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In January 1958, nineteen-year-old Charles Starkweather and his fourteen-year-old girlfriend, Caril Ann Fugate, launched one of the most terrifying killing sprees in American history. Over eight days across Nebraska and Wyoming, ten people were murdered in shootings, stabbings, and home invasions that blindsided communities and left entire towns sheltering indoors.Their victims ranged from Caril's family to strangers who simply crossed their path. As police scrambled to make sense of the violence, Starkweather embraced the fear he created. Fugate told investigators a very different story, claiming she had been taken hostage and believed her family was still alive. Starkweather supported her version, then reversed himself, pointing the blame back at her.Captured after a high-speed chase in Wyoming, Starkweather was sentenced to death and executed in 1959. Fugate, only fifteen at the time of the crimes, was convicted of murder and served seventeen years before being released. More than sixty years later, questions about her true role have never been fully resolved.Was Caril Ann Fugate a prisoner, a participant, or something in between?Follow True Crime Recaps for more cases that changed the course of American true crime history.
For longtime GRITTY listeners: this isn't our usual episode. For the next several weeks, we're running a special 26-part series on the life of Daniel Boone — and we're releasing each episode simultaneously on both the GRITTY Podcast Youtube channel and the already-launched Dueling Pistols YouTube channel and both on their own respective podcast feeds. Once the Boone series wraps, GRITTY will go back to its regular content. But all future Dueling Pistols content will move exclusively to the Dueling Pistols channel, so if you want the full Boone journey — and every legend after — head over and subscribe so you don't miss it. New episodes drop every Monday, Wednesday, & Friday.
Lots of work to do—let's get to it—Here are 3 big things for this hour— Number One— The pressure is building on the billion dollar fraud scheme allegedly perpetrated by the Somali community in Minnesota—to steal welfare money—so bad that Ilhan Omar is speechless— Number Two— President Trump welcomed the leaders of Rwanda and the Congo to the White House—before travelling to the Trump Institute of Peace to sign a deal formally ending a decades long war— Number Three— It is Free Speech Free for All Friday—your chance to be heard—and we will get to that— the Patriot Mobile Common Sense Hotline is 877-310-9966—877-310-9966—
Protect Your Retirement with a PHYSICAL Gold and/or Silver IRA https://www.sgtreportgold.com/ CALL( 877) 646-5347 - You Can Trust Noble Gold So... Candace is back and guess who isn't standing with her? FBI Director Kash Patel. Nothing but crickets from Kash about those pesky French assassins. So everyone now has a choice to make: Either Candace is a nut who is hell bent on destroying her reputation, her show & her legacy, OR she's telling the truth and your government is hopelessly captured and corrupt. My friend Mike from RedPill78 joins me to discuss this and much more. Mike's channel is back on YouTube: https://www.youtube.com/@RealRedPill78 https://old.bitchute.com/video/qgeD1bqTYzUW/
Retired Brigadier General Shawn A. Harris is back on the front lines—this time in politics. From his grass-fed cattle farm in Rockmart, Georgia to the halls of the Pentagon, Harris joins Independent Americans host Paul Rieckhoff (@PaulRieckhoff) to break down SignalGate, the deadly US boat strikes, the War Powers fight and the growing danger of sloppy, politicized military leadership. Running as a Democrat in Georgia's 14th Congressional District—the open seat Marjorie Taylor Greene is abandoning—Harris explains why leadership, integrity and service still matter in a district that's been defined by chaos, extremism and cable hits. He talks candidly about why he chose not to “change t‑shirts,” what it's like to have two sons still in uniform, and why independent and Reagan Republicans are lining up behind his campaign. Rieckhoff and Harris also explore whether Congress is quietly edging America toward another war in the Caribbean, whether the boat strike could rise to a war crime, and what real accountability for the current Secretary of Defense should look like. They dig into the Pentagon press rules fight, the New York Times lawsuit, the arrest of the January 6 pipe bomb suspect, and what “dead men don't talk” really means for intelligence and national security. Then, in a powerful “something good,” Harris salutes his hometown Early County Bobcats and the high school football coach who helped