Podcasts about creatively

An insider's take on Jerry Seinfeld's recent struggles with his comedy, reactions to Colin Jost's controversial joke on SNL, and updates on ongoing and upcoming comedy shows. The podcast also touches on Joe Rogan's political comments, Gavin Newsom's attempts to engage with Rogan, and Pete Davidson's luxurious date with his pregnant girlfriend. Additionally, recent developments in long-running TV shows like 'South Park' and 'The Simpsons' are discussed, along with major announcements from the Great Outdoors Comedy Festival and Mel Hall's debut comedy special.Become a supporter of this podcast: https://www.spreaker.com/podcast/daily-comedy-news-with-johnny-mac--4522158/support.Become a premium subscriber! (no ads). For Apple users, hit the banner on your Apple podcasts app which says UNINTERRUPTED LISTENING and the bonus “DCN8” show.You also get 25+ other series  (it's only $4.99 a month with a free-trial month)Contact John at john@thesharkdeck dot com  Media Thoughts is mcdpod.substack.com dailycomedynews.substack.com DCN on Threads: https://www.threads.net/@dailycomedynews https://linktr.ee/dailycomedynews www.buymeacoffee.com/dailycomedynews  

In this week's Flagship Flashback episode of the Wade Keller Pro Wrestling Podcast from ten years ago (10-20-2015), PWTorch editor Wade Keller was joined by Jason Powell from ProWrestling.net and the Pro Wrestling Boom podcast. They discussed the Steve Austin interview with Brock Lesnar, plus reaction to last night's Raw and the breaking news of Raw's rating. They also field phone calls from live listeners on a variety of WWE-related topics.Then, in the previously VIP-exclusive Aftershow, they follow up on the Livecast to absorb the ratings news, plus answer a wide range of email topics including Global Force Wrestling, a Kane-Seth Rollins PPV prediction, a bold declaration from Keller regarding Seth, TNA in India, and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/wade-keller-pro-wrestling-podcast--3076978/support.

This week's been a bit of a struggle—I talk about feeling off and wondering if Seasonal Affective Disorder (SAD) has kicked in earlier than usual. It usually hits me in November, but with autumn feeling like it arrived early, the dip may have too.Creatively, I've been working on thriller projects and thinking ahead to my next fantasy book. I'm torn between starting Ravenglass Guardians Book 3 or working on RAF Dragon Corps Book 2—both exciting in their own ways.I also share what's coming up soon on Patreon, with exclusive content and early chapters for supporters.

Fredrik Haren, a 'creativity explorer,' shares insights from his extensive global journey covering 75 countries, explaining how different cultures perceive and harness creativity. He highlights the importance of understanding one's personal creative process and environment, debunking the myth that creativity is facilitated solely through structured processes and techniques. Instead, he emphasises the role of inspiration and the need to balance it with actual creative production. Frederick also discusses his upcoming book 'The World of Creativity,' which explores diverse perspectives on creativity across different cultures and professions. 00:00 Introduction01:07 Meet Fredrik Haren: The Creativity Explorer02:37 Defining Creativity: Perspectives and Insights06:59 Global Exploration of Creativity14:05 The Role of Environment in Creativity16:47 Exploring Your Creative Process with AI17:48 Creating a Culture of Innovation in Teams18:36 Understanding Group Creative Processes20:23 The Myth of Brainstorming21:26 Unique Creative Journeys22:30 Fredrik's Speaking Insights25:15 The World of Creativity Book26:28 The Essence of Curiosity28:58 Connecting with Fredrik30:22 Conclusion and FarewellLinkedIn* Connect with Fredrik Haren⚡️ In each episode, Paddy Dhanda deep dives into a new human Superpower to help you thrive in the age of AI.Host: Paddy DhandaPaddy works at the largest Tech training organisation in the UK and is passionate about helping tech professionals build human skills to thrive in the age of AI.Contact Paddy: paddy@superpowers.schoolSubscribe to my newsletter:

Support our Show:bit.ly/BuyMeACoffeeUKGEver solved a problem with duct tape, prayer, and a dash of drama? My friend, you're more creative than you think, and that is no accident. Whether you're navigating heartbreak, deadlines, or burnt pan de sal, your unique way of thinking is part of God's plan.

