Podcasts about Captured

Today's Scripture passages are Jeremiah 32:16 - Jeremiah 33 | 2 Kings 25:3-7 | Acts 13:13-52.Read by Christina Edmondson. Get in The Word with Truth's Table is a production of InterVarsity Press. For 75 years, IVP has published and created thoughtful Christian books for the university, church, and the world. Our Bible reading plan is adapted from Bible Study Together, and the Bible version is the New English Translation, used by permission.SPECIAL OFFER | As a listener of this podcast, use the code IVPOD25 for 25% off any IVP resource mentioned in this episode at ivpress.com.Additional Credits:Song production: Seaux ChillSong lyrics written by: Seaux Chill, Ekemini Uwan, and Christina EdmondsonPodcast art: Kate LillardPhotography: Shelly EveBible consultant: JM SmithSound engineering: Podastery StudiosCreative producers: Ekemini Uwan and Christina EdmondsonAssistant producer: Christine Pelliccio MeloExecutive producer: Helen LeeDisclaimer: The comments, views, and opinions expressed in this podcast are solely those of the host and/or the guests featured on the podcast and do not necessarily reflect the views or positions of InterVarsity Press or InterVarsity Christian Fellowship.

Planet Buzz's episode "JUPITER TRINE SATURN" shapeshifting new realms of consciousness within the collective unconsciousness.Jupiter and Saturn form a cultural alliance as their orbits connect every 20 years. The last was on Dec 21, 2020 at 0 degrees Aquarius. A pivotal point as Pluto ingressed Aquarius five times between 2023 and 2024. However, Jupiter and Saturn introduced a larger new cycle of the next 200 years of their conjunctions in air signs. This shift from the material earth orientation of practical form upsets social context entering the communicative connections of thought and relationships. However, we are approaching a few years of their energies flowing in a trine. We can anticipate focused visionary manifestation, especially since they are now in intuitive feeling, emotional water signs.Talk Cosmos Planet Buzz brings together Special Guests from around the USA and the world to discuss subjects concerning us all.Robert Pacitti of Pennsylvania joins host Sue Minahan of Kailua Kona. Stay connected and subscribe to TalkCosmos.com to catch new episodes weekly through YouTube, Facebook, radio, and podcast platforms.ROBERT PACITTI: A professional consulting astrologer and the visionary behind Deep Earth Astrology. Specializing in vibrational and psychological techniques, he has honed his craft under the tutelage of mentors Linda Berry, Sarah Fuhro, Margaret Gray, and Yvonne Tarnas. Email: deepearthastrology@gmail.com Infusing his practice with a deep connection to nature spirituality, Robert holds the title of Grand Pendragon in the Ancient Order of Druids in America and is the Director of the MAGUS Gathering in Gore, Virginia. In 2025, he will be releasing the Deep Earth Astrology Tarot, a divination tool and teaching aid that integrates astrology, herbalism, and nature reverence. Facebook page for deepearthastrology. Website: Deep Earth Astrology.SUE ROSE MINAHAN: an Evolutionary Astrologer Consultant, speaker, writer, workshops. Vibrational Astrology student, Dwarf Planet Astrology graduate & tutor, Kepler Astrologer Toastmasters charter member. Member, WineCountrySpeakers.org, Associate of Fine Arts Music Degree, a Certificate of Fine Arts in Jazz. Mythology enthusiast, Musician, Artist. Founder of Talk Cosmos since April 7, 2018, weekly insightful conversations to awaken heart and soul consciousness. Season 8 on YouTube, Facebook, radio & podcasts.#sueroseminahan #sueminahan #astroweather #youtubepodcast #astrologers #planetbuzz #talkcosmos #KKNWAM #kknw1150 #radio #podcast #youtube #astrologyfacts #spirituality#spiritualawakening #deeptalk #thoughtprovoking #spiritualgrowth #astrologywisdom #astrologyfacts #astrologytips #astrologyinsights # #uranusingemini #mythicskyastrology #neptunepisces #astrologyguidance #Pisces #Astrology #CosmicEnergy #CollectiveUnconscious #RetrogradePlanet #SpiritualAwakening #AstrologicalEvents #CosmicConsciousness #CelestialCycle #AstroTalk #CosmicDiscussion #Metaphysical2025 #RobertjPacitti #robpacitti #deepearthastrology #jupitertrinesaturn #grandconjunctionTalk Cosmos is your opportunity to ponder realms of what Carl Jung called the collective unconsciousness that's shared through time to the present…all through the lens of Sue's lifetime of peering into astrology.“Thankfully, I discovered Evolutionary astrology. Its perspective points directly to our unique personal spiritual soul growth…driven by our aligned intentions. Its promising purpose of soul growth ignited an entirely alive Zodiac. Captured, I felt compelled to study the deep significance of astrological application,” said Sue.Discover the energy that is Talk Cosmos, every Sunday from 1 p.m. to 2 p.m. right here on Alternative Talk 1150!Contact https://talkcosmos.com for weekly schedule, blog, and information.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

7. The Iconic Earthrise Photo and the Genesis Reading Broadcast. Bob Zimmerman discusses how while orbiting the moon, the crew captured the now-iconic "Earthrise" photographs. A dispute over who took the famous color picture was resolved by transcript analysis: Frank Borman quickly took a black-and-white image, and Bill Anders subsequently captured the celebrated color image after scrambling to change the film. For their Christmas Eve television broadcast, Frank Borman sought guidance for a message that would match the "majesty and the significance" of the moment, as NASA's public relations chief refused to dictate the content. Borman's friend, Joe Leighton, struggled to find suitable, non-sectarian text. Leighton's wife suggested starting at the beginning of the Old Testament. Leighton realized the opening verses of Genesis were perfect, as they were fundamental to the world's major religions and fit the theme of beginning a new era of exploration. Anders, Lovell, and Borman read the verses, surprising the world, concluding with Borman wishing "God bless all of you, all of you on the good Earth." 1790 GREEENWICH