turn hopes and dreams into a life of service—sparking a heartfelt conversation about how sports, mentors and community can literally save young lives. Because every episode of Independent Americans with Paul Rieckhoff breaks down the most important news stories--and offers light to contrast the heat of other politics and news shows. It's independent content for independent Americans. In these trying times especially, Independent Americans is your trusted place for independent news, politics, inspiration and hope. The podcast that helps you stay ahead of the curve--and stay vigilant. -WATCH video of this episode on YouTube now. -Learn more about Shawn's campaign for Georgia's 14th Congressional District. -Learn more about Paul's work to elect a new generation of independent leaders with Independent Veterans of America. -Join the movement. Hook into our exclusive Patreon community of Independent Americans. Get extra content, connect with guests, meet other Independent Americans, attend events, get merch discounts, and support this show that speaks truth to power. -Check the hashtag #LookForTheHelpers. And share yours. -Find us on social media or www.IndependentAmericans.us. -And get cool IA and Righteous hats, t-shirts and other merch now in time for the holidays. -Check out other Righteous podcasts like The Firefighters Podcast with Rob Serra, Uncle Montel - The OG of Weed and B Dorm. Independent Americans is powered by veteran-owned and led Righteous Media. Spotify • Apple Podcasts • Amazon Podcasts Ways to watch: YouTube • Instagram X/Twitter • BlueSky • Facebook Ways to listen:Social channels: Learn more about your ad choices. Visit megaphone.fm/adchoices
Your daily news in under three minutes. At Al Jazeera Podcasts, we want to hear from you, our listeners. So, please head to https://www.aljazeera.com/survey and tell us your thoughts about this show and other Al Jazeera podcasts. It only takes a few minutes! Connect with us: @AJEPodcasts on X, Instagram, Facebook, and YouTube
Part 2 Join us for an unforgettable evening of love and peril at the legendary Radio City Music Hall in New York City, as two of our Mighty Nein lovebirds, Jester and Fjord, embark on their greatest adventure yet: marriage! Captured live from Radio City Music Hall in New York City on October 7, 2025 CREDITSSet design by Shaun EllisSet fabricated by Flannel & HammerJester Processional Composed, written, and performed by Taylor Ash and Lindsay Dills. Duology Music House LLCCostumes by Jennifer NewmanLollipop Bouquet designed by Abbie StrausserLollipop Bouquet fabricated by Manzi DeYoungFjord and Jester artwork by frostbite.studiosAdditional Characrer art by Adelle KincelLead Make Up Artist: Dre Ronayne BEACONWe're excited to bring you even MORE with a Beacon membership! Start your 7-day free trial today at https://beacon.tv/join and get unparalleled access to the shows you love completely ad-free! You'll receive NEW Beacon exclusive series, instant access to VODs & podcasts, live event pre-sales, merch discounts, & a private Discord. YOUTUBE MEMBERS / TWITCH SUBSCRIBERSTwitch Subscribers and YouTube Members gain instant access to VODs of our shows, moderated live chats, and custom emojis & badges:https://www.youtube.com/criticalrole/https://www.twitch.tv/criticalrole Follow us!Website: https://www.critrole.com Newsletter: https://critrole.com/newsletter Facebook: https://www.facebook.com/criticalroleTwitter: https://x.com/criticalroleInstagram: https://www.instagram.com/critical_roleTikTok: https://www.tiktok.com/@criticalrole Twitch: https://www.twitch.tv/criticalrole Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.
Captured deep within Kichua tribal territory in the Ecuadorian Amazon, this nocturnal soundscape reveals a hidden world that awakens after dusk. Above, bats flicker through the darkness, their wings slicing the air in delicate beats. Insects surge into a symphony of pulses and hums — sharp, electric, as though the forest itself were alive with circuitry. A solitary monkey stirs unseen branches, its movements dissolving into the whispers of leaves. From afar, a howl drifts through the trees — haunting, fragile, a fleeting brush with the unseen. Beneath it all, a stream murmurs softly, threading its rhythm through the night's weave. This recording is more than sound. It is a portal into the rainforest's secret hours — where every ripple, chirp, and rustle speaks of survival, connection, and fragile wonder. Each voice is part of a living chorus, intricate and unrepeatable. To listen is to witness: the raw nocturnal poetry of the Amazon, and the urgency of protecting both its vanishing song and the ancestral lands that shelter it. Recorded by Rafael Diogo.
