Podcasts about Cath

Contributor: Taylor Lynch, MD Educational Pearls: How do we risk-stratify chest-pain patients? One option is the HEART score This score predicts a patient's 6-week risk of a major adverse cardiac event. Ex. Cath procedure, CABG, PCI, death H stands for History Ask 1) Was the patient diaphoretic? 2) Did they have nausea and/or vomiting? 3) Did the pain radiate down the right or left arm? 4) Was it exertional? Yes to one = one point. Two or more = two points. E stands for EKG One point for left ventricular hypertrophy, t-wave inversions, new bundle-branch blocks. No points for first degree AV block, benign early repolarization, or QT-prolongation Two points for ST-depression A stands for Age >65 gets two points 45-64 gets one point R stands for Risk factors Hypertension, hyperlipidemia, diabetes, obesity, family history, smoking, previous MI, previous CABG, stroke, peripheral arterial disease 1-2 risk factors get 1 point More than two risk factors gets two points T stands for Troponin 1-3x upper limit of normal gets one point >3x upper limit of normal gets two points This gives you a score between zero and ten 0-3 points, patients have a ~2% chance of an adverse event These patients likely go home 4-6 points, patients have a ~20% chance of an adverse event These patients get admitted or expedited outpatient stress test/echo 7-10 points, patients have a ~60% chance of an adverse event Admit and call cardiology. These patients likely get catheterized References Backus BE, Six AJ, Kelder JC, Bosschaert MA, Mast EG, Mosterd A, Veldkamp RF, Wardeh AJ, Tio R, Braam R, Monnink SH, van Tooren R, Mast TP, van den Akker F, Cramer MJ, Poldervaart JM, Hoes AW, Doevendans PA. A prospective validation of the HEART score for chest pain patients at the emergency department. Int J Cardiol. 2013 Oct 3;168(3):2153-8. doi: 10.1016/j.ijcard.2013.01.255. Epub 2013 Mar 7. PMID: 23465250. Laureano-Phillips J, Robinson RD, Aryal S, Blair S, Wilson D, Boyd K, Schrader CD, Zenarosa NR, Wang H. HEART Score Risk Stratification of Low-Risk Chest Pain Patients in the Emergency Department: A Systematic Review and Meta-Analysis. Ann Emerg Med. 2019 Aug;74(2):187-203. doi: 10.1016/j.annemergmed.2018.12.010. Epub 2019 Feb 2. PMID: 30718010. https://www.mdcalc.com/calc/1752/heart-score-major-cardiac-events Summarized by Jeffrey Olson, MS4 | Edited by Jorge Chalit, OMS4 Donate: https://emergencymedicalminute.org/donate/

Tous les vendredis, samedis et dimanches soirs, Pascale de la Tour du Pin reçoit deux invités pour des débats d'actualité. Avis tranchés et arguments incisifs sont au programme.Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Jumped onto a stream to discuss the breaking news that Paul Mullin looks likely to leave Wrexham and join WiganThank you to everyone who tuned in live and to those who interacted in the live chat and comments an even bigger thanks. Please subscribe on whichever platform you follow us and if you can leave a 5 star review also.You can find all our useful links including contact info here - https://linktr.ee/racecourserambleFollow MH Travel for Wrexham FC away games and also coach holidays and Gig travel - https://www.facebook.com/mhtravelnorthwalesDonate to Cath's Charity Skydive - https://t.co/ogpyBUFky9Follow A Football Type for amazing Wrexham Prints here - https://afootballtype.com/Check out our PATREON here - https://tr.ee/PGq38iuh3eAs ever the awesome theme music and stings are provided by 1987tilpresent, You can buy the track called ' I found my love down Crispin Lane ' from here - https://1987tilpresent.bandcamp.com/track/i-found-my-love-down-crispin-lane Hosted on Acast. See acast.com/privacy for more information.

James Bradley introduces his latest novel; one of crime in a time of climate crisis. The desperate search for a missing child is set against a terrifying Sydney of the future, where sea levels are rising with the temperature and the social divide has become a chasm. + Catherine Jinks, known for her children’s fiction, has turned her deft writer's hand to adult thrillers. In ‘Panic’ her main character Bronwyn leaves town when the fallout from a misjudged text inflames the wrath of social media. However, worse awaits her in the country where conspiracy theorists and escapees from society have created a hell of their own. + Our young random reader Arlo recommends The Star Wars trilogy and anything by Roald Dahl. Guests James Bradley, author of “Landfall”. His other books include the novels “Wrack”, “The Deep Field”, “Clade” and “Ghost Species”, a book of poetry, “Paper Nautilus”, and a work of non-fiction, “Deep Water”. Catherine Jinks, author of “Panic”. Her other thrillers include “The Attack” and “Shelter”. Her children’s books include “Traitor’s Mask” and “Demon Thief”. Other books that get a mention: Michaela’s been reading “The Accident” by Fiona Lowe. You can find Sarah’s interview with Fiona in Episode 40 of Tsundoku. As part of her judging gig for the Ned Kelly Awards, Cath has discovered “Home Truths” by Charity Norman and “Has Anyone Seen Charlotte Salter” by Nicci French. James Bradley mentions “Dream Hotel” by Laila Lalami, “Human Nature”by Jane Rawson and “Is a River Alice” by Robert Macfarlane INSTAGRAM @penguinbooksaus@ghostspecies @catherinejinksauthor @text_publishingSee omnystudio.com/listener for privacy information.

DISCLAIMER: Liz has been found! It's a duo this week with Liz MIA, and Carolyn joining us from Canada. Cath and Carolyn chat about travel plans, controversy in the Facebook group, the things you're (meant) to do in the privacy of your home, plus of course break down all the fantastic netball from the week. It's a netball podcast, but it's so much more. If you enjoyed this episode - FOLLOW and SUBSCRIBE to No Dribble, share with a fellow 'Netty nut' and shoot us a 5 star review ⭐️⭐️⭐️⭐️⭐️ BUY Carolyn's book 'We Only Want What's Best' HERE Join the conversation with Cath, Liz and Carolyn and nominate your 'Wind Beneath My Wings' hero on Instagram HERE Join the No Dribble Facebook Group HERESee omnystudio.com/listener for privacy information.

Nick Lowe had a big hit on the top 40 back in the day called “Cruel to be Kind.” Interesting idea, but how about this one? “Kind to be Kind.” Now there's a novel idea. And it's the guiding principle of copywriter and agency owner Cath Reohorn, who has taken this philosophy to £1 million/month in revenues for her clients. So you don't have to do the math, that's about $1.3 million per month. Now, how does she do it? Today, on Copywriters Podcast, you'll find out exactly how. Now, back to the idea of “Kind to be Kind.” Cath's agency is called Kind Copy, and she defines the guiding principle this way: “Kind copy stands for not twisting the knife. This anti-cruelty stance isn't just an ethical standpoint. It's a tactical advantage for services where the client needs to be actively involved in their process (like coaching and consulting).” We'll dive deep into that in a moment. First, A little more about Cath and her business: She lives in Wales in the UK. She has a true family business, since it employs herself, her husband, her sister and 2 other team members. What's even more impressive, they grew with organic marketing to over £1m/month before she ever ran an ad. Here's what we asked her: 1. You have chosen as your niche high-end fitness businesses, and you've said you're bringing them about £1 million/month in sales. How did you decide to focus on that niche? 2. What are you doing in the way of copy and strategy for these clients that's proving most profitable? 3. Could you explain your philosophy of Kind Copy and give us a couple of contrasting examples: typical copy vs. Kind Copy? 4. Your approach is to use organic content to drive sales. Could you tell us a little about that? 5. You said in a LinkedIn post: "The best marketing isn't about manipulation... it's about CHANGE WORK." Could you talk about that? 6. How are you using AI to lighten the load and let yourself focus on what you're really good at and/or what you enjoy doing the most? 7. If someone were to start out in the agency business today, what are the first three things you would advise them to learn or do (or both)? Cath's website: https://kindcopy.co.uk/ Cath's social media links: https://www.x.com/kindcopy https://www.instagram.com/kindcopyuk/ Download.

Culte en direct de la Cathédrale de Lausanne (3/3), avec Jean-François Ramelet pour la prédication et Elisabeth Vetsch pour les lectures. Avec la participation musicale de Jean-Christophe Geiser à l'orgue. Présentation : Paolo Mariani Lectures bibliques : Marc, chapitre 6, versets 30 à 33 Le temps d'un soupir (3/3): Se tenir à la fois dans et à l'écart du monde Jésus et ses disciples n'avaient pas le temps de manger. Pas de fast-food où manger sur le pouce. Cette anecdote a de quoi surprendre. Car j'imagine volontiers Jésus maîtriser son agenda, ses déplacements, ses sollicitations. La rumeur qui le précède désormais dans tous ses déplacements le met sous pression. Il s'est laissé dépasser. C'est étrange pour quelqu'un qui marchait sur l'eau. Le texte laisse entendre qu'il est fatigué, qu'il a besoin de souffler. Je suis intrigué: si Jésus est Fils de Dieu, comment se fait-il qu'il ait besoin de se reposer? La même question se pose aussi pour Dieu lui-même, qui dans la Genèse, se repose le septième jour.

Jubilé 2025 : la Cathédrale Saint-Louis célèbre les artistes et la résilience humaine

À lʹoccasion des 750 ans de la Cathédrale de Lausanne, un projet choral unique est mis sur pied par le Festival de la Cité. La cheffe de chœur Johanna Hernandez et la musicienne Louise Knobil collaborent sur une création originale qui rassemblera plusieurs chorales le 5 juillet. Une performance ambitieuse. Karine Vasarino a suivi une répétition du chœur Fa7.

