Podcasts about Composition

Get 10% off SymptoGuard to manage GLP‑1 side effects and stay consistent with your eating and training.—Are GLP-1 drugs like Ozempic secretly stalling your progress? Why are so many users quitting despite major weight loss?I talk with Justin Silver, founder of SymptoGuard, who watched his father battle severe Ozempic side effects that nearly took his life. Justin shares the real reasons users struggle on GLP-1s and how these can derail your fitness and muscle goals even while losing weight. If you're taking or considering GLP-1s, this episode will help you manage side effects, protect your protein intake, and make the drugs actually work for you.Today, you'll learn all about:0:00 – Intro2:13 – Age, side effects, and body stress4:49 – Justin's father's Ozempic story6:16 – What's really causing the distress8:23 – Lifestyle habits reduce symptoms11:43 – Top 2 side effects that derail progress14:15 – The problem with food noise19:02 – What's in SymptoGuard and why21:57 – Clinical results: 50% less nausea25:24 – GLP-1 trends: fewer injections, more side effects28:44 – What doctors need to understand33:32 – Where to learn more and get supportEpisode resources:Visit witsandweights.com/symptoguard to learn more, view the ingredient label, etc.Instagram: @symptoguard and @thejustinsilver Facebook:  @SymptoguardYoutube: @SymptoGuard Support the show

S'il y a bien un liquide corporel étroitement lié à la masculinité triomphante, c'est le sperme. Symbole de virilité et de reproduction, ses rôles et sa composition restent pourtant mal compris.C'est quoi le sperme exactement ? Comment est-il produit ? À quoi sert-il ? Et comment évolue-t-il au cours de la vie ? Dans ce premier épisode de la série inédite en 5 volets « Tout sur le sperme », Naomi Titti reçoit le Dr Marc Galiano, urologue, andrologue, cancérologue, et co-auteur avec Rica Etienne du livre « Tout savoir sur le sexe des hommes »(Éd. Marabout poche, 2022). Ensemble, ils évacuent plein d'idées reçues sur la masturbation, l'éjaculation, la fertilité ou encore le mythe des “couilles bleues”.RÉFÉRENCES CITÉES DANS L'ÉMISSION Retrouvez toutes les références citées dans l'épisode à la page : https://www.binge.audio/podcast/les-couilles-sur-la-table/50-nuances-de-sperme-1-5Crédits :Les Couilles sur la table est un podcast créé par Victoire Tuaillon produit par Binge Audio. Cet entretien a été préparé, mené et monté par Naomi Titti, et enregistré le lundi 27 juin 2025 au studio Virginie Despentes de Binge Audio (Paris, 19e). Prise de son, réalisation et mixage : Paul Bertiaux. Supervision éditoriale et de production : Naomi Titti. Production, édition Marie Foulon. Communication : Lise Niederkorn. Rédacteur en chef : Thomas Rozec. Direction de production : Albane Fily. Responsable administrative et financière : Adrienne Marino. Générique : Théo Boulenger. Identité graphique : Marion Lavedeau (Upian). Composition identité sonore : Jean-Benoît Dunckel. Voix identité sonore : Bonnie El Bokeili. Direction des programmes : Joël Ronez.Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

The Object Worship boys are back! Today they're here to talk all about the discontinued Dweller Phase Repeater and its brand new spiritual successor, the Bathing Liminal Delay. Video calls from past guests Andy Pitcher, Dave Jordan, and Alec Breslow, calls from the hogline, and lots of chat about what it means to make a truly new pedal in this day and age. They're really exploiting algorithmic similarities on this one!Buy yourself some OBNE: http://www.oldbloodnoise.comJoin the conversation in Discord: https://discord.com/invite/PhpA5MbN5uFollow us all on the socials: @danfromdsf, @andyothling, @oldbloodnoiseSubscribe to OBNE on Twitch: https://www.twitch.tv/oldbloodnoiseSubscribe to Andy's Twitch channel: https://www.twitch.tv/powereconomyLeave us a voicemail at 505-633-4647!