This week on Skip the Queue, we're stepping into the turret and turning up the tension, as we explore one of the UK's most talked-about immersive experiences.Our guest is Neil Connolly, Creative Director at The Everywhere Group, who have brought The Traitors Live Experience to life. With over 10 million viewers watching every betrayal, backstab and banishment on the BBC show, expectations for the live version were nothing short of murderous.So, how do you even begin to transform a TV juggernaut into a thrilling, guest-led experience? Let's find out who's playing the game… and who's about to be banished…Skip the Queue is brought to you by Rubber Cheese, a digital agency that builds remarkable systems and websites for attractions that helps them increase their visitor numbers. Your host is Paul Marden.If you like what you hear, you can subscribe on iTunes, Spotify, and all the usual channels by searching Skip the Queue or visit our website SkiptheQueue.fm.If you've enjoyed this podcast, please leave us a five star review, it really helps others find us. And remember to follow us on LinkedIn. Show references: The Traitors Live website: https://www.thetraitorslive.co.uk/Neil's LinkedIn: https://www.linkedin.com/in/neil-connolly-499054110/Neil Connolly is a creative leader of design and production teams focused on development, production and installation of live theatre, entertainment, multi-media and attractions for the themed entertainment industry worldwide.Neil began his career as a performer, writer, producer & artist in Londons alternative theatre/art scene. It was during this time Neil developed a love and passion for story telling through the platform of interactive playable immersive theatre.Having been at the vanguard of playable & immersive theatre since 2007, Neil had a career defining opportunity in 2019 when he devised, wrote & directed an immersive experience as part of Sainsbury's 150th Birthday Celebrations. Making him the only immersive theatre & game maker in the world to have HRH Elizabeth Regina attend one of their experiences.In a distinguished career spanning 20 years, Neil has brought that passion to every facet of themed entertainment in the creative direction and production of attractions such as; Handels Messiah, Snowman & The Snowdog, Peppa Pig Surprise Party, Traitors Live, The Crystal Maze Live Experience, Tomb Raider Live Experience & Chaos Karts, an AR go-kart real life battle. Other clients and activations include: Harrods, Sainsbury's, Camelot/The National Lottery, Samsung, Blenheim Palace, Land Rover and Warner Brothers.Neil has worked across 4 continents for many years with private individuals; designing, producing and delivering live entertainment on land, sea & air. A world without boundaries requires freethinking.Neil is currently working with Immersive Everywhere on creative development of show and attraction content for projects across U.K, Europe, North America & Asia. Transcriptions:  Paul Marden: This week on Skip the Queue, we're stepping into the turret and turning up the tension as we explore one of the UK's most talked about immersive experiences.Paul Marden: Our guest is Neil Connolly, Creative Director at The Everywhere Group, who've brought The Traitor's live experience to life. With over 10 million viewers watching every betrayal, backstab and banishment on the BBC show, expectations for the live version were nothing short of murderous. So how do you even begin to transform a TV juggernaut into a thrilling guest-led experience? Let's find out who's playing the game and who's about to be banished.Paul Marden: So, we're underground. Lots of groups running currently, aren't they? How did you make that happenNeil Connolly: Yeah, so now we're two floors under us. There's a lower basement and some other basement. So the building that we are in, there's a family in the 1890s who owned all of the land around Covent Garden and specifically the Adelphi Theatre.Paul Marden: Right.Neil Connolly: And they wanted their theatre to be the first theatre in the UK to have its lights powered by electricity. So they built their own private power station in this building. Like, literally like, all this, this is a power station. But unfortunately for these the Savoy had taken to that moniker, so they quickly built their important institution. The family had this building until the 1980s when the establishment was assumed through the important UK network.Neil Connolly: And then it was sat there empty, doing nothing for 40 years. And so the landlord that is now started redeveloping the building 10 years ago, added two floors onto the top of the building. So now what we're in is an eight-storey structure and we've basically got the bottom four floors. Two of which are ground and mezzanine, which is our hospitality area. And the lower two floors, which are all in the basement, are our experience floors. What we're looking at right now is, if you look off down this way to the right, not you people on audio, but me here.Neil Connolly: Off this side is five of the round table rooms. There's another one behind me and there's two more upstairs. And then I've got some Tretters Towers off to the left and I've got my show control system down there.Neil Connolly: On the floor above me, we've got the lounges. So each lounge is connected to one of the round table rooms. Because when you get murdered or banished, one of the biggest challenges that I faced was what happens to people when they get murdered or banished? Because you get kicked out of the game. It's not a lot of fun, is it? Therefore, for me, you also get kicked out of the round table room. So this is a huge challenge I face. But I built these lounge concepts where you go— it's the lounge of the dead— and you can see and hear the round table room that you've just left. We'll go walk into the room in a while. There's lots of interactivity. But yeah, super fun. Neil Connolly: But unfortunately for these the Savoy had taken to that moniker, so they quickly built their important institution. The family had this establishment until the 1980s when the establishment was considered through the important UK network.Paul Marden: Yeah. So we've got 10 million people tuning in to Traitors per episode. So this must be a lot of pressure for you to get it right. Tell us about the experience and what challenges you faced along the way, from, you know, that initial text message through to the final creation that we're stood in now.Neil Connolly: So many challenges, but to quote Scroobius Pip on this, do you know Scroobius Pip? Paul Marden: No. Neil Connolly: Great, he's amazing. UK rapper from Essex.Neil Connolly: Some people see a mousetrap and think death. I see free cheese and a challenge.Neil Connolly: There's never any problems in my logic, in my thinking. There's always just challenges to overcome. So one of the biggest challenges was what happens to people when they get murdered or banished. The truth of the matter is I had to design a whole other show, which happens after this show. It is one big show. But you go to the Lounge of the Dead, there's more interactivity. And navigating that with the former controller, which is O3 Media and IDTV, who created the original format in the Netherlands, and basically designing a game that is in the world and follows the rules of their game with some reasonable adjustments, because TV and live are not the same thing.Neil Connolly: It takes 14 days to film 12 episodes of The Traitors. Paul Marden: Really? Okay. Neil Connolly: So I was like, how do I truncate 14 days of somebody's life down into a two-hour experience and still deliver that same impact, that same power, that same punch?Paul Marden: Yep.Neil Connolly: But I knew from the beginning of this that it wasn't about time. There is a magic triangle when it comes to the traitors, which is time, space, atmosphere. And time was the thing that I always struggled with. I don't have a Scottish cattle show, and I don't have two weeks. No. So I'm like, 'Cool, I've got to do it in two hours.' So our format follows exactly the same format. We do a breakfast scene, then a mission, then a roundtable banishment, then there's a conclave where the traitors meet and they murder somebody. And I do that in a seven-day structure, a seven-day cycle. But it all happens within two hours around this round table.Neil Connolly: I'm the creative director for Immersive Everywhere. We're a vertically integrated structure in the sense that we take on our own venues. So we're now standing in Shorts Gardens in the middle of Covent Garden. So we've leased this building. We've got a lease that is for a number of years and we have built the show into it. But we also identify the IP, go after that ourselves, we capitalise the projects ourselves. We seek strategic partners, promoters, other people to kind of come involved in that journey. But because we're also the team that are licensing the product, we are also the producers and I'm the creative director for that company. So I developed the creative in line with while also getting the deal done. This is incredibly unusual because other producers will be like, 'Hey, I've identified this IP and I've got it.' Now I'm going to approach a creative agency and I'm going to get them to develop the product. And now I've done all of that, I'm going to find someone else to operationally put it on, or I'm going to find a venue to put it on in, and then I'm going to find my ticketing partner.  But we don't do that. We have our own ticketing platform, and we have our own database, so we mark our own shoulders.Neil Connolly: As well as other experiences too. Back, we have our own creative industry, we are the producers, we are the female workers. So we cast it, we hire all the front of house team, we run the food and beverage, we run the bars. The operations team is our operations team because they run the venue as well as the show at the same time. So that's what I mean. We're a vertically integrated structure, which means we do it, which makes us a very unusual proposition within... certainly within the UK market, possibly the world. It makes us incredibly agile as a company and makes us to be able to be adaptive and proactive and reactive to the product, to the show, to the market that we're operating in, because it's all under one roof.Neil Connolly: This show started January 24th, 2023. Right. It's very specific because I was sitting on my sofa drinking a lovely glass of Merlot and I had just watched... UK Traitors, Season One. Yep. Because it came out that Christmas. Immediately I was like, 'Oh my God, this is insane.' And then I got a text message that particular night from our head of licensing, a guy named Tom Rowe, lovely man. And he was like, Neil, I'm at a licensing event with some friends of mine and everyone's talking about this thing called Traitors. I've not watched it. Have you watched it? Sounds like it might be a good thing. And so I sat back and drank my Merlot. And about five minutes later, I text him back and I was like, Tom, get us that license.Neil Connolly: And then I sent him a bunch of other details of how the show in my head would work, both from a commercial standpoint, but also from a creative standpoint, because I'm a commercially minded creative. Right. So I instantly took out my notebook and I started writing down exactly how I thought the show was going to do, the challenges that we would face and being able to translate this into a live thing. But I literally started writing it that night. And then he watched the first episode on the train on the way home. And then he texted me the next morning and he was like, 'I love it.' What do we need to do? And I was like, 'Get us in the room.' Two days later, we were in the room with all three media who own the format globally.Paul Marden: Okay.Neil Connolly: So we sat down and then they came to see one of our other shows and they were like, 'Okay, we get it now.' And then that was like two and a half years of just building the show, getting the deal done and facing the myriad of challenges. But yeah, sometimes it just starts with the text message.Paul Marden: So they get to experience all the key parts of the TV.Neil Connolly: All the key beats. Like right now, I'm holding one of the slates. They're not chalkboard slates. Again, this is... Oh, actually, this is a good challenge. So in the TV show, they've got a piece of slate and they write on it with a chalkboard pen. This seems so innocuous and I can't believe I'm talking about this on a podcast.Neil Connolly: Slategate was like six months of my life. Not in its entirety, but it was a six month long conversation about how we do the slates correctly. Because we do... 48 shows a day, six days a week. And those slates will crack. They will bash. And they're kind of a bit health and safety standards. I was like, can't have them. Also, they write on them with chalk pens, white ink chalk pens. But in the TV show, you only do it once a night. Yeah.Paul Marden: And then you have a producer and a runner.Neil Connolly: They just clean them very, very leisurely and set them back for the next day. And I was like, no, I've got to do a whole bunch of roundtable banishments in two hours. So we talked a lot about material, about style, literal viewership, because if you take a seat at the table. Yeah. If you're sitting at the table here, you'll notice that we've got a raised bit in the middle. If I turn mine around, the other person on the other side can't see it. So I was like, 'Okay, cool.' So we had to do a whole bunch of choreography. But also, the room's quite dark. Yes. At times, atmospheric. Yeah. In that magic triangle time-space atmosphere. So anything that was darker, or even that black slate, you just couldn't read it. And then there was, and then I had to— this is the level of detail that we have to go into when we're designing this kind of stuff. I was like, 'Yeah, but I can't clean off these slates with the white ink because everyone will have to have like a wet cloth chamois. Then I've just got loads of chamois around my venue that I just don't need.' And so then we're like, 'Oh, let's use real slates with real chalk.' And I was like, 'No, because dust will get everywhere.' I'll get chalk just all over my table. It'll just ruin everything. It'll ruin the technology that's inside the table because there's lots of hidden tricks inside of it. Paul Marden: Is there really? Yeah, yeah, yeah.  Neil Connolly: There's loads of hidden tricks inside the table. So after a while, going through many different permutations, I sat down with Christian Elenis, who's my set designer and my art director. And we were, the two of us were nearly in tears because we were like, 'We need,' and this only happened like.Neil Connolly: I would say two, three weeks before we opened. We still hadn't solved how to do the slate, which is a big thing in the show. Anybody who's seen the show and loves the show knows that they want to come in, they want to write somebody's name on the slate, and they want to spell the name incorrectly.Neil Connolly: Everyone does it on purpose. But I wanted to give people that opportunity. So then eventually we sat down and we were like, Christian, Neil. And the two of us in conversation went, why don't we just get a clear piece of Perspex, back it with a light coloured vinyl. And then Christian was like, 'Ooh,' and I'll make it nice and soft and put some felt on the back of it, which is what I'm holding. And then why don't we get a black pen? And we were like, 'Yeah,' like a whiteboard marker. And then we can just write on it. And then A, I can see it from the other side of the table. Thing one achieved. Two. Every marker pen's got an eraser on the top of it. I don't know why everyone thinks this is important, but it is. That you can just rub out like that, and I'm like, 'There's no dirt, there's no mess, and I can reuse this multiple times, like dozens of times in the same show.' And I know that sounds really weird, but that's the level of design I'm going to need.Paul Marden: I was just about to say, and that is just for the chalkboard. Yeah. Now you need to multiply that. How many decisions?Neil Connolly: How many decisions in each game. But also remember that there are eight round tables in this building. Each round table seats 14 people. And we do six sessions a day. So first ones at 10 a. m. Then we do 12, 2, 4, 6, and 8 p. m. So we do 48 shows a day, six days a week.Paul Marden: I love the concept that these are shows. This is not this is not visitor attraction. This is theater repeated multiple times a day for multi audience is concurrently.Neil Connolly: And I've just spent five minutes describing a slate to you. Yeah. But like, I haven't even got— it's like the sheer amount of technology that is in the show. And again, theatrical, like, look above our heads. Yeah. You've got this ring light above every seat. It's got a pin light. There's also microphones which are picking up all the audio in the room, which again is translating to the lounge of the dead. Every single one of the round table rooms has four CCTV cameras. Can you see that one in the corner? Each one of them is 4K resolution. It's quite high spec, which is aimed at the opposite side of the table to give you the resolution in the TV. In the other room. Then you've got these video contents. This is constantly displaying secret information through the course of the show to the traitors when they're in Conclave because everyone's in blindfolds and they took them off. They get secret instructions from that. There's also a live actor in the room. A live actor who is Claudia? They're not Claudia. They're not pastiches of Claudia. They are characters that we have created and they are the host of The Traitor's Game. Right. They only exist inside this building. We never have them portrayed outside of this building in any way whatsoever.Neil Connolly: They are characters, but they live, they breathe— the game of Traitors, the world of Traitors, and the building that we have designed and constructed here. And they facilitate the game for the people. And they facilitate the game for the people. One actor to 14 people. There are no plants, even though everyone tries to tell me. Members of the public will be convinced that they are the only person that's in that show and that everyone else is a plant. And I'm like, no, because that would be insane.Neil Connolly: The only actor in the room is the host.Paul Marden: 14 people that can sit around this table. How many of them are in the same group? Are you with your friends or is it put together where there are other people that you won't know in the room? If you book together, you play together.Neil Connolly: Yes. Okay, so if you don't book 14 people... Ah, we also capped the number of tickets that you can purchase to eight. Right. So you can only purchase a maximum of eight tickets unless you do want a full table of 14, at which point you have to then purchase a VIP package because you are booking out a whole table for yourselves. The game doesn't work if there's less