In this gripping continuation of the Mindful Legends of the Frontier series , host Mike Martin dives into the most defining — and devastating — chapter of Daniel Boone's life. Captured, tested, and transformed by hardship, Boone's years on the frontier were filled with loss, perseverance, and self-discovery. In this episode, Mike explores how Boone's trials — from isolation and betrayal to the deep grief of personal tragedy — forged a man of unshakable resolve and timeless mindfulness. Through vivid storytelling, historical accuracy, and personal reflection, Mike draws powerful parallels between Boone's endurance in the wilderness and our own struggles with uncertainty, pain, and inner growth. This episode is a meditation on what it means to face life's storms with grace — and how even in the harshest wilderness, the spirit can find peace. Links Project Mindfully Outdoors My Medic (Use promo code PROJECTOUTDOORS15 to save 15% on your order) Mountain House Foods
In this gripping continuation of the Mindful Legends of the Frontier series , host Mike Martin dives into the most defining — and devastating — chapter of Daniel Boone's life. Captured, tested, and transformed by hardship, Boone's years on the frontier were filled with loss, perseverance, and self-discovery. In this episode, Mike explores how Boone's trials — from isolation and betrayal to the deep grief of personal tragedy — forged a man of unshakable resolve and timeless mindfulness. Through vivid storytelling, historical accuracy, and personal reflection, Mike draws powerful parallels between Boone's endurance in the wilderness and our own struggles with uncertainty, pain, and inner growth. This episode is a meditation on what it means to face life's storms with grace — and how even in the harshest wilderness, the spirit can find peace. Links Project Mindfully Outdoors My Medic (Use promo code PROJECTOUTDOORS15 to save 15% on your order) Mountain House Foods
Part 1 Join us for an unforgettable evening of love and peril at the legendary Radio City Music Hall in New York City, as two of our Mighty Nein lovebirds, Jester and Fjord, embark on their greatest adventure yet: marriage! Captured live from Radio City Music Hall in New York City on October 7, 2025 CREDITSSet design by Shaun EllisSet fabricated by Flannel & HammerJester Processional Composed, written, and performed by Taylor Ash and Lindsay Dills. Duology Music House LLCCostumes by Jennifer NewmanLollipop Bouquet designed by Abbie StrausserLollipop Bouquet fabricated by Manzi DeYoungFjord and Jester artwork by frostbite.studiosAdditional Characrer art by Adelle KincelLead Make Up Artist: Dre Ronayne BEACONWe're excited to bring you even MORE with a Beacon membership! Start your 7-day free trial today at https://beacon.tv/join and get unparalleled access to the shows you love completely ad-free! You'll receive NEW Beacon exclusive series, instant access to VODs & podcasts, live event pre-sales, merch discounts, & a private Discord. YOUTUBE MEMBERS / TWITCH SUBSCRIBERSTwitch Subscribers and YouTube Members gain instant access to VODs of our shows, moderated live chats, and custom emojis & badges:https://www.youtube.com/criticalrole/https://www.twitch.tv/criticalrole Follow us!Website: https://www.critrole.com Newsletter: https://critrole.com/newsletter Facebook: https://www.facebook.com/criticalroleTwitter: https://x.com/criticalroleInstagram: https://www.instagram.com/critical_roleTikTok: https://www.tiktok.com/@criticalrole Twitch: https://www.twitch.tv/criticalrole Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.
Jim Toscano and Danny Gianino, two filmmakers from Detroit, found an unexpected calling in telling the story of Mike Kunda, the world's number one Rocky fan. Their documentary, The Pretender, follows Kunda's lifelong devotion to Sylvester Stallone's iconic character — a passion that goes far beyond simple fandom. From dressing like Rocky to giving motivational tours in Philadelphia, Mike lives his life through the lens of his cinematic hero. Toscano and Gianino were drawn to the human story beneath the surface — exploring how one man's obsession with an underdog fighter became a reflection of his own struggles, identity, and dreams.The making of The Pretender was a true indie journey, filled with the unpredictability of documentary filmmaking. The directors captured Mike's life as it unfolded, balancing humor, sincerity, and raw emotion while ensuring nothing felt staged. For Toscano and Gianino, the project was more than a film — it was a creative rebirth that reminded them of the power of authentic storytelling. Ultimately, The Pretender is not just about a man imitating his hero; it's about the universal desire to find purpose and strength in the stories that move us.Become a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.