Husky voice, Friday night whiskey, and a mountain of cheese from the book launch. In this episode I lift the lid on what really happens inside a print judging room. The rotation of five from a pool of seven. Silent scoring so no one nudges anyone else. How a challenge works, what the chair actually does, and why we start with impact, dive through craft, then finish on impact again to see what survives. Layout over composition, light as the whole game, and a final re-rank that flattens time drift so the right image actually wins. If you enjoy a peek behind the curtain, you will like this one. You can grab a signed copy of the new Mastering Portrait Photography at masteringportraitphotography.com and yes, I will scribble in it. If you already have the book, a quick Amazon review helps more than you know. Fancy sharpening your craft in person? Check the workshops page for new dates and come play with light at the studio.  The book: https://masteringportraitphotography.com/resource/signed-copy-mastering-portrait-photography-new-edition/ Workshops: https://masteringportraitphotography.com/workshops-and-mentoring/   Transcript [00:00:00]  Hey, one and all. How are you doing? Now? I'll be honest, I still have the remnants of a cold, and if you can hear that in my voice, I do apologize, I suppose you could call it slightly bluesy, but you can definitely hear that I'm ever so slightly husky. It's Friday night, it's eight 30, and I was, I've been waiting a week to record this podcast, hoping my voice would clear it hasn't, and so I've taken the opportunity having a glass of whiskey and just cracking on. So if you like the sound of a slightly bluesy voice, that's great. If you don't, I'm really sorry, but whichever, which way I'm Paul. And this is the Mastering Portrait Photography podcast. So it's been a busy month or two. You can always tell when it's busy [00:01:00] 'cause the podcasts. Get, don't really get delivered in quite the pace I would like. However, it really has been a busy couple of weeks the past few. Let me, I'm gonna draw your attention to it. The past couple of weeks, we've, there's a ton of stuff going on around us for a moment. I was up in Preston. I've been up in Preston twice over the past couple of weeks. The first one was working as a qualifications judge for the BIPP, the British Institute Professional photographers. Um. Which I love judging. I love judging. It's exhausting, but I love it. And that was qualifications, panels. Then last week was the launch. Of the updated edition of Mastering Portrait Photography, the book, which is where it all started, where Sarah Plata and I published this book that seems to have been incredibly popular. 50,000 copies translated from English into four other languages. Chinese, Korean, German. And Italian, do not ask me, do not ask me the logic on why the book is in those [00:02:00] particular languages. To be fair, we only found out about the Chinese and Korean when we were trying to get some marketing material together to talk about the new book Nobody had told us. I'm not even sure the publisher knew, to be honest. Uh, but we have found copies. We have a Chinese copy here in the studio. I'm still trying to get a Korean version. So if you are listening to this. Podcast in Korea. Please tell me how to get hold of a version in Korean because we'd love to complete the set. There's, in fact, there's two Italian versions. We knew about that. There's a German version we knew about that hardback version. It's great. It's really beautiful. Very I, like I, I don't live in Germany and I don't like to stereotyping entire nation, but the quality of the book is incredible. It's absolutely rock solid, properly engineered. Love it. We have a Chinese version here but the Korean version still alludes us. However, this week the new version, mastering portrait photography is out. And as you know, I, Sarah interviewed me for the podcast last week to talk about it. Well, it's out. We've had our launch party, uh, we invited everybody who [00:03:00] has featured in the book who, everybody, every picture in the book that we asked the person in it to come to the studio for a soiree. And it was brilliant. I've never seen so much cheese in all my life, and by I don't mean my speech, I mean actual cheese. We had a pile of it, still eating it. So it's been a week and I'm still eating the cheese. I dunno quite how, well, quite by how much we vacated, but probably by several kilos. Which I'm enjoying thoroughly. I've put on so much weight this week, it's unreal, but I'm enjoying the cheese. And then on Sunday we had an open day where we had set the studio out with some pictures from the book and some notes of the different people. Who featured and what I might do, actually, I'd, I wonder if I can do a visual podcast. I might do a visual podcast where I talk about those images, at some point on the website, on masteringportraitportraitphotography.com. I will do the story and the BTS and the production of every single image that's in the book, but it's gonna take me some [00:04:00] time. There's nearly 200 images in there. Um, and every one of them, bar one is a new image or is, is. It is, it is a new image in the book, and it has been taken in the 10 years or the decades subsequent to the first book, all bar one. Feel free to email me. Email me the image you think it might be. You'll probably guess it, but it's it's definitely in there. Um, and so it's been really busy. And then at the beginning of this week, I spent two days up in Preston again, judging again, but this time it was for the British Institute of Professional Photographers print Masters competition. Ah, what, what a joy. Six other judges and me, a chair of judges. Print handlers, the organizers. Ah, I mean, I've seen so many incredible images over those 48 hours, and in this podcast I want to talk a bit about how we do it, why we do it, what it feels like to do it, [00:05:00] because I'm not sure everybody understands that it's it, it's not stressful, but we do as judges, feel the pressure. We know that we are representing, on the one hand, the association as the arbiters of the quality of the curators of these competitions, but also we feel the pressure of the authors because we are there too. We also enter competitions and we really, really hope the judges pay attention, really investigate and interrogate the images that we've entered. And when, when you enter competitions, that heightens the pressure to do a good job for the authors who you are judging. So in this podcast, I'm gonna talk through some of the aspects of that. Forgive me if it sounds like I'm answering questions. It's because I wrote myself some questions. I wrote some [00:06:00] questions down to, how I structures the podcast usually, uh, the podcast rambles along, but this one I actually set out with a structure to it, so forgive me if it sounds like I'm answering questions. It's 'cause I'm answering my own questions. What does it feel like? How do you do it? Et cetera, et cetera. Anyway, I hope it's useful. Enjoy. And it gives you an insight into what it's like to be a competition judge. Okay. As you walk into the judging room. For me at least, it's mostly a sense of excitement. There's a degree of apprehension. There's a degree of tension, but mostly there's an adrenaline rush. Knowing that we're about to sit and view, assess, score these incredible images from photographers all over the world, and let's remember that every photographer when they enter a print competition, which is what I'm talking about primarily here. Every photographer [00:07:00] believes that print that category that year, could win. Nobody enters an image thinking that it doesn't stand a chance. Now you might do that modest thing of, I don't know, you know? Oh no, I don't. I I just chance my arm. No one enters a print they don't think has a chance of doing well. That just doesn't happen. It's too expensive. It takes too much time. And as judges. We are acutely aware of that. So when you walk into the room, lots of things are going in your on, in your heads. Primarily, you know, you are there to do a job. You are there to perform a task. You are going to put your analytical head on and assess a few hundred images over the next 48 hours. But as you walk in, there's a whole series of things. You, you are gonna assess the room. You see that your fellow judges, you're gonna see the print handlers. You're going to see the chair, you're gonna see the people [00:08:00] from whichever association it is who are organizing it, who or who have organized it. You'll see stacks of prints ready to be assessed. There's a whole series of things that happen. A lot of hugging. It's really lovely. This year the panel of judges, uh, had some people in it I haven't seen for quite a few years, and it was beyond lovely to see them. So there's all of that, but you, there's this underlying tension you are about to do. One of the things you love doing more than anything else in as part of your job. So there's the excitement of it and the joy of it, but there's always this gentle underlying tone of gravitas of just how serious it is. What we are doing. So there will be plenty of laughter, plenty of joy, but you never really take your eye off the task in hand. And that's how it feels as you go to take your seats on the judging [00:09:00] panel. So the most important thing, I think, anyway, and I was chair of qualifications and awards for the BIPP for a number of years, is that the whole room, everybody there is acting as a team. If you are not gonna pull as a team, it doesn't work. So there has to be safety, there has to be structure. There has to be a process and all of these things come together to provide a framework in which you assess and create the necessary scores and results for the association, for the photographers, for the contestants. So you take your seats, and typically in a room, there are gonna be five judges at any one time assessing an image. It's typically five. I've seen it done other ways, but a panel of judges is typically five. The reason we have five is at no point do all of the judges agree. [00:10:00] We'll go through this later in more detail, but the idea is that you have enough judges that you can have contention, you can have. Disagreements, but as a panel of judges, you'll come up with a score. So you'll have five judges sitting assessing an image at any one time. To the side of the room, there'll be two more judges typically. Usually we have a pool of seven, five judges working, two judges sitting out every 10 prints or 10 minutes or whatever the chair decides. They'll we'll rotate along one, so we'll all move along one seat and one of the spare judges will come in and sit on the end and one of the existing judges will step off. And we do that all day, just rotating along so that everybody judges, broadly speaking, the same number of images. Now, of course there is a degree of specialism in the room. If a panel has been well selected, there'll be specialists in each of the categories, but you can't have, let's say there's 15 categories. You [00:11:00] can't have five specialist judges per category. That's simply impractical. Um, you know, having, what's that, 75 judges in a room, just so that you can get through the 15 categories is. A logistics task, a cost. Even just having a room that big, full of judges doesn't work. So every judge is expected to be reasonably multi-talented, even if you don't shoot, for instance, landscapes. You have to have a working knowledge of what's required of a great landscape. Because our job as a panel isn't that each of us will spot all of the same characteristics in an image, all of the same defects, all of the same qualities. Each judge has been picked to bring their own. Sort of viewpoint, if you like, to the image. Some judges are super technical, some judges, it's all about the atmosphere. Some judges, it's all about the printing and there's every bit of image production is [00:12:00] covered by each of the individual specialisms of the judges. And so while there is a degree of specialism, there will be a landscape. Specialist in the room or someone who works in landscape, there will be plenty of portrait photographers, wedding photographers, commercial photographers. The idea is from those seven, we can cover all of those bases. So we have seven judges all at fellowship level, all highly skilled, all experienced. And then there's the chair. Now the chair's role is not to affect the actual score. The chair's role is to make sure the judges have considered everything that they should be considering. That's the Chair's job, is to make sure the judges stay fresh, keep an eye on the scores, keep an eye on the throughput. Make sure that every image and every author are given a. The time and consideration that they are due. What do I mean by that? Well, I just mean the photographers spent a lot of time and effort and [00:13:00] finance putting this print in front of us, and so it's really important that we as judges give it due consideration. The chair, that's their role is to make sure that's what really happens. So the process is pretty simple, really. We will take our seats as a panel of judges and when we are settled. The chair will ask for the print, one of the print handlers. There's normally a couple of print handlers in the room, one to put the image on, one to take the image off. The print handler will take the first image or the next image off the pile and place it in front of us on the light box. They will then check the print to make sure there's no visible or obvious dust marks, um, or anything, and give with an air blower or with the back of a a handling glove, or very gently take any dust spots away. They will then step back. Now, the way the judges are set, there are five seats in a gentle arc, usually around the light [00:14:00] box. The outer two judges, judges one and five will step into the light box and examine or interrogate the print carefully. They will take as much time as they need to ascertain what they believe the score for that image should be. They will then take their seats. The next two judges in, so let's say Judge two and four, they will step in to interrogate the print and do exactly the same thing. When they're ready, they'll step back and sit down. And then the middle judge, the final judge in seat three, they will step up and interrogate the print. And the reason we do it that way is that everybody gets to see the print thoroughly. Everybody gets to spend enough time. Examining the print. And at that point, when we all sit down, we all enter our scores onto whatever the system is we're using either using iPads or keypads. There's all sorts of ways of doing it, but what's really important is we do all of this in total silence and we don't really do it because we need to be able to [00:15:00] concentrate. Though that has happened, sort of distracting noises can play havoc. Um, we really do it so that we are not influencing any other judge. So there's no, oh, this is rubbish, or, oh, this is amazing. Or any of this stuff, because the idea is that each judge will come to their own independent score. We enter them, and then there's a process as to what happens next. So that's the process. If at some point a single judge when the image appears, says, I can't judge this for whatever reason, usually it's because they've seen the image before. I mean, there's one this week where I hadn't directly influenced the image. But the author had shown me how they'd done it, so they'd stepped me through the Photoshopping, the construction, the shooting, everything about the image. I knew the image really well, and so when the image appeared on the light box, I knew while I could judge it, it wasn't fair to the author or to the other [00:16:00] competitors that I should. So I raised my hand, checked in with the chair, chair, asked me what I wanted. I said, I need to step off this. I'm too familiar with the work for me to give this a cold read, an objective read. So I if, if possible, if there's another judge, could they just step in and score this one image for me? And that means it's fair for all of the contestants. So that's that bit of process when we come to our score. Let's assume the score's fine. Let's assume, I dunno, it gets an 82, which is usually a merit or a bronze, whatever the system is. The chair will log that, she'll say that image scored 82, which is the average of all five of us. She'll then check in with the scores and the panel of judges. He or she rather, uh, they, so they will look at us and go, are you all happy with that result? That's really important. Are you all happy? Would that result? Because that's the opportunity as judges for one of us, if we're not comfortable that the image is scored where we think it probably should. And [00:17:00] remember with five of you, if the score isn't what you think, you could be the one who's not got your eye in or you haven't spotted something, it might well be you, but it's your job as a judge to make sure if there's any doubt in your mind about the scoring of an image that. You ask for it to be assessed again, for there to be discussion for the team to do its job because it might be that the other members of the panel haven't seen something that you have or you haven't seen something that they have, that both of those can be true. So it's really important that you have a process and you have a strict process. And this is how it works. So the chair will say you are happy. One of the judges may say. No, I'm not happy or may say I would like to challenge that or may simply say, I think this warrants a discussion. I'm gonna start it off. And then there's a process for doing that. [00:18:00] So the judge who raises the challenge will start the dialogue and they'll start in whichever direction it is that they think the scoring is not quite right. They will start the dialogue that way. So let's say the score, the judge who's raising a challenge says the score feels a little low. What happens then is raise a challenge and that judge will discuss the image or talk to the image in a way that is positive and trying to raise the score. And they're gonna do that by drawing attention to the qualities that they feel the image has, that maybe they're worried the other judges haven't seen when they're done, the next judge depends, depending on the chair and how you do it. The next judge will take their turn and he goes all the way around with every judge having their say. And then it comes back to the originating judge who has the right of a rebuttal, which simply means to answer back. So depending on how the [00:19:00] dialogue has gone it may be that you say thank you to all of the judges. I'm glad you saw my point. It would be great if we could give this the score that I think this deserves. Similarly, you occasionally, and I did do one of these where I raised a challenge, um, where I felt an image hadn't scored, or the judges hadn't seen something that maybe I had seen in the image, and then very quickly realized that four judges had seen a defect that I hadn't. And so my challenge, it was not, it's never a waste of a challenge. It's never ever a waste because it's really important that every image is given the consideration it deserves. But at the end of the challenge that I raised, the scoring stayed exactly the same. I stayed, I said thank you to all of the judges for showing me some stuff that I hadn't noticed. And then we moved on. More often than not, the scores move as the judges say, oh, do you know what, you're right, there is something in this. Or, no, you're right. We've overinflated this because we saw things, but we missed these technical defects. It's those kinds of conversations. So that's a, a chair, that's a, a judge's [00:20:00] challenge. Yeah, this process also kicks in if there's a very wide score difference between the judge's scores, same process, but this time there's no rebuttal. Every judge simply gives their view starting with the highest judge and then working anywhere on the panel. Um, and then there's a rare one, which does happen which is a chair's challenge, and the chair has the right in, at least in the competitions that I judge, the chair has the right to say to the panel of judges. Could you just give this another consideration? I think there might be things you've missed or that feels like you're getting a little bit steady in your scoring. 'cause they, the chair of course, has got a log of all the scores and can see whether, you know, you're settling into like a 78, 79 or one judge is constantly outta kilter. The chair can see everything and so your job as the chair is to just, okay guys, listen, I think this image that you've just assessed. Possibly there's some things one way or the [00:21:00] other that you might need to take into consideration. It doesn't feel like you have. I'd like you to discuss this image and then just do a rescore. So those are the, those are the mechanisms. So in the room you've got five judges plus two judges who are there ready to step in when required either on the rotation or when someone recuses themself and steps out. Usually two print handlers and then usually there's at least one person or maybe more from the association, just doing things like making sure things are outta their boxes, that the scores are recorded on the back of the prints, they go back into boxes, there's no damage because these prints are worth quite a lot of money. And so, there's usually quite a few people in the room, but it's all done in silence and it's all done to this beautiful process of making sure it's organized, it's clear it's transparent, and we're working as one team to assess each image and give it the score that it deserves. so when the print arrives on the box. It has impact. Now, whether you like it or not, [00:22:00] whether you understand it or not, whether you can define it or not, the print has an impact. You're gonna see it, you're gonna react to it. How do you react to it? Is it visceral? Does your heart rate climb? Do you. Do you explore it? Do you want to explore it? Does it tell a clear story? And now is when you are judging a competition, typically the association or the organization who are running the competition will have a clear set of criteria. I mean, broadly speaking, things like lighting, posing layout or composition storytelling. Graphic design, print quality, if it's a print competition. These are the kinds of things that, um, we look for. And they're listed out in the competition guides that the entrant, the author will have known those when they submitted their print. And the judges know them when we're assessing them, so they're kind of coherent. Whatever it is that the, the entrance were told, that's what we're judging [00:23:00] to the most important. Is the emotional connection or the impact? It's typically called visual impact or just impact. What's really important about that is that it's very obvious, I think, to break images down into these constructed elements like complimentary colors or tonal range or centers of interest, but they don't really do anything except create. Your emotional reaction to the picture. Now, we do use language around these to assess the image, but what we're actually looking for is emotional impact. Pictures tell stories. Stories invoke emotions. It's the emotions we're really looking for. But the trick when you are judging is you start with the initial impact. Then you go in and you in real tiny detail, look at the image. Explore it, interrogate it, [00:24:00] enjoy it, maybe don't enjoy it. And you look at it in all of the different categories or different areas, criteria that you are, that the judges that the organization have set out. And then really, although it never gets listed twice, it should do, impact should also be listed as the last thing you look at as well. Because here's the process. You look at the image. There's an impact. You then in detail investigate, interrogate, enjoy the image. And then at the very end you ask yourself, what impact does it still have? And that's really important because the difference between those two gives you an idea of how much or how well the image is scoring in all of the other areas. If an image has massive impact when you, let's put 'em on the light box, and then you explore it and you [00:25:00] enjoy it, and you look at it under the light, and then at the end of it you're still feeling the same thing you did when it came on the light box, that's a pretty good indicator that all the criteria were met. If on the other hand, as you've explored the image, you've realized. There are errors in the production, or you can see Photoshopping problems or blown highlights or blocked blacks, or things are blurred where they should be sharp or you name it. It's these kinds of things. You know, the printing has got banding in the sky, which is a defect. You see dust spots from a camera sensor. These gradually whittle away your impact score because you go back to the end and you ask, what impact does the image now have? And I've heard judges use terms like at the end of the process, I thought that was gonna be amazing when it first arrived on the light box. I just loved the look of it from a distance, but when I stepped in, there were just too many things that [00:26:00] weren't quite right. And at the end of it, I just felt some would, sometimes I've heard the word disappointed you. So that's certainly how I feel. When an image has this beautiful impact and the hair stand up on the back of your neck and you just think, I cannot wait to step in and explore this image in detail. 