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Destiny Christian Center June 14, 2026 Heavenly and Earthly Government, Pastor Lawrence Neisent destinyokc.com

Pastor Van Blarcom delivers the message in the Auditorium.

Welcome to the Art Life Faith Podcast, and I’m your host, Roger Lowther. We are recording live from the JCAMM conference in downtown Tokyo with the theme of “The Beauty of Japan・The Beauty of Heaven.” It’s a week-long conference from Friday, May 22 to Wednesday, May 27, 2026, where we are talking about the arts of Japan, the beauty of Japan, and how that helps us worship God. We’ve had so many amazing guests this week, and now I have the privilege of sitting down with one of our key presenters, a band like no other I’ve ever seen in the world called IziBongo. They sing not only in the various languages of the world, but they use the various instruments of the world and the various styles and genres of the world so people can see what it looks like for the nations to praise God and how that can lead us all in praise of God. So I wanted to sit down with them and have a conversation. I’ve also asked Akira Mori to sit down with us. He is our MC for the conference, and he’s a longtime friend and partner. We got to know each other very well through the 2011 earthquake, tsunami, and nuclear disaster. He’s the pastor of Global Mission Chapel in Iwaki, Japan, not too far south of the nuclear power plants in Fukushima. And his amazing church was one of the key centers for relief work for all of Tohoku. Through the years, we’ve gotten to know each other better, and I’ve so appreciated not just his encouragement and the way he leads especially movements of prayer in Japan but the way he’s encouraged me personally and for his friendship. And so I invited him to be the MC for this conference and also to be with us for this podcast episode. So thank you, all of you, for being here. Why don’t we start with a quick introduction? Please tell me who are you and where this name IziBongo came from. It’s kind of an interesting name. Cory Sure, Izibongo is a Zulu word which means praises intoned in honor of a person. It’s a kind of praise poetry. This is a second generation of the group itself, originally called the Wycliffe World Music Band, which came from Wycliffe Bible Translators. Roger Not as catchy… Cory Yeah…, which came from Wycliffe Bible Translators. Roger Okay, so what do you do? Why did you form IziBongo? Cory Originally, the Wycliffe World Music Band was meant to be an illustrative form of the music of the world and to promote Bible translation. That was one of the hopes for the people who organized it. We would go to Christian music festivals and perform there to show how the nations would worship or do their songs. Paul I might add that originally it was an ad hoc group of students in a particular class learning about some of these principles of music and worship around the world. The leader of that class was our mentor, Tom Avery. He would gather the students and throw instruments at them and say, “Sing this and let’s play this.” And so it was just to appreciate the worship around the world. This developed out of that educational starting point to more of a worship focus and whatever it is today. Cathy Another point that Tom would make when teaching us these songs was that music is not a universal language, it’s a universal phenomenon. But different peoples have different ways of singing. We think we might understand what they’re singing about. We might make a judgment if we hear another culture’s music and say, “That’s demonic,” or, “You could not praise God with that music.” But he was teaching us that we need to understand when we go into cultures their music systems. We can’t just go in and say, “No, you have to sing it this way.” Mary And to follow up on that is the focus of outsider-insider, an outsider trying to understand from the insiders, “What does this mean to you? What is the content?” because as outsiders, we can really miss it and not understand what’s actually being expressed. So we have terms. We say etic and emic, outsider/insider perspectives, that we talk about in our courses and our learning. Roger Help us to see what this looks like a little bit more concretely. What countries, what groups are you representing, and what kinds of instruments are you playing? Paul Well, I’m playing about 3 or 4 instruments here. One is a charango from Bolivia, which I bought on the River Walk in San Antonio from a real live player. I’m also playing a Moroccan oud, which we use for other instruments as well. We don’t carry 50 instruments, we carry about 10. And I’m playing a Greek bouzouki, but I’m using that to represent music from other parts of the world as well if the instrument sounds similar to the sounds. So again, we’re approximating all these. We’re never being exactly authentic. We are just Americans. We’re not trying to pretend that we’re something else. But we love the sounds of the world and the praises that they lift up. So we want to approximate those sounds so that you will learn to appreciate their music. As for the countries that we actually sing songs from, we could give a list if you’d like. Cory We do some from South America, so there’s Brazil, Venezuela, Bolivia…Ghana, Democratic Republic of Congo… Cathy Nigeria… Cory Egypt… Paul Tunisia, Papua New Guinea, Bhutan, South Korea…We don’t have a Japanese song yet. Roger Okay, well, we’ll have to fix that. Paul Exactly! We’re working on it. Roger So tell me more about why you do this. What is your purpose in singing these different styles—using different instruments, different languages, representing different countries? Paul Well, for myself, and I think for my wife as well, we were worship leaders in a local church and trying to find the most relevant ways to help people worship in our culture. It was mostly not a mixed culture. It was mostly just a normal American church in Texas, but still we had to wrestle with contemporary versus older styles and who was there and what kind of music they liked. In the South it’s a little more Baptist hymnal kind of songs, which I wasn’t that familiar with. So you always have to learn and find out from the congregation that you’re worshiping with, what helps them express their heart, because that’s really what a worship leader is trying to do, just help the people worship from their heart. So that was where we started, and when we ran into Tom and he was doing that in the jungles of Brazil, it sounded radically different, of course. So we learned from him how to approximate that sound so that we could present it. Cathy So the first time we performed this kind of music, we thought we were just going to give people an educational experience and say, this is what your brothers and sisters sound like over in Africa, or this is what they say to God in their songs. The people that heard us in Memphis, Tennessee, on that very first trip were crying. They said, “This is a kind of worship that we’ve never experienced before.” It wasn’t necessarily something they could participate in, but it was like when you look up at the stars and go, “Wow, God, that’s amazing.” And you get a glimpse of the worship that God is preparing for himself across the world. And it does increase your love for your brothers and sisters. So we wanted to give more people that kind of understanding and that kind of love for brothers and sisters that they’ve never met, maybe an experience that would have them want to pray for those brothers and sisters. And so when we go to a mission conference, we hope, too, that it opens people’s eyes to understand that we want to encourage authentic ethnic worship and not just press our Western songs onto others. Mary I was just going to say one word, beauty. Well, I’ll say a few more words than just that. We have a colleague who decades ago said, why would God have created birds that only sing one song? And so we think about the diversity of artistic communication and think about the beauty of how we can all be different and have different artistic expression, but that it can be unified in the worship of our Creator, and to learn to appreciate that, but also know that it’s perfectly great to have those styles and songs and ways that you can sing and worship that come really from a deep place in your heart. So, we want to get into what that is in each culture to lead people to that place of beauty. Paul It makes me think also the necessity that we feel of presenting things with authentic instrumentation as much as possible and with some costuming. It’s not like we’re not trying to appropriate someone else’s culture. We’re trying to represent so that you will have a deeper appreciation of those—the beauty, not just the sound, but the beauty of those cultures in their expression of worship. Roger I’m glad you all are talking about this because that was one of my next questions is like, why is this important? You know, when I first came to Japan, the first thing that people wanted me and my wife to do is, as musicians, help with worship. And there’s basically two choices you can do. Contemporary or you can do traditional. One or the other. If you play organ and piano, well that’s traditional. If you use the guitar, well then that’s going to be contemporary. Those are the only two choices, so choose. If you go back and forth between the two, then that’s blended, a little of both. So to hear what you all do is so far outside people’s expectations of what worship can be. And that message, I feel, is especially needed in Japan. I would love Mori-Sensei to comment on that. Have you heard anything like this in Japan, this group? Mori No. That’s it. Roger And is it important then for Japan? Mori Absolutely. Japanese people like to feel safe, I guess, and don’t want to be criticized. Therefore, they try to conform to whatever is the mainstream, whether it’s a small group of 3, 4, 5 or a bigger group of 50–100. But that’s what I sense, and that’s what I find in myself from the past. So, especially when you think about the Christian church. The gospel was brought by typically Caucasian Western missionaries, and I don’t think they had any other way than to just do what they were used to. And without being intentional, I believe a kind of very clear line between Christians and non-Christian Japanese was drawn. When I was a teenager and a church member, the pastor said secular songs shouldn’t be sung, not even for yourself when you’re alone. So there was a very clear line, and I think in every church it was the same. And if you dare to play jazz or, rock was not so much in Japan in those days, then you were looked at as unspiritual, not a good Christian. So naturally, for those reasons, the Japanese ethnic or original music was separated from the church. It is still very much the same, I think. Therefore, it’s very difficult to take different styles of music and even ethnic music into the church. We don’t have any group like IziBongo. I don’t know if any other countries do either, but it is great riches brought to the church. Roger You know, when I first came to Japan, I was in language school that first year. We made friends with a clarinetist, and she was feeling turmoil about being in the church because the church told her she couldn’t play. She was a professional clarinet player, but they would not allow her to play clarinet in church because that was not appropriate for Christian worship. But, they said, you can play the piano because we need someone to play the piano. She was like, but I’m not a keyboardist and don’t play the piano very well, and it was hard for her to worship while playing the piano. When we came in, they asked us as missionaries to come give a concert, and we invited her to join us. There were tears in her eyes because that was the first time anyone in the church had ever heard her play the clarinet, which was her heart language. And I was like, wow, well, maybe it’s just this church. Well, then we went and were helping to plant another church out in Chiba, where we met a pastor whose son played the saxophone. And it was the same story. He invited his son to play saxophone once in worship, and the church members got so upset. Saxophone is not appropriate for worship, they said. It sounds worldly. It sounds like jazz, you know. And we’ve come across stories like that over and over again. And I want to tell you one more. Sorry I’m talking so much! But there’s this other story when we met this koto player. She was featured in one of our videos during the conference. I think I’ve shared this in a past podcast episode, but we invited her to come and play koto in worship. That’s a traditional Japanese harp, and it was so beautiful. We loved it, but there were so many people upset afterwards. And there were so many meetings afterwards, not the kind of meetings that you really want to have happen, you know, like with the pastor and the elders. Okay, this person’s upset, and they felt like it was connecting to the non-Christian culture in Japan. They said, “You can’t use the koto in worship. You were distracting me from worship. I was not able to worship God because you had the koto there.” And, you know, the way—I’ve shared this with some of you before—the way that we were able to bring healing to that situation is when they realized how she was able to worship God through her heart language, through the koto, it drew them in and they were able to worship God by seeing how she was worshiping God. It wasn’t a gimmick, you know, it wasn’t like we’re trying to force something on the church, but that this is how she worshiped, and they were able to worship through her. It was that relational key that made all the difference. Mori Um, can I ask you a question? Roger Sure. Mori That was your experience in the beginning. Is that still very much the same in the Japanese churches? Roger I do sometimes continue to hear stories, yeah… Mori This is my subjective, biased opinion, but around 20 years ago, God raised a young man and gave him song after song. An authentic Japanese young man, producing Japanese praise songs, worship songs, and they did some gatherings using yukatas and guitars on the stage, dancing and singing. And those worship songs created by those people, they have quite rapidly spread all across Japan. Roger Oh, wow. I’d like to hear them. Mori Yes. Oh, you know him. Taka. His songs, I believe, have changed the atmosphere of Japanese churches. Nagasawa Takafumi wrote that famous song, “Sono Hi Zen Sekai Ga” (“On That Day”). He started out as a worship leader in his father’s church. Now, he’s the senior pastor. But he was invited as a worship leader to a church in a different place, totally different place, and the pastor, as the congregation sang that song, proudly said to Taka, “Don’t you think this is an awesome song?” He didn’t know that Taka wrote that song, and Taka did not tell him. But today, more instruments are naturally taken into church services. Different styles are tolerated. Not every church, but, by and large, so many churches are resembling Western American churches, worship band in front and leading songs with guitars and drums and bass guitars and keyboard. And it’s spreading. And I just think that change has been happening. But still though, not Japanese authentic instruments or styles. Roger Yeah, that's still pretty rare. Mori Yeah, because of the schism that happened, right in the beginning, the Christians somehow feel that those instruments are not theirs. And to me, that’s okay if Christians don’t play any koto or shakuhachi. Of course, they’re greatly considered by Christians to be a special genre of instrument. Roger Generally. Yeah, Cathy? Cathy That’s one thing that seems to happen when we play. We had an experience in Singapore. A Japanese gal came up and talked to me afterwards and said, “This makes me want to go home and find what is unique from my culture that I can offer to God. It makes me want to go home and find or make something unique from my culture. And so, I think that IziBongo sometimes has that effect when we show what other cultures are doing. Roger Yeah, I also wanted to ask you all, I know that like sometimes I hear this word “appropriation” in the States, because you are not from those cultures, because you are Americans doing that music. If someone was to come at you and say, “Hey, that’s not appropriate for you to be doing that,” how would you respond to them? Paul Well, it depends who it’s coming from, I think, is where we start. We have never had anyone come to us from those nations with a problem with us. In fact, all we’ve ever heard is appreciation that we at least attempted to sing in their language. And again, we don’t do it perfectly. We had one experience up at Prairie Bible College where we played a First Nations song, a Native American song, and there was one young gentleman there who was a young man from the First Nations, and he was so excited. He wanted to sing the song. It was very simple, so he wanted to lead it. It was so amazing to him that he could do that. And almost immediately, we got strong pushback from a missionary couple who’d been there for 30 years working with First Nations peoples who felt like that was very inappropriate for the church. So let me say it this way: What we do is not try to impose on the church what you should do. What we’re doing is saying praise is happening all over the world, not always on Sunday morning. In fact, most of this wouldn’t be in Sunday morning worship, but it’s worship. Some of it’s on the streets of Brazil, a samba. And it was a Christian song sung on the streets of Carnaval. I mean, that’s not Sunday morning. So again, what we’re presenting is just the various expressions of praise. Whether they fit on Sunday morning in the church, your pastor and your worship leaders need to work that out. And we shouldn’t be judging them. They’re the ones who are to guide and guard the flock. So pray for your pastors that they might have vision even when they have reservations. Cathy I would say it’s also not only praise, but Scripture memory songs, storytelling, telling of Bible stories, and historical things. So there are other ways to use the music. Cory And the use of the music that we do when we perform are based on relationships that we have with the communities themselves, either through a Bible translation project or actual one-on-one. So, we have gotten permission to do these songs according to the communities that we’ve come in contact with. Mary And I’ll say that coming back to the U.S. from West Africa and starting to hear this word appropriation, I was a little bit shocked because I was like, oh, what does that mean? You know, I had to say, what does that actually mean? Because to be in West Africa or in that particular culture, you dress with the cloth and you learn their songs and they are thrilled that you are learning their language and wearing their clothes. So appropriation is not about using these things for our own benefit, but it’s about lifting up and respecting that culture. Roger We are almost out of time, but I want to give Mori Sensei the last word. So, think about what you’re going to say. Let me just say that I’ve been moved by talking with all of you, you know, outside this interview, the stories you’ve told me about how people respond saying, wow, I had no idea I could worship God in that way through my culture, through my art, and how it’s encouraging them, empowering them really. You are empowering the nations to say, God has given you these gifts to worship him, and it’s just such an important message. Thank you so much for the time and money you’ve spent to come all the way to Japan to share this with us. We really appreciate it. Mori Sensei, do you have any final comments? Mori Well, thank you very much. I’m so honored. Change is happening in the Japanese churches. It’s not only negative. In one church, 45 minutes away from Tokyo, they started using enka. Enka is very secular, many love songs. They were the songs church members' husbands especially loved. So they invited the husbands and did a couples' night. They served beer and they sang enka. And the people loved it. Actually, the wives loved it too. So, some changes are happening. Also, Japanese instruments—koto, shakuhachi, shamisen—are not widely used in the churches. I think that’s because nowadays Japanese people have grown up without those instruments nearby. But those who have, they should be invited to the churches to perform and make them feel at home. Still, the Japanese churches are very much under the control of pastors. So these gatherings would be excellent for the Japanese pastors to know and come attend, listen to, hear the stories. That’s probably the challenge for the near future. Roger Thank you. Thank you so much, all of you. I really appreciate it. God bless you. You've been listening to the Art Life Faith Podcast. To watch the video of this podcast or many other videos from the conference, please go to our website: www.communityarts.jp. As we say in Japan, “Ja, mata ne.” We'll see you next time.

