreal Heart Institute. He did a clinical cardiology fellowship at the University of California in San Francisco. He joined the faculty at the University of Alabama Birmingham from 1986 to 1990. He worked at CardiologyPC and Baptist Medical Center at Princeton from 1990-2019. He is now part of the Cardiology Specialists of Birmingham at UAB Medicine.Dr. Philip Johnson is originally from Selma, AL. Philip began his studies at Vanderbilt University in Nashville, TN, where he double majored in Biomedical and Electrical Engineering. After a year in the “real world” working for his father as a machine design engineer, he went to graduate school at UAB in Birmingham, AL, where he completed a Masters and PhD in Biomedical Engineering before becoming a research assistant professor in Biomedical Engineering. After a short stint in academics, he continued his education at UAB in Medical School, Internal Medicine Residency, and is currently a cardiology fellow in training with a special interest in cardiac electrophysiology.Medical DisclaimerThe contents of the MyHeart.net podcast, including as textual content, graphical content, images, and any other content contained in the Podcast (“Content”) are purely for informational purposes. The Content is not intended to be a substitute for professional medical advice, diagnosis, or treatment. Always seek the advice of your physician or other qualified health provider with any questions you may have regarding a medical condition. Never disregard professional medical advice or delay in seeking it because of something you have read or heard on the Podcast!If you think you may have a medical emergency, call your doctor or 911 immediately. MyHeart.net does not recommend or endorse any specific tests, physicians, products, procedures, opinions, or other information that may be mentioned on the Podcast. Reliance on any information provided by MyHeart.net, MyHeart.net employees, others appearing on the Podcast at the invitation of MyHeart.net, or other visitors to the Podcast is solely at your own risk.The Podcast and the Content are provided on an “as is” basis.

This week we talk the recently released Epstein emails and interview journalist Thomas Birmingham about his piece in The Nation "The Eviction Kings" (linked below). https://www.thenation.com/article/society/american-landmark-evictions-israel-electra/

Roy Wood Jr. is a trailblazing comedian, writer, and broadcaster whose journey spans from FAMU to Birmingham, to the national stage on The Daily Show. Rooted in southern culture and steeped in the realities of Black America, Roy's comedy mixes sharp insight with raw authenticity, making audiences laugh—and think—with every performance. He's the author of "The Man of Many Fathers," a deeply personal book exploring the values and mentorships that shaped his life after the loss of his own dad at 16. Both on stage and in print, Roy uses humor as his tool to challenge, inform, and uplift, leaving a lasting legacy for his son and his audience. Takeaways: Legacy with Purpose: Roy sees comedy not just as entertainment but as a way to affirm Black experiences and open eyes to hard truths—his mission is to inform, confirm, and bridge communities. Improvise and Adapt: Roy's career started by necessity—he created his own internship at Hot 105.7 to fit his schedule and circumstances, teaching himself the craft of radio and standup by learning from real-life experiences and mentors. The Power of Storytelling: His ability to blend humor with pain and depth, especially in his specials and book, showcases how storytelling can invite audiences into reflection, empathy, and growth. Sound Bytes: "I do what I do in an effort to...confirm to our people, to Black people, that they aren't crazy in what they're seeing and what they're feeling..." "I got my first internship–I need an internship. I believe your morning show could use some hard news in the morning...Van said, bring Starbucks Frappuccinos and a dozen Krispy Kremes every day, and I'll see you at 5:15 sharp." "Pain is a tool. Sorrow can also be woven into this fabric of what you're presenting...the written word will always have worth." Connect & Discover Roy: Instagram:  @roywoodjr Website: roywoodjr.com X: @roywoodjr TikTok: @roywoodjr Facebook: @roywoodjr Show: Have I Got News For You Book: The Man of Many Fathers

On November 12, our church family gathered to hear from Christopher Watkin, author of Biblical Critical Theory. Over the course of the evening, Dr. Watkin helped us rethink one of culture's most persistent questions: Who am I? Drawing on everything from Star Wars to Viktor Frankl to the biblical narrative itself, he showed us why the stories we live in shape us far more than we realize, and why the gospel offers a truer, richer, and more hope-filled story than any we could possibly write for ourselves.ABOUT CHRISTOPHER WATKINChristopher joined us from Melbourne, Australia, where he is a Senior Lecturer in French Studies at Monash University. He is a Fellow of The Keller Center for Cultural Apologetics, a leading voice at the intersection of philosophy, theology, and cultural critique, and recently authored Biblical Critical Theory. His writing traces how individuals and societies make sense of the world—especially when confronted with contrasting beliefs and ideas. As a Christian thinker and teacher, Dr. Watkin brings deep intellectual rigor to bear on questions of meaning, culture, and faith in contemporary life.