'cause I tell you one thing, most authors don't own a light box. When you see a print on a beautiful light box, the, there's something about the quality. The way the print ESS is you actually get to see what a print should look like. So when you step in, you are really excited to see it. And if at the end of that process you're slightly disappointed because you found defects in the printing or problems with the focusing or Photoshop or whatever it is. You really are genuinely disappointed. So that's how you approach it. You approach it from this standpoint of a very emotional, a very emotional connection with the image to start with, and then you break [00:27:00] it down into its elements, whatever those elements are for the competition. And then at the end, you ask yourself really, does it still have the impact? I thought it would because if it does, well, in that case, it's done really, really well. one of the things that's really interesting about judging images is we, we draw out, we write out all of these criteria and. Every image has them really. I mean, well, I say that of course every image doesn't have them. If you are, if you're thinking about landscape or a picture of a shampoo bottle, it doesn't have posing, for instance, if that's one of your criteria. But typically there's a standard set of criteria and every image has them layout, color uh, photographic technique, et cetera. So if we look at let's say composition, let's talk about composition. Personally, I like to use the term layout rather than composition because it [00:28:00] feels a little bit more like a verb. You lay the image out, you have all of the bits, you lay them out. I like that because when we are teaching photography when we say to someone, right, what are all of the bits that you have in front of you? How are you gonna lay them out? It feels a lot more, to me, at least more logical than saying, how are you gonna compose the image? Because it allows. I think it allows the photographer to think in terms of each individual component rather than just the whole frame. So we are looking for how the image is constructed. Remember that every photographer really should think about an image. As telling a story, what's the story that you want somebody else? Somebody that you've never met. In this case a judge, but it could be a client or it could just be somebody where your work is being exhibited on a wall. What do you want them to look at? What do you want them to see? Where do you want that eye to go? And there are lots of tricks to [00:29:00] this, and one of them is layout or composition. So we've got through the initial impact, boom. And the excitement. And then you start to think, is the image balanced? I like to think of an image having a center of gravity. Some photographers will use center of interest, which is a slightly different thing, but I think an image has a center of gravity. The component parts of the image create balance. So you can have things right down in the edges of the frame, but you need something to balance it like a seesaw. You can't just. Throw in, throw parts of the puzzle around the frame. So you are looking for where do they land? And of course, as photographers, we talk about thirds, golden ratios, golden spirals, all of these terms. But what we are really looking for is does the image have a natural flow? Does it feel like everything's where it should be? Does your eye go to the bit that the author probably wanted you to look at? Have they been effective in their [00:30:00] storytelling? And by storytelling, I don't necessarily mean storytelling as in photojournalism or narrative rich photography. What I mean is what did they want you to see, and then did you go and see it? Separation? Is the background blurred? And let's say the, the subject is sharp. That's a typical device for making sure you look at the subject. Is the color of the background muted in a way that draws your attention? Again to whatever it is in the foreground. So layouts one of those tools. So we work our way around it and try and figure out does the positioning of all of the elements of the image does their positioning add or distract from the story? We think that author was trying to tell. Let's remember that it's not the judge's job to understand the story. It's the author's job to tell the story in a way that the judges can get it. Too often, you know, when I, when I've judged [00:31:00] a competition, someone will come and find me afterwards and say, did you understand what that was about? I was trying to say this, and it's like, well, I didn't see that, but that's not my fault. You know, it's, it's down to you to lead me pictorially to. Whatever it is you're trying to show. Same with all judges, all viewers, clients. It doesn't really matter. It's the author's job, not the judges. So at the end of that, you then move on to whatever's the next criteria. So you know, you assess these things bit by bit, and by the way, every judge will do it in a slightly different order. There'll be written down in an order. But each judge would approach it in a different manner. For me, typically it's about emotional connection more than anything else, it's about the emotion. I love that genuine, authentic connection of a person in the image. To me, the viewer. I will always go there if, if it's a portrait or a wedding or fashion image, if there's a person in it or a dog, I suppose, [00:32:00] then I will look for that authenticity, that, that visceral, it feels like they're looking at me or I'm having a dialogue with them. That's my particular hot button, but every judge has their room and that's how you approach it. So when it comes to a photograph in the end, you don't really have anything other than light when you think about it, right? That's, you pick up a camera, it's got a sensor, it's got film, it's got a lens on the front, and a shutter stopping light coming, or it goes through the lens, but the, the shutter stops it hitting a sensor. And at some point you commit light to be recorded. And it's the light that describes the image. There's nothing else. It's not something you can touch or hear, it's just light. And of course light is everything. I think, I think the term pho photography or photograph is a mix of a couple of words, and it's a relatively recent idea. I think [00:33:00] it was Victorian and it's, isn't it light and art photographic or photograph, um. So that's what it is. It's capturing light and creating a reaction from it. So the quality of light is possibly the most important thing. There is too much of it, and you're gonna have blown highlights, nasty white patches on your prints, too little of it. You're gonna have no detail in the shadows and a lot of noise or grain, whether it's film or whether it's off your sensor. And then there's the shape of the light. The color of the light, and it doesn't really matter whether it's portrait, wedding, landscape, product, avant garde, it's light that defines things. It's light that can break an image. So with portraiture, for instance, we tend to talk about. Sculpting or dimensionality of light. We tend to talk about the shape of the subject. We talk about flattering light. We talk about hard and soft light, and all of these things [00:34:00] mean something. This isn't the podcast to talk about those in detail, but that's what we're looking for. We are looking for has the light created a sense of shape, a sense of wonder, a sense of narrative. Does the lighting draw your eye towards the subject? And when you get to the subject, is it clear that the lighting is effective and by effective, usually as a portrait photographer anyway. I mean flattering. But you might be doing something with light that's counterintuitive, that's making the subject not flattered. That's maybe it's for a thriller style thing, or maybe it's dark and moody. Harsh, as long as in tune with the story as we are seeing it, then the lighting is assessed in that vein. So we've seen some incredible beauty shots over the past couple of days where the lighting sculpted the face. It had damaged ality, but it was soft. There were no hard shadows, there were no [00:35:00] blown highlights. The skin, it was clear that the texture of the skin, the light, it caught the texture. So we knew exactly what that would be. It had. Captured the shape. So the way the gens or shadows ripple around a body or a face tell you its shape. They haven't destroyed the shape. It's it's catch shape, but it hasn't unnecessarily sculpted scars or birthmarks or spots, you know? And that's how lighting works. So you look for this quality, you look for control, you look for the author, knowing what they're doing. With landscapes, typically it's, it is very rare, in my opinion, for a landscape. To get a good score if it isn't shot at one end of the day or the other. Why? Well, typically, at those points of the day, the light from the sun is almost horizontal. It rakes across the frame, and you get a certain quality to the way the shadows are thrown. The way the [00:36:00] light, sculpts hills, buildings, clouds, leaves, trees, the way it skips off water, whether it's at the beginning of the day or the end of the day. It's quite unusual though we do see them for an amazing photograph of escape to be taken at midday. But you can see how it could be if you have the sun directly overhead, because that has a quality all of its own. And you know, if when an author has gone to the effort of being in the right place to shoot vertical shadows with a direct overhead son, well maybe that's so deliberate that the, the judges will completely appreciate that and understand the story. So it's looking for these things and working out. Has the lighting been effective in telling the story? We think the author was trying to tell? Lighting is at the heart of it. So when we've been through every criteria, whatever they are, lighting, composition, color, narrative, et cetera, et cetera, et cetera, [00:37:00] we've assessed every image, hundreds of them. We've had challenges, we've had conversations. We have a big pile of prints that have made it over the line. To whatever is your particular association scoring, whether it's merit or bronze or whatever. The puzzle isn't quite complete at that stage because there is of course, a slight problem and that problem is time. So if you imagine judging a section of images might take a couple of hours to do 70 prints, 60, 70 prints might take longer than that. In fact, it might take the best part of an afternoon. During that time. There's every chance the scores will wander. And the most obvious time is if a category spans something like a lunch break. We try to make sure categories don't do that. We try to complete categories before going for a break. We always try to be continuous, but [00:38:00] you've still got fatigue. You've got the judges rotating. So all of these things are going on. It sometimes it depends what images come up in what order could conceivably affect the scoring. For instance there's an image that came up this year where I think probably I was the judge that felt the strongest about it. There was something about this particular image that needed talking about, and so when it came up and it was scores that I raised a challenge and my heart rate, the minute the print hit the stand, my heart rate climbed through the roof. It was. Something about it that just connected with me. And then when I explored the image on the lights, on the light box, to me, there was very little that was technically holding it back. There were a couple of bits, but nothing that I felt warranted a lower score. And so I raised a [00:39:00] challenge. I said my point, I went through it in detail. I asked the other judges to consider it. From my viewpoint, they gave their views as to why they hadn't. But each of them understood where I was coming from and unlike the challenge I talked about earlier where no one changed their mind on this one, they did on this one. They also saw things that I saw when we went through it. But at the end of the process, the image was got a higher score, which is great, but. I didn't feel that I could judge the next image fairly because whatever came in, my heart rate was still battering along after seeing this one particular image. And that happens sometimes. It's not common, but I felt I needed to step off the panel before the next image came up. Which I did in work, working with the chair and the team. I stepped off for a couple of prints before stepping back on [00:40:00] just to let my eye settle and let myself get back into the right zone. But during the day, the zone changes. The way you change your perception of the images, as the images come through is so imperceptible, imperceivable, imperceptible. One of those two words is so tiny that you don't notice if there's a slight drift. And so there's every opportunity for an image to score a couple of points lower or a couple of points higher than it possibly could have done. If it had been seen at another point in the day. Maybe it had been, maybe if the image was seen after a series of not so strong images, maybe it would get a higher score. Or of course, the other way round. Maybe after seeing a series of really, really powerful, impactful images that came up, maybe it scored be slightly diminished. Both of those can be true. And so it's really important that we redress that any possible imbalance and every competition I've ever done has a final round. And the [00:41:00] way this is done is that we take the highest scoring images, top five, top 10, depending on the competition, and we line them up. And all of the judges now, not just the judges who are the five on the panel, all seven judges. Get an opportunity to bring each image back onto a light box if they wish, if they haven't seen them already. Because remember, some of those images may not have been assessed by the, well. It cannot have been assessed by all seven of the judges, so there's always gonna be at least two judges who haven't seen that image or seeing it for the first time as a judge. So we bring them back, we look at them, and then we rank them using one of numerous voting mechanisms where we all vote on what we think are the best images and gradually whittle it down until we're left with a ranked order for that category. We have a winner, a second, a third, a fourth, sometimes all the way down to 10 in order, depending on the competition. And that's the fairest way of doing it, because it means, okay, during the judging, [00:42:00] that image got, I dunno, 87. But when we now baseline it against a couple of images that got 90 something, when we now look at it, we realize that that image probably should have got a 90 as well. We're not gonna rescore it, the score stands, but what we are gonna do is put it up into there and vote on it as to whether it actually, even though it got slightly lower, score, is the winning image for the category. And every competition does something similar just to redress any fluctuations to, to flatten out time. It takes time outta the equation because now for that category, all seven judges are judging the winner at the same time, and that's really important. We do that for all the categories, and then at the end of that process, we bring back all of the category winners and we vote on which one of those. Wins the competition. Now, not every competition has an overall winner, but for the one we've just done for the print masters, for the BIPP print masters, there is an overall winner. And so we set them all out [00:43:00] and we vote collectively as a winner on the winner. And then, oh, we rank them 1, 2, 3, 4, or whatever. Um, really we're only picking a winner, but we also have to have some safety nets because what happens if for instance. Somebody unearths a problem with an image. And this has happened, sadly, this has happened a couple of times in my career where a photographer has entered an image that's not compliant with the rules but hasn't declared it. And it's always heartbreaking when it does happen, but we have to have a backup. So we always rank one, two, and three. So that's some backups, and that's the process. That's how we finish everything off. We have finished, we've got all the categories judged, the category winners judged, and then the overall one, two, and three sorted as well. at the end of the process? I can't speak for every judge. I can speak for me, I feel, I think three things. Exhaustion. It's really hard to spend 48 hours or longer [00:44:00] assessing images one by one, by one by one, and making sure that you are present and paying attention to every detail of every image. And you're not doing an author or an image a disservice. You pay each image or you give each image, you pay each image the due attention it deserves. I feel exhilaration. There's something energizing about assessing images like this. I know it's hard to explain, but there's something in the process of being alongside some of the best photographers that you've ever met, some photographers that you admire more than any others, not just as photographers, but as human beings. The nicest people, the smartest people, the most experienced people, the most eloquent people. There's something in that. So there's this [00:45:00] exhilaration. You are exhausted, but there's an exhilaration to it. And then finally, and I don't know if every photographer feels this or every judge feels this, I do. Which is massively insecure, I think. Can't think of the right words for it. There must be one. But I come away, much like when you've been out on the beers and you worry about all the things you've said, it's the same process. There was that image I didn't give enough credit for. There was this image I was too generous on. There were the things I said in a challenge when it gets a little bit argumentative or challenging. 'cause the clues in the title, you know, maybe I pushed too hard, maybe I didn't push hard enough. There are images you've seen that you wished you'd taken and you feel like. I'm not good enough. There's an insecurity to it too, and those are the three things I think as you leave the room, it's truly [00:46:00] energizing. Paradoxically, it's truly exhausting, but it's also a little bit of a head mush in that you do tend to come, or I do tend to come away a little bit insecure about. All the things that have gone on over the two days prior, and I've done this a long time. I've been judging for, I dunno, 15, 16, 17 years. And I've got used to those feelings. I've got used to coming away worrying. I'm used to the sense of being an underachiever, I suppose, and it's a wonderful , set of emotions that I bring home. And every time I judge. I feel better for it. I feel more creative. I feel more driven. I feel more determined. I feel like my eyes have been opened to genres [00:47:00] of photography, for types of imagery, for styles of posing or studio work that I've never necessarily considered, and I absolutely adore it every single second. So at the end of that, I really hope I've described or created a picture of what it's like to be a judge for this one. I haven't tried to explain the things we saw that as photographers as authors, you should think about when you are entering. I'm gonna do that in a separate podcast. I've done so many of those, but this one was specifically like, what does it feel like to be a judge? Why do we do it? I mean, we do it for a million reasons. Mostly we do it because people helped us and it's our turn to help them. But every photographer has a different reason for doing it. It's the most joyful process. It's the most inspiring process and I hope you've got a little bit of that from the podcast. So [00:48:00] on that happy note, I'm gonna wrap up and I'm gonna go and finish my glass of whiskey which I'm quite excited about if I'm honest. 'cause I did, it's been sitting here beside me for an hour and I haven't drunk any of it. I do hope you're all doing well. I know winter is sort of clattering towards us and the evenings are getting darker, at least for my listeners in the north and the hemisphere. Don't forget. If you want more information on portrait photography or our workshops we've announced all of the upcoming dates or the next set of upcoming dates. Please head across to mastering portrait photography.com and go to the workshop section. I love our workshops and we've met so many. Just lovely people who've come to our studio. And we've loved being alongside them, talking with them, hopefully giving a bit of inspiration, certainly taking a little bit of inspiration, if I'm honest, because everyone turns up with ideas and conversations. Uh, we would love to see you there. The workshops are all are all there on the website and the workshop section. You can also, if you wish, buy a signed copy of the book from mastering portrait photography.com. Again, just go to the [00:49:00] shop and you'll see it there on the top. Amazon has them for sale too. It is great. Amazon typically sells them for less than we do, but we have a fixed price. We have to buy them from the wholesaler at a particular price, whereas Amazon can buy many, many more than we can, so they get a better deal if I'm honest. However, if you want my paw print in there, then you can order it from us and it's supports a photographer and it's really lovely to hear from you. When you do, uh, one thing, I'd love to ask anyone who has bought the updated edition of the book, if you are an Amazon customer. Please could you go on to amazon.com and leave us a review? It's really powerful when you do that, as long as it's a good review. If it's a rubbish review, just email me and tell me what I could have done differently, and I'll email you back and tell you, tell you why I didn't. But if it's a half decent review, a nice review. Please head over to Amazon. Look for mastering portrait photography, the new version of the book, and leave us a review. It's really important particularly in the first couple of [00:50:00] weeks that it's been on sale. Uh, it would be really, really helpful if you did that. And on that happy note, I wish you all well. I've grabbed my glass of whiskey and I'm gonna wrap up and whatever else you do. Until next time, be kind to yourself. Take care.   