Karen Dukess's first book, The Last Book Party, was wildly successful by any measure—sold at auction, Indie Next pick, Discover New Writers pick… you probably read it. The second…Didn't sell. Not as in, not very many people bought it but as in, no publisher published it. She spent the requisite couple years or so, her agent signed on but… no takers. She felt like she was the only person in the whole entire world that that happened to… until she started asking around. Turns out, you know how people say writing books is hard? And publishing is tough? They're right!Never fear, Karen lived to tell the tail. Her next novel (do we call it second or third?), Welcome to Murder Week, is wonderful and available in a bookstore near you (and as you'll hear, I loved it and it's the perfect page-turner but not-anxiety-producing read for a swimming pool, beach, airplane ride or couch). But the real joy is that Karen is willing to dish. You'll hear:What happens when you want to be a bullet journal sticker getting writer with your butt in the chair but you're just … not.How to have fun writing a book that maybe no one will want (and why you'd better).How Karen found the right mindset to keep going.Karen's one rule as a beginning writer who couldn't quite get the hang of 1000 words a day. Links from the Pod:LauraPaloozaKaren Dukess, The Last Book PartyZibby EventsThe Murder of Mr. Wickham by Claudia Gray#AmReadingKaren: The Original, Nell Stevens KJ: Welcome to Murder WeekKaren's Substack Keep Calm and Carry On, a Substack from Karen Dukess or find her on Instagram @karendukess, or her website www.karendukess.comDid you know Sarina's latest thriller is out NOW? Rowan Gallagher is a devoted single mother and a talented architect with a high-profile commission restoring an historic mansion for the most powerful family in Maine. But inside, she's a mess. She knows that stalking her ex's avatar all over Portland on her phone isn't the healthiest way to heal from their breakup. But she's out of ice cream and she's sick of romcoms. Watching his every move is both fascinating and infuriating. He's dining out while she's wallowing on the couch. The last straw comes when he parks in their favorite spot on the waterfront. In a weak moment, she leashes the dog and sets off to see who else is in his car. Instead of catching her ex in a kiss, Rowan becomes the first witness to his murder—and the primary suspect.Digital books at: Amazon | Nook | Apple Books | Kobo | Google Play | Audible Physical books at: Bookshop.org | Amazon | Barnes & Noble | Indigo | More paperback links here!New! Transcript below!EPISODE 452 - TRANSCRIPTJess LaheyHey, it's Jess here. A few years ago, I got to go to Laura Palooza. Laura Palooza is the conference that is run by the Laura Ingalls Wilder Legacy and Research Association. I was invited because I wrote about Laura Ingalls Wilder and the Little House on the Prairie books, and at the very beginning of The Gift of Failure, there's a mention in the opening chapter. And I was invited to go, and it was fantastic. And I got to meet Dean Butler, who had played Almanzo, which was quite a moment for me, because I had been quite in love. Anyway, this year's Laura Palooza 2025 is going to be taking place July 8 through 11th, 2025. Laura Palooza 2025's theme is prairies, pioneers and pages. If you want more information on attending Laura Palooza 2025, you can go to L-I-W-L-R-A — L-I-W-L-R-A dot org slash laurapalooza. I will be putting it in the show notes for whatever episode this ends up on, and it's going to be really, really great. I'm jealous that I can't go again because it's not going to be near me. It's going to be in De Smet South, I hope that's how you pronounce it, South Dakota. But they're going to even have, like, a feature on the fashion at the time. They're going to have a section on planes, claims and all those land deals, a beginner's guide to mapping homestead claims. It's going to be cool, challenging gender norms. Laura Ingalls in fiction, and Rose Wilder Lane in reality. Folklore, fiction or forecasts, separating and linking science, storytelling and mythology in weather, lore, that's going to be by Dr. Barb Boustead, who has been on this very podcast. She's fantastic. Laura Palooza 2025... July, you should go, you should sign up. It's really fun. They're going to be doing a field trip also to the Ingalls Homestead, I believe. Check it out. It's pretty cool.Multiple Speakers:Is it recording? Now it's recording, yay. Go ahead. This is the part where I stare blankly at the microphone. I don't remember what I'm supposed to be doing. All right, let's start over. Awkward pause. I'm going to rustle some papers. Okay, now one, two, three.KJ Dell'AntoniaHey, I'm KJ Dell'Antonia, and this is Hashtag AmWriting, the weekly podcast about writing all the things, short things, long things, pitches, proposals, fiction, nonfiction, in short or really actually, usually long. We are the podcast about sitting down and getting your work done. And I am KJ Dell'Antonia. I am the author of a bunch of novels, the most popular of which is The Chicken Sisters, and the most recent is Playing the Witch Card, and you should read them all. And I have with me today a guest that I'm really excited about for a topic that you all are going to love. So, with me today, I have Karen Dukess, and she is the author of The Last Book Party, which you might have read in 2019 because it was unmissable. It was everywhere. It was an Indie Next. It was a Discover New Writers pick, it was...it was all over the place. And that is partly what we're here to talk about today. And we're also here to talk about her new novel, Welcome to Murder Week, which I have just read and enjoyed, but mostly we're here to talk about the six years in between. So, welcome. I am so glad to have you here. So, Karen and I have met in person. We met at a Zibby book event and at an event for the amazing Annabel Monaghan, who also has a book out this summer. The lovely thing about the universe is that nobody reads just one book.Karen DukessThat is true. Thank you.KJ Dell'AntoniaSo, you can be like, yes, read Annabel's book, read my book. Read. I mean, anybody who reads? I mean, yeah, there are people who read just one book, it's probably not going to be ours. Oh, well, people seem to like the Bible. I don't know that's a popular one. See that? A lot around a lot of Crawdads, also see that. Okay, so anyway, tell us what the story of the long six-year journey between your very, very successful debut novel, and what is about to be your very different sophomore novel.Karen DukessSo, I feel like I have an upside-down writing career in that most people write a lot of novels that don't get published before they write a novel that gets published, and mine went backwards. So, The Last Book Party was my first novel, and I wrote it...Didn't... I wrote it, finished it when I was in my early 50's, around 54 -55, spent about four years writing it, and I had done a lot of writing before, then stopping and starting and thinking that. I must not have what it takes, because this is too hard. I didn't realize that novel writing just is hard, and that is the way it is for all but a few unicorn people. So that novel, I was so happy when I finally finished it. I was so satisfied to just finally have written a novel, and I was truly thrilled, and I I felt like, if it doesn't get published, I'll publish it myself. I'm just so happy to have achieved this goal. And then it sold incredibly quickly. It was unbelievable. I mean, it was like beyond my wildest dreams. It went to auction. It sold very quickly for a good advance, and the publishing experience was great, including the fact that they were originally going to publish it in 2020, but they decided to bump it up to 2019 I don't know why. But I was like, sure, I've waited to my 50's to get this book out, like the sooner the better. And then I dodged the bullet of waiting all these years to publish a novel and have it come out during the pandemic. So, the paperback came out in the pandemic, which wasn't great, but I still felt so grateful that I had gotten this book out before then. So, then I started working on my second novel, which later someone had given me some someone, a friend...it might have even been Annabel. Someone gave her the advice that your second novel, don't make it very, very personal. And I kind of wish I had gotten that advice, even though I'm not sure I would have listened to it. But the thing about a second novel, and I don't know if you experienced this, KJ, but if you have success with your first novel, the second novel is scary because you're like, was I a one hit wonder? You know, was it a fluke? Can I do this again? And people would say, well, you know how to write novels now. And I'd be like, no, I know how to write THAT novel. I have no idea how to write another novel. And the novel I wanted to write at that time was drawing on the many years I spent studying and living in Russia and working as a journalist in Russia. I was in Russia in the 90's, and I wrote a novel that was about an American woman's journey in Russia and some American journalists in Russia. But it was set in Russia in 2017 and with flashbacks to the 90's, and it was hard to write. It was not fun. I think I had, like, sitting on my shoulder this sort of like, oh, can she do it again? You know that kind of thing. And I knew that the luck I had the first one, like, you know, I knew it was unlike, unluck, unlikely to be like that again. Plus, I had this sense of like, this is my Russia novel. And even though it wasn't a novel like, directly about Russia, it still was my chance to sort of give my take on things there. So, I think I also had sitting on my shoulder, like all the journalists I know knew in Russia, and people that studied Russia and the real Russia experts, and what were they going to think of my take?KJ Dell'AntoniaOh, yeah.Karen DukessSo it was, it was not writing, sort of like joyfully, it was a tough novel to write. And then it was also, it was fiction, but it was sort of personal, midlife kind of novel. So, there was just a lot of baggage with that novel. And the writing of it was tough, you know, it was just, it took longer than I thought it it just, I just remember a lot of sort of hair pulling, kind of, you know, those writing days. I had a lot of them. I finished it. My agent said he loved it. I don't think he loved it as much as the other two novels I've written, but, you know, he was ready to send it out on submission. But as I was finishing it, I was getting more and more concerned, because I finished it right around when Russia invaded Ukraine. And my novel, which was set in 2017 Russia, now things were so different, and they had been increasingly becoming different. Suddenly it felt very anachronistic, because I wasn't writing with these big current events in mind. Plus, there was this whole kind of like, oh, Russia, yuck, nobody, you know. And I felt that too. So, I was nervous about it, and my agent was like, just finish it. You've spent this much time on it. Let's finish it and see what happens. And so, we sent it out, and the response I got was kind of... Uh not great, you know, it went to my publisher first. They'd write a first refusal, and we're like, this novel. It about American woman in Russia right now, it's just not the right time. And, you know, there may have been other things about the novel as well, but it was kind of a, like, not a good sell. So, we sent it out to maybe five or six more editors, you know, I got lovely rejection letters, you know. Well, I really enjoyed it. This part was so interesting. But, yeah, I don't know, I don't know how to market this novel right now. And it was, you know, it was crushing, of course, but it also kind of echoed my feelings about the novel. The whole thing gave me a knot in my stomach, yeah, so my agent said, well, we haven't really exhausted the possibilities yet. We can send it out another round, or you can revise it, or you can set it aside. And I felt really sure at that point that I just wanted to, I didn't want to keep submitting it. I just felt like not the right time. And it was disappointing, but it was also kind of a relief, because if someone had decided to publish that novel, I think I would have been really nervous for the whole time before it came out.KJ Dell'AntoniaI think the only thing worse than having your second novel not published is having it published to like, you know, universal hatred.Karen DukessYeah exactly.KJ Dell'AntoniaOr just, or just to your own disappointment, you know?Karen DukessYeah. And then there's a long lead time between the time and novel gets accepted and the time it gets published. And to just feel like, nervous that whole time, I just...KJ Dell'AntoniaYeah.Karen DukessSo, I was relieved and disappointed. And I remember very well thinking like, oh, well, this is what people talk about. When they talk about, you have to be able to deal with rejection as a writer, because I hadn't dealt with it yet. I had been so lucky, and I really had this sense of like, all right, well, now I get to find out if I'm really a writer, like, can I deal with this and or can I not? And so, I was like, I'm going to write something else. But I was determined to write something very, very different. Like, I needed the whole experience to be different, yeah, and it ended up being kind of liberating, because I went on a trip with my sister to England. We went to the Peak District in England for a week. We rented a little cottage, and this was right before the novel went on submission, I think, or maybe right after, maybe it was on submission, I don't know. So, it was around the time when I wasn't feeling good about the novel, but I wasn't sure it was like a dead deal yet. And we had this absolutely fantastic week in the Peak District, where I was my first time traveling in the English countryside. I'd been to London, but I'd never been in the English countryside, and I felt like I was just stepping into the pages of all my favorite English novels, like Pride and Prejudice and Jane Eyre. And also, like I was stepping into scenes of every BritBox masterpiece, mystery thing, I had written, you know, think, oh my god, there's a vicar. And just really, I was in a... my sister, we have similar reading tastes, and we were just both in this mood, like everything was just kind of entertaining us, and we were laughing at ourselves for seeing England through all these fictional characters. So, when I came back, I think I came back, and that's when I kind of realized this Russian novel was dead or shortly thereafter. And I thought, okay, I'm going to, I'm going to write something about Americans going to England. I want to continue that mood. And I really felt like, if I'm going to do now that I knew you could spend years writing a novel and have it not get published, which I knew intellectually before, but I didn't, hadn't experienced it. I I just felt like, if I'm going to spend another couple years writing a novel like fun has to be the number one thing. It just has to be fun. I'm like, not going to be miserable again. I can't do something like the Russian novel again. I have to just entertain myself and make myself happy, and hopefully it will entertain other people and make them happy too. And that's how I landed on the idea of sending these writing about Americans that go to England to solve a fake murder mystery, which is what Welcome to Murder Week is about. And I just had such a good time writing it. And I wrote it quicker than I've ever written. I wrote it in a little over a year, and it was honestly delightful. Like, I couldn't believe it. Like, writing could actually be really fun.KJ Dell'AntoniaWho knew? The result is also delightful. It just, it's, it's kind of like every warm and lovely book setting on to you you've ever read. It is it Is that I really enjoyed it, So...Karen DukessI'm so glad.KJ Dell'AntoniaI don't know what the Russian novel was like. That doesn't sound fun.Karen DukessI mean it wasn't really heavy, because I'm not like a heavy writer... like it still had...KJ Dell'AntoniaRight.Karen DukessIn it, and it had emotion, etc., but I'm not sad that it's not out.KJ Dell'AntoniaYeah.Karen DukessLet's put it that way, yeah. So, yeah, this one was just fun. And I, you know, my initial idea was to send a group of Americans to England. Initially it was going to be a writing group. I like the idea of putting characters together who would not ordinarily know each other, but to have them together in a space and then a friend of mine said, Okay, so that's an idea. You're going to send some writers on a writing retreat to England, and what are they going to do there? Like, write? Like, that's not very interesting. And that's how I, kind of, you know, ended up moving to this thing where I could have them participate in this weeklong, solve a fake English village murder mystery. And I could have, you know, the villagers, some of them participating in this, and some eagerly participating, some cynical and send a bunch of Americans, you know, Britbox crazed Americans, to compete in this thing. And, yeah, that's, that's how it ended up. And it was fun.KJ Dell'AntoniaI, yeah. I mean, it reads like you had fun. I, as someone who has... so Playing the Witch Card has like a big game sort of Halloween event at the center of it. That would be really hard to do in reality. This is kind of like that.Karen DukessYeah.KJ Dell'AntoniaLike, this is like the dream murder week, both from some of the point of view of someone who might want to put one on and from someone the point of view of someone who might want to go and do one. It's not, it's um, you know, it's not. Sometimes you read these and they're like, they're like, silly and hokey. It's like, very sincere, super fun murder week that anyone would wish that they could do that likes that kind of thing. Anyway, I yeah, I totally enjoyed it. All the characters were really fun. I could see that you must have had fun writing it.Karen DukessI did. And I also, you know, people often say, like, write the novel you want to read. And I really did that with this because I wanted it to have so it has a fake mystery, but then it has a real mystery as well.KJ Dell'AntoniaYeah.Karen DukessLike the main character, thirty-four-year-old Cath, little do you know, she goes on this trip because her estranged mother, before she died, booked them on it, and she's sort of reluctant to go, but can't get a refund. And then I sort of developed this whole story about she teams up with her house, shares a cottage with people to solve the fake mystery, but that she also solves the real mystery of why her mother wanted her to go, her late mother, and that was sort of like the writing the story you want to read. Because I like light and funny, but I also like something that has, like, some emotional heart to it, like I wanted to try to story that was fun, but that has something going on. And the more I wrote, the more Cath's serious story became part of the story, I think, in the first deeply satisfying, yeah, and the first version, the first draft that my agent read, and I had never shared a draft before with him, and, you know, I think I was just hoping he would be like, it's almost perfect. And he was like, well, I think Cath is the hardest story. I think you need to develop that more. And then I went back and did and sort of... blended the two. So, the whole experience was just, yeah, of course. Now I'm like, can I have fun again?KJ Dell'AntoniaYes, yes, you can. Nobody ever tells me my first draft is perfect, and I really hate that.Karen DukessYeah, I know. I think it's, I don't even know if I should have shared it with him, like, I just wanted him to say, like, it's amazing. And he was like, yeah, it could be really good.KJ Dell'AntoniaWell, but you just want them to know that you're doing, yeah, I'm a I'm going to share the first draft of the thing I'm doing with my agent, and it might be a terrible idea, but I'm going to do it anyway, because I want her to know I'm doing a thing. And yeah, I'm excited. And yeah um...Karen Dukess I also think that, like, you know, when I said that, it was liberating, in a way, to sort of have the experience that I had with the Russian novel. I think it was also maybe by the time, you know, getting to the third novel, or maybe it's getting to my age. I felt sort of like, I think I gave my permission, myself, permission to write a novel that, yeah, it has a serious story at the heart of it, but it's not like a deeply serious book, you know? And I think there's a tendency to think like, you know, I would look at the world around me sometimes, when I was drafting it, and feel like there's so many serious things to write about, and I'm writing this funny story, like, is that super fluffy? And, you know, it was like, this is what I wanted to write? That's okay, you know? I don't have to prove anything. Like, here is my serious tome. You know, I really just wanted to give people like, an emotional, amusing, heartwarming experience. And that is okay.KJ Dell'AntoniaIt is funny how locked we get into that, both as writers and as readers, this idea that if it's not serious or experimental or deep or dark, it's, I don't know, somehow not worthy. There was somebody was reading somebody's Substack the other day, and they were sort of deeply apologizing for the book they had recommended, which sounded really amazing. And I was like, why you, you know, you clearly enjoyed this, and it sounded great. And I don't. I mean, as a reader, I don't want to read things that are dark and deep and serious A. all the time...Karen DukessYeah.KJ Dell'AntoniaAnd B. sometimes not at all.Karen DukessYeah, I do like to read dark and serious, but I've learned that I don't like to write that like writing a novel is, it's always so much more time than you think. I mean, even this one was quicker than usual. It's a lot of time, like you're living it. And I was just like, I can't live in a dark place, like I can read a dark book in a couple days, you know? And...KJ Dell'AntoniaYeah.Karen DukessWipe my eyes and move on. But...KJ Dell'AntoniaYeah.Karen DukessYou know...KJ Dell'AntoniaA light one.Karen DukessYou could assume... but you know. When I'm writing a novel, I'm going to bed thinking about their the characters, and I'm thinking about it when I'm exercising, and it's just like churning in there, and I just don't want to be in a dark place for two years.KJ Dell'AntoniaYeah, and most of the time people, I mean, I guess it just depends on, on who you are. But a heart, it's hardly ever dark all the time. I mean, even people that I have known that we're going through some really horrible things have found, you know, levity and joy and pleasure in in some parts of it. And I think we all hesitate to say, well, that's everyone. Or you got to, you know, we don't want to impose that on every, on anyone, because that's kind of also where we are is, is this delicate dance of not wanting to expect anybody else to be the way you think they're going to be. But I it just seems like people find levity, even in even the worst, even in the worst moments. And people want, um, solace, you know?Karen DukessYeah.KJ Dell'Antonia Something... something pleasant... something.Karen DukessYeah, I work with an editor, kind of a more like a writing coach, like she doesn't actually edit, but she sort of helps me figure out the story and stuff. And there was one point when she was reading a draft, and there's a scene in the book. I don't know if it's a minor thing, but when my main character Cath, who there's a little romance in it. And when she's first together with this guy, and they're sort of rolling around in bed, the first draft that, the first version of it, she accidentally hit her head on the headboard, and then she's like, “Oh my god, are you okay?” And she was like, “no”. My coach was like, no, no. I don't want to be anxious that maybe this guy is a little violent. Like, no, no, you've got to take that out. I don't want to be anxious in the reading of this book. And it was such a minor thing that I think she was like...KJ Dell'AntoniaAnd you had him hit his head instead, right? Yeah.Karen DukessBecause I don't think anyone was going to worry that she's violent. But it was funny. It was like, she was very much like this book is, there are books where you want the reader to feel anxious, but she's like, this book is not that I don't want anxiety in this book you know?KJ Dell'AntoniaYeah, yeah.Karen DukessLike she's still concerned about Cath and her story. You can feel sad about what she learns, but not anxiety.KJ Dell'AntoniaYou know I think you've really put your finger on something, because that is exactly right. This book is a page turner, like you want to find out what happens. You want to be with the characters you want to it's a hang and it's like, like, I read something recently where, um, in the middle, you, I found myself sort of, I was still reading it because it was a good hang, but in the middle I was just kind of, like, I forget why we're here. I forget what I'm wondering. You're not really wondering anything, but I like it, so I'll keep this. Your book was not like that at all. This is a fantastic hang but you're right. It never, it's not... that's exactly right. It's not, it's not anxiety producing. And I think that's its own vibe. Like you can have romances that are fun and they're good, but they actually, you do have anxiety around, you know, like, how the characters are going to pull themselves out of this, or how they're going to feel or, yeah, and you can have them or you don't. I like that as, like, a sort of a line in the sand.Karen DukessYeah, yeah. And then I kind of thought about it as I continued, like, yeah, okay, that's right. We're not going to go to like, the really unsettling places.KJ Dell'AntoniaYeah. I mean, even if you really want to know what would what will happen, and you really want, like, the things that happen to turn out in satisfying ways, but it doesn't feel like, if they turn out in some like, there were a variety of available options, none of which felt horrible.Karen DukessYeah, exactly.KJ Dell'AntoniaThank you for that. Thank you for a lovely reading experience. So, what else did you take away? Like, what else did you change between the drafting of the book that does not end up being published, which you know, for all we know, is actually great, but the timing was really bad. What should you change?Karen DukessWhat changed for me... in writing?KJ Dell'AntoniaYeah, what are you changing? Did you change anything in your process?Karen DukessUm, I think I, I don't know if it was completely because of the experience with this book, but definitely it fed into it. Um, I worked with the same writing coach on the Russia book, and she keeps saying that book will be published someday. I'm like, yeah, maybe, maybe not. I don't really care, honestly at this point, but one thing that she really pushed on me, which I discovered in the writing of murder week, was really true, is that to be open and playful and just really to be creative, I needed that. I needed to be in the right mindset, like, I know your thing is always butt in chair, butt in chair. And it is true, you have to, you know, you have to push yourself to finish a novel. It's not easy. And there are times when you just have to push forward. But for me, in the drafting of it, like the butt in chair thing, for me, is more important in the revising and the final draft, when it's like, you've got to get through it, and you've just got to keep sitting there and doing it. But when I'm in this sort of creating stage, when I'm not sure what the story is, when I'm in those moods where I'm just like, sit down and work at this like, I don't write good stuff. I just don't. And she would sometimes say to me, like, if I would talk to her, and I was really angsty and I was really self-critical, or I don't like what I've written, or I don't know where I'm going with this, or whatever , she was really she would very much say, like, when you're in that kind of mood, just walk away. Don't sit at your computer. Like, that is not the time for butt in chair. That is the time for just go do something else and like, lighten up on yourself. And that was really true for this. And I'm trying to remind myself that as I work on the next novel that you know for me, being kind to myself and feeling playful and open is when I'm going to write the best stuff and surprise myself. And that applies whether I'm writing like a serious scene or a funny scene. And the tricky thing about it is, you know, it's always a little scary to write, so it's like, Am I walking away because I need to lighten up my mind, or am I just plain procrastinating?KJ Dell'AntoniaYeah, or am I walking away because I just don't know how to...Karen DukessSo, I think that is something though, that I do feel like I write better from a free place than from a sort of, like, grim, determined place.KJ Dell'AntoniaYeah, that makes sense.Karen DukessI think I was learning that and trying to learn that when I was writing the Russia novel, but it really came true with this one, which is why I think I was able to write it quicker, because it's actually, you know, the weaving together of the fake murder mystery and the real mystery and the arcs of all the different characters. Like, it wasn't simple putting all together, but yet it was simpler for me to write, because I was just looser about it.KJ Dell'AntoniaRight. I think you learned to trust that you would finish this, even if you didn't finish it today.Karen DukessYeah.KJ Dell'AntoniaDoes that make sense?Karen DukessYeah.KJ Dell'AntoniaI, yeah.Karen DukessAnd I just think, like, trusting the process is so important, you know. And I talk about this with friends in my writing group, you know, sometimes when you're like, working so hard to figure it out, because it feels good to figure the novel out before you write it, because then you don't have the anxiety of, what if I don't figure it out? But it doesn't always work best that way. I don't think, like, I think there are times for that, and there are times to just, like, just keep going and like, let it go a little and let some interesting things happen, and then you'll figure out how to put it all together for me anyway. But obviously I'm not a plotter kind of person, so...KJ Dell'AntoniaI think, yeah, I think that varies. But what's what I'm really hearing here is that, like, even you knew, okay, if I don't, maybe I don't sit down today. That doesn't mean I'm never sitting again, down again. And I think that is, that's part of what I struggle with in my like 1000 words a day. Just, just keep doing it time. And I, and I think I, too, have come around to the idea that I'm going to finish it like...Karen DukessYeah.KJ Dell'AntoniaI'm not. I'm not suddenly, you know, just because I only got to 700 words today, that doesn't mean tomorrow I'm going to be like, yeah, I'm not a writer anymore. Oops!Karen Dukess Yeah, exactly. Well, I think, and I think I've learned that, like, I can't tell you how many times, I mean, I've listened to your podcast forever, and, like, years ago, I would listen to it, and I would be like, Yes, I'm going to do the stickers, or, Yes, I'm going to do 500 words a day, or, Yes, I'm going to text a friend or you know, none of that stuff. I could never sustain it.KJ Dell'AntoniaIt doesn't work for you.Karen DukessI have no routine; I have no methods. But what I've learned now is like, but I get books done, so it's okay, like, yeah, I will sometimes go a couple days where I don't write, or I will, you know, think I'm on a routine of 500 or 1000 words a day for a while, and then I'm not, and that's okay, because it's just like, I know that I can still get them done in my crazy way.KJ Dell'AntoniaThat is what we have tried to start saying more often, is, listen, this doesn't work for everybody. If you're doing something different and you're getting the work done, then you're great, yeah, if you're doing something different and you're not finishing things, then maybe try this.Karen DukessYeah, well I remember, like, when I was working on The Last Book Party, right before I got kind of serious on it, I was in a writing group, and I was starting, then I was like, I was learning in the writing group through, finally being in a community with other writers. So, like everybody struggles. Published writers struggle. Really great writers struggle like and that, and I loved reading interviews with writers like I couldn't get enough of interviews and essays about writer's struggles, because I had to, like, keep convincing myself that like, my struggles didn't mean I wasn't a writer. But then there was one point where I remember making a rule for myself. And I was like; I am not allowed to read about writing if I haven't written that day. You know, spend a lot of time...KJ Dell'AntoniaYes.Karen DukessWorking on your novel, but what you're actually doing is like, reading about writing and reading interviews and listening to podcasts. So, it's like, I cannot listen to KJ's podcast until I've done some writing. So, I've had to, I have had to make some rules.KJ Dell'Antonia Yeah, well, that's, I mean, that's how you turned yourself into somebody who gets the work done, and now into somebody who has her own like now you have a way people ask you, so what's your process? How did you get this done?Karen DukessI don't think anyone has tried my process, but yeah. And it can be different for every book, I guess, you know?KJ Dell'AntoniaHorrifyingly, I think that it can when you see pointed out, yeah, you that you knew how to write that book, that is so true, and that has been a huge thing for me, is to realize that even after writing a bunch of books, people still struggle, it's still hard, every book is hard. Every book has, I mean, we have a joke among the podcasts, you know, because you get to a point where you're like, okay, I hate this now, and we'll all be right, right-on target,Karen DukessExactly.KJ Dell'AntoniaBaby's developing nicely. Here's our 18-month checklist. Aww and you're crawling, and you hate your book. Yay!Karen DukessYeah, yeah. I don't think the process gets easier, but I think knowing that you can get through it makes it a little easier. Maybe it diminishes the panic a little bit like, you know, you'll figure it out. You'll figure it out.KJ Dell'AntoniaWell, this, I mean, this has been great. I'm sure it's going to be inspirational for everyone. It is inspirational for me, because I also... so I have a book that I worked on for the last year and a half, and I, we didn't, we didn't try to sell it because, because it's not very good.Karen DukessAre you still working on it? Or...KJ Dell'AntoniaIt's leaving, it's living. I make these gestures as though, like, there's like, a blobby object over here that is my, but is my finished, but also not revised and not good uh...Karen DukessI had this theory about books, like, it's the same theory I had with au pairs.KJ Dell'AntoniaOkay.Karen DukessWe had a lot of au pairs when my kids were growing up and I was working out of the home, you know, not writing. And I felt like every time I selected, you know, they would come for a year. One or two of them stayed for two years. But every time I selected a new au pair, it was in reaction to the problems of the other... the previous au pair. So, like, when I had an au pair that was like a horrible driver, so much so that we had to, like, get rid of her. Then I was like, okay, where is it hardest to get a driver's license? Germany. Okay, I'm having a German au pair, you know. Then I had, like, a German au pair who was great, but it was like, she was too, I don't know, whatever if I had an au pair, that was like, two lax, then the next one was like, oh, this person has, like, you know, worked in a boys school. I want that.KJ Dell'AntoniaRight? yeah.Karen DukessAnd I feel like, you know, I wrote Welcome to Murder Week because I had had this tough experience with this Russia novel. Then it was like, I'm going to do something really fun. So, and I don't know that I would have written that if I hadn't needed so badly to have fun. I don't know that I would have said, no, yeah, forget doing something, you know, serious or with some geopolitical things in it. I'm going to write a, you know, a murder week story. I don't know that I would have written it if I could have gone on that vacation and just had a great time and come back and not felt the need.KJ Dell'AntoniaWritten something else.Karen DukessSo, you know, maybe the one that's not working is going to lead you to write the next fabulous thing.KJ Dell'AntoniaWell, I hope I'm already well into... I'm well into something else, but, yeah, it's, you know, you spend a lot of time on something, not everything works. It's one of the reasons this is a terrible job, and you absolutely shouldn't do it unless you know, you can't do anything else,Karen DukessExactly.KJ Dell'AntoniaOr unless you really want to.Karen DukessYeah.KJ Dell'AntoniaThere. That's that. That's really good advice. That's going to make a great bumper sticker. All right. So have you read anything good lately besides Welcome to Murder Week, which, in fact, is what I will be raving about in just a second.Karen DukessUm, yes, I read a book called The Original by Nell Stevens. It out in June. She's a British writer, and it's really good. It's sort of an also kind of genre, blending the way my book is, but it's very different. It's like a gothic novel. It's set in an old house in England in the 1800's and it involves an orphan who's being raised by relatives, and she has an incredible talent for painting forgeries, and she sort of has this secret business in selling forgeries, but it also involves an imposter who returns from abroad in the family, and there's a queer romance in it, and it's totally unlike anything I've read, and very compelling.KJ Dell'AntoniaOof, I love that.Karen DukessIn a really compelling way.KJ Dell'AntoniaAnd by the time people hear that, that this, this will either be out, or like, buy your next week self a present. That sounds great.Karen DukessYeah, it was very... it's very good. It's kind of like a rainy day book. You know?KJ Dell'AntoniaI love that. Well, I already raved about Welcome to Murder Week, but I'm telling you all, it's a real it's a real joy. I want to compare it to things. But there's almost like it's, I'll think of things that I that I want to...Karen DukessIt's hard to compare because it's not a traditional mystery,KJ Dell'AntoniaYeah, no, um, I feel like Clare Pooley's books are, and I can't even think of the titles of them, but that, yeah, that is kind of ringing the right bell for me. I don't know who else a little bit of the like the murder, like, if you really thought The Murder of Mr. Wickham was super fun, which I absolutely adored, that is completely different, and yet also it's the same, like, it's the same... I think the vibe we're looking for here is page turner, no anxiety. And I love that. I love that for all of us...in England.Karen Dukess Yes, yeah.KJ Dell'AntoniaSo go grab this one. You're going to enjoy it, all right. Well, thanks so much. This was really fun. Thank you for being so open, and not just, you know, wandering around saying, well, I just it took me six years to write this because it's very good.Karen DukessYeah, I have to say, you know, I think that writers should talk more often about their failures. And by that...KJ Dell'AntoniaYeah.Karen DukessI mean, like novels that they wrote and abandoned, or novels that they wrote and tried to get published and couldn't, because it was only until I wrote this Russian novel and didn't sell it, and I would mention it to people. Then all these writers I knew, and people I knew, you know, would suddenly tell me about their own published novels. And I was like, why did I know about this beforehand? There's no shame in it... you know? It's a tough business. It's a tough business. The writing is tough; the publishing is tough. And now I'm like, oh my god, like so many writers I know have novels that did not get published, and for whatever reason. And I'm sure many of those novels are great novels, and but knowing that you know the journey of being a writer, just like I don't know a single author who hasn't like lost their editor at some point, you know, their editor leaves. Then they find a new, you know, be assigned to a new editor. That happens everybody, and I realize how many people have novels that did not see the light of day, and it was comforting to know it. So, I think people should be more open about it.KJ Dell'AntoniaI think we just are afraid that, you know, a reader will hear, well, I don't know if she's capable of writing something... that doesn't work, maybe it's not very good, which readers aren't listening to anything. They can barely remember our names. They just know if the book sounded good and someone pressed it into their hands.Karen DukessYeah, had a great cover.KJ Dell'AntoniaYeah, had a great cover. Yeah, all, all of the things, and it's just, it's, it's just a little scary to admit, because I guess one of the scary things about it, of course, admitting that that has happened means it could happen again. And hey It could! Oh well.Karen DukessYeah, but I've survived it. So...KJ Dell'AntoniaYou've survived it, you would survive it again. And also, it didn't happen this time. Welcome to Murder Week is great, and everyone is going to be sitting with it by the pool looking very happy. This is my wish for you. All right?Karen DukessThank you. Thanks so much KJ.KJ Dell'AntoniaOh, thank you. Hey, anywhere people should follow you? Oh, you have a Substack. What is it? I love it!Karen DukessI have a Substack. I mean, I think on Substack you can find it by my name Karen Dukess, it's, I don't know... it's called, “Keep Calm and Carry On”, but I think you can just look me up by name on Substack, and I am on Instagram more often at Karen Dukess, as I post about books that I'm reading all the time. Obviously, there'll be a lot of quarter week stuff, but I try to, you know, I'm reading eclectically and all the time. So, I'm always posting about books. Those are probably the best places to find me. And I have my website with all my events on it.KJ Dell'AntoniaIt'll be linked. It'll be linked.Karen DukessGreat.KJ Dell'AntoniaHopefully I can get to something... all right. Well, thank you so much. And all you listeners out there, I mean, you know you do you, but in some way, keep your butt in the chair, hey and or your head in the game.Jess LaheyThe Hashtag AmWriting podcast is produced by Andrew perilla. Our intro music, aptly titled Unemployed Monday was written and played by Max Cohen. Andrew and Max were paid for their time and their creative output, because everyone deserves to be paid for their work. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit amwriting.substack.com/subscribe