This is the Thursday evening liturgy during the Fall season of Ordinary Time for the Compline podcast from the Center for Worship and the Arts at Samford University. For more about the Center for Worship and the Arts, as well as the resources we provide, visit us at https://www.samford.edu/worship-arts/.CREDITS:© 2021 Center for Worship and the Arts, Samford University.Engineered and produced by Wen Reagan for the Center for Worship and the Arts at Samford University.SPOKEN WORD:Wen Reagan, Stacy Love, Tracy Hanrahan, Meagan Kennedy, Pierce Moffett, Eden Walker.MUSIC:“Compline #5” by Wen Reagan, © 2020 Sursum Corda Music (BMI).“Wishing Elsewhere” by Emily Hanrahan, © 2020 Emily Hanrahan.“My Savior Left His Throne Above” by Julie Anne Vargas and Zac Hicks, © 2015 Unbudding Fig Music (ASCAP) & Julie Anne Vargas, CCLI #7056910.TEXTS:The liturgical words for this podcast series include original phrasings, but were primarily curated and designed from several public domain sources, including “An Order for Compline” from the Anglican and Episcopal Book of Common Prayer and collects collected from Grace Cathedral and the University of Notre Dame.SOUNDS:The following sound effects were used in this podcast series and are licensed under the Creative Commons Attribution 3.0 Unported License. To view a copy of this license, visit http://creativecommons.org/licenses/by/3.0/ or send a letter to Creative Commons, PO Box 1866, Mountain View, CA 94042, USA."Door, Front, Opening, A.wav" by InspectorJ (www.jshaw.co.uk) of Freesound.org."Door, Front, Closing, A.wav" by InspectorJ (www.jshaw.co.uk) of Freesound.org.“06 – Crackling Candle.wav” by 14GPanskaLetko_Dominik of Freesound.org.“Lights a Candle Light with a Match” by straget of Freesound.org.The following sound effects were used in this podcast series and are licensed under the Creative Commons Attribution-NonCommercial 3.0 Unported License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc/3.0/ or send a letter to Creative Commons, PO Box 1866, Mountain View, CA 94042, USA.“Soft Shoes Walking on a Dirt Road” by Nagwense of Freesound.org.“Match Being Lit.wav” by Jeanet_Henning of Freesound.org.“Candle Blow.wav” by Bee09 of Freesound.org.Mentioned in this episode:Discover Samford's Center for Worship and the Arts - the creator...

Lewis Goodall has fast become one of the biggest and most trusted voices in British journalism. As one third of the News Agents podcast (with Emily Maitlis and Jon Sopel) he brings his sharp political insight, compelling personal story, and adds a willingness to explore new media formats.Born in Birmingham, he rose from a working-class background his father a welder at the Rover factory to studying history and politics at St John's College, Oxford, as the first in his family to attend university.Starting his career behind the scenes at Granada Studios writing questions for University Challenge and later at the think-tank Institute for Public Policy Research Goodall soon moved into journalism. He became a producer and reporter for BBC Newsnight, before joining Sky News as a political correspondent. His reporting on Brexit, the Labour Party and domestic policy earned him recognition and helped establish his reputation.At a time of such division - the world needs communicators like Lewis - so it was a pleasure to sit down and find out what drives him.Enjoy! Hosted on Acast. See acast.com/privacy for more information.