Show off your Lone Star spirit with a free "Remember the Alamo" hat with an annual subscription to The Texan: https://thetexan.news/subscribe/The Texan's Weekly Roundup brings you the latest news in Texas politics, breaking down the top stories of the week with our team of reporters who give you the facts so you can form your own opinion.Enjoy what you hear? Be sure to subscribe and leave a review! Got questions for the reporting team? Email editor@thetexan.news — they just might be answered on a future podcast.Election Day Arrives in Texas with Special Elections, Constitutional Amendments, Bond Proposals on BallotAll 17 Texas Constitutional Amendments Pass, Including Bail Reform, Water Fund, Tax Exemptions‘This is a Blowout Victory': Austin Voters Stamp Out Tax and Spending IncreasePro-Casino, Anti-Gambling Interests Go All In on Texas Senate Special ElectionWambsganss, Rehmet Head to Runoff in Texas Senate District 9 Special ElectionAmanda Edwards, Christian Menefee Head to Runoff in Houston Congressional District Special ElectionBexar County Voters Approve Venue Tax Raise for New San Antonio Spurs Downtown ArenaCruz Calls for Federal Judge Boasberg's Impeachment Over FBI 'Arctic Frost' InvestigationBell County Treasurer Candidate Promises to Eliminate Office, Following Galveston CountyNew York Judge Dismisses Paxton Legal Challenge Against Abortion Pill DoctorSinaloa Cartel ‘Boss' Captured in Mexico by Federal Task Forces in Collaboration with Texas DPSand more!