Secretary of State Marco Rubio claimed talks in Geneva with Ukrainian and European officials were “the most productive yet.” But it's still unclear what, if anything, will change in Trump's 28-point peace plan. Plus, the woman who stabbed a sixth-grade classmate 19 times to impress the fictional character “Slender Man” has been caught after going on the run. And Time reported she's eyeing a presidential run, but Marjorie Taylor Greene calls it “a complete lie.” These stories and more highlight your Unbiased Updates for Monday, Nov. 24, 2025.
A Wisconsin woman convicted in the high-profile “Slender Man” stabbing was taken into custody late Sunday after fleeing a supervised group home, authorities said.
In this episode of The Right Idea, TPPF's Brian Phillips and Derek Cohen break down how political activism has seeped into Texas healthcare — influencing diagnoses, treatments, and public policy.They're joined by Dr. Lisa Ehrlich, internal medicine physician and former TMA trustee, and Joseph Figliolia, Manhattan Institute policy analyst and author of a major report on the TMA's drift into ideological advocacy.Together, they examine:* How the TMA embraced gender-affirming care despite weak evidence* Why many physicians feel silenced* How institutional capture happens inside medical organizations* The impact on children, parents, lawmakers, and the practice of medicine* What reforms are needed to bring medicine back to evidence-based practice00:30 – Thanksgiving politics & family discussions03:40 – Today's topic: Gender ideology in healthcare05:18 – Guest introductions: Dr. Ehrlich & Joseph Figliolia05:42 – Why Joseph investigated the TMA07:23 – Is the TMA doubling down despite national pushback?09:07 – Evidence problems & reversals in Europe10:25 – Dr. Ehrlich: What clinicians saw on the ground11:38 – Social contagion & the rise of gender questioning13:12 – Vulnerable populations & patterns emerging14:58 – Why endocrinology led the shift16:02 – “Science by consensus” and activist medicine17:36 – The problem with WPATH & activist guidelines18:33 – How TMA was captured: institutional mechanics19:23 – Why doctors stay silent20:57 – Fear of being labeled discriminatory22:08 – Dr. Ehrlich: Intimidation inside the TMA23:56 – Identity sections and cultural politicization25:05 – Personal attacks vs scientific debate26:31 – Medicine requiring ideological pre-commitments?27:55 – Historical parallels (e.g., lobotomies)28:58 – Pandemic mandates & ethical shifts31:09 – Three separate issues: dysphoria, treatment, ideology32:57 – Suicide risk, treatment failures, evidence gaps34:18 – Is someone funding this movement?36:01 – TMA's definitions avoid “gender dysphoria” entirely37:44 – The financial incentives behind affirming care38:39 – Do associations influence medical boards?41:15 – How TMA influences Texas policy42:07 – Is Texas protecting kids effectively?43:30 – Evidence-based standards being ignored44:56 – CME problems: outdated, debunked studies45:14 – Can the TMA be fixed?47:34 – Structural governance problems49:24 – What shoe drops next?51:07 – The comprehensive HHS gender dysphoria review51:35 – Dr. Ehrlich's advice for physicians afraid to speak up
A Wisconsin woman convicted in the high-profile “Slender Man” stabbing was taken into custody late Sunday after fleeing a supervised group home, authorities said.
Secretary of State Marco Rubio claimed talks in Geneva with Ukrainian and European officials were “the most productive yet.” But it's still unclear what, if anything, will change in Trump's 28-point peace plan. Plus, the woman who stabbed a sixth-grade classmate 19 times to impress the fictional character “Slender Man” has been caught after going on the run. And Time reported she's eyeing a presidential run, but Marjorie Taylor Greene calls it “a complete lie.” These stories and more highlight your Unbiased Updates for Monday, Nov. 24, 2025.
A Wisconsin woman convicted in the high-profile “Slender Man” stabbing was taken into custody late Sunday after fleeing a supervised group home, authorities said.
