Podcasts about CV

Karen Read Trial Day 19 Breakdown - Forensic Showdown As Timeline Survives Resume Attack In today's explosive session of the Karen Read murder trial, the defense launched a full-on assault—not against the timeline, not against the data, but against the man who delivered it: digital forensics expert Shanon Burgess. Defense attorney Alan Jackson hammered Burgess over old versions of his résumé, which falsely listed a bachelor's degree from the University of Alabama at Birmingham. Under oath, Burgess admitted he never earned the degree—fueling the defense's claim that his testimony shouldn't be trusted. But did the argument land? Not according to the Commonwealth. Prosecutor Hank Brennan struck back hard in redirect, pointing out that Burgess had updated his CV in 2024 to say he was “currently pursuing” the degree, and that the flawed version in question was submitted by a staffer in a completely unrelated case. More importantly, Brennan reminded the court: Burgess's credentials were not the reason he was called to testify—his evidence was. And that evidence still stands: forensic data that places Karen Read's Lexus reversing at the exact moment John O'Keefe's iPhone stopped moving. That timeline didn't change, even when the résumé drama played out. The jury also heard from Christina Hanley, a forensic scientist with the Massachusetts State Police Crime Lab. Hanley walked them through physical evidence collected from the scene and Read's SUV—glass shards, taillight fragments, and a clear drinking cup. The defense tried to poke holes by highlighting a date misstatement, but the impact was minimal. The evidence, like the timeline, was intact. This episode unpacks the resume attack, the prosecution's defense, and why, at the end of the day, you can question a man's degree—but not the truth in the data. #KarenRead #JohnOKeefe #KarenReadTrial #ShanonBurgess #ForensicEvidence #TrueCrimeCourtroom #ProsecutionStrategy #FakeDegree #CrimeSceneAnalysis #ChristinaHanley Want to comment and watch this podcast as a video?  Check out our YouTube Channel. https://www.youtube.com/@hiddenkillerspod Instagram https://www.instagram.com/hiddenkillerspod/ Facebook https://www.facebook.com/hiddenkillerspod/ Tik-Tok https://www.tiktok.com/@hiddenkillerspod X Twitter https://x.com/tonybpod Listen Ad-Free On Apple Podcasts Here: https://podcasts.apple.com/us/podcast/true-crime-today-premium-plus-ad-free-advance-episode/id1705422872

Karen Read Trial Day 19 Breakdown - Forensic Showdown As Timeline Survives Resume Attack In today's explosive session of the Karen Read murder trial, the defense launched a full-on assault—not against the timeline, not against the data, but against the man who delivered it: digital forensics expert Shanon Burgess. Defense attorney Alan Jackson hammered Burgess over old versions of his résumé, which falsely listed a bachelor's degree from the University of Alabama at Birmingham. Under oath, Burgess admitted he never earned the degree—fueling the defense's claim that his testimony shouldn't be trusted. But did the argument land? Not according to the Commonwealth. Prosecutor Hank Brennan struck back hard in redirect, pointing out that Burgess had updated his CV in 2024 to say he was “currently pursuing” the degree, and that the flawed version in question was submitted by a staffer in a completely unrelated case. More importantly, Brennan reminded the court: Burgess's credentials were not the reason he was called to testify—his evidence was. And that evidence still stands: forensic data that places Karen Read's Lexus reversing at the exact moment John O'Keefe's iPhone stopped moving. That timeline didn't change, even when the résumé drama played out. The jury also heard from Christina Hanley, a forensic scientist with the Massachusetts State Police Crime Lab. Hanley walked them through physical evidence collected from the scene and Read's SUV—glass shards, taillight fragments, and a clear drinking cup. The defense tried to poke holes by highlighting a date misstatement, but the impact was minimal. The evidence, like the timeline, was intact. This episode unpacks the resume attack, the prosecution's defense, and why, at the end of the day, you can question a man's degree—but not the truth in the data. #KarenRead #JohnOKeefe #KarenReadTrial #ShanonBurgess #ForensicEvidence #TrueCrimeCourtroom #ProsecutionStrategy #FakeDegree #CrimeSceneAnalysis #ChristinaHanley Want to comment and watch this podcast as a video?  Check out our YouTube Channel. https://www.youtube.com/@hiddenkillerspod Instagram https://www.instagram.com/hiddenkillerspod/ Facebook https://www.facebook.com/hiddenkillerspod/ Tik-Tok https://www.tiktok.com/@hiddenkillerspod X Twitter https://x.com/tonybpod Listen Ad-Free On Apple Podcasts Here: https://podcasts.apple.com/us/podcast/true-crime-today-premium-plus-ad-free-advance-episode/id1705422872

In today's hypercompetitive job market, organizations are looking for change-ready project talent that can add value from the get-go. In a group discussion, three project professionals share which must-have skills and acumen—from artificial intelligence proficiency and data analysis to communication and active listening—have bubbled up in 2025. They also explain how to market your skills, experience and the value you've delivered on your résumé or CV and during job interviews. Plus, how you can upskill through certifications and online courses. Our guests include: Fernanda Bertino, PMP, lead project manager, Cirion Technologies, Rio de Janeiro; Mutaz Said, PMP, PgMP, PfMP, project controls manager, AtkinsRéalis, Denver, Colorado, USA; Mohamed Swydan, PMP, head of projects, Gulf Cooperation Council region, Engie Solutions, Dubai.  Key themes[02:08] The skills you need: AI acumen, communication and data analysis  [06:40] Using online courses and group discussions to upskill[10:11] What hiring managers are looking for in project talent[13:54] How to best market yourself on your résumé or CV [15:45] Ways to stand out in 2025's job market

Devastating day for the defense and a great day for the all-star Commonwealth team of Hank Brennan, Adam Lally & Laura McLaughlin. Karen Read's lawyer ignores the devastating black box car data shows John O'Keefe's phone stopped moving seconds after Karen Read's SUC crashed into him and instead harangues forensic data expert Shanon Burgess about how he presented his schooling on his CV in a previous case. But the jaw-dropper of the day was when Hank Brennan played the clip of Karen Read informing the “Body in the Snow” tv show crew that John O'Keefe died at approx 12:25 or 12:30. This confirms the black box data that Karen Read reversed into John O'Keefe at around 12:31:47am - 12:31:55am. John O'Keefe's phone stopped moving (adjusted for the clock drift) 12:31:47 am. Either Karen Read is psychic or she knows she fatally injured John when she chose to reverse into him at approx. 24 mph with her foot approx. 75 % down on the gas pedal with her infotainment system alarm blaring & flashing- warning Read she was about to hit John. Despite Read's car dire warning, Read never touched the brake. Get access to exclusive content & support the podcast by becoming a Patron today! https://patreon.com/robertaglasstruecrimereportThrow a tip in the tip jar! https://buymeacoffee.com/robertaglassSupport Roberta by sending a donation via Venmo. https://venmo.com/robertaglassBecome a channnel member for custom Emojis, first looks and exclusive streams here: https://youtube.com/@robertaglass/joinShow Notes:Innocence Fraud Watch 'Killer Karen Read Retrial: (UPDATED) Based On Totality Of Evidence & Psychopathic Murderers Sadistic Personality Her 12:41:35am Voice Mail Appears Intentional. Incl. Powerful Niece Testimony" - https://theerrorsthatplaguethemiscarriageofjusticemovement.home.blog/2025/05/15/killer-karen-read-retrial-based-on-totality-of-evidence-psychopathic-murderers-malignant-narcissism-sadistic-personality-her-124135am-voice-mail-appears-to-have-been-made-intentionally/Roberta Glass "Karen Read Trial Day 19" - https://www.youtube.com/live/iL-xhyjFBP0?si=lVzg_HmoZzBWU6EFThank you Patrons!l Jen Buell, Marie Horton, ER, Rosie Grace, B. Rabbit, Sally Merrick, Amanda D, Mary B, Mrs Jones, Amy Gill, Eileen, Wesley Loves Octoberfest, Erin (Kitties1993), Anna Quint, Cici Guteriez, Sandra Loves GatsbyHannna, Christy, Jen Buell, Elle Solari, Carol Cardella, Jennifer Harmon, DoxieMama65, Carol Holderman, Joan Mahon, Marcie Denton, Rosanne Aponte, Johnny Jay, Jude Barnes, JenTheRN, Victoria Devenish, Jeri Falk, Kimberly Lovelace, Penni Miller, Jil, Janet Gardner, Jayne Wallace (JaynesWhirled), Pat Brooks, Jennifer Klearman, Judy Brown, Linda Lazzaro, Suzanne Kniffin, Susan Hicks, Jeff Meadors, D Samlam, Pat Brooks, Cythnia, Bonnie Schoeneman-Dilley, Diane Larsen, Mary, Kimberly Philipson, Cat Stewart, Cindy Pochesci, Kevin Crecy, Renee Chavez, Melba Pourteau, Julie K Thomas, Mia Wallace, Stark Stuff, Kayce Taylor, Alice, Dean, GiGi5, Jennifer Crum, Dana Natale, Bewildered Beauty, Pepper, Joan Chakonas, Blythe, Pat Dell, Lorraine Reid, T.B., Melissa, Victoria Gray Bross, Toni Woodland, Danbrit, Kenny Haines and Toni Natalie.Get $10 credit towards your next livestream using this affiliate link! Want to create live streams like this? Check out StreamYard: https://streamyard.com/pal/d/6616403606241280

Are we expecting too much from our jobs - and is it costing us our health, relationships and happiness?   This week I'm delighted to welcome back someone who is regarded as one of the most insightful and original voices on modern relationships, the psychotherapist Esther Perel. Fluent in nine languages, Esther has her own therapy practice in New York City, serves as an organisational consultant for multiple Fortune 500 companies and is ALSO the author of the New York Times Bestselling books, ‘Mating in Captivity' and ‘The State of Affairs'.   Although Esther is probably best known for her teachings and wisdom on our romantic relationships, more recently she has turned her attention to our work relationships. The occasion for this appearance on my podcast is to celebrate the release of her brand new 100-question card game designed to transform your work culture – one story and one relationship at a time.   In this thought-provoking conversation, we explore how our expectations of the workplace have shifted dramatically – and why it's creating both opportunity and strain. Esther shares that in the past, work was primarily about survival, duty and financial stability. But today, many of us are looking to our jobs to provide identity, belonging, fulfilment and even self-worth.   We discuss: Esther's four key pillars of healthy workplace relationships – trust, belonging, recognition and collective resilience – and why these needs mirror those in our romantic lives How unresolved workplace issues can lead to emotional exhaustion, poor health choices and a reduced capacity to connect at home How our increasingly digital lives are reducing the everyday social skills we need to connect, communicate and collaborate How our personal relationship history – our “unofficial CV” – shows up at work and influences how we handle authority, conflict, feedback and boundaries Why managing conflict well can deepen connection – and how curiosity and honest self-reflection can transform how we show up in all areas of life  Throughout our conversation, Esther offers compassion and clarity, breaking down complex emotional patterns into simple, human truths we can all relate to – and, most importantly, act on.    She encourages us to approach work relationships not as transactional, but as relational, inviting us to bring the same level of curiosity, empathy, and accountability that we would bring to any meaningful connection.   At a time when so many of us are feeling isolated or overwhelmed, Esther's advice shows that even small shifts in how we relate, listen and respond can spark meaningful change at work, with our families and ourselves. I hope you enjoy listening.   Support the podcast and enjoy Ad-Free episodes. Try FREE for 7 days on Apple Podcasts https://apple.co/feelbetterlivemore.  For other podcast platforms go to https://fblm.supercast.com.   Thanks to our sponsors: https://airbnb.co.uk/host https://thriva.co https://calm.com/livemore https://join.whoop.com/livemore   Show notes https://drchatterjee.com/557   DISCLAIMER: The content in the podcast and on this webpage is not intended to be a substitute for professional medical advice, diagnosis, or treatment. Always seek the advice of your doctor or qualified healthcare provider. Never disregard professional medical advice or delay in seeking it because of something you have heard on the podcast or on my website.