This conversation is a going deeper resource to our Gospel Life series. Ryan, Polly Murphy and Cath Janse van Rensburg go deeper into biblical justice and some practicalities. Polly is the CEO of our partner NGO - Common Good that aims to contribute to South Africa's development by empowering local grassroots organisations to  invest in individuals from childhood through to employment. Cath was part of leading the Bridges Retreat Center in Franschoek. As part of its mandate, Bridges provides enriching and educational camp experiences for children from under-resourced communities, where they develop values and life skills that will positively impact the trajectory of their lives.Here is a link to Iain's message on biblical justice: Justice - Iain Kruger

This conversation is a going deeper resource to our Gospel Life series. Ryan, Polly Murphy and Cath Janse van Rensburg go deeper into biblical justice and some practicalities. Polly is the CEO of our partner NGO - Common Good that aims to contribute to South Africa's development by empowering local grassroots organisations to  invest in individuals from childhood through to employment. Cath was part of leading the Bridges Retreat Center in Franschoek. As part of its mandate, Bridges provides enriching and educational camp experiences for children from under-resourced communities, where they develop values and life skills that will positively impact the trajectory of their lives.Here is a link to Iain's message on biblical justice: Justice - Iain Kruger

Send us a textFr Joe Krupp talk of the Church's teaching on IVF and the Half-Caths in today's world of social media.Check out the JIBM Web site at:  https://www.joeinblackministries.com/Please use the following link if you would like to financially support Church of the Holy Family: https://pushpay.com/g/hfgrandblanc?sr...

The internet tries to get in the way of us again but can't keep the GOAT Liz down; we discuss our parents' relaxed outlook on firework safety, our new obsession Semantle, and Cath eats a cake (unfortunately on mic). Plus, of course, netty news and the nitty gritty of our tipping comp. It's a netball podcast, but it's so much more. If you enjoyed this episode - FOLLOW and SUBSCRIBE to No Dribble, share with a fellow 'Netty nut' and shoot us a 5 star review ⭐️⭐️⭐️⭐️⭐️ BUY Carolyn's book 'We Only Want What's Best' HERE Join the conversation with Cath, Liz and Carolyn and nominate your 'Wind Beneath My Wings' hero on Instagram HERE Join the No Dribble Facebook Group HERESee omnystudio.com/listener for privacy information.