A weekly magazine-style radio show featuring the voices and stories of Asians and Pacific Islanders from all corners of our community. The show is produced by a collective of media makers, deejays, and activists. On tonight's edition of Obbligato on APEX Express, which focuses on AAPI artists, musicians, and composers in the classical music world, host Isabel Li is joined by LA based performer and composer Richard An, who plays and creates new avant-garde music, usually with the ensemble House on Fire, and his music has been performed by the LA Phil and the Calder Quartet to name a few. Join us in our conversation, exploring the possibilities of avant-garde music, raising questions regarding Asian identities in the classical music world, and Richard's insights on art making during a time when Trump's cuts to the NEA are affecting artists and institutions nationwide. Featured Music: Sonatrinas: https://richardan.bandcamp.com/album/sonatrinas i got the electroshock blues: https://rasprecords.bandcamp.com/album/i-got-the-electroshock-blues   RICHARD AN (b.1995) is a performer and composer, born and raised in Los Angeles. Richard plays new music – usually with House on Fire – co-founded the tiny backpack new music series, and has performed with Monday Evening Concerts' Echoi Ensemble, Piano Spheres, The Industry and on Bang on a Can's LOUD Weekend. Richard plays piano and percussion, and has been known to sing, conduct, and teach. Richard's music has been performed by the Los Angeles Philharmonic Orchestra, Calder Quartet, HOCKET, C3LA, and more. His music has been released on CMNTX Records. Richard has a BM in Composition from USC and an MFA from CalArts. He is on faculty at the Pasadena Waldorf School, Glendale Community College and Harvard-Westlake. He plays taiko and tabla, and makes YouTube videos. Learn more about Richard's work on his website: https://richardanmusic.com/ Richard's social media: https://www.instagram.com/richardanmusic/ If you are in LA and want hear Richard's work, he's playing with House on Fire at the Sierra Madre Playhouse on August 17! https://www.sierramadreplayhouse.org/event/richardan2025   Transcript Opening: [00:00:00] APEX Express. Asian Pacific expression. Community and cultural coverage, music and calendar, new visions and voices, coming to you with an Asian Pacific Islander point of view. It's time to get on board the APEX Express. 00:00:46 Isabel Li Good evening and welcome back to a new episode of Apex Express on KPFA, 94.1 FM. We are bringing you an Asian and Asian American view from the Bay and around the world. I'm your host, Isabel Li, and tonight is a new edition of Obbligato, which explores AAPI identities and classical music. Tonight I'm joined by LA based performer and composer Richard An, who plays and creates new avant-garde music, usually with the ensemble House on Fire, and his music has been performed by the LA Phil and the Calder Quartet to name a few. Join us in our conversation, exploring the possibilities of avant-garde music, raising questions regarding Asian identities in the classical music world, and Richard's insights on art making during a time when Trump's cuts to the NEA are affecting artists and institutions nationwide. 00:01:41 Isabel Li Welcome to the show. Welcome to APEX Express, Richard. My first question for you is how do you identify and what communities would you say that you're a part of? 00:01:50 Richard An My name is Richard An I use he/him pronouns and I'm a second generation Korean American. My parents are both Korean. My dad came from Busan, which is a large city in South Korea, and my mom was born in Seoul and then moved to South America and then made her way up to Los Angeles where they met. And as for identity, like, I think Korean American would be the most accurate one. This is and I think an ever evolving part of first of all my identity and the way that it intersects with my practice and also I think that's the case with many Asian American artists, I mean artists from immigrant families, you know, the the matter of your identity, especially if you feel more distanced from it for one reason or another, is like an unsolved question for everyone like there is no one answer. That works for people and that's a thing that me people like myself I think will be exploring for our entire lives. When I introduce myself to people, I say that I'm a classical musician. And at the very core of it, that is true. That's not a lie. And I am, you know, a part of the classical music community in Los Angeles. But as time goes on, I have noticed and realized. That I tend to align myself more with like the avant-garde and experimental contemporary music communities of Los Angeles, which has certainly an overlap with the classical community, both in practice and historically, but yeah, I I would say those are the sort of two biggest ones, classical musicians and experimental avant-garde, contemporary musicians, whatever label you want to use for that. 00:03:47 Isabel Li Yeah. Some of our listeners might not know what avant-garde music entails. Can you — how would you describe avant-garde music to someone who might not be as familiar with this particular movement? 00:03:57 Richard An Yeah. So avant-garde music, a sort of flippant and joking way to to talk about it is ugly music or music. You know, my dad, for example, wouldn't like, but I think. It's music that either interfaces with elements or confronts facets or issues in music that aren't typical of other kinds of music. The music that you might hear that is labeled of on guard might be noisy or dissonant or uncomfortable, or any kind of, you know, adjectives that are synonyms for noisy or ugly, but I have come to love that kind of music, you know 1. Because of the the kind of questions that they might ask about our perceptions of music and two, because I guess one way to put it is that to be a classical musician, you need to be in a practice room for many hours a day for many years and go to what is unfortunately a college, which is usually very expensive and I guess for lack of a better term, paywalled for like you need to have the kind of resources that allow you to attend a four year undergrad and then a two year masters and then a three-year doctorate. But avant-garde music, contemporary music, experimental music doesn't necessitate that kind of thing. Often those musicians do have a background that gives them some amount of, you know, virtuosity or facility in an instrument. But like some of the best experimental musicians. Alive and some of the best ones that I know have no, like extensive training in a particular instrument and some may not have a degree in music at all. And that's one thing that I in like that separates it from classical music is that. 00:05:44 Richard An Classical music can be, unfortunately a little bit exclusionary. I don't think by any one specific design, but the fact that you need so many hours and very specific instructions from a mentor that necessitate that kind of relationship. But experimental music, I think does a little bit better job of diversifying or making it feel more equitable. 00:06:12 Isabel Li That's a great point, actually. One of my questions following up with that was what do you think is possible with this genre, which you kind of mentioned earlier with perhaps how this genre makes classical music a little bit more equitable for those who are interested in this field. In your experience, composing, what do you think makes the genre special, and how do you go about it? 00:06:35 Richard An One thing that I've noticed about being involved in the sort of contemporary experimental avant-garde music sphere is that it makes me a better listener, and I think other people who attend these concerts will agree. Like for example a large part of this kind of music is drone or repetition or, you know, like long spans of unchanging sound. And if the the sound that is being produced at face value is not changing, well then what do you notice about it? What do you grab on to and one of the most, I think, gratifying experiences is listening deeper and realizing that, ohh, even though you know for example this piano playing two notes for 30 minutes might not like the instructions will say to do the same thing for 30 minutes, but your experience as a human being will certainly change over those 30 minutes, even if the the notes are not like you will notice the slight fluctuations in the way that someone is playing, you will notice the beating patterns in the pitches on an instrument that may not be perfectly in tune, you will note other ambient sounds, you will note like you will notice so much more about the world when you are confronted with the kind of music that you know. You can say it forces you to listen to these sounds but also invites you to listen to these things. And I think that's really, really special. That's not to say that that can't happen with other kinds of music. Or even with classical music. Surely you know there are many, many ways to listen to everything. But I've noticed this within myself. When I listen to long, repetitive drone based music that it really opens my ears and makes me a more active participant as a listener. 00:08:30 Isabel Li It's a great point actually. Part of my work– because I studied music, history and theory in college– was how music can engage various listeners to participate. Have you composed anything that perhaps engages the listener in this more of a participatory setting? 00:08:47 Richard An Yeah. So I guess in order the some of the stuff that I've done to engage the audience, I guess both literally, and maybe more figuratively is, I wrote a piece last year for the Dog Star festival, which is a a contemporary and experimental music festival that is actually happening right now, at the time of this recording. It's a multi week long festival that focuses on music of this type that was founded by people in the sort of CalArts music world. But I wrote a piece for that last year for three melodicas, which are these basically toy instruments that look like keyboards, but you blow into them and you blowing air through these makes the sound happen. It's basically like if you cross a harmonica and a piano together. But I I wrote a piece for three of these, playing essentially the same notes. And because these instruments are pretty cheap, and they're often considered toys or, you know, instruments for children, they're not tuned to the exact way that, like a piano or a vibraphone or an expensive instrument might be. But I wanted to use that for my advantage. For example, if I play an F# on one melodica the same F# on another melodica will not be exactly the same and playing those two pitches together will produce what's known as a a beat or beat frequency. Which is, you know, a complicated, you know, mathematic physics thing, but basically 2 notes that are really, really close, but not quite together will create a kind of third rhythm because the the pitches are so close. Like, for example, if if I play an A at 4:40 and another A at 441, you will notice that difference of 1 Hertz inside of your ears. And that's a really cool phenomenon that happens explicitly because you were there listening to the piece. They don't happen necessarily, you know, like in, in recorded formats like, it's a very difficult thing to capture unless you are in the room with these instruments. And the fact that we had this audience of, let's say, 40 people meant that all forty of these people were experiencing these beat frequencies and another really cool factor of this is depending on where you are located in the room. With the way that the beats will sound in your ears are different and purely by the fact of acoustics like a wave bouncing off of the wall over on your left, will feel really different if you are closer or further from that wall. So not only do the audiences ears themselves, you know, invite these this this participation, but the pure physicality of each listener means that they will have a very slightly different experience of what the piece is, and again like this will happen in any concert. If you're at a classical show, if you're at a rock show if, if you're further from the stage, if you're further to the left or right, you will get a slightly different position in the stereo field that the musicians are playing in, but pieces like what I wrote and many others that exist emphasize this kind of like acoustic phenomena. That is really, really fascinating to listen to. 00:12:23 Isabel Li That's fascinating. And to get a sense of Richard's work, we'll be hearing coming up next. The short excerpt from his album Sonatrinas. This is the duo excerpt performed by Wells Leng, Katie Aikam, Kevin Good and composer Richard An himself. [COMP MUSIC: Sonatrinas (Excerpt: Duo)] 00:17:38 Richard An And so the back story for this piece is this was written for one of my recitals at CalArts. I was planning on playing this piece by Michael Gordon called Sonatra, which is a really, really beautiful and difficult piece for solo piano that I gave myself as an assignment, which I was not able to do with the amount of time. And, you know, like I just didn't give myself enough time to do this thing, so I still had this program of several pieces written with the idea of having this Michael Gordon Sonatra in the middle, but now that that sort of middle part was gone, there was a bunch of pieces about a piece that didn't exist. So in order to fill that hole, I wrote this piece called Sonatrinas which is a cheeky nod to the Michael Gordon Sonatra, but also to the fact that each part of this is kind of a diminutive Sonata form. Everything has a sort of ABA– here's some idea. Here's a different idea, and now we go back to that first idea. Every single part of this has a little bit of that in it. 00:18:51 Isabel Li Yeah, that's fascinating. Even the name itself reminds me of Sonata form in classical music, where it's kind of like an ABA section. As you sort of talked about earlier. And it's really cool that you're adapting this in a more avant-garde context. This is a reminder you're listening to Apex Express. Today we are interviewing composer and musician Richard An. 00:19:12 Isabel Li I think the general question that I have next is can you tell me a bit about what drew you to music and how you got your start in music, how you got introduced to it and what things have inspired you over the years? 00:19:24 Richard An Yeah. So a real quick sort of, I guess, history of my involvement with music is that I started piano lessons when I was pretty young, either three or four years old. I continued that until I was 12 or 13. I decided I really wanted to become a musician. I started taking composition lessons with this composer, AJ McCaffrey, who is really responsible for a lot of what I know and my successes, if you can call it that. He got me into a lot of the music that I am into now and set the foundation for what I would study and what I would write he was one of the instructors for this program called the LA Phil Composer Fellowship program, which back when I was a participant from 2011 to 2013, was a program hosted by the Los Angeles Philharmonic that took 4 high school age students every two years. And you know, they they taught us, you know, everything. How a young composer needs to know how instruments work, how to write a score, how to talk to musicians, how to do everything that a that a composer needs to learn how to do and at the end of this program, after the two years the young composers write a piece for the at the LA Philharmonic. So I was extremely lucky that by the age of 17 I was able to write a piece for orchestra and get that played and not just any orchestra, with the Los Angeles Philharmonic, you know, undisputedly one of the best orchestras in the world. Right. And then after that I I went to USC for my undergrad and then went to CalArts for my masters. And then here we are now. And that those are sort of the like, you know if someone writes a biography about me, that's what we'll be, you know, involved in the thing. But I really started to develop my love for music in my freshman and sophomore year. In high school I I started to get into more and more modern composers. I started to get into more and more noisy things and a lot of this coincided actually with the passing of my mother. She died when I was 14 and you know that in any human the death of a parent will cause you to reevaluate and rethink aspects of your life. Things that you thought were certainties will not be there anymore. So for me, I stopped taking piano lessons and I sort of went headfirst into composition and which is why my degrees are specifically in composition and not piano. Had my mother's passing not happened, you know, who knows what I would be doing now? Maybe I'm not a composer at all. Maybe I'm not into avant-garde music at all, but because things happen the way that they did, I suddenly took a quick turn into avant-garde music and my involvement there only grew more and more and more. Until you know where I am today, I'm almost 30 years old, so I've been listening to and a participant of this music for maybe 15 years or so and I'm quite happy. 00:22:43 Isabel Li That's awesome to hear. 00:22:45 Isabel Li And perhaps a testament to Richard one's very versatile compositional style and avant-garde music coming up next are three pieces from his album i got the electroshock blues. There are five pieces in the album in total, but we will be hearing three of them. The first one called “feeling, scared today,” the second one, “pink pill,” and the fifth one, “la la.” [COMP MUSIC: i got the electroshock blues: 1. “feeling, scared today”, 2. “pink pill”, 3. “la la”.] 00:36:41 Richard An Earlier last year, I released a collection of live recordings under the title of I got the Electroshock Blues. Electroshock Blues is a song by the band Eels I encountered at a pivotal moment in my life. This was right around the time that my mother passed and this record and this song is heavily centered in grief. The main musician in the Eels, Mark Oliver Everett, was dealing with the passing of multiple family members and people who were close to him so it hit me in just the right way at just the right time. And because of that, this song specifically has stayed with me for many, many years. I found myself coming back to the contents of this song as I was composing and all the pieces on this album, of which there are 5 heavily take material from this song, whether that's words, chords, the melody. I really, you know, take it apart, dissect it and use those as ingredients in the pieces that I have written here and all of these are live recordings except for the first piece which was recorded in my studio. I just sort of overdubbed the parts myself, and there are credits in the liner notes for this album, but I just want to say that. The first piece which is called “feeling, scared today,” was originally written for the Hockett piano duo, which is a duo comprised of Thomas Kotcheff and Sarah Gibson. Sarah Gibson was a really close friend of mine who passed away last year and now this piece which in some way came out of a feeling of grief now has renewed meaning and another facet or aspect of this piece is centered in grief now. Because this was dedicated to Thomas and Sarah. Yeah. So these pieces are all derived from this one song. 00:38:57 Isabel Li That's a beautiful response. Thank you so much. Kind of following along your background and how you got to where you are. How do you think your identity has informed your work as a composer and musician? And this could be– you can interpret this in any way that you wish. 00:39:11 Richard An Yeah, this is a really interesting question. The question of how my identity interfaces with my music. In my art, particularly because no person's answer is quite the same, and I don't necessarily have this figured out either. So for a little bit of I guess for a little bit of context on me, I'm second generation Korean American, but I've never been to Korea and I never went to Korean school. My parents never really emphasize that part of my education. You could call it assimilation. You can call it whatever, but I think they valued other aspects of my growth than my explicit tie to Koreanness or, you know my specific identity as a Korean or Korean American, and because of that, I've always felt a little bit awkwardly distanced from that part of my identity, which is something that I will never be completely rid of. So in in a world and the field where whiteness is sort of the default part you know, particularly because you know, classical music does come from Europe, you know, for hundreds of years, like all of the development in this particular kind of music did happen in a place where everyone was white. So because of that background of where I come from and where my musical activity comes from, whiteness has been the default and still feels like it is. So me looking the way that I do as, an obvious not white person, as a person of color will always have a little bit of an outsider status to the thing. And with that comes the question of what are you bringing to classical music? What do you bring to the kind of music that you're creating? Like for example, the most I think the most well known East Asian composers are people like Toru Takemitsu or Tan Dun, people who will interface with their Asianness, in many different ways, but that often involves bringing, for example, a Japanese scale into your classical composition, or bringing a Japanese instrument into your classical composition. Those are, you know, examples of of of pieces by Toru Takemitsu, and other, you know, very successful. Asian American composers now may do similarly. Texu Kim is maybe someone who can also give insight into this, but nothing about me feels explicitly Korean, maybe besides the way that I look. And besides, the way that I grew up a little bit like I've never been to Korea. What right does that give me as a Korean, to for example, use a Korean instrument or use a Korean scale? I've never studied that music. I've never studied that culture. I in in some arguments I would be guilty of cultural appropriation, because I, you know, have not done the work to study and to properly represent. And for example, like Pansori, if I were to use that in any of my music. 00:42:46 Richard An But then the the the difficult question is well, then who does have the right? Does being Korean give me all the license that I need to incorporate aspects of my identity? And if I am not Korean, does that, does that bar my access to that kind of music forever? Another way of looking at this is, I've studied North Indian Classical Hindustani music for a while. I've played tabla and and studied that music at CalArts and I really, really love playing tabla. It's it doesn't make its way into my composition so much, but it is certainly a big part of my musicianship and who I am and, like, but am I barred from using ideas or aspects of that music and culture and my music because simply for the fact that I am not Indian? Many musicians would say no. Of course you've done your homework, you've done your research. You're doing due diligence. You're you're representing it properly. And many people who study this music will say music cannot go forward if it's not like the innervated and continued and studied by people like me who are not explicitly South Asian or Indian. That's an example of the flip side of this of me using or representing the music from a culture that I am not a part of, but again, am I really Korean? I've never been there. I wasn't born there. I speak the language conversationally. But this is an extremely long winded way of saying that I feel a tenuous connection to my Korean this my Korean American identity that hasn't been solved, that isn't solved and probably will never be completely solved. But I think that's exciting. I think that's an evolving aspect of my music and will continue to be that way as long as I continue to be involved in music and as as long as I continue to write. 00:45:05 Isabel Li Yeah, absolutely. That's a wonderful response. Actually. I was, as I was studying different types of world music and learning how people kind of borrow from different cultures. There is this always, this kind of question like ohh, like which types of musical elements from which cultures can I incorporate and obviously the aspects of personal identity definitely play into that a little bit. And part of my senior thesis in college was studying AAPI artists in classical music, and specifically that there are a lot of Asian-identifying musicians in the classical music world. But as you kind of mentioned earlier, I think classical music is very much still like grounded in whiteness and has this kind of air of elitism to it just because of its roots. How do you think this kind of identity intersects with the classical music world? And forgive me if you've already kind of talked about it before, but it's an interesting juxtaposition between like, for example, musicians who identify as AAPI or Asian in this kind of genre that is very– it's very associated with whiteness. Could you kind of talk about the dynamics of how these two aspects of like culture kind of interplay with one another? 00:46:26 Richard An Yeah, absolutely. So, you know, there are ways that I personally feel like I intersect with classical music with reference to my identity, and that also plays with the sort of cultural expectations, like there are stereotypes of Asian musicians, of Asian classical musicians. But there are not necessarily the same the same kind of stereotypes with white classical musicians. A very dominant like stereotype that you'll run into is the young Asian prodigy who practices 10 hours a day and may therefore be labeled as mechanical or unfeeling or, you know, are involved in in this a lot. So much so to the fact to the to the point where to excel an Asian American classical musician or as an Asian classical musician, in general, seems to always carry that stereotype. Like you know, Seong-Jin Cho's success as a pianist may not necessarily be attributed to his musicianship or his skill as a pianist. Because he is an Asian person, an Asian guy. Like how much of his success is because of the perceived tiger mom-ness that he might have existed under? How much of it is attributed to the same type of stereotypes that are labeled like that that label the five year old pianist on YouTube that that is clearly better than I am? Like some of these stereotypes help and some of these don't, but the I think it's undeniable that they exist in a way that doesn't in a way that doesn't carry for white people in the classical music sphere. And I think part of that is that classical music is still rooted in its Eurological identity. I think I'm using that correctly. That's an idea from George Lewis. Eurological versus Afrological. The context that I'm using Eurological right now is specifically in reference to George Lewis, who is a composer, trombonist, and musicologist who, I think coined the two terms to differentiate the roots of different styles of music, and you know, I haven't read enough to confidently say, but classical music is Eurological by example and like jazz would be Afrological by an example and the contexts in which they develop and exist and grew up are fundamentally different, which is what makes them different from each other. And again like this needs a little bit more research on my part. 00:49:23 Richard An Yeah, and because the classical music is so rooted in this thing, I don't believe that the stereotypes that exist for Asian classical musicians exist for white people. And I think that is something that will naturally dissipate with time, like after another 100 years of Asians, and, you know, people of color in, you know, every country in the world, with their continued involvement and innova otypes will disappear like this. You know, it may require certain concerted efforts from certain people, but I do believe that after a while these things will not exist. They'll sort of equalize right in the same way. That the divisions that we make between a Russian pianist and a French pianist and a German pianist, though you know people still do study those things like those aren't really dividing lines quite as strong as an Asian composer or an Indian composer might be. 00:50:27 Isabel Li Thank you for that perspective. I think it's, I think these are conversations that people don't kind of bring up as much in the classical music world and it's great that, you know, we're kind of thinking about these and probably possibly like opening some conversations up to our listeners hopefully. And so my next kind of pivot here is as you know with our current administration, Trump has canceled millions of dollars in National Endowment of the Arts grants, and it's been affecting arts organizations all over the nation. And I was kind of wondering, have you been affected by these cuts to arts programs and what kinds of advice would give upcoming musicians or composers in this era? 00:51:07 Richard An Yeah, that's a yeah, that's a big thing. And like, you know, changing day by day, right. So the Trump administration's effects on my life as a musician is simultaneously huge and also not really that much. So in one way these grant cuts have not affected my personal musical life because I haven't ever received a government grant for any of my arts making. So in one way like my life is the same, but in many, many, many other ways it has changed. Like I am involved with and I work with concert series and organizations and nonprofits that do rely on NEA funding and other government arts based funding. And if they have less money to fund their next season, that means certain projects have to be cut. That means certain musicians have to be paid less. That means certain programs have to change, especially if these funding cuts are aimed towards DEI or quote and quote, woke programming like that is, you know this that will by design disproportionately affect people of color in this field, which already you know, like is in a Eurocentric urological tradition like this is already something that people of color don't have a head start in if the funding cuts are aimed at certain types of programming that will disadvantage already disadvantaged groups of people, well then I don't know, that's even–we're starting even later than other people might be, and you know, like, if a musicians, if a person's reaction to this is despair, I think that's reasonable. I think that is an absolutely, like that's an appropriate reaction to what is fundamentally an attack on your voice as an artist. But I I have for as long as I can, you know, I have always worked under the impression that I will have to do the thing myself, and that's in the piece of advice that I give for a lot of people. You shouldn't necessarily wait for this ensemble to come pick you to play or or to to, you know, commission you to write a piece if you want to write the piece, you should do it and figure out how to put it on yourself. If you want to perform you know music by a certain composer, you should do it and then figure out how to do it yourself. That certainly comes from a place of privilege, like I can do this because I have enough work as a musician to be able to pay for the the passion projects it comes from a place of privilege, because I live in Los Angeles and the resources and musicians and other people who I would like to collaborate with live here, so you know, completely acknowledging and understanding that I I do believe that it's better to ask for forgiveness than to ask for permission. I think if you're a young musician and are feeling some despair about these funding cuts and you know the many, many, many other transgressions against humanity by this current administration. 00:54:38 Richard An I recommend you just go out and do it yourself. You find your people, you find your community, you pull favors, you work long nights and you do it and the reward will firstly be the good you're putting out into the world and then the the art you're making. But also this will be paid in kind by the community you're building, the musicians you're working with. And the the connections you make like you know I I have, I am currently conducting this interview from a studio space that I am renting out in Pasadena that I have built over the last two years that I do all of my rehearsals and my performances in, and that I, you know, host rehearsals and performances for other people, and this cannot happen and could not have happened without the goodwill and help and contribution from other people. When I say go out and do it yourself, I'm not saying that you as a human being are alone. I'm saying you don't need to wait for institutional approval or permission to go out and do these things. Get your friends and do them themselves. And my optimistic belief is that the support and the work will follow. 00:55:53 Isabel Li Richard, thank you so much for sharing your perspectives and your voice on this show today. And thank you to our many listeners of KPFA on tonight's episode of Obbligato on Apex Express. Which focuses on the AAPI community of the classical music world. There were some inspirational words on arts and arts making by Richard An musician and composer based in Los Angeles. 00:56:18 Isabel Li Please check our website kpfa.org to find out more about Richard An and his work as well as the state of the arts during this period of funding cuts. 00:56:29 Isabel Li We thank all of you listeners out there. Keep resisting, keep organizing, keep creating and sharing your visions with the world, your voices and your art are important. 00:56:41 Isabel Li APEX Express is produced by Ayame Keane-Lee, Anuj Vaidya, Cheryl Truong, Jalena Keane-Lee, Miko Lee, Preeti Mangala Shekar and Swati Rayasam. Tonight's show was produced by Isabel Li. Have a great evening. The post APEX Express – 8.7.25 – Obbligato with Richard An appeared first on KPFA.