Mars isn't just a modern-day obsession, because we earthlings were nuts for the Red Planet more than a century ago. David Baron's new book tells the story.

State and federal authorities make more arrests of undocumented drivers.An Oklahoma fugitive gets caught after 13 years on the run.Hot temperatures are taking a toll on Midwestern farmers and the food they harvest.You can find the KOSU Daily wherever you get your podcasts, you can also subscribe, rate us and leave a comment.You can keep up to date on all the latest news throughout the day at KOSU.org and make sure to follow us on Facebook, Tik Tok and Instagram at KOSU Radio.This is The KOSU Daily, Oklahoma news, every weekday.

Duncan, Eddie and Lee return with another episode of Shoot and Scoot, the Flames of War and Checkpoint Charlie and Team Yankee wargaming podcast. This episode we talk about what we have been painting and playing, and take a look at the US forces in Chcekpoint Charlie

Authorities Are Terrified of What's Being Captured in ALASKA Deep Woods Hosted on Acast. See acast.com/privacy for more information.

Superman 40-02-19 0004 Clark Kent-captured By The Wolf

The Superhero Show #605Cadillacs and Dinosaurs: Death RayThe Superhero Show: Death Ray – Laser Beams, Betrayal, and Mammoth MayhemThis week on The Superhero Show, the hosts fire up their engines for a thrilling look at “Death Ray,” episode 1.03 of Cadillacs and Dinosaurs. As Jack Tenrec and Hannah Dundee set out to escort the eccentric Dr. Fessenden into dangerous Grith territory, the group finds themselves caught in one of the show's most suspenseful and explosive adventures yet. With high-tech weapons, shocking betrayals, and prehistoric chaos, this episode turns the heat all the way up in Sea City.A Mission into the UnknownThe story kicks off when Dr. Fessenden reveals a mysterious satellite laser to Wilhelmina Scharnhorst—technology he claims could transform civilization. However, to activate it, he needs to reach an abandoned station hidden deep in Grith territory. Despite her doubts, Wilhelmina recruits Jack to guide Fessenden safely through the dangerous terrain, trusting his uneasy alliance with the Grith to keep everyone alive.Their journey quickly becomes perilous as they face a lurking shivat, a monstrous one-eyed creature that tests their resolve. This pulse-pounding encounter sets the tone for the rest of the episode, where survival and trust are in constant tension.The Talisman and the TrapAlong the way, the Grith present Jack with a talisman—an ancient token whose meaning remains unclear. Is it protection, or a warning of what's to come? Meanwhile, Hammer and his crew catch wind of Fessenden's true mission and decide to seize the Death Ray for their own destructive purposes.The hosts discuss how this moment flips the story from a simple escort mission to a tense race for control of unimaginable power. The stakes skyrocket as Jack, Hannah, and Fessenden are pulled into a web of deception and danger.Captured by HammerThe tension hits its peak when Hammer captures the group at the satellite station. Jack and Hannah are bound and helpless, forced to watch as the Death Ray powers up, aimed directly at them. Fessenden's hidden agenda comes to light, revealing that the technology's potential for good was only an illusion.The hosts highlight how this sequence builds nail-biting suspense—every second counts as Jack's quick thinking and the mysterious power of the Grith talisman become their only hope for survival.Chaos, Carnage, and MammothsJust as all seems lost, chaos erupts. A herd of mammoths stampedes through the facility, scattering Hammer's forces and throwing everything into disarray. Hannah manages to re-aim the Death Ray, turning Hammer's weapon against his own operation. Amid the destruction, Jack risks his life to rescue a baby Zeke, proving his heart and courage once again define him as the hero of this world.In a dramatic finale, the station explodes in a fiery spectacle, ending both the Death Ray threat and Hammer's ambitions—for now.A Fragile Peace RestoredWith the danger behind them, Jack returns the talisman to the Grith, closing this chapter on a note of fragile peace and mutual respect. It's a powerful symbol of how humanity and nature remain forever intertwined in this strange, post-apocalyptic world.Final Thoughts: Death Ray Shines Bright in Cadillacs and DinosaursThe Superhero Show hosts agree that “Death Ray” stands out as one of the most intense and cinematic episodes of Cadillacs and Dinosaurs. Combining sci-fi spectacle with raw emotion, it captures everything that makes the series so unique—its...

Venezuela Says It Captured CIA Group Planning False Flag Attack, Maduro Condemns US “Military Provocation” As White House Considers Air Force Strikes

Alternative rock powerhouse Sons of Silver will drop their live EP, 7 Cities 7 Songs, on October 3. Capturing the raw energy of their tour with Myles Kennedy, the release features seven songs performed live, from 7 venues in 7 cities. The EP was mixed by Grammy-nominated producer Tim Palmer (U2, Pearl Jam, David Bowie). Even as they showcase their onstage fire, the band is already deep in the studio, crafting new material slated for release in 2026.“If you appreciate gifted musicians creating art that feels genuine, Sons of Silver is a show you won't want to miss. Their devotion to their craft is unmistakable as they bring their songs to life on stage, inviting fans to embark on this exhilarating journey with them.”– The Concert ChroniclesBecome a supporter of this podcast: https://www.spreaker.com/podcast/arroe-collins-unplugged-totally-uncut--994165/support.

In this episode of Crime Bit with Danelle Hallan, we look into the mysterious disappearance of 22-year-old Riley Strain. What began as a night out with friends in downtown Nashville quickly turned into a search that gripped the entire country.Riley was last seen leaving a bar alone and confused. Minutes later, his phone went silent near the Cumberland River as his family and volunteers searched for answers.What really happened that night? And how did Riley's trail end so suddenly?Join us as we piece together his final moments on Crime Bit with Danelle Hallan

Surgeon's Secret Camera Captured Wife's Affair; Now I'm Head of Cardiology & FreeBecome a supporter of this podcast: https://www.spreaker.com/podcast/true-cheating-wives-and-girlfriends-stories-2025-true-cheating-stories-podcast--5689182/support.

Could ‘Maga-fication' change the course of British politics?  Anne has been speaking to former Conservative Prime Minister, Liz Truss, who outlines several perceived problems in the country – from lack of growth to higher taxes.  The duo also discuss her comments about what the Tories really stands for and the threat from Reform UK as the party grapples for prominence in the polls. 

Surgeon's Secret Camera Captured Wife's Affair; Now I'm Head of Cardiology & FreeBecome a supporter of this podcast: https://www.spreaker.com/podcast/true-cheating-wives-and-girlfriends-stories-2025-true-cheating-stories-podcast--5689182/support.

In this episode, what happens in Vegas does NOT stay in Vegas as the Bo-Hosts evaluate Sammy's truly epic, newly-released, The Residency, LIVE album! Captured during Sammy's acclaimed 2025 Las Vegas residency at Dolby Live at Park MGM, The Residency, delivers 19 high-octane tracks spanning Sammy's legendary catalog, including some deep cuts from his tenure with Van Halen which haven't seen stages in over 20 years!  With double vinyls and a mix by the legendary producer Chris Lord-Alge, it's a monster sounding album that demands repeat listens!Crack open your Sammy libation of choice, and let us know what YOU think!"What is understood...NEED be discussed"Facebook:https://www.facebook.com/profile.php?id=100085582159917Instagram: https://www.instagram.com/thebogusotisshow/?hl=enConnect with the Bo-Hosts:bogusotisshow@gmail.com

EPISODE 148 | The Visitors: 3I/ATLAS & Friends Something is happening right now that maybe we should all pay at least a little bit of attention to. It's time to break out the nice dishes and give the place a good dusting, because we have company folks. We have a visitor.  Probably a comet. But maybe not, according to some. Maybe it's an alien spaceship with bad intent. And it's coming to get us. Like what we do? Then buy us a beer or three via our page on Buy Me a Coffee.  Review us here or on IMDb. And seriously, subscribe, will ya? Like, just do it. SECTIONS 03:21 - Wanderlust - 1I/ʻOumuamua, Avi Loeb, solar sails, technosignatures, 2I/Borisov, astronomical units (AUs) 12:56 - Poor Fractured Atlas - Avi Loeb gets into UAP, the ATLAS detection system, 3I/ATLAS, "normal" comets, maybe a planet seed 22:08 - Calling All Comets - 3I/ATLAS starts acting weird, the Dark Forest Hypothesis, an interstellar highway, coronal mass ejections (CMEs), nickel and iron 30:20 - In My House - A Mars flyby, the US government shuts down and conspiracy theories fill the void, a recap of weirdness, why it does not have "military implications" 39:15 - Supermassive Black Hole - The Overview Effect, real dangers, more stuff is probably coming Music by Fanette Ronjat MORE INFO The Uncensored Guide To ‘Oumuamua, Aliens, And That Harvard Astronomer in Forbes ʻOumuamua on RationalWiki New interstellar object 3I/ATLAS: Everything we know about the rare cosmic visitor on space.com Could comet 3I/ATLAS be alien technology? Controversial Harvard astrophysicist says yes 3rd interstellar visitor confirms a cosmic highway — Earth could be in ‘someone's trajectory' on EcoNews This Mysterious Object From Our Solar System Might Be a Planet-Making Seed “Physics Doesn't Work Anymore”: Interstellar Comet 3I/ATLAS Traveling Backwards At 130,000 MPH Shatters Every Scientific Law Sun Fires Energy Blast Straight at Mysterious Interstellar Object Cruising Through Solar System Interstellar object spotted shedding mysterious metals in way that defies science: 'It's extremely puzzling' Are internet rumours of a comet hurtling towards Earth true?  Scientists reveal where 'alien object' heading past Earth will actually be going 3I/ATLAS is Captured in New Images as Mysterious Object Cruises Past Mars—What Does the Latest Data Reveal?   First Images of 3I/ATLAS from ExoMars TGO by Avi Loeb Mysterious interstellar visitor spotted above Mars appears as 'massive cylindrical craft' A Recap of the Anomalies of 3I/ATLAS on the Day of Its Closest Approach to Mars by Avi Loeb (the Trojan Horse article) 7 reasons why 3I/ATLAS's high-speed trajectory has military implications - nonsense article on Wion Interstellar Object 3I/ATLAS May Be A 10-Billion-Year-Old Time Capsule From An Earlier Age Of The Universe 3I/ATLAS came from mysterious frontier of Early Milky Way? Scientists study interstellar comet's origin, track trajectory, travel speed, age Physicists detect water's ultraviolet fingerprint in interstellar comet 3I/ATLAS Asteroid just flew closer to Earth than many satellites, space agencies say The biggest threats to Earth from space Follow us on social: Facebook X (Twitter) Other Podcasts by Derek DeWitt DIGITAL SIGNAGE DONE RIGHT - Winner of a Gold Quill Award, Gold MarCom Award, AVA Digital Award Gold, Silver Davey Award, and Communicator Award of Excellence, and on numerous top 10 podcast lists.  PRAGUE TIMES - A city is more than just a location - it's a kaleidoscope of history, places, people and trends. This podcast looks at Prague, in the center of Europe, from a number of perspectives, including what it is now, what is has been and where it's going. It's Prague THEN, Prague NOW, Prague LATER 

In our conversation, we explore:What it was like to fly the legendary F-4 Phantom into combat.The moment his jet exploded — and the life-altering seconds that followed.What helped him survive nearly six years as a POW.The power of faith, friendship, and camaraderie under unthinkable conditions.One of the lowest moments of his time in captivity, and the lesson we can all learn from it. Why honor isn't just a virtue — it's also a strategy for long-term success.And how we can all bounce back from setbacks with resilience and grace.We also discuss Lee's latest and most heart-expanding book, Captured by Love: Inspiring True Romance Stories from Vietnam POWs, a best-seller that reveals powerful stories of real love forged in the fires of war and captivity.

In northeast Australia, the capture of the legendary saltwater crocodile “Old Faithful” is causing protest. The animal, which was once made famous by Steve Irwin, was considered a safety risk by the authorities and brought to a government facility. However, traditional landowners speak of a “wrongful arrest” and accuse the Queensland government of faulty testing, lack of transparency and disregard for indigenous rights. - Im Nordosten Australiens sorgt die Gefangennahme des legendären Salzwasserkrokodils „Old Faithful“ für Protest. Das Tier, das einst durch Steve Irwin bekannt wurde, wurde von den Behörden als Sicherheitsrisiko eingestuft und in eine staatliche Einrichtung gebracht. Die traditionellen Landbesitzer sprechen jedoch von einer „unrechtmäßigen Festnahme“ und werfen der Regierung von Queensland fehlerhafte Tests, mangelnde Transparenz und Missachtung indigener Rechte vor.