In this episode, Jay and Chris are joined by Laura Chramer offering color commentary as we all discuss a set of questions used to evaluate your group. Jay discovered the questions in an article by Josh Hunt on the Small Group Network. We added a few from the staff and also asked AI, so the list of questions is immense. Don't feel overwhelmed by this. One comment on the podcast is that you'll have a great group if you teach for transformation, build community, and live on mission as a group. If you'd like to look through the questions as you think about the effectiveness of your group, just click the link below.Small Group Evaluation QuestionsSend us a textThanks for listening to the Great Groups Podcast. Please visit GreatGroups.org for a list of all our episodes.We'd love to hear from you! Click here for our contact form. Jay Gordon is the Small Groups Minister at The Church at Brook Hills in Birmingham, Alabama, USA. Chris Amaro is an IT professional and serves as a Small Group Leader and Elder at Brook Hills. Lifetime Show Notes Brook Hills Pages: The Church at Brook Hills, Birmingham, Alabama, USA Small Group Leader Resources Page Small Group Discipleship Resources Small Groups @ Brook Hills

The Garbage Heist and the Fire Truck Joyride When it comes to dumb criminal stories, this week's episode of The Shallow End Podcast might just take the trash-covered cake. JG and Linds explore two jaw-dropping tales of grand theft municipal—one featuring a pair of Alabama geniuses who used a stolen garbage truck as their getaway vehicle in an ATM heist gone gloriously wrong, and another involving an Australian man who took a fire truck for a joyride… sirens blazing. From sparks flying down Birmingham streets to a cross-jurisdiction chase through New South Wales, it's a masterclass in bad ideas—where optimism bias meets municipal machinery. The guys dissect what drives people to commit felonies in the least stealthy vehicles possible and find surprising poetry (and Shakespeare) in the stupidity. Plus, listener mail brings a “petrified wood curse,” an unexpected toddler interruption during mommy and daddy time, and a conversation about Maine slang that'll make you rethink your “door yard.” Learn more about your ad choices. Visit megaphone.fm/adchoices

This is the Wednesday evening liturgy during the Fall season of Ordinary Time for the Compline podcast from the Center for Worship and the Arts at Samford University. For more about the Center for Worship and the Arts, as well as the resources we provide, visit us at https://www.samford.edu/worship-arts/.CREDITS:© 2021 Center for Worship and the Arts, Samford University.Engineered and produced by Wen Reagan for the Center for Worship and the Arts at Samford University.SPOKEN WORD:Wen Reagan, Stacy Love, Tracy Hanrahan, Meagan Kennedy, Pierce Moffett, Eden Walker.MUSIC:“Compline #5” by Wen Reagan, © 2020 Sursum Corda Music (BMI).“Wishing Elsewhere” by Emily Hanrahan, © 2020 Emily Hanrahan.“My Savior Left His Throne Above” by Julie Anne Vargas and Zac Hicks, © 2015 Unbudding Fig Music (ASCAP) & Julie Anne Vargas, CCLI #7056910.TEXTS:The liturgical words for this podcast series include original phrasings, but were primarily curated and designed from several public domain sources, including “An Order for Compline” from the Anglican and Episcopal Book of Common Prayer and collects collected from Grace Cathedral and the University of Notre Dame.SOUNDS:The following sound effects were used in this podcast series and are licensed under the Creative Commons Attribution 3.0 Unported License. To view a copy of this license, visit http://creativecommons.org/licenses/by/3.0/ or send a letter to Creative Commons, PO Box 1866, Mountain View, CA 94042, USA."Door, Front, Opening, A.wav" by InspectorJ (www.jshaw.co.uk) of Freesound.org."Door, Front, Closing, A.wav" by InspectorJ (www.jshaw.co.uk) of Freesound.org.“06 – Crackling Candle.wav” by 14GPanskaLetko_Dominik of Freesound.org.“Lights a Candle Light with a Match” by straget of Freesound.org.The following sound effects were used in this podcast series and are licensed under the Creative Commons Attribution-NonCommercial 3.0 Unported License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc/3.0/ or send a letter to Creative Commons, PO Box 1866, Mountain View, CA 94042, USA.“Soft Shoes Walking on a Dirt Road” by Nagwense of Freesound.org.“Match Being Lit.wav” by Jeanet_Henning of Freesound.org.“Candle Blow.wav” by Bee09 of Freesound.org.Mentioned in this episode:Discover Samford's Center for Worship and the Arts - the creator...