How does an idea become a musical? How do you write both a play and a musical soundtrack at the same time? How does a musical that you've finally written wind up on a real stage with real actors?Kaylee Killingsworth and Kenady Sean have answers.In this episode, Emmeline sits down with two-thirds of the creative team behind Beyond Perfection, a new musical about our human desire for perfection and our love-hate relationship with reality. Just days before their New York City debut, Kenady and Kaylee get candid about the winding path to the stage, from initial table reads to a complete script revision. They also discuss the value of perseverance, the fine line between constructive criticism and debilitating criticism, and how this version of Beyond Perfection is, without a doubt, their best one yet. Plus, hear a sneak peek of the musical itself!To learn more about Beyond Perfection: The Musical, visit the official website or follow the musical on Instagram. To learn more about Kenady Sean and her upcoming projects, visit her official website or follow her on Instagram. To follow Kaylee's musical and creative journey, visit her official website or follow her on Instagram.For behind-the-scenes information and more about Journey of an Artist, visit the Journey of Series official webpage, or follow Emmeline on social media at @EmmelineMusic.

More C-Suite leaders view their boards as effective in 2025, but numerous challenges remain, including keeping up with AI.     More than one-third (35%) of C-Suite executives surveyed by PwC and The Conference Board say their board's effectiveness is “excellent” or “good.” What are these boards doing well, and where do they need to improve?     Join Steve Odland and guest Arielle Berlin, director of the Governance Insights Center at PwC, to find out how boards are grappling with uncertainty, why companies want boards to focus more on AI and talent, and why nearly all senior executives are calling for board refreshment.     For more from The Conference Board:  Board Effectiveness: A Survey of the C-Suite: 2025 Edition  The Evolution of Overboarding Policies  Board Practices and Composition: 2024 Edition 

If you've ridden a bike or run more than an hour or so in your life, you've probably considered the composition of what you're drinking during those efforts. But what actually makes a good sports drink? Is it taste, carbs, electrolytes, osmolality, colouring, or all of the above? And is there actually an optimal drink mix that we should be looking for? Or is that a well spun marketing myth?   Fueling Endurance eBook | T -12 Race Nutrition Course | Practitioner Resources The Fueling Endurance eBook contains answers to 49 of the most common nutrition questions that runners, cyclists and triathletes ask, and contains insights, tips, and quotes from experts and athletes.  The T -12 self-guided course will help prepare you for your next event, with online tools, guides, information and instructions to take you through the 12 weeks leading up to race day. And the freshly released Fueling Endurance Practitioner Membership provides access to online tools and calculators I use all the time when working with endurance and ultraendurance athletes. For more into on each of these, check out fuelingendurance.com.   Fuelin: This episode is supported by Fuelin, the world's first training-based nutrition app. It syncs with your training plan (in TrainingPeaks, Final Surge, TriDot, Run Dot or Humango) and creates a personalised nutrition plan, built around your training schedule and tailored to your goals. You'll see adjustments in your fuelling both within and outside of training sessions, using a traffic light system to adjust your carb intake to fuel appropriately for your needs. The new-look Version 2 app has just launched, providing an even better user experience. To get 20% off your first month, go to fuelin.com and enter the code FE20 at checkout.

Michael Krueger is “just a dude from Missouri who does music.”   Professor Krueger is a fantastic and prolific music composer. In this episode of  The Learning Vibes Podcast, Michael talks us through one of his most important compositions, For Patrick.   Both the music itself and the motivation that inspired the piece provide beautiful insights into the work of artist composition.  You will hear the piece as Michael discusses it.  Learn about some of the compositional considerations in the piece and consider why the piece is composed the way that it is.  Instinct, passion, and love for a friend drive the music.

Composition lessons with the Charlotte Mason Method are the culmination of years of your student sharing his thoughts and ideas. Charlotte Mason Language Arts: Composition originally appeared on Simply Charlotte Mason.

Lakeridge High School senior Elaina Stuppler is no stranger to the spotlight. She performs in the Portland Youth Philharmonic, playing trombone - but she also plays tuba, piano and composes music as well. She’s regularly featured on All Classical Radio as a reporter and Artist in Residence. But the last few months have been a veritable cavalcade of honors and opportunities. Stuppler won the Musical Theater Songwriting Challenge. Her winning composition, about the life of Maria Anna Mozart, was performed  by Broadway musicians and singers in New York this summer. She was just one of five students in the U.S. chosen by the Grammy Museum for its summer screen scoring program in LA. She is also a winner of the prestigious YoungArts Award with Distinction, Stuppler joins us to share some of her compositions, and tell us about what these honors mean to her and what opportunities they may open up for her future.  

Check out the other half of our Q&A on Brandon's Chasing Clarity podcast, where we tackle your questions on hunger, cravings, appetite, and artificial sweeteners.---Just wrapped a bulk and scared to lose muscle? Over 50 and unsure if gains are still possible? Walking 20,000 steps a day with no results?In this Q&A, I team up with physique coach Brandon DaCruz, host of the Chasing Clarity podcast, to tackle five hot topics around fat loss, muscle building, and diet fatigue. We break down smart post-bulk strategies, how much walking is too much, and realistic expectations for muscle gain over 50, plus how to recover when dieting burns you out.Don't miss part two of this episode on the Chasing Clarity podcast, where we explore how hunger, cravings, and sweeteners impact your results.Main Takeaways:A smarter way to cut after a bulkWhen walking too much backfiresMuscle gain over 50 is slow—but possibleDon't underestimate diet fatigueLifestyle stress and recovery matter more than you thinkTimestamps:2:00 – Post-bulk strategy for women 40+8:34 – Are 20K steps a day too much?22:15 – Building muscle after 5028:49 – Best small-space home gym setup36:56 – How to recover from diet fatigue41:08 – Training and recovery during a fat loss phase46:54 – The signs you're hitting a wall53:50 – Training mindset and strength drops during a cutCheck out the other half of our Q&A on Brandon's Chasing Clarity podcast, where we tackle your questions on hunger, cravings, appetite, and artificial sweeteners.Support the show

Composition lessons with the Charlotte Mason Method are the culmination of years of your student sharing his thoughts and ideas. Charlotte Mason Language Arts: Composition originally appeared on Simply Charlotte Mason.

#584 In this episode of the podcast, I explore the idea that your photos are not broken just because they aren't technically perfect or heavily edited. I share my own experiences as a photographer, reflecting on how the rise of digital editing and AI has made many of us feel like every photo needs to be “fixed” to be worth keeping or sharing. I encourage you to let go of those expectations and to rediscover what made you pick up a camera in the first place—whether it was to slow down, see the world differently, or simply enjoy making images.KEY TOPICS COVEREDThe Pressure of Perfection and Editing in Modern Photography - Raymond discusses how digital tools, social media, and AI have shifted expectations toward perfection. He challenges the presumption that photos must always be edited, and recalls the joy of simple, unedited film photography. The key takeaway is to let go of perfection and rediscover the fun in photography.Imperfection as Art and Authenticity - The episode illustrates, with anecdotes from Raymond's wedding photography, the value of candid moments (like a flower girl picking her nose), emphasizing that these “flaws” make photos memorable and human. He connects this to the broader theme of authenticity, suggesting that imperfection is what sets human-made images apart from AI-generated ones.Practical Approach: Enjoyment and Mindset Shift (Plork) - Raymond introduces “plork” (play + work). He encourages listeners to shoot for enjoyment, intentionally practicing and experimenting with their cameras rather than working only to “fix” images later. Actionable advice includes shooting JPEGs, skipping editing, and focusing on moments that feel right rather than those that look perfect.IMPORTANT DEFINITIONS & CONCEPTSPlork: A blend of play and work, meaning practicing a craft with a playful, no-pressure attitude. In photography, “plorking” means shooting for enjoyment while still improving your skills—the core mindset Raymond urges listeners to adopt.DISCUSSION & REFLECTION QUESTIONSWhen do you feel most pressure to edit your photos, and how does it affect your enjoyment of photography?Can you think of a photo you love because of, not in spite of, its imperfections? Why does it resonate with you?What habits can you adopt to “plork” more during your photography sessions?RESOURCES:Check out the Headway App for book summaries - https://makeheadway.com/Book: "The Creative Act" by Rick RubinBook: "The Dude and the Zen Master" by Jeff BridgesSign up for your free CloudSpot Account today at www.DeliverPhotos.comConnect with Raymond! Join the free Beginner Photography Podcast Community at https://beginnerphotopod.com/group Get your Photo Questions Answered on the show - https://beginnerphotopod.com/qa Grab your free camera setting cheatsheet - https://perfectcamerasettings.com/ Thanks for listening & keep shooting!