More Chapters AI Contribution: Courtesy of Google NotebookLM
More Chapters AI Contribution: Courtesy of Google NotebookLM
There was a time when almost everyone, from Alexander Graham Bell to the Wall Street Journal, believed there was a supremely intelligent civilization on Mars, one that was probably trying to talk to Earthlings. Most of this belief could be traced to an amateur astronomer and charismatic speaker named Percival Lowell. David Baron tells this story in “The Martians: The True Story of an Alien Craze that Captured Turn-of-the-Century America,” the product of seven years of research into this strange chapter of history. He shares many of the most surprising, fascinating, and very entertaining details, including much that had been lost to history, in this book club conversation with Mat Kaplan. Discover more at: https://www.planetary.org/planetary-radio/book-club-david-baronSee omnystudio.com/listener for privacy information.
DHS INTERVENES After Cartel Tried To Release Huge Cartel Boss | 300+ Inmates Captured!
Ben McChesney spent 25 years behind bars, serving time in more than a dozen state and federal prisons across the country — from low-level facilities to some of the toughest penitentiaries in America. His story is one of chaos, survival, and defiance. After being accused of stealing several pallets of firearms in what became one of the largest gun heists in his state, Ben went on the run to Mexico for two years before being captured. Acting as his own attorney, he fought multiple cases, beat a federal kidnapping charge, and survived years of violence and transfers across 14 federal prisons. Inside, he ran underground poker tables, fought predators, and lived by his own code. Raw, unfiltered, and brutally honest, Ben's story exposes the reality of long-term prison life, corruption, and what it truly takes to survive 25 years in the system. #LockedInWithIanBick #PrisonStories #TrueCrime #LifeInPrison #RedemptionStory #RealStories #PrisonLife #SurvivingPrison Thank you to BLUECHEW for sponsoring this episode: Visit https://bluechew.com/ and use promo code LOCKEDIN at checkout to get your first month of BlueChew & pay five bucks for shipping. Hosted, Executive Produced & Edited By Ian Bick: https://www.instagram.com/ian_bick/?hl=en https://ianbick.com/ Shop Locked In Merch: http://www.ianbick.com/shop Timestamps: 00:00 – Intro: From Wyoming State Prison to Federal Time 02:40 – Growing Up in Montana & Florida: Early Chaos Begins 06:00 – Family Life, Childhood Trauma & First Trouble 12:00 – Institutionalized Young: Juvenile Facilities & Reform Schools 19:00 – Early Criminal Mindset: Manipulation, Hustling & Survival 25:00 – Wild Behavior, Theft & the Road That Led to Prison 32:00 – First Adult Sentence: Inside Wyoming State Prison 39:00 – Maximum Security Life: Violence, Chaos & Prison Reality 46:00 – Solitary Confinement, Instigating & Survival Tactics 55:00 – Negotiating with the Warden & Gaining Prison Status 01:00:00 – Released from Wyoming: Back to the Streets 01:08:00 – Federal Case: Conspiracy Charges & Facing the Feds 01:15:00 – Federal Prison Journey: Medium Security to Camp 01:19:00 – Smuggling, Schemes & Controversy in Camp Life 01:25:00 – Fights, Transfers & Federal Prison Politics 01:32:00 – Sex Offenders, Prison Justice & Yard Rules 01:41:00 – Books, Mindset & Turning Life Around 01:46:00 – Beating a Case & Marriage Problems After Prison 01:54:00 – Financial Trouble & Planning a Major Gun Heist 02:03:00 – Gun Heist Fallout, Relationship Chaos & On the Run 02:13:00 – Life on the Run: Hiding in Mexico 02:27:00 – Captured in Mexico & Extradited Back to the U.S. 02:55:00 – Legal Battles: Kidnapping Charges & Polygraph Test 03:03:00 – Federal Trial, Sentencing & Wild Prison Stories 03:17:00 – Reentry, Parole & Learning to Live Free Again 03:24:00 – Staying Out for Good: Lessons, Redemption & Moving Forward Learn more about your ad choices. Visit megaphone.fm/adchoices
Slovakia Today, English Language Current Affairs Programme from Slovak Radio
Mysterious Slovakia pt. 10 - Trenčín: In this episode, we journey to the legendary Trenčín Castle to uncover the moving tale behind its famed Well of Love. Listeners will be transported into the 16th-century love story of Omar, a Turkish nobleman, and Fatima, the woman he vowed to save. Captured and imprisoned within the castle walls, Omar undertook the daunting task of digging a deep well through unyielding rock—an act of devotion meant to win Fatima's freedom. The program will be intervowen with music made in Slovakia.
Dana Williamson – the former top aide to Governor Gavin Newsom, who was under investigation by the FBI as she held a powerful position in California’s state government. Please Like, Comment and Follow 'Philip Teresi on KMJ' on all platforms: --- Philip Teresi on KMJ is available on the KMJNOW app, Apple Podcasts, Spotify, YouTube or wherever else you listen to podcasts. -- Philip Teresi on KMJ Weekdays 2-6 PM Pacific on News/Talk 580 AM & 105.9 FM KMJ | Website | Facebook | Instagram | X | Podcast | Amazon | - Everything KMJ KMJNOW App | Podcasts | Facebook | X | Instagram See omnystudio.com/listener for privacy information.
Dana Williamson – the former top aide to Governor Gavin Newsom, who was under investigation by the FBI as she held a powerful position in California’s state government. Please Like, Comment and Follow 'Philip Teresi on KMJ' on all platforms: --- Philip Teresi on KMJ is available on the KMJNOW app, Apple Podcasts, Spotify, YouTube or wherever else you listen to podcasts. -- Philip Teresi on KMJ Weekdays 2-6 PM Pacific on News/Talk 580 AM & 105.9 FM KMJ | Website | Facebook | Instagram | X | Podcast | Amazon | - Everything KMJ KMJNOW App | Podcasts | Facebook | X | Instagram See omnystudio.com/listener for privacy information.
At age 15, Catherine Zoller was sentenced to 8 years in prison for grand theft auto, larceny, arson, truancy, and more. But when she escaped custody and started hitchhiking across the nation she was picked up by a country pastor who would share a message with her that would transform her life. Show notes: https://compelledpodcast.com/episodes/catherine-zoller ++++++++++++ Compelled is a seasonal podcast using gripping, immersive storytelling to celebrate the powerful ways God is transforming Christians around the world. These Christian testimonies are raw, true, and powerful. Be encouraged and let your faith be strengthened! Want to help make new episodes? Either make a one-time gift, or become a Monthly Partner at: https://compelledpodcast.com/donate Perks of being a Monthly Partner include: EARLY ACCESS to each new Compelled episode 1 week early! FULL LIBRARY of our unedited, behind-the-scenes interviews with each guest... over 100+ hours of additional stories and takeaways! Become a Monthly Partner by selecting the "Monthly" option during check-out. Show notes, emails, and more at: https://compelledpodcast.com Buy the Compelled book of testimonies, endorsed by Lee Strobel, Marvin Olasky, and more: https://compelledpodcast.com/book Compelled is a member of the Proclaim Podcast Network: https://proclaim.fm Learn more about your ad choices. Visit megaphone.fm/adchoices
MNMT Recordings : Hewan Aman — Kune Festival 2025 “KUNE was one of my favorite festival experiences this summer. It was an absolute honor to be invited, especially for a set surrounded by fellow story tellers and music selectors I deeply admire. Wild and generous location, giving so much space to move at your own rhythm. I felt connected to the beautiful community that gathers there and held by the presence of the sea, which was like a constant anchor. The curation stood out. Long sets, excellent sound, beautifully designed stages, and this subtle intensity I keep finding in Denmark. I learned about Yndelov ~ a kind of quiet code that encourages not thinking you're better than anyone, even when doing something exceptional. I found that spirit present in the way the festival was curated and lived ~ generous, grounded, and without ego. My set took place between 3 and 6am, in the belly of the Vessel stage, a concrete bunker. The sun rose halfway through ~ I didn't see it directly, but witnessing it light up people's faces as they danced was equally moving. Squeezed in between Peachlyfe's dreamy vibe, and Lund & Ronde goblin psy ride I really couldn't be happier. Big love and thanks to the KUNE family. Really happy to be sharing the recording.” Hewan Aman is a DJ, sound explorer and artist whose sets move between deep bass, atmospheric layers and emotionally-charged rhythms. Drawing from dub, trance, breaks and experimental club music, she plays with contrasts ~ shadow and light, softness and impact ~ creating space for both introspection and collective release. Captured live from the concrete belly of the Vessel stage, this set chronicles Hewan Aman's masterful three-hour navigation from the depths of night into the first light of dawn at Kune Festival. The journey begins in shadow, moving through darker, psychedelic territories, with the mix evolving as the sun begins to rise, skillfully evolving and giving way to an ascendant wave of deeper, euphoric, trancey luminosity. Follow: https://soundcloud.com/hewanaman https://www.instagram.com/hewan.aman/
In this illuminating episode of the Authors on Mission podcast, host Danielle Hutchinson sits down with author Nancy Napier to explore her book Vietnam's Bridge Generation—a powerful account of North Vietnamese leaders who came of age during wartime and helped shape the country's economic renaissance.Nancy shares her transition from academic writing to accessible nonfiction, her collaboration with co-author Dao Tiha, and the emotional depth of collecting personal stories. The book has sparked intergenerational dialogue and offers a rare lens into Vietnam's cultural evolution—from “We” to “Me.”