Ustadz Dr. Erwandi Tarmizi M.A - [ Book Study ] Contemporary Muamalat Ijtihad Method - Ustadz Dr. Erwandi Tarmizi, Ma

In this episode of the Podcast for Social Research Anna Kornbluh and Kate Wagner consider the aesthetics of contemporary American fascism in a conversation moderated by BISR's Audrey Nicolaides. The fascism of the moment merges violent delight in destruction with nouveau riche vulgarity, middle class mediocrity, and internet meme culture. Despite incessant callbacks to the 1930s and continued deployment of classic fascist themes, contemporary fascism distinguishes itself from its historical predecessors by its speed, virulence, sites of production, and mode of distribution: the big, beautiful slop machine, hyper-capitalized, decentralized, and algorithmically determined. How does the aesthetic regime of contemporary fascism function? How is it rewiring the libidinal economy of the present, and stacking the deck for capital? What's specific to fascism in the age of polycrisis? What does it mean now to resist by "politicizing aesthetics," as Walter Benjamin once enjoined us to? You can download the episode by right-clicking here and selecting "save as." Or, look us up on Spotify or Apple Podcasts. This episode was produced by Gil Morejon from live audio recorded at Chicago's Twelve Ten Gallery. If you like what you've heard, consider supporting the podcast by becoming a BISR member or subscribing to Brooklyn Institute's Patreon page, where you can enjoy access to all past and future episodes of the Podcast for Social Research.  