391 Stories and Connection It is vital to our own communities that we remember our stories and share them with one another, not to dwell on regrets and what ifs, but to reach out and connect with one another so that we all can learn and grow together, and hopefully create more grand stories on the paths we walk together. In this revisited episode, Sarah Elkins and Lee Keylock discuss their own stories and how they have healed through sharing stories and listening to the stories that others share with us.   Highlights Connecting with people through sharing stories. Healing from trauma through stories and the community that sharing those stories creates. The changing paths our decisions create and how we should live in the moment and not dwell on what ifs. Greet the world and the challenges offered with open minds and a willingness to learn.   Quotes “No regrets. Life is sliding doors right? If it's meant to be, it's meant to be.” “We're perpetual students, right? I've never approached anything I've ever done as an authority on anything.” “It's not enough to just hear stories. That can be brilliant and beautiful and life changing and you can have those moments, but when we work with youth we want them to think about how they can use stories to think about themselves, their communities, and the world and their place in it, and how they can become agents of change.”   About Lee Lee Keylock is Director of Global Programs at Narrative 4 and oversees the coordination and administration of all aspects of N4's ongoing programmatic development. Originally from Britain, Lee immigrated to the United States in 1989 and taught English at Newtown High School in Connecticut for thirteen years. He has served as an adjunct professor teaching Creative Writing and Composition at Southern Connecticut State University in New Haven, where he also earned his MFA in Creative Writing.  Connect with Lee on LinkedIn, Facebook, or Instagram! And make sure you check out his website Narrative 4!   About Sarah "Uncovering the right stories for the right audiences so executives, leaders, public speakers, and job seekers can clearly and actively demonstrate their character, values, and vision." In my work with coaching clients, I guide people to improve their communication using storytelling as the foundation of our work together. What I've realized over years of coaching and podcasting is that the majority of people don't realize the impact of the stories they share - on their internal messages, and on the people they're sharing them with. My work with leaders and people who aspire to be leaders follows a similar path to the interviews on my podcast, uncovering pivotal moments in their lives and learning how to share them to connect more authentically with others, to make their presentations and speaking more engaging, to reveal patterns that have kept them stuck or moved them forward, and to improve their relationships at work and at home. The audiobook, Your Stories Don't Define You, How You Tell Them Will is now available! Included with your purchase are two bonus tracks, songs recorded by Sarah's band, Spare Change, in her living room in Montana. Be sure to check out the Storytelling For Professionals Course as well to make sure you nail that next interview!

Stefan Collini, FBA.Professor Emeritus of Intellectual History and English Literature, University of Cambridge.The Donald Winch Lectures in Intellectual History.University of St Andrews.11th, 12th & 13th October 2022.In the course of the nineteenth and twentieth centuries, universities expanded to include a wide range of what came to be regarded as academic ‘disciplines'. In Britain, the study of ‘English literature' was eventually to become one of the biggest and most popular of these subjects, yet it was in some ways an awkward fit: not obviously susceptible to the ‘scientific' treatment considered the hallmark of a scholarly discipline, it aroused a kind of existential commitment in many of those who taught and studied it. These lectures explore some of the ways in which these tensions worked themselves out in the last two hundred years, drawing on a wide range of sources to understand the aspirations invested in the subject, the resistance that it constantly encountered, and the distinctive forms of enquiry that came to define it. In so doing, they raise larger questions about the changing character of universities, the peculiar cultural standing of ‘literature', and the conflicting social expectations that societies have entertained towards higher education and specialized scholarship.Handout - Lecture 2: Careers1. ‘His tastes and pursuits would no doubt lead him to lecture on the Structure of the English Language and its affinities with cognate tongues, rather than upon Rhetoric or the Art of Composition, but when it was mentioned to him that the latter formed part of the duties of the chair, he made no difficulty about undertaking it.'2. ‘We think that the Professor of the English Language and Literature at our College ought, if it were possible, to unite all the qualifications which we think desirable, to be a thoroughly educated man, a man whose peculiar learning is based upon the sound scholarship which is the general training of English gentlemen. He ought to have made a systematic study of the English Language and English Literature: a systematic study of the Language, so as to be thoroughly conversant with its etymological structure, and the history of its formation through its successive stages; a systematic study of the Literature, so that his familiar knowledge of it may not be confined within the limits of one or two periods. He ought to have experience as a Lecturer, and to be able to lecture well: but he ought to be prepared not only to lecture, but to teach. We must bear in mind, and our Professor must bear in mind, that the practical end of our English Class is to teach our students to use their own language well both in speaking and writing.'3. ‘All the world is standing, every chatterer in every newspaper thinks he is good enough for English language and literature.'4. ‘The lecture list of Easter Term was considered. It was agreed that the Reader in Phonetics should be asked either to change the subject of his lecture on Ugrian Phonetics or to remove it from the list, as in the opinion of the Board the subject did not fall within the scope of the school.'5. ‘The main point, of course, was to choose a scholar and not a chatterer; now the chatterers have command of the newspapers and the scholars have not. That's all. I have no doubt that to any maker of paragraphs, Matthew, Ealdorman of babblers, seems a greater man than William of Chester'.6. ‘In those early years everyone, whatever her natural bias, read for the English School at Oxford, because that was the only course for which adequate preparation could at that time be secured.'7. ‘Well, I have no hesitation in de-classing the whole professorial squad - Bradley, Herford, Dowden, Walter Raleigh, Elton, Saintsbury'... [Saintsbury is allowed to have some strengths, though in spite of his style rather than because of it] ...For the rest: Professor Walter Raleigh is improving. Professor Elton has never fallen to the depths of sterile and pretentious banality which are the natural and customary level of the remaining three.' This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit standrewsiih.substack.com

Want to build muscle, lose fat, and train smarter? ⁠⁠⁠Join the new Physique University for just $27/month⁠⁠⁠ and get your custom nutrition plan FREE (limited time).—Why are you gaining belly fat even while lifting and eating well? Could your sluggish metabolism be a liver problem in disguise?I sit down with certified supplement expert Sara Banta to reveal how your liver and thyroid work together to control metabolism, muscle retention, and fat loss and why ignoring liver health might be what's sabotaging your fitness progress. We unpack how stress, sleep, hormones, and toxins overload your body's ability to function efficiently, even if you're doing everything “right.” If you're consistent with training and nutrition but still stuck, this might be the missing piece.Today, you'll learn all about:3:12 – Sara's health crisis and muscle loss9:36 – Iodine's surprising benefits12:36 – Liver's role in fat storage17:56 – The real hierarchy of healing24:29 – What to eliminate—and when28:15 – Movement and metabolic communication33:30 – Alcohol, toxins, and your thyroid36:08 – Final truth: Why proactive health mattersEpisode resources:Website: sarabantahealth.com Facebook: @acceleratedhealthproducts Instagram: @acceleratedhealthproducts Youtube: @AcceleratedHealthSaraBantaSupport the show

Send us a textIn this powerful episode of the Tatter-a-Fact PMU Podcast, Teryn Darling sits down with Jessica Ashley of Stunna Beauty to talk about one of the most debated procedures in the permanent makeup world: tattooed freckles.From ombre brows and lip blush to the artistry of freckles, Jessica shares how she transformed a personal obsession into a signature PMU service now loved by clients across the country. But not everyone in the industry is on board—and that's exactly why this episode matters.

Cocktails fluo, plages bondées, dragues, concours de shots… Chaque année des milliers de garçons partent “entre potes”, dans les hauts lieux du tourisme festif. Mais derrière les clichés de vacances décontractées se cache une autre réalité : celle des violences sexuelles, des rapports de force et d'une masculinité qui s'affirme dans la conquête, l'ivresse et la mise en scène de soi devant ses amis.Pourquoi ces lieux de vacances deviennent-ils si souvent le théâtre de violences sexuelles ? Comment la fête, surtout quand elle se déroule à l'étranger, se transforme-t-elle en terrain de démonstration virile ? Et comment les femmes deviennent, dans ces contextes-là, des objets de validation entre mecs ?Pour en parler, le journaliste Tal Madesta reçoit l'anthropologue, docteure de l'École des Hautes Études en Sciences Sociales et membre du laboratoire du SESSTIM à Marseille, Alix Boirot. Elle a écrit une thèse « Là où vont les garçons : une anthropologie du tourisme festif (Lloret de Mar, Costa Brava) » (2020) qui s'appuie sur son travail d'enquête mené à Lloret de Mar, en Espagne. Ensemble, il et elle montrent comment le tourisme festif amplifie les logiques d'exclusion, les hiérarchies entre hommes, et les normes autour de l'hétérosexualité et de la séduction.RÉFÉRENCES CITÉES DANS L'ÉMISSION Retrouvez toutes les références citées dans l'épisode à la page : https://www.binge.audio/podcast/les-couilles-sur-la-table/machos-a-playaCRÉDITSLes Couilles sur la table est un podcast créé par Victoire Tuaillon produit par Binge Audio. Cet entretien a été préparé, mené et monté par Tal Madesta et enregistré le lundi 25 juin 2025 au studio Virginie Despentes de Binge Audio (Paris, 19e). Prise de son, réalisation et mixage : Paul Bertiaux. Supervision éditoriale et de production : Naomi Titti. Production et édition : Marie Foulon. Communication : Lise Niederkorn et Léna Fourgeau. Rédacteur en chef : Thomas Rozec. Direction de production : Albane Fily. Responsable administrative et financière : Adrienne Marino. Musique originale : Théo Boulenger. Identité graphique : Marion Lavedeau (Upian). Composition identité sonore : Jean-Benoît Dunckel. Voix identité sonore : Bonnie El Bokeili. Direction des programmes : Joël Ronez.Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

FVS Valuation subject matter experts Josh Shilts and Dave Consigli address current challenges encountered by professionals conducting valuations, emphasizing that these competencies remain fundamental — mirroring those required during the Covid period. Their discussion highlights several important insights: Embracing Economic Volatility: Ongoing economic uncertainty has become a constant factor, making adaptability essential for valuation professionals. Assessing Client Risk Management: It is critical to evaluate how clients are managing financial, operational, and strategic risks. The Importance of Industry Knowledge: In-depth understanding of industry dynamics remains vital. Composition and management of a company's workforce – especially in the context of generational shifts and the integration of AI. Guest: Josh Shilts, CPA/ABV/CFF/CGMA, Forensic & Valuation Services Director, Dean Dorton Host: David Consigli, Jr. CPA/ABV, CDFA, Partner, FAZ Forensics Please share your thoughts about the episode - click here to leave us a review   Want to get involved with future FVS conferences, committees, task forces, or the standing ovation program? Send a message to infoFVS@aicpa-cima.com RESOURCES FOR FURTHER EXPLORATION If you're using a podcast app that does not hyperlink to the resources, please visit our podcast platform to access the show notes with direct links.  Check out early bird and special discounts for AICPA and FVS Section members, and ABV, CFF and CVFI credential holders AICPA Forensic & Valuation Services Conference, Oct 28-30, Aurora, CO, in person and online AICPA Expert Witness Skills Workshop, Oct 28-30, Aurora, CO,in person only Business Valuation School - Sep 8-12, Raleigh NC, in person only Business Valuation School - Dec 1-5, Live online Check out these free resources Statement on Standards for Valuation Services (VS Section 100) Disaster Relief Resource Center Tariff Resource Center Demystifying M&A Valuation Engagements - What Sellers (and Buyers) Need to Know Navigating Business Interruption Claims | FVS webcast archive Exclusive content available with AICPA FVS Section membership: Click here to join this active community of your FVS peers. You will get 16 credits of complimentary CPE and access to rich technical content AICPA VS Section 100 subsequent event toolkit Considerations when valuing distressed or impaired businesses FAQs Providing Bankruptcy and Reorganization Services, Vol. 2: Valuation in Bankruptcy | FVS Practice Aid Calculating Lost Profits | FVS Practice Aid FVS Quick Reference Guide: Standards and Premises of Value The FVS Valuation Podcast archives Complexities Of Subsequent Events in Business Valuation Enhancing Professional Growth through AICPA FVS Section Resources and Participation Transparency in Private Market Valuations LEARN MORE ABOUT THE FOLLOWING AICPA CREDENTIALS: Accredited in Business Valuation (ABV®) – Visit the home page and check out the ABV infographic Certified in the Valuation of Financial Instruments (CVFI®) – Visit the home page and check out the CVFI infographic Certified in Financial Forensics (CFF®) - Visit the home page and check out the CFF infographic This is a podcast from AICPA & CIMA, together as the Association of International Certified Professional Accountants. To enjoy more conversations from our global community of accounting and finance professionals, explore our network of free shows here. Your feedback and comments are welcomed at podcast@aicpa-cima.com    

Meet the piano piece that's been with me most of my life. In this solo episode, I share the story behind Waking Blue. A song I began composing at age 13, long before I had language for who I was becoming. From Beethoven to Salt Lake City, from Ensign Peak to Southern California, this melody carried me through moves, grief, queerness, and awakening. Waking Blue is a piece about impermanence and memory, about the moment (and years) before we fully wake up. I offer the 2011 studio version here: played on a Steinway, wrapped in decades of life. May it meet you in your own season of becoming.

Episode: 3321 Scott Joplin persevered in creating Ragtime music as a black musician in post-Civil War America. .  Today, Joplin and Ragtime.

In this video, I explore the magical dimension of Bruno's thought—an aspect often overlooked or dismissed in favour of his more fashionable reputation as a forerunner of modern astronomy. But Bruno was no mere proto-scientist. He was a visionary who believed that the universe was infinite, ensouled, and fundamentally magical—a living network of correspondences that could be navigated through imagination, desire, and memory.Drawing from his key texts—De Magia, De Vinculis in Genere, On the Composition of Images, Signs and Ideas—and supported by the work of scholars like Frances Yates, Ioan Couliano, Karen DeLeón-Jones, and Manuel Mertens, I show how Bruno developed a magical system where cosmology, ritual, and philosophy collapse into one another. His art of memory wasn't just a mental exercise—it was a theurgical practice. His use of images wasn't ornamental—it was a means of binding the soul to the divine. And his vision of the magician wasn't that of a trickster or charlatan, but of a philosopher in ecstatic alignment with the cosmos.CONNECT & SUPPORT

Want to build muscle, lose fat, and train smarter? ⁠⁠⁠Join the new Physique University for just $27/month⁠⁠⁠ and get your custom nutrition plan FREE (limited time)—Is your doctor telling you to “lift heavy” but you don't even know where to start? Wondering how to build strong bones without ending up hurt or overwhelmed? Curious if weighted vests actually do anything for bone health?I brought Megan Dahlman back to the show to answer these questions and more. Megan is a strength coach who specializes in helping women over 40 build muscle, improve mobility, and fight back against a condition called osteosarcopenia. We talked about the risks of jumping into heavy lifting the wrong way and how to progress smartly and safely from bodyweight to weights.Today, you'll learn all about:2:50 – What is osteosarcopenia?6:38 – How muscles and bones work together11:28 – Why “lift heavy” can backfire18:21 – The best place for beginners to start23:11 – The truth about weighted vests28:20 – What's the minimum effective dose?36:39 – Should you train for power too?42:04 – Sample training structures that work51:55 – Home vs. gym: how to decide55:50 – Where to start with Megan's programEpisode resources:Training program – Jumpstart 30Youtube: @vigeofitInstagram: @megandahlman Facebook: @vigeofit Website: vigeofit.com Support the show

In this episode, I talk with Ken Carlson about photographic composition. We move past the usual rules—like lines and shapes—and focus on how composition can express deeper meaning and intention. We share our frustrations with formulaic approaches often taught online, and discuss how real impact comes from understanding why we compose a certain way. We both share some of our teaching experiences and reflect on how personal connection and context shape our choices. We agree that composition is more than technique; it's about communicating emotion and meaning through our photographs.

In this episode of Chats and Tatts, host Aaron Della Vadova connects with talented tattoo artist Anthony Tex at the prestigious Gods of Ink convention in Frankfurt, Germany. They delve into the unique energy exchange that occurs during tattoo sessions, discussing the bond formed between artist and client during these intimate and vulnerable moments. Anthony shares insights about his 13-year journey in the tattoo industry, including his apprenticeship under his father, James, who has been tattooing for 26 years. The conversation highlights Anthony's unexpected path to becoming a tattoo artist, revealing how a childhood fascination evolved into a flourishing career, and being runner up to his dad on season 16 of Ink Masters. Tune in for an engaging discussion about artistry, mentorship, and the world of tattoos! Chat Breakdown: 01:50 - Choosing Tattooing Over Other Careers 02:12 - Family and Early Exposure to Tattooing 03:41 - Experience on Ink Master 05:02 - Importance of Illustrating and Drawing in Tattooing 07:57 - What Makes a Great Tattoo 09:47 - Composition and Placement in Tattooing 12:06 - Importance of Body Flow and Placement 15:26 - Spiritual and Emotional Connection in Tattooing 20:16 - Client Trust and Artistic Freedom 23:32 - Handling Client Feedback and Adjustments 26:38 - Growth and Learning Through Travel and Guest Spots 29:41 - Slowdown in the Tattoo Industry 32:18 - Saturation and Competition in the Tattoo Industry 35:58 - Concerns About AI Replacing Human Tattoo Artists 38:13 - Authenticity in Tattoo Art Creation Quotes: "There seems to be some kind of energy exchange when you tattoo somebody, like a bond that is created." "I think there was always talent. I think it's, you know, a lot of people don't want to, maybe show their failures or their weaknesses, you know, show vulnerability." "It turned for me from the idea of putting a tattoo on somebody into the idea of like decorating a human body."  "If you think everyone's a dick, then you're a fucking dick... You're just attracting... What's your problem?" "If you're trying to become the best tattooer possible, I don't think you should do that. Secluding yourself like that is going to stifle your growth." "I can't fathom not ever tattooing and just doing something else." "I think just reach out of that box a little bit. Try something new." Stay Connected: Chats & Tatts: Website: http://www.chatsandtatts.com⁠ Tik Tok: https://www.tiktok.com/@chatsandtatts  IG: http://www.instagram.com/chatsandtatts Chats & Tatts YouTube: https://www.youtube.com/c/chatsandtatts Connect with Aaron:⁠   Aaron IG:⁠ http://www.instagram.com/aarondellavedova⁠ Guru Tattoo: http://www.Gurutattoo.com Connect with Anthony: IG: https://www.instagram.com/Anthony_Tex    

Show DescriptionChris and Dave chat about whether you should wing it or script your videos, unplanned demos versus the safety net of edited videos, streaming software with Ecamm Live vs OBS vs Streamlabs, new CSS animation composition, and anchor positioning thoughts. Listen on Website →Links Canon EOS 5D Mark IV Sony ZV-1 Twitch > jlengstorf Twitch > ChrisCoyier YouTube > Chris Coyier Frontend Masters Figma Canva Figma Buzz YouTube > Mark Rober YouTube > The Coding Train Ecamm Live YouTube > CodePen Floating UI SponsorsDesign Tokens CourseWorld-renowned design systems experts Brad Frost (creator of Atomic Design) and Ian Frost teach you everything you need to know about creating an effective design token system to help your organization design and build at scale.

As part of our Best of Homeschool Super Heroes Workshop series, we're bringing back one of our most loved super heroes—with Andrew Pudewa! In this episode, we dig deep into teaching writing through imitation, from simple copywork to powerful storytelling. Whether you're just starting out or need to reset your writing routine, this method can transform your homeschool.Here's what you'll discover:✅How to move your child away from “hating writing”✅How to build confidence in your reluctant writer✅What keyword outlines are—and why they work✅When awkward writing is actually a good sign✅How imitation paves the way for real creativity