This week Cath returns to the topic of meeting our needs and how much this can involve when we have not had our needs attended to or met in childhood. She speaks about how many of us experience shame in relation to our needs and how impactful this is. Cath speaks to the nuance around meeting needs, how needs may shift over a healing journey and she shares a couple of anecdotes from her own life.If you're enjoying this podcast. Please leave a review and rate the podcast, this really helps others to find it.To sign up for the journal prompts and Nurture.Heal.Grow (on Substack) please head to www.cathcounihan.com or @cathcounihan on Instagram. Follow Cath on social media here:Instagram: @cathcounihanSubstack: Nurture.Heal.GrowFacebook: Cath Counihan Hosted on Acast. See acast.com/privacy for more information.

Culte de la Pentecôte, en direct de la Cathédrale de Lausanne (2/3), avec Line Dépraz pour la prédication et Jérôme Yvon pour les lectures. Avec la participation musicale de Jean-Christophe Geiser à l'orgue. Présentation : Laurence Villoz Lectures bibliques : Actes, chapitre 2, versets 1 à 11 Le temps d'un soupir (2/3): Heureux les dégonflé·es On a longtemps enseigné qu'avoir la foi, c'était avoir la réponse à toutes les questions. Les grands catéchismes traditionnels en témoignent, eux qui sont constitués d'une succession de questions auxquelles des réponses, souvent doctrinales, sont apportées. Pentecôte nous rappelle à juste titre que la foi, comme toute relation, est aussi faite d'aspiration, d'envie, de désirs non encore assouvis. Si on est plein de soi, comment faire encore place à l'Esprit en soi?

A coupla teensy audio glitches don’t get in the way of a rousing discussion about Wordle etiquette, colonoscopy prep, inappropriate songs and even some talk about another sensational round of netball. It's a netball podcast, but it's so much more. If you enjoyed this episode - FOLLOW and SUBSCRIBE to No Dribble, share with a fellow 'Netty nut' and shoot us a 5 star review ⭐️⭐️⭐️⭐️⭐️ BUY Carolyn's book 'We Only Want What's Best' HERE Join the conversation with Cath, Liz and Carolyn and nominate your 'Wind Beneath My Wings' hero on Instagram HERE Join the No Dribble Facebook Group HERESee omnystudio.com/listener for privacy information.

In episode 136 Cath is joined by author, coach and podcast host Mara Glatzel.This is a rich conversation centered on needs and how we can make space for them, illustrated with stories from Mara's life. We also discuss ambition, grappling with achievement, choice and the decisions we need to make about how we actually spend our precious lives. Mara Glatzel (she/her) is a coach, podcast host, and the author of "Needy: How to Advocate for Your Needs and Claim Your Sovereignty." She teaches fellow needy humans to uncover the most vulnerable and true expressions of themselves, and learn how to deeply tend to their needs. Through her online programs, workshops, and retreats, Mara supports people to reclaim space for their own humanity and create ambitious lives filled with meaning, without abandoning themselves in the process. Find out more about Mara at maraglatzel.comIf you're enjoying this podcast. Please leave a review and rate the podcast, this really helps others to find it.To sign up for the journal prompts and Nurture.Heal.Grow (on Substack) please head to www.cathcounihan.com or @cathcounihan on Instagram. Follow Cath on social media here:Instagram: @cathcounihanSubstack: Nurture.Heal.GrowFacebook: Cath Counihan Hosted on Acast. See acast.com/privacy for more information.

This episode of 'The Heart Of It' is a barrel of laughs. Ali is joined by BFF Cath Mahoney and lets just say these two bring out a cheeky side of each other (emphasis on cheeky). Being 50 and single wasn’t exactly where Cathy Mahoney thought she’d be at this stage of life — but she’s embraced it with open arms and an open mind. From dating apps and kink platforms to some truly wild (and hilarious) encounters, Cath is diving headfirst into the dating world and discovering a bold new side of herself. Even attending a BDSM workshop — because why not? This episode is a raw, funny, and empowering look at exploring sexuality, identity, and self-worth later in life… and doing it all unapologetically. LINKS: Follow Cam @camerondaddo on Instagram Follow Ali @alidaddo on Instagram Follow Nova Podcasts @novapodcastsofficial. Follow Cath @cathrinemahoney on Instagram CREDITSHost: Cam & Ali Daddo Senior Producer: Xander CrossManaging Producer: Elle Beattie Got a question for Cam & Ali? You can email them at:Theheartofit@novapodcasts.com.auSee omnystudio.com/listener for privacy information.

Culte en direct de la Cathédrale de Lausanne (1/3), avec Line Dépraz et Aurélie Netz Melissovas (anthropologue, aumônière auprès des jeunes placés en foyer, formatrice dans le cadre de l'EERV) pour la liturgie et la prédication, Roger Clerc pour les lectures. Avec la participation musicale de Jean-Christophe Geiser à l'orgue et des Vocalistes Romands, sous la direction de Renaud Bouvier. Présentation : Matthias Wirz Lectures bibliques : 1 Rois, chapitre 19, versets 1 à 13 Le temps d'un soupir (1/3): Élie, à sens et contresens Pas toujours facile de repérer la présence de Dieu dans nos vies. On peut ouvrir grand les yeux, les oreilles, les bras sans pour autant le découvrir, le toucher, le ressentir. C'est qu'il est rarement là où on l'attend. L'expérience d'Élie est claire: Dieu n'est pas dans les éléments naturels. Ni dans le vent fort, ni dans le tremblement de terre, ni dans le feu. Ce n'est pas lui qui souffle, ainsi, le chaud et le froid dans nos vies. Il se donne à rencontrer dans la vulnérabilité d'une parole. Une prédication dialoguée entre Line Dépraz et Aurélie Netz Melissovas.

In today's episode we recorded remotely with Cath, who lives in Manchester, UK. Cath was born in Manchester along with her twin sister Charlotte. Cath also has 2 other sisters and she shares some wonderful stories about her family and the connection they have with each other.Cath has done some extensive travel with her family and also shares her passion about seeing live musical theatre shows. She is a fabulous aunt to her nieces and nephews and is also about to become a great aunt very soon.So, sit back and enjoy the wonderfully warm and engaging story of Cath and her beautiful family. Send us a text if you want to come on the show and share your story with us!Don't forget to check out and follow us on Facebook https://www.facebook.com/profile.php?id=61560498093086&mibextid=LQQJ4dand Instagramhttps://www.instagram.com/lives_worth_telling?igsh=encxbjRpMXBiazJ3&utm_source=qrIf you love what you hear please rate and review us on your favourite Podcast App.If you have any questions you can get in touch with us through Facebook or Instagram.If you or a family member would like to come on the show please don't hesitate to flick us a message or an email - livesworthtelling@icloud.com.If you want to grab yourself some Lives Worth Telling merch, jump onto RedBubble to check out our available products.https://www.redbubble.com/i/sticker/Lives-Worth-Telling-Podcast-by-Lofty72/162137085.EJUG5As always thanks to our guests for sharing and thanks to our listeners for listening!Jodes

In this episode of Waterfall, Cath is joined by Andrew Tucker from Thames Water about how much water we really use daily and how to reduce it and explore common activities like showering and flushing toilets, reveal surprising facts about hidden water waste, and explain how smart meters can help spot leaks and save money. With practical tips and insights, this episode shows how small changes can make a big difference for your water bill and the environment. Timestamps 0:00 – Introduction & Episode Overview 1:15 – Guest Introduction 2:12 – Vox Pops on Daily Water Use 6:02 – Real Water Usage vs Perception 10:10 – Benefits of Smart Water Meters 14:11 – Leaks, Water Waste & Practical Savings Tips   Notes Water meter calculator - CCW Water saving calculator - Thames Water

In episode 135 Cath was joined by coach and author Tamu Thomas. We had a joyful and generative discussion covering so much: overworking, why we do it, how we have to redefine success for ourselves and live in line with our values, envy and comparison, friendship and much more.Tamu Thomas is an author, keynote speaker, and leadership consultant. She helps high-achieving women stop overworking and redefine success so it fuels their ambition without eroding their quality of life. Her work helps leaders create workplaces people want to be part of where they can do their best work without needing a sabbatical to recover from burnout.With 15 years in social work and expertise in behaviour change, Tamu brings a unique ability to translate complex human dynamics into practical, organisational strategy. Her approach is informed by Polyvagal Theory and Positive Psychology, helping organisations build cultures where highperformance and wellbeing coexist.Tamu is known for her work on the biology of belonging, demonstrating how nervous system safety underpins psychological safety, inclusion, and sustainable high performance. She helps leaders understand how culture is experienced in the body, and how signals of safety or threat directly shapebehaviour, retention, innovation, and growth.She has a rare ability to make complex, often uncomfortable topics feel accessible, engaging, and even joyful, blending science, storytelling, and personal insight to connect with diverse audiences. Her talks create shared understanding, making people feel seen and supported, while deliveringmindset-shifting insights with warmth, clarity, and practical relevance.She is the author of Women Who Work Too Much, a guide for women ready to stop proving their worth through exhaustion. Her work has been featured in Harper's Bazaar, Stylist, Psychologies, Marie Claire, Grazia, and on BBC Sounds.Tamu works with leaders, founders, and organisations to create cultures where performance is sustainable, people feel seen, and success is measured by more than output alone.For speaking engagements, leadership consulting, and media enquiries, contact tamu@livethreesixty.comOr follow her on Instagram here.If you're enjoying this podcast. Please leave a review and rate the podcast, this really helps others to find it.To sign up for the journal prompts and Nurture.Heal.Grow (on Substack) please head to www.cathcounihan.com or @cathcounihan on Instagram. Follow Cath on social media here:Instagram: @cathcounihanSubstack: Nurture.Heal.GrowFacebook: Cath Counihan Hosted on Acast. See acast.com/privacy for more information.

Decoding Pulmonary Hypertension: Echo and Cath Insights for Pulmonologists. Dr. Marc Simon shares his expertise on diagnosing pulmonary hypertension, emphasizing echocardiographic markers, right heart catheterization pitfalls, and risk stratification with the H2FPEF score. His insights help clinicians refine their diagnostic approach for better patient outcomes. This Special Edition episode is sponsored by Liquidia. View PDF Slides here.  Learn more about pulmonary hypertension trials at www.phaware.global/clinicaltrials. Engage for a cure: www.phaware.global/donate #phaware Share your story: info@phaware.com Like, Subscribe and Follow us: www.phawarepodcast.com. #phawareMD #PHILD @Liquidia_Corp @UCSFCardiology @MarcSimonMD @CalThoracic

In this week's Shrink Chat, we're back with our signature blend of horror news, quick-hit reactions, and Horror Facts with Cath trivia! We dish out our rapid-fire takes on a batch of horror films, from weirdly wonderful to just plain "what the hell did we just watch?" — including:

Well ello there! We missed you! Thanks for stopping by and yes, yes we got the goods. We got all the good randomness daily dose of things you didn't know you needed to know. We get deep into poop in gardens, life subscriptions, ai slop, kitty rescues, starfish lovers, iced out cubes, bollywood, under the hood, and much much much more? If we didn't then it wouldn,t be LMP. We keep it fresh for you in this one and we hope you enjoy it. Cath you on the next one love bugs...

On this episode of Proof-of-PR, Opinion Editor for Cointelegraph Cath Jenkin joins Co-host Nikki Brown to discuss journalism in the crypto industry. Cath dives into what makes good Op-eds, the importance of a human perspective in the world of AI, the value structure gives opinion pieces, tips for PR professionals engaging with journalists and so much more!  To stay up-to-date on upcoming guests and news by following us on Twitter at @ProofOfPR.  #ProofofPR #Podcast #Crypto ●▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬● ⏰ Timestamps: 0:00 | Intro 0:38 | Who is Cath Jenkin? 6:30 | Positivity & excitement of the Crypto industry 10:06 | What makes a good opinion piece?  18:11 | Importance of the Human Perspective (Not AI) 21:09 | How to properly leverage AI in journalism 23:30 | Value of structure in opinion pieces 24:23 | Opinions vs Facts 29:27 | Value in Expert Opinions & Advice 32:45 | Tips for PR professionals on working with journalists 40:10 | Purpose of Crypto is to make life better 41:56 | Final thoughts from Cath Jenkin ●▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬●

In this episode Cath was joined by Julianne Boutaleb. We discussed fertility journeys, fantasies of ourselves and our babies, how a fertility journey can impact what we believe we are allowed to feel/think and experience in our mothering journeys and so much more. Julianne used poetry to deepen our understanding of the complexities inherent in motherhood and we discussed the importance of right brain to right brain interactions and more!Julianne is the Clinical Director and Founder of the Parenthood In Mind practice. She is a passionate and highly experienced perinatal psychologist who has worked for over 24 years in the NHS and private practice with parents and parents-to-be and their babies (and bumps) who have needed support with a wide variety of issues including anxiety and depression during and after pregnancy, miscarriage and reproductive loss, attachment issues, re-emergence of childhood issues and couples issues.Julianne is a member of the Birth Trauma Association and specialises in working therapeutically with birth trauma, PTSD and tokophobia (fear of giving birth) as they impact the mother, couple relationship and parent-infant attachment. In addition, she is also affiliated with BICA (British Infertility Counselling Association) and offers tailored psychological interventions for individuals and couples (including same sex couples) who are pregnant or are parenting following ART (IVF, ICSI, donor conception, surrogacy) or adoption. She also specialises in offering psychological support to parents (either individually or together) who are co-parenting in the midst of separation and divorce. She has over 15 years' experience teaching and training psychologists and health professionals on issues of parental mental health, attachment, early years and positive mental health for babies and young children.Julianne works from a variety of perspectives including psychodynamic and attachment models, CBT, integrative, ACT and compassion-focussed work, couples work and can also offer parent-infant sessions using the Watch, Wait & Wonder model which focusses on how you can improve your attachment relationship with your baby.You can connect with Julianne on Instagram here. Or her website listed here.If you're enjoying this podcast. Please leave a review and rate the podcast, this really helps others to find it.To sign up for the journal prompts and Nurture.Heal.Grow (on Substack) please head to www.cathcounihan.com or @cathcounihan on Instagram. Follow Cath on social media here:Instagram: @cathcounihanSubstack: Nurture.Heal.GrowFacebook: Cath Counihan Hosted on Acast. See acast.com/privacy for more information.