In this episode of That Ain't In the Bible, Jonathan and Brandon step directly into one of the fastest ways to start a church argument: music styles in worship. Should church music be traditional? Contemporary? Hymns only? Full band? Choir and orchestra? Acoustic? Loud? Quiet? And perhaps the biggest question of all: does the Bible actually command one specific style of music for the church?With a few spicy hot takes and some honest pushback against personal preferences disguised as biblical mandates, the guys discuss what Scripture does clearly command—namely that believers are to worship, sing, and glorify God together. At the same time, they challenge listeners to be careful not to elevate cultural tastes and personal opinions to the level of divine instruction.Because while singing praises to God is absolutely in the Bible…the commandment, “Thou shalt use only this musical style”?Yeah… that ain't in the Bible.10 Key Bible Verses on Singing Article

Seefeel - Sol.Hz - Humidity SwitchBoards of Canada - Inferno - Hydrogen Helium Lithium Leviathan Seefeel - Sol.Hz - AM FlaresBoards of Canada - Inferno - The Word Becomes FleshYu Su - Foundry - Sunless feat. MemotoneYu Su - Foundry - Cul De SacSix Missing - Passed Self - A Dance Visible Cloaks - Paradessence - Slippage Visible Cloaks - Paradessence - Shapes (feat. Yoshio Ojima · Satsuki Shibano)Galán | Spieth | Guentner - Obreel - Noïn Tapani Rinne, RA-UL - LiminalJoana Gama - A Mind in the Heart - A Child (Ivan Vukosavljević) ExcerptoHildur Guðnadóttir · Deutsches Symphonie-Orchester Berlin · Robert Ames - Guðnadóttir: Bær (Version for Orchestra)Bobby Krlic - Midsommar (OST) - GassedGeologist - Can I Get A Pack Of Camel Lights? - Sonora(Last Show June 11)Fotografia de Alípio Padilha 

Former archaeology student and lifetime history buff Connie Berry writes a range of contemporary historic mysteries (Contemporary-historic, how's that for an oxymoron?) set in various time periods, and sometimes she even blends the eras together. In our interview she digs into the backstory of her protagonist in the Kate Hamilton Mystery Series. Kate Hamilton's my favorite type of amateur sleuth and I'm addicted to these mysteries. Kate's smart, capable, doesn't meddle too much, and respects the boundaries between civilians and police. Her sidekick, Ivor, is one of the most charming and bizarre sidekicks I've come across in a while, too. Connie shares how she plausibly plots twisty, complicated books and schools me on the real life medieval plague victim behind her latest work. BONUS: Connie reveals the inspiration of her new project, a historical figure so strange and eerie, I'm including a link so you can learn more about Sarah Hare. Learn more about Guest Connie Berry: https://connieberry.com/ Learn more about Host Melissa Westemeier: https://www.melwestemeier.com/ Learn more about Sarah Hare: https://theartssociety.org/arts-news-features/englands-strangest-church-monument

Author Zeke Baker discusses the book, Governing Climate: How Science and Politics Have Shaped Our Environmental Future, reviewed in the May 2026 issue of Contemporary Sociology by Christopher M. Rea.

Former archaeology student and lifetime history buff Connie Berry writes a range of contemporary historic mysteries (Contemporary-historic, how's that for an oxymoron?) set in various time periods, and sometimes she even blends the eras together. In our interview she digs into the backstory of her protagonist in the Kate Hamilton Mystery Series. Kate Hamilton's my favorite type of amateur sleuth and I'm addicted to these mysteries. Kate's smart, capable, doesn't meddle too much, and respects the boundaries between civilians and police. Her sidekick, Ivor, is one of the most charming and bizarre sidekicks I've come across in a while, too. Connie shares how she plausibly plots twisty, complicated books and schools me on the real life medieval plague victim behind her latest work. BONUS: Connie reveals the inspiration of her new project, a historical figure so strange and eerie, I'm including a link so you can learn more about Sarah Hare. Learn more about Guest Connie Berry: https://connieberry.com/ Learn more about Host Melissa Westemeier: https://www.melwestemeier.com/ Learn more about Sarah Hare: https://theartssociety.org/arts-news-features/englands-strangest-church-monument

In this episode, Dr. Polina Ignatova deconstructs the spectrum of diverse roles of St. Christopher in the contemporary societal discourses in Russia. She argues that the public knowledge about St. Christopher is sporadic and unsystematized, resulting in the saint's image being used by both oppressors and oppressed.For more information, visit www.multiculturalmiddleages.com.

Destiny Christian Center June 7, 2026 Foundational Confusion, Pastor Lawrence Neisent destinyokc.com

Welcome to the latest episode of Harmonious World, where I interview musicians about how their music helps make the world more harmonious.I'm joined for this episode by saxophonist, clarinettist and composer Jeff Lederer to discuss his latest album - There's a Yearnin' - this intensely interesting album is a historic first recording of long-buried works by Eric Dolphy, Ornette Coleman and Oliver Nelson.Thanks to Jeff for allowing me to play extracts from There's a Yearnin' alongside our conversation.Get in touch to let me know what you think!Thank you for listening to Harmonious World. Please rate, review and share: click on the link and subscribe to support the show.Don't forget the Quincy Jones quote that sums up why I do this: "Imagine what a harmonious world it would be if every single person, both young and old, shared a little of what he is good at doing."Support the showRead reviews of albums and gigs and find out more about me at hilaryseabrook.co.ukFollow me on instagram.com/hilseabrookFollow me on facebook.com/HilarySeabrookFreelanceWriterFollow me on twitter.com/hilaryrwriter

Pastor Klinkenberg delivers the message in the Auditorium.

MA:Q, Laraaji, Ginger Beef, Salami Rose Joe Louis, Robert Lee, The Ostara Project, Purbayan Chatterjee & Mark Lettieri, Pedrito Martinez + Antonio Sanchez + Michael League, Corcoran Holt, Alexander Claffy, Seamus Blake, Butcher Brown & Nicholas Payton, Gregory Hutchinson, Bobby Wiens and AurallaurAPlaylist: MA:Q, featuring Mike Stern - 20 Feet From The StreetLaraaji - Segue to Infinity (Glimpse)Ginger Beef - TakeoutSalami Rose Joe Louis - HobbiesRobert Lee - DaffodilThe Ostara Project, featuring Allison Au - 2601Purbayan Chatterjee, Mark Lettieri - SoarPedrito Martinez, Antonio Sanchez, Michael League - ObbakosoCorcoran Holt - Transition BluesAlexander Claffy - Without a SongSeamus Blake - Compared to WhatButcher Brown, Nicholas Payton - All BluesGregory Hutchinson - Seven Steps to HeavenBobby Wiens - MantraAurallaurA - Gao Shan Qing

Dr Anne Irfan argues that recognition of Palestine must extend beyond the territory of the West Bank and Gaza to include the rights, experiences and political agency of Palestinians worldwide, particularly the millions living as refugees.Drawing on historical research into Palestinian displacement, refugee camps and the history of UNRWA, Dr Irfan explores how the Nakba continues not only through the loss of land, but also through efforts to fragment Palestinian identity and marginalise Palestinian voices in international discourse.The session explores:Why recognition of Palestine should include recognition of all Palestinians, including refugees and diaspora communities.The concept of the Nakba as an ongoing process rather than a single historical event.The displacement of Palestinians during 1948 and the creation of one of the world's largest refugee populations.The importance of the right of return and its place in international law and Palestinian political identity.Early international responses to Palestinian refugees and the ways in which Palestinian identity was often obscured or depoliticised.The history of Palestinian refugee camps as centres of political organisation, community life and national consciousness.The origins and evolution of UNRWA and its relationship with Palestinian refugee communities.Palestinian resistance to efforts aimed at permanent resettlement outside Palestine.The central role of education in Palestinian refugee communities and national identity.Contemporary refugee activism, including campaigns centred on the right of return and solidarity across the Palestinian diaspora.Dr Irfan highlights the ways in which Palestinian refugees have consistently asserted their political agency, challenged attempts to erase their identity and maintained connections to Palestine across generations. She argues that refugee communities have played a central role in shaping Palestinian political history and continue to do so today.The presentation concludes by examining the relevance of refugee history to current events in Gaza, the West Bank and Lebanon, and by arguing that meaningful recognition must encompass the full Palestinian people, wherever they live.Recorded at the Britain Palestine Project annual conference, Recognition is the Beginning, held at the Greenwood Theatre, London, on 2 June 2026.Dr Anne Irfan is a historian of the modern Middle East and Lecturer in Interdisciplinary Race, Gender and Postcolonial Studies at University College London. Her research focuses on Palestinian history, refugee communities, international organisations and the politics of displacement. She is the author of Refuge and Resistance: Palestinians and the International Refugee System and is widely recognised for her work on the history of UNRWA, Palestinian refugees and the global dimensions of the Palestinian struggle.