The Dungeon of Despair: Toshia & Sarah must escape a dungeon & its denizens.In 13 parts, By BradentonLarry - Listen to the Podcast at Explicit Novels.Sarah reeled from the aftershocks of her intense orgasms, stunned by how much cum had been pumped into her and onto her. As the tentacle slipped away from her mouth it spilled quite a lot of the sweet juice all over her tits. Grinning to herself, Sarah ran her hands over her body, rubbing the cum into her skin and pinching her nipples. She thought of Toshia and hoped she was having as much fun. She opened her eyes to see what her lover was up to.Smiling blissfully and covered in shiny cum, Toshia was being drawn toward a dark thing, a black ball with a single great eye and a maw lined with jagged teeth. The thing extended a long prehensile tongue, which Toshia grasped and drew to her mouth. Apparently unaware of the danger, Toshia was pulled ever closer to those deadly teeth.Finally, Sarah found her voice, yelling, "Toshia! No!"Toshia ignored her, and proceeded to suck on the slender tip of that tongue as if it were a cock or a nipple.Sarah struggled against the tentacle wrapped around her waist, paying no attention to the fact that more tentacles were snaking up between her legs. When she saw that the thing wasn't going to release her, Sarah splashed water at Toshia and the thing that held them. She shouted again, "Wake up, Toshia!"Then, just as it seemed the creature was about to devour her love, Sarah noticed some splashing on the other side of the monster. There was a flash of steel in the wan light of the cavern, and the black orb was cut in two, diagonally, right through that hideous eye. Toshia fell into the water and Sarah felt the tentacles slip away and the big one around her waist slacken.Sarah saw a big man standing there in full, metal armor, and with a huge sword black with tentacle-monster blood, then noticed another armored man a bit further back, but her attention was drawn to Toshia who was spluttering and splashing next to the thing's body. Shoving her way out of the grasp of the dead limb around her waist, Sarah crossed to Toshia and hugged her. She held her tightly and asked, "Are you okay, babe?"Toshia was laughing. "Yes," she said. "You are seriously covered in cum, baby."Relieved, Sarah released Toshia."Are you ladies uninjured?" asked a gruff voice. Turning, they saw that the man with the sword was not exactly human. He was built like a tall bodybuilder but had greenish skin, a slightly jutting under-bite that allowed two pronounced lower canines to protrude, a broad nose, prominent brow, thick, short-cut, black hair, several quite noticeable scars, and large pointed ears."Yes," Toshia answered for them. "I think we're fine.""That thing was about to eat you," Sarah finally said. "This man saved you."Toshia frowned, "What? We were just having fun.""You were charmed, no doubt," said a lilting feminine voice. A slender, dark-haired woman waded through the water toward them. She had a bow in her hands, and she also had pointed ears, though hers were quite different from the man's. Sarah identified her as an elf immediately, an undeniably beautiful elf, who said, "The lurkers ensorcel their prey, have their way with them, and devour them, their victims believing they're having a wonderful time all the while.""Lucky you came along when you did, then," Toshia said. She was looking sadly at the blood and remains that were already washing away toward the nearest runoff point."Yes, thank you," Sarah said, much more enthusiastically.The second man, a tall human wearing proper chainmail and carrying a sword and shield not much different from Sarah's, had come up and stood quietly, though he seemed to be admiring Toshia and Sarah's naked bodies."Everything okay out there?" called a woman's voice from the other side of the pond, where Sarah could see at least three more figures."Yes," shouted the big greenish guy. "We'll be right back."The pretty woman said, "I'm Rayna, this is Gul, and the quiet one is Tohl. Perhaps you would like to clean up and join us and the rest of our party. We were just about to make camp."After she and Toshia shared a glance, Sarah said, "Yes, that would be nice. Thank you. I'm Sarah, and this is Toshia."Rayna smiled and nodded. The heavily armored guy, Gul, said, "Watch the middle; it gets deep."Moving away from what was left of the "lurker," Sarah and Toshia quickly but thoroughly washed themselves, though Sarah expected lurker cum would be leaking out of their asses for days. They hurried over to collect their gear and carried it all around the side of the pond until they came to the lichen covered ledge the others had chosen for their camp.In addition to the three they'd already met, there was a blonde woman with an odd-looking guitar, wearing a short skirt and a very flattering bodice, a redhead wearing what looked like a dominatrix's suit of shiny black leather, which happened to show off some lovely cleavage, a male elf wearing dark robes, and a man no more than half Sarah's height who was pacing back and forth in what Sarah thought of as more traditional leather armor. Every one of them, except the elf in the robes, was armed. The sexy redhead was saying, "Isn't this awfully close to the water?""The lurkers are solitary hunters and would have scared off or eaten any other predators," replied Rayna."How do you know this stuff?" asked the short one.Rayna sighed, "You might find it helpful to read up on the lore of the region now and then, Shift."Just then, they noticed Toshia and Sarah. Both Gul and Tohl promptly moved to help them up out of the water."Sarah, Toshia, welcome," Rayna smiled. "This is Vespula, Quislin, Zasterfel, and Shift," she said as she indicated the blonde woman, the redhead, the robed youth, and the short guy, respectively."Please, call me Zas," said the robed one with a warm smile.Sarah smiled and nodded her head. She was amused by the fact that she and Toshia were standing there, dripping wet and completely naked, in front of a bunch of fully clothed characters out of a fantasy movie as if it were completely normal. In fact, nobody seemed to think the situation odd."Make yourselves comfortable," Vespula said with an appreciative smile."Thank you," Toshia said as she put her armor and weapons on the soft mat of lichen and sat cross-legged. She gave a smile to the pretty blonde, who passed her a pair of apples from a backpack."Yes, thank you," Sarah added as she also took a seat, and an apple from Toshia. "Especially you, Gul. You got there just in time. You saved our lives.""It was nothing." Gul waved his hand as if to brush the praise aside."At least mine," Toshia said. "Thank you.""Well, we have something of a tradition," the redhead smiled mischievously. Sarah could now see that she too had elven features. "Whenever one of us saves another's life, ""There's no need for that," Gul grumbled. Sarah was sure the big green guy was blushing.After shooting Sarah a wry smile, Toshia said, "Oh, I'm pretty sure we'd be happy to honor your tradition."Knowing they were in Eros, Sarah thought, and was sure Toshia agreed, it was a safe bet the tradition Quislin had in mind was sexual in nature. So, it wasn't a surprise when, after a bit of prodding from his companions, Gul stood and began to take off his armor. Quislin and Vespula got up and helped him, but surprisingly refrained from engaging in any kind of foreplay with the big fellow.Soon, Gul was standing in front of them, a model of buff not-quite-human masculinity. His chest was broad and muscular. In fact, most of his body was muscular. There were also quite a lot of scars, which somehow only added to his appeal. Between his legs was a generous cock, not the longest Sarah had seen in Eros but perhaps the thickest. The unusual color of Gul's skin made him seem a bit more exotic."There you go girls," Vespula said with a twinkle in her eye. "Show him your gratitude."Toshia led the way, crawling on all fours the short distance until she was kneeling in front of Gul. Sarah followed close behind. Though Gul was quite a bit taller than them, they were still at a good level to lean in and begin kissing and running their hands over Gul's generous endowment. This wasn't the first cock they'd shared like this, that had been Don's, but it was the biggest. Sarah enjoyed watching Toshia sucking on the fat head, and then kissing her, tasting his precum in her mouth. She liked the way his cock got hard between the two of them, their lips, tongues, and hands moving on it.Sarah took Gul's thick shaft in hand and sucked the big head into her mouth, tongue playing over its slit. Her hands moved up and down on his spit-covered organ as Toshia bent under to kiss and fondle his heavy balls. She couldn't deepthroat him but wondered if Toshia wanted to try. Still, she bobbed her head on him a bit, her hands squeezing tightly. Sarah looked up at him and saw Gul watching her intently. This made her happy.Then Sarah let the big cockhead pop out of her mouth and rubbed it against her face. Toshia came up for air, kissing and licking her way up to Sarah, where she joined her partner in rubbing her face on the darker green glans.Toshia smiled up at Gul and said, "Why don't you lie down so we can really show you how grateful we are?"While the big guy hurried to comply, Sarah looked around to see that the others were watching them, but not just watching, of course. Vespula had pulled her blouse down to free a pair of lovely breasts, one of which she was squeezing while her other hand was busy under her skirt. Quislin, whose outfit now seemed to be crotchless, had a cock in either hand, Tohl's in the right and Zas's surprisingly large one in the left, while the men on either side of her each had a hand on her crotch, one apparently fingering her cunt and the other stroking her clit. Sarah guessed they had done this before. Rayna was watching them intently as Shift (the only one who wasn't watching her, Toshia, and Gul) was on his hands and knees between her legs, licking her. The expression on the pretty elf's face told Sarah the little guy knew what he was doing.By the time Sarah tore her eyes off the others, Toshia was leaning over Gul making out with him, an experience Sarah would soon find out was quite interesting and not at all unpleasant. Meanwhile his hard, thick cock was left unattended. With a smile, Sarah crawled over, ran her tongue up the length of that impressive organ, and straddled Gul's waist. Reaching under herself, she raised the heavy cock and pushed its flared head up into her very ready cunt."God! That feels good!" Sarah breathed. She slowly sank down on the thick shaft, feeling her cunt opening, filled wonderfully by Gul's sex. Then his head was against her cervix, and she began to work up and down on that glorious cock. She braced her hands on his strong abs as she adjusted to his girth and the intense feeling of fucking him. Soon, though, she was riding him more vigorously, hands squeezing her own tits tightly as she rode that column of flesh harder and faster.Meanwhile, Toshia had turned to watch Sarah, an expression of combined lust and love on her face. Then Gul said something, Toshia smiled at him, and said, "Okay!" In another moment, Toshia was straddling his face as he began licking at her cunt and clit with what looked like a long, strong tongue. Sarah found herself watching those two sharp canines as they brushed against Toshia's smooth thighs.Then Toshia was reaching out to pull Sarah toward her. Sarah propped herself up on Gul's broad pecs, still riding his cock, as Toshia drew her in for a deep passionate kiss. That's when the first of her orgasms hit Sarah. She shook and trembled, moaning into Toshia's mouth, as her body reeled with pleasure.When she pulled back a bit, Sarah said, "His cock is so good!"Toshia grinned at her and said, "I'm looking forward to it. Can you keep it warm for me for a bit, though? I don't want to give up his tongue just yet.""Happily," Sarah said as she continued to grind herself on Gul, working his cock in and out of her grasping cunt. She hoped to come again on him, but Toshia beat her to it, crying out and shuddering as she ground down on Gul's apparently talented mouth.After Toshia came down and caught her breath, Sarah gave up her place so Toshia could take that thick cock up into her slender body. Sarah was lying next to Gul, stroking his powerful chest, and alternating between making out with him and watching Toshia riding up and down on his thick shaft, one hand between her legs playing with her clit. For himself, Gul had taken hold of Toshia's waist in both strong hands, helping the relatively tiny woman fuck him. Sarah found the sight of her lover pushing up and then falling back on Gul's fat cock, slick with both of their juices, wonderfully erotic.Toshia was grunting and moaning, nearing a second orgasm, when Sarah bit Gul's ear and said, "Come for us, baby. Fill Toshia with your cum."Gul responded with a nod and a groan, and then he was arching his back, his whole, muscular body clenching and shaking. Toshia cried out, "Yes! Fuck yes!" as she came again, writhing down on Gul's spasming cock. Pearly cum leaked out of her around that wonderful organ.Toshia sagged forward on Gul's prone body, with a bit of a giggle, and said, "Thank you.""Yes," Sarah grinned, kissing his cheek. "Thank you."Gul gave a deep chuckle and said, "You're quite welcome, miladies." After the delightful threesome with Gul, the rest of his companions joined in, and it became a chaotic nine-person orgy. Toshia couldn't keep track of all the particulars, but certain moments stood out: lovely Rayna licking Gul's cum out of her cunt while the little Shift took the elf from behind; watching Sarah getting double-teamed by Zas and Tohl while sucking on Quislin's tits; being ganged up on by Vespula, Rayna, and Quislin, who used their mouths, fingers, and at least one whole hand, to bring her to a series of soul shattering orgasms; and, in particular, mounting tall Tohl, taking him into her cunt, while Gul pushed that fat monster of his deep into her ass and Shift stood in front of her feeding her his comparatively small, but still respectable, cock.It was after that last wonderful session, as Toshia lay there momentarily by herself, playing with the cum oozing out of her well-fucked cunt, that it occurred to her that she wasn't tired. After her creature gangbang, climbing all those stairs, the incident with the "lurker," and this beautiful, but quite long, orgy, she should be exhausted, but she wasn't. Not at all! In fact, she was lustfully eyeing Quislin, who had shed her shiny black "armor" and was lying on her side on the soft lichen-covered ground as Zas fucked her ass from behind. Her plan was to crawl over there and lick the redhead's cunt and maybe get some of Zas's cum. But, again, Toshia asked herself, Shouldn't I be tired?Then she thought about the guys. She wasn't surprised by the duration of their erections; this was business as usual in Eros. But they had also come many times. Not even Don, who had devoted himself to mastering such things, normally came more than three times in an orgy, and more than three was quite rare. Mostly he had been able to put off his orgasms and increase the volume of cum. These guys had come more than four times each, with consistently large loads. Just then, in fact, Gul was stroking his thick cock over Vespula, covering her lovely tits with yet another slippery flood of cum, and that was at least his fifth such orgasm.Quislin raised a leg, slipping her hand down to push two fingers into her cunt, palm pressed against her clit. The temptation to get over there and get busy with that sexy woman was palpable, but something was wrong.Across the way, Sarah had Shift between her legs, fucking her vigorously. Though the size differential between them was amusing, the loud noises Sarah was making clearly indicated she was having a good time. But something was wrong.Toshia shook her head and tried to concentrate. She closed her eyes, trying to shove aside her raging horniness, and opened them again. Sarah was there, moaning in pleasure, but the others were gone. Toshia tried again, closing her eyes, concentrating, then opening them."What the fuck?!" she gasped.She and Sarah were indeed in a cavern almost filled with a pond, but it and the cavern were much smaller. There were a few waterfalls raining down on little platforms that seemed to climb up to the possibility of passages leading away. There didn't seem to be any lichen-covered pleasure platforms, and there certainly was no party of adventurers having an orgy.However, there was a lurker, still very much intact. It was against the edge of the pond, its big eye closed and what seemed to be a happy smile on its face.Sarah was on the other side of the pond, up to her tits in the water, murmuring happily to herself, apparently dreaming. Toshia was surprised that both she and Sarah were still wearing their ersatz armor, and that her short sword and dagger were still at her side.Toshia finally realized that the lurker still had several of its tentacles up inside her cunt and ass. Though none of them were actively fucking her, they still slowly pulsed and sent quiet waves of pleasure to the base of her spine. Gingerly, avoiding any sudden moves, Toshia reached down between her legs and slowly drew the tentacles out of her. She shuddered a bit as the sensations left her. She was rather shocked at how long one of the tentacles was that had gone up her ass.Then, moving very slowly, hardly raising even a ripple in the water, she crossed to Sarah and gently drew the tentacles out of her lover. Sarah whimpered a little in disappointment. Toshia kissed her and whispered, "Shush, baby, but wake up."Sarah's eyelids fluttered a bit, almost opening, but then closed again. So, Toshia risked jostling her a bit. When that didn't work, Toshia leaned over, covered Sarah's mouth with a kiss and gave one of her nipples a rough twist. That did the trick. Sarah's eyes flew open, and her body stiffened.Toshia drew back, gave her lover a smile and whispered as quietly as she could, "We have to get out of here."Sarah looked around in confusion but then nodded her understanding. Toshia slowly climbed out of the pool, and then turned to help Sarah do the same. Moving as stealthily as they could, they climbed half a dozen levels to the furthest of the waterfalls, where they quickly did their best to wash themselves, without taking off their armor."Fuck! My shield!" Sarah gasped. She had apparently lost it in the lurker's pool.Feeling rejuvenated by the heavy, cleansing shower and surprisingly well-rested, Toshia offered a wry smile and asked, "Want to go back and get it?"Sarah scowled back at the still slumbering lurker and said, "No, I guess not."Once they made their way out of that cavern and back into a network of tunnels, squelching in their boots as they went, they were able to talk about what had happened."So, it was all a dream?" Sarah asked."Something like that," Toshia shrugged. "Probably more like we were charmed, like Rayna said.""But her saying that was a dream too. Wait, you had the same dream I did?"This led to a quiet com

Are you overpaying for food that's supposed to be healthier? Have food labels like “grass-fed,” “non-GMO,” and “all-natural” been misleading you? What if the truth behind your grocery cart was simpler and way less stressful?Natalie Kovarik, a fourth-generation cattle rancher and co-host of the Discover Ag podcast, joins me to clear up the confusion. We go behind the food labels to talk about what matters when it comes to nutrition, budgeting, and values, and what's just clever marketing. Whether you're training hard, feeding your family, or just trying to make better choices, this will help you shop smarter without the overwhelm.Today, you'll learn all about:0:00 – Intro2:18 – Why “non-GMO” frustrates farmers4:06 – What is greenwashing?5:39 – Organic vs all-natural vs grass-fed7:44 – Smarter ways to shop on a budget13:13 – The huge impact of food waste16:10 – Grain-fed vs grass-fed nutrition24:28 – How safe is your grocery store milk?32:31 – Glyphosate and the dirty dozen41:06 – Why fresh and local still matter45:05 – Safe vs healthy: important distinction48:10 – Debunking myths about factory farmsEpisode resources:Website: discoverag.com and kovarikcattleco.com Instagram: @nataliekovarik and @discoveragpodcast Tiktok: @discoveragpodcastPodcast: https://podcasts.apple.com/us/podcast/discover-ag/id1615443750 Youtube: @Discoveragpodcast Support the show