And we're back with the exciting tales of Speed Gibson of the International Secret Police! This week: Splinter and Wu Are Captured! Learn more about your ad choices. Visit megaphone.fm/adchoices

Fluent Fiction - Hungarian: Autumn Whispers: A Tale of Captured Moments & Hidden Emotions Find the full episode transcript, vocabulary words, and more:fluentfiction.com/hu/episode/2025-10-18-07-38-20-hu Story Transcript:Hu: A Dunapart mentén őszies színek vettek körül mindent.En: Along the bank of the Duna, autumn colors surrounded everything.Hu: A Parlament épülete méltóságteljesen magasodott az ég felé, miközben a nap sugarai aranyszínű fénybe vonták a várost.En: The building of the Parlament majestically towered toward the sky, while the sun's rays bathed the city in a golden light.Hu: Gábor és Eszter együtt sétáltak, mint már sok alkalommal gyerekkoruk óta.En: Gábor and Eszter walked together, as they had done many times since their childhood.Hu: Eszter minden kis gesztenyefalevélben, a várost átvonó színes árnyalatokban a tökéletes kép lehetőségét látta.En: Eszter saw the opportunity for a perfect picture in every small chestnut leaf and the colorful shades that stretched across the city.Hu: A fényképezőgépe szinte a keze meghosszabbítása volt, ahogy folyamatosan kattintott, soha nem elégedve meg a látvánnyal.En: Her camera was almost an extension of her hand as she continuously clicked, never satisfied with just the view.Hu: Ősszel volt valami különleges, mégis mulandó a Dunai tájban, és Eszter eltökélte, megtalálja azt a pillanatot, amely egészen újraírná az elképzelést a város szépségéről.En: There was something special, yet fleeting about the Duna landscape in autumn, and Eszter was determined to find that moment which would entirely rewrite the concept of the city's beauty.Hu: Gábor csendesebben követte őt.En: Gábor followed her more quietly.Hu: A szívében levő titok néha nehéz teher volt számára.En: The secret within his heart was sometimes a heavy burden for him.Hu: Az írói fantáziája már régóta el akarta mondani neki, mit érez, de a szavak a torkán akadtak.En: His writer's imagination had long wanted to tell her how he felt, but the words got stuck in his throat.Hu: Talán egy írott sor segíthetne.En: Perhaps a written line might help.Hu: A sétájuk alatt finoman Eszter táskájába csúsztatott egy apró, gondosan hajtogatott cetlit, néhány sorral: "Az igaz szépség ott van, ahol nem is számítunk rá.En: During their walk, he gently slipped a small, carefully folded note into Eszter's bag, with a few lines: "True beauty is where we least expect it.Hu: Köszönöm, hogy megmutattad.En: Thank you for showing me."Hu: "Miközben Eszter tovább keresett az árnyékokban rejlő fénycsodát, Gábor észrevette, hogy egyre inkább a tájat nézi, nem csak egyetlen fa vagy épület részletét.En: While Eszter continued to search for the miracle of light hidden in the shadows, Gábor noticed that he was increasingly looking at the landscape, not just a single tree or detail of a building.Hu: A csend és a nyugalom, amely a Dunapartot körülvette, végül még a nyugtalanító érzéseit is elcsendesítette.En: The silence and tranquility that surrounded the Dunapart eventually quieted even his unsettling feelings.Hu: Ahogy a nap lassan lenyugodott, Eszter megtalálta, amit keresett.En: As the sun slowly set, Eszter found what she was looking for.Hu: A Parlament aranyban fürdőzött, a víz tükörképe pedig külön világot hozott létre.En: The Parlament bathed in gold, and the reflection in the water created a separate world.Hu: Elkattintotta a fényképet, amely már régen csak az álmaiban létezett.En: She clicked the photograph that had long existed only in her dreams.Hu: Ekkor talált rá Gábor üzenetére.En: It was then that she found Gábor's message.Hu: A szavak gyengéden és mégis határozottan értek el hozzá.En: The words reached her gently yet firmly.Hu: Az üzenet nem csak a tájat, de magát is újraértékelésre késztette.En: The message prompted her to reevaluate not only the landscape but also herself.Hu: Az odaadó figyelem a nagyobb kép mellett Gábort is jobban láttatta.En: The devoted attention beside the bigger picture also revealed more of Gábor to her.Hu: Barátja bátorságát nagyra értékelte, érzelmei pedig rávilágítottak a kapcsolatok igazán mély értékére.En: She greatly valued her friend's courage, and his emotions shed light on the truly deep value of relationships.Hu: Eszter másnap egy sorozatot nyújtott be, ami a közös útjukat, a közös felfedezést ünnepelte.En: The next day, Eszter submitted a series that celebrated their shared journey and discovery.Hu: Nemcsak egyetlen tökéletes kép, hanem a napjuk története volt.En: It wasn't just a single perfect image but the story of their day.Hu: Gáborra nézve ezúttal ő kezdeményezett beszélgetést.En: Looking at Gábor, this time she initiated the conversation.Hu: „Tudod, a legszebb képek talán azok, amelyeket az ember nem is vár,” mondta mosolyogva.En: "You know, perhaps the most beautiful pictures are those we don't even expect," she said with a smile.Hu: Gábor szintén elmosolyodott, mert tudta, hogy mindketten megtalálták, amit kerestek.En: Gábor also smiled because he knew that they both found what they were looking for.Hu: Eszter a művészet új értelmét, míg Gábor a bátorságot, hogy szavait szabadon engedje.En: Eszter discovered a new meaning in art, while Gábor found the courage to let his words flow freely.Hu: Az ősz színei új távlatokat nyitottak meg számukra, ahol valami több rejlett, mint amit elsőre láttak.En: The colors of autumn opened up new horizons for them, where something more was hidden than what they first saw.Hu: És így Budapest egy kis részükké vált, ahogy ők is a város történetének részévé.En: And so, Budapest became a small part of them, just as they became a part of the city's story. Vocabulary Words:majestic: méltóságteljesbathed: fürdőzöttfleeting: mulandóburden: teherimagination: fantáziagently: gyengédenprompted: késztettereevaluate: újraértékelésdevoted: odaadótranquility: nyugalomunsettling: nyugtalanítóreflection: tükörképsubmitted: nyújtott behorizons: távlatokcourage: bátorságemotions: érzelmeilandscape: tájdreams: álmaiextension: meghosszabbításacarefully: gondosanclicked: kattintottdetermined: eltökéltephotograph: fényképconcept: elképzelésexpected: számítunktreasured: nagyra értékeltedunapart: dunapartshadows: árnyékoksurrounded: körülvetteksecret: titok

Alternative rock powerhouse Sons of Silver will drop their live EP, 7 Cities 7 Songs, on October 3. Capturing the raw energy of their tour with Myles Kennedy, the release features seven songs performed live, from 7 venues in 7 cities. The EP was mixed by Grammy-nominated producer Tim Palmer (U2, Pearl Jam, David Bowie). Even as they showcase their onstage fire, the band is already deep in the studio, crafting new material slated for release in 2026.“If you appreciate gifted musicians creating art that feels genuine, Sons of Silver is a show you won't want to miss. Their devotion to their craft is unmistakable as they bring their songs to life on stage, inviting fans to embark on this exhilarating journey with them.”– The Concert ChroniclesBecome a supporter of this podcast: https://www.spreaker.com/podcast/arroe-collins-like-it-s-live--4113802/support.

Linktree: ⁠https://linktr.ee/Analytic⁠Join The Normandy For Additional Bonus Audio And Visual Content For All Things Nme+! Join Here: ⁠https://ow.ly/msoH50WCu0K⁠Ignite the feud flames with Analytic Dreamz on Notorious Mass Effect, analyzing the October 15, 2025, leak of a 23-second Drake snippet from his anticipated ninth album ICEMAN. Captured in a Lamborghini dashboard glow, the dark trap beat with heavy 808s echoes Boi-1da vibes, delivering confident, auto-tuned bars: “Talk about Drake then you get a whole lot, talk about Drake and you get you some streams”; “Man how the fck is your day one gonna testify so you can sit in a box”; “Either you ain't never did sht for your brothers or they must've forgot.” Fans decode shots at A$AP Rocky amid their simmering beef—Rocky's 2021 assault accusation by A$AP Relli (charges dropped 2022, civil suit ongoing), 2024 “culture vulture” jabs during Drake-Kendrick drama. Timed post-Drake's October 14 UMG defamation loss over “Not Like Us,” it racked 165K+ X views, 100K+ interactions in 24 hours, surging old tracks 15-20%. Reposts, reactions, and edits flood platforms, with pro-Drake camps hyping ICEMAN's Q4 drop (potential PartyNextDoor, 21 Savage features) as a combative rebrand. Unpack the strategic leak's impact on hip-hop tensions and Drake's icy comeback. Support this podcast at — https://redcircle.com/analytic-dreamz-notorious-mass-effect/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

AP correspondent Karen Chammas reports on the trial of 15 captured Ukrainian soldiers in Russia.

Authorities Are Terrified of What's Being Captured in North Carolina Deep Woods Hosted on Acast. See acast.com/privacy for more information.

Patrick McGee was the Financial Times's principal Apple reporter from 2019 to 2023, during which time he won a San Francisco Press Club Award for his coverage. He joined the newspaper in 2013, in Hong Kong, before reporting from Germany and California. Previously, he was a bond reporter at The Wall Street Journal. He has a master's degree in global diplomacy from SOAS, University of London, and a degree in religious studies from the University of Toronto. This is, without a doubt, the best business book of 2025! Get your copy of Apple in China: The Capture of the World's Greatest Company here: https://amzn.to/3IJTxsF Anthony Scaramucci is the founder and managing partner of SkyBridge, a global alternative investment firm, and founder and chairman of SALT, a global thought leadership forum and venture studio. He is the host of the podcast Open Book with Anthony Scaramucci. A graduate of Tufts University and Harvard Law School, he lives in Manhasset, Long Island. Learn more about your ad choices. Visit podcastchoices.com/adchoices

First, author and attorney Leslie Corbly joins the show to discuss her new book Progressive Prejudice, unpacking how modern progressivism has evolved into a self-righteous, quasi-religious ideology that condemns dissent as “hate.” Along the way, Victoria breaks down the breaking news of James Comey's federal indictment, and what it reveals about deep state corruption and the collapse of media gatekeeping.Then, Victoria talks with Ryan Mauro of the Capital Research Center about how Antifa has infiltrated Portland's homeless industrial complex—and what that says about leftist power structures nationwide. #ComeyIndicted #ProgressivePrejudice #Antifa #VictoriaTaft #AdultInTheRoom

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In this episode, Photographer Tiffany Perry: From $25 Sessions to Full-Circle Success & Captured Disney Dreams, I sit down with... The post Photographer Tiffany Perry: From $25 Sessions to Full-Circle Success & Captured Disney Dreams appeared first on WebTalkRadio.net.

In this bonus episode of Selective Ignorance, host Mandii B invites her patrons for a lively and unfiltered Assembly of Classmates — an open discussion that blends current events, humor, and raw honesty. The conversation kicks off with introductions and setting the tone for the group’s engaging dialogue [00:00], before diving headfirst into the New Orleans jailbreak and the chaos that followed [02:50]. The group examines how crime, justice, and media narratives often collide, sparking debate over public perception versus personal accountability. From there, the conversation pivots to the highly publicized Diddy sentencing, with Mandii and her patrons questioning whether the punishment fits the crime [06:10]. Through sharp commentary and witty exchanges, they unpack what justice looks like in a celebrity-driven culture, and how public opinion often influences legal outcomes. Things take a provocative turn as the group addresses Cam Newton’s controversial request for a list of his partner’s past sexual partners [14:31]. This sparks an intense, funny, and revealing conversation about trust, transparency, and insecurity in modern relationships. The discussion deepens as they debate relationship standards and emotional baggage [34:58], moving into how people navigate secrets, pasts, and expectations with new partners [40:18]. As the dialogue unfolds, Mandii and the patrons examine the complexity of sexual history and double standards in dating [44:55], questioning whether full disclosure builds intimacy or fuels insecurity. The debate evolves into a broader reflection on judgment, dating preferences, and the pressure to uphold certain moral standards in modern society[50:05–55:47]. The episode then shifts into a heartfelt yet hilarious exploration of family dynamics and financial responsibility[01:00:08], where the group calls out the hypocrisy in parenting, relationships, and “doing it all” culture. Finally, they close with a thoughtful look at intentionality in relationships and parenthood [01:04:29], emphasizing that personal growth and honest communication are at the heart of healthy connections. With a mix of real talk, laughter, and perspective, this Selective Ignorance bonus episode captures the essence of Mandii B’s community — candid conversations that challenge norms, encourage vulnerability, and remind listeners that learning through dialogue is the ultimate act of growth. “No Holes Barred: A Dual Manifesto Of Sexual Exploration And Power” w/ Tempest X!Sale Link Follow the host on Social MediaMandii B Instagram/X @fullcourtpumps Follow the show on Social MediaInstagram @selectiveignorancepodTiktok @selective.ignoranceX/Twitter @selectiveig_podSee omnystudio.com/listener for privacy information.