Send us Fan MailIs OBSESSION as good as everyone says? Is I Love Boosters deserving of the walk-outs? The Mavens discuss this and so much more. 00:00 - Intro01:45 - Obsession19:14 - I Love BoostersSupport the showFollow us on Instagram @moviemavensWrite us an email at moviemavenspodcast@gmail.com

In the final part of the miniseries I look at Spartan marriage, money and mothers as well as a range of other topics. I hope you've enjoyed these Sparta episodes, why not let me know? Find me via these links Music by Brakhage (Le Vrai Instrumental). Reading list and modern sources used: Bershadsky, N. The Argive Women, Beards and Democracy Dwight, Z. Maidens and the Spartan Marriage Practice. Hodkinson, S. 'Blind Ploutos'?: Contemporary images of the role of wealth in classical Sparta Kennell, NM. Gymnasium of Virtue: education & culture in ancient Sparta Millender, EG. Spartan Literacy revisited Pomeroy, S. Spartan Women Scott, AG. Plural Marriage and the Spartan State

2026-05-31 Warning About Traditionalismby Pastor Chris BergScripture Reference: Mark 7:1-13The Pharisees and some of the scribes gathered around Him when they had come from Jerusalem, 2 and had seen that some of His disciples were eating their bread with impure hands, that is, unwashed. 3 (For the Pharisees and all the Jews do not eat unless they carefully wash their hands, thus observing the traditions of the elders; 4 and when they come from the market place, they do not eat unless they cleanse themselves; and there are many other things which they have received in order to observe, such as the washing of cups and pitchers and copper pots.) 5 The Pharisees and the scribes *asked Him, “Why do Your disciples not walk according to the tradition of the elders, but eat their bread with impure hands?” 6 And He said to them, “Rightly did Isaiah prophesy of you hypocrites, as it is written:‘This people honors Me with their lips,But their heart is far away from Me.7 ‘But in vain do they worship Me,Teaching as doctrines the precepts of men.'8 Neglecting the commandment of God, you hold to the tradition of men.”9 He was also saying to them, “You are experts at setting aside the commandment of God in order to keep your tradition. 10 For Moses said, ‘Honor your father and your mother'; and, ‘He who speaks evil of father or mother, is to be put to death'; 11 but you say, ‘If a man says to his father or his mother, whatever I have that would help you is Corban (that is to say, given to God),' 12 you no longer permit him to do anything for his father or his mother; 13 thus invalidating the word of God by your tradition which you have handed down; and you do many things such as that.”Notes, outline and a summary from this sermon are made by Pocket AI and found here:This sermon serves as a warning against traditionalism—the elevation of man-made customs over divine commandment.Core ThesisTraditionalism is the maintenance of tradition specifically to resist change or as a substitute for a relationship with God. While traditions can be useful tools, traditionalism acts as a "taskmaster" that chokes the Word of God, rendering worship worthless and distancing the heart from the Creator.The Pharisaical Model: Hard-Hearted SoilPastor identifies the scribes and Pharisees as the primary examples of "hard-packed soil" from the Parable of the Sower. Their resistance to Jesus is rooted in three historical friction points:• Authority: They accused Jesus of blasphemy when he forgave sins.• Social Boundaries: They criticized his association with "sinners" and tax collectors.• Legalism: They sought to discredit him over Sabbath observations and ceremonial washing.Three Warnings Against TraditionalismTraditionalism Encourages HypocrisyAdherence to tradition allows for an outward appearance of righteousness while the heart remains distant. Pastor cites Martin Luther's observations of the Roman Church and the sale of indulgences as historical parallels where "going through the motions" replaced genuine repentance.Traditionalism Results in Worthless WorshipWorship is not validated by its age, style (Gothic vs. Contemporary), or the use of specific instruments. Pastor argues that both the "Emerging Church" (laser lights/fog) and "Ancient-Future" movements (liturgical/incense) can fall into the same trap if the focus is on the experience rather than faithfulness to Scripture.• The Goal: To be faithful, not "traditional" or "contemporary."• The Authority: Sanctification comes through Truth (the Word), not tradition.Traditionalism Elevates Man Over GodBy prioritizing the "tradition of the elders" over the commandments of God, the Pharisees effectively claimed that man's word is more authoritative than God's. Pastor highlights the practice of "Corban" (Mark 7:11) as a manipulative use of religious tradition to avoid the biblical command to honor and support one's parents.Proper Engagement with TraditionTo benefit from traditions without becoming a traditionalist, Pastor proposes two filters:• Subservience to Scripture: If a tradition opposes the Word or becomes a heavy burden, it must be dropped. The Word of God is sufficient; tradition is optional.• Prioritize the Goal: Ask why a tradition exists. If the purpose is no longer relevant (illustrated by the "cutting the ends off the ham" anecdote), the energy should be redirected toward the mission of the Great Commission.ConclusionThe Pharisees missed the presence of the Eternal Creator because they were preoccupied with an argument over hand washing. The sermon concludes with a call to hold fast to the finished work of Christ rather than the "uncomfortable traditions" of men.Mandeville Bible Church   "Where God's Word is Our Foundation"https://www.mandevillebiblechurch.org/Come and see that God's Word is alive and at work right here in Mandeville.. and throughout the world!All are welcome. 217 Carroll Street, Mandeville, LA 70448Church Office: (985) 626-3114Sunday Service: 9:30AMAdult Sunday School: 10:45-11:30AMNursery and Children's church available.

Contemporary OB-GYN Ultrasound 2026 - Hybrid Event, will be held in Gaylord Rockies Resort & Convention Center, Aurora, CO on September 18-20, 2026 World Class CME City: Charlotte Address: 6201 Fairview Rd. Website: https://worldclasscme.com/

 Gabriela Rangel, director of Tucson's Museum of Contemporary Art, was born and raised in Caracas, Venezuela. As a curator focusing on Latin American art, she's worked at the Museum of Fine Arts in Houston, the Americas Society in New York City, and the Museo de Arte Latinoamericano de Buenos Aires. In the fall of 2025 she became the director of Tucson's Museum of Contemporary Art.  In this podcast with Caroline Tracey, The Border Chronicle's arts & culture editor, Rangel discusses how the concept of Latin American art" didn't come from Latin America, the necessity for politics in art, and what it's like living and working in the Sonoran Desert “This is a borderland city,” she says of Tucson. Of how the border figures into contemporary art, she adds: “Urgent matters in the repertoire of contemporary art are also crucial for the borderlands: water, ecosystems and immigration—these are issues that contemporary art has adopted in their concerns....Contemporary art is about what's happening in the present.”

Destiny Christian Center May 31, 2026 One Nation Under God, Pastor Lawrence Neisent destinyokc.com

Pastor Van Blarcom delivers the message in the Auditorium.

For our 19th edition of Contemporary Cool, we get into the third instalment of Kid Cudi's "Man On The Moon" series and the most Bomb Squad sounding album from Chuck D in decades.TIMESTAMPS:Weekly Music Roundup - (0:51)Ben:Drake: ICEMAN, MAID OF HONOUR & HABIBTICharlie:A-F-R-O - Blood RainValtteri Laurell & Ricky-Tick Big Band - Visions of DillaSonedo - From Here On OutSolene - Femme Fatale Cosima - Outsider Music Vol. 1: you don't know what you want, do you?JuJu Rogers - Pink Guitars, Spaceships N Voodoo DollsThee Marloes - Di Hotel MalibuAlsogood - 1000 SmilesNightmares On Wax & Adrian Sherwood - In A Space Outta DubMan On The Moon III: The Chosen - (12:30)Chuck D Presents Enemy Radio: Radio Armageddon - (31:44)Lighter Note - (48:03) Thanks for listening. Below are the Social accounts for all parties involved.Music - "Pizza And Video Games" by Bonus Points (Thanks to Chillhop Music for the right to use)HHBTN (Twitter & IG) - @HipHopNumbers5E (Twitter & IG) - @The5thElementUKChillHop (Twitter) - @ChillhopdotcomBonus Points (Twitter) - @BonusPoints92Other Podcasts Under The 5EPN:"What's Good?" W/ Charlie TaylorIn Search of SauceBlack Women Watch...5EPN RadioThe Beauty Of Independence

Send us Fan MailHosted By - Courtney Ortiz and Lesley MealorThat's a wrap on Season 7 of Making the Impact - A Dance Competition Podcast! Thank you to all our loyal listeners who have been here since the beginning for all your support, and to our new fans who have joined us this year! We can't wait to share season 8 with you - but for now, happy summer!MARK YOUR CALENDARS: Season 8 is scheduled to release on Thursday, September 3rd, 2026.Topics Include: Favorite episodes of Season 7 Info on summer bonus episodes What's new for Season 8Help support our podcast! Join Making The Impact's Platinum Premium Subscription today! Your membership includes:Monthly Q&A episodes released to members onlyPriority to have your questions answered each month on the live Q&A.Ad-free listening for all of Seasons 4 through 7. No sponsored ads!20% off all IDA MerchandiseExclusive bonus content released throughout the yearDiscounted IDA Online CritiqueGroup Zoom check-ins 3x per season with Courtney Ortiz!Your support helps us produce future episodes of Making The Impact for years to come!Making The Impact's Platinum Premium - Sign up now for only $5/month!Follow your Hosts!Courtney Ortiz - @courtney.ortizLesley Mealor - @miss.lesley.danceImpact Dance Adjudicators - @impactdanceadjudicators Join our FREE Facebook Group and connect with us! Making The Impact - A Dance Competition Podcast Community Leave us a review on Apple Podcasts! We would love to hear from you! Join our Newsletter for weekly episode releases straight to your inbox! Follow Impact Dance Adjudicators on social media @impactdanceadjudicators and for a list of IDA Affiliated dance competitions, visit our website at www.impactdanceadjudicators.comSupport the show

Send us Fan MailGuests - Robb Gibbs, Brittni Johnson, and Anonymous SubmissionsHosted By - Courtney Ortiz and Lesley MealorTo close out Season 7 of Making the Impact, we are getting real about the often unspoken truths in the dance competition judging space. Veteran IDA judges Robb Gibbs and Brittni Johnson, as well as anonymous submissions from judges around the country, share what it can really be like during those long weekends behind the table. Spoiler alert - sometimes it's not pretty. This is the first episode of a two episode series, so stay tuned for part 2 releasing as a summer bonus episode in June!Topics Include:Discussing the reasons we love judging - and the reasons that it becomes harder and harder each seasonTravel nightmares and lodging snafus - all to save a dollarThe realities of trying to stay true to your values while adhering to company policiesHelp support our podcast! Join Making The Impact's Platinum Premium Subscription today! Your membership includes:Monthly Q&A episodes released to members onlyPriority to have your questions answered each month on the live Q&A.Ad-free listening for all of Seasons 4 through 7. No sponsored ads!20% off all IDA MerchandiseExclusive bonus content released throughout the yearDiscounted IDA Online CritiqueGroup Zoom check-ins 3x per season with Courtney Ortiz!Your support helps us produce future episodes of Making The Impact for years to come!Making The Impact's Platinum Premium - Sign up now for only $5/month!Follow your Hosts & Guests!Courtney Ortiz - @courtney.ortizLesley Mealor - @miss.lesley.danceRobb Gibbs - @robb.gibbsBrittni Johnson - @being_brittni, @alignment.in.danceCheck out our service: IDA Online Judge's CritiquesSend us a video of your dance and an IDA Judge will critique your routine! You can request a genre-specific specialty judge or add on 10 minutes of additional feedback. 24 hour rush delivery available! Submit your video now! Join our FREE Facebook Group and connect with us! Making The Impact - A Dance Competition Podcast Community Leave us a review on Apple Podcasts! We would love to hear from you! Join our Newsletter for weekly episode releases straight to your inbox! Follow Impact Dance Adjudicators on social media @impactdanceadjudicators and for a list of IDA Affiliated dance competitions, visit our website at www.impactdanceadjudicators.comSupport the show

In Free Association: A Contemporary Introduction (Routledge, 2026), Barnaby Barratt presents a compelling and much-needed exploration of the method of free association within psychoanalytic treatment. This concise yet comprehensive book examines the historical roots, philosophical implications and transformative impact on the human psyche of free association, making it an essential resource for understanding the deep unconscious forces that shape our lives. Barratt demonstrates how free association uniquely reveals dimensions of the human condition that remain hidden in ordinary therapeutic approaches. Readers will gain insight into the distinctions between psychoanalysis and psychotherapy, the significance of repression and psychic energy, and the profound shifts in being that free association facilitates. Barratt's critical analysis of prevailing theories and alternative methods, such as somatic and shamanic practices, highlights the unparalleled ability of free association to reinvigorate psychic energies and existential freedom. This book is a vital resource for psychoanalysts in training and practice, and anyone deeply curious about the human psyche. It is also a valuable tool for instructors and researchers in psychoanalysis, psychotherapy and related fields. Barnaby B. Barratt is a research and training psychoanalyst in Johannesburg and Cape Town, South Africa. Philip Lance, PhD, is a psychoanalyst in private practice in Los Angeles. He can be reached at PhilipJLance@gmail.com. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/psychoanalysis

In Free Association: A Contemporary Introduction (Routledge, 2026), Barnaby Barratt presents a compelling and much-needed exploration of the method of free association within psychoanalytic treatment. This concise yet comprehensive book examines the historical roots, philosophical implications and transformative impact on the human psyche of free association, making it an essential resource for understanding the deep unconscious forces that shape our lives. Barratt demonstrates how free association uniquely reveals dimensions of the human condition that remain hidden in ordinary therapeutic approaches. Readers will gain insight into the distinctions between psychoanalysis and psychotherapy, the significance of repression and psychic energy, and the profound shifts in being that free association facilitates. Barratt's critical analysis of prevailing theories and alternative methods, such as somatic and shamanic practices, highlights the unparalleled ability of free association to reinvigorate psychic energies and existential freedom. This book is a vital resource for psychoanalysts in training and practice, and anyone deeply curious about the human psyche. It is also a valuable tool for instructors and researchers in psychoanalysis, psychotherapy and related fields. Barnaby B. Barratt is a research and training psychoanalyst in Johannesburg and Cape Town, South Africa. Philip Lance, PhD, is a psychoanalyst in private practice in Los Angeles. He can be reached at PhilipJLance@gmail.com. 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

In Free Association: A Contemporary Introduction (Routledge, 2026), Barnaby Barratt presents a compelling and much-needed exploration of the method of free association within psychoanalytic treatment. This concise yet comprehensive book examines the historical roots, philosophical implications and transformative impact on the human psyche of free association, making it an essential resource for understanding the deep unconscious forces that shape our lives. Barratt demonstrates how free association uniquely reveals dimensions of the human condition that remain hidden in ordinary therapeutic approaches. Readers will gain insight into the distinctions between psychoanalysis and psychotherapy, the significance of repression and psychic energy, and the profound shifts in being that free association facilitates. Barratt's critical analysis of prevailing theories and alternative methods, such as somatic and shamanic practices, highlights the unparalleled ability of free association to reinvigorate psychic energies and existential freedom. This book is a vital resource for psychoanalysts in training and practice, and anyone deeply curious about the human psyche. It is also a valuable tool for instructors and researchers in psychoanalysis, psychotherapy and related fields. Barnaby B. Barratt is a research and training psychoanalyst in Johannesburg and Cape Town, South Africa. Philip Lance, PhD, is a psychoanalyst in private practice in Los Angeles. He can be reached at PhilipJLance@gmail.com. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/psychology

Mai Sugimoto, Krissy Bergmark, Heat On, Ishmael Ali, Janel Leppin, Ensemble Volcanic Ash, Jason Moran, Tom Oren, Teri Parker's Free Spirits, JABFUNG, Anthony Fung, Luke Sellick & Andrew Renfroe, The Gus Moberg Travesty, and Elsa NilssonPlaylist: Mai Sugimoto - Little DanceKrissy Bergmark - You're in the prime of your life.Heat On, featuring Lily Finnegan, Nick Macri, Ed Wilkerson Jr., Fred Jackson Jr. - Beltline, pt. 1Wanees Zarour - SilwanIshmael Ali - AnathemaJanel Leppin - ZonkJanel Leppin's Ensemble Volcanic Ash - Jazz is ResistanceJason Moran - Fleurette AfricaineTom Oren - Dark LightsTeri Parker's Free Spirits - Waltz BoogieJABFUNG - Stronger StillAnthony Fung, featuring Luca Alemmano and Andrew Renfroe - Duid DeedLuke Sellick & Andrew Renfroe - This Train is Bound for GloryThe Gus Moberg Travesty - NeptuneElsa Nilsson - Mourning For Two

CardioNerds Dr. Joseph Kassab, Dr. Mariana Garcia-Arango, and Dr. Christopher Mason explore the technological revolution of Coronary CT Angiography (CCTA) with expert faculty Dr. Michael Gallagher. The discussion details how CCTA has evolved into a frontline diagnostic and preventive tool, moving beyond simple anatomy to incorporate physiology via CT-FFR and biology through AI-driven plaque quantification. The episode reviews landmark evidence like the SCOT-HEART and PROMISE trials, the nuances of CAD-RADS 2.0 reporting, and the emerging role of AI in monitoring treatment response and personalizing cardiovascular care. Critically, they also discuss some of the assumptions and limitations of these techniques. Stay tuned for a matching review article to be submitted to US Cardiology Review, the official Journal of CardioNerds. This episode was supported by an independent medical education grant from HeartFlow. All CardioNerds education is planned, produced, and reviewed solely by CardioNerds.  Enjoy this Circulation Paths to Discovery article to learn more about the CardioNerds mission and journey. US Cardiology Review is now the official journal of CardioNerds! Submit your manuscripts here. CardioNerds Multimodality Cardiovascular Imaging PageCardioNerds Episode PageCardioNerds AcademyCardionerds Healy Honor Roll Pearls Shift in Paradigm: CCTA is no longer just an anatomic test; with some key limitations, it can provide anatomy, physiology (CT-FFR), and plaque biology (AI-CPA) in a single non-invasive scan. The “Power of Zero” vs. Plaque: While a normal CCTA has a >95% negative predictive value, future MIs often arise from non-obstructive plaque that traditional stress tests might miss. CAD-RADS 2.0 Utility: The addition of plaque burden modifiers (P1–P4) is a “game changer,” allowing clinicians to identify high-risk patients who need aggressive lipid-lowering despite having only mild stenosis. CT-FFR as a Virtual Stress Test: CT-FFR uses computational fluid dynamics to simulate blood flow, potentially reducing unnecessary invasive catheterizations by approximately 61% without sacrificing safety. Seeing the Invisible: AI-based quantitative plaque analysis (QCPA) can identify “subvisual” plaque and low-attenuation (lipid-rich) components that are the primary drivers of acute coronary syndromes. Show Notes How has the role of CCTA changed compared to traditional functional testing? Historically, stress testing answered “is there ischemia today?”, which often reflects late-stage disease. CCTA identifies disease across the entire spectrum, asking “is there atherosclerosis and how much plaque is present?”. Landmark evidence: SCOT-HEART showed a 41% relative risk reduction in MI at 5 years attributed to intensified preventive therapies, and PROMISE showed CCTA was better at selecting patients who truly needed invasive angiography. Diagnostic CCTA imaging depends on the protocol, contrast timing, heart rate, heart rhythm, breathholding, scanner quality, and several patient factors (obesity, prior stents, heavy calcification, complex bypass anatomy, and motion artifact all may limit imaging). “CCTA is exceptional for the right patient, with the right scanner, and the right team.” What are the key modifiers introduced in CAD-RADS 2.0, and why do they matter? CAD-RADS 2.0 moved beyond stenosis severity to include plaque burden (P0 to P4), high-risk plaque (HRP) features, and the presence of ischemia based on CT-FFR. It serves as a clinical decision support tool: a patient with mild (25-49%) stenosis but “extensive” (P4) plaque burden is considered high risk and warrants aggressive risk factor modification. How is CT-FFR calculated, and when is it most useful in clinical practice? CT-FFR uses resting CCTA data and computational fluid dynamics to create a 3D model of coronary flow during simulated maximal hyperemia. It is often used for intermediate lesions (40–90% stenosis) to predict if they are  ischemia-producing, guiding the decision whether to proceed with invasive angiography.  The assumptions necessary for this computational modeling may not apply well to patients with microvascular dysfunction, significant myocardial scar or prior infarction, or ventricular hypertrophy. Still, data indicate that CT-FFR performs similarly to PET in predicting hemodynamically significant lesions.  CT-FFR performs well at the extremes (either clearly normal or clearly abnormal). Accuracy dips, however, in the intermediate range (~0.75-0.80), where decision-making is most critical. In this grey zone, additional factors can help guide the approach, including the amount of myocardium supplied, translesional gradient, and plaque features.   CT-FFR has not been validated in distal segments, stented segments, heavily calcified coronary arteries, or in patients with severe aortic stenosis. Caution with CT-FFR should be utilized in very calcified coronary segments.  What is AI-based quantitative plaque analysis (QCPA), and what metrics are ready for clinical use? This is potentially a paradigm shift, moving away from stenosis-centric thinking to a more disease burden and plaque biology focus. QCPA uses deep learning algorithms to automatically segment the vessel wall and quantify plaque volume in mm³. Ready for “prime time” metrics include: Total Plaque Volume (TPV), non-calcified plaque volume, and Low-Attenuation Plaque (LAP) burden. Can serial CCTA be used to monitor the effectiveness of medical therapies like statins? While not yet a routine guideline-driven practice, trials like PARADIGM and EVAPORATE show that therapies can stabilize plaque; notably, CCTA is better for monitoring than CAC scores, which can be misleading as statins often increase plaque calcification as part of the stabilization process. There are no randomized trials that serial CCTAs improve outcomes. Cost and radiation exposure will be notable limitations. Serial scan timing, scan acquisition and interpretation standardization would be key. Dr. Gallagher notes that we are moving toward a world in which plaque burden may become a “treatment biomarker,” similar to tumor burden in oncology.  References 1. Coronary Computed Tomography Angiography From Clinical Uses to Emerging Technologies: JACC State-of-the-Art Review. Abdelrahman KM, Chen MY, Dey AK, et al. Journal of the American College of Cardiology. 2020;76(10):1226-1243. doi:10.1016/j.jacc.2020.06.076. 2. Non-Invasive Imaging in Coronary Syndromes: Recommendations of the European Association of Cardiovascular Imaging and the American Society of Echocardiography, in Collaboration With the American Society of Nuclear Cardiology, Society of Cardiovascular Computed Tomography, and Society for Cardiovascular Magnetic Resonance. Edvardsen T, Asch FM, Davidson B, et al. Journal of the American Society of Echocardiography : Official Publication of the American Society of Echocardiography. 2022;35(4):329-354. doi:10.1016/j.echo.2021.12.012. 3. 2021 AHA/ACC/ASE/CHEST/SAEM/SCCT/SCMR Guideline for the Evaluation and Diagnosis of Chest Pain: A Report of the American College of Cardiology/American Heart Association Joint Committee on Clinical Practice Guidelines. Gulati M, Levy PD, Mukherjee D, et al. Journal of the American College of Cardiology. 2021;78(22):e187-e285. doi:10.1016/j.jacc.2021.07.053. 4. Contemporary, Non-Invasive Imaging Diagnosis of Chronic Coronary Artery Disease. van der Bijl P, Gulati M, Saraste A, et al. Lancet (London, England). 2025;406(10519):2577-2587. doi:10.1016/S0140-6736(25)01586-7. 5. State of the Art: Evaluation and Medical Management of Nonobstructive Coronary Artery Disease in Patients With Chest Pain: A Scientific Statement From the American Heart Association. Slipczuk L, Blankstein R, Bucciarelli-Ducci C, et al. Circulation. 2025;152(23):e443-e466. doi:10.1161/CIR.0000000000001394. 6. Diagnostic Performance of Fractional Flow Reserve Derived From Coronary CT Angiography: The ACCURATE-CT Study. Li C, Hu Y, Jiang J, et al. JACC. Cardiovascular Interventions. 2024;17(17):1980-1992. doi:10.1016/j.jcin.2024.06.027. 7. Clinical Outcomes Based on Coronary Computed Tomography-Derived Fractional Flow Reserve and Plaque Characterization. Sato Y, Motoyama S, Miyajima K, et al. JACC. Cardiovascular Imaging. 2024;17(3):284-297. doi:10.1016/j.jcmg.2023.07.013. 8. Clinical Use of Coronary Computed Tomography Angiography-Derived Fractional Flow Reserve: Expert Consensus by an International Working Group. Tang CX, Leipsic JA, Nørgaard BL, et al. European Radiology. 2026;:10.1007/s00330-025-12313-6. doi:10.1007/s00330-025-12313-6. 9. Diagnostic accuracy of computed tomography–derived fractional flow reserve: a systematic review. Cook CM, Petraco R, Shun-Shin MJ, et al. JAMA Cardiol. 2017;2(7):803-810. Doi:10.1001/jamacardio.2017.1314 10. Diagnostic performance of noninvasive fractional flow reserve derived from coronary computed tomography angiography in suspected coronary artery disease: the NXT trial (Analysis of Coronary Blood Flow Using CT Angiography: Next Steps). Nørgaard BL, Leipsic J, Gaur S, et al. J Am Coll Cardiol. 2014;63(12):1145-1155. Doi:10.1016/j.jacc.2013.11.043 11. Comparison of coronary computed tomography angiography, fractional flow reserve, and perfusion imaging for ischemia diagnosis. Driessen RS, Danad I, Stuijfzand WJ, et al. J Am Coll Cardiol. 2019;73(2):161-173. Doi:10.1016/j.jacc.2018.10.056. 12. 1-year outcomes of FFRCT-guided care in patients with suspected coronary disease: the PLATFORM study. Douglas PS, De Bruyne B, Pontone G, et al. J Am Coll Cardiol. 2016;68(5):435-445. Doi:10.1016/j.jacc.2016.05.057. 13. Comparison of an initial risk-based testing strategy vs usual testing in stable symptomatic patients with suspected coronary artery disease: the PRECISE randomized clinical trial. Douglas PS, Nanna MG, Kelsey MD, et al; PRECISE Investigators. JAMA Cardiol. 2023;8(10):904-914. Doi:10.1001/jamacardio.2023.2595. 14. Diagnostic and clinical value of FFRCT in stable chest pain patients with extensive coronary calcification: the FACC study. Mickley H, Veien KT, Gerke O, et al. JACC Cardiovasc Imaging. 2022;15(6):1046-1058. doi:10.1016/j.jcmg.2021.12.010. 15. Low-Attenuation Noncalcified Plaque on Coronary Computed Tomography Angiography Predicts Myocardial Infarction: Results From the Multicenter SCOT-HEART Trial (Scottish Computed Tomography of the HEART). Williams MC, Kwiecinski J, Doris M, et al. Circulation. 2020;141(18):1452-1462. doi:10.1161/CIRCULATIONAHA.119.044720. 16. AI-Guided Quantitative Plaque Staging Predicts Long-Term Cardiovascular Outcomes in Patients at Risk for Atherosclerotic CVD. Nurmohamed NS, Bom MJ, Jukema RA, et al. JACC. Cardiovascular Imaging. 2024;17(3):269-280. doi:10.1016/j.jcmg.2023.05.020. 17. Interaction of AI-Enabled Quantitative Coronary Plaque Volumes on Coronary CT Angiography, FFRCT, and Clinical Outcomes: A Retrospective Analysis of the ADVANCE Registry. Dundas J, Leipsic J, Fairbairn T, et al. Circulation. Cardiovascular Imaging. 2024;17(3):e016143. doi:10.1161/CIRCIMAGING.123.016143. 18. Prognostic Value of AI-Based Quantitative Coronary CTA vs Human Reader-Based Visual Assessment: Results From the CONFIRM2 Registry. van Rosendael A, Nakanishi R, Bax JJ, et al. JACC. Cardiovascular Imaging. 2026;19(3):345-359. doi:10.1016/j.jcmg.2025.09.021.13. Pericoronary Adipose Tissue as a Marker of Cardiovascular Risk: JACC Review Topic of the Week. Tan N, Dey D, Marwick TH, Nerlekar N. Journal of the American College of Cardiology. 2023;81(9):913-923. doi:10.1016/j.jacc.2022.12.021. 19. Effect of Icosapent Ethyl on Progression of Coronary Atherosclerosis in Patients With Elevated Triglycerides on Statin Therapy: Final Results of the EVAPORATE Trial. Budoff MJ, Bhatt DL, Kinninger A, et al. European Heart Journal. 2020;41(40):3925-3932. doi:10.1093/eurheartj/ehaa652. 20. Coronary CT Angiography Evaluation With Artificial Intelligence for Individualized Medical Treatment of Atherosclerosis: A Consensus Statement From the QCI Study Group. Schulze K, Stantien AM, Williams MC, et al. Nature Reviews. Cardiology. 2026;23(2):100-115. doi:10.1038/s41569-025-01191-6.

Matthew Perry's assistant, Kenneth Iwamasa, will be the fifth and final person sentenced for playing a role in the actor's 2023 ketamine death. Carter Evans reports. An infrared camera on Brian and Lynette Hooker's sailboat may contain key evidence in the Michigan woman's disappearance in the Bahamas. Cristian Benavides reports. Dr. Céline Gounder joins "CBS Mornings" to break down the American Cancer Society's updated guidelines for colorectal cancer screenings. Doctors have recently been warned not to prescribe research-grade peptides, which are unregulated and sold online. Dr. Céline Gounder has more. Harvard economics professor Roland Fryer joins "CBS Mornings" to discuss what might be behind the world feeling lonelier. Roger Bennett, the founder and CEO of the Men in Blazers Media Network, sits down with "CBS Mornings" to break down the U.S. men's national team World Cup roster, which was announced on Tuesday. Contemporary artist and activist Ai Weiwei sits down with "CBS Mornings" to discuss his new book, "Ai Weiwei on Censorship," and the dangers of authoritarianism.

Klein, W., Li, S., & Wood, S. (2023). A qualitative analysis of gaslighting in romantic relationships. Personal Relationships, 30(4), 1316-1340.Specifically talk about it around 25 minutes  and 42 minutes Klein, W., Wood, S., Forget, A. A., & Bartz, J. A. (2026). A historical review of gaslighting: Tracing changing conceptualizations within psychiatry and psychology. Clinical Psychology Review, 102742.Was under review when we filmed - accepted and early access now Klein, W., Wood, S., & Bartz, J. A. (2026). A theoretical framework for studying the phenomenon of gaslighting. Personality and Social Psychology Review, 30(2), 195-215.I call it the 2025 paper, cause it was accepted and early access online in 2025, but I guess now it gets 2026 in the citation info, because the issue its technical in is the January issue. Which is annoying, because it's cited as 2025 in some places lol. Info on other stuff I brought uphttps://www.amazon.ca/This-Your-Brain-Music-Obsession/dp/0452288525Barton, R., & Whitehead, J. A. (1969). THE GAS-LIGHT PHENOMENON. The Lancet, 293(7608), 1258–1260. https://doi.org/10.1016/S0140-6736(69)92133-3First psychiatric gaslighting paper, don't think its open access thoughStark, C. A. (2019). Gaslighting, misogyny, and psychological oppression. The monist, 102(2), 221-235.11 minute mark - reasonable disagreement - I thin it's open accessClark, A. (2013). Whatever next? Predictive brains, situated agents, and the future of cognitive science. Behavioral and Brain Sciences, 36(3), 181–204. https://doi.org/10.1017/S0140525X12000477Around the 19 minute mark de Bruin, L., & Michael, J. (2021). Prediction error minimization as a framework for social cognition research. Erkenntnis, 86(1), 1-20.Also around the 19 minute mark Friston, K. (2010). The free-energy principle: a unified brain theory?. Nature reviews neuroscience, 11(2), 127-138.Around the 22 min mark Ogunfowora, B., & Bourdage, J. S. (2026). Is My Boss Gaslighting Me? Uncovering the Nomological Network of Gaslighting In Leader-Employee Relationships. Journal of Management, 01492063261426014.Workplace gaslighting 29 minute markBashford, J., & Leschziner, G. (2015). Bed partner “gas-lighting” as a cause of fictitious sleep-talking. Journal of Clinical Sleep Medicine, 11(10), 1237-1238.Contemporary case study discussed around 30 minute mark Bellomare, M., Giuseppe Genova, V., & Miano, P. (2024). Gaslighting exposure during emerging adulthood: Personality traits and vulnerability paths. International journal of psychological research, 17(1), 29-39.Miano, P., Bellomare, M., & Genova, V. G. (2021). Personality correlates of gaslighting behaviours in young adults. Journal of Sexual Aggression, 27(3), 285-298.2 papers on personality and gaslighting - 35 minute mark Graves, C. G., & Samp, J. A. (2021). The power to gaslight. Journal of Social and Personal Relationships, 38(11), 3378-3386.Gaslighting and power  35 minute mark https://www.amazon.com/Gaslighting-Interrogation-Methods-Psychotherapy-Analysis/dp/1568218281Covert control  - 37 minute mark - cults 46 minute mark Support the show

Destiny Christian Center May 25, 2026 The Government of God, Pastor Lawrence Neisent destinyokc.com

On the 18th October 1988, the naked body of 31 year old Linda Donaldson was found off Winwick lane in Lowton, Warrington. She had last been seen in Liverpool's red light district. Despite many enquiries being made into her murder it remains unsolved despite several other murders happening around the East Lancs road. In the next few weeks, I will also tell the stories of the 3 other murders often associated with Linda's. Important information provided by:Contemporary reports: https://www.findmypast.co.uk/homehttps://www.bbc.co.uk/news/uk-england-manchester-45899248https://www.manchestereveningnews.co.uk/news/greater-manchester-news/east-lancs-ripper-linda-donaldson-15292013https://news.sky.com/story/30-year-old-cold-case-new-appeal-to-catch-sex-workers-killer-11528397https://www.independent.co.uk/news/uk/crime/wigan-murder-linda-donaldson-1988-cold-case-sex-worker-new-appeal-greater-manchester-police-a8589886.htmlhttps://www.liverpoolecho.co.uk/news/liverpool-news/women-killed-three-brutal-unsolved-20907514https://www.leighjournal.co.uk/news/16989531.can-help-solve-30-year-case-murdered-linda-donaldson/https://www.mirror.co.uk/news/uk-news/brutal-unsolved-murders-carried-out-11814382https://www.liverpoolecho.co.uk/news/liverpool-news/east-lancs-ripper-murdered-mutilated-15421495Music by: dl-sounds.comFollow the Unseen Podcast on Apple Podcasts: https://podcasts.apple.com/us/podcast/the-unseen-podcast/id1318473466?uo=4Follow the Unseen Podcast on Spotify: https://open.spotify.com/show/0xWK7Mu3bTP6oziZvxrwSK?si=QxvyPkZ2TdCDscnfxyeRawJoin our Facebook group https://www.facebook.com/unseenpodFollow us on Twitter: https://twitter.com/theunseenpodFollow us on Instagram https://www.instagram.com/theunseenpod/Support us on Patreon: https://www.patreon.com/theunseenpod?fan_landing=truetSubscribe to 10 Minute True Crime: https://podcasts.apple.com/us/podcast/10-minute-true-crime/id1591474862

Pastor Klinkenberg delivers the message in the Auditorium.