The fourth of 4 Episodes with Outdoor Adventure Photographer Sergio Bolivian providing tips and advice to improve your adventure photography. Facebook   Twitter   Instagram Love the show? Subscribe,  rate, review, and share! Sign up for my Newsletter  HERE I'd love to hear your feedback about the show! You can contact me here:  rick@ricksaez.com Show Notes WHAT HAPPENED – Personal Story: There I was, deep in the Amazon, camera in hand, soaking in this explosion of color—bright blue water, rusty orange clay, jungle green overhead, and that soft golden light photographers dream about. The kind of scene that doesn't just ask to be photographed—it demands it. So what did I do? I lined up my shot, textbook rule-of-thirds style. Sky in the top third, water in the bottom, everything “perfect.” But something felt… off. That's when I said screw it, let's break some rules. I shifted the frame. Horizon smack in the middle. My boat creeping in from the corner, becoming this perfect leading line. It looked weird… until it didn't. Until it looked just right. It was one of those rare, unrepeatable moments. In five minutes, the light would shift, the river would curve, and that magic scene? Gone forever. But because I trusted my eye over the rulebook, I got the shot—and every time I look at it, I feel that moment again. PRINCIPLE: Here's the thing—creative freedom doesn't mean ignoring the rules; it means understanding them well enough to know when to ditch them. Composition is a tool, not a cage. The rule of thirds, leading lines, all that jazz? It's there to guide your storytelling, not police it. Your camera is just the vehicle. You're the driver. TRANSITION: But so many of us get stuck. Not because we're not “creative enough,” but because we cling to the rules like a safety blanket. We're afraid to break out of the grid and trust our own visual instincts. And let's be honest—most beginner photographers aren't struggling because they don't have the gear. They're struggling because they're trapped by formula, instead of finding their own rhythm. THAT'S WHY: That's why this episode with Sergio is a breath of fresh, Amazonian air. We dive into composing wild spaces with intention, not restriction. We explore how to blend intuition with technique so your photos tell your story, not just the story the rulebook approves of. CALL TO ACTION: Tired of taking “technically correct” photos that still feel flat? Frustrated when your shots don't match what you felt in the moment? Listen to this episode now and start capturing the kinds of images that make people stop and feel something

Pourquoi est-ce si important de parler de la face sombre – voire violente – de nos luttes ? Des petits collectifs locaux aux grandes ONG internationales, les mêmes mécanismes destructeurs se répètent : des leaders “naturels” qui concentrent le pouvoir, l'absence d'outils pour prévenir ou traiter les violences internes, un dévouement absolu des bénévoles jusqu'au burn-out.Qu'est ce qui fait imploser nos luttes de l'intérieur ? Comment analyser les comportements nocifs qui persistent dans nos combats pour l'égalité ? Par quels moyens peut-on les contrer tout en donnant envie de s'engager ? Dans ce deuxième entretien sur les dessous de la révolution, Naomi Titti s'entretient avec Sarah Durieux, activiste, organisatrice et autrice du livre Militer à tout prix ? Pourquoi nos collectifs nous font mal et comment les soigner (Éd. Hors d”atteinte, 2025). Ensemble, elles proposent des pistes concrètes pour tendre vers un militantisme sans violence ni exclusion, mieux outillé pour faire face à la montée du fascisme. RÉFÉRENCES CITÉES DANS L'ÉMISSION Retrouvez toutes les références citées dans l'épisode à la page : https://www.binge.audio/podcast/les-couilles-sur-la-table/soigner-nos-revolutions-2-2CRÉDITS Les Couilles sur la table est un podcast créé par Victoire Tuaillon produit par Binge Audio. Cet entretien a été préparé, mené et monté par Naomi Titti et enregistré le samedi 14 juin dans le cadre du festival La Claque Podcast Party, à Marseille. Prise de son : Sébastien Geli. Réalisation et mixage : Paul Bertiaux. Supervision éditoriale et de production : Naomi Titti. Production et édition : Marie Foulon. Communication : Lise Niederkorn et Léna Fourgeau. Rédacteur en chef : Thomas Rozec. Direction de production : Albane Fily. Responsable administrative et financière : Adrienne Marino. Musique originale : Théo Boulenger. Identité graphique : Marion Lavedeau (Upian). Composition identité sonore : Jean-Benoît Dunckel. Voix identité sonore : Bonnie El Bokeili. Direction des programmes : Joël Ronez.Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

In this captivating episode, we sit down with acclaimed pianist Carter Bryan to dive deep into the essence of creativity and the profound relationship between music and the human spirit. We explore the age-old question: does music live within us, or do we live within the music? He shares his unique insights on the creative process, revealing the inspirations, challenges, and techniques behind their mesmerizing compositions. Join us for a thought-provoking conversation filled with passion, philosophy, and the magic of music. Don't miss this inspiring episode!

In this episode of The Bandwich Tapes, I had the pleasure of sitting down with Dr. Brett Dietz, Director of Percussion at LSU, and someone who had a tremendous impact on my own family. Brett taught my son Skyler throughout his college years, and I've long admired him as both an educator and an artist. This was a special and personal conversation.We discuss Brett's journey from studying under Michael Burritt at Northwestern to his unexpected opportunity at LSU in 2003, where he has been teaching for over two decades. He reflects on the evolution of the percussion studio, the effects of the 2008 recession and the COVID-19 pandemic on student development, and how the landscape of music education has shifted over the years.We delve into teaching philosophies and how Brett identifies the most minor technical issues that unlock major improvements, and why teaching is ultimately about remembering what it's like to struggle. We also cover the deceptively complex art of triangle and tambourine playing, and how Brett balances classical rigor with kindness and adaptability.And then there's Brett the composer. He shares the backstory behind his works, such as Sharpened Stick and Headcase, and how his early days in a high school garage band with Doug Perkins (yes, that Doug Perkins) led to a lifelong love of composing. He discusses studying under legends like Stanley Leonard, David Stock, and J. Allen Yim, and how those mentors shaped his artistic voice.Whether you're a percussionist, a teacher, or just someone who loves stories about finding your path and making an impact, this episode is packed with insight, warmth, and some great laughs.To learn more about Brett, visit his website.  Thank you for listening! If you have any questions, feedback, or ideas for the show, please contact me at brad@thebandwichtapes.com.The theme song, Playcation, was written by Mark Mundy. 

This week's episode of Ministry Monday features composer and NPM member Luke Rosen. In this replay episode from October 2023, Luke shares his reflections on the many things a pastoral musician can consider as they compose music, whether it's for a parish music ministry or just for personal enjoyment.

Grab your free Muscle-Building Nutrition Blueprint to learn how to eat for your training goals (even when managing blood sugar and eating carbs). Go to witsandweights.com/muscle–Are carbs really your enemy? Should you be training fasted? Can someone with diabetes actually build muscle and thrive?Registered dietitian and strength coach Ben Zeal, who's been living with type 1 diabetes for over 25 years, joins me to break down some of the biggest myths in fitness and nutrition. We discuss carb fear, insulin misconceptions, and the truth about fasted training, CGMs, GLP-1s, and more. Ben also covers how blood sugar management isn't just for diabetics, but for anyone wanting consistent energy, better performance, and body composition goals that stick. Our discussion is packed with real talk and practical strategies to train smarter, eat with confidence, and stop fearing carbs.Today, you'll learn all about:4:39 – Should non-diabetics track glucose?6:13 – Walks, workouts, and insulin sensitivity9:28 – Can movement replace medication?13:11 – How to overcome carb fear15:14 – Best training approach for blood sugar22:36 – Stress: the hidden blood sugar saboteur27:40 – GLP-1 drugs and smart strategy30:48 – What insulin pumps actually do36:32 – How to become a consistent lifter41:44 – Does fiber really matter for blood sugar?44:25 – Where to find Ben and free resourcesEpisode resources:Your Diabetes Insider PodcastWebsite: yourdiabetesinsider.com Instagram: @manoftzeel Facebook: m.me/manoftzeel?ref=w10525587 Youtube:  @yourdiabetesinsider Support the show

Comment une ère de bouillonnement militant et progressiste peut-elle ouvrir la voie à des figures autoritaires ? Aux lendemains de Mai 68 Fernando, un ouvrier espagnol réfugié en France, s'impose comme leader d'une avant-garde maoïste. Il promet une révolution, un vrai changement. Mais très vite, ce chef charismatique impose son emprise sur un petit groupe, à travers contrôle, surveillance et violences psychologiques.Quels sont les ressorts de la domination masculine chez ces chefs de fil providentiels ? Comment les logiques patriarcales apparaissent dans les groupes militants de gauche ? Par quels moyens des idéaux politiques peuvent-ils devenir des outils de pouvoir ?Dans cet entretien en deux parties sur les faces sombres des luttes, Naomi Titti commence par recevoir Julie Pagis, sociologue, socio-historienne et politiste au Centre National de la Recherche Scientifique (CNRS). Dans son livre « Le prophète rouge. Enquête sur la révolution, le charisme et la domination » (éd. La Découverte, 2024), elle remonte la piste de Fernando et de son groupe d'extrême gauche pour mieux saisir les couleurs de l'emprise en contexte militant. RÉFÉRENCES CITÉES DANS L'ÉMISSION Retrouvez toutes les références citées dans l'épisode à la page : https://www.binge.audio/podcast/les-couilles-sur-la-table/les-gourous-de-la-revolution-1-2CRÉDITS Les Couilles sur la table est un podcast créé par Victoire Tuaillon produit par Binge Audio. Cet entretien a été préparé, mené et monté par Naomi Titti et enregistré le samedi 14 juin dans le cadre du festival La Claque Podcast Party, à Marseille. Prise de son : Sébastien Geli. Réalisation et mixage : Paul Bertiaux. Supervision éditoriale et de production : Naomi Titti. Production et édition : Marie Foulon. Communication : Lise Niederkorn et Léna Fourgeau. Rédacteur en chef : Thomas Rozec. Direction de production : Albane Fily. Responsable administrative et financière : Adrienne Marino. Musique originale : Théo Boulenger. Identité graphique : Marion Lavedeau (Upian). Composition identité sonore : Jean-Benoît Dunckel. Voix identité sonore : Bonnie El Bokeili. Direction des programmes : Joël Ronez.Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

We conclude our list of potential wine label ingredients with the mineral elements from the earth that impact wine. Hosted on Acast. See acast.com/privacy for more information.

In this episode of Chats & Tatts, host Aaron Della Vedova sits down with renowned tattoo artist Albert Zafra, affectionately known as Zaf. Broadcasting from Gods of Ink in Frankfurt, Germany, Aaron and Zaf delve into the world of tattoo artistry, discussing the significance of personal tattoos over high-value pieces, and the deep connections they forge. With 20 years of experience, Zaf shares insights on his neo-traditional style and his journey from Barcelona, Spain, while contemplating the evolving landscape of the tattoo industry and future opportunities. Tune in for an inspiring conversation filled with passion, creativity, and a love for tattoos! Don't forget to check out Zaf's incredible work on Instagram at @ZafTattoo and @AlbertZafra. Chat Breakdown: 00:01:10 - Introducing Albert Zafra 00:02:46 - Longevity in Tattooing 00:03:19 - Passion vs. Experience 00:05:18 - Imposter Syndrome 00:09:09 - Covering Up Tattoos with Bad Energy 00:12:21 - Tattoo Session Duration and Focus 00:15:08 - Tattoo Preparation and Technique 00:16:08 - What Makes a Great Tattoo 00:17:03 - Flow and Composition in Tattoos 00:17:48 - AI in Tattoo Design 00:26:12 - Anesthesia in Tattooing 00:29:24 - Client Interaction and Design Process 00:33:13 - The Future of Tattooing Quotes: "The ones that scare me the most are the ones that think their stuff looks great." "For me, the shitty tattoos sometimes are more important than the millionaire tattoos, you know? Because have a very good role with your friend, you know? Have a crazy energy, you know?" "There is a little piece of me that's kind of embarrassed by it. I'm like, is that me? Or is that a computer?" "The pain makes you strong. You need to embrace the pain. It is part of it." "In 10 years, we're going to have machines that are going to do the tattoos." "You are a fucking number. That's the point." Stay Connected: Chats & Tatts: Website: http://www.chatsandtatts.com⁠ Tik Tok: https://www.tiktok.com/@chatsandtatts  IG: http://www.instagram.com/chatsandtatts Chats & Tatts YouTube: https://www.youtube.com/c/chatsandtatts Connect with Aaron:⁠   Aaron IG:⁠ http://www.instagram.com/aarondellavedova⁠ Guru Tattoo: http://www.Gurutattoo.com Connect with Zaf: IG: https://www.instagram.com/zaf_tattoos  

Grab your FREE Ultimate Macros Guide, designed for those who are serious about optimizing their physique. It's not a quick fix; it's a playbook that teaches you how to make smart eating choices, track your biofeedback, and implement gradual changes for success.–Are you chasing success but running on empty? Do your workouts feel harder yet deliver fewer results? What if your energy, not your money, is the real currency of success?I sit down with Alex Feinberg, ex-pro athlete, former Google exec, and elite performance coach, to break down how high achievers can stay lean, energized, and efficient all year long. We explore why doubling your training volume might be hurting your progress, how to optimize your metabolism for maximum fat loss, and why treating energy like currency changes everything. Alex also reveals simple frameworks to track recovery, train smarter (not harder), and turn your body into a high-performance machine. Today, you'll learn all about:2:35 – Why energy beats more money4:30 – How high performers get stuck6:58 – The kingpin habit that changes everything13:15 – The myth of the 3 PM crash18:39 – How carbs affect sleep and energy24:37 – Why your workouts aren't working33:04 – High-intensity training, defined38:25 – How to stay shredded eating pizza44:39 – Processed food vs real food50:02 – Train what you usually ignore53:13 – Fitness is your wealth-building shortcutEpisode resources:Website:  feinbergsystems.com Instagram: @alexfeinbergofficial X: @alexfeinberg1 Facebook: @alexfeinbergofficial Youtube: @alexfeinberg1 Support the show

Join our next BoldBrush LIVE! Webinar by signing up here:https://register.boldbrush.com/live-guestOrder your exclusive da Vinci BoldBrush paintbrush set!https://brushoffer.com/collections/boldbrushLearn the magic of marketing  with us here at BoldBrush!https://www.boldbrushshow.com/Get over 50% off your first year on your artist website with FASO:https://www.FASO.com/podcast/---For our last episode of this season, we sat down with Michelle Dunaway, a professional fine artist who creates deeply authentic portraits and landscapes, travels internationally to teach workshops and paint, and is passionate about capturing the essence of her subjects through a unique, emotionally resonant artistic approach. She discusses the journey of developing artistic skills while maintaining a unique creative vision, highlighting the need to balance technical proficiency with authentic self-expression. Michelle shares insights from her mentors, particularly Richard Schmid, about pursuing excellence rather than perfectionism and the value of vulnerability in art. Her artistic process involves careful observation, pre-planning compositions, and leaving space for spontaneous creativity, with a focus on capturing the essence of her subjects.  Throughout the conversation, Michelle emphasizes the importance of staying curious, present, and true to oneself, viewing art as a continuous journey of discovery and personal growth. Finally Michelle tells us about  her upcoming workshops, including online sessions and Africa-based workshops, focusing on immersive experiences and cultural integration in art!Michelle's FASO site:https://www.dunawayfineart.com/Michelle's Workshops:https://www.dunawayfineart.com/workshopsMichelle's Social Media:https://www.instagram.com/dunawayfineart/

Guest: Justin Thompson, Senior Artist at Charles M. Schulz Creative AssociatesOn LinkedIn | https://www.linkedin.com/in/justin-thompson-91a47339/On Instagram | https://www.instagram.com/mythtickle/_____________________________Host:  Marco Ciappelli, Co-Founder at ITSPmagazine [@ITSPmagazine] and Host of Redefining Society Podcast & Audio Signals PodcastOn ITSPmagazine | https://www.itspmagazine.com/itspmagazine-podcast-radio-hosts/marco-ciappelli_____________________________This Episode's SponsorsAre you interested in sponsoring an ITSPmagazine Channel?

Join Physique University (free for 2 weeks) to get a custom nutrition and lifestyle plan with the simple steps to start engineering your ideal physique, plus weekly coaching to commit, take action, and build momentum! –Why wait for motivation to get healthy? What if that's exactly what's keeping you stuck, and there's a better way forward?I'm joined by Jenn Trepeck, host of Salad with a Side of Fries and an optimal health coach who helps people build sustainable habits, without extremes. We break down why motivation is not the key to fitness success and how relying on it keeps us in a cycle of guilt, shame, and inconsistency. Instead, we talk about building momentum through simple, repeatable actions that fit into real life, even on your busiest days. Jenn also shares two practical movement routines anyone can start today.Today, you'll learn all about:3:43 – Replace motivation with momentum6:23 – What discipline really looks like10:21 – Make fitness fun and doable16:07 – How to start without overwhelm20:04 – Consistency beats intensity25:49 – Aligning expectations with your life35:02 – When tracking helps more than hurts54:27 – Your sustainable plan starts here58:45 – Two-minute routine for busy days1:01:17 – Affirmations that actually workEpisode resources:Podcast: Salad with a Side of Fries  LinkedIn: linkedin.com/in/jennifertrepeckInstagram: @jenntrepeckX: x.com/jenntrepeckTiktok: @jenntrepeckYoutube: @jenntrepeck “It's Not What to Eat, It's How to Eat” (free download)Support the show

Ils dirigent les réseaux sociaux, façonnent l'intelligence artificielle, conçoivent les outils qui structurent désormais nos quotidiens. Derrière ces avancées technologiques, des patrons multimilliardaires : Elon Musk, Mark Zuckerberg, Jeff Bezos... Mais ces barons de la tech ne transforment pas seulement nos usages — ils diffusent un modèle : celui d'une masculinité conquérante, virile et ultralibérale.Comment la tech est-elle devenue le terrain d'expression privilégié du masculinisme ? Pourquoi les algorithmes reproduisent-ils si facilement des logiques sexistes et racistes ? Qui sont ces patrons milliardaires qui façonnent le futur tout en affichant, de plus en plus ouvertement, leur proximité avec l'extrême droite ?Dans cet épisode, Tal Madesta reçoit Marion Olharan Lagan, chercheuse en civilisation américaine et autrice de « Patriartech. Les nouvelles technologies au service du vieux monde » (Éditions Hors d'atteinte, 2024). Ensemble, il et elle interrogent cette obsession de pouvoir qui pousse les barons de la tech à tout s'approprier sur Terre mais aussi au-delà.RÉFÉRENCES CITÉES DANS L'ÉMISSION Retrouvez toutes les références citées dans l'épisode à la page : https://www.binge.audio/podcast/les-couilles-sur-la-table/patriartech-lempire-des-tech-brosCRÉDITSLes Couilles sur la table est un podcast créé par Victoire Tuaillon produit par Binge Audio. Cet entretien a été préparé, mené et monté par Tal Madesta et enregistré le lundi 20 mai 2025 au studio Virginie Despentes de Binge Audio (Paris, 19e). Prise de son, réalisation et mixage : Paul Bertiaux. Supervision éditoriale et de production : Naomi Titti. Production et édition : Marie Foulon. Communication : Lise Niederkorn et Léna Fourgeau. Rédacteur en chef : Thomas Rozec. Direction de production : Albane Fily. Responsable administrative et financière : Adrienne Marino. Musique originale : Théo Boulenger. Identité graphique : Marion Lavedeau (Upian). Composition identité sonore : Jean-Benoît Dunckel. Voix identité sonore : Bonnie El Bokeili. Direction des programmes : Joël Ronez.Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

As we move further into the potential ingredients list for a wine label we dive into mineral salts. With one more episode to go, it's becoming clear what components would the items to cause potential concern. Hosted on Acast. See acast.com/privacy for more information.

In this episode of "Chats and Tatts," host Aaron Della Vadova welcomes esteemed Denmark based tattoo artist Chris Henriksen to the show. Recorded at Gods of Ink in Frankfurt, Germany, the conversation highlights Chris's impressive career in tattooing, particularly his mastery of modern Japanese styles. Aaron praises Chris's exceptional skills, especially his smooth shading techniques, and acknowledges the hard work and dedication that have contributed to his success over 16 years in the industry. The episode dives into the challenges tattoo artists face today, including the impact of social media and economic uncertainties, while also celebrating the artistry and inspiration that Chris brings to the tattoo community. Tune in for an insightful discussion filled with passion for the craft and the journey of a talented tattoo artist. Chat Breakdown:   00:01:20 - Chris's Tattooing Journey 00:02:03 - Finding Tattooing 00:05:03 - Old School Tattooing 00:08:07 - Balancing Family and Career 00:12:06 - Improving Drawing Skills 00:15:00 - Cardio Exercise and Creativity 00:16:02 - Thoughts on Color Realism 00:18:18 - Minimalist and Abstract Tattooing 00:20:03 - Tattoos as Pure Decoration 00:23:14 - What Makes a Great Tattoo 00:25:07 - Composition and Simplicity 00:26:26 - Social Media and Tattooing 00:35:39 - Future Plans and Staying Relevant Quotes: "Everything teaches you something. So everything's perfect in some way in the universe."  "Your tattoo can just be beautiful. It does not have to always represent your grandmother." "I just do a good job, and if I do a good job, that person tells somebody, and they come see me, and that's it. Simple." "All your followers are just leads." "Be smart with the finances so that in 10 years from now, there's more freedom to do those things that you want."   Stay Connected:  Chats & Tatts: Website: http://www.chatsandtatts.com⁠ Tik Tok:⁠ https://www.tiktok.com/@chatsandtatts ⁠ IG:⁠ http://www.instagram.com/chatsandtatts⁠ Chats & Tatts YouTube:⁠ https://www.youtube.com/c/chatsandtatts⁠ Connect with Aaron:⁠   Aaron IG:⁠⁠ http://www.instagram.com/aarondellavedova⁠⁠ Guru Tattoo:⁠ http://www.Gurutattoo.com⁠ Connect with Patrick: IG:⁠ https://www.instagram.com/⁠chrishenriksen

On today's podcast we have a truly amazing talk with Damien Riehl, a musician and technology lawyer who is one of the masterminds behind All the Music Project; an algorithmically generated catalogue of 471 billion melodies, which was then put into the public domain in an attempt to protect musicians from being sued for copyright claims. It is a fascinating conversation. Damien's Ted Talk here   News! Gen Z is embracing a digital detox and the ‘Martha Stewart summer'   Apple Intelligence Is Gambling on Privacy as a Killer Feature   The iPhone is your karaoke mic in tvOS 26's Apple Music Sing   Nothing will stand in the way of independents (and why the world's first three-person indie unicorn is only a matter of time away)   The Music Tectonics podcast goes beneath the surface of the music industry to explore how technology is changing the way business gets done. Visit musictectonics.com to find shownotes and a transcript for this episode, and find us on LinkedIn, Twitter, and Instagram. Let us know what you think!    Get Dmitri's Rock Paper Scanner newsletter.  

We all know about art forgeries, but why write fake classical music? In Forgery in Musical Composition: Aesthetics, History, and the Canon (Oxford University Press, 2025), Dr. Frederick Reece investigates the methods and motives of mysterious musicians who sign famous historical names like Haydn, Mozart, and Schubert to their own original works. Analyzing a series of genuinely fake sonatas, concertos, and symphonies in detail, Dr. Reece's study exposes the shadowy roles that forgeries have played in shaping perceptions of authenticity, creativity, and the self within classical music culture from the 1790s to the 1990s.Holding a magnifying glass to a wide array of phony works, Forgery in Musical Composition explains how skillful fakers have succeeded in the past while also proposing active steps that scholars and musicians can take to better identify deceptive compositions in the future. Pursuing his topic from case to case, Dr. Reece observes that fake historical masterpieces have often seduced listeners not simply by imitating old works, but rather by mirroring modern cultural beliefs about innovation, identity, and meaning in music. Here forged compositions have important truths to tell us about knowing and valuing works of art precisely because they are not what they appear. This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda's interviews on New Books with Miranda Melcher, wherever you get your podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Get your free Muscle-Building Nutrition Blueprint to optimize your diet and tracking so you have the energy and recovery to maximize your lifting–Why did your strength gains stall, and what can you actually do about it? Are you overtrained or just under-recovered? And when is it time to change the program, not your goals?I'm joined by Nick Delgadillo, CEO of Starting Strength Gyms and host of the Stronger Is Better podcast. We break down what really causes lifters to hit that dreaded wall after the novice phase and how to break through it with intention and sustainability. Nick explains why small tweaks, not full overhauls, are key to continued gains and how your form, food, and follow-through matter more than fancy programs.Today, you'll learn all about:2:38 – The psychology of the post-novice wall5:25 – Why recovery outside the gym matters10:23 – Novice vs. intermediate isn't black and white13:11 – How to troubleshoot your progress17:21 – Three-part self-check before changing programming28:26 – Training through tendon pain safely34:59 – Returning to strength after surgery50:15 – How mindset shapes long-term success53:20 – Starting Strength Gyms and the future of liftingEpisode resources:Starting Strength PodcastStronger is Better Podcast on Spotify / Stronger is Better Podcast on AppleWebsite: startingstrengthgyms.comInstagram: @liftfightwin Support the show

Organic acids contribute to the flavor and stability of a wine. Some can be added to wine and that's where we might see a difference on an ingredients list. Hosted on Acast. See acast.com/privacy for more information.

In the music business, Brian Eno is a name to conjure with. He's been the producer of tremendous hits by U2, Talking Heads, David Bowie, Grace Jones, Coldplay, and many other top artists. But he's also a conceptualist, nicknamed Professor Eno in the British music press, and a foundational figure in ambient music—a genre whose very name Eno coined. Amanda Petrusich speaks with Eno about his two new albums that just came out, “Luminal” and “Lateral,” and his new book, “What Art Does.” “One of the realizations I had when I was writing this book is that really the only product of art is feelings,”  Eno says. “Its main point is to make your feelings change—is to give you feelings that you perhaps didn't have before or did have before and want to have again or want to experiment with. So it seems very simplistic to say, ‘Oh, it's all about feelings.' But actually I think it is. Feelings are overlooked by all of those people who think bright children shouldn't do art.”