In this episode of Crime Wire Weekly, hosts Jim Chapman and Kelly Jennings discuss a series of trending crime stories, including the killing of one officer and the injuring of another in a Louisiana Courthouse following an interrogation.In Kentucky a convicted killer of 6-year-old boy walks free after serving less than half his 20-year sentence, in Indiana Ex-NFL QB Mark Sanchez faces a felony in fight that authorities say was over parking spot and Dolly Parton tamps down rumors after her sister alluded to Dolly's impending death. These stories plus a whole lot more on today's episode! *This is a preview, links to listen to the full podcast by following "Crime Wire Weekly" are below.Timestamps 02:00 Dolly Ain't Dead Yet. 05:30 Louisiana Courthouse Shooting Leaves Officer Dead and Another Injured13:10  Ex-NFL QB Mark Sanchez faces a felony in fight 21:05 New Orleans Final Escapee is Caught in Atlanta 27:00 Female Firefighter and 75 Tampons 31:10 Man Who Killed 6 Year Old is Released after 6 years 34:10 Husband's Poisoned Wine Tests Positive for Anti-Freeze39:28 Man with HIV Sprays Blood on Nurses43:45 13 and 11 year Old Survive 100 MPH Joy-Ride46:40 Kentucky Teacher Caught Taking Shower While Video Calling StudentLinks to Follow Crime Wire Weekly  https://linktr.ee/crimewireweeklyKelly Jennings is host of “Unspeakable: A True Crime Podcast by Kelly Jennings”  https://open.spotify.com/show/3n7BUzKRtMhAEuIuu7f031?si=c98fcf5b7e6848c8Jim Chapman is host of “Exposed: Scandalous Files of the Elite” https://open.spotify.com/show/3ePQYSPp5oSPDeue8otH1n?si=39142df6e0ed4f77

In this episode of Crime Wire Weekly, hosts Jim Chapman and Kelly Jennings discuss a series of trending crime stories, including the killing of one officer and the injuring of another in a Louisiana Courthouse following an interrogation.In Kentucky a convicted killer of 6-year-old boy walks free after serving less than half his 20-year sentence, in Indiana Ex-NFL QB Mark Sanchez faces a felony in fight that authorities say was over parking spot and Dolly Parton tamps down rumors after her sister alluded to Dolly's impending death. These stories plus a whole lot more on today's episode!*This is a preview, links to listen to the full podcast by following "Crime Wire Weekly" are below.Timestamps02:00 Dolly Ain't Dead Yet.05:30 Louisiana Courthouse Shooting Leaves Officer Dead and One Injured 13:10  Ex-NFL QB Mark Sanchez faces a felony in fight 21:05 New Orleans Final Escapee is Caught in Atlanta27:00 Female Firefighter and 75 Tampons31:10 Man Who Killed 6 Year Old is Released after 6 years 34:10 Husband's Poisoned Wine Tests Positive for Anti-Freeze39:28 Man with HIV Sprays Blood on Nurses43:45 13 and 11 year Old Survive 100 MPH Joy-Ride46:40 Kentucky Teacher Caught Taking Shower While Video Calling StudentLinks to Follow Crime Wire Weekly https://linktr.ee/crimewireweeklyKelly Jennings is host of “Unspeakable: A True Crime Podcast by Kelly Jennings”  https://open.spotify.com/show/3n7BUzKRtMhAEuIuu7f031?si=c98fcf5b7e6848c8Jim Chapman is host of “Exposed: Scandalous Files of the Elite” https://open.spotify.com/show/3ePQYSPp5oSPDeue8otH1n?si=39142df6e0ed4f77Become a supporter of this podcast: https://www.spreaker.com/podcast/exposed-scandalous-files-of-the-elite--6073723/support.

First Sasquatch CapturedA veterinarian specializing in large animals graduates from the University of Kentucky and opens a private practice in 1995 before joining Tennessee's Elk Reintroduction Program in 2000. There, he monitors radio-collared elk in the North Cumberland Wildlife Area, aiding in anti-poaching efforts and tracking migrations. On September 19, 2017, an erratic signal from a dominant bull elk's collar leads him, a game warden named Rick, and park ranger Brian into the woods to investigate. Tracking blood trails and fleeting signals, they stumble upon carnage from the elk's leg and pursue what seems like a poacher. Instead, an elderly Native American medicine man, the Ayunini, emerges offering the collar, explaining that the Tsul'Kalu—a reclusive, hairy, ape-like creature allied with his people—took the elk to feed its newborn mate. When Rick arrests the man, a massive, nine-foot-tall beast with black eyes, flattened nose, and muscular build roars from the shadows. The vet fires two tranquilizer darts, allowing them to collect samples before the creature staggers away. The medicine man vanishes, leaving behind only discarded handcuffs and fog. Government agents in black SUVs soon confiscate their phones, packs, and evidence, enforcing a cover story of feral dogs killing the elk and threatening their jobs. Digital backups mysteriously vanish, prompting the vet to resign and reopen his practice. He reflects on the secrecy surrounding two Sasquatch tribes—the peaceful, human-avoiding Tsul'Kalu and the predatory Judaculla—questioning the government's motives while vowing to seek answers independently.Join my Supporters Club for $4.99 per month for exclusive stories:https://www.spreaker.com/podcast/what-if-it-s-true-podcast--5445587/support

Independent investigative journalism, broadcasting, trouble-making and muckraking with Brad Friedman of BradBlog.com

There is more than one way to burn a book. In the modern publishing industry, books are censored, edited or scrapped entirely to avoid straying from woke dogma. ‘Sensitivity readers' scour for words, characters and plot lines that could cause offence to minorities. ‘Morality clauses' ensure that authors espouse the correct views in public. The result is books that are bland, predictable and utterly safe. Here, Adam Szetela – author of That Book is Dangerous! – lifts the lid on how the publishing industry itself became the enemy of literature. See the spiked podcast and Last Orders live at the Battle of Ideas festival on 18 and 19 October. Get 20 per cent off with the promo code SPIKED: https://www.eventbrite.co.uk/e/battle-of-ideas-festival-2025-tickets-1055046124359?discount=SPIKED  Read spiked: https://www.spiked-online.com/     Support spiked: https://www.spiked-online.com/support/  Learn more about your ad choices. Visit megaphone.fm/adchoices

Air Date 10/7/2025 The Trump administration has been doing what we knew it would: breaking laws and losing about 95% of their court battles. And the conservatively stacked Supreme Court has been doing what we knew it would: overwhelmingly ruling for Trump to cover his tracks because that's what they were put there to do. Be part of the show! Leave us a message or text at 202-999-3991, message us on Signal at the handle bestoftheleft.01, or email Jay@BestOfTheLeft.com Full Show Notes Check out our new show, SOLVED! on YouTube! BestOfTheLeft.com/Support (Members Get Bonus Shows + No Ads!) Join our Discord community! KEY POINTS KP 1: Hiding in the Shadow Docket - The Hartmann Report - Air Date 8-24-25 KP 2: Does It Matter? Trump Keeps Losing on Immigration in the Courts - Democracy Now! - Air Date 9-3-25 KP 3: US Supreme Court Allows Trumps Controversial Immigration Raids to Continue in LA - Al Jazeera English - Air Date 9-9-25 KP 4: The Supreme Court's Power Grab Under Trump - Why Is This Happening? The Chris Hayes Podcast - Air Date 7-15-25 KP 5: Is the Supreme Court Corrupted? with Alex Aronson | Freethought Matters - Freedom From Religion Foundation - Air Date 1-9-25 KP 6: 'Unconscionably Irreconcilable': Justice Sotomayor RIPS Colleagues in Fiery Dissent - All In with Chris Hayes - Air Date 9-9-25 (00:51:05) NOTE FROM THE EDITOR On authoritarianism in practice DEEPER DIVES (01:00:16) SECTION A: PAVING THE PATH A1: How To Build A Police State (With The Supreme Court's Blessing) - Amicus With Dahlia Lithwick | Law, Justice, and the Courts - Air Date 7-19-25 A2: Dear Justice Kavanaugh, “I'm American, Bro” - Amicus With Dahlia Lithwick | Law, Justice, and the Courts - Air Date 9-13-25 A3: Supreme Court Justice Amy Coney Barrett Defends Court's Work on Emergency Rulings - NPR Morning Edition - Air Date 9-9-25 A4: Lawfare Daily: The Trials of the Trump Administration - The Lawfare Podcast - Air Date 9-5-25 A5: How the Supreme Court Allowed Trump to Reshape America in One Year | Explainer - Heather Cox Richardson - Air Date 7-2-25 (01:41:19) SECTION B: LEGAL GRAY AREA B1: Trump Brings the War Home - 5-4 - Air Date 8-8-25 B2: Bedrock Con Law 101 - Divided Argument - Air Date 8-29-25 B3: Uh-oh: Trump in Trouble as Polls Drop and Protests ERUPT Nationwide - The Beat with Ari - Air Date 9-8-25 B4: Justice Thomas Cautions Against Following Precedent - Bloomberg Law - Air Date 9-30-25 B5: The Legality of Trumps D.C. Takeover as Statistics Show Decline in Crime - PBS NewsHour - Air Date 8-11-25 (02:19:05) SECTION C: CORRUPTION C1: How Trump Is Using the DOJ as His Personal Law Firm - Here & Now Anytime - Air Date 8-25-25 C2: Captured Court: Hayes on Leonard Leos Two-fold Plan to Form This Supreme Court - All In with Chris Hayes - Air Date 5-11-23 (02:31:03) SECTION D: HOPE? D1: Trump's Tariffs Struck Down: Attorney Neal Katyal Oregon AG Dan Rayfield Respond - Democracy Now! - Air Date 9-2-25 D2: When Trump Hits New Jersey, This Lawyer Hits Back - Amicus With Dahlia Lithwick | Law, Justice, and the Courts- Air Date 8-16-25 D3: The Lower Courts Punch Up - Strict Scrutiny - Air Date 9-8-25 D4: Losing! MAGA "Embarrassed" as Courts Reject Trump Powers on Immigration, Tariffs, Troops - The Beat with Ari - Air Date 9-8-25 D5: Trump Hijacked the Courts: Here's How to Fix It- Boom! Lawyered - Air Date 8-28-25 SHOW IMAGE CREDITS Description: Composite image depicting a photo of the exterior of the U.S. Supreme Court with giant chains crossed over the building with an orange seal with the silhouette of Donald Trump where the chains cross. Photo Credit: “US Supreme Court” by David (dbking), Flickr | CC BY 2.0 | Changes: Cropped, and added chain vector image   Produced by Jay! Tomlinson Visit us at BestOfTheLeft.com Listen Anywhere! BestOfTheLeft.com/Listen Listen Anywhere! Follow BotL: Bluesky | Mastodon | Threads | X Like at Facebook.com/BestOfTheLeft Contact me directly at Jay@BestOfTheLeft.com