If there is one word in the Bible that is easily misunderstood, it is the word “love.” Contemporary society replaces the biblical view of love with mere sentiment or lust. Not only this, but love of neighbor is pitted against love of God. In this sermon on Romans 13:8–10 titled “Love Your Neighbour,” Dr. Martyn Lloyd-Jones contends that love of neighbor has been twisted. One must look to Scripture in order to see that theology and love are not contrasted nor is it right to pit love and law against each other. Instead, when one truly loves their neighbor, they are, by necessity, fulfilling the law. Should Christians then only talk about love and never theology? Should they expect non-Christians, who have never experienced the new birth, to carry out this command? In this careful message on love and neighbor, Dr. Lloyd-Jones diagnoses the problem modern people have with biblical understanding of love of neighbor by pointing out how love of neighbor must be wedded to sound doctrine. Listen as he helps understand the difference between agape and other kinds of love. Furthermore, he clues the listener in on how a self-centered and sinful person can actually love thy neighbor as thyself. To support this ministry financially, visit: https://www.oneplace.com/donate/603/29?v=20251111

Class C: A Reflection on Theatre's Power and Relevance in 2026Join us for an in-depth conversation with playwright Chaz T. Martin as we explore the profound themes, production insights, and societal reflections embedded in the world premiere of Class C. This episode delves into the play's relevance, its production journey, and the powerful role of theatre in shaping and challenging societal norms. In this episode: The significance of Class C and its timely themes related to civil rights and societal upheaval Chaz T. Martin's journey from acting in Wisconsin to becoming a playwright and producer in Philadelphia Unique insights into the collaborative process behind the world premiere at the The Louis Bluver Theatre How the production design and staging amplify the play's message Audience reactions, including powerful silence and moments of reflection The play's commentary on political polarization, societal division, and the importance of forgiveness The role of theatre in creating empathy and challenging perceptions The play's anticipated relevance and impact in the next decade, including reflections on current political and social issues Practical ideas for leveraging theatre as a tool for social change and dialogue Timestamps: 00:05 - Introduction to the season and the importance of Philadelphia theatre 00:58 - Spotlight on Class C and its partnership with Azuka and Simpatico Theatre 01:36 - Chaz T. Martin's background: From Wisconsin to Philadelphia 02:06 - The evolution of Martin's work: Acting, writing, and producing 02:56 - Insights into Class C: Themes, relevance, and societal reflection 04:33 - The collaborative process of staging Class C and insights from the creative team 05:33 - Audience reactions and the powerful silence post-performance 07:17 - The play's commentary on societal division, polarization, and empathy 09:10 - The importance of community support and reciprocity in theatre 10:27 - The role of storytelling in shaping societal narratives and personal reflection 12:10 - Reflections on current political threats and societal resilience 14:07 - The play as a mirror for understanding history, present, and future challenges 16:34 - The cycle of greed, societal division, and the role of art in fostering understanding 18:50 - The importance of flexibility, dialogue, and shared humanity 20:35 - Moments of realization in the play; characters staying true to their values 23:41 - The play's commentary on moral integrity versus societal costs 25:16 - The role of forgiveness and understanding in societal healing 27:51 - The danger of imposing singular viewpoints; celebrating diversity of thought 30:50 - Theatre as a reflection of societal potential and cautionary tales 40:39 - Contemporary design and staging choices that deepen engagement 43:29 - Relevance of Class C in 10 years and its prophetic insights 46:47 - Final thoughts: The power of theatre to challenge and inspire Resources & Links: https://azukatheatre.org/ https://simpaticotheatre.org/ https://theaterre.org/class-c (tickets may be closing soon, see website for availability) Connect with Chaz T. Martin: • • / rhymeswithoz FOR TICKETS AND INFORMATION: https://www.azukatheatre.org/class-c ‍ ‍ Follow us and our links here: https://bio.site/em3ry

Send us Fan MailGuests - Summer Aiello & Shannon ThomasHosted By - Courtney Ortiz and Lesley MealorOur final throwback episode is one for the dance moms out there! Being a dance parent requires learning a lot of new information, from theatre etiquette to competition structures. But one thing that's not covered in any studio handbook is how not to be a stage mom. Join studio owner Shannon Thomas and veteran dance mom Summer Aiello for this informative chat! This episode originally aired on March 24, 2022. Topics Include:Understanding boundaries between your dancer and your studio ownerLearning what is acceptable dance parent behaviorHow to stay involved without pushing limitsHelp support our podcast! Join Making The Impact's Platinum Premium Subscription today! Your membership includes:Monthly Q&A episodes released to members onlyPriority to have your questions answered each month on the live Q&A.Ad-free listening for all of Seasons 4 through 7. No sponsored ads!20% off all IDA MerchandiseExclusive bonus content released throughout the yearDiscounted IDA Online CritiqueGroup Zoom check-ins 3x per season with Courtney Ortiz!Your support helps us produce future episodes of Making The Impact for years to come!Making The Impact's Platinum Premium - Sign up now for only $5/month!Follow your Hosts & Guests!Courtney Ortiz - @courtney.ortizLesley Mealor - @miss.lesley.danceSummer @SummerbelliesShannon @legacydance386This episode is sponsored by:Check out our service: IDA Online Judge's CritiquesSend us a video of your dance and an IDA Judge will critique your routine! You can request a genre-specific specialty judge or add on 10 minutes of additional feedback. 24 hour rush delivery available! Submit your video now! Join our FREE Facebook Group and connect with us! Making The Impact - A Dance Competition Podcast Community Leave us a review on Apple Podcasts! We would love to hear from you! Join our Newsletter for weekly episode releases straight to your inbox! Follow Impact Dance Adjudicators on social media @impactdanceadjudicators and for a list of IDA Affiliated dance competitions, visit our website at www.impactdanceadjudicators.comSupport the show

This episode originally aired February 8, 2015. Contemporary theologian and author Father Richard Rohr discusses how we can reconnect to our true self by overcoming the many ways in which our ego blocks our path. A Franciscan priest for more than 40 years and founder of the Center for Action and Contemplation in Albuquerque, New Mexico, Father Richard has firsthand understanding of how silence and meditation, deeper spiritual intuition and the inherent experience of love can lead to transformational discoveries within oneself. According to Father Richard, within each of us lies the true self and the false self. The true self, he says, is what religion often calls the soul—your eternal essence. The false self is the persona you create for yourself. Father Richard believes your goal in life is to find and manifest your true self. Hosted on Acast. See acast.com/privacy for more information.

Send us Fan MailGuests - Lynne McNelis and Jennifer LobaitoHosted By - Courtney Ortiz and Lesley MealorIn Episode 267 of Making The Impact - A Dance Competition Podcast, two former dancers join us to chat about what it's like to raise competitive dancers in this new era in the industry. From memories of "the good old days" to current challenges and joys, this is an episode you don't want to miss!Topics Include: The search for the right dance studio Differences between the old generation and the new generation of dancersSetting your dancer up for what success looks like for them using your knowledge of danceHelp support our podcast! Join Making The Impact's Platinum Premium Subscription today! Your membership includes:Monthly Q&A episodes released to members onlyPriority to have your questions answered each month on the live Q&A.Ad-free listening for all of Seasons 4 through 7. No sponsored ads!20% off all IDA MerchandiseExclusive bonus content released throughout the yearDiscounted IDA Online CritiqueGroup Zoom check-ins 3x per season with Courtney Ortiz!Your support helps us produce future episodes of Making The Impact for years to come!Making The Impact's Platinum Premium - Sign up now for only $5/month!Follow your Hosts & Guests!Courtney Ortiz - @courtney.ortizLesley Mealor - @miss.lesley.danceLynne McNelis - @lynnemcnelisJennifer Lobaito - @Dancefixwithjenn This episode is sponsored by:Check out our service: IDA Online Judge's CritiquesSend us a video of your dance and an IDA Judge will critique your routine! You can request a genre-specific specialty judge or add on 10 minutes of additional feedback. 24 hour rush delivery available! Submit your video now! Check out IDA affiliated competition True Dance Challenge! www.truedancechallenge.comJoin our FREE Facebook Group and connect with us! Making The Impact - A Dance Competition Podcast Community Leave us a review on Apple Podcasts! We would love to hear from you! Join our Newsletter for weekly episode releases straight to your inbox! Follow Impact Dance Adjudicators on social media @impactdanceadjudicators and for a list of IDA Affiliated dance competitions, visit our website at www.impactdanceadjudicators.comSupport the show