On Today's Menu:Opening chaos: Exploding water bottles, soggy notes, and John's retirement unraveling.Crudo Confessional: John's Italian seafood trip sparks a debate — true Crudo vs. Americanized ceviche.Burger Crawl Update: Final Four are locked — Delmonico, Mae Daly's, Peter Luger, and Nicco's. Who's ready to burger down?Closures Galore: Farewell to Hogs & Heifers, Chamana's Café, Mr. Chow, Cathédrale at Aria, and… Giada's?!New Openings: Pisces at Wynn stuns (and steals Ash's heart), plus Zaytiny by José Andrés, and Nudo Italiano in Southern Highlands.Where We've Been: Reviews of Pepper Club, Pisces, Chin Chin, Café Landwer, Bar Boheme (French-approved!), Eureka!, Monzù – Italian Oven + Bar, Laos Thai Street Food, & 00 Pie & Pub.Bread & Butter: Bar Boheme's sourdough croissant pull-apart bread? Life-changing.Pet Peeves Unleashed... Ash: Tap water ice in premium sparkling water — stop it. And plastic “cast iron” dishes — why tho?John: Pre-ground pepper in diners — a culinary tragedy since childhood.Sam: Paper table cloths on top of white linen table cloths. Booze Talk: Rum makes you happy, vodka makes you boring, and mezcal is just… no.Bonus Bites: Todd Avery Lenahan's luxe Pisces design, Greek family business warnings, and a teenager's podcast roast.Email us at cheers@eattalkrepeat.com: hate mail goes to John, praise goes to Ash, and Sam just wants his duck confit, thanks.Thanks for tuning into today's episode! If you enjoyed this episode, subscribe to the show, & make sure you leave us a 5-star review. Visit us at⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠Eating Las Vegas⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ &⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠Eat. Talk. Repeat.⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Follow us on social:Twitter/X:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠@EatTalkRepeat⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠,⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠@EatingLasVegas⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, &⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠@AshTheAttorney⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Instagram:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠@EatTalkRepeatLV⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠,⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠@JohnCurtas⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠,⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ &⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠@AshTheAttorney

Feature on French national radio station Radio France on Sonic Heritage, broadcast on 9 May 2025 - French language only. "Une bibliothèque où sont rangés les environnements sonores de 270 sites du patrimoine mondial de l'UNESCO Et aussi des objets immatériels , tous réimaginés par des artistes du monde entier. « Accessible gratuitement cette collection permet d'écouter les sons emblématiques du Taj Mahal, des gondoles de Venise, du Fado portugais et de la Tour Eiffel » lit-on dans Times.. Le nouveau projet de l'artiste que l'on pourrait dire gigogne vient s'intégrer à une collection encore plus vaste Cities and memory qui donne d'ailleurs son nom au site internet où l'on peut naviguer sur des cartes interactives à la recherche d'un lieu du monde que l'on voudrait visiter par les oreilles. Cathédrales, ponts, monuments, parcs et square, places et marchés mais aussi danses et chants traditionnels. Aujourd'hui elle compte près de 7000 enregistrements réalisés par plus de 2000 artistes dans 130 pays. Sonic Heritage, la bibliothèque sonore de 270 sites du patrimoine mondial de l'Unesco à retrouver sur le site internet citiesandmemory.com"

In this wide ranging episode Cath focuses on parental burnout and talks about how we are more vulnerable to this if we have childhood trauma and why. She references recent research into this topic discussing what it is, risk factors for parental burnout, why it matters, how we can conceive of it through a nervous system lens and how we can support ourselves.The link to the research discussed in the podcast, is listed below. Ren, X., Cai, Y., Wang, J. et al. A systematic review of parental burnout and related factors among parents. BMC Public Health 24, 376 (2024). https://doi.org/10.1186/s12889-024-17829-yIf you're enjoying this podcast. Please leave a review and rate the podcast, this really helps others to find it.To sign up for the journal prompts and Nurture.Heal.Grow (on Substack) please head to www.cathcounihan.com or @cathcounihan on Instagram. Follow Cath on social media here:Instagram: @cathcounihanSubstack: Nurture.Heal.GrowFacebook: Cath Counihan Hosted on Acast. See acast.com/privacy for more information.

In this episode of Waterfall, Cath is joined by Chloe from Waterwise and Ana Maria from CCW to mark the start of Water Saving Week. Together, they explore this year's campaign theme ‘Becoming a Water Saving Hero' and share practical tips for saving water in the kitchen. From whether dishwashers really use less water than washing up by hand, to cultural habits and common myths, this episode is full of expert advice, surprising facts, and everyday actions that can help you save water, energy and money.   Timestamps 0:00: Introductions 01:00: Water Saving Week 06:55:  Vox Pops on Washing Up Habits 10:28: Data & Cultural Differences 16:02: Practical Water-Saving Tips in the Kitchen   Show notes Water Saving Week CCW's Water meter calculator Waterwise's Water Impact Calculator

Continuing our series, ‘Life in the Spirit', Cath shares what it means for the Holy Spirit to be the Spirit of Adoption. The passage is Romans 8:14-17.

Tous les week-ends, à 6h51 et 8h20, évasion touristique et gastronomique avec Vanessa Zhâ et Olivier Poels. Ils nous font découvrir quelques pépites du patrimoine, et des bons plans en France et à l'étranger. De quoi vous faire voyager ! Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

On this episode of Bongino Report: Early Edition, Evita and The Blaze Senior Editor Christopher Bedford delve into the explosive reactions to the election of Pope Leo XIV: is he the staunch traditionalist Catholics hoped for, or a globalist pawn pushing leftist policies? Together they break down his stances on abortion, immigration, and the Latin Mass, his controversial ties to Cardinal McElroy, and his role in the removal of Bishop Strickland. Plus, what does his political activism mean for the future of the Catholic Church? Check out our amazing Sponsor Patriot Mobile - Go to Patriot Mobile.com/EVITA or call 972-PATRIOT and get a FREE MONTH of service on sign up with code EVITA.  Read The New Pope's Far-Left Takes On Immigration, Climate, Covid, And Race Relations NEW: Trump congratulates Pope Leo XIV as first American to serve Learn more about your ad choices. Visit podcastchoices.com/adchoices

It's Mother's Month on Terror Talk! In this Shrink Chat episode, we dive headfirst into the creepy, complex, and unhinged world of terrifying mothers in horror and thriller films. From the grotesque mother-son nightmare of Dead Alive to the manipulative matriarch in The Manchurian Candidate, we explore how these mother figures get under our skin—and sometimes into our nightmares.Featured Films:Dead AliveThe Manchurian CandidateInsideThe GriftersGoodnight MommyThe FighterPlus: Mommie Dearest Trivia – “No wire hangers, ever!”

Skip the Queue is brought to you by Rubber Cheese, a digital agency that builds remarkable systems and websites for attractions that helps them increase their visitor numbers. Your host is Paul Marden.If you like what you hear, you can subscribe on iTunes, Spotify, and all the usual channels by searching Skip the Queue or visit our website SkiptheQueue.fm.If you've enjoyed this podcast, please leave us a five star review, it really helps others find us. And remember to follow us on Twitter  or Bluesky for your chance to win the books that have been mentioned in this podcast.Competition ends on 21st May 2025. The winner will be contacted via Bluesky. Show references: Museum Wales website: https://museum.wales/Big Pit National Coal Museum: https://museum.wales/bigpit/Catherine Pinkerton LinkedIn: https://www.linkedin.com/in/catherine-pinkerton-b1905a110/Catherine Pinkerton is the Group Retail Manager at Amgueddfa Cymru - Museum Wales.Having worked in senior management positions for some of the high street's most recognisable brands such as Harrods, Selfridges, Dior and Guerlain to name but a few, Catherine spent 20+ years in London building her management career. Catherine is now the Group Retail Manager for Amgueddfa Cymru (Museum Wales). She is responsible for the management of all aspects of retail operations and development, across the national museums of Wales. Catherine is currently leading on a transformation project to create immersive retail experiences in each of the museum shops, reflecting the visitor experience and collections of each of the varied museums.Guests Also Featured in This Episode:Anya Kirkby, Freelancer - Anya Kirkby Ltd – Product Development and Graphic Design anyakirkby@gmail.comArantxa Garcia, Freelancer - Exibeo VM Creative Studio – Shop Design and Visual Merchandising Arantxa@exhibeovm.co.ukNia Elias, Director Relationships and Funding, Amgueddfa Cymru nia.elias@museumwales.ac.ukGuy Veale, Freelancer – Freelancer - Sound artist/designer - gbveale@gmail.comAmy Samways, Shop Supervisor, Amgueddfa Cymru - amy.samways@museumwales.ac.ukKate Eden, Chair, Amgueddfa Cymru - Members of Board | Museum Wales Transcriptions: Paul Marden: Welcome to Skip the Queue. I'm your host, Paul Marden. So today you join me on the top of a mountain in Blaenavon in Wales at Big Pit, the National Mining Museum. I'm here today for a really special event. I've been invited to the opening of Big Pit's new Museum Retail experience, which is a programme of work that's being done by the Museums Wales Group to improve the sense of place and the sense of feeling for what could be a blueprint for the rest of the group. We're going to be joined by a number of different people that have taken part in the project and without further ado, let's get started on our tour of Big Pit. Catherine Pinkerton: Morning, everybody. Hello, welcome. It is my absolute pleasure to welcome you all today and I know there's been a lot of you'd have travelled far and wide, so thank you so much for your time. I really appreciate you coming to see the amazing store that we've created and I hope you love it. We're just going to cut the river now. Paul Marden: First up I've got Catherine Pinkerton, Group Head of Retail at Museum Wales. Catherine, welcome to Skip the Queue. Catherine Pinkerton: Thank you very much. Thank you so much for having me. Paul Marden: Absolute pleasure. And this is a corker of an episode. I think everybody is going to be really interested in finding out about the retail, the gift shop experience that you guys have introduced at Big Pit and then you're going to go wider into. Into Museums Wales. This is a really weird episode because you and I are recording the morning after the day before. So yesterday was the big launch event and I was with you at Big Pit and I've met lots and lots of people and we're going to cut to them throughout the episode and hear from those people that were taking part in the project. But you and I have got the benefit of having enjoyed yester today's event and we can look back on what that experience was like and talk a little bit about the project. Paul Marden: Before we do that, I think it would be really lovely for you to introduce yourself and tell us a little bit about Museums Wales and Big Pit specifically. Catherine Pinkerton: Absolutely. Okay. So I'm Catherine Pinkerton. So I head up all of the retail stores within Amgueddfa Cymru, which is National Museums of Wales. I've been with the museum just under three years and I'm good that Cymru hosts seven sites. It's an incredible establishment to be part of and I think, you know, coming from a very commercial background, this is very different for me, but I think it's given me lots of insights into bringing kind of. Lots of. Kind of different skill sets, I guess, to this cultural sector. I think when I first initially joined Amgueddfa Cymru, there were lots of challenges. And that's not to say that we still have those challenges as they are in many of our museums. And I think coming from a retail background, it's. It's looking at something that's not. That's commercial, Paul.Catherine Pinkerton: That's key. But actually, how can we make it very collection and story based on our amazing assets that we hold within our museums? And I think that I felt was probably the biggest thing that was missing because I thought we've got these amazing exhibitions, these amazing collections, amazing, you know, opportunities, and how are we putting that into the retail structure and how do we offer that to us, you know, to our visitors? And I think. I think sometimes it may be. Have forgotten that you go around these amazing spaces and it's very based on that visitor focus and how can we make that visitor feel very happy and engaged. But actually the end part of that process is nearly always coming through, exiting through the retail space. Right. Catherine Pinkerton: And if they've had this amazing opportunity to go and, you know, a lot of investment in these amazing spaces, and then they come through that retail space which has some elements, but not all of what our collections hold, there's a confusion there. You know, that end piece. And for me, customer service and visitor experience is absolutely key to how they. How they finish and how they end their day. And if they're ending their day with something, oh, okay, I'll just have a magnet then. Because there's nothing really else here. Yeah, that pains me. That really hurts me. I think, come on, guys, we can do better than this. We are in an element of. We have our own assets, our own elements to be able to kind of display that. Catherine Pinkerton:  And I think very much it would be very easy and to take the kind of easy road of having, you know, let's. Let's pop a dragon on a mug and yeah, we're a Welsh museum. No, we're not. We have assets here. We have beautiful exhibitions, we have beautiful spaces. And actually looking from further afield into. In terms of an emotional connection. And I think, you know, for me, from all of my past kind of previous work, I'm working with Amgueddfa Cymru. It's probably been the most challenging to get perhaps senior management to understand a crazy way of Catherine Pinkerton working into a. What's emotional retail? What does emotive selling mean? This lady is crazy. What's she talking about? But actually, it's really basic, isn't it? Catherine Pinkerton: Because for me, if I take my daughter or my husband to any kind of day trip, I want to take something emotional that I've connected with home with me, and that's so simple. But actually, sometimes it's not thought about in that way. And, you know, for me, I'm all about the emotional connection. And I think we put so much investment in curatorial teams to kind of give that to our visitors. We need to end that. That end part is so important for them to finish, you know, that journey with that emotional connection that they can take home as a souvenir. So, yeah, I've probably said more than I needed to there, Paul, but.Paul Marden: Absolutely. So I think you're capturing the need to curate the. The ending experience because, you know, the nature of. The nature of people's memory is they remember the beginning and they remember the end and the bit that is in the middle is hugely important to the storytelling experience they have whilst they're at the attraction. But if you don't end on a high, then their emotional connection to you and the space and the stories they've heard is not going to be as impactful for them. Catherine Pinkerton:  Absolutely, totally agree. I think it's really key, and not just in the kind of, you know, the cultural sector, but in any sector, really. I think it's really important that connection is instant, really, because that is what you need to. That's the hook, isn't it, of getting that person, you know, and. And actually understanding what the visitor needs. I mean, it's very easy for me to say on a personal level, I'd love to have this collection of products within the shop, but actually, that's not what data tells us. That's not what our demographic tells know, you know. And they are the ones that are important. Our local communities, our demographic is key for us to be successful. Paul Marden: You know, so one of the things that I took from yesterday was the importance that you were moving away from being just any other generic Welsh gift shop to being a gift shop associated with the place. Yeah, that. That's the. That was the nub of I think, what you were trying to get to how do you go about doing that? How did you make it feel so much like a gift shop? About Big Pit? Catherine Pinkerton: It's taken a process of really pulling everything back and getting under the skin, what is the detail and the personality of the site. But actually it's talking to people and being humour. And Paul, you know, I think, very much, as I say, it'd be very ignorant for me to say this is what I think will work. And that's absolutely not what we want. What we want is for the visitors to say, I really. I mean, what was really interesting, actually, is that we did quite a lot of data analysis in terms of the demographics of customers that come through our sites. But also what was really key is areas of the sites that were really kind of, you know, three key areas that they really enjoyed or they really loved. Catherine Pinkerton:  And actually, one of the top ones was the pit ponies that they all love the pit ponies, they love talking about it, they love the stories that the mining team would talk about. It was a really inspiring, you know, inspirational moment for them to think, oh, my gosh, the pit ponies lived underground. This is really so, you know, I think in some respects that was probably missed in terms of our retail offer, because what we did after that is that we had a workshop with all our retail team and we almost did a little bit like a Dragon's Den effect. We said, right, these are the products that we have, right? Can you pick up out of these products, which products represent the pit ponies? Which products represent the shower rooms? Catherine Pinkerton: And actually, when you're talking to the teams in kind of a literal sense, there wasn't a lot within our retail offer that we already had. And I think it was a bit of a light bulb moment, really, for the retail team and said, “Oh, Kath. Right, I see, Yeah, I understand what you mean.” That's not represented in our retail offer. So what's represented currently was wonderful things and lots of Welsh kind of products. But actually, what. What makes that relatable to our site? And so I think what I wanted to do originally is just go on a journey and to kind of really, from a very basic stage, is understand what the site's POS was and actually understand what their personality was and what the curatorial team were trying to push forward as being their identity. Catherine Pinkerton:  And I think once we got the identity, we then broke that down into themes in terms of there's pit ponies. That's a huge part of the, you know, the exhibition. The other huge part of the exhibition were the canaries. So, you know, that was something that was talked about. There's a huge story around that. And then, you know, the kind of mining history and the community was massive. And actually that element was so important to me and the retail team to make sure that we got right. Because this is history, right? And this is. I come from both my grandparents were miners. So for me it was very much a, you know, a very emotional time for me to make sure that we got it right and that it was respectfully done. Catherine Pinkerton:  So that was really key in terms of how do we deliver this. That's really. That we are not stepping on people's toes. We're not profiting from something that was, you know, the strike range is very significant within what we've offered, but we really wanted to make sure that was respectful and that it was done in a tasteful way that people felt they could take a souvenir away, but know that was actually part of the exhibition. So it was those kind of areas that we really wanted to work. So once we have those themes in place in terms of what those looked like, it was then developing that and how do we develop that into an actual concept? Paul Marden: Yeah, and you've drawn in lots of people. You've already mentioned the kind of wide team that you brought in from Big Pit itself, but from the wider team in the group. Talk a little bit about what that experience has been like as a team. Who have you brought into this? Catherine Pinkerton:  So originally, when we wrote the retail concept and the retail strategy, you obviously have to kind of involve quite a lot of internal candidates to be able to allow them to believe that this journey and vision is a good one. And I'm super thankful. I've got the most amazing manager, Marc Simcox. He's the head of enterprises and he is incredible. He's very commercial, but very trusting in terms of understanding what the business should look like and actually giving that freedom to say, yeah, I think this can work. Kath. So you, you go ahead and that. That's huge. Right. We're not talking about a small project here. So that firstly was great for me. And then I think having the, you know, the opportunity to be able to get some key people. Catherine Pinkerton: And Matthew Henderson we've worked with previously and we've, you know, I knew straight away, for me, Matthew Henderson has gotten. Got a very unique way of working and we work very well together. We've got quite similar kind of ways of working, but I think that development and concept phase is really key and I think it really got to the point where we just sat in a room and kind of really understood what are we trying to achieve here, how can we achieve that? And really just making it very basic in terms of the key themes. And then in terms of product development, we brought on Anya Kirkby. So she is an illustrator and a very clever lady indeed. And we have worked with lots of illustrators and lots of suppliers over the years. Catherine Pinkerton: But what we wanted something for Big Pit was to be quite different in terms of the illustration and the product development. Because what we wanted to deliver with Big Pit was something that had been my vision since the very beginning when I started with Amgueddfa Cymru. And that is, you know, going into the shop and having those guidelines, you know, pricing guidelines, information guidelines, those small details which would probably mean nothing to the average person walking through, but actually a price ticket on something that's been illustrated pains me to see, because the work that's gone on behind that is so key. Catherine Pinkerton: And, you know, for most people not understanding that a price ticket on that is so I think those details are really key, Paul, and I think she really worked stringently with me to make sure that was, was, that was kind of a massive aspect of that role. And then Arantxa Garcia, who is just the most incredible designer. She's, she's a genius in what she does. She's incredibly creative and sometimes you have to kind of pull her back and say, okay, you want this? Okay, can you deliver this rancher? Paul Marden: Yeah. Catherine Pinkerton: And what was really interesting with a rancher is that, you know, she's got a huge, amazing CV of working with lots of people within the cultural sector and designing amazing, incredible pieces. But I think were very nervous because the, the original kind of renders that she sent through to us were quite amazing and impressive. And I said, arantha, are you able to deliver this under the kind of, you know, the budget? We've got a tight budget here. Paul Marden: That's the challenge, isn't it? Catherine Pinkerton: I mean, isn't it? Paul Marden: You do not want to be paying, you don't want to be offered the picture of a Maserati when you have got a Ford Fiesta budget, do you need to know that you can afford it. Catherine Pinkerton: Absolutely. And I think with Aranta, she was very, again, super creative lady. And I think I, as soon as I saw that image, I did say to her, right, you need to deliver this now. You've, you've committed to it, Arantia, so this needs to happen. And then finally, Richard Evans, who has, is hugely respected in the cultural sector and he really supported in terms of project management and the, you know, I hate to say this, and you won't mind me saying this, but the kind of boring kind of financial Gantt charts and keeping me in line actually. Right, Cath, we haven't got a budget for that. You can't spend that. Come on, Richard, make it work. Move some things around, you know. Catherine Pinkerton: So I think that was kind of the main area and then internally, Tracy Lucas, who was kind of my right hand woman, is our operations manager within Amgueddfa Cymru and she really supported me along with Amy, the shop manager, shop supervisor to really look at the product development. So I think, you know, and I think it was really nice actually to have them on board because I think it gave an opportunity for them to see what could be. And I think, you know, definitely in terms of retail, it's been an opportunity for us to be able to say, look, this, the impossible can be possible. Catherine Pinkerton: Actually this is an amazing project and I think what was really incredible is that when we decided to work on Big Pit, the Big Pit team and all of the mining team actually just came on board, Paul, they took it on board and I think the reason why they did that is that one of the mining teams said to me, he said, kath, you know, we never get any funding here. It's always in this big cities, you know, we, the Cardiff and it's never here, you know, we're just in the middle of nowhere. And I was like, absolutely not. That is not what this is about. It's about, you know, making sure that the community in that area is solid. Catherine Pinkerton: And I think the mining industry and they're very proud of that in terms of who works there, they're incredibly proud of what they do. And so because we chose that as our first project, they were so helpful in terms of, yeah, we're going to make this work, let's make it a success. Cath, how can we do that? What do you need from me? I mean at one point we had two of the mining staff pulling one of the drums which we upcycled out of it was like a lake or, yeah, I suppose a lake with a tractor. And I was like, this is crazy. This is crazy but just amazing that these team members are willing to do above and beyond to kind of go and help and support.Catherine Pinkerton: Dwayne Smith, finally I have to mention him because he went above and beyond. He, he's an electrical engineer for Amgueddfa Cymru and no feat was kind of Too hard for him. He helped us massively. He's got a huge team of people and anything that we needed done, I'm not, you know, I'm not a trades person, so anything Trady. I was like, Dwayne, yeah, I'm on it, Kath, I'll do it. Which is great because I was like, okay, yes, that was massively helpful, but huge learning curve, Paul. I feel I've never been so excited about drums in my entire working career as I am now. Paul Marden: And I never heard of one until yesterday. But what I found interesting was you see them all the way through the underground experience. I went down in the. The cage to the bottom of the pit head, did the whole tour. You talk about these drams and the importance of them and the transportation of the coal from throughout the mine back up to the top. And then you walk into the shop and it's subtle. The way that you've blended the museum into the shop is a subtle experience. It doesn't feel, it doesn't feel crude. But you've got a dram in the middle of the workshop. Now, I know it's a real one because we talked about it yesterday and I know the pains that you went through, but it's very subtle placed in there so that it doesn't feel crude. Paul Marden: It doesn't feel like you're trying to overwork the metaphor of the mine in the shop. It's very cleverly done. Catherine Pinkerton:  Oh, that's great, great, great to hear. Because that's absolutely what we did not want. And I think in terms of visual merchandising, actually, and picking up on your point there, is that it's very easy for us and this is something that we're doing in a different shop. It's very easy for us to look at some of our assets and pop them on a tote bag and say, there you go, that's done, we'll sell that. But actually, no, what can we do that's different? That's more kind of innovative? That's more creative. That is a hint or perhaps an opportunity for us to show and display something that is. Is then part of the visitors question. So when they're coming into store and they're speaking to our retail teams, they're questioning, is this a real drum? Catherine Pinkerton:  You know, and that is a conversation opener, isn't it? You know, and I think Kerry Thompson, who is the curator for Big Pit, he's a really inspiring man. I could listen to him all day. And he told me lots about kind of the drums and the history of Big Pit and the strikes. He's such an interesting man, but I think having the inspiration from him allowed us to make sure that we did it not in a crude way, actually, Paul, but that it was representative of the site, but not in a way that's, I guess, too obvious, you know. Paul Marden: Look, Kath, we could carry on talking for ages, but let's cut at this point to hear about some of the voices from the team that you worked with, your internal team, some of the partners that you worked with, about the experiences that they've had on the project. Paul Marden: So let's hear from some of the internal team members involved in the project. Firstly, we have Amy Samways, the retail supervisor at Big Pit, followed by Kate Eden, the chair of Museum Wales. And lastly, Nia Elias, the Director of Relationships and Funding at the Museum of Wales. Hey, Amy, how you doing? Lovely to meet you. What's your role at the museum, Amy? Amy Samways: I'm the shop supervisor for Big Pit. Paul Marden: What have you been doing in this whole project? I guess you've been integral to the whole kind of making it all about the place. Amy Samways: Yeah, so I've worked with Anya, who did all the products for the new shop. So we walked around all the exhibitions. We did a lot of underground visits and a lot of museum visits and just put things together. I've done a lot of work before this project for the last two years to try and get things more relevant to us and not just a Welsh souvenir shop. So a lot of those products stayed and then we just expanded them then. Paul Marden: So how do you go about looking for those products that make it local to here? Amy Samways: Well, we've got a fantastic exhibition at the top of the hill. We've got obviously our ex miners and we also have a lot of events through the times as well. So this year was a lot about the strike because obviously it's the 40th anniversary and we've got a massive exhibition down in Cardiff and also there's a smaller one up year as well. So we just walked through the museum and obviously, you know that disasters are obviously a big issue. We didn't want to make a big issue about those, but obviously they need. They're part of history, aren't they? So more books. We made sure we had books around that. And as you walk through, there's a lot of signs that the staff liked as well, because a lot of our guys have been done about the new projects with those as well on. Paul Marden: So do you then go looking for local suppliers to help you with that? And where do you find those? Amy Samways: Etsy, Facebook. Paul Marden: Oh, really? Amy Samways: Yeah, a lot of them. And also online. And then we've also. Because we work with a lot of suppliers as well, I'll say we need this and then they'll say, oh, you should ask so and so, and then we'll go and ask both. Paul Marden: Brilliant. So one of the things that's really interested me this year is talking to people that are running museum retail and that kind of process that goes from you as a buyer, having an idea, what do you want? How do you stock the shop? I think is really interesting process to go through, but flip it on the other side, as a local creator, you've got your thing and you want it in the shop. How do you get it found? Well, yeah, sticking it on Etsy is something that they're going to do, but then that might help them get into the museum. Amy Samways: Even if there is something that we want. Like at the minute, we're looking for NCB soap. Paul Marden: For what? Amy Samways: NCB soap. Paul Marden: What's that? Amy Samways: It's either bright green or bright pink and they used to buy it in the canteen shop and it's just imprinted with NCB. The guides have been asking and asking for it, but we have actually found a supplier now who's going to be working on it. So that should be coming this summer. Paul Marden: Wowzers. Amy Samways: Yeah. That's really exciting for you. Paul Marden:  What was the highlight? What's the one thing about this space, about the whole experience of the project. Amy Samways: That jumps out for me is seeing all the stock we've worked on and somebody actually buying it. Paul Marden:  And what is it that people are picking up? What are they walking in and gravitating to? Amy Samways: Anything Big pet, really. The little enamel little mugs have gone really well. I think the wording on those are great because it says they must not be removed from the premises. So our guides are loving those. And also our retro sign, which we had for our 40th anniversary and three years ago, but we kept it because it's such a brilliant design. It was the original from 1983 and it was on the original road sign as you drove in. So we've had that recreated and that sells really well. Paul Marden:  That's really interesting. So my wife with the family about 25, 30 years ago, came on a family holiday and they had the original guidebook that they picked up when they were here with the kind of the retro. Retro signage on there. Amy Samways: Yeah, we're back selling it again. Kate Eden: Yes, So my name's Kate Eden. I'm chair of the board of Amgueddfa Cymru. Paul Marden:  Tell me a little bit about your involvement in this project. Kate Eden:  As the board, we've been tracking the development of commercial and enterprises over the past year. Really. And really thrown our way, weight and support behind what the team has been trying to do here as a kind of flagship, really, for what we would all like the new benchmark to be across all of the seven sites of anger for Cymru. So seeing it all come together this morning has just been such a special experience. It's absolutely fantastic. I'm going to bring the rest of the board here as soon as I can so the trustees can see this and see the reaction of staff and of visitors as well, because it's a fabulous achievement and it shows us what we can do now as a national museum. Paul Marden: How well does it tie back into the original pitch at trustees? So I'm a trustee of a charity as well. The pressures that we're all under in terms of reducing funding and having to generate our own funding is so hugely important. This must be integral to the conversations that you were having as trustees. Did you have this in mind when you were signing off the agreement to spend the money? Kate Eden: Yeah. So I don't think anybody realised just how successful this could be. We'd had some mock ups and we'd had a presentation, so there was a lot of excitement and there was sort of the fledgling idea years. So we've got a sense of what it could be. But I think importantly for us, it's about that marriage of financial sustainability because it's got to wash its face, it's got to provide a working profit that can go back into the running of Big Pit here.Kate Eden: But it's got to be authentic to this place. It can't be the add on the visitor should shop that you walk through at the end. And it's a bit of a tedious thing to get back to the car park. It's got to be an integral part of the whole visitor experience in this place. And I think that's what they've achieved. Paul Marden: It's so impressive. So impressive. You know, just the structure that they've built to give you the impression of the mine in a really subtle way. The product that they've chosen, the way that they've laid out that, the shop is amazing. I think they've done an amazing job. Kate Eden: That's it. I mean, this is my local site. Paul Marden: Okay. Kate Eden: I live about three miles over the mountain there. So I bring my friends and family here. This is our go to place when I've got visitors. And I think just the way they've opened up the room, they've removed the barriers, which is really important. It's a small thing, but really important so that people feel welcome. They can walk in or they can walk ground. Paul Marden: Yep. Kate Eden: And it's. And it just feels a little bit more inclusive. It feels a bit more kind of, you know, we're here, it's easy to come and see us, you know, and spend time and then spend a little. Paul Marden: A little bit of money. Yeah. So where do we go from here as trustees? Are you fully behind rolling this out now? Kate Eden: Yeah, I mean, I think now that we've seen what we can do and the type of data that's coming through from sales, this is now the new. This is the bar. Paul Marden: Oh. So it has made a discernible difference to say. Kate Eden: So early data from Easter is really promising. Yeah. So this is the benchmark now from all of the other sites. Nia Elias: Hi, Paul. Hi, I'm Nia. Paul Marden: Lovely to meet you. Tell me about your role at the museum. Nia Elias: I am Director of Relationships and Funding. It basically means I get to work with all of the teams across the museum that work on the reputation, the reach, but also the revenue of this wonderful charity and national museum that we are. Because as well as getting funding from Welsh government, we raise our own income so it can be invested.Paul Marden: What sort of split? Nia Elias: What sort of split? So the majority of the money that comes to us does come from Welsh government because we're a public service, we're here free of charge for the people of Wales and we look after the national collection, which is over 5 million items across seven museums and a collection centre. Nia Elias: But there's a proportion then of money that we raise ourselves about sort of 30%, which is from our cafes and our car parks and the experiences that people have, and most importantly, our shops. Paul Marden:  So what was the inspiration for this project? Why kick off a strategy project around the whole retail experience? Nia Elias:  Well, this whole project, in essence started three and a half years ago when the museum decided that it would bring a strategy together for all of its self generated income. So that means our philanthropic income generation and through our enterprise, including our retail. And from a retail perspective, we knew that what we wanted to achieve with all of the money that we raise ourselves is that it's really rooted in the collection, because we have an amazing collection. It tells the story of Wales and it's owned by the people of Wales. Paul Marden: Right. Nia Elias: And from a retail perspective, we knew if people could engage with that and could take away something from the wonderful experience that they've had on site, that it would be something that they would want and it would make it unique that it's only possible to have here. Developing a project like this is quite challenging. You need the time, you need the teams and expertise, some of which are on your permanent team, some of which are naturally not. And also you need investment. And so by starting the thinking and the route of where we wanted to get to three and a half years ago, it meant when we had the funding and the opportunity to do so here at Big Pit, we knew exactly what to do. Paul Marden: Okay, so you. You put all of those pieces together and then came here and did the first cookie cutter stamp. But what's interesting is it's not a cookie cutter stamp, is it? This totally feels like the gift shop for this museum, doesn't it?. Nia Elias:  Yeah. So we feel really strongly that we wanted the balance of knowing that you're at a National Museum Wales site, knowing that you're somewhere unique, but equally that it has a sense of a place. Because all of our seven museums together tell the holistic story of Wales, but you really get a sense of personality on all of those sites, not just from the collection and the buildings and the items, but also from the colleagues that work here as well. Paul Marden: Right. Nia Elias: They're very much a part of that in terms of the stories that they tell, their lived experiences, and we had a sense of responsibility and fun to bring that through in the shop. Not just the ambiance, but also the products themselves, so much of them, the majority of them actually, are grounded in being inspired by the collection in some way, and also has a really strong Welsh and local profit as well. What we think that will come through to our customers and visitors and guests is that because we've worked across all of the teams in the museum, so curators and people who care for the collection, our colleagues here at Big Pit, many of whom are former miners, and our colleagues front of house, it means that everybody will be able to speak about the product. Nia Elias: So as you're walking around picking things up, imagining them in your home or as gifts, our colleagues can talk about what they mean to the place. And that brings something additional that you can't really buy. Paul Marden: Yeah. There's a story to it. There's a background to it that roots it. Yeah. Lovely. For you, what's the standout experience from the whole project? What have you enjoyed the most? Nia Elias: Two things I think in terms of the way that it's been done, the fact that so many teams have worked together behind the scenes to make it happen. That means that as we want to change things or tweak things or improve things, we'll have all of the knowledge and expertise already baked in, especially learning from other suppliers who've come along and helped us. So we've got that baked in now, which is really exciting. And the second thing is that I can stand here knowing that this is the standard of a national museum that our guests and visitors expect and want to see. Paul Marden: And now let's hear from a few of the external partners that Kath brought into the project. Arantxa Garcia was the shop designer and visual merchandiser. Anya Kirkby was responsible for product development. And Guy Veal was responsible for sound design. Tell me about your involvement in the project. Arantxa Garcia: Sure. So I'm the shop designer and visual merchandiser. It's a freelance role, so. So I worked with the team, Matthew, Richard, Anne and Guy. Paul Marden: Excellent. Arantxa Garcia: So we kind of all came as part of a team and each one of us looked after different areas of the project. And my involvement was to kind of reinvent and reimagine what was already here. And the idea was to create a space that was connected to the experience and to the site itself. So we've basically ripped the space apart. We've kind of kept the structure, obviously, but we've opened up the space as well. Before the shop, it would be very separate. You'd have admissions and then you have the shop area, which meant that you were only really accessing the shop if you came to visit the site. But as a local, you wouldn't be able to come, for example. Or you could, but maybe not in such an open way. Paul Marden: Yeah, you wouldn't feel welcome. Arantxa Garcia: Exactly, exactly. You may not want to just because you didn't know, whereas now you can just come in and basically hang around and also browse the shop. Exactly. We took inspiration from life underground, from the mine itself. So before the building was white, the units were white, so it could be a shop anywhere. You know, it didn't really have a DNA, so to speak, or an identity that related it directly to the site. So when visiting down to the underground and King Call as well, the exhibition that we've got just up the hill, we took inspiration from basically sort of like the. The cladding that you've got on the walls. Cladding is not the right word. So if one of the miners hears me saying that, they'll be. Arantxa Garcia: That's not the word that we told you, but the idea is that all the materiality that we're using, it's really evocative of. Of the site and it's the materials that have been used underground. So even, like the safety lamps, they'll set authentic safety lamps. And the team on site, Dwayne Smith, has electrified them. So it means that now they work, obviously, as a normal light, but it's a safety. Paul Marden: But they are the original safety. Arantxa Garcia: They are the original safety. Paul Marden: Wowsers. And what about these styles? Arantxa Garcia: So, yes, I always like going for a hunt on the side. So basically the team took me to different rooms and we just found stuff, if you like. So they're like the pressure gauges, you know, we're gonna use them just to add, again, like, references to the site and the authenticity, of course. So you also find loads of tools that would have been used underground as well. Paul Marden: I would imagine that this has been a really enjoyable project for you. I can see it on your face, how much you've enjoyed it. Arantxa Garcia: It has. And I think for designers, sometimes there's projects that take a bit longer to emerge and you keep changing things because you just don't feel probably quite right. There's something. But with this one, it kind of. After the site visit, it was just. Paul Marden: I clicked immediately.Arantxa Garcia: It just clicked immediately. So we darkened the wall. So we've kind of given that sort of grey background just to kind of creating more of like a cosy and shrinking the space. Paul Marden: But you. It pops the orange. Arantxa Garcia: Exactly. And the orange is everywhere. So, like, we've also changed the lighting, so it's a lot warmer. So again, that hint of orange. Yeah, orange on the back, orange on the miners on here. And then it comes also from the products. So the identity is there, but without going fully corporate, if that makes sense. That's the colour that you remember, isn't it? You've just been on the ground. All our guides and miners wear the orange overalls and the sort of, like the blue jackets over it, whether it's a donkey jacket in the winter or then they wear the soft shells as well. So, yeah, it's all those details, like those hints to the experience that kind of are embedded in the design. And these are regional as well. The drums are regional, all the flatbeds. Arantxa Garcia:  So the team here took the metal sides off and then sort of like left the skeleton of the drum, varnished it. And then our shop fitters aren't here. They did all the sort of the cladding using reclaimed scaffolding boards. But the original Drums would have been made out of wood. Paul Marden: Beautiful. It's so tactile, isn't it? Arantxa Garcia:  It's tactile. Again, we're looking at the DNA all the time. And shops can be more than just shops. Shops can tell stories. You just connect with it in a very different way. And just having the time the team on site involved has been absolutely incredible. Like the sense of pride and belonging and provenance that this kind of has awakened, it's been great. It's your job done really as a designer. When you just feel like everyone owns it, that's your job, that's when you can walk away. Paul Marden: What an amazing testimonial for you and the work that everyone feels like that. Anya, lovely to meet you. Tell me, what was your involvement in the project? Anya Kirkby: So I mainly focused on product development. So we looked at where we could get inspiration from the site and how we could translate that really from the site experience into the shop experience as well. Paul Marden: Okay, so you're coming, you're experiencing what's going on and then looking to the outside world as to how you can source your products. Where do you go for the inspiration for the products? Anya Kirkby: Working with the team a lot. So Amy was a huge help on guiding us on what things would be very useful for visitors, what they really enjoyed when they were on site, what were their key take home messages that they experienced. And then working with Amy and Tracey as well to look at what products people like when they're in the shop anyway and how we can kind of marry those two up. Paul Marden: So what is it that people like when they come to Big Pit? Anya Kirkby: Well, unsurprisingly, the mine, they enjoy the mines, the mining experience. So that was just something that we already had in the shop. So we just expanded on that more if possible. But then we've also taken inspiration from signage. So they already had the original Big Pit signage and we looked at that and kind of again expanded on it. So then we've kind of expanded that to signage that you find in some of the other exhibits. So up in the showers, for example, in the canteen, signage, some of the original pieces from collections. We then translated that into products. So you'll see we've got the designs across mugs, original little metal signs, moved that across to prints, notebooks, postcards. Paul Marden: You've been developing a lot of the products yourself, so bringing that kind of the unifying feel to everything. Anya Kirkby: Yeah. So along with product development and making all the kind of the new things that we can have it's just bringing across the branding through the AC brand really strongly across everything. It's got such a strong message that we may as well have that on as many products as we possibly can do. Paul Marden: And how much of the stuff is actually locally sourced? Anya Kirkby: Oh, it's huge amounts. And the exciting thing is after speaking to Amy, the things that she needs to reorder are the local suppliers, which is so nice. So a lot of the confectionery that's locally sourced candles, soap, the coal figures, the wooden spoons, chocolate boxes, the biscuit boxes. So as much as possible. And then we've worked with local suppliers as well to do photography, to do some of the signage, to do the original signwriting in the shop as well. So beyond products, we've looked at the POS points like elements of the shop as well. So thankfully we've used as many local spires as we possibly can. Paul Marden: You've enjoyed this project, haven't you? Anya Kirkby: I absolutely loved it, yeah. It's fantastic to see it's absolutely amazing. Paul Marden: Yeah. Anya Kirkby: So yeah, it's really special. Paul Marden: And then from here you springboard on to the other seven sites. How do you, how do you come up with the ideas then? Anya Kirkby: Exactly the same process. So working with the teams to find out what it is that visitors absolutely love about their sites and bringing that into the shop experience. So again I get very lucky. I get to go around a lot museums and experience it. Paul Marden: It's a tough job, isn't it?Anya Kirkby: It's tricky. But basically finding out what they love and bringing that through the really things that visitors take home with them anyway and just making it into a product that they can actually physically take a piece of the museum home with them as well. Paul Marden: It's great because there are some pocket money items here because I take kids on school visits and it's a very expensive experience. You know, if they catch take a fiver with them, often they can't get anything with a fiver but they can walk in and they've got pencils, they've got rubbers and they'll walk out happy with those little bits. But at the same time you've got some beautiful stuff that the grown ups can come and pick up and really enjoy. Anya Kirkby: It's the same as any museum visitor. You kind of have to look at who's going to be visiting. It's all types of people that come and just gauging it from that as well. So having an offer for everyone that they can enjoy. Someone said to me once that children for the first time. It's often their first time having a transaction monetary wise. Is that a museum on a school trip? So it's just lovely to kind of have something for them to experience that as well. Paul Marden: Never thought of it like that. They're out on their own. They're not with mum and dad. So they've got the money themselves and they've got to make the decision. So we are at. I took some kids to the science museum last year. Anya Kirkby: Oh. Paul Marden: And the amount of time we took in the shop because of the indecision that they had. Anya Kirkby: It's the indecision decision and then the queue of all them having a five pound note and having all the change come back or not having quite enough. But I think it's such an important. If you can't do that in a museum, where can you do it? Paul Marden: Guy. Hi. Guy Veale: Hi. Paul Marden: I just wanted to talk to you a little bit about what was your part of the project? Guy Veale: I was sound designer for the soundscape which we can't hear when everyone's chatting. Paul Marden: I can hear some birds in the background. Is that. Guy Veale: Is that canaries? Living canaries. Not dead gas. Paul Marden:  Coal mine canary. Guy Veale: So I did a little bit of research sort of towards the end of the project after lots of stuff had been built in, when they decided that some low level sound would be a good part of the experience. And looking at the brief and the shape of the room, the acoustics, a lot of this new ducting that's gone in that was not then easy to put cables into. We had to go for a wireless solution. Paul Marden:  Okay. Guy Veale: As part of that I found a Swedish company that had a system that creates its own network which is like a weird dream because normally you've got to go the IT guys and then something goes wrong and there's some sort of address problems or. Bluetooth is not always reliable. This has been a revolution just in terms of. Guy Veale: Don't if you can see them. There's little. They look like light fixtures that are centrally over these panels. Paul Marden: Oh right. Guy Veale: And they're quite. Paul Marden: Oh. And so they're speaking speakers pointing down onto the panel to separate it. So what. What. The other kind of sound pictures that you're painting. We've got the canary. What else have you got? Guy Veale: So the whole idea is that you're trying to represent the industrial heritage of the site and have as many authentic sounds from the site as possible. Paul Marden: Right. Guy Veale: So we've reused some of the really high quality recordings that also feature at different parts of the site already. Paul Marden: Yep. Guy Veale: But then, also sourced about another 70 or 80 sound from the BBC archive. Paul Marden: Oh, wow. Guy Veale: Paid for. And so. But if you think about those sounds, they're quite punctuated and aggressive. You think of any industrial sound and like chipping away or different tipples working. You know, the idea is that you don't want to surprise someone that while they're shopping and leaning over next to a speaker and hearing. So it needed to be softened in some way. And you know, traditionally the way I've done work is music and sound design is using different textures and tonal design and like a drone, I suppose, is this as a sort of basis that can be moving and organic, not totally static? Paul Marden: Yeah. Guy Veale:  And the idea was to sort of try and include fragments of relevant songs using the male voice choir.Paul Marden:  Really.Guy Veale: And we tried several things and I looked at it and I realised that you might catch someone coming in for five minutes here and they catch a snippet and it's all well and good for them, but the staff and you've got to hear this eight hours a day, every day, you know, four weeks, a month, so forth. So even just one little identifiable recurring melody starts to get too much, even on quite a long five. Paul Marden: Oh, really? Guy Veale: And I found that it wasn't sustainable. So I, in the end, I ended up using the. Almost like the vocal warm ups and breaths of the choir artificially extended out so they're not breathing, just this constant low level, breathy sort of expulsion. I mean, if went quiet now, we'd hear it as the. As a backdrop and it's embedded with a few other little musical elements that just sort of try and soften and support. I think of it like the vowels of the track and then the consonants. Paul Marden: Or the industrial chipping noises and the harsher noises. Guy Veale: So they're harsher but they're there and they're a bit removed and reverberate and in the background. Paul Marden: But it's really interesting how you describe it in that kind of. Using the metaphor of the letters. Guy Veale: Yeah, that's what it felt like. Just trying to find something that was like a vocabulary of work that has to tick so many different boxes, including like a therapeutic retail experience. People leaving the site with a sense of well being. Also like summarising what they've been through, not sort of projecting them out the door with, you know, a completely new thing or somewhere that they haven't been through yet. So, you know, fair few things to try and fit in there and, you know, hopefully it works and we'll see how things are in a year's time. Paul Marden: Yeah. Cath, the last point I wanted touch on before we finish today is oh my God, how happy everybody was at that event yesterday. How positive the experience was for all of the team members. What was for you the big standout moment for the entire project? Catherine Pinkerton: I mean, there's so many, Paul. But I think for me it's an opportunity to see what can be achieved when people collaborate. And I think, you know, joining the museum three years ago is really collaborating with lots of different departments to achieve something as a team.Catherine Pinkerton: Teamwork is absolutely the key to kind of success and I think you can only achieve that by having that really product professional kind of embodiment with all of the collaborative teams to work together for the same goal. And I, I was really proud yesterday that it took a lot of work, but actually without a team of 40 people as well as the wider organisation, it would not have been, it was no mean feat, but it was certainly wasn't just down to one person saying this is my project because it was a team effort. Catherine Pinkerton: And I was so proud of everybody that was there to kind of thank them along the way to say, this is, we've done this and now onwards and upwards. Paul Marden: Yeah, absolutely. You should be so proud. It really was. Catherine Pinkerton: Thank you. Paul Marden:  It's a demonstration of what a museum gift shop experience can really be like when you work together like that, when you collaborate. So well done to all of you. It was such a lovely experience yesterday. Thank you for inviting me. Catherine Pinkerton: Thank you so much for coming, Paul. I appreciate it. Paul Marden: Before we go though, I always ask for a book recommendation from our guests. Now it would have bankrupted me to have asked everybody yesterday for book recommendations. So you have to take the responsibility of a recommendation on behalf of everybody. What have you got for me? Catherine Pinkerton: The secret for me is, you know, that that book seems to be. I always go back to that book very often and I think it's a key one for lots of areas. So that's definitely a takeaway for me. But the other one I'm reading at the moment called A Monk's Guide to Happiness. I'm not sure if you've had enough to read it. Yeah, it's a 21st century take on A Monk's Guide. It's written by Gelong Thubten and he had a very high powered job and he had a burnout and interestingly he changed his whole mindset in terms of what makes him happy and really making it quite basic. Right. Catherine Pinkerton: So it's a, it's a real eye opener in terms of just pulling things back sometimes, you know, at the end of the day, come on, let's just live life and be happy but, you know, not stress out about things. I'm quite easy to do that. So this is very much a. Just breathe, Kath, get through it. But it's a good one. If you want to just strip it back and just kind of understanding the basics of being happy, then, yeah, he's great. Paul Marden: Oh, Cath, that's a great recommendation. If you go over to Bluesky and repost the show message that Wenalyn put out and say, I want Kath's book, then the first person that does that will get a copy of the book sent to them. Kath, it was absolutely delightful. I enjoyed my day wandering around Big Pit yesterday no end. Given that half my family is from the valleys and most of them were miners, I feel like I should have done this a very long time ago. But it was lovely. And to enjoy the experience of the celebration that you had yesterday, it was a real privilege. So thank you. Catherine Pinkerton: Oh, huge privilege to have you there. Paul. Thank you so much. I'm really appreciative. Did you purchase? Paul Marden: I did purchase on my way out. Catherine Pinkerton: Yay. Great, great, great.Paul Marden: Deal. Catherine Pinkerton: Deal. Thank you so much. Paul Marden: So after my trip 90 metres down to the bottom of the mine shaft, where I of course couldn't take microphones, I'm now back up on the surface, microphones back in hand and enjoying myself, wandering around currently in the winding house, which is where all the machinery is for lifting the cages that 90 metres down to the bottom of the pit head. I've had an amazing day here at Big Pit. It's been so interesting to see this museum and to talk to many of the amazing staff that have taken part in this big project to redesign their gift shops. Highly recommend a day trip to Big Pit. Really has been very enjoyable, if for no other reason, to see that amazing new gift shop experience. Paul Marden: Now, as always, if you'd like a copy of Catherine's book, head over to Blue sky and repost the show notice that Wenalyn will post out and say, I want a copy of Catherine's book and the first person to do that will get that copy sent over to them. So all that remains for me to say is thank you to Catherine for inviting me here to Big Pit today. And I'll see you again soon. Take care. Bye Bye. Paul Marden: Thanks for listening to Skip the Queue. If you've enjoyed this podcast, please leave us a five star review. It really helps others to find us. Skip The Queue is brought to you by Rubber Cheese, a digital agency that builds remarkable systems and websites for attractions that helps them to increase their visitor numbers. You can find show notes and transcripts from this episode and more over on our website, skipthequeue fm.  The 2024 Visitor Attraction Website Survey is now LIVE! Dive into groundbreaking benchmarks for the industryGain a better understanding of how to achieve the highest conversion ratesExplore the "why" behind visitor attraction site performanceLearn the impact of website optimisation and visitor engagement on conversion ratesUncover key steps to enhance user experience for greater conversionsDownload the 2024 Rubber Cheese Visitor Attraction Website Survey Report