(00:00:00) Depravity | The Last of Us Part 2 Analysis (Ep. 160) (00:01:35) Seattle, Continued (00:33:04) Captured (00:46:50) The TV Station (00:59:22) Chase to the Theater (01:04:10) Flashback: Did I Do Okay? (01:19:42) Burnin' Rubber at Hillcrest (01:32:18) Flashback: The Truth (01:45:15) Scars on Route 5 (01:53:31) Finding Nora (01:56:54) Ellie's Depravity Please consider supporting the show on Patreon!You can also join our free Discord server, or connect with us on Bluesky, Instagram, and TikTok!"Well you're a burden now, aren't you?"The analysis of The Last of Us Part 2 continues! In this episode, Rick and Jon examine the relationship between Ellie and Dina begin to change as secrets come to light. And as the hunt for the WLF continues, Ellie is faced with a decision—one which sets her over a precipice from which she cannot return. All of this and more in this week's episode. Hope you love the show today!Thank you for listening! Want to reach out to PPR? Send your questions, comments, and recommendations to pixelprojectradio@gmail.com! And as ever, any ratings and/or reviews left on your platform of choice are greatly appreciated!
In the final hour of the week Marc and Dan discuss a Biden judge in Chicago wants to release illegals that are already captured. Greg Brown and Mike Weigand join to promote Guns 'N Hoses which is just a couple weeks away and the work that the BackStoppers do. Jim Talent, Former US Senator joins to talk about the ending of the shutdown and more. Finally, Trump is winning a lot and people need to know about it.
Epicenter - Learn about Blockchain, Ethereum, Bitcoin and Distributed Technologies
Captured live at Cosmoverse 2025, this episode brings host Sebastian in conversation with Michael (better known as Cryptocito, Cosmos investor via Cito Ventures) and Magnus (@0xMagmar, Co-CEO Cosmos Labs). Against a backdrop of institutional gravitas, central banks mingling alongside Revolut executives, the conversation traces Cosmos' arc across five Cosmoverses, from Medellín's raw developer fervor to the polished, enterprise-oriented event unfolding here. It's a marker of the ecosystem's maturation, one that demands Cosmos "grow up" to weave itself into the fabric of global finance, governance, and economies beyond its insular origins.Magnus lays out Cosmos Labs' forward path: Systematically acquiring and refining homegrown innovations, such as the EVM rebuild over six months into a core stack component and consolidating privacy primitives from projects like Secret Network and Penumbra into seamless, enterprise-grade tools. These advancements, long championed by Cosmos builders, now stand ready for institutional adoption. On quantum threats, enterprises show little concern for now, but the panel underscores blockchains' unique vulnerabilities: Unlike centralized systems, they require broad coordination for upgrades, where Bitcoin's inertia pales against Cosmos' app-chain flexibility, allowing isolated chain overhauls without dragging down the broader network, a resilience Ethereum lacks. Topics covered in this episode:0:00 Introduction & Cosmoverse Vibe Check2:30 Reflections on Five Cosmoverses6:45 Ecosystem Maturation: Grassroots to Institutional Focus11:20 Cosmos Labs' Roadmap: Unifying Privacy & EVM Innovations16:50 Building Cohesive Stack Features for Enterprises22:15 Privacy Tools: Secret Network, Penumbra, and Nym27:40 Quantum Computing Threats & Blockchain Vulnerabilities33:10 Coordination Challenges: Hard Forks vs. App-Chain Modularity38:25 Sovereign Day Argentina: CBDC & Gov Sovereignty Summit43:50 Leadership Adaptation & Community Inclusion49:20 Future Vision: Cosmos as Global Finance Enabler54:00 Closing Thoughts & Event ShoutoutsEpisode links: - Michael (@Cryptocito) (https://x.com/Cryptocito )- Magnus (@0xMagmar) (https://x.com/0xMagmar)- Gnosis (https://gnosis.io/)- Epicenter - All Episodes (https://epicenter.tv/)- Cosmoverse 2025 (https://cosmoverse.org/)Sponsors: - Gnosis: Gnosis has been building core decentralized infrastructure for the Ethereum ecosystem since 2015. With the launch of Gnosis Pay last year, we introduced the world's first Decentralized Payment Network. Start leveraging its power today at http://gnosis.io This episode is hosted by Sebastien Couture. Show notes and listening options: https://epicenter.tv/