than 10 people at the table. So there has to be 10, 11, 12, 13 or 14 people sat at a round table for the show to actually happen, for it to work. By capping the number of tickets that you book for eight, then that guarantees that strangers will be playing together. And that is the basis of strangers. Yeah, yeah. Like, you need to be sat around a table with people you know, you don't know, that you trust and you don't trust. Yeah. Fact of the matter. And do you see people turning on the others in their own group? Every single time. People think genuinely, and I love this from the public, you would think that if you're turning up as a group of eight and a group of four and a group of two, that the bigger group would just pick everybody off to make sure that someone in their group gets through to the end game.Neil Connolly: I'm sure they think that and they probably plot and plan that before they arrive on site. As soon as this game starts, gloves are off and everyone just starts going for each other. We've been open nearly two months now. I have seen, like, children murdered of their mothers.Neil Connolly: Husbands murder their wives, wives murder their husbands. I've seen, like, three generations—like, we get, because it's so intergenerational, like our lowest, the lowest age that you can play this is 12. Right. And then it's upwards. I've seen three generations of family come in and I've seen grandkids murder their own nan.Neil Connolly: Absolutely convinced that they're a traitor. Yeah, yeah, yeah. 100%. Or they banish them. Like, it's just mental. I've also seen nans, who are traitors, murder their grandkids.Neil Connolly: Like, and this is in a room full of strangers. They're just like, 'No, I'm not going to go for Barbara, who I met two hours ago in the bar. I'm going to go for my own grandson. It's mental.'Neil Connolly: The very, very first thing that I always think about whenever I'm creating an experience or whenever I'm designing a show is I put myself in the position of 'I'm a member of the public.' I have bought a ticketNeil Connolly: What's the coolest thing that I am going to do for my money? What is my perceived value of my ticket over actually what is the value of that ticket? I wanted to give people the experience of knowing what it was like to be sitting in one of these chairs at this table and feeling their heart. The pounding in their chest and I mean, the pounding in their chest, that rush of adrenaline from doing nothing— from sitting in a chair and all you were doing was sitting in a room talking to people and your heart is going.Neil Connolly: Because you're either being accused of being a liar. And trying to defend against it. And trying to defend against it. Or you actually are lying and you're trying to whittle your way out of it. And that feeling is the most alive that you will ever feel. Not ever. Like, I'm sure they're... No, no, no. But, like, give people that opportunity and that experience, as well as, like, access to the world of traitors and the law and everything else. But also, it's like any other theme park ride. People go on roller coasters because the imminent fear of death is always there. Yeah. And you feel alive. You're like, you've got such a buzz of adrenaline. Whereas, arguably, we do exactly the same thing as roller coasters, but in a much more longer-drawn format and multiple times. Yeah. And people do feel alive. When people walk out of the show, you see them go upstairs to the bar, and they are... Yeah.Paul Marden: You've said to me already that you don't use the word 'immersive,' but you know, I'm, I'm, I'm sat. The company is called 'immersive' everywhere. I'm sat behind the scenes. Okay. I'm sat in the room and the room is hugely convincing. It's like the highest fidelity escape room type experience that I've ever sat in. It feels like I'm on set, yeah, yeah. Um, I can totally believe that, in those two hours, you can slip. I sat on a game. It was only a two-minute game at iApple, but I was being filmed by one of the team. But within 30 seconds, I'd forgotten that they were there because I was completely immersed in the game. I can believe that, sitting in here right now, you could forget where you were and what you were doing, that you were completely submerged in the reality of the land that you're in.Neil Connolly: Yeah, 100%. Like, the world does not exist beyond these worlds. And for some people, like, I have my own definition. Everyone's got a different definition of what immersive is. I've got my own definition. But... I can tell you right now, as soon as people enter this building, they're in the bar, they're kind of slowly immersed in that world because the bar is a themed bar. It's done to the same, like we designed and built that bar as well. But as soon as they start descending that spiral staircase and coming into the gameplay floors, into the show floors, they just forget the rest of the world exists. And especially when they sit down at this table, it doesn't matter. I'm sat next to you here, but you could be sat at this table with your loved one, strangers, whatever. The gloves come off and just nothing exists apart from the game that you're about to go through.Paul Marden: You've been open now for a couple of months. More success than you were anticipating, I think. So pre-sales went through the roof? Yes. So you're very happy with the results?Neil Connolly: Yeah, yeah, we were. Yeah, well, we still are.Neil Connolly: We were very confident before we'd even started building the show, like the literal structural build, because we did very well. But then that set expectations quite high because I had a lot of people that had bought tickets and I was like, 'OK, I need to put on a good show for these people. And I need to make sure that they get satisfaction relative to the tickets that they bought.' But I don't feel pressure. I do feel anxiety quite a lot. Creatively? Yeah. I mean, I meditate every day.Paul Marden: But you've created this amazing world and you're inviting people into it. And as a creative, you're opening yourself up, aren't you? People are walking into the world that you've created.Neil Connolly: Yeah, this was said to me. This is not something that I came up with myself, and I do say this really humbly, but it was something that was said to me. It was on opening day, and a bunch of my friends came to playtest the show. And they were like, 'Oh, this is your brain in a building.'Neil Connolly: And I was like, 'Yeah, I hadn't thought about that.' But yeah, it is my brain in a building. But also that's terrifying, I think, for everybody else, because I know what happens inside my brain and it's really quite chaotic.Neil Connolly: But, you know, this I am. I'm so proud of this show. Like you could not believe how proud I am of this show. But also a huge part of my job is to find people that are smarter than me at the relative thing that they do, such as the rest of my creative team. They're all so much smarter than me. My job is vision and to be able to communicate that vision clearly and effectively so that they go, 'I understand.' The amount of times that people on the creative team turn around to me and go, 'Neil, that's a completely mental idea.' If people are saying to me, 'No one's ever done that before' or 'that's not the way things are done.'Neil Connolly: Or we can do that, but we're going to have to probably invent a whole new thing. If people are saying those things to me, I know I'm doing my job correctly. And I'm not doing that to challenge myself, but everything that I approach in terms of how I build shows is not about format. It's not about blueprints. It's not like, 'Hey, I've done this before, so I'm just going to do this again because I know that's a really neat trick.' I go back to, 'I made the show because I wanted people's heart to pound in their chest while they're sitting in a chair and make them feel alive.'Paul Marden: Is that the vision that you had in your head? So you're articulating that really, really clearly. Is that the vision that you sold to everybody on, not maybe day one, but within a couple of days of talking about this? No, it was day one.Neil Connolly: It was day one. Everyone went, that's a completely mental idea. But, you know, it's my job to try and communicate that as effectively and clearly as I can. But again, I am just one man. My job is vision. And, you know, there's lighting design, sound design, art direction, there's game logic. We haven't even gotten to the technology of how this show works yet, or how this room works.Neil Connolly: Actually, I'll wander down the corner. Yeah, let's do that. But, like, there's other, like, lots of hidden tricks. Like, this is one of the games, one of the missions. In the world and the lore of the show, the round table is sacrosanct.Paul Marden: Yes.Neil Connolly: Traitors is the game. The game is in other people. I can do so many missions and there's loads of missions and they're really fun in this show. But the game is in other people. It's in the people sat on the other side of the room. But also I wanted to do a thing where people could interact directly with the set. And so I designed one of the missions to be in the round table itself.Neil Connolly: So there's a course of these moon dials, which you basically have to align through the course of it. And there are sensors built into the table so that they know when they're in the correct position. How you find out the correct position is by solving a very, very simple puzzle and then communicating effectively to a bunch of strangers that you just met.Neil Connolly: And the sensors basically read it all. And when that all gets into position, the lights react, the sound reacts, the video content reacts, the whole room reacts to you. So I wanted to give people something tangible that they can touch and they make the room react to them. Yes, it's. I mean, I've designed, I've got background in escape rooms as well, right? Um, so I've done a lot of that kind of stuff as well. So I wanted people to feel in touch, same, but like, there's more tangible props over here. Um, yeah, that is a model box of the room that we are stood in, yeah. Also, there's an exact replica of it on the other side of it. There are very subtle differences between it, and that informs one of the missions. So that is two model boxes in this roundtable room. There's one of these in every single roundtable room. So there's 16 model boxes of the show that you're stood in on the set. And again, theatre. It's a show. But it's one of the missions, because I wanted people to kind of go, 'Oh, there's a live actor in front of me.' I'm having fun. Oh, look at all these lights and all the sound. Oh, there's a model box over here. That's in theatre land and blah, blah, blah. But that is also a really expensive joke. It's a really expensive joke. And there's other, like, lots of hidden tricks.Neil Connolly: Let's go look at backstage. Yeah, yeah, yeah, absolutely.Neil Connolly: I say backstage, like how we refer to it or how I always go. I use 'I' and 'we' very interchangeably. Like right now you're on the set. Like you're on the stage. Yes. We're just wandering around a long corridor. There are round table rooms off to either side. But like, you know, there's a green room upstairs where the actors get changed, where the front of house team are, where the bar team all are. But as soon as they go out onto the show floor, they're on stage—yes, completely. We'll very quickly have a look at the gallery—yes, show control. Hi, Robbo. Do you mind if I stand in your room for the purposes of the audio? I'm talking to the technical manager, Thomas Robson. We're recording a podcast.Paul Marden: Robbo, oh yeah, okay. My mind is absolutely blown. So you've got every single room up on screen.Neil Connolly: Yeah, so that's great. There's 164 cameras—something like that. But every roundtable room has four cameras in it. Each camera is 4K resolution. So we've got cameras on all of them. We've got audio into those rooms. That's two-way, so that if show control needs to talk directly to them, they just press a button here and they can talk directly to the room itself. Mainly just like, stop misbehaving, we're watching you.Neil Connolly: We've then got cameras into all of the lounges, all of the show spaces, all the front of house, all of the bar areas, the mezzanine and back of house. And then you've got QLab running across all of the different shows. We've got backups on all of these screens. So if one... of the computers goes down, we can very quickly swap it in for a backup that's already running. We've got show control, which is, there's a company called Clockwork Dog, who, they're an amazing company. What COGS, their show control system, is doing is pulling in all of the QLab from sound, all of the QLab from lighting, and also we built our own app. to be able to run the show. So there's a whole logic and decision tree based on the decisions that the public do through the course of the game. So yes, there is a beginning, a middle, and an end in terms of our narrative beats and the narrative story of the show that we're telling people. But also that narrative can go in. Hundreds of different directions depending on the actions and the gameplay that the people do during the course of the show. So, you haven't just learned one show— you have to learn like You have to learn a world, and you have to learn a whole game.Neil Connolly: Like, there's the server, stacks, which we had to build. You had to network and cable the entire building. So we have built an entire new attraction, which didn't exist before. And also we're pulling in information from the front of house system which is also going into the show itself because again, you put your name into the iPad when you arrive on site and then you tick a box very crucially to say, 'Do you want to be selected as a trader? Yes or No.' Because in the game, it's a fundamental rule. If you say no, you cannot be selected as a traitor by the host during traitor selection. That doesn't mean you can't be recruited.Paul Marden: By the traitors later on in the game. So you could come and do this multiple times and not experience the same story because there were so many different pathways that you could go down.Neil Connolly: But also, the game is in other people. Yes. The show is sat on the opposite side of the table to you because, like, Bob and Sandra don't know each other. They'll never see each other ever again. But Bob comes again and he's now playing against Laura. Who's Laura? She's an unknown quantity. That's a whole new game. That's a whole new show. There's a whole new dynamic. That's a whole new storyline that you have to develop. And so the actors are doing an incredible job of managing all of that.Paul Marden: Thanks, Robbo. Thank you. So you've worked with some really, really impressive leading IP, Traders, Peppa Pig, Doctor Who, Great Gatsby. What challenges do you face taking things from screen to the live experience?Paul Marden: Challenges do I face? We're wandering here.Neil Connolly: So we are in... Oh, we're in the tower.Neil Connolly: Excellent. Yep, so we're now in Traitor's Tower. Good time for you to ask me the question, what challenges do I face? Things like this. We're now stood in Traitor's Tower. Paul, let me ask you the question. Without the show lights being on, so we're just stood on a set under workers, what's your opinion of the room that we're stood in?Paul Marden: Oh, it's hugely impressive. It feels like, apart from the fact you've punched the fourth wall out of the telly, it does feel like you're on set.Neil Connolly: It's a really faithful reproduction of the set. So that's kind of one of the challenges is managing the public's expectations of what they see, do and feel on site. So that I don't change the show so that people come and play the game that they're expecting to play. But making reasonable adjustments within that, because TV and live are two very, very different things. So first and foremost was making sure that we get the format right. So the game that people play, which informs the narrative of the show and the narrative structure of the show. Breakfast, mission, round table, conclave. Breakfast, mission, round table, conclave. I've designed a whole bunch of new missions that are in this, taken some inspiration from missions that people know and love from the TV shows, whether that's the UK territory or other territories around the world. And also just other stuff is just clear out of my head. So there's original content in there. paying homage and respect to the world that they've built and allowing ourselves to also play and develop and build out that world at the same time. Other challenges.Neil Connolly: This is not a cheap project. No, no. I mean, the production quality of this is beautiful. Yeah, yeah, thank you. It is stunning. When people walk in here, they're like, 'Oh my God, this is... High end.' I am in a luxury event at a very affordable price.Paul Marden: Thank you. And then we're going back upstairs again. Yes. And in the stairwell, we've got the crossed out photos of all of those that have fallen before us.Neil Connolly: No, not quite. All of the people that are in this corridor, there's about 100 photos. These are all the people who built the show.Neil Connolly: So this is David Gregory. He's the sound designer. This is Kitty, who is Immersive Everywhere's office manager. She also works in ticketing. That is Tallulah and Alba, who work in the art department. Elliot, who's our lighting designer. So all of these people are the people who brought the show to life.Paul Marden: Amazing.Neil Connolly: And we wanted to pay homage to them because some of them gave years of their lives to building the show from literally the inception that I had in 2023. Through to now and others are the people who literally spent months of their life underground in these basements building hand-building this set and so we wanted to pay homage to them so we got all of their photos we did the iconic red cross through it yeah and we stuck them all up in the corridor just because we thought it'd be a nice thing to do.Paul Marden: You're in the business of trading and experiences and that ranges from art exhibitions to touring shows. There's always going to be a challenge of balancing innovation and profitability. What is the formula? What is the magic formula?Neil Connolly: I believe, first and foremost, going back to what I was telling you earlier about us being a collaborative organisation. We are not a creative crack that has been used for the show. We are also the producers of the show. And to make my point again, I'm a commercially minded creative. So I actually sit down with the producers and go, 'Okay, cool.' There are 112 seats in the show.Paul Marden: Yep.Neil Connolly: Therefore, how many shows do we need to do per day? How many shows do we need to do per week? How many shows do we need to do per year? Therefore, let's build out a P &L. And we build a whole business plan based around that.Paul Marden: By having everybody— that you need in the team— makes it much easier to talk about that sort of stuff. It makes it much easier for you to design things with the end result in mind. You don't have a creative in a creative agency going off— feeding their creative wants without really thinking about the practicalities of delivering on it.Neil Connolly: Exactly. So you've got to think like, literally, from the very, very beginning: you've got to think about guest flow. You've got to think about throughput. You've got to think about your capacities. Then you've got to basically build out a budget that you think— how much, hey, how much really is this going to cost? Yeah. Then you build out an entire business plan and then you go and start raising the money to try and put that on. And then you find a venue. I mean, like the other magic triangle, like the traitor's magic triangle is, you know, time, space, atmosphere. That's how you do a show. Like with my producer's hat on, the other magic triangle is show, money, venue.Neil Connolly: The truth of the matter, like I make no bones about it, I can design shows till the cows come home, but I'm always going to need money to put them on and a venue to put them in. Also, I want to stress this really important. I use the words 'I' and 'we' very interchangeably.Paul Marden: It's a team effort.Neil Connolly: You can see that in that corridor. I am not a one-man band. I am the creative director of a company. I am a cog that is in that machine, and everybody is doing... We are, as a team... I cannot stress this enough. Some of the best in the business are doing what we do. And everyone is so wildly talented. And that's just us on the producing side. That's immersive everywhere, limited. Then I've got a whole other creative team. Then we've got operations. Then we've got... It's just mad. It's just mad, isn't it? This is a job. Who would have thought, when you were at school, this was an opportunity? Not my principal or my maths teacher.Neil Connolly: So, sorry, just to balance the kind of economies of scale. That was the question, wasn't it?Paul Marden: Well, we were talking about what is the formula for making that an investment, but you know, the authority here is the effort you've put in to do this feels high, but at the same time, you have to find this thing. There is a lot of investment that goes into the front.Neil Connolly: But that comes back to creatives. Caring and I'm not saying the creatives don't, but I care. I care about building businesses. Yeah, not necessarily like building my own CV, like there's so many projects that across our desks. I'll be like, 'Yeah, that'd be really fun to work on.' But do I think that I can make that a touring product? Can it be a long-running location-based entertainment sit-down product? Can it be an art shop? Like you've kind of got a balance with what do you think is just creatively cool versus what can we do as a company that is a commercially viable and financially stable product? And so all that comes through in terms of the creative, but also in terms of the activities of how we run the building, how this model realizes. Because if you think about it, let's make Phantom of the Opera run in the West End. Yes. The show is very obvious, with many casts on a room, away, fruit team away, terrace, it's a big activity. If they haven't sold half that away, they have to use the whole show and play all those people.Neil Connolly: But if they haven't sold half that away from one of my shows... I only have to activate four of my rooms, not eight of them. Therefore, I don't have to call in four actors. I don't have to call in a bunch of the other front of house team and I can scale in the operations on the back. It's an entirely scalable process. Flexible, yeah, yeah, yeah. Oh, 100%. But also, like, we've got eight rooms here. If we decide to take this to another territory, and that territory demands a much higher throughput, then instead of eight rooms, I can do 20 rooms, 30 rooms. As long as we know that the market is there to be able to kind of get people through it.Neil Connolly: I love this show and I'm so proud of it. The main reason why I'm proud of it is when the show finishes, let's go into one of the lounges. Have you been into one of the lounges?Paul Marden: I've had a nose around a lounge.Neil Connolly: There are different shapes and sizes. We won't go into that one. We'll go into this one down here. That one, that one. It's always such a buzz when you're stood in the bar and the shows kick out, and you see tables and tables of 14 people going up into the bar.Neil Connolly: Area and before they've even gotten a drink, they will run straight over to their friends, families, strangers, whoever they were playing with in that table of 14, and instantly be like, 'Right, I need to know everything that was going on inside your head, your heart, and your soul over the last two hours of my life because this was my experience.'Neil Connolly: And they'll just go, and they'll be like, 'And this is what I was thinking.' And then I thought it was you because you did this and you touched your nose in a weird way. And then I thought you were sending secret signals. And then everyone's like, 'No, that's not what I was doing.' I was just trying to be a normal person. And they were like, 'Well, why did you say that thing?' It sounded super weird. And they're like, 'That's just what I do.' And it's just totally mental. And then they all get a drink from the bar. And we call it the bar tab chat.Neil Connolly: It's another revenue stream.Neil Connolly: I do talk about this like it's a show. And it is a show. You've walked around, do you think it's a show? Completely. I talk to established houses all the time. Like, you know, the big theatres of the land. Organisations that are national portfolio organisations who receive a lot of Arts Council funding. The thing that they want to talk to us about all the time is new audiences. They're like, 'How do I get new audiences through my door?' What can I do? And I'm like, 'Well, firstly, make a show that people want to go and see.'Neil Connolly: Again, they're like, 'But I've got this amazing writer and he's a really big name and everyone's going to come because it's that name.' And I'm like, 'Yeah, that's wicked. That's cool.' And they can all go pay reverence to that person. That's really wonderful. Whereas when you look at the attractions landscape or the immersive theatre landscape or like anything like... Squid Game, or The Elvis, Evolution, or War of the Worlds, which has also laid reality, or any of that kind of stuff, across the landscape, it is nothing but new audiences. Yeah, yeah, yeah. It is nothing but actual ticket-buying audiences.Neil Connolly: And they come from all different walks of life. And what I love is that they do come in to this experience and we hit them with this like secret theatre.Neil Connolly: And they're like, 'Oh my God.' And often it's a gateway to them being like, 'Oh, I didn't realise that.' Maybe I'll go see a Western show or maybe I will go to the National Theatre and see something. Because that's the level of archery. Because those organisations, I love them and I've worked in a few of them, but those buildings can be quite austere, even though they're open and porous, but it's still very difficult to walk through that threshold and feel a part of it.Paul Marden: Whereas coming in here, coming into an event like this, can feel like a thing that they do.Neil Connolly: Because it's the same demographic as theme park junkies. People who love going to theme parks love going to stuff like this because it's an experience, it's an otherness, it's an other nature kind of thing. Because modern audiences want to play and do, not sit and watch. But we all exist in the kind of same ecosystem. I'm not taking on the National Theatre.Paul Marden: Gosh, no. I always talk about that. I think the reason why so many attractions work together in the collaborative way that they do is they recognise that they're not competing with each other. They're competing with sitting on your backside and watching Netflix.Paul Marden: Yeah, yeah.Paul Marden: Our job for all of us is to drag people away from their screens and drag people off of their sofas to do something. And then that's the biggest challenge that we all face.Neil Connolly: I think then that kind of answers the question that you asked me earlier, which I didn't answer. And I'm very sorry.Neil Connolly: is about identifying different pieces of IP. Like, yes, we largely exist in the world of licensing IP. And how do we identify that kind of IP to be able to translate? Not just how do we do it, but like, actually, how do we identify the right thing that's going to... How do you spot the winner? Yeah, exactly. Yeah. And that is one of the biggest challenges to your point of we're talking directly to people who consume arts, culture and media and technology in a slightly more passive way, whether that's just at home and watching Netflix and then bringing that to life. In a very, very different way. If you have a very clear marketing campaign that tells people what it is that they're buying and what they're expected to see or do on their particular night out, because that's what modern people really care about, what they do with their money. Yeah. And they want to have a good night out. And I'm in the business of giving people a good night out. We also happen to be murdering a lot of people in the course of the show.Neil Connolly: Still a good night out. Still a good night out. But I'm in a place where the dead sit. Yeah, exactly. Lounge of the dead. And like, you know, this is a really cool space. Oh, it's just beautiful. You know, we've got the telephone really works. There's lots of information that comes through that. The radio works, that does different things. The TV screen on the wall, that has the actual live feed into the round table room that you've just left. And there's other little puzzles and hints and tricks in this room, which means that after you've been murdered or banished and you come to the Lounge of the Dead, you're still engaged with the game to a degree. You just don't directly influence the outcome of the game. But you're still involved in it. You're still involved in it. It's super fun. Oh, and you can have a drink in here.Paul Marden: I don't let people drink in the round table. Even more important. What's this?Neil Connolly: The dolls, the creepy dolls. What this is, this is the void. Creatively speaking, this is where all the gold goes when people win or lose it. And the creepy dolls are from the TV show. Ydyn nhw'r un gwirioneddol o'r sioe? Felly, gafodd studio Lambert, sy'n gwneud y sioe tebyg, llawer o brops o'r sioe tebyg i ni eu rhoi ar y ddispleiddio yma. Felly, mae gennych chi'r Dolls Creepy o'r lles 3 yno. Rydyn ni'n mynd i fyny. Yn ôl yma, mae'r peintiwch Deathmatch.Paul Marden: Which is from season three.Neil Connolly: And they get the quill and they write the names and got the quill upstairs. We've also got over here, the cards that they used to play the death match with. Excellent.Paul Marden: So you began your career in theatre. How did that evolve into the world of immersive live experiences?Neil Connolly: Life story. I am the son of a postman and a cook. And if you haven't noticed already, I'm from Ireland. There was no theatre in our lives, my life, when I was growing up. And I stumbled into a youth theatre. It's called Kildare Youth Theatre. And the reason why I joined that is because there was a girl that I really fancied.Neil Connolly: She had just joined this youth theatre and I was like, 'Oh, I'm gonna join that as well' and that kind of opened the world of theatre for me. At the same time, I then got spotted by this guy, his name's Vijay Baton, his real name's Om, but he converted to Hare Krishnanism in the 90s. And he set up a street theatre company in Ireland. He just taught me street theatre. So he taught me stilt walk, he taught me juggling, he taught me how to build puppets. And so I spent years building puppets with him and going around Ireland doing lots of different street theatre while I was a teenager. And doing street theatre and doing my youth theatre and then kind of all of that kind of came to a head when I had to decide what I was going to do with my life. I applied to go to drama school. And I applied to two drama schools. One was Radha. Didn't get in. Didn't even get an audition. And the other one was Rose Bruford. And they took me. And the reason why they took me— I probably wasn't even that good. But on the day that I was auditioning to get into Rose Bruford was the same day as my maths exam for my final exams at school. You call them your A-levels, we call them the leaving certificate.Neil Connolly: And while all of my friends were back in Ireland doing their maths exam, I was in an audition room pretending to be a tree or the colour black.Neil Connolly: Who knows? And they kind of went, 'Well, if I fail my maths exam, I don't get into university in Ireland.' Like, it's just a blanket thing. And so I was like, 'I literally sat across the panel' and I was like, 'eggs, basket.' And they were like, 'cool.' So they let me in based off of that. So I got a classical training. Then what happened is I came out of university. I was living with two of my friends, Natalie and Joe. And we had our own little production company called The Lab Collective. And we just started making shows. In weird ways, we joined a company called Theatre Delicatessen. Let's get away from this. Yeah, yeah, yeah.Neil Connolly: So Theatre Deli was a company set up to take over disused spaces in London and convert them into art spaces.Neil Connolly: Basically legalised squatting. It's the same as like a guardianship. But we weren't living in the buildings. We were just putting on shows and we put on art shows, we put on theatre shows. We did Shakespeare for a while. We wrote our own work and we just did lots of really, really cool stuff. And I worked in music festivals, classically trained actor. So I was trying to do shows. I did a lot of devising. I also joined an improvisation group. And kind of through all that mix, like those years at Delhi, which was making these weird shows in these weird buildings, were very, very formative years for us. The Arts Council wouldn't support the kind of work that we were making. We were like, 'Cool, how do we get space?Neil Connolly: How do we get or make money to support ourselves? And what are the shows? There's the magic triangle all over again. Space, show, money. And that's your apprenticeship, I guess, that brings you to here. Yeah, yeah, yeah. And like, again, I make no bones about it. 10 years ago, I was selling programs on the door of the Royal Festival Hall while doing all of that stuff. So in one of the Theatre Daily buildings, we did a show called Heist, which is you break into a building and steal stuff. That's what the public do.Neil Connolly: And a bunch of us did that. I mean, it's so much fun— kind of doing it. And off the back of that, somebody else basically tried to chase down the crystal maze. And then they went away, and then they called me up and they were like, 'Hey, I've got the rights. Do you want to make the crystal maze?' And I was like, 'Yeah, sounds like fun.' So I got involved with that, did that for a while. And then, from there, this is the end of a very long story. I'm so apologised. Yeah, from there, all of those different things that I've done through the course of my life in terms of operations, designing experiences, being a creative, understanding business.Neil Connolly: Building a P&L, building a budget, talking to investors, trying to convince them to give you money. All of that stuff kind of basically came together. And over the last few years, like the wildest ride is that pre-2020.Neil Connolly: We were just a bunch of people doing a bunch of weird things, making weird shows and weird attractions in kind of different ways. And then that year happened. And I don't know what happened, but literally every single major studio, film, TV production, game designer, licensor in the world, suddenly just went— brand extensions, world extensions, and they all just started calling us. And they were like, 'Hi, I've got this thing.' Can you develop it into a thing? Because I need to extend my brand or I want to build a world and extend that for the public. And we were like, 'Yeah, okay, cool.' And we were just lucky, serendipitously, to be in the right place at the right time. To be those people that people can approach. And we're always, we're very approachable.Neil Connolly: As you can tell, I talk a lot. And, you know, so the last five years, it's just been a mad ride.Paul Marden: So look, Neil, it's been amazing. I have had the most fun. Last question for you. What's next? Are you putting your feet up now because you finished this? Or on to the next? Neil Connolly: Very much on to the next thing. So we're already in production with our new show, which is called Peppa Pig Surprise Party. And that is opening at the Metro Centre in Gateshead next year. Oh, how exciting is that? It's very exciting.Paul Marden: So quite a different demographic.Neil Connolly: The demographic for Peppa Pig is two to five year olds. It's been a really fun show to design and create. To go back to a question that you asked me very early on, there is no blueprint, there is no format. I have embraced the chaos tattooed on my arm. And always when I approach things, any new show or any new creative, I am thinking of it from a ticket buying perspective: 'I have paid my money.' What is the coolest thing that I can possibly do with that money? And so therefore, I'm now looking at families and, like, what's the coolest thing that they can do for that ticket price in the world of Peppa Pig?Paul Marden: Let's come back in the new year, once you've opened Peppa Pig, let's go to Gateshead and see that. That sounds pretty awesome to me. I reckon there's a whole new episode of Designing Worlds for two to five-year-olds that we could fill an hour on.Neil Connolly: Oh yeah, 100%. It's a totally different beast. And super fun to design.Paul Marden: Oh mate. Neil, it has been so wonderful having a wander around the inside of your crazy mind.Paul Marden: If you've enjoyed today's episode, please like it and leave a comment in your podcast app. It really does make it so much easier for other people to find us. This episode was written by Emily Burrows from Plaster, edited by Steve Folland, and produced by Sami Entwistle from Plaster and Wenalyn Dionaldo. Thanks very much. See you next week.  The 2025 Visitor Attraction Website Survey is now LIVE! Dive into groundbreaking benchmarks for the industryGain a better understanding of how to achieve the highest conversion ratesExplore the "why" behind visitor attraction site performanceLearn the impact of website optimisation and visitor engagement on conversion ratesUncover key steps to enhance user experience for greater conversionsTake the Rubber Cheese Visitor Attraction Website Survey Report

Aside From Dating Apps, How Have You Creatively Looked for Dates by Maine's Coast 93.1

Let's dive into fun, bold, and heartfelt ways women can pop the big question. From simple surprises to unforgettable gestures, discover creative ideas to make your proposal moment truly special.

- GM and Ford Creatively Extend EV Credit - Tesla Cybercab Production Moved Up - Honda Building Tesla-Like Rockets - Ford Says New Truck Not Really a Pickup - Toyota Improving in China - Toyota Exports RHD EVs from China - Buick Launches L7 Sedan in China - Porsche Engineering and Digital to Merge - Digital Lidar Critical for Robotaxis

- GM and Ford Creatively Extend EV Credit - Tesla Cybercab Production Moved Up - Honda Building Tesla-Like Rockets - Ford Says New Truck Not Really a Pickup - Toyota Improving in China - Toyota Exports RHD EVs from China - Buick Launches L7 Sedan in China - Porsche Engineering and Digital to Merge - Digital Lidar Critical for Robotaxis

Have you stopped to ask yourself: what is it that you want? And dared to listen to the answer.” - Beth Barany In the latest How To Write the Future podcast episode, “In the Age of AI, Think Critically, Write Creatively, Act Compassionately,” host Beth Barany encourages listeners to critically think about the tools they are using and to create a compassionate place to be curious about the systems they live within. She encourages listeners to learn from their mistakes: “feedback, not failure,” and asks, “Would you dare listen to the answer if you stopped to ask yourself what it is you wanted?”ABOUT THE HOW TO WRITE THE FUTURE PODCASTThe How To Write The Future podcast is for science fiction and fantasy writers who want to write positive futures and successfully bring those stories out into the marketplace. Hosted by Beth Barany, science fiction novelist and creativity coach for writers. We cover tips for fiction writers and get curious about the future of humanity.ABOUT BETH BARANYBeth Barany, an award-winning fantasy and science fiction novelist, teaches novelists how to write, edit, and publish their books as a coach, teacher, consultant, and developmental editor.RESOURCESFOR CREATIVE WRITING PROFESSIONALS - BUILD YOUR BUSINESS SERVING WRITERSSign up to be notified when our training opens and get a short Creative Business Style Quiz to help you create success.https://bethbarany.com/apprenticeship/Support our work for creatives!Buy me a coffee: https://ko-fi.com/bethbaranyGET HELP WITH YOUR WORLD BUILDING - START HEREFree World Building Workbook for Fiction Writers: https://writersfunzone.com/blog/world-building-resources/GET SOME FREE WRITING COACHING LIVE ON THE PODCASTSign up for the 30-minute Story Success Clinic with Beth Barany: https://writersfunzone.com/blog/story-success-clinic/GET SUPPORT FOR YOUR FICTION WRITING BY A NOVELIST AND WRITING TEACHER AND COACHSchedule an exploratory call here and see if Beth can support you today: https://writersfunzone.com/blog/discovery-call/ SHOW PRODUCTION BY Beth BaranySHOW CO-PRODUCTION + NOTES by Kerry-Ann McDadeEDITORIAL SUPPORT by Iman Llompartc. 2025 BETH BARANYhttps://bethbarany.com/Questions? Comments? Send us a text!--CONNECTContact Beth: https://writersfunzone.com/blog/podcast/#tve-jump-185b4422580Email: beth@bethbarany.comLinkedIn: https://www.linkedin.com/in/bethbarany/CREDITSEDITED WITH DESCRIPT: https://get.descript.com/0clwwvlf6e3jMUSIC: Uppbeat.ioDISTRIBUTED BY BUZZSPROUT: https://www.buzzsprout.com/?referrer_id=1994465

Wrestlepalooza Fallout: Is ESPN Regretting the WWE Deal? The dust has settled on Wrestlepalooza 2025, but the debates are just getting started! We're going live to break down the shocking results and ask the most important question facing the company right now: Is WWE creatively bankrupt? This event was a defining moment for the company's new era, but many fans are already questioning the direction. We'll discuss the controversial Brock Lesnar vs. John Cena squash match and what it says about WWE's booking philosophy. What was the point of a dominant Lesnar win on Cena's retirement tour? Plus, we'll dive into the mixed reactions to the highly anticipated return of AJ Lee and what it means for the WWE Women's Division. On top of the in-ring action, we'll explore the mounting public backlash against ESPN. With Wrestlepalooza being the first major WWE event on the new streaming service, we'll analyze the massive confusion, high pricing, and technical issues that plagued the broadcast. Is it a sign that ESPN regrets its deal with a creatively bankrupt WWE? Did the company make a mistake by not going with Netflix? We'll dissect the fallout and what it means for the future of wrestling on television. Don't miss this crucial debate! Share your thoughts on Wrestlepalooza, WWE's creative direction, and the ESPN deal in the live chat! Keywords: WWE, Wrestlepalooza 2025, Wrestlepalooza fallout, ESPN WWE deal, creatively bankrupt, WWE creative, John Cena, Brock Lesnar, AJ Lee, wrestling news, live stream, wrestling, WWE booking, ESPN, streaming service, fan backlash. Socials X: https://x.com/AGeekpodcast Instagram: Matt- IG @AbsoluteGeekPodcast Dom-IG@Domtober_oldman_fett Styx-IG @styxboy73 Twitch: http://www.twitch.tv/absolutegeekpod... TikTok: / absolutegeekpodcast Off The Mat on ALL Major Audio Platforms! -Apple Podcast: https://podcasts.apple.com/us/podcast... -Spotify Podcast: https://tr.ee/iK5rClfkEZ -Link Tree: https://linktr.ee/absolutegeekpodcast...

In this first bite-sized installment of PodBites, Adam Barger chats with Mike Blum from William & Mary about practical strategies for engaging faculty. In under five minutes, Mike shares five quick, creative approaches, ranging from consistent, personal communication to partnering with faculty and valuing their expertise, that can help educational developers strengthen relationships and spark meaningful collaboration.This episode was edited and produced by Roy W. Petersen.Transcript

Join us in this episode as we explore the world of complex problem-solving across industries with Hunter S. Gaylor, an executive partner, financial expert, and author. Hunter is a highly accomplished business leader with a diverse range of expertise spanning mobile banking, corporate strategy, private aviation, and international relations. He holds a Bachelor of Liberal Arts degree from Harvard University, is the Founder of Spencer Pruitt, and is the author of Planes Plants and Politics: A Mental Framework To Help Overcome Challenges in Any Industry. Click play to find out: The one thing that kills more strategies more than anything else. The importance of being able to accurately articulate what you're doing and why you're doing it. The driving force behind discipline and action. Why identifying the motivating factors behind specific goals. Discover the strategies behind Hunter S. Gaylor's guidance that drives worldwide business success – join the conversation now! You can follow along with Hunter on X @HunterGaylor and LinkedIn. Episode also available on Apple Podcasts: http://apple.co/30PvU9

Creating art has been shown to support healing. It has been shown to reduce loneliness, anxiety and mood disorders.  Art and beauty have also been correlated with reduced need for pain medication an reduced recovery times.  We all have access to this powerful and fun way to grow and heal. Resources What Have I Mythed? […] The post BOO489 – Encore – Creatively Healing appeared first on Marcia Hyatt.

What do you get when the chicken crosses the road? If you answered that capitalism is bad and CEOs killed it, you'd be partially right. For the second half of the answer to that question, you need to listen to the rest of todays episode.Welcome back to the Deep Fried Gaming Podcast. Today we turn our sights to one of the most insightful and cleverly done critiques of Capitalism and unchecked wealth that we have ever had the privilege of engaging with.Join us as we explore the world of Cloudpunk and the charming cast of characters that inhabit it. Gasp with us as we discover the shocking and impactful secrets of one of the most fleshed out and awe-inspiring post-capitalism hellscapes that exists in media today. Cry with us when you realize I unironically spent the last two paragraphs in egregious sarcasm. That's ok, though, because nobody reads these things anyways.Timestamps

Creatively Magnetic - Week 4 | Ashlee | Sunday 31 August by C3 Church Norwood

Episode Summary: Born out of both a DNA vision conference and the aftermath of Hurricane Mitch, the Nehemiah Center shows that real transformation requires more than relief—it demands a biblical worldview that shapes families, communities, and entire cultures. From creative outreach through sports and family activities to discipling over 100 families in a single year, their approach fosters reconciliation, integrity, and thriving communities. Their work with the indigenous Miskito people demonstrates how small acts of biblical living—like modeling honesty and refusing bribes—can spark lasting economic and social change.This special episode comes from DNA's 2025 Forum in Panama, where Luke and Tim sat down with Nehemiah Center leaders, Andy Baker and Daniel Borge, who are championing biblical worldview training in the beautiful nation of Nicaragua. Hear powerful stories of paradigm shifts, and how every believer can practically play a role in discipling their families, churches, communities, and even nations.Who is Disciple Nations Alliance (DNA)? Since 1997, DNA's mission has been to equip followers of Jesus around the globe with a biblical worldview, empowering them to build flourishing families, communities, and nations.

If you're feeling stuck in your author career, one of the best things you can do is learn to ask yourself better questions. Most of us get stuck when our brains latch onto stories that lead to dead ends. “Nothing is working” or “I've tried everything” or “why the heck can't I sell another book????” all end with you feeling defeated, frustrated, and maybe even a bit hopeless. In today's episode, you'll learn how to ask better questions so you can get unstuck and start moving forward in your career. *** The publishing industry is hard. That's why I created The Confident Author Academy. My 6-month coaching program (+ online course) helps you build the mindset & emotional resilience you need to thrive as an author. To learn more and get on the waitlist for when spots open again, go to http://www.isabelsterling.com/academy Looking for even more author advice and notifications about upcoming workshops? Sign up for my weekly Real Talk for Writers newsletter by clicking here. DM me on Instagram & let me know what you thought of this episode!

In this wide-ranging conversation, Rachael and Lauren discuss how they stay creatively grounded in periods of grief; they then realize that the conversations they've had as friends and co-hosts have had a grounding effect as well. This season's closing coincides with the closing of chapters in the respective lives of the Chaotic Creatives team and in this long indulgent sendoff, your gals are looking forward even while holding the sadness that comes with change. Episode MentionsBrené Brown: The Fast Track To Genuine Joy (HuffPost 2013)  King's Hawaiian Lilikoi Crunch Cookies  How to Keep House While Drowning by KC Davis Lauren's (mysterious) Adobe course, Perfecting Your Portfolio is out now!  Sponsors Creative Coaching with Rachael Renae  Mural Mockups by Hom Sweet Hom For a transcript of this episode, contact us at chaoticcreativespodcast@gmail.com Cover art designed and photographed by Kristle Marshall for Hom Sweet HomIf you love what we are doing and want to support us, head to patreon.com/chaoticcreativesFollow the pod on Instagram @chaoticcreativespod and tag us in the projects you're working on while listening!Say hi or tell us a silly lil joke: chaoticcreativespodcast@gmail.comLauren's links:WebsiteInstagramOnline ClassesRachael's links:WebsiteInstagramPrioritize Play WorkshopStyle Course

In the U.S., nearly one in five children are living with obesity, and over a quarter of adolescents aged twelve to nineteen are prediabetic. Shockingly, only two percent of children meet the daily recommended intake of fruits and vegetables, and over thirteen million children live in food insecure households. This means that school meals are often the most reliable and nutritious food they get each day. In this episode, we hear from three innovative chefs working in school nutrition who are transforming the school cafeteria. They share what goes into creating delicious and nutritious school lunch programs that set children up for success, even under tight budgets and strict guidelines. This is a must listen if you're in school nutrition or are curious about school lunch programs.      In this episode you'll hear:1:20 – Why are school food programs so important?3:30 – Chef Rebecca Polson's story4:20 – Chef Jason Hull's story6:15 – Chef Taylor Thompson's story8:30 – What criteria are used to create school lunch recipes?12:10 – What is the National School Lunch Program in America?16:00 – Scratch cooking, speed scratch cooking and heat & serve21:35 – What are the chefs' biggest challenges?22:40 – Where do schools source their food?30:30 – School food policy31:45 – K-12 recipe development with Pacific Coast Producers34:10 – Surprise favorite recipes for the kids36:30 – Food tips for busy familiesThank you to our sponsor, Pacific Coast Producers.References:Culinary Institute of America's Healthy Kids CollaborativeNational School Lunch ProgramCredits:Host - Dr. Sabrina Falquier, MD, CCMS, DipABLM Sound and Editing - Will CrannExecutive Producer - Esther Garfin  ©2025 Alternative Food Network Inc.Become a supporter of this podcast: https://www.spreaker.com/podcast/culinary-medicine-recipe--3467840/support.

Syndication structures are changing—and in this episode, Beth Azor unpacks exactly how.From preferred returns and promotes to unusual LP terms and fee-loaded deals, Beth breaks down the many syndication models she's encountered—both as an LP and a GP. She shares what she looks for before investing, the red flags that turn her off, and the structure she prefers when raising money herself. Whether you're a new sponsor or an LP eyeing your next investment, you'll walk away with tactical insight on evaluating and designing win-win syndication deals.✅ Key Takeaways-Preferred returns vary with market conditions-Promotes typically kick in after full LP return-Sponsors should have skin in the game-Some are raising without preferred returns or promotes-Fee-heavy structures are common—but not always justifiedLPs want transparency, alignment, and realistic projections-Creatively structured deals can benefit all parties-Fundraising speed often reflects investor trustBECOME A COMMERCIAL REAL ESTATE ROCKSTAR: https://www.bethazor.com/https://www.azoracademy.com/For more commercial real estate training: https://www.bethazor.com/training/FOLLOW ME ON SOCIALFacebook: https://www.facebook.com/azoradvisoryservices/Twitter: https://twitter.com/bethazor1Instagram: https://www.instagram.com/bethazor/Linkedin: https://www.linkedin.com/company/6315636/#retailleasing #commercialrealestateinvesting #retailleasingcoach #bethazor

In this episode, Joe Sanok speaks with NYT bestselling author Lawrence Armstrong about Layered Leadership and the role of creativity in effective leadership. Lawrence shares how drawing inspiration from the world around you, staying curious, and thinking in “synthesized layers” can lead to innovative strategies and solutions. He introduces the concept of “whole-brain thinking,” encouraging leaders to strengthen not only their natural abilities but also areas where they're less skilled—engaging in continuous learning to become more adaptable. Lawrence stresses the importance of creating collaborative environments where ideas can be freely shared, built upon, and refined, and advises hiring people with expertise beyond your own to strengthen the team's collective problem-solving power. For private practitioners and business owners, his key message is simple: you're already a leader—so keep learning, embrace creativity, and apply whole-brain thinking to drive growth and inspire others. The post Layered Leadership: How to lead Creatively with NYT Bestselling Author Lawrence Armstrong | POP 1246 appeared first on How to Start, Grow, and Scale a Private Practice | Practice of the Practice.

Welcome to Chat GPT, the only podcast where artificial intelligence takes the mic to explore the fascinating, fast-changing world of AI itself. From ethical dilemmas to mind-bending thought experiments, every episode is written and narrated by AI to help you decode the technology shaping our future. Whether you're a curious beginner or a seasoned techie, this is your front-row seat to the rise of intelligent machines—told from their perspective. Tune in for smart stories, surprising insights, and a glimpse into the future of thinking itself. Listen Ad Free https://www.solgoodmedia.com - Listen to hundreds of audiobooks, thousands of short stories, and ambient sounds all ad free!

Feel like your creative spark disappeared? Did you know that pausing equals power for creatives?In this mini pep talk from The Brew with Becks, we're diving into the ebb and flow of inspiration, why forcing it never works, and how to stay open for the next wave. This episode is your gentle reminder: your creativity isn't gone — it's just resting. Grab your mug and take a breath. The wave always returns. ☕

Learn to leverage commercial assets, develop partnerships, and scale outside of your state! Jennings is joined by investor and entrepreneur, Jason Cousineau. For the last few years, Jason has been converting commercial properties into salon suites, and has multiplied his cash flow in the process. Jason discusses how he plans to scale to 50 locations in 5 years.  Learn how to use creativity in your real estate business and how to scale through partnerships.  Find Jason Cousineau on socials or email him, Jason@thesuitesco.com Thanks for listening!

What if the quickest way to calm your nervous system didn't involve meditation, mindset work, or even deep breathing, but just a pen and a few minutes?In this episode of the Building Resilience Podcast, Leah Davidson shares three simple, science-backed tools to help you gently regulate your nervous system, using creative expression, not perfection. These practices don't require artistic skill or profound insights. Just a willingness to explore, express, and create a sense of safety in your body.You'll learn how doodling, gentle journaling prompts, and repetitive shapes can act as regulation anchors helping you shift out of survival mode and into a state of calm, clarity, and connection.Whether you're overwhelmed, shut down, overstimulated, or just looking for a way to reconnect with yourself this episode will give you three powerful ways to feel a little more regulated in under 10 minutes.✨ Want to go deeper? These are the exact kinds of practices we use weekly inside the Nervous System Journaling Club, a creative, supportive space to build safety and resilience from the inside out.We'll explore:Visual expression helps externalise internal states.Simple journaling prompts can shift your state.Repetitive patterns (like loops or spirals) create predictability.Containment matters more than perfection.Co-regulation can happen with the page.Every time you meet your system with curiosity, you build resilience.

Luke 10:38-42 This Sunday Elizabeth Korver-Glenn shares of the dearth of information she was able to find about early Black and Brown Mennonite leaders, with an even greater lack of any details about Black and Brown Mennonite women. She found brief information about Phoebe Sheela Bisahu Solomon and Rowena Lark in the archives of Mennonite history. The Gospel reading for today is part of a very long tradition of creative disordering and creative retelling. Jesus upends the established historical archive and the making of an archive by centering the stories of poor and otherwise marginalized people. People who would have been otherwise omitted. The story of Jesus' presence in Martha's home is an example of that reordering. Martha is portrayed and positioned as the head of the house. Mary has adopted the position typically reserved for men: the place at Jesus' feet where she can listen unencumbered by other distractions.

“Learning how to say your truth as yourself is really, really hard to do—especially at first.” In a world increasingly geared toward disposable art, how do we make something that matters? How can we stay true to our inner artist AND work with the algorithm? Is it even worth the compromise?With the release of his four-part album, Triptychs, Court Hoang set out to answer these questions in a way that worked for him. In this episode, Emmeline and Court chat about how streaming has changed music, how creativity doesn't always work on a schedule optimized for consistent content generation, and how making something honest is always better than making something perfect.Court also shares how songwriting can be the opportunity for the coveted life do-over. Stick around until the end to meet Emmeline's dogs!To learn more about Court Hoang, or to follow his musical journey, visit his official website. To buy Triptychs, check out Court on Bandcamp.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.

The World's #1 Personal Development Book Podcast!  In today's episode, we have the pleasure to interview Marco Pasqua, author of From Potential to Purpose: Your Guide to Authentic Connections.Marco is an award-winning entrepreneur, accessibility consultant, and inspirational speaker. Born with cerebral palsy, he's spent over a decade helping global brands and organizations create more inclusive environments — all while showing others how to turn life's obstacles into fuel for growth. He's delivered TEDx talks, advised governments, and created a framework that's changing lives.In this episode, you'll learn how Marco's CUBE Principle can help you creatively utilize your best energy to overcome challenges, how to reframe limitations into launchpads for purpose, and why authentic connection — to people, passions, and yourself — is the key to lasting success.We hope you enjoy this incredible conversation with Marco Pasqua.To Learn More about Marco and buy his book visit: The Book: https://a.co/d/cx8355ZWebsite/Socials: https://www.marcopasqua.com/https://www.instagram.com/marcogpasqua/https://www.facebook.com/RealMarcoPasquahttps://www.youtube.com/@MarcoPasquahttps://twitter.com/Marco_PasquaChapters: 0:00 Intro1:30 “Back to the Future”'s impact on Marco's life and on how he sees life2:48 The importance of entertainment and action4:11 Identifying signs that you are on the right track in your life6:42 A story Nick has never shared before about the number 429:08 The importance of gratitude and acknowledging serendipity12:30 Why Marco didn't define himself with the word “disability”15:58 Marco's experience using NLP to influence someone18:56 Bradley Cooper's “Limitless” & NLP21:39 Creatively utilizing your best energy & connecting25:18 Finding your tribe28:47 Setting boundaries is as important as showing love (Parenting)30:49 Cultivating emotional intelligence as a parent32:58 Bringing an older version of yourself to give you wisdom34:51 The butterfly effect and being aware of your choices36:44 Nick's story with a member of the BookThinkers family in Croatia42:18 Where to find Marco's book and work43:56 Marco's one message to the world________________________________________________Join the world's largest non-fiction Book community!https://www.instagram.com/bookthinkers/The purpose of this podcast is to connect you, the listener, with new books, new mentors, and new resources that will help you achieve more and live better. Each and every episode will feature one of the world's top authors so that you know each and every time you tune-in, there is something valuable to learn. If you have any recommendations for guests, please DM them to us on Instagram. (www.instagram.com/bookthinkers)If you enjoyed this show, please consider leaving a review. It takes less than 60-seconds of your time, and really makes a difference when I am trying to land new guests. For more BookThinkers content, check out our Instagram or our website. Thank you for your time!

Vajragupta introduces the 'Eight Worldly Winds' and how we can recognise and work with them. He's the author of the popular book 'Sailing the Worldly Winds' which explores the same territory. Excerpted from the talk entitled Introducing the Worldly Winds given at Oxford, 2012. *** Help us keep FBA Podcasts free for everyone! Donate now: https://freebuddhistaudio.com/donate Subscribe to our Dharmabytes podcast: Bite-sized clips - Buddhist inspiration three times a week. Apple Podcasts: https://podcasts.apple.com/us/podcast/dharmabytes-from-free-buddhist-audio/id416832097 Spotify: https://open.spotify.com/show/4UHPDj01UH6ptj8FObwBfB YouTube: https://www.youtube.com/@FreeBuddhistAudio1967  

To be honest, I am feeling overwhelmed. On the outside, I am discouraged by endless news of our warmongering and dysfunctioning government. On the inside, I am still processing the years of intense social isolation during the pandemic, with no work prospects, after a vibrant pre-pandemic career and social life. I am hyper-vigilant and jumpy. Creatively, I feel uninspired. I find it difficult and awkward to socialize, sleep, or even rest. During periods of overwhelm, the best thing I can do for myself is to let my parasympathetic nervous system take over. This is the part of our nervous systems responsible for our 'rest and reset'. In today's meditation, we calm our nervous system. This podcast is made possible with great thanks to our subscribers on Patreon. Join our community at Patreon (dot) com (slash) theMeditationPodcast

In this episode of The Content Byte podcast, Rachel and Lynne explore the unique challenges of copywriting in the beauty industry with guest Amy Hadley, a beauty copywriter and journalist.   Amy discusses balancing creativity with stringent industry regulations, provides insights into the importance of visibility in finances for freelancers, and highlights how her qualifications and self-taught knowledge have set her apart in her field.   There's so much to learn about the nuances of compliant beauty copywriting, maintaining client relationships, and the benefits of niching down in your freelance business.   Connect with Amy via her website: https://hadleyco.com.au/    or on LinkedIn: https://www.linkedin.com/in/amy-hadley-646762b4/    Find Lynne www.lynnetestoni.com  Find Rachel www.rachelsmith.com.au  Rachel's List www.rachelslist.com.au  Thanks (as always) to our sponsors Rounded (www.rounded.com.au), an easy invoicing and accounting solution that helps freelancers run their businesses with confidence. Looking to take advantage of the discount for Rachel's List Gold Members? Email us at: hello@rachelslist.com.au for the details. Episode edited by Marker Creative Co www.markercreative.co 

CBQ - Courtney, does your creativity drive you crazy? Episode Summary In this episode, we explore the double-edged sword of creativity in the workplace. Courtney and Juan unpack how creativity can fuel innovation — but also drive us (and our teams) a little crazy. From perfectionism and procrastination to embracing imperfection and experimentation, we talk about finding that sweet spot where creative energy is productive, not paralyzing. Highlights [00:01:00] “We encourage creativity — but in the workplace, sometimes it's annoying… and sometimes we annoy ourselves.” [00:06:30] “You can be creative in ways you don't even realize — like building experiences, designing flows, or crafting how others interact with your work.” [00:12:10] “When you've built a process or flow and someone comes in to change it, it can feel like they're calling your baby ugly.” [00:18:45] “You don't have a paint-by-numbers path when you're creating something new — and that's part of the challenge.” [00:22:15] “If you're not driving yourself a little crazy with your creativity, you're probably not being that creative.”     Follow Juan on LinkedIn Follow Courtney on LinkedIn Check out CareerBlindspot.com Follow on LinkedIn and Instagram → Your listening perspective matters - 5 min survey.  

This week, Ari Medrano delivers a powerful testament to the depth and complexity of caregiving. As a Mexican immigrant who came to the United States at age one, Ari's approach to caregiving is deeply rooted in her family's values of service, love, and compassion. Throughout the episode, she shares multiple experiences of caregiving, including caring for her cousin with bone cancer, a homeless woman named Teresa, her brother who was a victim of a violent crime, and her mother during critical health challenges. Her caregiving journey is marked by a remarkable ability to love creatively and find joy even in the most challenging circumstances. Ari's approach goes beyond traditional caregiving, incorporating humor, sensory experiences (such as using specific scents to uplift spirits), and an unwavering commitment to supporting not only the patient but also the healthcare workers around them. Her personal experiences, including her health challenges like heart disease and a brain tumor, have shaped her perspective, allowing her to approach caregiving with empathy, resilience, and a profound understanding of both giving and receiving care. What stands out most about Ari is her philosophy of "givers gain" and her conviction that we can experience both pain and joy simultaneously. Her stories illustrate how caregiving is not just a duty, but a calling that requires creativity, emotional intelligence, and a deep capacity for love. Whether it was bringing Santa Claus to her mother's hospital room, providing comfort to a homeless woman, or supporting her brother through his challenging health journey, Ari embodies the true spirit of compassionate caregiving. About Ari: Ari Medrano is a Mexican immigrant who arrived in the USA as a one-year-old, the middle child in a family of five. Her parents have been married for 58 years. Ari's caregiving journey deepened when she moved from Texas to California to care for her mother and youngest brother, who both became ill simultaneously. She provided home hospice care for her brother in his final weeks, following his brutal injuries from a bank robbery. Concurrently, she cared for her mother in the hospital for six months; her mother is now at home, receiving care from all siblings. As a mother of two sons, Ari also acknowledges their caregiving role during her own extensive health battles, which included multiple tumors, heart disease, a brain tumor, and numerous surgeries. She refers to herself as an "Olympian patient" and serves as a go-to health advocate for her family, friends, and community. She is notably a "1% Medical Miracle" who regained full mobility after being paralyzed by a craniotomy for a brain tumor extraction. Ari's legacy is defined by her philosophy: "Love God, Love People...creatively." Support the show Confessions of a Reluctant Caregiver Sisterhood of Care, LLC Website: www.confessionsofareluctantcaregiver.com Like us on Facebook! Tweet with us on Twitter! Follow us on Instagram! Watch us on Youtube! Pin us on Pinterest! Link us on LinkedIn! Tune in on Whole Care Network Share

This week, Ari Medrano delivers a powerful testament to the depth and complexity of caregiving. As a Mexican immigrant who came to the United States at age one, Ari's approach to caregiving is deeply rooted in her family's values of service, love, and compassion. Throughout the episode, she shares multiple experiences of caregiving, including caring for her cousin with bone cancer, a homeless woman named Teresa, her brother who was a victim of a violent crime, and her mother during critical health challenges.Her caregiving journey is marked by a remarkable ability to love creatively and find joy even in the most challenging circumstances. Ari's approach goes beyond traditional caregiving, incorporating humor, sensory experiences (such as using specific scents to uplift spirits), and an unwavering commitment to supporting not only the patient but also the healthcare workers around them. Her personal experiences, including her health challenges like heart disease and a brain tumor, have shaped her perspective, allowing her to approach caregiving with empathy, resilience, and a profound understanding of both giving and receiving care.What stands out most about Ari is her philosophy of "givers gain" and her conviction that we can experience both pain and joy simultaneously. Her stories illustrate how caregiving is not just a duty, but a calling that requires creativity, emotional intelligence, and a deep capacity for love. Whether it was bringing Santa Claus to her mother's hospital room, providing comfort to a homeless woman, or supporting her brother through his challenging health journey, Ari embodies the true spirit of compassionate caregiving.About Ari:Ari Medrano is a Mexican immigrant who arrived in the USA as a one-year-old, the middle child in a family of five. Her parents have been married for 58 years. Ari's caregiving journey deepened when she moved from Texas to California to care for her mother and youngest brother, who both became ill simultaneously. She provided home hospice care for her brother in his final weeks, following his brutal injuries from a bank robbery. Concurrently, she cared for her mother in the hospital for six months; her mother is now at home, receiving care from all siblings.As a mother of two sons, Ari also acknowledges their caregiving role during her own extensive health battles, which included multiple tumors, heart disease, a brain tumor, and numerous surgeries. She refers to herself as an "Olympian patient" and serves as a go-to health advocate for her family, friends, and community. She is notably a "1% Medical Miracle" who regained full mobility after being paralyzed by a craniotomy for a brain tumor extraction. Ari's legacy is defined by her philosophy: "Love God, Love People...creatively."Support the showConfessions of a Reluctant Caregiver Sisterhood of Care, LLC Website: www.confessionsofareluctantcaregiver.com Like us on Facebook! Tweet with us on Twitter! Follow us on Instagram! Watch us on Youtube! Pin us on Pinterest! Link us on LinkedIn!Tune in on Whole Care Network

Two senior year college graduates discuss their journey to graduation while venting on the streets of new york.

If you've ever felt creatively blocked, stuck in the rat race, or like the people around you don't “get” who you're becoming, this episode is going to feel like a full body permission slip. James McCrae, the poet & meme author behind the viral IG account @wordsarevibrations joined me live in Austin for a juicy in person conversation.We chat00:12 - Why words are vibrations and how that changes the way we speak, post, & create08:04 - How to receive intuitive downloads (even if you're not “spiritual”)09:04 - The yin & yang sides of creativity15:11 - Losing your inner artist to hustle culture and reclaiming your soul16:09 - The surprising thing that finally got James to meditate20:21 - Outgrowing your hometown & the people who don't clap when you win31:19 - Finding your unique voice and content style on social media46:10 - Reinventing yourself (again and again) & owning the beginner mindset54:44 - The best way to handle hate comments & stay in your lane59:50 - Advice every young entrepreneur needs to hear

In this episode of Singing Teachers Talk, Estelle Idoko shares her journey from medical school to music school. We explore how she helps others reconnect with their creativity, and what holds so many back from living artistically. Whether you're a singer, teacher, or someone wondering: “Is it too late to live creatively?”, this conversation will leave you feeling seen, stirred, and ready to explore your own creative path.  WHAT'S IN THIS PODCAST? 1:00 Medical school vs music school 7:08 The perception of artistic occupations  17:56 Should my creativity be a hobby or a career?  19:30 Women and singing  24:20 Men and singing  27:31 What is Estelle's coaching framework?  34:06 Leading a creative life  39:44 The ‘Sing Confidently, live Creatively' podcast  About the presenter click HERE RELEVANT MENTIONS & LINKS The Elements by Tom Lehrer Sing Confidently, Live Creatively Ep.208 Start Singing Today Because We Need Your Art with Amie McNee  Aimee McNee We Need Your Art by Aimee McNee  Teaching Singing to Children and Young Adults by Jenevora Williams  Singing Teachers Talk Podcast Ep.179 From 1 to 40 Choirs and Touring with Gareth Malone - a Chat with Rachel Lynes   ABOUT THE GUEST Estelle Idoko is a Singer, Actor, and Voice Teacher based in Durham, North Carolina, currently completing her Master's in Music and Music Education at Columbia University. She is the founder of Creatively Performing Arts, offering online voice lessons and resources for adult beginners. Estelle hosts the globally ranked podcast Sing Confidently, Live Creatively and performs regularly in cabarets, open mics, worship teams, and theatre. Her acting credits include A Midsummer Night's Dream, Comedy of Errors, and the upcoming Sound of Music. She holds a B.S. in Psychology from VCU and a professional voice certificate from Berklee. Estelle is passionate about helping artists reconnect with their creativity and build lasting vocal confidence.  SEE FULL BIO HERE Website Instagram: @creativelybyestelle  Facebook: Singing Tips and Technique for Women.  Listen to Estelle's podcast ‘Sing Confidently, Live Creatively' here  BAST Training helps singers gain the confidence, knowledge, skills & understanding required to be a successful singing teacher. "The course was everything I hoped it would be and so much more. It's an investment with so much return. I would recommend this course to any teacher wanting to up-skill, refresh or start up." Kelly Taylor, NZ ...morebasttraining.com | Subscribe | Email Us | FB Group

Join us in this episode as we explore the world of complex problem-solving across industries with Hunter S. Gaylor, an executive partner, financial expert, and author. Hunter is a highly accomplished business leader with a diverse range of expertise spanning mobile banking, corporate strategy, private aviation, and international relations. He holds a Bachelor of Liberal Arts degree from Harvard University, is the Founder of Spencer Pruitt, and is the author of Planes Plants and Politics: A Mental Framework To Help Overcome Challenges in Any Industry. Click play to find out: The one thing that kills more strategies more than anything else. The importance of being able to accurately articulate what you're doing and why you're doing it. The driving force behind discipline and action. Why identifying the motivating factors behind specific goals. Discover the strategies behind Hunter S. Gaylor's guidance that drives worldwide business success – join the conversation now! You can follow along with Hunter on X @HunterGaylor and LinkedIn. Episode also available on Apple Podcasts: http://apple.co/30PvU9

Crescent Phase: Being involved creatively

[EP 25-218] Democrats are waking up. They are coming to our side.Tell women that having children is no big deal. But they have a longing…[X] SB – Jennifer LawrenceEvery decision based on her children.Taught me. I didn't know I could feel so much. My job has a lot to do with emotion.Opened up the world to me.Changed for the best. Creatively.[SEGMENT 2-2] Dumb Democrats 2[X] SB – Man feminist and women for Trump[SEGMENT 2-3] Dumb Democrats 3[X] SB – Freed hostage says terrorists were afraid of TrumpBecome a supporter of this podcast: https://www.spreaker.com/podcast/the-kevin-jackson-show--2896352/support.

We talk about community all the time on this show. But what does it actually look like when relationships change the trajectory of your creative career?In this episode, I'm joined by Lauren LoGrasso to unpack all the relationships that led her to her current roles as an award-winning podcaster, producer of We Can Do Hard Things, and VP of Programming and Development at Audacy.Those relationships range from a random guy in Indiana to the agent who dumped her when she moved to LA to her “radio Jesus” who opened the door to everything Lauren is doing today.Tune in as we map how a creative career is built in real-time. You'll hear all about:How Lauren landed an internship on the Ellen show & the slump that followed her early successWhy it's important to learn all the angles of your jobHow Lauren nurtures & unleashes her creativityAmelia's dance between being practical & being delusionalWhy we have to stop rebranding disappointment as failureTwo ways to reclaim your voice from “creative monsters”   And stay tuned to the end where Lauren guides us through a self-love + inner child healing practice!RESOURCES + LINKS

On today's episode I am speaking with fashion icon Cynthia Rowley and her daughter, content creator and entrepreneur Kit Keenan. They share an intimate look at their unique mother-daughter dynamic. From growing up in the world of fashion to building a brand that bridges generations, Cynthia and Kit discuss how they've evolved both personally and professionally. They open up about creative reinvention, the importance of routine and confidence, handling criticism online, and what it takes to stay relevant in a rapidly changing world. Whether you're building a business, navigating family dynamics, or simply seeking inspiration, this conversation offers real lessons on growth, resilience, and redefining success—together. Enjoy!To connect with Cynthia on Instagram, click HERE.To connect with Kit on Instagram, click HERE.To connect with Kit on Tiktok, click HERE.To connect with Siff on Instagram, click HERE.To connect with Siff on Tiktok, click HERE.To learn more about Arrae, click HERE. To check out Siff's LTK, click HERE.To check out Siff's Amazon StoreFront, click HERE. This episode may contain paid endorsements and advertisements for products and services. Individuals on the show may have a direct, or indirect financial interest in products, or services referred to in this episode.Treat your closet to a little summer glow-up with Quince. Go to Quince.com/dreambigger for free shipping on your order and 365-day returns. Save 15% off my favorite Red Light Face Mask from BON CHARGE by using code DREAMBIGGER at www.boncharge.comFor 15% off your first purchase, visit linnebotanicals.com. Use code DREAMBIGGER at checkout. Offer cannot be combined.Produced by Dear MediaSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

My guest today is Mitch Joel, a marketing visionary who has been at the forefront of exploring how generative AI can enhance rather than replace human creativity. When brands like Google, Starbucks, and GE want to leverage technology to connect with consumers, they call Mitch. He's the Co-Founder of ThinkersOne, and his books like "Six Pixels of Separation" and "CTRL ALT Delete" have established him as a leading voice on the intersection of technology and human experience. In this conversation, Mitch outlines his "PACE" framework for strategically integrating AI into your creative process. Imagine if you could use these tools not just to accelerate execution, but to actively expand your creative palette, deepen your sense of agency, and elevate your skills to new heights through constant iteration and growth. Guest: Mitch Joel is currently an investor, media personality, podcaster, journalist and Co-Founder of ThinkersOne  Find Anne: Website | Six Pixels | ThinkersOne  Host: Jonathan Fields, creator of Good Life Project podcast and the Sparketype® Assessment, More on Sparketypes:  Discover Your Sparketype | The Book | The Website Presented by LinkedIn.

Kevin James stops by the show to discuss coming up in The Long Beach Mystics, touring with The Illusionists, and how he has become one of the most unique and creative stage acts in the world. Before the main event, Nick and Erik discuss Nikola Arcane's Penguin Live, the new trick "Holding Pattern," live appearances, and brand-new YouTube content.

Flute 360 | Episode 327: "Stop Blending In – Be the Flutist Everyone Remembers" (Part 9) Do you feel like your unique talents are getting lost in the noise? In today's episode, Dr. Heidi Kay Begay and Eric Jay Begay pull back the curtain on what it truly means to stand out as a flutist and creative artist. They explore how embracing your unique qualities and showing up authentically can transform your career from blending in to standing out vividly in people's minds. Heidi and Eric share powerful strategies from their own journeys on how to creatively leverage your interests and talents—beyond traditional boundaries—to open new doors and opportunities. They'll guide you through overcoming imposter syndrome, stepping confidently into your role as a "flutepreneur," and building genuine relationships that make you unforgettable. You'll walk away from this episode inspired to: • Embrace your individuality and let your authenticity be your biggest asset. • Creatively combine your interests with your flute career to unlock new opportunities. • Overcome imposter syndrome and perfectionism by recognizing your unique value. Episode Highlights: • Practical advice for leveraging your unique talents to build memorable connections and opportunities. • Real-life examples of how musicians have successfully packaged their skills in unexpected, profitable ways. • Insight into overcoming barriers such as imposter syndrome, fear of visibility, and perfectionism. • Encouragement to see your diverse interests not as distractions but as powerful avenues for growth. Episode Resources: Grab your Flute 360 Coaching Bundle before April 30, 2025, and receive $200 off! You'll get personalized guidance, tools, and resources tailored specifically to your unique flute journey. Spots are limited, so secure yours today! CLICK HERE TO GRAB YOUR COACHING BUNDLE NOW!

Welcome to the Grow Your Biz without Social virtual event (April 14-18). Once talks are released, they will be available through April 20 on the podcast. New talks released each day throughout the event! Need to register still or want to share with a friend? (lots of goodies included in the event!)

How can teachers embrace creativity in their classrooms when faced with rigid curriculums, standardized testing, and limited time? That's the question I'm exploring today with Trevor Muir, an educator, author, and advocate for creative teaching. Trevor's taught at the middle, high school, and college level, and applies that experience to his numerous books, courses, and in-person PD sessions. In this episode, Trevor shares personal stories from his own classrooms, including how vulnerability helped him connect with students and why storytelling is one of the most powerful tools for engaging learners.  We cover topics such as: How to redefine creativity beyond art and big projects to include everyday teaching challenges Why vulnerability and failure are essential for creativity and how to model these for your students Practical strategies to encourage student risk-taking and buy-in through feedback and collaboration How storytelling can make lessons more dynamic, memorable, and relevant The benefits of involving students in the creative process to empower and engage them Why cultivating creativity in your personal life can positively impact your teaching. By embracing creativity, you can create a classroom experience that energizes you, engages your students, and brings joy back to teaching. Get the shareable article/transcript for this episode here.