Claire Pedrick and Cath Bishop discuss Cath's journey from Olympic rowing to coaching and authoring "The Long Win." They explore the role of relationships in high performance, the need for a mindset shift in organisations, and rowing metaphors that apply to teamwork and leadership. The conversation emphasises sensing, rhythm, and unlocking potential within teams to achieve greater success. Takeaways: Redefining Success: Traditional definitions of success can be limiting. Relationships Matter: Strong relationships are essential in sports and professional settings. Mindset and Behavior: These factors significantly impact performance. Potential in Organisations: Organisations often overlook the importance of potential. Coaching for Potential: Coaching should focus on unlocking potential in individuals and teams. Sensing and Adapting: Being attuned to the environment is crucial for teamwork. Quality Over Quantity: The quality of connections is more valuable than the number of connections. Rhythm and Teamwork: A team's rhythm can boost performance. Coaching Conversations: These often occur in informal settings. Leadership and Exploration: Effective leadership involves a commitment to exploring possibilities. Sound Bites: "What do we think matters?" "We need to invest in relationships." "The team is not a task." "It's about unlocking potential." "The rhythm is key in teamwork." "We need to sense the environment."   More info Cath's Book: The Long Win Cath's Website: www.cathbishop.com or www.longwin.com  The Inside Out Culture Podcast Contact Claire by emailing info@3dcoaching.com or checking out her 3D Coaching Supervision Community   If you like this episode, subscribe or follow The Coaching Inn on your podcast platform or our YouTube Channel to hear or see new episodes as they drop.    If you'd like to find out more about 3D Coaching, you can get all our new ideas and offers in our weekly email.  Coming Up:  Inclusion and Difference in 1-1s Play and Plasticine in Coaching with Abbi Buszard Keywords coaching, leadership, teamwork, performance, relationships, success, mindset, potential, rowing, culture   We love having a variety of guests join us! Please remember that inviting someone to participate does not mean we necessarily endorse their views or opinions. We believe in open conversation and sharing different perspectives.  

In this episode Cath shares that she received a diagnosis of ADHD and Autism in 2024 and some of the reasons she pursued this. She shared how she is integrating this and how she was tending to herself and meeting her needs ahead of the diagnosis. Cath speaks about executive functioning, what it is, how this may be a struggle and she shares specific anecdotes from her own life about needs, struggles in mothering and struggles with time blindness and how she supports and accommodates herself with these. Would you like more of this sort of content?If you're enjoying this podcast. Please leave a review and rate the podcast, this really helps others to find it.To sign up for the journal prompts and Nurture.Heal.Grow (on Substack) please head to www.cathcounihan.com or @cathcounihan on Instagram. Follow Cath on social media here:Instagram: @cathcounihanSubstack: Nurture.Heal.GrowFacebook: Cath Counihan Hosted on Acast. See acast.com/privacy for more information.

Le pèlerinage de la Famille Mondiale de Radio Maria « Ton peuple en marche » fait halte en Syrie pour vivre un grand moment de foi, d'unité et d'espérance.Depuis la cathédrale Sainte-Marie de la Ceinture à Homs, en Syrie.Mystères douleureux

In episode 131 of Grow Yourself Up Cath was joined by Dr. Jenny Turner. Jenny and Cath had a wide ranging and rich discussion covering the following: Jenny's path to motherhood and the birth of her son, shame, relationships, the challenges of shifting cycles in parenting, when perimenopause and postpartum collide and how we often have to dig really deep in motherhood and much more.Jenny is a clinical psychologist and founder of 'Mind Body Soul Psychology'. She is based in North Yorkshire, and works online with people from all over the UK. Jenny is also a mum to a four year old son.With an extensive NHS background in child and adolescent mental and physical health services. Jenny is now passionate about supporting Mothers, a central theme of the work she offers is how we can all get our own needs met, while we are caring for so many other people, Jenny believes that the care we receive, our boundaries, and our own healing are all fundamental to the care we offer as mothers, and to our enjoyment of the process of mothering.She is also passionate about helping mothers to navigate through the emotions that society too often (wrongly!) tells us 'we're not meant to feel' as Mothers, such as resentment, ambivalence, anger, rage, trauma, shame, guilt, grief, exhaustion, and burnout.Jenny offers integrative therapy to her clients - She draws largely on systemic, societal, psychodynamic, compassion-based and body-based, trauma-informed models (such as polyvagal theory). As well as the therapeutic model of shame-resilience developed from Brené Brown's research.You can connect with Jenny on her website listed here: www.mindbodysoulpsychology.co.ukOr, Instagram: @drjennypsychologistIf you're enjoying this podcast. Please leave a review and rate the podcast, this really helps others to find it.To sign up for the journal prompts and Nurture.Heal.Grow (on Substack) please head to www.cathcounihan.com or @cathcounihan on Instagram. Follow Cath on social media here:Instagram: @cathcounihanSubstack: Nurture.Heal.GrowFacebook: Cath Counihan Hosted on Acast. See acast.com/privacy for more information.

In this episode of Terror Talk Podcast, we're diving deep into the psychological profile of Sue Ann, aka Ma—Octavia Spencer's chilling yet complex character in the 2019 psychological horror thriller.This isn't just your standard horror review—we break down Ma through the lens of female psychopathy, trauma, and emotional control. From childhood bullying to adult manipulation, we explore her descent into madness with humor, insight, and plenty of clinical context.We discuss:The possible psychological diagnoses behind Ma's actionsHow trauma and toxic relationships shaped her behaviorHer intense need for control and connectionWhy Sue Ann is more than just a campy villainAnd of course, our trivia game: "Ma Facts with Cath"—because nothing says deep psych analysis like pop quiz horror chaos Do you think Ma was a product of her environment—or something far more sinister? Drop us a DM or comment on your favorite female psychopath portrayal in horror!Connect with Us:Instagram: @terrortalkpodcastYouTube: TerrorTalk PodcastFacebook: Halloween All Year LongTikTok: @dark.psychology.girlsAll music for this episode is composed and performed by Mannequin Uprising – our go-to creators of eerie, atmospheric audio for your horror-loving soul.

In this episode Cath was joined by Dr Jodi Pawluski, they talked about Jodi's path to motherhood, her postpartum time, how she prepared for this time and how her own parents' support impacted her.Jodi shares a bit about her family history, about the partnership she has with her husband in parenting and how her own work and knowledge of the brain supports her in her mothering role. Dr Jodi Pawluski is a Behavioural Neuroscientist, Psychotherapist and Author. Her research is affiliated with a research unit of the INSERM institute, the University of Rennes, France.For over fifteen years Jodi has studied the neuroscience of motherhood and the effects of perinatal mental illness and antidepressant medications on the mother and developing offspring.In 2020 Dr. Pawluski started a podcast called "Mommy Brain Revisited" which focuses on bringing current research on the parental brain to the general public. She also recently published a book (available in French and English) titled "Mommy Brain: Discover the amazing power of the maternal brain". Dr Pawluski's work has appeared in the New York Times, Scientific American, CNN, The Boston Globe, Die Zeit, Elle, Marie Claire, to name a fewYou can connect with Jodi on her website listed here www.jodipawluski.comInstagram: @dr.jodi_pawluskiX (formerly twitter): @JodiPawluskiIf you're enjoying this podcast. Please leave a review and rate the podcast, this really helps others to find it.To sign up for the journal prompts and Nurture.Heal.Grow (on Substack) please head to www.cathcounihan.com or @cathcounihan on Instagram. Follow Cath on social media here:Instagram: @cathcounihanSubstack: Nurture.Heal.GrowFacebook: Cath Counihan Hosted on Acast. See acast.com/privacy for more information.

durée : 00:07:46 - Ces chansons qui font l'actu - par : Bertrand DICALE - L'interruption de liaisons ferroviaires au nord de Paris à cause des travaux finaux du pont des Cathédrales à Saint-Denis nous invite à réécouter quelques chansons évoquant des ponts.

In this episode of Shrink Chat from the Terror Talk Podcast, we're diving into our latest horror watches and reads—from the weird to the WTF. We're reviewing:

Dr. Cath McKinney is the Professional Supervision Program Director at the University of Divinity in Australia. Her background includes extensive experience as a group relations consultant, a prison chaplain and inner-city minister. In this episode, Cath shares her journey from a complex religious upbringing to her experiences in church leadership, motherhood, and academia. She discusses the challenges her expulsion from a church community aligned with the God Squad Christian Motorcycle Club due to her advocacy for inclusivity. Through her experiences, she highlights the need for compassion and understanding in the face of religious trauma and the ongoing struggle for social justice within faith communities. ---We're now on video on YouTube here.Want more? Check out our exclusive Patreon episodes here.Our blog is here.Join the conversation and connect with others here.The transcript of this episode is here.All our other links are here. Doubting your beliefs? Have questions about changing or leaving your faith? You are not alone, and Recovering from Religion is here to help.

In this episode Cath is joined by Occupational Therapist and Conscious Parent Coach Maggie Viers. Maggie shares her own growth and awakening in motherhood. She talks about how becoming a mother was a catalyst for her own growth and healing.Motherhood pushed her to look into the details of her own childhood experiences and how these had impacted her. Maggie shares her wisdom, what she finds most helpful in tending to herself and how she prioritises connection with her children and family in a world that is always encouraging us to do more. You will feel hopeful and encouraged after this episode.Maggie is now an Occupational Therapist who has evolved into a conscious parent coach. She has a passion for shifting the paradigm for how we view behavior and supporting other parents to become more connected to themselves, their children, and others. She does this by getting to the “why” and approaching life with curiosity. She helps parents to understand their own nervous system, sensory profile, and triggers so they can better understand their children as well. It wasn't until motherhood that she discovered how her own struggles and patterns had so much to do with her own early childhood experiences and conditioning. For Maggie, becoming a parent was a challenging yet beautiful invitation to go inward and become curious about her own life story so she could show up differently for herself and her kids.You can find Maggie on Instagram @theempoweredfamilyMaggie offers 1:1 coaching through the link in her Instagram bio or www.thrivinglittles.comIf you're enjoying this podcast. Please leave a review and rate the podcast, this really helps others to find it.To sign up for the journal prompts and Nurture.Heal.Grow (on Substack) please head to www.cathcounihan.com or @cathcounihan on Instagram. Follow Cath on social media here:Instagram: @cathcounihanSubstack: Nurture.Heal.GrowFacebook: Cath Counihan Hosted on Acast. See acast.com/privacy for more information.

Cath Lloyd is a life coach who helps people navigate major life transitions and find emotional balance, drawing from her personal experience as the daughter of a transgender parent.Through her 4 Steps Methodology to Emotional Balance, Cath guides clients through various forms of change and loss, from bereavement to career transitions, helping them move from confusion to clarity. Her bespoke approach focuses on helping people let go of the past to create happier futures.Cath's journey of processing her own complex emotions around family honesty and change informs her compassionate approach to coaching. Her understanding of how unexpected transitions can impact health, relationships, and overall wellbeing allows her to help others transform their struggles into strength. As someone who has faced her own challenging emotions, her story shows how self-honesty can become a powerful tool for helping others navigate life's most difficult changes.Here's where to find more:https://cathlloyd.co.ukhttps://www.linkedin.com/in/cathlloydmakethechangehttps://www.youtube.com/user/thecathlloyd/playlistshttps://www.facebook.com/CathlloydUKhttps://www.instagram.com/lloydcathhttps://www.tiktok.com/@cathlloydmtchttps://www.pinterest.co.uk/cath_91https://www.facebook.com/cath.lloyd.334 ___________________________________________________________Welcome to The Unforget Yourself Show where we use the power of woo and the proof of science to help you identify your blind spots, and get over your own bullshit so that you can do the fucking thing you ACTUALLY want to do!We're Mark and Katie, the founders of Unforget Yourself and the creators of the Unforget Yourself System and on this podcast, we're here to share REAL conversations about what goes on inside the heart and minds of those brave and crazy enough to start their own business. From the accidental entrepreneur to the laser-focused CEO, we find out how they got to where they are today, not by hearing the go-to story of their success, but talking about how we all have our own BS to deal with and it's through facing ourselves that we find a way to do the fucking thing.Along the way, we hope to show you that YOU are the most important asset in your business (and your life - duh!). Being a business owner is tough! With vulnerability and humor, we get to the real story behind their success and show you that you're not alone._____________________Find all our links to all the things like the socials, how to work with us and how to apply to be on the podcast here: https://linktr.ee/unforgetyourself

The courageous life of Joanna Plantagenet extends far beyond her mother, Eleanor of Aquitaine, and her 'brave and heroic' brother Richard the Lionheart. She conquers the throne, escapes from a prison, is shipwrecked, goes on crusade, survives bullying brothers and husbands and essentially waits for no man. As Dr. Catherine Hanley puts it; "you don't become Queen and sit about eating chocolates, there's a job to do".Matt Lewis is joined by Cath to celebrate the adventurous and tumultuous life of Joanna Plantagenet, who's resilience and resourcefulness is astonishing as she navigates political intrigue, personal tragedy, and battles for survival in a male-dominated world. She is a testament to the ways medieval women asserted power and agency in a time of limited control.Gone Medieval is presented by Matt Lewis. It was edited by Amy Haddow, the producer is Joseph Knight. The senior producer is Anne-Marie Luff.All music courtesy of Epidemic Sounds.Gone Medieval is a History Hit podcast.Hear Dr. Cath Hanley on Gone Medieval's Matilda: Empress, Queen, Warrior:https://open.spotify.com/episode/3URgqZAWK25RBFbZrE8F40?si=oXtPW4FOQ8eNvQ72vQhmTgFor more on Joanna Plantagenet's family:Eleanor of Aquitaine:https://open.spotify.com/episode/67XsxIAKd8AwctFgFAlkXLRichard the Lionheart:https://open.spotify.com/episode/0vJVuLhSWVzisKBbbNVUqaSign up to History Hit for hundreds of hours of original documentaries, with a new release every week and ad-free podcasts. Sign up at https://www.historyhit.com/subscribe. You can take part in our listener survey here: https://insights.historyhit.com/history-hit-podcast-always-on