When Bose discontinued its cult-favorite Sleepbuds in 2020, a passionate cohort of users was left in the lurch. For many, these earplug/headphone hybrid weren't a gadget—they were a nightly lifeline. Charlie Taylor, Co-Founder of Ozlo shares why he left Bose to co-found Ozlo, and how they quickly gained key relationships, and found immediate traction growing a new Sleep ecosystem. Taylor explains why focus matters, how saying "no" to big opportunities leads to more revenue, and how they immediately found acceptance amongst major media despite having no relationships or company history. https://justinkbrady.com/charlie-taylor
Right now is bear season, bears are looking for food as it gets colder and they prepare for hibernation. In Jackson Hole, two black bears saw consequences to picking the wrong food source.
From the publisher:“There Is Life on the Planet Mars” ―New York Times, December 9, 1906This New York Times headline was no joke. In the early 1900s, many Americans actually believed we had discovered intelligent life on Mars, as best-selling science writer David Baron chronicles in The Martians, his truly bizarre tale of a nation swept up in Mars mania.At the center of Baron's historical drama is Percival Lowell, the Boston Brahmin and Harvard scion, who observed “canals” etched into the surface of Mars. Lowell devised a grand theory that the red planet was home to a utopian society that had built gargantuan ditches to funnel precious meltwater from the polar icecaps to desert farms and oasis cities. The public fell in love with the ambitious amateur astronomer who shared his findings in speeches and wildly popular books.While at first people treated the Martians whimsically—Martians headlining Broadway shows, biologists speculating whether they were winged or gilled—the discussion quickly became serious. Inventor Nikola Tesla announced he had received radio signals from Mars; Alexander Graham Bell agreed there was “no escape from the conviction” that intelligent beings inhabited the planet. Martian excitement reached its zenith when Lowell financed an expedition to photograph Mars from Chile's Atacama Desert, resulting in what newspapers hailed as proof of the Martian canals' existence.Triumph quickly yielded to tragedy. Those wild claims and highly speculative photographs emboldened Lowell's critics, whose withering attacks gathered steam and eventually wrecked the man and his theory—but not the fervor he had started. Although Lowell would die discredited and delusional in 1916, the Mars frenzy spurred a nascent literary genre called science fiction, and the world's sense of its place in the universe would never be the same.Today, the red planet maintains its grip on the public's imagination. Many see Mars as civilization's destiny—the first step toward our becoming an interplanetary species—but, as David Baron demonstrates, this tendency to project our hopes onto the world next door is hardly new. The Martians is a scintillating and necessary reminder that while we look to Mars for answers, what we often find are mirrors of ourselves.David Baron's website is https://davidbaronauthor.com/ Information on his book can be found at https://wwnorton.com/books/9781324090663He is on social media at https://x.com/dhbaron?lang=enAxelbankHistory.com is designed by https://www.ellieclairedesigns.com/Axelbank Reports History and Today" can be found on social media at https://twitter.com/axelbankhistoryhttps://instagram.com/axelbankhistoryhttps://facebook.com/axelbankhistory
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.
Guest: Steele CroswhiteMinistry: The Rock Music (a ministry of The Rock Church in Salt Lake City, UT) Album: Captured By Grace (20 Year Deluxe Edition)Website: therockmusic.org
Guest: Steele CroswhiteMinistry: The Rock Music (a ministry of The Rock Church in Salt Lake City, UT) Album: Captured By Grace (20 Year Deluxe Edition)Website: therockmusic.org
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.
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