On July 1, 2025, a mysterious object was detected within our solar system. Soon afterward, it was confirmed by NASA as the third known interstellar object ever observed by astronomers, and given a formal name: 3I/ATLAS. Since that time, the object's unusual trajectory, massive size, and anomalous behavior have captured the fascination of the scientific community, leading to questions about whether it is indeed simply an interstellar comet bearing unusual traits or whether it could be something more complex.  This week on The Micah Hanks Program, we delve into the curious story behind 3I/ATLAS and look at what we know about the object, as well as why several experts have advanced theories involving extraterrestrial technologies in relation to the mysterious interstellar visitor coursing through our solar system.  Have you had a UFO/UAP sighting? Please consider reporting your sighting to the UAP Sightings Reporting System, a public resource for information about sightings of aerial phenomena. The story doesn't end here... become an X Subscriber and get access to even more weekly content and monthly specials. Want to advertise/sponsor The Micah Hanks Program? We have partnered with the AdvertiseCast to handle our advertising/sponsorship requests. If you would like to advertise with The Micah Hanks Program, all you have to do is click the link below to get started: AdvertiseCast: Advertise with The Micah Hanks Program Show Notes Below are links to stories and other content featured in this episode: NEWS: Amelia Earhart's plane likely located in lagoon, team claims, citing "very strong" evidence Lithuanian Airport Temporarily Shut Down Following Aerial Object Sightings  DENMARK DRONE UPDATE: Denmark Quietly Debunks 'Drone' Sightings After Massive … Mysterious drones over Denmark: Investigation has debunked several drone sightings   MEANWHILE IN MUNICH: Drones sightings shut down Munich airport overnight  3I/ATLAS: Latest NASA Images of 3I/ATLAS From Recent Mars Flyby Stunned Social Media 3I/ATLAS is Captured in New Images as Mysterious Object Cruises Past Mars Newest 3I/ATLAS Study Reveals an “Extremely Puzzling” Discovery: Why Does It Have So Much Metal? Unusual New 3I/ATLAS Discovery Suggests the Interstellar Comet is “Anomalously Massive” LOEB, HIBBARD, & CROWL: Is the Interstellar Object 3I/ATLAS Alien Technology?  DAVENPORT, ET AL: Technosignature Searches of Interstellar Objects BECOME AN X SUBSCRIBER AND GET EVEN MORE GREAT PODCASTS AND MONTHLY SPECIALS FROM MICAH HANKS. Sign up today and get access to the entire back catalog of The Micah Hanks Program, as well as “classic” episodes, weekly “additional editions” of the subscriber-only X Podcast, the monthly Enigmas specials, and much more. Like us on Facebook Follow @MicahHanks on X. Keep up with Micah and his work at micahhanks.com.

How tough was it to pick our "album bookends" this week (that is, albums that have a great first and last track)? You could say that's impossible, that's im-poss-i-ble. But, fortunately, we're everywhere that you are! We're un-alone for this discussion, because (if you couldn't have guessed) we have guitarist/singer/songwriter Steve Barton and drummer Dave Scheff from one of the best American bands of the '80s, Translator! Translator released four excellent albums for 415/Columbia: Heartbeats and Triggers (1982), No Time Like Now (1983), Translator (1985), and Evening of the Harvest (1986). At the end of their initial run, they played a final gig at the Farm in their home base of San Francisco. Captured on a cassette, nearly 40 years later, that incendiary live set is out for the first time on download, LP, or CD as Beyond Today: Live at the Farm San Francisco: 1986. from Liberation Hall. https://translatorlive.bandcamp.com As an added treat for fans, Beyond Today also contains two brand new Translator songs, "These Days to Come" and "With Your Dreams", both wonderfully mixed by Ed Stasium. Special thanks to Randy Haecker from Prime Mover Media for the introduction and coordination! Learn more about your ad choices. Visit megaphone.fm/adchoices

Today we will cover the recent scandals in Rome and what they signify. In fact, the reality is, the Vatican has long been captured and we will explain from Catholic scholars and historians how this occurred. https://www.eventbrite.com/e/athens-jerusalem-orthodox-art-philosophy-life-tickets-1598008298839?aff=oddtdtcreator&utm-source=cp&utm-campaign=social&utm-content=attendeeshare&utm-medium=discovery&utm-term=listing Send Superchats at any time here: https://streamlabs.com/jaydyer/tip Join this channel to get access to perks: https://www.youtube.com/channel/UCnt7Iy8GlmdPwy_Tzyx93bA/join PRE-Order New Book Available in Sept here: https://jaysanalysis.com/product/esoteric-hollywood-3-sex-cults-apocalypse-in-films/ Get started with Bitcoin here: https://www.swanbitcoin.com/jaydyer/ The New Philosophy Course is here: https://marketplace.autonomyagora.com/philosophy101 Set up recurring Choq subscription with the discount code JAY44LIFE for 44% off now https://choq.com Subscribe to my site here: https://jaysanalysis.com/membership-account/membership-levels/ Follow me on R0kfin here: https://rokfin.com/jaydyer Music by Amid the Ruins 1453 https://www.youtube.com/@amidtheruinsOVERHAUL Join this channel to get access to perks: https://www.youtube.com/channel/UCnt7Iy8GlmdPwy_Tzyx93bA/join Join this channel to get access to perks: https://www.youtube.com/channel/UCnt7Iy8GlmdPwy_Tzyx93bA/join #comedy #podcast #entertainmentBecome a supporter of this podcast: https://www.spreaker.com/podcast/jay-sanalysis--1423846/support.

Today we will cover the recent scandals in Rome and what they signify. In fact, the reality is, the Vatican has long been captured and we will explain from Catholic scholars and historians how this occurred. https://www.eventbrite.com/e/athens-jerusalem-orthodox-art-philosophy-life-tickets-1598008298839?aff=oddtdtcreator&utm-source=cp&utm-campaign=social&utm-content=attendeeshare&utm-medium=discovery&utm-term=listing Send Superchats at any time here: https://streamlabs.com/jaydyer/tip Join this channel to get access to perks: https://www.youtube.com/channel/UCnt7Iy8GlmdPwy_Tzyx93bA/join PRE-Order New Book Available in Sept here: https://jaysanalysis.com/product/esoteric-hollywood-3-sex-cults-apocalypse-in-films/ Get started with Bitcoin here: https://www.swanbitcoin.com/jaydyer/ The New Philosophy Course is here: https://marketplace.autonomyagora.com/philosophy101 Set up recurring Choq subscription with the discount code JAY44LIFE for 44% off now https://choq.com Subscribe to my site here: https://jaysanalysis.com/membership-account/membership-levels/ Follow me on R0kfin here: https://rokfin.com/jaydyer Music by Amid the Ruins 1453 https://www.youtube.com/@amidtheruinsOVERHAUL Join this channel to get access to perks: https://www.youtube.com/channel/UCnt7Iy8GlmdPwy_Tzyx93bA/join Join this channel to get access to perks: https://www.youtube.com/channel/UCnt7Iy8GlmdPwy_Tzyx93bA/join #comedy #podcast #entertainmentBecome a supporter of this podcast: https://www.spreaker.com/podcast/jay-sanalysis--1423846/support.

Some hauntings start with a slam. This one began with a song. At just four years old, she woke in the night to hear a woman's voice singing a lullaby in her room. Gentle, melodic… but impossible. No one was there. No rocking chair. No mother at her bedside. Just the unmistakable voice of someone who shouldn't exist. That was the first time. Soon, the activity escalated. A presence sat on her bed, pressing down through the blanket and touching her arm with a real, solid hand. Footsteps echoed in empty hallways. The kitchen screen door creaked open on its own. And at the end of the hallway, night after night, she felt eyes watching her from the dark. As she grew older, the haunting followed. With her best friend Annie, cold spots appeared in classrooms, shadow figures dissolved into trees, and one night a table was flipped upside down while they slept beside it — the glass of water sitting perfectly upright on the floor beneath. Paranormal activity didn't just visit; it lived with them. Years later, the house revealed its darkest proof. Using a simple recorder, she captured EVPs that sent chills down her spine: a man's voice whispering “Let me out,” another answering “I'm coming, I love you,” and the unmistakable sound of a child's laughter in an empty room. These weren't echoes. They were real. The haunting didn't stop at the walls of the house. Phone calls came from the dead — numbers lighting up the caller ID belonging to friends and family who had already passed away. Sometimes silence, sometimes static, but always undeniable. This isn't just another ghost story. This is a true haunting that lasted a lifetime — a chilling reminder that houses remember, voices linger, and the line between the living and the dead is far thinner than we want to believe. #RealGhostStories #TrueHaunting #EVPVoices #Ghosts #HauntedHouse #Poltergeist #ParanormalActivity #PhoneCallsFromTheDead #ChildhoodHaunting #CreepyStories #GhostVoices #TrueStory Love real ghost stories? Don't just listen—join us on YouTube and be part of the largest community of real paranormal encounters anywhere. Subscribe now and never miss a chilling new story:

Some hauntings start with a slam. This one began with a song. At just four years old, she woke in the night to hear a woman's voice singing a lullaby in her room. Gentle, melodic… but impossible. No one was there. No rocking chair. No mother at her bedside. Just the unmistakable voice of someone who shouldn't exist. That was the first time. Soon, the activity escalated. A presence sat on her bed, pressing down through the blanket and touching her arm with a real, solid hand. Footsteps echoed in empty hallways. The kitchen screen door creaked open on its own. And at the end of the hallway, night after night, she felt eyes watching her from the dark. As she grew older, the haunting followed. With her best friend Annie, cold spots appeared in classrooms, shadow figures dissolved into trees, and one night a table was flipped upside down while they slept beside it — the glass of water sitting perfectly upright on the floor beneath. Paranormal activity didn't just visit; it lived with them. Years later, the house revealed its darkest proof. Using a simple recorder, she captured EVPs that sent chills down her spine: a man's voice whispering “Let me out,” another answering “I'm coming, I love you,” and the unmistakable sound of a child's laughter in an empty room. These weren't echoes. They were real. The haunting didn't stop at the walls of the house. Phone calls came from the dead — numbers lighting up the caller ID belonging to friends and family who had already passed away. Sometimes silence, sometimes static, but always undeniable. This isn't just another ghost story. This is a true haunting that lasted a lifetime — a chilling reminder that houses remember, voices linger, and the line between the living and the dead is far thinner than we want to believe. #RealGhostStories #TrueHaunting #EVPVoices #Ghosts #HauntedHouse #Poltergeist #ParanormalActivity #PhoneCallsFromTheDead #ChildhoodHaunting #CreepyStories #GhostVoices #TrueStory Love real ghost stories? Don't just listen—join us on YouTube and be part of the largest community of real paranormal encounters anywhere. Subscribe now and never miss a chilling new story: