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Full shownotes, transcript and resources here: https://soundbitesrd.com/299                   This episode is sponsored. Commercial support has been provided by Danone North America & Light + Fit. Constance Brown-Riggs is a paid consultant to Danone North America. No brands are discussed or promoted.  This episode explores how culturally relevant, patient-centered nutrition strategies can support Type 2 Diabetes (T2DM) risk reduction. Through an evidence-based lens, it highlights the role of flexible eating patterns and nutrient-dense foods in promoting sustainable dietary change across diverse populations. Tune in to this episode to learn about: ·       why culturally relevant care matters ·       what can happen when nutrition guidance doesn't align with cultural foodways ·       what the science says about flexible eating patterns in T2DM ·       what the science says about the role of yogurt in supporting T2DM risk reduction ·       the qualified health claim regarding yogurt and T2DM ·       how RDNs can help patients navigate barriers to change ·       the role of patient centered care and communication ·       tips for empowering patients to adopt flexible eating patterns ·       how to emphasize achievable and enjoyable habits vs. restriction ·       building trust and supporting sustainable changes ·       how to approach culturally relevant conversations more confidently ·       resources for health professionals and the public  This episode (Food, Culture, and Care: Type 2 Diabetes Risk Reduction & Management) awards 1.0 CPEUs in accordance with the Commission on Dietetic Registration's CPEU Prior Approval Program.

Le 20 novembre 1989, l'Assemblée générale des Nations unies adoptait la convention internationale des droits de l'enfant (CIDE). Un texte ratifié par 196 pays juridiquement contraignant. 36 ans après, les enfants connaissent-ils leurs droits fondamentaux ? Le droit d'avoir une identité, une famille, de recevoir une éducation, de jouer et d'avoir des loisirs, celui d'être protégé, de ne pas faire ou subir la guerre... Pour n'en citer que quelques-uns. Dans les faits, 250 millions d'enfants dans le monde ne sont pas scolarisés, 138 millions travaillent, 150 millions ayant moins de 5 ans, ne sont pas enregistrés à l'état civil. Force est de constater que leurs droits sont toujours menacés. Un constat alarmant qui interroge aussi sur la place que l'on accorde aux enfants dans nos sociétés. Souvent citée en exemple, la Suède est le premier pays à interdire les châtiments corporels en 1979. Le pays nordique a également l'un des systèmes de la petite enfance les plus avancés d'Europe. En associant les enfants aux sujets qui les concernent, en les considérant comme des individus au même titre que les adultes, pourra-t-on leur améliorer leurs droits ?   Une émission à l'occasion de la journée internationale des droits de l'enfant du 20 novembre.   Avec : • Edouard Durand, magistrat, juge des enfants, ancien co-président de la Commission indépendante sur l'inceste et les violences sexuelles faites aux enfants (Ciivise) et auteur du livre pour enfants Tes droits et tes besoins comptent, illustré par Mai Lan Chapiron (La Martinière jeunesse, 2025) • Marion Cuerq, spécialiste des droits de l'enfant, autrice du livre Une enfance en nORd (Marabout, 2023) dans lequel elle examine les différences sociales et culturelles entre la France et la Suède dans la relation aux enfants. Un nouvel épisode du Monde des enfants, réalisé par Charlie Dupiot.  Aujourd'hui, ils sont 6 à nous parler de leurs droits... Ils s'appellent Rafael, Kais, Beryl, Eyma, Dalia et Lucas. Ils ont 10 ans et sont en classe de CM2 à l'École Henri Martin de Colombes, dans les Hauts-de-Seine, en région parisienne.   Programmation musicale : ► Want It Back - Guts, Patrice, The School Voices NYC ► O Xango - Capitain Planet & Trio Mocoto.  

Former Head of Detectives at SAPS, Jeremy Veary speaks to Amy McIver, on the latest accusations made by controversial figure Brown Mogotsi at the Madlanga Commission. Presenter John Maytham is an actor and author-turned-talk radio veteran and seasoned journalist. His show serves a round-up of local and international news coupled with the latest in business, sport, traffic and weather. The host’s eclectic interests mean the program often surprises the audience with intriguing book reviews and inspiring interviews profiling artists. A daily highlight is Rapid Fire, just after 5:30pm. CapeTalk fans call in, to stump the presenter with their general knowledge questions. Another firm favourite is the humorous Thursday crossing with award-winning journalist Rebecca Davis, called “Plan B”. Thank you for listening to a podcast from Afternoon Drive with John Maytham Listen live on Primedia+ weekdays from 15:00 and 18:00 (SA Time) to Afternoon Drive with John Maytham broadcast on CapeTalk https://buff.ly/NnFM3Nk For more from the show go to https://buff.ly/BSFy4Cn or find all the catch-up podcasts here https://buff.ly/n8nWt4x Subscribe to the CapeTalk Daily and Weekly Newsletters https://buff.ly/sbvVZD5 Follow us on social media: CapeTalk on Facebook: https://www.facebook.com/CapeTalk CapeTalk on TikTok: https://www.tiktok.com/@capetalk CapeTalk on Instagram: https://www.instagram.com/ CapeTalk on X: https://x.com/CapeTalk CapeTalk on YouTube: https://www.youtube.com/@CapeTalk567 See omnystudio.com/listener for privacy information.

It's YOUR time to #EdUp In this episode, sponsored by the 2026 InsightsEDU Conference in Fort Lauderdale, Florida, February 17-19,YOUR guest is Stephen Pruitt, President, Southern Association of Colleges and Schools Commission on Colleges (SACSCOC)YOUR cohost is Dr. G. Devin Stephenson, President, Florida Polytechnic UniversityYOUR host is Dr. Joe SallustioHow does a new accreditation leader eliminate the phrase "that's the way we've always done it" & slash 52 substantive change categories by at least half while implementing a "students first always" philosophy?What happens when an accreditor moves from "gotcha" accountability to a "carrots & sticks" approach with a sandbox of innovation that lets institutions negotiate around standards in exchange for measurable outcomes?How does SACSCOC plan to embrace AI for firewalled tools, celebrate institutional successes with 60 categories of recognition, & create different pathways for R1 universities versus technical colleges?Listen in to #EdUpThank YOU so much for tuning in. Join us on the next episode for YOUR time to EdUp!Connect with YOUR EdUp Team - ⁠⁠⁠⁠⁠ ⁠⁠⁠⁠Elvin Freytes⁠⁠⁠⁠⁠⁠⁠⁠⁠ & ⁠⁠⁠⁠⁠⁠⁠⁠⁠ Dr. Joe Sallustio⁠⁠⁠⁠● Join YOUR EdUp community at The EdUp ExperienceWe make education YOUR business!P.S. Want to get early, ad-free access & exclusive leadership content to help support the show? Then ⁠​subscribe today​⁠ to lock in YOUR $5.99/m lifetime supporters rate! This offer ends December 31, 2025!

Join us in worshipping the King of Kings Jesus. If you have a need that we can pray for, please feel free to comment below or DM us and we would love pray with you! To support this ministry and help us continue to reach people all around the world click here: https://bit.ly/36vpxdD Subscribe to get notifications on all the latest sermons and worship covers, click on the bell icon to receive notifications every time we post! Share with your friends, colleagues, loved ones.  ------------------------------------------- Connect with us on all Commission Socials: https://linktr.ee/CommissionChurch

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

Joining John Maytham, is Orrin Singh, EWN’s parliamentary correspondent, who has been following the Madlanga commission closely. Presenter John Maytham is an actor and author-turned-talk radio veteran and seasoned journalist. His show serves a round-up of local and international news coupled with the latest in business, sport, traffic and weather. The host’s eclectic interests mean the program often surprises the audience with intriguing book reviews and inspiring interviews profiling artists. A daily highlight is Rapid Fire, just after 5:30pm. CapeTalk fans call in, to stump the presenter with their general knowledge questions. Another firm favourite is the humorous Thursday crossing with award-winning journalist Rebecca Davis, called “Plan B”. Thank you for listening to a podcast from Afternoon Drive with John Maytham Listen live on Primedia+ weekdays from 15:00 and 18:00 (SA Time) to Afternoon Drive with John Maytham broadcast on CapeTalk https://buff.ly/NnFM3Nk For more from the show go to https://buff.ly/BSFy4Cn or find all the catch-up podcasts here https://buff.ly/n8nWt4x Subscribe to the CapeTalk Daily and Weekly Newsletters https://buff.ly/sbvVZD5 Follow us on social media: CapeTalk on Facebook: https://www.facebook.com/CapeTalk CapeTalk on TikTok: https://www.tiktok.com/@capetalk CapeTalk on Instagram: https://www.instagram.com/ CapeTalk on X: https://x.com/CapeTalk CapeTalk on YouTube: https://www.youtube.com/@CapeTalk567 See omnystudio.com/listener for privacy information.

En Guinée-Bissau, la présidentielle et les législatives, c'est dimanche 23 novembre. Et le président Umaro Sissoco Embaló se présente pour un second mandat, en se faisant surnommer « General do Povo », en français « Général du Peuple ». Il croit d'autant plus en ses chances que la justice a écarté du scrutin la candidature de son principal adversaire, Domingos Simões Pereira, le leader du parti historique PAIGC. Mais est-il sûr de gagner à 100% ? Vincent Foucher est chercheur au CNRS. Il répond aux questions de Christophe Boisbouvier. RFI : Pour la première fois depuis l'indépendance, le parti historique PAIGC ne pourra pas présenter de candidat. Est-ce à dire que le président sortant Umaru Sissoco Embalo a un boulevard devant lui ? Vincent Foucher : Alors un boulevard, non. Le PAIGC participe quand même à la compétition puisqu'il soutient un autre candidat, Fernando Dias, qui est du parti issu du PRS, qui est un autre parti qui a une assise assez forte. Et donc, entre la base du PRS et la base du PAIGC, il y aura un adversaire, en tout cas pour Sissoco. Mais c'est sûr que Sissoco a pris beaucoup de dispositions pour renforcer ses chances de se faire réélire. La victoire du PAIGC aux dernières législatives de 2023, est-ce le signe que ce parti est loin d'être fini et peut revenir sur le devant de la scène d'ici peut-être 2030 ? Oui, le PAIGC a un capital historique accumulé, une popularité fondamentale, une présence aussi à travers tout le pays, dans tous les bassins électoraux qui composent un pays très varié qu'est la Guinée-Bissau. Et donc c'est évidemment un adversaire important. La question, c'est évidemment : est-ce que le soutien apporté par le PAIGC à Dias, à un autre candidat que le sien, puisque le PAIGC a été interdit de présenter sa candidature, est-ce que vraiment on aura un transfert de voix efficace ? L'ancien Premier ministre Domingos Simoes Pereira appelle les partisans du PAIGC à voter ce dimanche à la présidentielle pour ce candidat indépendant, Fernando Dias. C'est donc une alliance de circonstance. Est-ce que ça peut marcher ? C'est difficile à dire. Fernando Dias est un jeune homme qui n'a pas une sorte de présence très profonde, dans l'espace public bissau-guinéen. Mais il est quand même l'héritier du PRS, qui est un parti qui est très enraciné, notamment dans l'électorat des Balantes, une communauté importante dans les zones rurales, notamment en alliance avec le PAIGC. Voilà, qu'est-ce que ça peut donner ? On ne sait pas au fond. C'est la première fois que Fernando Dias se présente. Par ailleurs, du côté de l'opposition, il y aura clairement des suspicions quant à la qualité du scrutin. Il y a eu beaucoup de controverses sur la façon dont Sissoco a recomposé la Cour suprême, le Supremo Tribunal de Justiça, et puis la Commission nationale des élections un peu à sa main. En tout cas, c'est la perception que l'opposition en a. Et donc ça, ça risque aussi d'entacher un peu la recevabilité du scrutin aux yeux de l'opposition.   Alors, la Cour suprême et la Commission électorale, l'opposition accuse le président Sissoco Embalo de les avoir noyautées. Le président réplique que ce n'est pas vrai, puisque lors des législatives d'il y a deux ans, la victoire a été donnée au parti d'opposition PAIGC. Qui a raison dans cette controverse ? Justement, c'est depuis les élections d'il y a deux ans qu'il y a eu des changements à la Cour suprême et à la Commission nationale électorale. Donc, on va voir comment ça fonctionne. Mais ce qui est assez étonnant dans la vie politique en Guinée-Bissau, c'est au fond que les élections, jusqu'à présent, ont été plutôt bien acceptées. Il y a eu au final assez peu de controverses, alors même que la vie politique est assez tendue, assez compétitive, avec des alliances et des contre-alliances en permanence. Mais au fond, les élections en elles-mêmes ne suscitent pas beaucoup de controverse d'habitude. Est-ce que ça va changer cette fois-ci ? On va voir. « Je ne suis pas un dictateur, mais j'aime l'ordre », affirme le président Sissoco Embalo dans une interview à Jeune Afrique. Est-ce qu'il pourrait accepter d'être mis en ballotage dimanche prochain ? Bon, là, si effectivement les résultats donnent ça et que les institutions les soutiennent et les défendent, il sera bien obligé. Il faut pour cela que la Commission électorale et la Cour suprême restent indépendantes ? Effectivement. Et les principaux trafiquants de drogue du pays, pour qui vont-ils voter dimanche prochain, pour le président sortant ou pour l'opposition ? Question difficile. Il y a quelques indices un peu objectifs. On a vu comment certaines figures du narcotrafic qui ont été poursuivies, parfois, qui ont été condamnées, ont bénéficié d'un traitement très favorable, depuis la prise de pouvoir du président Embalo, de la part de la justice. Il se dit, il se murmure que la police judiciaire a beaucoup moins de marge de manœuvre qu'auparavant. Elle avait mené quelques grosses opérations précédemment dans la lutte contre le trafic de cocaïne. Et, semble-t-il, ces marges-là sont en train de se réduire. Voilà, vous en conclurez ce que vous voudrez. Et la saisie d'un jet privé bourré de cocaïne, c'était il y a un an sur l'aéroport de Bissau, c'est de la poudre aux yeux ? Alors bon, il y a une controverse. Est-ce que c'était vraiment de la poudre ou pas ? Mais il me semble qu'effectivement c'était bien le cas. Un jet n'arrive pas tout à fait par hasard sur l'aéroport d'une capitale. Ça ne se fait pas sans certaines protections. Mais était-ce un leurre pour que le trafic de cocaïne continue de plus belle ? Alors, sur beaucoup d'épisodes de la vie politique bissau-guinéenne, il y a des interprétations diverses. Même la mort de Nino Vieira en 2009, son assassinat, au fond, n'est toujours pas clarifié. Il y a toujours deux ou trois versions qui circulent. Et au fond, je crois que c'est un des traits de la vie politique en Guinée-Bissau, c'est qu'on a des versions très, très différentes. On n'a pas vraiment d'instances qui soient capables d'établir la vérité. Il y a beaucoup de faux-semblants ? Exactement.

Maura Healey's policies are the reason why the utility prices are skyrocketing and she appointed a biological man to the head of the Mass. Commission of Women's status.  Visit the Howie Carr Radio Network website to access columns, podcasts, and other exclusive content.

Full shownotes, transcript and resources here: https://soundbitesrd.com/298                   This episode is sponsored. Commercial support has been provided by Danone North America & Activia. Dr. Hannah Holscher is a paid consultant to Danone North America. No brands are discussed or promoted.  Gut health and the gut microbiome play an important role in overall wellbeing, including digestion and immunity. This episode explores the latest research and practical strategies for promoting gut health through nutrient-rich dietary patterns, lifestyle factors, and the inclusion of probiotic and fermented foods. Tune in to this episode to learn about: ·       why the gut is such an important foundation for overall health ·       what the gut microbiome is and how diet shapes it ·       key roles of the digestive tract and how the microbiome factors in ·       how long it takes for the microbiome to respond to dietary changes ·       research on how diet quality and variety impact the gut microbiome ·       how plant-based foods and fermented foods impact microbial diversity ·       definitions of prebiotics, probiotics, synbiotics and postbiotics ·       strain-specific probiotic effects ·       lifestyle factors that impact gut health ·       practical steps to support gut health ·       how dietitians can simplify the science for clients ·       resources for health professionals and the public This episode (Support Gut Health and Holistic Wellbeing with Science-Based Strategies) awards 1.0 CPEUs in accordance with the Commission on Dietetic Registration's CPEU Prior Approval Program. Visit https://soundbitesrd.com/298 to access the CPEU activity.

Credits: 0.25 AMA PRA Category 1 Credit™   CME/CE Information and Claim Credit: https://www.pri-med.com/online-education/podcast/frankly-speaking-cme-459 Overview: Cognitive decline risk may be reduced through modifiable lifestyle factors, creating an opportunity for early intervention in primary care. Join us as we review findings from the US POINTER trial, which evaluated the impact of structured vs. self-guided lifestyle interventions on the risk of cognitive decline in older adults. Come away with tips to apply this evidence in real-world scenarios with your patients. Episode resource links: Baker LD, Espeland MA, Whitmer RA, et al. Structured vs self-guided multidomain lifestyle interventions for global cognitive function: The US POINTER randomized clinical trial. JAMA. 2025;334(8):681-691. doi:10.1001/jama.2025.12923 Livingston G, Huntley J, Liu KY, et al. Dementia prevention, intervention, and care: 2024 report of the Lancet standing Commission. Lancet. 2024;404(10421):572-628. doi:10.1016/S0140-6736(24)01296-0 Guest: Jillian Joseph, MPAS, PA-C Music Credit: Matthew Bugos Thoughts? Suggestions? Email us at FranklySpeaking@pri-med.com   

Join Spencer Reese and Carissa Rawson, Director of Travel and Marketing at Rove and Air Force veteran, for an in-depth discussion about maximizing credit card rewards and travel benefits as a military service member. Carissa shares her journey from enlisted Arabic translator to becoming a leading voice in military credit card content, having written for The Points Guy, NerdWallet, USA Today, and Forbes. Building Credit from Scratch Starting with secured credit cards (Capital One recommended) Using personal loans from Navy Federal or USAA to establish credit history Career starter loans for new officers Building from no credit to premium cards Strategic Card Acquisition Best starter cards: Chase Sapphire Preferred, Citi Strata Premier, Amex Green Understanding bank application rules and restrictions The famous 5/24 rule with Chase Timing your applications strategically Military-Specific Benefits SCRA (Servicemembers Civil Relief Act) vs MLA (Military Lending Act) protections Annual fee waivers on premium cards Advantage for reservists and guard members opening cards before active orders Two-player mode: How dependents can also benefit from MLA protections Premium Cards Worth Getting American Express Platinum Card ($895 annual fee waived) Chase Sapphire Reserve Capital One Venture X (SCRA benefits) Hilton Honors Amex Aspire Multiple Amex Platinum cards strategy Tools and Resources Mentioned Award Wallet - Tracks points balances, expiration dates, and travel itineraries Seats.aero - Award flight search engine Max My Point - Hotel search tool for maximizing FHR credits PointMe (roame.travel) - Award alert tool for flexible travel Use Your Credits - Tracking Amex statement credits Card Pointers - Auto-adds Amex offers and tracks credits FSAFeds.gov - Application rules by bank Rove Miles - Earning transferable points through shopping portal and hotel bookings Rove Miles Platform Highlights 13,000+ shopping portal stores (vs Rakuten's 3,900) New "Loyalty Eligible" feature - book hotels while maintaining elite status benefits Earn Rove miles that transfer to 12+ airline partners Commission-based earning rates (up to 75x miles per dollar on some bookings) Immediate points posting on non-refundable bookings Guest Bio: Carissa Rawson served 7 years in the US Air Force (2009-2016) as a cryptologic language analyst (Arabic translator), including a deployment to Jordan supporting counter-ISIS operations. She's written extensively about military credit card benefits for major publications and now helps travelers earn rewards at Rove Miles. Website: rovemiles.com Contact: Reach out to Military Money Manual at podcast@militarymoneymanual.com or on Instagram @militarymoneymanual _________________________________________________________________________________ Spencer and Jamie offer one-on-one Military Money Mentor sessions. Get your personal military money and personal finance questions answered in a confidential coaching call. militarymoneymanual.com/mentor Over 20,000 military servicemembers and military spouses have graduated from the 100% free course available at militarymoneymanual.com/umc3 In the Ultimate Military Credit Cards Course, you can learn how to apply for the most premium credit cards and get special military protections, such as waived annual fees, on elite cards like The Platinum Card® from American Express and the Chase Sapphire Reserve® Card. https://militarymoneymanual.com/amex-platinum-military/ https://militarymoneymanual.com/chase-sapphire-reserve-military/ Learn how active duty military, military spouses, and Guard and Reserves on 30+ day active orders can get your annual fees waived on premium credit cards in the Ultimate Military Credit Cards Course at militarymoneymanual.com/umc3 If you want to maximize your military paycheck, check out Spencer's 5 star rated book The Military Money Manual: A Practical Guide to Financial Freedom on Amazon or at shop.militarymoneymanual.com. Want to be confident with your TSP investing? Check out the Confident TSP Investing course at militarymoneymanual.com/tsp to learn all about the Thrift Savings Plan and strategies for growing your wealth while in the military. Use promo code "podcast24" for $50 off. Plus, for every course sold, we'll donate one course to an E-4 or below- for FREE! If you have a question you would like us to answer on the podcast, please reach out on instagram.com/militarymoneymanual.

C dans l'air du 17 novembre 2025 - Budget : une erreur de calcul à 10 milliards ?Alors que les discussions autour du budget se poursuivent à l'Assemblée, les recettes fiscales de 2025 inquiètent le gouvernement. La raison : la baisse des recettes de la TVA. Selon les prévisions du projet de loi de finances, la taxe sur la valeur ajoutée devrait rapporter 210 milliards d'euros au fisc. Mais les recettes sont inférieures aux prévisions. La différence n'est pas encore connue, mais se chiffre en milliards d'euros. Le trou total pourrait être de « 10 milliards » selon le président de la Commission des finances, Éric Coquerel.Inquiet de la situation, le gouvernement a lancé une mission d'urgence pour comprendre les raisons de cette baisse. Selon Bercy, un problème de fraude pourrait en être la cause, ciblant notamment la sous-déclaration des petits colis importés.Afin de combler le déficit, les députés ont adopté un amendement instaurant un « impôt universel » sur les multinationales. Une mesure qui pourrait rapporter 26 milliards d'euros, mais qui risque d'être retoquée par des directives européennes.En parallèle, s'est ouvert ce lundi le sommet Choose France, consacré aux seules entreprises françaises. Le ministre de l'Économie, Roland Lescure, a annoncé 30,4 milliards d'euros d'investissements en 2025. Des annonces qui surviennent sur fond de multiplication des plans sociaux.Depuis les élections européennes de juin 2024, la CGT a recensé 444 plans sociaux en France. Invité sur le plateau de C dans l'air, Emmanuel Duteil, du média L'Usine Nouvelle, rappelait que 108 sites de production avaient fermé ou étaient menacés depuis le début de l'année.Parmi eux, le groupe sidérurgique Novasco, dont l'avenir se joue ce lundi. Le gouvernement vient d'annoncer qu'il allait saisir les tribunaux contre le britannique Greybull, repreneur en 2024 de l'aciérie. « Le repreneur s'était engagé à investir 90 millions d'euros. Un an plus tard, ils n'ont investi que 1,5 million d'euros. Le compte n'y est pas. On sera intraitable, on sera aux côtés des salariés », a assuré le ministre de l'Économie, Roland Lescure, sur TF1.Sur le plan politique, la course aux élections municipales est lancée. Alors que la gauche est partie pour se présenter divisée en 2027, dans certaines communes comme à Agen, elle part unie — du PS à LFI en passant par les Écologistes — pour le scrutin des municipales en mars prochain.Nos experts : - Dominique SEUX - Éditorialiste - Les Echos et France Inter - Christophe BARBIER - Éditorialiste politique, conseiller de la rédaction - Franc-Tireur - Elisa BERTHOLOMEY- Cheffe Adjointe du service politique- Politico - Mathieu PLANE - Économiste - OFCE, Observatoire Français des Conjonctures Économiques

Credits: 0.25 AMA PRA Category 1 Credit™   CME/CE Information and Claim Credit: https://www.pri-med.com/online-education/podcast/frankly-speaking-cme-459 Overview: Cognitive decline risk may be reduced through modifiable lifestyle factors, creating an opportunity for early intervention in primary care. Join us as we review findings from the US POINTER trial, which evaluated the impact of structured vs. self-guided lifestyle interventions on the risk of cognitive decline in older adults. Come away with tips to apply this evidence in real-world scenarios with your patients. Episode resource links: Baker LD, Espeland MA, Whitmer RA, et al. Structured vs self-guided multidomain lifestyle interventions for global cognitive function: The US POINTER randomized clinical trial. JAMA. 2025;334(8):681-691. doi:10.1001/jama.2025.12923 Livingston G, Huntley J, Liu KY, et al. Dementia prevention, intervention, and care: 2024 report of the Lancet standing Commission. Lancet. 2024;404(10421):572-628. doi:10.1016/S0140-6736(24)01296-0 Guest: Jillian Joseph, MPAS, PA-C Music Credit: Matthew Bugos Thoughts? Suggestions? Email us at FranklySpeaking@pri-med.com   

Send us a textThe salon industry is shifting faster than most owners realize. In Part 1 of our 2026 Predictions series, we talked about education, AI, and client expectations. In Part 2, we're diving into the structural issues shaping the next chapter of our industry: employment models, salon operations, and profitability.This episode explores why certain business models will struggle, why others will grow, and what forward-thinking salon owners must build now to remain relevant and profitable.We break down the rental bubble, the future of commission salons, the implosion of hybrid models, the comeback of apprenticeships, the KPIs that finally matter, and why pricing must shift from emotion to math.If you're a salon owner, renter, future owner, or someone watching the industry and wondering where you fit in — this episode will help you see the landscape clearly and prepare your business for what's coming.Your business should serve you so that you can serve others — but that requires purpose, structure, and leadership. Let's build the future intentionally.Key TakeawaysGreat stylists are built through consultation, listening, and consistency — not just skill.Big salon problems are almost always a stack of small problems that went unaddressed.The rental bubble is correcting — not because rentals are bad, but because renters aren't equipped.Commission salons without innovation, systems, or leadership will continue to fail.Hybrid models will implode as states tighten enforcement and salon culture fractures.Apprenticeships will surge — they produce stronger stylists, culture buy-in, and retention.Licensure does not guarantee professionalism; businesses create standards, not boards.Culture and stability become major differentiators for stylists seeking long-term homes.Pricing must shift from emotion → math + cost-to-deliver + profit margins.Leadership — communication, feedback, coaching — becomes the salon owner's most valuable skill.Purpose drives performance: clarity → trust → buy-in → growth.Time Stamps00:00 — Welcome + Part 2 focus (models, operations, profit) 01:00 — Preview of Part 3 02:00 — Opening Takes (good stylists, stacked problems) 05:30 — Why “everyone wants to rent” is a symptom 07:00 — Rental bubble reality + why many renters struggle 10:00 — Commission salons: why they fail + what must change 13:00 — Hybrid model collapse (culture, operations, compliance) 16:00 — Apprenticeships return + why they outperform school 19:00 — Licensure misconceptions + professionalism gaps 21:00 — Culture + stability become key differentiators 23:00 — Why people really leave salons (not money) 24:00 — Profitability + flexibility can coexist 26:00 — Foundations: mission, vision, values 29:00 — Systems replace guesswork 30:00 — KPIs mature: beyond rebooking/retail 33:00 — Pricing becomes math, not emotion 37:00 — Specialists outperform generalists 40:00 — Leadership becomes the owner's highest-value skill 45:00 — Purpose drives performance + closingLinks and Stuff:Our Newsletter Mentoring InquiriesFind more of our things:InstagramHello Hair Pro Website

Send us a textIn this episode, Pastor Dom give us some us some indicators that we are right with God. Luke 13:33 …unless you repent you will all likewise perish.2 Corinthians 5:1717 Therefore, if anyone is in Christ, he is a new creation; old things have passed away; behold, all things have become new.Matthew 7:2121 “Not everyone who says to Me, ‘Lord, Lord,' shall enter the kingdom of heaven, but he who does the will of My Father in heaven. Matthew 3:88 So produce fruit that is consistent with repentance… 1 Peter 2:1-31 Therefore, laying aside all malice, all deceit, hypocrisy, envy, and all evil speaking, 2 as newborn babes, desire the pure milk of the word, that you may grow thereby, 3 if indeed you have tasted that the Lord is gracious.1 Peter 1:14-1514 So you must live as God's obedient children. Don't slip back into your old ways of living to satisfy your own desires. You didn't know any better then. 15 But now you must be holy in everything you do, just as God who chose you is holy.John 10:1010 The thief does not come except to steal, and to kill, and to destroy.Psalm 68:1919 Blessed be the Lord, Who daily loads us with benefits, The God of our salvation! SelahPsalm 103:22 Bless the Lord, O my soul, And forget not all His benefits:Mark 4:1919 and the cares of this world, the deceitfulness of riches, and the desires for other things entering in choke the word, and it becomes unfruitful.Romans 12:22 And do not be conformed to this world, but be transformed by the renewing of your mind, that you may prove what is that good and acceptable and perfect will of God.Matthew 6:3333 But seek first the kingdom of God and His righteousness,..Psalm 5:33 My voice You shall hear in the morning, O Lord; In the morning I will direct it to You, And I will look up.Joshua 1:88 This Book of the Law shall not depart from your mouth, but you shall meditate in it day and night, that you may observe to do according to all that is written in it. For then you will make your way prosperous, and then you will have good success.1 Thessalonians 5:15-1715 See that no one renders evil for evil to anyone, but always pursue what is good both for yourselves and for all. 16 Rejoice always, 17 pray without ceasing,

Une conférence sur la souveraineté technologique en Europe se tiendra ce mardi (18 novembre 2025) à Berlin, en présence du chancelier allemand Friedrich Merz et du président français Emmanuel Macron. En matière d'innovation, l'Union européenne est aujourd'hui largement devancée par les États-Unis et la Chine, alors qu'a lieu actuellement le virage de l'intelligence artificielle. L'UE peut-elle rattraper son retard ? Comment innover tout en préservant la spécificité culturelle européenne ? La souveraineté numérique est-elle un objectif ? Pour en débattre - Philippe Latombe, député Modem de Vendée, auteur et rapporteur en 2021 du rapport «Bâtir et promouvoir une souveraineté numérique nationale et européenne»  - Julien Pillot, économiste, enseignant-chercheur à l'Inseec Grande École, spécialiste de l'économie et de la régulation du numérique   - Nathalie Devillier, experte en droit de l'intelligence artificielle à l'Unesco et à la Commission européenne.

In this episode, we have a conversation with colleagues from the Consortium of Organizations for Student Affairs Assessment, or COSAA, which is a collaborative effort across key student affairs assessment organizations.  Our guests are Shaun Boren, Renée Delgado-Riley, Paul Holliday-Millard, and Sarah LaFrance.  In addition to serving as student affairs assessment professionals within their own institutional contexts, our guests are also national leaders involved in the organizations operating under the umbrella of COSAA.Link to resources mentioned in this episode: ACPA's Commission for Assessment and Evaluationhttps://myacpa.org/groups/cae/ Consortium of Organizations for Student Affairs Assessment (COSAA)https://studentaffairsassessment.org/entries/blog/announcing-the-formation-of-the-consortium NASPA's Assessment, Evaluation, and Research Knowledge Communityhttps://www.naspa.org/division/assessment-evaluation-and-research Student Affairs Assessment Leaders (SAAL)https://studentaffairsassessment.org/ This season of Leading Improvements in Higher Education is sponsored by the Center for Assessment and Research Studies at James Madison University; learn more at jmu.edu/assessment. Episode recorded: September 2025.  Host:  Stephen Hundley.  Producers:  Chad Beckner and Angela Bergman.  Original music:  Caleb Keith.  This award-winning podcast is a service of the Assessment Institute in Indianapolis; learn more go.iu.edu/assessmentinstitute. 

From Doubt to Destiny

4:05 Un influenceur, coach en musculation se fait incendier sa salle de sport après avoir été en conflit avec des antifas

Activists and Citizens Forum has hailed Lieutenant General Nhlanhla Mkhwanazi as a hero for his courage in exposing corruption and infiltration in the criminal justice system. Activists and Citizens Forum Spokesperson, Dennis Bloem says Mkhwanazi's testimony before the Madlanga Commission has sparked a wave of hope for millions of South Africans who are facing trauma and intimidation in their workplaces. The Commission has heard shocking evidence from Ekurhuleni Metropolitan Police Department (EMPD) officials, revealing widespread corruption and violence. The officials allege that Ekurhuleni, EMPD Deputy Police Chief Brigadier Julius Mkhwanazi is a law unto himself, with protection from senior political leaders. Here is the Spokesperson for Activists and Citizens Forum, Dennis Bloem

From Doubt to Destiny

Paul Gregory visited Dealey Plaza to assess the assassination, concluding the shot was fairly easy as the presidential limousine slowed down to turn. He emphasizes that the route was chosen only four days prior, undermining long-term conspiracy planning. Paul and his father were later targeted by conspiracy theories linking them to radical Russian interests. The discussion focuses heavily on Margarite Oswald's testimony before the Warren Commission, where she behaved like a deranged woman, insisting her son was a hero and demanding legal representation and subpoena rights. The Commission allowed her to speak to demonstrate her instability. Her influence is identified as a major explanatory factor in virtually everything Lee Harvey Oswald did. Guest: Paul Gregory.

Vous aimez notre peau de caste ? Soutenez-nous ! https://www.lenouvelespritpublic.fr/abonnementUne émission de Philippe Meyer, enregistrée au studio l'Arrière-boutique le 14 novembre 2025.Avec cette semaine :Nicolas Baverez, essayiste et avocat.Antoine Foucher, consultant, spécialiste des questions sociales, auteur de Sortir du travail qui ne paie plus.Béatrice Giblin, directrice de la revue Hérodote et fondatrice de l'Institut Français de Géopolitique.Richard Werly, correspondant à Paris du quotidien helvétique en ligne Blick.CONSOMMATEUR OU CITOYEN : LES CONTRADICTIONS FRANÇAISESDominant dans le commerce en ligne, Shein, le géant chinois de la mode jetable, s'est installé le 5 novembre pour la première fois en boutique, au BHV parisien puis progressivement dans des Galeries Lafayette franchisées à Dijon, Reims, Grenoble, Angers et Limoges. Une arrivée qui provoque un tollé dans le secteur. Spécialiste de la mode éphémère – une production caractérisée par le renouvellement ultra-rapide des collections à des prix cassés dépourvus de normes sociales et environnementales –, le géant chinois a été condamnée à 40 millions d'euros d'amendes par la Direction générale de la répression des fraudes pour « pratiques commerciales trompeuses », puis à 150 millions d'euros par la Commission nationale de l'informatique et des libertés pour « non-respect du consentement des internautes » dans la collecte de leurs données. Adoptée par l'Assemblée nationale puis amendée par le Sénat en juin 2025, la proposition de loi visant à « démoder la mode éphémère grâce à un système de bonus-malus » revient au cœur des débats.Le chiffre d'affaires de Shein en France (son deuxième marché dans le monde après les États-Unis) était de plus de 1,5 milliard d'euros en 2024. Cette année-là, l'Institut français de la mode a estimé que 35 % des Français ont acheté au moins un produit sur la plateforme Shein, qui compte plus de 12 millions d'utilisateurs par mois. Ces derniers savent pertinemment ce qui est reproché à l'entreprise, ses pratiques contestées et l'impact que son essor à sur le prêt-à-porter français. N'importe. Le caractère compulsif de l'achat est plus fort. Dans un pays pourtant obsédé par la reconquête de sa « souveraineté », qui tient la mondialisation en horreur, le consommateur agit souvent à rebours des convictions du citoyen.Ainsi, si selon un sondage Ipsos BVA, les Français placent sans surprise le prix en tête des critères guidant leurs achats (62 %), devant la qualité (58 %) et la durabilité (32 %) des vêtements, toutefois, 49 % des sondés expriment une « mauvaise opinion » à l'égard de la qualité des produits. Et 52 % désapprouvent l'installation d'une boutique Shein au BHV. Une nette majorité approuverait des mesures « pour freiner le développement des géants chinois de l'habillement en France et en Europe ». En Dr Jekyll et Mr Hyde, nous exigeons du gouvernement ou de l'Union européenne qu'ils régulent les opérateurs dont les pratiques mettent à mal notre économie, nos emplois et la planète, quand nous achetons leurs produits et leurs services. Et ce n'est pas vrai que dans le secteur de la mode ou du textile… Philippe Moati, cofondateur de l'Observatoire société et consommation prévient : « En cas de désaccord entre le citoyen et le consommateur, c'est le consommateur qui gagne quand l'offre est très attractive.COP 30L'objectif de limiter le réchauffement climatique à 1,5°C par rapport à l'ère préindustrielle, figurant dans l'Accord de Paris il y a 10 ans, est « sur le point de s'effondrer », a averti fin septembre le secrétaire général de l'ONU Antonio Guterres. Du 10 au 21 novembre, la COP 30 est réunie à Belém, au Brésil aux portes de l'Amazonie. Le président brésilien Lula entend faire des forêts l'un de ses sujets principaux de cette conférence. Il souhaite y formaliser un fonds d'un nouveau genre, une « Facilité de financement des forêts tropicales » visant 125 milliards de dollars de collecte, placés sur les marchés financiers. Les bénéfices rémunéreront des pays à forte couverture forestière et à faible déforestation pour leurs efforts de conservation. Cinq autres États disposant de forêts tropicales ont rejoint le projet (Colombie, Ghana, République démocratique du Congo, Indonésie et Malaisie). Par ailleurs, cinq pays développés qui pourraient investir à l'avenir travaillent à organiser l'initiative (Allemagne, Émirats arabes unis, France, Norvège et Royaume-Uni).Depuis 2015, chaque pays doit soumettre tous les cinq ans une feuille de route climatique détaillant sa stratégie de réduction des émissions de gaz à effet de serre, afin de mesurer leurs efforts pour atteindre les objectifs de l'Accord de Paris. Mais alors que ces « contributions déterminées au niveau national » devaient être rendues avant la fin du mois de septembre, dans un contexte géopolitique tourmenté, où les guerres, les conflits commerciaux et la pression du président américain climatosceptique qui s'est retiré de l'Accord de Paris ont relégué le climat au second plan. Ainsi, la majorité des pays n'avaient pas rendu leur copie à la veille de la conférence, tandis que les États-Unis n'enverront pas de représentants de haut niveau à Belém.En 2019, la Commission européenne lançait le pacte vert pour l'Europe, avec un objectif ambitieux : faire de l'Europe le premier continent climatiquement neutre d'ici à 2050. Mais sous la pression de lobbies agricoles et depuis le virage à droite et à l'extrême droite du Parlement après les élections de 2024, la copie initiale est peu à peu revue à la baisse : abandon de la loi sur les pesticides, assouplissement de la politique agricole commune, remise en question de l'interdiction des voitures thermiques d'ici à 2035, de la finance durable et de la responsabilité des entreprises… En France, après avoir clamé « Make our planet great again (« Rendez sa grandeur à la planète »), Emmanuel Macron se montre moins écologiste au fil de ses deux mandats. Son gouvernement n'a pas tenu sa promesse de sortie du glyphosate en trois ans, a édulcoré la loi zéro artificialisation nette et délivre encore des permis d'hydrocarbures. Il entend compenser son peu d'allant dans le développement des énergies renouvelables par la relance du nucléaire. Cependant, selon un sondage Ipsos, 89% des Français disent leur inquiétude face à l'aggravation de la crise climatique.Chaque semaine, Philippe Meyer anime une conversation d'analyse politique, argumentée et courtoise, sur des thèmes nationaux et internationaux liés à l'actualité. Pour en savoir plus : www.lenouvelespritpublic.frHébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Until Christ comes, He has called us to go with the gospel until all have heard. Our lives are purposed to join Him in making disciples of all nations.

QUOTES FOR REFLECTION“The church…is not meant to call men and women out of the world into a safe religious enclave but to call them out in order to send them back as agents of God's kingship.”~Lesslie Newbigin (1909-1998), British theologian and missionary “The people who heard Jesus' disciples proclaiming the Good News were as impressed by what they saw as by what they heard. They saw lives that had been transformed…. A new quality, Christian love, was born. Conventional love is evoked by lovable qualities in the beloved, but the love people encountered from Christ embraced sinners and outcasts, Samaritans and enemies. It gave…because giving was its nature.”~Huston Smith (1919-2016), religious scholar and chair of the Philosophy Department at MIT “Why do we not observe how the charity of Christians to strangers…has done the most to advance their cause? For it is disgraceful…the impious Galileans support our poor in addition to their own, while everyone is able to see that our coreligionists lack aid from us!”~The Pagan Roman Emperor Julian (332-363), Letter to Arsacius, 360 AD “Why among all of the varieties of Judaism in the first century did only two survive….? One, the religion of the Rabbis – the other, the religion of Christianity. [This] rather improbable message that the Son of God has come to earth and been crucified, in human form, and risen from the dead ... appealed to a lot of perfectly ordinary people…in such a way that they were willing…to become initiated into a group which brought them only hostility, estrangement from their families and neighbors, and the possibility of persecution to the point of death.”~Wayne A. Meeks (1932-2023), Religious Studies Professor at Yale University “I believe that it was the religion's particular doctrines that permitted Christianity to be among the most sweeping and successful revitalization movements in history. And it was the way these doctrines took on actual flesh, the way they directed organizational actions and individual behavior, that led to the rise of Christianity.”~Sociologist Rodney Stark (1934-2022) in The Rise of Christianity “Assist…one another in good faith, and by deed and with a hearty will; nor let anyone remove his hand from the help of a brother, since ‘by this' saith the Lord, ‘shall all men know that ye are my disciples, if ye have love one to another.'”~Zephyrinus, bishop of Rome from A.D. 199 to 217 on John 13:35 “The person characterized by humility, gentleness, mercy and righteousness does not build a fence around good deeds. Rather, that one ensures that these good fountains overflow for the benefit of others. One who is pure in heart and a peacemaker, even when persecuted for the sake of truth, orders his way of life for the common good.”~John Chrysostom (347-407) revered early church leader in homily on Matthew 5SERMON PASSAGE selected passages (ESV)Genesis 12 1 Now the Lord said to Abram, “Go from your country and your kindred and your father's house to the land that I will show you. 2 And I will make of you a great nation, and I will bless you and make your name great, so that you will be a blessing. 3 I will bless those who bless you, and him who dishonors you I will curse, and in you all the families of the earth shall be blessed.” Psalm 671 May God be gracious to us and bless us and make his face to shine upon us, Selah2 that your way may be known on earth, your saving power among all nations. Isaiah 22 It shall come to pass in the latter days that the mountain of the house of the Lord shall be established as the highest of the mountains, and shall be lifted up above the hills; and all the nations shall flow to it,3 and many peoples shall come, and say: “Come, let us go up to the mountain of the Lord, to the house of the God of Jacob, that he may teach us his ways and that we may walk in his paths.” For out of Zion shall go forth the law, and the word of the Lord from Jerusalem. Matthew 5 – Jesus's Teaching to His Disciples 10 “Blessed are those who are persecuted for righteousness' sake, for theirs is the kingdom of heaven. 11 Blessed are you when others revile you and persecute you and utter all kinds of evil against you falsely on my account. 12 Rejoice and be glad, for your reward is great in heaven, for so they persecuted the prophets who were before you.13 You are the salt of the earth, but if salt has lost its taste, how shall its saltiness be restored? It is no longer good for anything except to be thrown out and trampled under people's feet. 14 You are the light of the world. A city set on a hill cannot be hidden. 15 Nor do people light a lamp and put it under a basket, but on a stand, and it gives light to all in the house. 16 In the same way, let your light shine before others, so that they may see your good works and give glory to your Father who is in heaven.” Matthew 1 1 The book of the genealogy of Jesus Christ, the son of David, the son of Abraham. Matthew 28 – Jesus's Commission to the Church 18 And Jesus came and said to them, “All authority in heaven and on earth has been given to me. 19 Go therefore and make disciples of all nations, baptizing them in the name of the Father and of the Son and of the Holy Spirit, 20 teaching them to observe all that I have commanded you. And behold, I am with you always, to the end of the age.” John 13 – Jesus's Commandment to the Church 34 “A new commandment I give to you, that you love one another: just as I have loved you, you also are to love one another. 35 By this all people will know that you are my disciples, if you have love for one another.” John 17 – Jesus's Prayer for the Church 20 “I do not ask for these only, but also for those who will believe in me through their word, 21 that they may all be one, just as you, Father, are in me, and I in you, that they also may be in us, so that the world may believe that you have sent me. 22 The glory that you have given me I have given to them, that they may be one even as we are one, 23 I in them and you in me, that they may become perfectly one, so that the world may know that you sent me and loved them even as you loved me.”

Until Christ comes, He has called us to go with the gospel until all have heard. Our lives are purposed to join Him in making disciples of all nations.

Runnin’ down the show: Mid-November weather mischief…. // Winter Crab, Coho, chum & An early walk for a late buck and a talk with the Commission // The BeauMac TECH Line: Josh Shalan of luredawaygs.com Columbia sturgeon and closer to home! // Picks of the week: Hills, mountains, marsh and huntin’ season! Puppies

NEWS: Senate pushes creation of public works watchdog commission | Nov. 16, 2025Subscribe to The Manila Times Channel - https://tmt.ph/YTSubscribe Visit our website at https://www.manilatimes.net Follow us: Facebook - https://tmt.ph/facebook Instagram - https://tmt.ph/instagram Twitter - https://tmt.ph/twitter DailyMotion - https://tmt.ph/dailymotion Subscribe to our Digital Edition - https://tmt.ph/digital Check out our Podcasts: Spotify - https://tmt.ph/spotify Apple Podcasts - https://tmt.ph/applepodcasts Amazon Music - https://tmt.ph/amazonmusic Deezer: https://tmt.ph/deezer Stitcher: https://tmt.ph/stitcherTune In: https://tmt.ph/tunein#TheManilaTimes#KeepUpWithTheTimes Hosted on Acast. See acast.com/privacy for more information.

durée : 00:35:36 - L'Invité(e) des Matins - par : Guillaume Erner, Yoann Duval - De Gaza, à l'Ukraine en passant par les rapports avec les États-Unis de Donald Trump, l'ancien vice-président de la Commission européenne Josep Borrell revient sur le rôle de l'Europe dans ces crises. Même si celle-ci tente de s'affirmer, elle reste trop souvent, selon lui, au second plan. - réalisation : Félicie Faugère - invités : Josep Borrell Ancien vice-président de la Commission européenne - Haut représentant de l'Union pour les affaires étrangères et la politique de sécurité

The November 14 edition of the AgNet News Hour featured Ian LeMay, President of the California Table Grape Commission, in a wide-ranging discussion with hosts Nick Papagni and Josh McGill about California's thriving table grape season, global trade challenges, and the pride of representing one of the state's most iconic crops. LeMay described this year as “a fair season” overall, with high-quality fruit, steady demand, and continued harvest stretching through Thanksgiving. “We had a really moderate spring and summer that allowed the fruit to mature beautifully on the vine,” he said. “Growers have done everything possible to deliver a high-quality crop, and we still have promotable volume through December.” The conversation highlighted how California growers continue to lead the world in both innovation and consistency. “We're growing more than 80 varieties of table grapes now,” LeMay said. “Since 1982, the Commission has partnered with the USDA to bring new, longer-lasting, better-tasting varieties to market.” He praised the role of technology and automation, noting that the industry is evolving quickly. “From robotics to new breeding programs, agriculture is attracting computer scientists and engineers — not just agronomists,” he said. LeMay's enthusiasm for his work was evident. “It's a huge point of pride to represent this industry,” he said. “California table grapes are grown by families who've been doing this for generations with integrity and care. When I walk into a meeting overseas, I know I'm representing the best fruit in the world.” While California's domestic market remains strong — with more than 70% of grapes staying in the U.S. — LeMay continues to travel globally, promoting the state's fruit in over 20 countries. “There's real confidence in California table grapes,” he said. “Buyers know what they're getting — quality, safety, and consistency.” The discussion also turned to tariffs and regulation. LeMay said the current U.S. tariff policies have not yet significantly impacted table grapes but emphasized that global trade remains unpredictable. He also addressed the challenges of farming in California's heavily regulated environment. “Yes, the costs are higher — from labor to pesticide regulation — but that's also our badge of honor,” he said. “When buyers purchase California grapes, they can have full confidence that they're getting the highest standards in the world.” Both Papagni and McGill praised LeMay for his leadership and passion. “Ian's the kind of representative California agriculture needs,” Papagni said. “He's professional, positive, and never afraid to tell it like it is.” McGill added, “California consumers vote for higher standards — now it's time to support that by buying California-grown.” As the holidays approach, LeMay encouraged listeners to keep California grapes on their tables. “They're still in stores, they're sweet, and they're healthy,” he said. “If you don't have California grapes at Thanksgiving or Christmas, you're missing out.”

In this episode, our investigators are forced to answer some difficult questions and face some difficult truths by Her Majesty's Commission for Preternatural Affairs… also known as, The Witch Hunters…Topics & Themes:Interviews by Law EnforcementManipulation/GaslightingPrejudices Hosted on Acast. See acast.com/privacy for more information.

Invité : Jean-René Cazeneuve, député du Gers, membre de la Commission des Finances de l'Assemblée nationale et membre du comité de soutien à Boualem Sansal   Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Invité : Guillaume Bigot, député RN du territoire de Belfort et membre de la Commission des Affaires étrangères à l'Assemblée nationale Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Invité : Charles Rodwell, député Ensemble Pour la République des Yvelines et membre de la Commission des Finances de l'Assemblée nationale Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Invité : Charles Rodwell, député Ensemble Pour la République des Yvelines et membre de la Commission des Finances de l'Assemblée nationale Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Inheriting land sounds great until you see the tax bills. Learn how to sell quickly without losing thousands to realtor commissions. Go to https://landavion.com/ for more information. Land Avion, LLC City: Las Cruces Address: 2521 North Main Street Website: https://landavion.com

The Kent Black Action Commission (KBAC) is spearheading a petition to rename nearly 10 miles of Benson Highway through Renton, Kent, and parts of unincorporated King County with honorary signage bearing Dr. King's name. With support from State Representative Mia Gregerson and coordination from the Washington State Department of Transportation, this effort aims to extend Martin Luther King Jr. Way from Seattle deeper into South King County—without impacting existing addresses or road names. The initiative invites community involvement through petition signing and engagement with local representatives, underscoring the importance of honoring Dr. King's legacy in the region. Executive Director Gwen Allen-Carsten joins us to share more about this movement, its significance, and how the community can get involved. Interview by Chris B. Bennett.

Invité : Jean-René Cazeneuve, député du Gers, membre de la Commission des Finances de l'Assemblée nationale et membre du comité de soutien à Boualem Sansal   Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Worship Leader Taylor Cummings reflects on the response “Here I am,” highlighting Isaiah's vision of God's holiness and Samuel's call, showing how God cleanses, calls, and invites willing hearts to serve. She emphasizes a posture of availability to partner with God.

Human Papillomavirus, or HPV, is responsible for 6 different kinds of cancers…Cervical, anal, oral pharyngeal, vaginal,  vulvar,  and penile. So, it was a big deal when the HPV vaccine was approved in 2006 females between the ages of 9 and 26.   In 2018, the age range was expanded to include adults up to the age of 45. But, what about women over 45? Shouldn't they have the option of getting a vaccine that prevents 90% of HPV related cancers?  My guest is Dr. Vivien Brown, an Assistant Professor at the University of Toronto with a special interest in Adult Immunization and Vaccine Preventable Illness.  Dr. Brown presented HPV initiatives in Canada at the UN meetings for the Commission on the Status of Women.  Background on the Human Papilloma Virus (HPV) vaccine and HPV  Cancers associated with HPV Who should get HPV vaccines Why it is best to vaccinate young girls and boys If women with cervical cancer should still get vaccinated If people who got the original vaccine with 4 serotypes, should get the newer vaccine with 9 serotypes How much the vaccine reduces the risk of cancer Side effects of the vaccine Why the vaccine was expanded from age 26 to age 45 Vaccine efficacy is less in older women How HPV is transmitted in older women Time of exposure of HPV to cancer Reasons that women over the age of 45 are at risk of exposure to HPV The case for universal vaccinations and STI screening If MEN are (should) getting vaccinated over age 45 If women should get tested for previous infections before getting vaccinated Why Canadian dentists are now counseling and administering HPV vaccinating  If single women in their 60s should get vaccinated if they are not sexually active and have no plans for sexual activity Other vaccines recommended in older women Tetanus Pneumonia Influenza Shingles RSV Covid If it's OK to get tvaccines all at once or if dosing should be divided The Case for Seeing a Gynecologist No Matter How Old You Are                                      Vivien Brown MDCM,*CCFP, MSCP Dr. Vivien Brown, is a family physician and Assistant Professor, Department of Family & Community Medicine, University of Toronto, is renowned for her expertise in women's health, brain health, immunization, health promotion and healthy aging. *MDCM stands for Medicinae Doctorem et Chirurgiae Magistrum, which translates to "Doctor of Medicine and Master of Surgery" in Latin. It is a medical degree awarded by McGill University in Montreal, Canada.  Dr. Streicher is on SUBSTACK      DrStreicher.Substack.com Articles Monthly newsletter All COME AGAIN podcast episodes Monthly News Flash Reports on recent research  Monthly Zoom Ask Me Anything Webinar    Information on Dr. Streicher's COME AGAIN Podcast- Sexuality and Orgasm   Lauren Streicher MD, is a clinical professor of obstetrics and gynecology at Northwestern University's Feinberg School of Medicine, the founding medical director of the Northwestern Medicine Center for Sexual Medicine and Menopause, and a Senior Research Fellow of The Kinsey Institute, Indiana University. She is a certified menopause practitioner of The Menopause Society.  Dr. Streicher is the medical correspondent for Chicago's top-rated news program, the WGN Morning News, and has been seen on The Today Show, Good Morning America, The Oprah Winfrey Show, CNN, NPR, Dr. Radio, Nightline, Fox and Friends, The Steve Harvey Show, CBS This Morning, ABC News Now, NBCNightlyNews,20/20, and World News Tonight. She is an expert source for many magazines and serves on the medical advisory board of The Kinsey Institute, Self Magazine, and Prevention Magazine. She writes a regular column for The Ethel by AARP and Prevention Magazine.    LINKS Subscribe To Dr. Streicher's Substack Information About the COME AGAIN Podcast Dr. Streicher's CV and additional bio information To Find a Menopause Clinician and Other Resources  Glossary Of Medical Terminology     Dr. Streicher's Inside Information podcast is for education and information and is not intended to replace medical advice from your personal healthcare clinician. Dr. Streicher disclaims liability for any medical outcomes that may occur because of applying methods suggested or discussed in this podcast.                                 

In today's episode, we're joined by Darryn Quayle, Vice President, Global Mining Sector Leader at Worley, someone with deep experience across government, engineering, and sustainable mining development. Darryn recently returned from an intense and insightful visit to Brazil, as part of the Global Investor Commission on Mining 2030, where he and other industry leaders met with investors managing more than $130 trillion in assets, alongside government representatives and even President Lula himself. In this conversation, we'll unpack what happened during that visit, from the discussions in Brasilia and Belo Horizonte, to the moving experience of revisiting the Brumadinho disaster site nearly six years on. We'll also explore how Worley and the wider mining community are working to align investor expectations, sustainability goals, and real-world project delivery — shaping the partnerships and principles that could define the future of responsible mining. Darryn is also going to be attending the upcoming Resourcing Tomorrow event - the premier gathering for the world's mining leaders taking place in London from 2-4 December. What sets this event apart is its unmatched audience: C-level executives from the biggest mining companies worldwide, over 40 government ministers, leading mining technology providers, and many more mining professionals in the industry. Dig Deep The Mining Podcast is proud to partner with Resourcing Tomorrow. To register, go to https://hubs.ly/Q03JvH2K0 and use DIGDEEP10 for 10% off your pass. KEY TAKEAWAYS The meeting with President Lula and his cabinet emphasised the importance of aligning government initiatives with investor expectations and sustainability goals Revisiting the site of the Brumadinho disaster served as a poignant reminder of the catastrophic consequences of mining failures, reinforcing the need for fundamental change There is a strong emphasis on the need for the mining industry to adopt first-of-a-kind technologies that can reduce environmental impacts BEST MOMENTS "When we did the investor tailings safety initiative, there was a lack of understanding what a tailings dam was" "Returning to the site after six years was a very surreal experience... I knew that site back to front, particularly up to the latter stages of the geography of the area" "Success looks like reshaping that story... mining is absolutely capable of a fundamental paradigm shift." VALUABLE RESOURCES Mail:        ⁠rob@mining-international.org⁠ LinkedIn: ⁠https://www.linkedin.com/in/rob-tyson-3a26a68/⁠ X:              ⁠https://twitter.com/MiningRobTyson⁠  YouTube: ⁠https://www.youtube.com/c/DigDeepTheMiningPodcast⁠  Web:        ⁠http://www.mining-international.org⁠ GUEST SOCIALS https://www.linkedin.com/in/darryn-quayle-88016810/ CONTACT METHOD ⁠rob@mining-international.org⁠ ⁠https://www.linkedin.com/in/rob-tyson-3a26a68/⁠ Podcast Description Rob Tyson is an established recruiter in the mining and quarrying sector and decided to produce the “Dig Deep” The Mining Podcast to provide valuable and informative content around the mining industry. He has a passion and desire to promote the industry and the podcast aims to offer the mining community an insight into people's experiences and careers covering any mining discipline, giving the listeners helpful advice and guidance on industry topics.  This Podcast has been brought to you by Disruptive Media. https://disruptivemedia.co.uk/