Watch the full coverage of the live stream on The Emily D Baker YouTube channel: https://youtube.com/live/Hi_HNpRVySADay 18 of the Karen Read Retrial happened on May 19, 2025. Shanon Burgess, a Digital Forensic Examiner from Aperture, is witness number 35. His testimony revolves around correlating the timing of events from Karen Read's Lexus vehicle data and John O'Keefe's phone location data.Burgess provided detailed explanations of Lexus infotainment system data (Lexus clock and techstream data), key cycles, triggering events (like a three-point turn), and how this data was correlated with the data from John O'Keefe's iPhone. Time variances between the Lexus clock and the iPhone clock and the significance of these variances in relation to when O'Keefe's phone was locked.Defense Attorney, Robert Alessi, strongly challenged Burgess's credibility during cross examination by highlighting discrepancies and potential misrepresentations in his CV (resume), Aperture website information, and LinkedIn profile concerning his educational background and degrees. Questions were also raised about a report Burgess submitted on May 8th, at the request of the prosecution. Burgess stated he did it on his own initiative due to the report from the Defense's expert. It was thought that he did it at the request of the prosecutor but attributed the "per your request" statement to a copy-paste error.Alessi further challenged Burgess's understanding of data storage (megabits vs. megabytes) and the completeness of data extractions from the vehicle's chips. This could significantly impact the jury's perception of Shanon's testimony and the prosecution's case. The errors and inconsistencies in his statements, reports, and qualifications raise serious questions about the reliability of his expert opinions. There's more cross examination to come on Day 19.RESOURCESWhat You Need to Know About the Retrial - https://youtu.be/89Jpa8vz1RQ Karen Read Retrial Playlist - https://www.youtube.com/playlist?list=PLsbUyvZas7gKOJlfL__9F027hlETVU-vo Karen Read Trial - 2024 - https://www.youtube.com/playlist?list=PLsbUyvZas7gKUeCUzApgsEuQRXu5IXeTSThis podcast uses the following third-party services for analysis: Spotify Ad Analytics - https://www.spotify.com/us/legal/ad-analytics-privacy-policy/Podscribe - https://podscribe.com/privacy

Few 19th-century leaders have a CV quite like Otto von Bismarck's. This formidable statesman's cunning, charisma and eye for an opportunity helped him drive the unification of Germany and engineer a stunning defeat of France in 1871. Here, in conversation with Spencer Mizen, Katja Hoyer introduces a man whose rise would change the face of European geopolitics forever. EXCLUSIVE NordVPN Deal ➼ ⁠https://nordvpn.com/hepod⁠ Try it risk-free now with a 30-day money-back guarantee! The HistoryExtra podcast is produced by the team behind BBC History Magazine. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Marc and CV discuss Brock Purdy's new contract and why his is unique based on the amount of games played by Purdy as well as some NFL votes coming up.

Lyssna på den interna splittringen på Timbro: Kräver beredskapen att vi lägger marknadens funktioner åt sidan? Johanna Grönbäck låter de rapportaktuella timbroiterna Rutger Brattström och Carl-Vincent Reimers drabba samman. Läs Rutgers rapport Marknaden försvarar Ukraina: https://timbro.se/allmant/marknaden-forsvarar-ukraina/ Läs CV:s rapport Draghi på svenska: https://timbro.se/europa/draghi-pa-svenska/

Esto es un extracto de la Tertulia de AutoFM que se emite cada jueves en Onda Cero ¿Cómo es la posventa en Jaecoo Omoda? Charlamos con Artur Campos, responsable Posventa en Omoda & Jaecoo: Omoda | Jaecoo ha puesto la posventa en el centro de su desembarco español. Arthur Campos, director de After-Sales, recuerda que “ventas coloca el primer coche, pero posventa vende los siguientes” y subraya que la estrategia del grupo Chery ha sido implantar la red de servicio en paralelo al lanzamiento comercial. El resultado es un almacén logístico en Azuqueca de Henares que ya ha pasado de 700 m² a casi 2.000 m² y entrega el 99 % de los repuestos en menos de 24 horas (48 h para el resto), un dato diseñado para desterrar los temores que generan otras marcas recién llegadas. La red técnica se ha levantado antes de que los modelos tocasen suelo español. La compañía ha impartido más de 170 horas de formación específica y cuenta con unos 130 mecánicos certificados en toda la red, de modo que cualquier concesionario dispone de soporte experto desde el primer día. Ese flujo de información también permite introducir mejoras de producción a gran velocidad: cambios de neumáticos (Michelin en el Omoda 9 de 535 CV), ajustes de volante o espejos interiores y otras revisiones adaptadas al gusto europeo se han aplicado de una tirada de fabricación a la siguiente. El parque móvil supera ya los 15 000 vehículos y crece a un ritmo de 2 000 unidades mensuales. Para responder a ese volumen —y al inminente aumento de gama con Omoda 9, Jaecoo 5 o J7 PHEV—, el departamento de posventa busca ampliar plantilla (en especial perfiles femeninos) hasta las trece personas actuales. El objetivo: mantener la agilidad logística y la atención directa que la marca considera clave para generar confianza. Por último, Omoda | Jaecoo promete un coste de uso competitivo. Ha realizado un ‘benchmark' de tarifas con marcas establecidas y asegura que sus revisiones y trabajos de mantenimiento se sitúan al nivel —o por debajo— de la media del mercado, con las únicas variaciones que marque la mano de obra local. Con piezas en 24 h, red formada y precios contenidos, la marca confía en fidelizar a los primeros 10 000 propietarios y a los muchos que llegarán. Todos los podcast: https://www.podcastmotor.es Twitter: @AutoFmRadio Instagram: https://www.instagram.com/autofmradio/ YouTube: https://www.youtube.com/@AutoFM Contacto: info@autofm.es

JACC: Associate Editor Michelle M. Kittleson, MD, PhD, FACC, and JACC: CardioOncology Deputy Editor Ronald Witteles, MD, FACC, discuss the current findings on the impact of vutrisiran in patients with transthyretin amyloidosis with cardiomyopathy (ATTR-CM). This study on HELIOS-B comprises details on cardiovascular (CV) events and provides updated mortality analyses from a later data cut than the primary analysis. Risk of ACM and CV events, including CV hospitalizations and heart failure events, was reduced with vutrisiran versus placebo in the overall population, with consistent trends regardless of baseline tafamidis use. These findings reinforce the balanced benefit on mortality and CV events demonstrated in the primary analysis of HELIOS-B.

durée : 00:02:42 - Ma vie au boulot - par : Sandrine Foulon - Amandine est en pleine phase de recherche d'emploi. Elle a utilisé l'intelligence artificielle pour faire son CV et ses lettres de motivation. Mais tout le monde fait pareil, dit-elle. Comment sortir du lot ? veut-elle savoir.

#221 In this week's episode, we are sharing part two of our tips for being a psychology major! I am once again joined by my friend (and fellow psych major at UPenn!) to discuss even more things you absolutely need to know about majoring in psychology in college. We share more of our expert advice on topics including: + how important your grades really are+ what extracurricular activities we'd recommend+ greek life, making friends, & FOMO + getting funding & grants for psych research+ writing your senior thesis + having your research published as an undergrad+ working on posters & papers + why you should attend psych conferences + networking as a psych major + how to make your CV stand out + applying for graduate schools for psychology+ what we were glad we did as psych majors… + …& what we wish we did differentlyOlivia's Instagram: https://www.instagram.com/olivia.nicastro/MENTIONED+ Psychology major advice pt. 1+ Penn Psychology+ ADAA Conference+ ABCT Conference+ Olivia's email+ Olivia's LinkedIn SHOP GUEST RECOMMENDATIONS: ⁠https://amzn.to/3A69GOC⁠STARBUCKS GIFTCARD GIVEAWAY: Want coffee on me?! Each month I'll be randomly choosing a winner to receive a Starbucks giftcard! To enter this giveaway, all you have to do is leave a review of the podcast on ⁠Spotify⁠ and/or ⁠Apple Podcasts⁠ and DM me on a screenshot of your review on ⁠Instagram⁠. Win bonus entries by tagging the podcast on your Instagram story or TikTok! Good luck!LET'S CONNECT+ @shepersistedpodcast+ hello@shepersistedpodcast.com+ shepersistedpodcast.com© 2020 SHE PERSISTED LLC. This podcast is copyrighted subject matter owned by SHE PERSISTED LLC.

From founding the Everyday Sexism Project to unpicking how AI is entrenching misogyny, Laura Bates has become one of the UK's most unflinching feminist voices. In this episode of Full Disclosure, she joins James O'Brien to explore how one devastating week in her early twenties sparked a lifetime of activism- and why storytelling, statistics, and school visits remain central to her mission.Laura traces her path from a bookish childhood to acting ambitions, before recounting the moment a string of seemingly “everyday” experiences of harassment triggered a wider awakening. The conversation spans her battles with media hostility, the evolution of digital misogyny, and the personal toll of online abuse. With clarity and urgency, she discusses how sexism is coded into everything from CV-sorting algorithms to deepfake pornography, and why AI may be the next great battleground for gender equality.Honest, analytical, and deeply human, this conversation delves into what drives Bates to keep going, and what gives her hope for the next generation.Find out more about Laura Bates book,The New Age of Sexism, here

There have been exactly 0 CT events run at the box since Kieren Perrow departed his role as Championship Tour Commissioner. We don't believe that's a coincidence. In this ep, Stace G and Mikey C dissect the 2025 Margaret River Pro, including whether or not we're likely to see carnage and glory at Main Break's feral little sister. Also: forecasts, picks, and a detailed analysis of the mid year cut — who's safe and who needs to dust off their CV.

Ah, the sabbatical. Getting one is like hitting the jackpot, right? All your problems would melt away if you had one. You'd go into it a frazzled, anxious, burnt out mess, and emerge serene, rested, and with a few dazzling additions to your CV. In fact, you'd be so sorted if you got a sabbatical that it's probably never occurred to you that you might need some hand-holding through the process.Enter our guest for this episode, Bethany Wilinski, Associate Professor at Michigan State University, sabbatical coach, and host of the Sabbatical 101 podcast. Bethany's own sabbatical experience taught her that, if you're not careful, a sabbatical can make you feel more burnt out and depleted, not less. She now works with academics to help them use their sabbaticals to rest, recharge, reconnect with what excites them, and relate to their work in a healthier way. Bethany is here to ensure that, if and when you're lucky enough to get a sabbatical, you can make it work for you.You can find Bethany's website, including a link to her podcast, here. 

HIRING MANAGER SELF SERVE - THE PAST AND FUTURE OF RECRUITMENT?   It was also the Past of Recruitment - where hiring managers were doing most of the work in hiring for their teams, everything from putting up adverts in shop windows, handling the first enquiries, reviewing CV's, screening candidates, scheduling interviews, interviewing candidates and then offering / hiring said candidates. Perhaps Personnel got involved in the contracts of employment, but 'recruitment' was once handled entirely by the line.   Could it be that this model returns, as AI improves to such an extent that a centralised TA function may not be the most optimal model?   Lets explore how some companies have shifted from centralised TA to empowering hiring managers to do more of the hiring work   - What conditions best suit centralised vs decentralised TA teams? - Pro's / Cons of decentralised vs centralised - What degree of hiring maturity is required for hiring manager self serve? - Retail franchises are the obvious business type for this model: which others? - How to avoid hiring managers bad practice in hiring? - Bias mitigation - realistic in HM? - How to ensure QoH in decentralised model? - What tools are best suited for this model - How does AI support hiring manager self serve? - What role does a recruiter continue to play in such a set up? - How can a business improve its hiring capability if we go hiring manager self serve? - What are the top things to remember if you are planning to making this shift?   We're with Martin Warren, TA Leader (ex-Grab), Lyndsey Taylor, Head of HR Transformation (Brooks Automation) & friends   We are on Friday 16th May, 2pm BST   Register by clicking the green button and follow the channel here (recommended)         Ep300 is sponsored by our friends at Ashby   Ashby is what an ATS should be: an integration of sourcing automation, AI-supported outreach sequencing, native interview scheduling, a searchable CRM, and advanced analytics – all in one ATS++ system. That means better data, less context switching, and more streamlined workflows. Chosen by over a thousand companies, including Quora, Docker, Ironclad, and Multiverse, Ashby stands out as the top-rated ATS on G2. It is renowned for its real-time and reliable reporting, the ability to centralize the entire hiring process, and unparalleled customer support.   Talent Trends Reports are freely available: Download the latest here

Esto es un extracto de la Tertulia de AutoFM que se emite cada jueves en Onda Cero. Web Autoscout24: https://www.autoscout24.es Web Autocasion: https://www.autocasion.com El Suzuki Vitara nació en 1988 con un propósito muy claro: ofrecer un todoterreno compacto que combinara la robustez de un 4x4 tradicional con el manejo ágil y el confort de un turismo. Presentado primero en Japón con el nombre Escudo, el modelo aterrizó en Europa unos meses después bajo la denominación Vitara y, en determinados mercados, como Sidekick (co‐desarrollado con General Motors). Su receta —chasis de largueros, tracción total conectable, reductora y motores gasolina 1.6— democratizó el “off-road ligero”, inaugurando el segmento de los SUV pequeños muchos años antes de que el término se popularizara. Durante la década de 1990, Suzuki amplió la gama con versiones de batalla corta (tres puertas y techo desmontable) y larga (cinco puertas), además de variantes diésel suministradas por Peugeot e interiores cada vez mejor equipados. En 1998 llegó la segunda generación, rebautizada Grand Vitara en la mayoría de países. Aquel modelo se modernizó con suspensiones independientes y un diseño más urbano, sin renunciar a la caja de transferencia con reductora. La gama de motores creció hasta incluir V6 de 2,5 y 2,7 litros, y por primera vez apareció una carrocería de siete plazas, lo que consolidó su éxito fuera de Japón —especialmente en Europa y América Latina—. La tercera generación (2005-2014) dio un paso técnico importante: abandonó el chasis de largueros en favor de una estructura monocasco con subchasis, más ligera y rígida, aunque mantuvo reductora y bloqueos diferenciales opcionales. Con motores gasolina y diésel de hasta 2,4 L, el Grand Vitara III se ofreció en 3 y 5 puertas y destacó por integrar ESP y airbags laterales de serie en la mayoría de mercados, alineándose con las nuevas exigencias de seguridad. En 2015 Suzuki reorientó estratégicamente el modelo: recuperó el nombre “Vitara” a secas y lo transformó en un SUV urbano de 4,17 m asentado sobre la plataforma global del S-Cross. El nuevo Vitara priorizó la eficiencia —motores 1.6 atmosférico y 1.4 BoosterJet turbo, diésel 1.6 DDiS de Fiat, posteriormente mild-hybrid de 48 V— y la polivalencia cotidiana, sustituyendo la reductora por el sistema AllGrip Select con embrague multidisco y programas de conducción. Dejó de lado la aventura extrema, pero reforzó la conectividad y la seguridad activa (frenada autónoma, control de descenso, alerta de cambio de carril). En la actualidad (2025), el Vitara sigue produciéndose en Magyar Suzuki (Hungría) y se comercializa en más de 70 países con versiones mild-hybrid y, desde 2022, híbrida completa de 115 CV, manteniendo la tracción AllGrip como seña de identidad. Así, aquel pionero “mini-4x4” de los 80 ha evolucionado hasta convertirse en un SUV versátil y eficiente, pero ha conservado el espíritu práctico y la imagen aventurera que lo hicieron famoso, completando casi cuatro décadas de historia y más de cuatro millones de unidades vendidas en todo el mundo. Todos los podcast: https://www.podcastmotor.es Twitter: @AutoFmRadio Instagram: https://www.instagram.com/autofmradio/ YouTube: https://www.youtube.com/@AutoFM Contacto: info@autofm.es

Ep 196 One World in a New World with Professor M.S. RaoHow can challenges become the foundation of leadership?

David Brewerton, now Group Marketing Director at Monzo, didn't just apply — he stayed top of mind and made himself impossible to ignore. In this honest and practical episode, he shares how he went from laid off to landing a top role at one of the UK's most disruptive banks.

Today's episode showcases four new deposition-related rulings, including one that makes a compelling case for using Rule 31 depositions by written questions; a second that underscores the need to proactively consider limiting deposition transcript distribution; a third that highlights rare exceptions to a party's right to attend depositions; and a fourth which reinforces the basic principle that deposition subpoenas duces tecum cannot be used to shorten Rule 34's 30-day document production timeline. Thanks for listening, and be sure to check out the book on which this podcast is based, 10,000 Depositions Later: The Premier Litigation Guide for Superior Deposition Practice - A User's Guide and Handbook on Deposition Tips, Tactics & Strategies for Civil, Administrative, Arbitrative and Criminal Litigation. Available on Amazon and just about everywhere else books are sold.SHOW NOTESKilmetis v. Wal-Mart Stores East, LP, No. 24-CV-04452 (JMW), 2025 WL 1332056 (E.D.N.Y. May 7, 2025) (Rule 31 depositions)Hales v. Cook, et al., No. 1:24-cv45/ZCB, 2024 WL 5690279 (N. D. Fla. December 20, 2024) (on restricting distribution of deposition transcripts)Rupard, et al. v. County of San Diego, et al., No. 23-CV-1357 CAB (BLM), 2025 WL 1265858 (S. D. Cal. April 30, 2025) (on excluding parties from depositions in their own cases)Johnson v. Parks Floyd Investments, LLC, No. 2:23-cv-1063 SMD/KRS, 2025 WL 1191785 (D. New Mexico April 24, 2025) (on use of deposition subpoenas duces tecum to parties as a tool to circumvent and shorten the normal period for production of documents)

Send us a textIn the second part of our chat, we continue our conversation with Chris (aka Dexta), following his journey from aspiring DJ to co-founder of Planet Wax, the New Cross institution that has become a cornerstone of London's underground dance music scene."Record shops aren't just about selling vinyl—they're about creating a space where the culture can breathe," Dexta explains.In this episode, we discuss how Dexta founded Diffrent Music in 2010 with his friend Jamie. This experimental bass label deliberately countered mainstream trends and quickly became a cult favorite with over 100 releases.Dexta's career evolved through various roles in graphic design at DJ Mag and Hospital Records, where he blended his talents in A&R, broadcasting, and event management. He notably helped organize the popular DJ Mag Bunker nights and co-founded Clashmouth, a vibrant drum & bass vinyl marketplace that strengthened community bonds.His entrepreneurial spirit led him to establish 1-800-Dubplate with Lewis (aka Sicknote), a specialized dubplate-cutting service, before they both successfully crowdfunded Discworld (later rebranded as Planet Wax). After relocating to New Cross and expanding with a bar, the record shop and venue evolved into a cultural hub for vinyl enthusiasts, artists, and DIY culture.As Dexta reflects, while it's "not a fortune-making business," the true reward lies in preserving authentic music culture for future generations.

Ik plaatste laatst een post op LinkedIn over kennis overconsumptie. We kennen het waarschijnlijk allemaal: die stapel ongelezen managementboeken, een indrukwekkende verzameling certificeringen op je CV, die inspirerende trainingen waarvan de impact al verdampt zodra je naar huis rijdt.Wat als het probleem niet is dat we te weinig leren, maar dat we te weinig creëren met wat we leren?Naar aanleiding van deze post kwam Tjomme Reeringh bij mij in de lucht, om door te praten over dit thema. Tjomme is redacteur, ghostwriter van een aantal succesvolle managementboeken en momenteel (o.a.) bezig met een eigen boek. We kenden elkaar nog niet, dus je bent in deze aflevering getuige van onze eerste kennismaking. We hadden daarom ook niet gepland om dit op te nemen, vandaar dat je wat abrupt in de aflevering belandt. Maar toch besloten we het te doen, zodat je deelgenoot kunt worden van onze uitwisseling.Een aflevering over (o.a.) kennis overconsumptie, over het schakelen van leren naar implementeren, over manieren waarop we effectiever kunnen acteren op de grote en actuele thema's.Het is een gesprek waarin we zoeken, verkennen, ruimte geven aan nieuwe vragen en zo nu en dan een conclusie.

Watford FC announced yesterday that The head coach to replace Tom Cleverley was the 42-year-old Uruguayan Paulo Pezzolano, most recently at Real Valladolid.Ned and James get straight in to their immediate opinions on the appointment, discsussing Pezzolano's impressive CV, as well as deep diving into Valladolid's promotion winning tactics and set up, earmarking a starting XI based on players currently at the club, as well as areas that are in obvious need of improvement!They then discuss Pezzolano's first words as Watford boss as news breaks during the recording!There has been lots of movement behind the scenes at the club too, with Hector Kyprianou and Cătălin Cîrjan already being linked with the Golden Boys. The boys discuss their well founded scepticism with yet another 'Project' manager - asking the question: How long will he be given?Thank you so much for the support this season, this is the end of the 'scheduled' podcasts until the start of the 2025/26 season, we'll be checking in over the Summer break before then though don't you worry!Let us know your thoughts!! Follow us on Twitter! @yellowsqurdpodFollow us on Instagram! @yellowsquaredpodFollow us on TikTok! @yellowsquaredpod

¡Fashion Tribe!Acompáñanos en este episodio con nuestra founder Ale Robles para descubrir consejos clave que impulsarán tu carrera en la industria de la moda.Escucha cómo Ale te guía para destacar con un LinkedIn profesional, un CV sintético que resuma tu talento y una carta de motivación personalizada que conecte con las empresas. ¡Quédate para descubrir cómo estos tips prácticos pueden ser el primer paso hacia tu trabajo soñado en moda!¿Quieres enterarte de más estrategias para hacer de la moda tu profesión?¡Cuéntanos en Instagram @marketingalamodamx si te interesa que abramos nuestro curso Trabaja en Moda este verano!No olvides que puedes impulsar tu negocio de moda con nuestra consultoría 1 a 1, contáctanos al +52 221 920 8720. ¡Estaremos felices de ayudarte en este camino a la moda! También puedes escribirnos a contacto@marketingalamoda.com ¡Síguenos en ⁠Instagram⁠, ⁠TikTok⁠ y ⁠LinkedIn⁠ más contenido de moda y marketing!¡Nos vemos en el próximo episodio, Fashion Tribe!

A windstorm-caused power outage at the Cheesecake Manufactory led to the spoilage of hundreds of cheesecakes and a business income loss. The adjuster is questioning if the windstorm deductible applies to the claim, despite the power outage being the direct cause of the spoilage.   Notable Timestamps [ 00:00 ] - The scenario presented involves a windstorm that caused a power outage, leading to spoiled cheesecakes and a claim for spoilage and lost business income, raising the central question of whether the windstorm deductible applies given the chain of events. [ 01:30 ] - Trivia: Where did the maximum natural wind gust ever recorded occur? [ 03:00 ] - The windstorm deductible endorsement states it applies to losses "caused directly or indirectly by windstorm or hail", but this language, even with "indirectly," can still lead courts to perform a proximate cause analysis, often leaving the "dominant and efficient cause" determination to a jury, unlike clearer anti-concurrent causation language. [ 04:30 ] - While "directly or indirectly" might address some indirect causation issues, the very definition of "windstorm" is not straightforward and is heavily subject to interpretation by courts based on specific case facts. [ 06:00 ] - Case law interpretations of "windstorm" can be narrow, such as a Rhode Island case finding high winds didn't qualify due to excessive rain; or surprising, like a Texas court holding a tornado was not a windstorm for deductible purposes. [ 07:30 ] - Is a tornado the epitome of a windstorm? Depends on who you ask... [ 09:00 ] - When two different endorsement provisions contain irreconcilable conflicts, such as both stating that "no other deductible applies" to the coverage they provide, a court might determine that no deductible applies at all. [ 12:00 ] - The business income claim follows a chain of events from the windstorm to the power outage and then the spoilage. The business income loss specifically results from the inability to operate due to the spoiled inventory, which might also involve potential Extra Expense. [ 13:30 ] - Brennan provides a recap of the scenario and the points above. Your PLRB Resources PLRB Catastrophe Services Launches New Power Outage Reports - https://www.plrb.org/documents/plrb-catastrophe-services-launches-new-power-outage-reports/?search=power%20outage%202025 Turner Construction Co. v. ACE Prop. & Cas. Ins. Co., No. 04-4451-CV, 2005 WL 2837575, — F.3d — (2d Cir. 10/28/05) (applying Texas law) reviewed at PLRB, Prop. Ins. L. Rev. 6978 (2005) Windstorm Deductible – Food Spoilage – BI – PCQ.2024.07.26.twh.a - https://www.plrb.org/documents/windstorm-deductible-food-spoilage-bi-pcq-2024-07-26-twh-a/?search=power%20outage%202024 Employees of member companies also have access to a searchable legal database, hundreds of hours of video trainings, building code materials, weather data, and even the ability to have your coverage questions answered by our team of attorneys (https://www.plrb.org/ask-plrb/) at no additional charge to you or your company. Subscribe to this Podcast Your Podcast App - Please subscribe and rate us on your favorite podcast app YouTube - Please like and subscribe at @plrb LinkedIN - Please follow at “Property and Liability Resource Bureau” Send us your Scenario! Please reach out to us at 630-509-8704 with your scenario! This could be your “adjuster story” sharing a situation from your claims experience, or a burning question you would like the team to answer. In any case, please omit any personal information as we will anonymize your story before we share. Just reach out to scenario@plrb.org.  Legal Information The views and opinions expressed in this resource are those of the individual speaker and not necessarily those of the Property & Liability Resource Bureau (PLRB), its membership, or any organization with which the presenter is employed or affiliated. The information, ideas, and opinions are presented as information only and not as legal advice or offers of representation. Individual policy language and state laws vary, and listeners should rely on guidance from their companies and counsel as appropriate. Music: “Piece of Future” by Keyframe_Audio. Pixabay. Pixabay License. Font: Metropolis by Chris Simpson. SIL OFL 1.1. Icons: FontAwesome (SIL OFL 1.1) and Noun Project (royalty-free licenses purchased via subscription). Sound Effects: Pixabay (Pixabay License) and Freesound.org (CC0).

En la segunda mitad de los años 80 había una rivalidad entre dos grupos de aficionados… Entre los defensores del Opel Kadett GSi y del VW Golf GTi era aún más acalorada. Y hoy vamos a responder a la pregunta de cuál es mejor. Y me voy a mojar. Para entender estas historias es bueno saber la línea temporal de los acontecimientos. En 1974 había aparecido el Golf MKI y en 1983 aparece el VW Golf MKII y, frase típica de este canal que no todos pueden decir es esta: “yo estuve allí… Solo un año después, en 1984, aparece el VW Golf GTi de la segunda generación, con motor de 8 válvulas, y de nuevo, yo estuve allí, en esa presentación. Por su parte el Opel Kadett, el de tracción delantera, porque la denominación Kadett aparece en 1937, aparece en 1979 pero lo conozco bien, porque fue uno de los primeros coches que probñe como profesional. Y en 1984, como respuesta a VW, aparece el Kadett GSi de 8 válvulas… y sí, yo estuve allí en esa presentación. La lucha entre Opel y VW o entre VW y Opel continua y en 1986 VW lanza el Golf GTi 16 válvulas de la segunda generación y Opel responde solo un año más tarde, en 1987, lanzando su Opel Kadett GSi 16v… en ambos casos, en ambas presentaciones “yo estuve allí” ... y los probé y comprobé, juntos o por separado en multitud de ocasiones. Lo importante de todas estas fechas es ver como Opel y VW se marcaban estrechamente una a la otra y como respondían cada marca a los movimientos del rival. Vamos a comenzar a hablar de estos coches. Y comenzamos por el chasis y bastidor. Para mí, lo asombroso del Golf en todas sus versiones y en especial en la GTi no era lo bien que iba, era eficaz, progresivo y cómodo. ¿Era malo el Kadett? Malo no, peor que el Golf sí. Menos refinado, no era tan preciso como el Golf, ni tan cómodo. Daba la sensación de que el equilibro entre muelle y amortiguador no era tan bueno, con muelles más duros y amortiguadores más blandos… Todo esto en las versiones básicas, incluso en el GSi de 2 litros, 8 válvulas y 130 CV, pasaba más desapercibido… pero no en el 16V. Ahora hablemos de motores. El motor del Golf era un 1.8 litros, exactamente 1.781 cm3, de 112 CV. Y como en el bastidor, técnicamente no tenía ninguna solución muy original, pero iba muy bien… lo sé porque lo probé muchas veces e incluso ¡tuve uno! ya como clásico. Igual que VW tenía “mano” para los bastidores, Opel la tenía para los motores. Para empezar, jugaba con ventaja, una ventaja del más del 12 por ciento en cilindrada, 1.998 cm3 frente a los citados 1.781 cm3. La ventaja en potencia era incluso mayor, 130 CV frente a los 112 CV del Golf. Y eso se notaba. Y como VW era de esas marcas a la que no les gustaba el turbo, se decidió por las 4 válvulas por cilindro. Pero todo lo bueno que era ese motor con 8 válvulas no lo era con 16. La potencia crecía hasta los 139 CV, pero el par no era mucho y llegaba muy arriba, a casi 5.000 rpm. Era un motor sin bajos y algo perezoso subiendo de vueltas… una mala combinación. En cambio, las 16 válvulas le sentaron de maravilla al dos litros de Opel que era, sencillamente, perfecto. Según las fuentes y según fuese catalizado o no podrás ver anunciados entre 150 y 160 CV… y en banco no solo conseguía esa potencia, incluso la superaba. Y aunque el par lo anunciaba a un régimen alto, de 4.800 rpm… a ese régimen ya superaba al Golf en potencia. Lo decía al comenzar, sencillamente, perfecto, porque además era robusto y no gastaba demasiado. ¡Nos ponemos al volante! Comenzamos con los 8 válvulas. Y la verdad es que el motor Opel es fantástico, pero salvo en conducción muy deportiva, donde los caballos mandan, el excelente motor del Golf se defiende muy bien. En carreteras con muchas curvas la mayor seguridad que inspira el Golf hace que puedas entrar más rápido, que puedas “atacar” mejor los vértices y entonces la diferencia de potencia pasa a un segundo plano. En los frenos no hay grandes diferencias y en cuanto al manejo del cambio es muy bueno en el Opel y mejor en el Golf. Son los modelos tope de gama donde te juegas el prestigio. En este caso el Golf sigue mostrando un comportamiento impecable y buena motricidad… con su motor, claro está, porque no corre demasiado. Sobre esto, volveremos. ¿Y el Kadett? Pues el potente motor sí pone en un aprieto al bastidor. Lo de menos son las pérdidas de motricidad en curvas cerradas, que puedes controlar con tacto de gas, lo de más es que al límite, en curvas medias y rápidas, el tren trasero es muy vivo…y a veces tiene vida propia. En buenas manos no es un coche peligroso… pero en buenas manos. Le sucede un poco como el R5 GT Turbo, que no es peligroso, simplemente corre una barbaridad… y en GSi 16 válvulas corre todavía más, mucho más. Dije que iba a volver sobre la motricidad, esas pérdidas de adherencia en la rueda interior del GSi cuando acelerabas fuerte en curva lenta. Leí en la prensa de la época que el Golf GTi 16V tenía mucha mejor motricidad que el Kadett GSi 16v… ¿en serio? ¿Qué pasaría si al Golf le metes la “bestia” del motor Opel? Pues seguro que “pierde” rueda igual. Conclusión. Como coche divertido, práctico y asequible, sin duda el ganador sería el VW Golf GTi normalito, el de 8 válvulas, que es delicioso, refinado, corre lo suficiente, gasta poco y es una roca. El Golf 16V no aporta mucho. Pero si quieres un deportivo de verdad, que corra, que te exija y que te de sensaciones, el GSi 16V es definitivo. El GSi de 8 válvulas va muy bien, pero es que la diferencia… ¡es brutal! Si de estos cuatro coches tengo que elegir uno y solo uno, para mí, no para otra persona… creo que me conocéis bien… ¿cuál creéis que elijaría? El Opel Kadett GSi 16V… es una bestia y a mí me gustan estos coches que hay que domar, que exigen a su conductor. Y para los que piensen que estoy loco os digo una cosa: Si vas a ritmo más lento, es una madre, no es un coche peligroso ni mucho menos. Las cosas se complican cuando le buscas “las cosquillas” … sin duda, mejor en circuito. He probado este coche con algunos ajustes de suspensiones y buenos neumáticos en circuito y os aseguro que creo que es el tracción delantera más divertido de conducir que recuerdo en este momento.

Send us a textТик Так и Зорка денес додека ви го претставија CVто на Вторник, ви раскажаа за демотивацијата за мотивација. Каков е Вторнк како ден? И дали повеќе сакате некој што работи и крпи крај со крај или некој што не работи, а има? За што се согласија дека не се согласуваат Тик Так и Зорка? Што пропуштивте, преслушајте овде.

Me encantan los Tatra, me encanta su historia, en la que aparece Porsche, los nazis, los comunistas… Y estoy seguro que vais a alucinar con estos coches adelantados a su tiempo… ¡Y no me olvido de los camiones! A Tatra se la considera la tercera marca más antigua de la historia, tras Mercedes-Benz y Peugeot. Nació nada menos que en 1850. Y es una superviviente… Sobrevivió al espionaje industrial, sobre todo de VW. Sobrevivió a dos Guerras Mundiales. Sobrevivió a la invasión de los nazis. Sobrevivió al derrumbe del socialismo en la Europa central. Y curiosamente la división de la desaparecida Checoslovaquia, la llegada del euro y el mercado único europeo acabo con ella como fabricante de turismos, pero no de camiones… Hay mucho que contar. Primero vamos a centrarnos en los coches. En realidad, los orígenes de la marca se remontan un más lejos de 1850, nada menos que a 1820, cuando Ignác Šustala funda la compañía Nesseldorf. Pero el nombre de Tatra, en honor a los montes Tatras nace como marca en 1850 cuando se comienzan a construir coches de caballos. Y ya en 1897 compran un automóvil Benz y deciden usarlo como modelo para construir una mejor. Contaron para ello con un verdadero genio, el En 1921 bajo la dirección de Ledwinka nace el Tipo 11, un coche muy moderno para su tiempo y que para mí y para muchos, marca el primer paso en el inicio del Tatra como coches muy modernos y de concepto distinto. El periodo de entre guerras había dado lugar al nacimiento de coches interesantes, pero lo mejor estaba por venir. Y llegaría de la mano no de uno, sino de “dos”, en plural, Ledwinka. ¿Por qué digo “los” Ledwinka? Porque a Hans se le une su hijo Erich que trae muchas ideas nuevas, ideas que se reflejan en el Tatra T77 de 1934, el primer coche realmente aerodinámico de la historia del automóvil. Te pongo un ejemplo: El Mercedes-Benz EQS un modelo eléctrico del que la marca presume de su coeficiente aerodinámico CX, que es de 0,20. Estamos en 2025. Volvemos a 1934, casi 100 años antes y este Tatra T77 anunciaba un CX de… ¡0,21! ¡Casi casi! E insisto, 100 años antes. Este coche montaba un poderoso motor V8 de 3 litros de refrigeración por aire, un busca de la ligereza, que primero ofreció 65 CV y luego hasta 75 CV y que iba montado detrás… pero detrás. detrás, como el 911… o el Escarabajo. Y digo esto con segundas intenciones. No, no hubo ningún Tatra denominado “escarabajo” pero sí un Tatra T97 lanzado en 1936 con motor bóxer de 4 cilindros, aerodinámica estilo Tatra y una línea que recuerda a otro coche, inicialmente llamado Kdf-Wagen lanzado en 1938 y supuestamente diseñado por Ferdinand Porsche. Esta similitud va más allá de un parecido razonable. La versión de Ferdinand Porsche es que hablaba a menudo con Ledwinka y eso le dio alguna que otra idea. Pero Tatra, tras la Segunda Guerra Mundial, demandó a VW y el litigio, que se resolvió en 1961, condeno a VW a compensar con 30 millones de marcos a Tatra… se ve antes del “diésel gate” VW ya hacia trampas. Volvamos a la Segunda Guerra Mundial, cuando Alemania invade medio Mundo y entre ese medio Mundo estaba Checoslovaquia y se encuentran con los Tatra… y a los oficiales alemanes les encantaban. En ese momento Tatra ya producía los T87, más refinados, pero también con motor trasero más grande y más potente, con versiones que rondaban los 100 CV y que superaban los 160 km/h, una velocidad de infarto en la época. Eran bonitos, distintos, bien acabados, rápidos… y muy difíciles de conducir, con ese potente V8 ahí detrás. Y los jóvenes oficiales nazis, la mayoría sin experiencia al volante, les gustaba disfrutar de la velocidad de esos coches… pero un modelo que tenía la mala costumbre de protagonizar fuertes accidentes que acabaron con la vida de muchos de ellos. Como el buen humor no falta nunca, ni en plena guerra ni entre los alemanes, la tropa llamó a estos coches “el arma secreta checoslovaca”. Los checos los llamaron los “mata nazis” y Hitler, que se ve que estaba en todo, prohibió a sus oficiales conducir esos rápidos coches. La pobre Tatra y los podres checos, en ese momento checoslovacos, no gaban para sustos. Y tras el control de país por parte de los nazis, llego el control por parte de los comunistas, pues este país era uno de los “satélites” de la extinta URSS. Pese a todo en Tatra se la ingeniaron para fabricar un nuevo modelo, el T600, pero que, dentro de la famosa, tristemente famosa, economía planificada, llamaron “Tatraplan”. En realidad, ni T600 y “Tatraplan”, era el T107 sucesor de los 77, 87 y 97. El motor, pasa de 8 a 4 cilindros bóxer, algo lógico con las penurias de la época y no es desde luego ni el mejor ni el más bonito de los Tatra. Se fabrico entre el 48 y el 51. La URSS y su zona de influencia comunista necesitaban coches de lujo… Y fruto de este problema nace el T603 un coche de calidad, muy refinado, moderno, de estética muy llamativa y con su correspondiente V8 a 90 grados, este dato no os la había dado, de 2,5 litros y 150 CV que le permitía superar con cierta holgura los 160 km/h. Pese a que el motor era ligero, no llegaba a 200 kg, y a que sus suspensiones eran muy sofisticadas para la época, seguía siendo un coche difícil de conducir… pero esto, lejos de ser un problema, hasta le daba un cierto “caché” a sus poseedores… una historia parecida a la del 911 en Norteamérica. Este modelo tuvo una larga vida, desde más o menos 1954, porque en esos momentos por razones obvias los datos no son muy fiable, hasta 1975 y fue denominado por muchos como el mejor coche del comunismo… me sumo. Tatra quería modernizar su estética y para eso contrata nada menos que a Vignale, que diseña el T613, quizás no tan original y aerodinámico, pero sí de aspecto mucho más moderno. Técnicamente era más de lo mismo, con su gran motor trasero V8 refrigerado por aire que se llevó a lo 3,5 litros y a casi 200 CV… pero los tiempos cambian y lo que en los años 70 podría ser hasta moderno, en los 80 acusaba al paso del tiempo y en los 80 y 90 era sencillamente un coche desfasado. ¿Muy atractivo? Sí. ¿Muy especial? Sí. pero desfasado. En los últimos años de su existencia se fabricaban con cuenta gotas y en total en 24 años de existencia se fabricaron alrededor de 11.000 unidades. Pero en 1999 Tatra decide dejar de fabricar coches… y centrarse en los camiones, una división en la que estaban más actualizados y en la que había tenido muchos éxitos, incluso deportivos.

Send us a textIn today's Daily Drop, Peaches wades through 20+ pages of Pentagon memos so you don't have to—and the headlines are as wild as you'd expect. From the DoD accelerating AI and electronic warfare for SOF teams (because robot war is here), to the Pentagon trying to fire every transgender troop in 30 days (seriously), it's another day in America's defense soap opera.Also: the Space Force is debating whether orbital refueling is even worth it, even though it sounds like the coolest sci-fi thing ever; the B-52 radar upgrade blows past budget (shocker); and the Air Force finally admits the CV-22 Osprey might never hit full capability again (gasp). And yes, the crew debates which generation would actually win in an all-out war cage match—Gen X or the Greatest Generation?

TRANSITIONING TO CV FREE HIRING   The CV has been around for maybe even longer than recruiting itself become a distinct profession, so are we destined to forever have a document like this in our hiring process? What does it look like if we can remove the CV - does it thicken our pipeline, improve it or make it even harder to handle or process?   Lets have a chat with TA leaders who have made the shift to CV Free Hiring and see if we can learn how they did it, what they learned and what they would recommend to others contemplating the same.   - Why CV Free Hiring? - How does this argument translate into the business case? - What types of scenario is optimal for CV Free Hiring? - What kind of roles are most suitable for it? - Conversely, what scenarios / roles are NOT suitable for CV free hiring? - Change management: what were the expected outcomes of shifting to CV free hiring? - What challenges can TA Leaders expect to encounter? - How did you handle them? - What did the recruitment team think of CV free hiring? - What TA strategies are eliminated by going CV Free hiring - presumably, sourcing? - Short / Medium / Long term outcomes of the shift - CX impact?   All this and more as we tackle an issue whose moment may be now!     We are on Friday 9th May, 2pm BST with Jessie Schofer, Founder (Stakked), Matthias Schmeisser, VP People & Operations (Emnify), Tony McCaffery, Founder (Diversity Scotland) & Kare Heward, Talent Acquisition Manager (QVC)   Register by clicking the green button and follow the channel here (recommended)       Ep306 is sponsored by our friends at Willo     Recruiting for high-volume positions in a global, diverse workforce is increasingly challenging, especially when relying on traditional methods and the limitations of written CVs. Managing thousands of applications manually is not only exhausting and inefficient, it can also prevent you from finding the top talent your organization needs to thrive.   Enter Willo. The award-winning team is transforming the hiring process with a dynamic candidate screening solution that users love, backed by an NPS score to prove it!   Their web-based, human-centric platform enables candidates to record responses to a predefined set of questions at their convenience. With over 5,000 secure integrations, Willo makes it easy to supercharge your recruitment process, reduce bias, and support diversity, equity, and inclusion goals—all while helping you tap into a larger, more exciting pool of global candidates.   Book a demo at willo.video this month to get 10% off—just use the coupon code "brainfood”. That's W-i-l-l-o dot video.

Los coches actuales son, desde el punto de vista de la seguridad, el confort, el consumo y las emisiones, mejores que los coches de los años 90. Eso es indiscutible. Tan indiscutible como que los coches de los 90 seducían más que los de ahora… ¿cuál es el motivo? Ayer, 28 de abril de 2025, España y Portugal sufrimos un apagón de varias horas. Primero me quedé sin mi pantalla grande, a continuación sin Internet… y cuando acabé con la batería de mi portátil, sin ordenador… y me quedaba por escribir un guion. Y lo hice a pelo, tomando notas en un papel. Le di vueltas a mis notas de posibles ideas y vi este titular, “Coches de los 90 vs. coches de los 20, ¡como hemos cambiado!” Era una idea que me gustaba, pero que nunca veía la oportunidad de escribirla, en el fondo porque es un video muy de opinión, muy personal, más literatura que periodismo. Y pensé: “Pues… ¡ha llegado el momento!” Normas anti polución cada vez más severas, pruebas de choque, sonoridad cada vez más baja, sistemas de protección de peatones y homologaciones para todo, desde el tipo de pantalla a los materiales usados, iluminación, materiales usados para la pintura o los acabados interiores.… un enjambre normativo que necesariamente, el fabricante, tiene que tener en cuenta. En caso contrario, no puede sacar su coche al mercado. Los fabricantes de coches, hoy día, tienen solo tres intereses: Beneficios, beneficios y beneficios. Y esto los lleva a tomar decisiones cortoplacistas, que suponen beneficios a corto plazo, pero hipotecan el futuro. En aras de los beneficios se han impuesto los famosos ahorros de coste y economía de escalas. ¿Y eso que significa? Que muchas empresas que tienen muchas marcas, efectivamente tienen muchas marcas, pero no todos los coches de distintas marcas son distintos. Los ordenadores, a igualdad de datos de “entrada”, te proponen idénticas soluciones de “salida”. A un ordenador le puedes pedir eficacia, rapidez, pero no originalidad ni personalidad¡… sencillamente, porque no la tiene. Para llegar al producto final luego llegan personas y los “retocan”, pienso que a veces incluso con poco acierto y desde luego casi siempre en aspectos secundarios, como faros, pilotos, pilares y otras cosas que no afectan a la estructura. Siempre se dice que la perfección no es de este Mundo. Beethoven era sordo, Mozart un desequilibrado, Cervantes manco, a Blas de Lezo, quizás el mejor militar español de todos los tiempos, le faltaba un ojo, un brazo y una pierna… y así podría seguir. Vamos con un ejemplo del motor y de ahora mismo, con el coche que probablemente tiene más personalidad de la producción mundial: El Porsche 911… ¡un coche que podríamos decir que está “mal hecho”! Un directivo jubilado de una empresa automovilistica fue quien me dijo eso de que los coches de ahora “no tienen alma” y me contó que la empresa en la que él trabajaba, cuando se iba a diseñar un nuevo modelo en el pliego de condiciones que recibía el equipo de ingenieros y diseñadores figuraban argumentos como que tenía que ser un “autentico” modelo de esa marca, tener “aire de familia” con sus antecesores y, clave para ellos, despertar “emociones”. Me voy a detener en esto de las emociones porque cuando voy a una presentación de algún coche eléctrico, SUV o no SUV, oigo mucho ese estribillo de “este coche pretende despertar emociones a su conductor”. Cuando lo pruebo no encuentro esas emociones… ¡me emociona más mi viejo Panda! Fruto de esta forma de abordar las cosas era que los coches, antes, eran diferentes unos de otros. Ni tan siquiera digo más bonitos, digo sencillamente distintos, con personalidad. Los más mayorcitos recordaréis el famoso spot televisivo del Citroën Dyane 6, un coche no precisamente bonito, y en el que se recurría a la personalidad con el slogan “¡Viva la diferencia!” Entonces, ser diferente, era una necesidad. Ahora parece que no. ¿Te gusta conducir? Esta frase que hizo famosa en un anuncio televisivo BMW es una verdadera declaración de intenciones. Estoy preparando un video junto a mis amigos de “CEROaCIEN” que titularé algo así como “cuando los deportivos eran humanos”. ¿De verdad son necesarios 500, 600 o 1.000 CV para que un coche sea deportivo? El primer BMW M3 de 1986 tenía apenas 200 CV y te aseguro que pocos coches hay más divertidos de conducir que este, cierto que solo pesaba unos 1.100 kg. Eran deportivos humanos y sin electrónica, por un lado, porque no se había inventado, pero por otro… es que a lo mejor no la necesitaban… o por lo menos la necesitaban menos que coches de ahora, a veces enormes SUV o Berlinas de muchos cientos de caballos, muchos, muchísimos cientos de kilos y que, sin electrónica, probablemente, serían incluso peligrosos.

Ep 195 One World in a New World with Annalieza Landa

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

Führungskraft auf Jobsuche? Dann solltest du diese 5 Fehler vermeiden. Du hast Budgetverantwortung getragen, Teams geleitet, strategisch gearbeitet – und trotzdem scheint deine Bewerbung zu verpuffen? Der Grund: Viele Führungskräfte verlassen sich auf Titel und Stationen – aber lassen Wirkung und Strategie vermissen. In der neuen Podcast-Folge vom Berufsoptimierer erfährst du: - Wie du quantifizierte Erfolge statt Aufgaben in den Mittelpunkt stellst - Warum dein strategisches Denken DER Unterschied im CV ist - Wie du deine Leadership-Vision im Gespräch klar kommunizierst - Was ein gutes Anschreiben wirklich leisten kann - Welche Tools dir helfen, dich neu zu positionieren (inkl. SWOT-Analyse & Assessment-Fragen) Die 5 größten Fehler im Vorstellungsgespräch Du bist auf der Suche nach weiteren Tipps oder Unterstützung? Hier findest du unsere neuesten Tipps, spannende Blog-Artikel sowie Infos, wie wir dich unterstützen können. Du hast Fragen oder Anregungen? Dann schick uns gerne eine Whatsapp Nachricht oder sende uns eine Mail an hallo@berufsoptimierer.de Du möchtest mit mir oder einem unserer Coaches über deine berufliche Situation sprechen? Dann buche dir jetzt ein Erstgespräch  

SEND US A TEXT MESSAGE!!! Let Drs. Nii & Renee know what you think about the show!The hidden power of your CV isn't something they teach in medical school. In this episode we talk about aspects of locum tenens work that every physician should understand before entering this space. Remember: nobody cares about your schedule, finances and career trajectory more than you do.FREE DOWNLOAD -  7 Considerations Before Starting Locum Tenens - https://darkos.lpages.co/7-considerations-before-locumsLINKS MENTIONED Q&A and Suggestions Form - https://forms.clickup.com/9010110533/f/8cgpr25-4614/PEBFZN5LA6FKEIXTWFSend us a Voice Message - https://www.speakpipe.com/docsoutsidetheboxSIGN UP FOR OUR NEWSLETTER! WATCH THIS EPISODE ON YOUTUBE!Have a question for the podcast?Text us at 833-230-2860Twitter: @drniidarkoInstagram: @docsoutsidetheboxEmail: team@drniidarko.comMerch: https://docs-outside-the-box.creator-spring.comThis episode is sponsored by Set For Life Insurance. What the Darkos use for great disability insurance at a low cost!! Check them out at www.setforlifeinsurance.com

Devin sits down with Sameer Shamsi, Co-Head of Houlihan Lokey's GP Led Secondaries group. We cover everything you want to know about continuation vehicles, but were afraid to ask (or too dumb to ask?). What is the difference between LP-led and GP-led? How should GPs talk to their LPs about it? What assets are best suited for CVs? How does company management get treated in a CV? Plus so much more you didn't even pay for.

A windstorm knocks over a power line, causing hundreds of cheesecakes at a local restaurant to spoil. The owners have to close for a few days as they manufacture more. Their adjuster wants to know how to investigate the storm and power outage.   Notable Timestamps [ 00:20 ] - The loss of desserts is always tragic, even lemon merengue. [ 01:00 ] - Trivia: Which variety of cheesecake contains "quark"? Or should we say "Weißkäse"? [ 01:50 ] - PLRB.org features a Weather and Catastrophe hub designed for insurance professionals and not for cat enthusiasts. [ 02:17 ] - Users can get a full weather/cat report from the historical weather section of the Weather and Cat hub by entering an address and date range. [ 03:11 ] - A full weather/cat report provides data including hail, wind, precipitation, lightning probability, storm reports, and watches/warnings. [ 04:15 ] - For this scenario, the report showed evidence of strong winds, such as a 72 or 73 mile per hour gust reported near the scenario's location in Waco, Texas. [ 06:08 ] - The PLRB hub also offers a power outage report tool which uses data from power outage US and covers 80% of the United States. [ 07:18 ] - The power outage report can show the location of outages near the address, indicating that power was out in the general area. [ 08:13 ] - Both the full weather/cat report and the power outage report can be combined to provide evidence, in this scenario for example, that a storm  came through and knocked out power for the area. [ 09:59 ] - Dylan provides a recap of the scenario and the points above. Your PLRB Resources Get a Full Weather/CAT Report (hail, wind, precipitation, more) - https://www.plrb.org/weather-cat/plrb-cat-data/ PLRB Catastrophe Services Launches New Power Outage Reports - https://www.plrb.org/documents/plrb-catastrophe-services-launches-new-power-outage-reports/?search=power%20outage%202025 Mankoff v. Privilege Underwriters Reciprocal Exch., No. 05-22-00963-CV, 2024 Tex. App. LEXIS 594 (Tex. App. 01/29/2024) (Court of Appeals of Texas, 5th District, applying TX law) [reviewed at PLRB, Prop. Ins. L. Rev. (2024)] - https://www.plrb.org/documents/mankoff-v-privilege-underwriters-reciprocal-exch-2024/?search=mankoff Employees of member companies also have access to a searchable legal database, hundreds of hours of video trainings, building code materials, weather data, and even the ability to have your coverage questions answered by our team of attorneys (https://www.plrb.org/ask-plrb/) at no additional charge to you or your company. Subscribe to this Podcast Your Podcast App - Please subscribe and rate us on your favorite podcast app YouTube - Please like and subscribe at @plrb LinkedIN - Please follow at “Property and Liability Resource Bureau” Send us your Scenario! Please reach out to us at 630-509-8704 with your scenario! This could be your “adjuster story” sharing a situation from your claims experience, or a burning question you would like the team to answer. In any case, please omit any personal information as we will anonymize your story before we share. Just reach out to scenario@plrb.org.  Legal Information The views and opinions expressed in this resource are those of the individual speaker and not necessarily those of the Property & Liability Resource Bureau (PLRB), its membership, or any organization with which the presenter is employed or affiliated. The information, ideas, and opinions are presented as information only and not as legal advice or offers of representation. Individual policy language and state laws vary, and listeners should rely on guidance from their companies and counsel as appropriate. Music: “Piece of Future” by Keyframe_Audio. Pixabay. Pixabay License. Font: Metropolis by Chris Simpson. SIL OFL 1.1. Icons: FontAwesome (SIL OFL 1.1) and Noun Project (royalty-free licenses purchased via subscription). Sound Effects: Pixabay (Pixabay License) and Freesound.org (CC0).

¡Tras el grandioso éxito de “coches que me asustaron” ahora llega la segunda entrega “coches que me decepcionaron”! Bromas aparte me comprometo a una cosa: Estoy seguro que esta lista os va a sorprender más… algunos coches no os lo esperáis, pero… ¡tengo argumentos! Y, por cierto, que en este vídeo tenemos invitado de lujo: Nuestro especialista de cabecera, Jaime Sánchez y su “consultorio clásico” … no os lo perdáis. De vuelta a nuestra lista me he centrado en modelos que me decepcionaron especialmente por sus por sus prestaciones o su mecánica… habrá más oportunidades para otros casos. Y sobre todo en los años 80 y 90 que es mi etapa más intensa como probador. Nunca he dejado de probar coches, pero en estos años, creedme, los probaba todos y muy a fondo. Vaya por delante una advertencia: Los coches que aparecen en esta lista no es que sean malos… ¡ni muchos menos! Aunque algunos no eran de lo mejor en su momento. Simplemente me decepcionaron por diversos motivos que, por supuesto, os contaré. En ocasiones ha sido culpa mía, que esperaba demasiado de ellos. Siempre, antes de probar un coche, me “empapo” de sus características técnicas y datos oficiales. Confieso que tenía mi “sistema”: Nunca leía pruebas de otros antes de escribir la mía. Es cierto, y perdonar esta inmodestia, que en el grupo editorial donde estaba y gracias al esfuerzo de todos nadie, pero nadie, ningún periodista, probaba un coche en España antes que nosotros. Pero sí alguno en el extranjero. Los franceses probaban antes que nosotros los coches franceses, los italianos los fabricados en Italia y los alemanes, los “Made in Germany” … y como nosotros no teníamos industria propia nunca éramos los primeros… ni con Seat. Esto de no leer nada del coche que iba aprobar lo sigo haciendo ahora en todo lo que escribo. Sí, busco datos e informaciones, pero nunca algo que pueda ser parecido a lo que voy a contar… ¿Por qué? Porque soy de la opinión que, incluso aunque no quieras, te “contaminas”. A veces me pasa que después sí lo leo u oigo y pienso que me he equivocado… rara vez… o que podía haberlo hecho mejor… esto siempre. Vamos ya a hablar de coches. 1. Porsche 924 (1976). El más antiguo de estos 10+1 y que probé antes de dedicarme profesionalmente a esto… ¡iba a probar mi primer Porsche! … ¿Y qué sucedió? Que me pareció poco para llevar ese nombre. El motor 2 litros de origen Audi-VW daba 125 CV para unos 1.100 kg… 2. Ford Scorpio 2.8 (1985). Este ya lo probe como profesional. Conocía la versión 2.0 del Scorpio, que iba bien, pero estaba falta de motor, y también conocía el motor 2.8i de Ford, que no daba muchos caballos, pero eran caballos de calidad. Y pensé que la combinación de ambos iba a ser ganadora… pero no. 3. VW Golf 16V (1985). Ya había probado y conocía el Golf MKI con motor de 16 válvulas… y ya sabía que ese motor estaba falto de bajos y que no era desde luego un motor “redondo”. Pero, no sé por qué, esperaba que para el MKII VW hiciese algo… pero no lo hizo. 4. VW Corrado G60 (1989). ¡No me gusta el compresor G! Lo siento, pero es así. La primera vez que probé el motor de 1.781 cm3 con 8 válvulas y compresor G fue en el Corrado… y el coche me gustó, pero el motor no. Y eso que no sabía la de problemas que iba a dar el dichoso compresor. 5. Bugatti EB110 (1991). Sí, corría mucho… pero no era un Bugatti de verdad. Y es que los Bugatti originales eran coches ligeros y relativamente simples dentro de su sofisticación. Y este EB110, que se llama así porque se presentó 110 años después del nacimiento de Ettore, no era nada de eso. 6. Renault Clio 16V (1991). Una sucesión verdaderamente difícil, la del Supercinco GT Turbo. Se puede decir que el Clio 16V era mejor en todo… menos en sensaciones y en prestaciones… nada menos. Luego vino el Williams y lo arreglo todo. 7. Audi Coupé 2.2 16V (1991). Me refiero a la generación denominada B3 aparecida en 1989. Pero la versión concreta de la que os hablo apareció en 1991. El primero que probé era el 2.2 de 5 cilindros y 20 válvulas. Si hacéis números, era el motor del VW Golf 16 válvulas multiplicado por 0,25. No, no se subía la cilindrada, sino que se añadía un cilindro más. No era tan decepcionante como el motor del Golf… lo era más. 8. Toyota Celica GT-Four “Carlos Sainz” (1992). ¡El coche de Carlos Sainz! ¡Hasta con su firma! Pero no corría nada. Sí, anunciaba 208 CV y un buen par entre las 3.200 y las 4.800 rpm… todo eso sobre el papel. Pero no sé si por el sistema de tracción total, por las normas anti polución o por el peso de 1.500 kg, la sensación que tenías era que el coche no corría. Sobre todo, si te bajabas de un Ford Escort Cosworth o de un Lancia Delta Integrale… no solo era una sensación. Las cifras de prestaciones demostraban que era una realidad. 9. Ferrari F50 (1995). 10 años después que el F40, el F50 ofrecía 42 CV más, un motor que requería subir mucho de vueltas y un peso mucho mayor. Y en cuanto a estética el F50 no es feo, pero parce como “blandito” comparado al F40. Resultado, me decepciono. Pero no debí ser el único decepcionado, porque solo se hicieron 349. 10. Lotus Elise (1996). El coche era bonito, pequeño con 3,72 m de longitud y 1,20 m de altura y con un peso de apenas 800 kg. Pero el motor era un 1,8 litros con 120 CV… De nuevo recurro a mi madre, con una frase suya: “Mucho pan para tan poco queso”. Bonus Track: Mazda RX8 (2003). Y el motor ofrecía 231 CV que había que ir a buscarlos a las 8.500 rpm. Lo he probado en circuito y el coche es divertido, tienes que ir siempre con el motor por encima de las 6.000 rpm. Pero en el día a día, es un engorro, si vas tranquilo, vas lento, y si quieres ir con cierto dinamismo, requiere una conducción casi “al ataque”… Conclusión. Una pregunta, ¿os ha sorprendido alguno de estos coches? Estoy seguro de que sí. Insisto, para nada son malos, no me importaría nada tener muchos de ellos, pero en su momento me defraudaron porque esperaba más. De hecho, muchos de ellos, como los VW Golf y Corrado, el Audi, el Lotus o el Scorpio, tuvieron motorizaciones más acordes con el modelo.

Richard has noticed what happens when you drive a car with no roof. Also in this episode, the CSI Tarpaulin capital of the UK, tattoo failure, air raid siren horn news, a terrible Range Rover Sport advert, the time Jonny and Richard were in a disastrous car advert brainstorming session, the smell of modern churches, 2 CV love, listeners' tales of hotel toasters and jammed-on horns, a mystery car in the Careless Whisper video, and a forgotten Nissan concept car. For early, ad-free episodes and extra content go to patreon.com/smithandsniff To buy merch and tickets to live podcast recordings go to smithandsniff.com  Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Director Martin Campbell is guest of honour in the latest episode of Film Stories. He's just directed his new film, Cleaner, starring Daisy Ridley, and he talks Simon through that, as well as the challenges of independent filmmaking. Plus! The pair talk about some of Campbell's other directorial work, including Casino Royale, The Mask Of Zorro, No Escape, GoldenEye, Vertical Limit, and some of the other fruitier films on his early CV. Learn more about your ad choices. Visit megaphone.fm/adchoices

We had an honest and practical discussion about the current broken state of recruitment and how the smart use of AI is giving MSPs a genuine edge in finding the right people — not just the most available ones.  We kicked off with a bit of fun, noting how just using the term 'AI' in the title gets everyone's attention! But in all seriousness, the technology is no gimmick. As Dean Watmough explained, AI is now playing a pivotal role in helping MSPs find talent faster and more accurately — when used properly. Dean pointed out that AI, when applied with good data and human insight, can help MSPs avoid the chaos of sifting through hundreds of irrelevant CVs, saving a huge amount of time, effort and cost.  Dean Watmough shared a brilliant reminder that the traditional CV and interview process is hopelessly outdated. With only 14% of CVs accurately predicting job performance, it's no wonder that recruitment often feels like an expensive game of chance. He highlighted how easy-apply job boards, and bullet-point job descriptions create a flood of unsuitable candidates, overwhelming MSP owners and leading to poor hiring decisions. Dean and I agreed that MSPs aren't just selling tech to their clients; they're selling the experience, knowledge, and attitude of their people. That's why getting recruitment right is so critical.  The conversation then took an exciting turn as we got stuck into how AI is changing the game. Dean Watmough explained that by integrating AI into the recruitment process, and combining it with human intelligence, MSPs can better assess not just technical skills but, more importantly, cultural fit, attitude and values alignment. Through skills assessments, culture tests, behavioural profiling, and smart data gathering — all analysed with AI — you can now really understand the whole person, not just the surface CV. Dean stressed that you still need that gut feel, but AI gives you the confidence and data to back up your instincts.  One big takeaway was the importance of slowing down the hiring process at the start. Rather than throwing out a job advert and hoping for the best, Dean Watmough emphasised the value of defining exactly what you want: who your ideal candidate is, the three most important things they must do daily, and what type of behaviours and values match your company. Then, and only then, should you engage candidates. Put hurdles in the way: screening questions, shortlisting exercises, even short video intros, to make it harder for the wrong people to apply and easier for the right ones to stand out. AI can then filter and assess these candidates with incredible accuracy based on the right data.  We also tackled the myth that technical skills alone are enough. As Dean Watmough pointed out, a candidate with transferable skills, high levels of learning agility and the right personality can often outperform someone with a fancy CV but a bad attitude. AI's ability to benchmark candidates against your current best-performing team members gives MSPs a secret weapon to spot hidden gems that traditional recruitment would miss.  Towards the end of the episode, we summarised the top three actions that every MSP owner should take right now. First, slow down and think carefully about who you actually need. Second, identify the three daily must-do tasks and build your hiring questions around them. Third, and perhaps most importantly, stop chasing volume and start chasing quality. Make it hard to apply and ensure every candidate entering your funnel is serious about the opportunity.  Dean Watmough and I wrapped up by agreeing that recruitment is just marketing with people. It's about being crystal clear on who you want and communicating that clearly, authentically, and confidently. AI isn't a magic wand, but used properly it is a powerful tool to accelerate finding, engaging, and retaining the right talent in your MSP — faster, cheaper, and with better outcomes than ever before.  If you're ready to rethink how you recruit and bring some serious firepower into your hiring process, reach out to Dean Watmough and the team at Humnize by clicking HERE.  Want to go even deeper? These episodes will support and expand on what we've discussed today: 

Here's one for the heads! We gathered three brilliant wine professionals-- retail, wholesale, authors, YouTubers, wine judges...their combined CV is impressive!-- and they brought their A-game, engaging the show challenges with gusto and humor, and delivering thoughtful, incisive commentary on a wide range of wine topics, from the pitfalls of blind tasting, the revolutionary importance of putting the consumer perspective first, and how an Alsatian wine can be like a sunburned Scottish hippie at a Phish show! Jump in; you'll find this episode geeky yet entertaining, thought provoking, and at times, you'll laugh out loud, too. Promise!Don't forget to follow @therealwineshow on Instagram for even more content!

2016年英语专业四级听力 对话1Conversation One对话1Questions 1 to 5 are based on Conversation One.请根据对话1回答第1题到第5题。Hello,This is Kate Smith, I'm calling from ABC Company.你好，这里是ABC公司，我是凯特·史密斯。Oh,hello, Kate. Great to hear from you.你好，凯特。很高兴接到你的来电。You've already been told that you've been shortlisted for interview.…我们已经通知过您，您进入了最后一轮面试。Oh,yes...嗯，是的..…Well,we're very excited about meeting you. OK, I just want to talk you through the procedure for the day. Someone will meet you when you arrive, and then bring you up to meet myself and Arthur Miller, the CEO.我们期待您的到来。我打电话是想通知您面试当天的程序。首先，到了之后会有人接待您，上来之后您会见到我和CEO阿瑟·米勒。OK,sounds good. So will you be the only members of the interview panel there then?听起来不错。所以面试官只有你们两个吗？Yes,it'll be just me and Arthur who will talk to you.是的，只有我和阿瑟与您谈话。The interview will be in three parts first of all we'll ask you some general questions about yourself and your educational and professional background, and then we'll move on to specifics.面试分为三部分，首先我们会问一些常规问题，涉及到您的个人情况、教育背景和职业背景，然后是细节部分。Oh,um, specifics? Well er, what kind of questions will you be asking?哦，呃，细节？你们会问哪种问题?Well,it'll be very similar to the personal statement you submitted with your CV, we'll be expecting you to... to give actual examples of problems you've faced and solved, and of what you feel are the major successes in your career so far.类似于你简历里附的个人陈述，我们希望你能给出具体事例，说明你遇到并解决的困难，还有你职业生涯中取得的重大成功。OK.Well, yeah, that sounds great - can't wait!好！听起来好棒！我等不及了！Then there'll be a chance for you to ask us any questions – about the job itself,or ABC Company in general...然后你还可以问我们一些问题，比如关于工作本身，或者ABC公司的总体情况。Oh,um, OK... I'll think of something!嗯，好，我要想想。After that, we'd like you to give a short presentation on how you see ABC Company as a company progressing, and how you see yourself taking us there.最后，我们希望你做一个简短的展示，主题是你如何看待ABC公司这个发展中的公司，以及您应聘我们公司的优势。OK,so will I be expected to give like a formal style presentation?好的，我要做正式的展示吗？It can be as formal or informal as you like. There'll be a computer and a data projector there available. If you need anything else, just let us know.正式和非正式的都可以。我们会提供电脑和投影机。如果你还有其他需要，请告知我们。Oh,um... OK, a presentation! I'll think of something. I haven't done one of those in a while...啊，好，展示！我要好好想想！我最近都没做过展示.….….Is that all clear?我都说明白了吗Yes.嗯，明白了。Great!So, Daniel, I'll see you at 11 a.m., Thursday next week.好！那么，丹尼尔，时间是下周四上午11点，到时候见。OK,great. I look forward to meeting you! Thanks, bye.好的！到时候见！谢谢你，再见。Bye.再见。Questions 1 to 5 are based on Conversation One.请根据对话1回答第1题到第5题。Question 1. Why does the woman call the man?第1题 这个女士为什么给这个男士打电话？Question 2. What kind of questions can the man ask in the interview?第2题面试中，这个男士可以问什么问题？Question 3. Which is the last part of the interview?第3题 面试的最后一部分是什么？Question 4. What might be expected from the man's presentation?第4题 这个男士的展示要包括什么内容？Question 5. When is the interview scheduled?第5题面试安排在什么时候？

When women think about the benefits of menopausal hormone therapy, things like hot flashes, insomnia and vaginal dryness come to mind.  But for many women, bone health is, or should be, at the top of the list.   In this episode, I speak with Dr. Risa Kagan about the role of estrogen, progesterone, and testosterone in bone health. Definition of Low Bone Mass (Osteopenia) and Osteoporosis The Difference Between a T score and a Z score  FRAX- Fracture Risk Assessment Tool When Bone Mass Peaks How to Maximize Bone Health Before Menopause Hits Role of Estrogen in Young Women The Danger Zone- When Most Women Lose the Majority of Their Bone Mass The Role of Birth Control Pills and Prevention of Bone Loss If Exercise is Enough The Relationship Between Hot Flashes and Osteoporosis Bone Loss Post Menopause Impact of Menopausal Estrogen Therapy on Bones Taking Menopausal Hormone Therapy (MHT) in the Absence of Hot Flashes to Protect Bones The Difference Between Bone Density and Bone Quality When it is Appropriate to Take an Anabolic Agent If the TYPE of Estrogen you take matters (Conjugated, Synthetic, Bioidentical) What DOSE of Estrogen is Needed to Prevent Fractures If it is Appropriate to Monitor Estradiol Blood Levels When Taking Transdermal MHT The Target Estradiol Level for Bone Health What Happens to Bone Density When MHT is Discontinued If MHT Should Be Taken Forever If Progestogens Plays a Role in Bone Health The Role of Bazodoxifene (Duovee™) in Bone Health The Role of TESTOSTERONE therapy in Bone Health Another Podcast with Dr. Kagan: When Progesterone is a Problem   Dr. Risa Kagan is a Clinical Professor in the Department of Obstetrics, Gynecology, and Reproductive Sciences at the University of California San Francisco, and a consulting gynecologist with Sutter Health. Dr. Kagan has published over 100 scientific papers  on post menopause bone health and hormone therapy.  Dr. Streicher is on SUBSTACK      DrStreicher.Substack.com Articles Monthly newsletter All COME AGAIN podcast episodes Monthly News Flash Reports on recent research  Monthly Zoom Ask Me Anything Webinar   Information on Dr. Streicher's COME AGAIN Podcast- Sexuality and Orgasm Lauren Streicher MD, is a clinical professor of obstetrics and gynecology at Northwestern University's Feinberg School of Medicine, the founding medical director of the Northwestern Medicine Center for Sexual Medicine and Menopause, and a Senior Research Fellow of The Kinsey Institute, Indiana University. She is a certified menopause practitioner of The Menopause Society. She is the Medical Director of Community Education and Outreach for Midi Health.   Dr. Streicher is the medical correspondent for Chicago's top-rated news program, the WGN Morning News, and has been seen on The Today Show, Good Morning America, The Oprah Winfrey Show, CNN, NPR, Dr. Radio, Nightline, Fox and Friends, The Steve Harvey Show, CBS This Morning, ABC News Now, NBCNightlyNews,20/20, and World News Tonight. She is an expert source for many magazines and serves on the medical advisory board of The Kinsey Institute, Self Magazine, and Prevention Magazine. She writes a regular column for The Ethel by AARP and Prevention Magazine.    LINKS Subscribe To Dr. Streicher's Substack Information About the COME AGAIN Podcast Dr. Streicher's CV and additional bio information To Find a Menopause Clinician and Other Resources  Glossary Of Medical Terminology Books by Lauren Streicher, MD  Slip Sliding Away: Turning Back the Clock on Your Vagina-A gynecologist's guide to eliminating post-menopause dryness and pain Hot Flash Hell: A Gynecologist's Guide to Turning Down the Heat Sex Rx- Hormones, Health, and Your Best Sex Ever The Essential Guide to Hysterectomy                                       Dr. Streicher's Inside Information podcast is for education and information and is not intended to replace medical advice from your personal healthcare clinician. Dr. Streicher disclaims liability for any medical outcomes that may occur because of applying methods suggested or discussed in this podcast.              

Ne vous fiez pas à son CV Jean-Luc est un menteur. Pire encore, c'est un pirate du travail. Depuis qu'il a quitté l'armée, il a connu mille et une vies professionnelles, mais une seule d'imposture. Depuis plus de vingt ans, il a enchaîné les boulots et les emplois, de l'Institut national d'histoire de l'art au secteur nucléaire, en passant par moult postes à responsabilités – mais sans jamais avoir les qualifications requises. Sa méthode, c'est celle du mensonge : faux CV, fausses expériences et bluff à gogo.Quand on l'enregistre, il était photographe vidéaste et habitait au fond des bois. Mais, aujourd'hui, il est peut-être déjà parti au Congo, pour manager des rangers et lutter contre les braconniers. À moins qu'il ne se soit reconverti en vendeur de motos électriques dans le Morvan.Personnage digne d'un roman, l'imposteur invétéré raconte son parcours de menteur professionnel avec saveur et drôlerie. Il nous plonge dans la machine du mensonge, dévoile ce qui se cache sous son masque de comédien qui trompe et livre, en prime, quelques astuces pour bien falsifier son CV, tromper le système et berner des employeurs lors d'un entretien d'embauche… quitte à nous entourlouper. Enregistrements Léa Minod Réalisation Charlie Marcelet Illustration Oriane Marie Production ARTE Radio

Welcome to another episode of Beyond the Thesis With Papa PhD—a podcast where we dive deep into what happens after the PhD and how you can leap from academia into a diverse universe of fulfilling careers. This week, host David Mendes sits down in-person with Rayana Luna, a seasoned expert in medical affairs with over a decade of experience spanning multiple leadership roles, industry transitions, and a consulting business: Your MSL Coach. In this in-depth conversation, Rayana shares her journey from doing a PhD and feeling locked into the traditional academic path, to discovering the world of medical science liaison (MSL) roles and climbing the career ladder in medical affairs. She opens up about the realities of breaking into the industry, the variety of entry-level roles available (including MSLs, medical writers, and more), and sheds light on salary expectations—spoiler: they're generally higher than postdoc salaries! Rayana also addresses common hurdles PhDs face when shifting careers, like learning to “sell” yourself beyond an academic CV, mastering LinkedIn, and networking with authenticity. Packed with actionable advice, inspiring stories, and a deep dive into what medical affairs teams actually do in big pharma, this episode is a must-listen for anyone considering taking their research skills Beyond the Thesis. Rayana Luna's career journey is a testament to growth and adaptability within the medical affairs field. Starting out, Rayana observed that roles like medical science liaison (MSL), medical advisor, and medical writer not only offered higher starting salaries than traditional postdoctoral positions, but also provided abundant opportunities for advancement. Over the span of ten years, Rayana changed positions six times, quickly climbing the career ladder by focusing on collaborative environments and personal fulfillment over prestigious titles or starting pay. Her story encourages valuing meaningful work and positive teamwork, reinforcing that career progression comes naturally when you do what you love and build strong professional relationships. What we covered in the interview:  Career Progression is Fast & Rewarding: Entry-level roles like medical affairs fellow or MSL may seem humble, but with consistent performance and strategic networking, career (and salary) growth can be rapid. “Don't get hung up on initial titles; focus on enjoying your work and collaborating with great people.”  Networking & Self-Advocacy are Essential: Start intentional networking early (don't wait until you need a job!) and tailor your LinkedIn to what you WANT to do—not just what you've done. Your visibility and authentic connections can open unexpected doors.  Your Advanced Degree Matters: Finishing your PhD is increasingly required for most roles in medical affairs and opens many more doors for your industry trajectory. Don't give up in the final stretch—your perseverance will pay off.  If you're prepping for your next step, focus on crafting a standout LinkedIn profile, invest in building genuine connections, and keep an open (and growth-oriented) mindset. There's a whole world of opportunity beyond the bench!   See the resources section below for her links! This episode's resources: Instagram: @your.msl.coach LinkedIn: Your MSL Coach Thank you, Rayana Luna! If you enjoyed this conversation with Rayana, let her know by clicking the link below and leaving her a message on Linkedin: Send Rayana Luna a thank you message on Linkedin! Click here to share your key take-away from this interview with David! Leave a review on Podchaser ! Support the show !   You might also like the following episodes: Sarah McLusky – Research Adjacent Podcast Collab Papa PhD Gold – Sue Ashford – Four Practices You Must Learn From Gig Workers Papa PhD Gold – Elodie Chabrol –The Hidden Benefits of Science Communication Alexandra Howson – A Career in Continuing Medical Education

Ya sabéis que para temas de coches y estética soy muy raro… me encanta el primer Multipla, con eso está dicho todo. Pero seguro que estamos de acuerdo todos en que los coches más bonitos son los coupés y descapotables, pero ¿y después? Para mí, sin duda, los familiares, rancheras, break o como quieras llamarlos. ¡Me encantan esos coches! Ya os anticipo que como secuela de este video estamos trabajando en otro que se titulara “Los coupés más bonitos de la historia”, o algo parecido. Trataré de huir de los “hiper deportivos” para centrarme en coupés más asequibles… Y es que me parecen más bonitos los coupés que los descapotables… Pero creo que estilísticamente los coupés son coches más equilibrados, pues a los descapotables, evidentemente cuando están descapotados, les falta “algo”. No discuto su capacidad de seducción… ¡si tengo uno! Pero como diseño, mejor los coupé… Y luego, los familiares. Y no, no lo digo por practicidad ni nada parecido, los digo centrándome exclusivamente en la estética. Los familiares me parecen más equilibrados que las berlinas y desde luego, mucho más que los SUV… pero en este video… ¡no hay sitio para los SUV! Solo para coches especialmente bonitos, para alguno a pesar de ser familiares y para mí, precisamente por serlo. Vamos con esta lista de 10 más el inevitable “bonus track”. 1. Saab 95 Break (1959). Sabéis mi debilidad por la marca Saab, una marca que fabricaba aviones y que decidió hacer coches con tecnología aeronáutica y también con cierto aire estético similar a los aviones. 2. Seat 1500 Familiar (1965). El Seat 1500 sustituía al 1400 de línea muy anticuada… salvo el 1400 C que compartía carrocería con el 1500. Era y es un coche bonito, uno de esos coches que me parecen más bonitos en su versión familiar que en la versión berlina. 3. Dodge Dart Barreiros Familiar (1967). Aunque este coche se anunció en año antes, su comercialización comenzó en 1967, dos años después de lanzarse la berlina… No tuvo un gran éxito, porque el Dodge en España era el paradigma del lujo y en esos tiempos lujo y carrocería familiar no se entendían juntos. 4. Citroën CX Break (1976). El CX se presentó y 1974 y quizás no fue tan rupturista e innovador como su predecesor, el DS, pero si resultaba impresionante… de hecho, lo sigue resultando ahora, más de 50 años después. ¡Qué pasada de coche! 5. Volvo 850 T5 R (1995). Este coche es muy interesante, pues no solo es bonito y potente, sino que tiene una historia en la que esta involucrada Porsche. 6. BMW Serie 3 Touring (1999). Hablamos del E46, la cuarta generación de este modelo. Un modelo que conozco bien, porque tuve uno. Me compré el 328i con motor de 6 cilindros, 2,8 litros y 193 CV. Se puede decir que fue mi primer “coche bueno”… creo que es uno de los coches que más ilusión me ha hecho en mi vida. 7. Alfa Romeo 156 (2000). Recuerdo la presentación internacional en Milán del Alfa Romeo 156 en 1996… no lo puedo olvidar porque pude hablar con mi admirado Giugiaro, probar el coche que suponía un punto de inflexión en la trayectoria de una marca por la que tenía debilidad, Alfa Romeo, y cenar en el famoso restaurante Fra Diavolo, según me dijeron el favorito de Giovanni Agnelli. 8. Audi A4 Avant (2001). Audi llama Avant a sus rancheras o familiares, un nombre bonito. Y me ha costado elegir un Avant, porque me suelen gustar casi todos los Audi Avant. Pero el A4 B6, para entendernos, el de la segunda generación que va de 2001 a 2005, me parece bonito, equilibrado y un muy buen coche. 9. Mercedes-Benz CLS Shooting Brake (2012) Mercedes había lanzado en 2004 el CLS, una berlina-coupé de cuatro puertas, muy atractiva, aunque quizás no muy útil por su relativamente escasa habitabilidad posterior en altura. Pero lanzaron la carrocería familiar denominada Shooting Brake. 10. Jaguar XF Sportbrake (2012). ¡Un diésel! Primero lo vi en el Salón de Ginebra de 2012 y muy poco después pude probarlo. Y es que este modelo fue el segundo Jaguar con carrocería familiar y el primero con motor diésel. Otro coche que conozco muy bien, pues me tocó organizar un evento para la marca. Bonus Track: Chevrolet Caprice Break (1971). Hablo de la segunda generación, la que va de 1971 a 1976… Y es que en 1976 yo trabajaba con mi padre en la base militar norteamericana de Torrejón de Ardoz, a 30 km de Madrid. Y vi este coche en versión break… pensé ¡quiero uno! A mis ojos de adolescente ese coche con tanto equipamiento eléctrico, elevalunas, la luna posterior cuyo cristal era practicable y el sonido del motor V8, me encandilaba. Recuerdo que uno de los norteamericanos con los que podíamos hablar tenía uno y se jactaba de tener el más potente, con motor Jet V8 454 y 365 CV. La denominación 454 provenía de la cilindrada en pulgadas cubicas, en cm3 nada menos que 7,5 litros. Conclusión. ¡Me encantan los coches familiares! Y ahora no tengo ninguno. Así que estoy pensando en hacer un video que se titule algo así como “Familiares interesantes y asequibles” ... a lo mejor, me acabo comprado uno. Me encantaría.

In this episode:Dr. Elisha Peterson opens the season with an honest talk for students who didn't match into anesthesiologySpecial guest Dr. Nkiruka Lauretta Nwangene shares her journey — from banking and nursing to medical school and matching anesthesia after her second tryEncouragement: Not matching the first time does not define your futurePreview of past episodes with Dr. Julissa Patten and Dr. Chuma Azoba Lauretta's Journey:Started career in banking in Nigeria before immigrating to Canada for nursing schoolWorked in bedside and management roles before pursuing medical school during COVIDDiscovered a passion for anesthesiology after her sister's complicated childbirth experienceFirst exposure to anesthesia through a clinical rotation in ChicagoObstacles Faced:Lack of institutional support as an IMG (International Medical Graduate)Difficulty securing anesthesiology rotations and clinical experienceNo anesthesia interview invites during her first ERAS cycleCold emailing program directors — faced rejection and even hostilityMisunderstood the importance of networking over mass applicationsUsed a non-optimized resume and personal statement for initial applicationsLessons Learned:Genuine enthusiasm during rotations leaves a lasting impressionPersistence and showing up in person can open doorsNeed a clear strategy when reapplyingImportance of professional guidance for CV, personal statement, and interviewsPreview for Part 2:Why networking — not more applications — is the key to matchingHow to make authentic connections as an introvertPractical game plan for the second application cycleAction Items:Check out past Sevo Sistas episodes with physicians who matched on their second tryReflect on what gaps need closing before reapplyingTune in next week for Lauretta's full game plan to succeedWant to hear more from Dr. Lauretta?  Connect with her on SocialsX.com : https://x.com/L_NwangeneLinkedin:  https://www.linkedin.com/in/nkiruka-lauretta-nwangene-md-3237b162/Have a burning question? A concern? A controversy or issue you want to hear covered? We got you, boo! Leave a voice message at 202 743 1404. We will play your recording on the podcast and address your topic (if you don't want it played just say it in the voicemail, we will still cover your topic!). This podcast is for you and we want to include you on this journey! Hope to hear from you soon

Pathological Demand Avoidance (PDA) – Reviewing Client Progress In Episode 336 of the Counselling Tutor Podcast, your hosts Rory Lees-Oakes and Ken Kelly take us through this week's three topics: Firstly, in ‘Ethical, Sustainable Practice', we look at building your counselling CV – including key features to include, ways to stand out, and how to present yourself professionally. Then in ‘Practice Matters', Rory speaks with Nicola Durrant about working with clients who have Pathological Demand Avoidance (PDA) – a profile on the autism spectrum that requires a unique and flexible therapeutic approach. And lastly in ‘Student Services', Rory and Ken look at how to review a client's progress in therapy – and why it's an important part of ethical and effective practice. Building your Counselling CV  [starts at 03:31 mins] A counselling CV is your first professional impression – and it should reflect not only your qualifications but also your values and personal qualities. In this section, Rory and Ken explore what makes an effective and authentic CV: Start by making sure it's well-structured and no more than 2–4 pages. Tailor it to each job, making sure you reflect the ethos of the organisation you're applying to. Be honest about your experience, but also include transferable skills such as active listening, communication, and resilience. Include professional memberships, ethical awareness, and a commitment to personal development. A personal statement can be a great way to communicate your motivation, values, and readiness for the role. If you've done any research or CPD, mention this too – especially if it aligns with the organisation's client group or focus. Ask a peer or supervisor to read your CV and give feedback – having a second pair of eyes helps spot anything you may have missed. Pathological Demand Avoidance (PDA) [starts at 29:46 mins] In this week's Practice Matters, Rory speaks with Nicola Durrant about Pathological Demand Avoidance (PDA) – a profile on the autism spectrum characterised by a high level of anxiety around everyday demands. The key points of this conversation include: PDA is a survival response to perceived demands – it is not about control or defiance. People with PDA often mask their anxiety, especially in school or social environments, and release it later in safe spaces like home. Therapy must be collaborative and low-pressure – avoid direct demands and use invitational language like “I wonder if…” Strategies such as co-regulation, emotional literacy, and flexible structure help support clients with PDA. Trauma-informed practice is essential – the behaviours often resemble trauma responses such as fight, flight, or freeze. Adults with PDA don't outgrow it – they learn how to manage demands and environments that help them feel safe and in control. Reviewing Client Progress [starts at 54:29 mins] Reviewing client progress is a core part of ethical practice, particularly in short-term therapy or student placements. In this section, Rory and Ken look at why reviews are important and how to approach them: Reviews allow the client to reflect on progress, clarify goals, and express what has been helpful or challenging. This also supports therapist development and helps guide future sessions. You can carry out a review through conversation or using tools like the CORE-10 assessment. Let clients know at the start that a review will happen mid-way through the work – this makes it feel natural and expected. Adapt the review timing to the client's progress and needs – it doesn't have to be exactly session six. Ask questions like “How do you feel things are going so far?” or “Is there anything you'd like to change or focus on more?” Use supervision to reflect on what comes up in client reviews – this can strengthen your awareness and planning for the second half of therapy.