Clark County's Commission on Aging will honor Sharon Wodtke, president of Battle Ground Senior Citizens Inc., with the 2025 Silver Citizen Award. Wodtke is recognized for expanding senior programs and revitalizing post-pandemic activities that now reach more than 700 participants. The award will be presented during the Nov. 19 Commission meeting. https://www.clarkcountytoday.com/people/commission-on-aging-to-present-annual-silver-citizen-award/ #ClarkCounty #CommissionOnAging #SharonWodtke #SilverCitizenAward #BattleGroundWA #SeniorPrograms #VolunteerLeadership #CommunityService #VancouverWA #AgingReadinessPlan

In this episode of Insurance Shoptalk, host Eric Stein sits down with Terry McLean, CEO of SageSure, to discuss how the company has built one of the largest independent property insurance platforms serving catastrophe-exposed markets. Terry shares insights into navigating the hardest property market in decades, managing risk in wildfire and coastal regions, and balancing technology with hands-on underwriting and claims operations. From Florida's ENS market to California's wildfire challenges, this conversation reveals how disciplined underwriting, data-driven modeling, and long-term relationships with agents help SageSure thrive where others retreat. Tune in for a candid look at the future of homeowners insurance, reinsurance cycles, and what agents can do to succeed in high-risk markets. About Insurance Shoptalk Join host Eric Stein on a journey through the dynamic world of commercial property and casualty insurance. With over 25 years of experience in the industry, Eric brings a wealth of knowledge and insights to every episode. Insurance Shoptalk is your premier destination for in-depth discussions on the latest industry trends, technology impacts, interviews with leading experts, and much more. To learn more about Insurance Shoptalk, please visit https://insuranceshoptalk.com/ If you enjoyed this episode of Insurance Shoptalk, please like and subscribe, and be sure to click the notification bell to catch the next episode.

For the remainder of this season, we are releasing the Main Session messages from this year's CGN International Conference.This year's conference was held at Reliance Church in Temecula, CA - and the theme was: “The Way Forward: Ministry According to Jesus” - in which we studied through the' “Upper-Room Discourse” in John 13-17.The eighth message of the conference was taught by Pastor Doug Sauder, Lead Pastor of Calvary Chapel Fort Lauderdale.Before stepping into his current role, Doug served as an educator and foster parent, and he currently serves as a leading voice in Church United, a movement of churches in South Florida uniting for the sake of God's mission in that region.The text of Doug's message is John 17 - and the title is: “The Prayer of Jesus: That They May Be One”

Send us a textLuke 13:33 …unless you repent you will all likewise perish.Luke 13:55 …unless you repent you will all likewise perish.”Matthew 7:21-2321 “Not everyone who says to Me, ‘Lord, Lord,' shall enter the kingdom of heaven, but he who does the will of My Father in heaven. 22 Many will say to Me in that day, ‘Lord, Lord, have we not prophesied in Your name, cast out demons in Your name, and done many wonders in Your name?' 23 And then I will declare to them, ‘I never knew you; depart from Me, you who practice lawlessness!'Ephesians 2:8-98 For by grace you have been saved through faith, and that not of yourselves; it is the gift of God, Luke 6:4646 “But why do you call Me ‘Lord, Lord,' and not do the things which I say?Titus 1:1616 They profess to know God, but in works they deny Him,…John 17:1717 Sanctify them by Your truth. Your word is truth.Galatians 5:16-2616 I say then: Walk in the Spirit, and you shall not fulfill the lust of the flesh. 17 For the flesh lusts against the Spirit, and the Spirit against the flesh; and these are contrary to one another, so that you do not do the things that you wish. 18 But if you are led by the Spirit, you are not under the law. 19 Now the works of the flesh are evident, which are: adultery, fornication, uncleanness, lewdness, 20 idolatry, sorcery, hatred, contentions, jealousies, outbursts of wrath, selfish ambitions, dissensions, heresies, 21 envy, murders, drunkenness, revelries, and the like; of which I tell you beforehand, just as I also told you in time past, that those who practice such things will not inherit the kingdom of God. 22 But the fruit of the Spirit is love, joy, peace, longsuffering, kindness, goodness, faithfulness, 23 gentleness, self-control. Against such there is no law. 24 And those who are Christ's have crucified the flesh with its passions and desires. 25 If we live in the Spirit, let us also walk in the Spirit. 26 Let us not become conceited, provoking one another, envying one another.Matthew 15:88 ‘These people draw near to Me with their mouth, And honor Me with their lips, But their heart is far from Me.2 Timothy 3:5 5 having a form of godliness but denying its power. And from such people turn away!Matthew 3:88 Prove by the way you live that you have repented of your sins and turned to God.Matthew 3:88 So produce fruit that is consistent with repentance…

Invité : Bruno Fuchs, président de la Commission des affaires étrangères de l'Assemblée nationale et membre du comité de soutien à Boualem Sansal Mickaël Dorian remplace Maël Hassani ce mercredi 12 novembre 2025. Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

What does it take to change an entire industry? Thirty years ago, Jomo Tariku, then an industrial design student, noticed something profound missing in his university library: contemporary African furniture designers. This observation sparked a decades-long journey of persistence and vision. I sit down with Jomo to discuss his path from sketching designs in his garage while working other jobs to having his celebrated work featured in The Metropolitan Museum of Art and the film Black Panther: Wakanda Forever. He shares how his father's incredible story as a refugee gave him the hubris to persist through a 27-year wait for recognition. Tune in to learn how he translates his heritage (from the horns of the Nyala antelope to the powerful symbolism of the Afro-comb) into functional, modern art. Tune in to this story about patience, process, and the fight to redefine the creative canon. Chapters 02:22 The Collector's Home: Early Influences from a Father's Travels 05:13 Breadcrumbs: From Drawing Objects to Industrial Design 09:34 The Missing Narrative: A Thesis on African Furniture 14:14 The "Hubris" of an Orphan: A Father's Legacy of Courage 18:59 The Story of the Mito Chair: Connecting Continents with an Afro-Pick 24:37 A Commission for Seneca Village: The Met Afrofutures Room 26:08 The Designer's Process: Collaboration and Master Craftsmanship 31:40 The Balance of Beauty and Function 33:41 How 3D Printing Changed the Game 39:36 The Cost of a Prototype 42:18 The Nyala Chair: "The One That Put Me on the Map" 42:48 The 27-Year Wait and the Rise of BADG 45:10 Advocating for a More Inclusive Canon 47:33 Redefining Success: Joy, Research, and Community   Connect with Jomo: Follow Jomo on Instagram: https://www.instagram.com/jomotariku Jomo's Website: https://jomotariku.com/   Support the Show Website: http://www.martineseverin.comFollow on Instagram: @martine.severin | @thisishowwecreate_ Subscribe to the Newsletter: http://www.martineseverin.substack.com This is How We Create is produced by Martine Severin. This episode was edited by Daniel Espinosa.   Subscribe wherever you get your podcasts Leave a review Follow us on social media Share with fellow creatives  

Murder for hire. Murder for business. Murder for profit. In the 1940s, a crew called Murder, Inc. protected the interests of the Commission, a collective of American gangsters who banded together to run the American underworld like a legit business. Murder, Inc. thugs shot, stabbed, and strangled upwards of 1,000 snitches who dared rat on the mob. But the mob never bargained that their chief executive executor would himself turn rat. Or that the story of their downfall would be laid out for all to see on the big screen – pursued and prosecuted by Humphrey Bogart, who proved what it really takes to be a tough guy. To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices