Podcasts about different kind

For decades, the kitchen was the centerpiece of Yewande Komolafe's life. She spent long hours there, first as a restaurant cook and later as a recipe developer. But though she loved the often-intense culinary world, she had to navigate it with certain limitations: She was born with sickle cell disease, an inherited blood disorder, which required her to carefully manage her working life. She did so successfully, becoming a celebrated cookbook author and food writer for The Times. A medical crisis in December 2023 changed all of that. Komolafe ended up in a coma for six weeks, and after emerging learned that both her legs and her fingers would need to be amputated. In this episode of “The Sunday Daily,” Komolafe tells Rachel Abrams about what happened and how, after everything, she made her way back into the kitchen. On Today's Episode: Yewande Komolafe is a cooking columnist for The New York Times. Background Reading: How Losing My Limbs Turned Me Into a Different Kind of Cook The Chef Imagining a More Accessible World, One Meal at a Time Photo credit: Lanna Apisukh. Subscribe today at nytimes.com/podcasts or on Apple Podcasts and Spotify. You can also subscribe via your favorite podcast app here https://www.nytimes.com/activate-access/audio?source=podcatcher. For more podcasts and narrated articles, download The New York Times app at nytimes.com/app. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Send a text or voicemail to Spirit-Led Hope!Season 5 covers the supernatural and paranormal from a Spirit-led perspective. Glenn is taking a short mid-season break, but posting "mini-casts" just to stay in touch. In this mini-cast, Glenn talks about the miracle of reaching people through simple obedience.If you want to know more about Spirit-Led Hope, go to  https://spiritledhope.com/ 

Could the search for aliens actually tell us more about ourselves than life beyond Earth?In this episode of Capability Amplifier, Dan Sullivan and Mike Koenigs take on one of their most unusual conversations yet.Starting with a simple question - Do aliens exist? - the discussion quickly expands into science, human intelligence, Ai, consciousness, space exploration, and the remarkable abilities already found throughout nature.Drawing on NASA's Webb Telescope, SpaceX, psychology, philosophy, and emerging Ai research, Dan and Mike explore why humans are fascinated by extraterrestrial life and what that curiosity reveals about our own potential.Whether you're interested in entrepreneurship, technology, science, or simply enjoy exploring big ideas, this conversation offers a thoughtful perspective on one of humanity's oldest questions.In this episode, Dan and I break down:Why Dan remains skeptical about extraterrestrial visitorsWhat NASA and the Webb Space Telescope have - and haven't - discoveredWhy people naturally search for something greater than themselvesThe surprising intelligence found in animals and natureHow Ai is helping us better understand human thinkingConsciousness, psychedelics, and the limits of current scienceWhy curiosity may be humanity's greatest competitive advantageThe future of robotics and space explorationDan and I may not have solved the mystery of extraterrestrial life, but the conversation raises a bigger question:How much intelligence already surrounds us that we have not learned to recognize?TIME STAMPS[00:00:00] The Capability Amplifier Alien Edition[00:02:09] Dan's answer on extraterrestrial life[00:03:31] What the Webb Telescope has revealed[00:05:16] Why people want advanced beings to exist[00:09:02] Mike's childhood fascination with aliens[00:14:06] A SpaceX perspective on the evidence[00:17:08] Imagination, belief, and the afterlife[00:19:26] Psychedelics and expanded consciousness[00:22:22] Intelligence in animals and nature[00:34:09] Ai and the expansion of human intelligence[00:40:36] Beliefs Dan has abandoned[00:47:43] Robots, space exploration, and future alienPS – When you're ready, here's how I can help: Want to find the hidden revenue in your business? Grab a Cup of Coffee with me: AiAccelerator.com/1kReady to reinvent yourself, your business, and your brand, and create “Your Next Act”? Watch this.Discover More

Carina Hamel, co-founder of Bivo, joins Bicycle Retail Radio to share her journey from elite Nordic skiing and athletic product development into building one of cycling's most recognizable emerging brands.Carina talks about creating a woman-led business rooted in thoughtful design, sustainability, and inclusivity, along with lessons learned working closely with specialty retailers and building authentic community in the cycling industry.Support the show

The Enlightened Family Business Podcast Ep. 165: Rethinking Succession in Family Business with Josh Baron   In this episode of the Enlightened Family Business Podcast, host Chris Yonker sits down with Josh Baron — Harvard Business School faculty member, co-founder of Banyan Global, and co-author of multiple Harvard Business Review works on family enterprise — for a rich, deeply practical conversation on the topic that never gets old: succession. Josh has spent 20 years advising family businesses and teaching at Columbia and Harvard, and what he keeps finding is that families don't fail at succession because they chose the wrong person. They fail because they never built the right process. Together Chris and Josh explore why a family business CEO who's been in the seat for 30 years is not facing a job change — they're facing an identity crisis; why the how of succession is more important than the what; the critical difference between conquerors and rulers and why the next generation doesn't need to look like the founder to be the right fit; how to use the arc of succession — assets, roles, and capabilities — as a planning framework; what happens when the founding generation leaves and the next generation discovers they have no one to resolve their disputes; and why working backwards from the far future is one of the most effective tools for getting a reluctant founder to engage. They also dig into the four ownership models used by successful multi-generational family businesses and why the question isn't just who should run the business — it's whether the family should have a business at all. Episode Chapters ·       3:56   Meet Josh Baron ·       5:13   From Bain to Banyan: How Josh Found His Way Into Family Business ·       8:00   Why Succession Is an Evergreen Problem — and Always Will Be ·       10:12  What the Rising Generation Is Really Feeling ·       13:12  Why G1 and G2 Struggle to See Each Other Clearly ·       15:39  When Is the Right Time to Start Succession Planning? ·       16:05  The Arc of Succession: Assets, Roles, and Capabilities ·       20:48  Succession Is a Process, Not an Event ·       22:11  The Danger of the One-Winner Moment ·       24:33  Why Every Generation Needs a Different Kind of Leader ·       27:50  How to Help a Founder Embrace What Got Us Here Won't Get Us There ·       30:00  Grafting: How the Next Gen Should Introduce New Ideas ·       31:30  Working Backwards: The Most Effective Tool for Reluctant Founders ·       35:35  What Happens When the Founder Leaves and the Glue Disappears ·       38:00  Should We Even Have a Family Business? The Question Nobody Asks ·       40:19  The Four Ownership Models and When Each One Works ·       46:09  The How Is Greater Than the What ·       49:06  When to Get Outside Help — and Why You Always Need It ·       53:31  Resources and Farewell   Websites ·       hbs.edu (search Josh Baron) ·       banyanglobal.com ·       chrisyonker.com   Book & Articles ·       The Founder's Final Act — Harvard Business Review, September–October 2025 ·       Search "Josh Baron HBS" for the full catalog of published work   About Josh Baron Josh Baron is a Senior Lecturer at Harvard Business School, coauthor of the Harvard Business Review Family Business Handbook, and a cofounder of BanyanGlobal Family Business Advisors.

Many reduce the Christian life to belief, discipline, and obedience, only to find it hollow. But 1 John 4:16 reveals something deeper: God is not just loving - He is love. His love is always present, inviting us not to earn it but to receive it and abide in it. This love cannot remain private. We cannot love God while rejecting others, because loving people is loving God. Real transformation happens not in isolation, but in the messy, beautiful reality of community.

There are only TWO kingdoms in this world — the Kingdom of Heaven and the kingdom of darkness. Which one are you living in?In this powerful message, Pastor Damion Cooper continues our sermon series Book of Matthew: Reality of the Kingdom with a message titled "A Different Kind of Kingdom" from Matthew 17:14-27.After coming down from the Mount of Transfiguration, Jesus encounters a desperate father, powerless disciples, and a broken boy — revealing what it really takes to live in the reality of God's Kingdom. This is not Chiefs Kingdom, this is the KINGDOM that has all authority, all power, and moves when we speak the name of Jesus.If you've been battling doubt, spiritual warfare, or feeling powerless in your faith, this message will reignite your boldness and remind you that faith the size of a mustard seed moves mountains.

Today, we're doing something a little different.For years, this podcast has been a place where I've had the privilege of sharing the stories of incredible people living with endometriosis and chronic illness. Today, I thought I'd turn the microphone around and answer some of the questions you've been asking me.In this episode, I'm sharing the story behind my new memoir, Grateful Anyway: A Memoir of Small Wins and Chronic Illness.We'll talk about why I wrote it, who it's for, the chapters that were the hardest to write, and why the title Grateful Anyway has become so meaningful to me.This community has been such an important part of my journey, and I'd love to invite you to be part of this next chapter.If you know (email me: podcastthecycle@gmail.com)

How can organic writing and leaning into the pivot help your stories stand out? And how can you pitch a story as a discovery writer if you genuinely don't know what's going to happen next. Steven James gives his writing tips after more than 20 years as an author. In the intro, Better Than Free in an Age of AI [Kevin Kelly on Tim Ferriss; Kevin Kelly on The Creative Penn]; Future Vision XPrize; A Different Kind of Bucket List. Today's show is sponsored by Draft2Digital, self-publishing with support, where you can get free formatting, free distribution to multiple stores, and a host of other benefits. Just go to www.draft2digital.com to get started. This show is also supported by my Patrons. Join my Community at Patreon.com/thecreativepenn Steven James is the multi-award-winning and international bestselling author of 21 novels across thrillers, YA, and science fiction, with more than a million copies sold, as well as the author of non-fiction craft books for writers, a writing teacher, and the host of The Story Blender podcast. You can listen above or on your favorite podcast app or read the notes and links below. Here are the highlights and the full transcript is below. Show Notes How to lean into organic writing, and what to focus on instead of plot How characters unfold on the page, and why an attitude beats a background Producing an outline for an agent or publisher when you genuinely don't know what happens next Don't pitch the plot, pitch the pivot The four choices you have in every scene, and why logic plus surprise is the engine of story Faith, moral clarity and big questions You can find Steven at StevenJames.net. Transcript of the interview with Steven James Jo: Steven James is the multi-award-winning and international bestselling author of 21 novels across thrillers, YA, and science fiction, with more than a million copies sold, as well as the author of non-fiction craft books for writers, a writing teacher, and the host of The Story Blender Podcast. So welcome to the show, Steven. Steven: Thanks for having me, Jo. Good to be here. Jo: Great to have you on the show. First up— Tell us a bit more about you and how you got into writing and publishing. Steven: Oh, gosh. Well, the thing is, when I was a kid, I fell in love with stories. My uncle would always, whenever we got together for the holidays—Christmas, New Year's and so on—he would take my sister, my brother and myself into a corner of the room while the other adults had coffee, and we would just sit there, and he would get this look in his eye and he'd say, “I'm going to tell you a story.” We were transported to another world. We were swashbuckling with pirates, or facing down a grizzly bear in Alaska, or flying over the desert on a flying carpet, or whatever. I fell in love with imagination and stories and everything. So I started reading as much as I could, mostly short stories. They had a programme at our library called the paperback book exchange, where you bring a paperback book and you leave it, and you can take any one of the paperback books that they had. You could keep it as long as you wanted. If you wanted it for your life, that's fine, or you could just bring it back as soon as you finished reading it. Anyway, I went crazy over the summers reading short stories, mainly. As I got older, I was like, “I think I want to be a storyteller.” So I actually got my master's degree in storytelling. Then I started to travel and tell stories, but I had three little daughters at home, and I was like, “I don't want to be gone 300 days a year when they are growing up.” So I ended up starting to write stories instead of travel, and then it just kind of shifted in that direction. That was in '97. Oh my goodness, that's long. '97, '98. So then I started to write books, and then eventually in 2007, I think, my first novel came out. Now, mainly, I've been writing novels ever since. Jo: It's so interesting. Was it a job, storytelling? Is that what you did before you became a book writer? Or did you have a different job? Steven: I mostly would go to events, conferences, schools and so on, and do a family-friendly storytelling show. So I would tell personal stories, some folktales reimagined. I would go to different events around the country. Mostly it was that. Then I started to shift. I wrote for magazines for a while—80 different magazines I wrote for over those years, a couple of hundred different articles, stories. I was like, “I'm just going to try to make a living telling stories.” So the shift has gone back and forth between actually telling stories and writing stories, but these days, I don't know. I'm still speaking. I'm still out there teaching. Jo: That's so interesting, because it's obviously a completely different thing to tell a story in person than it is to write a story. So when you decided to shift that way, what did you have to learn and unlearn? Because your thoughts on the page are so different to when you can make eye contact with an audience. Steven: That's a good point. I kind of started by telling stories back when I was in college, so I sort of moved from telling to writing. And you're right, there's so much that's lost, whether it's eye contact or pauses. On a printed page, there's always the same amount of space between every word—a space. But when you tell stories, obviously you pause for effect in different places, different areas, and so it's quite different. So if I have an idea for a story, I usually have to decide, is this going to be written or told? And then I do it in that medium. Then if I want to, let's say, tell a written story, I almost have to relearn it, or retell it very differently. You have gestures, body language. All of those things are obviously lost in text, so they are very different. I think for me it's been good, because when I tell stories, I hear different characters speaking, so that when I write, usually dialogue comes fast to me. I can hear what people are saying. I don't always know where they are. I don't always know the setting. I don't even know the scene necessarily, but I can hear the dialogue. Then it also helps me to step into the characters, like when I'm writing different points of view, so that I think I can do a good job of getting into that character's mind, as if I were that person. I think some of that comes from just telling stories. Jo: You've taught so many writers over the years, and it's interesting you said that you hear characters' dialogue. I see visual film in my mind. I don't hear any voice at all. It's all silent. I struggle with dialogue, but I do great world building. Do you find that this really is different by the author? I feel like we fall into these different groups. Steven: Yes, I do. I kind of feel like that's very true as far as what comes first, whether it's a description of a place, whether it's the action. I mean, basically a story has dialogue, narration—or we call it sometimes exposition—and description. Those three things. Every story has those three things, and those are the three that we use to tell a story, a novel. So some people tend to drift into one or the other as sort of their default setting: dialogue, description, or action. That's true. I think also something else that's interesting about writers is they tend to fall into either the camp of being a wordsmith or a storyteller. Not everyone, but I feel like some people are wordsmiths, where I read what they're writing, and I'm like, “Man, this is so powerful, evocative,” whatever. Maybe there's no story there. It's just really interesting writing. Other people just are natural storytellers, and they have to really work on the wordsmithing. I think that's me. I'm more naturally just a storyteller, but it takes me a long time to get the descriptions to where I want them, to choose exactly the right word. That takes me more effort. Some people have to build up the storytelling muscles. I have to build up the wordsmithing muscles. Jo: Well, part of the reason I wanted to talk to you is because you talk about this thing called organic writing in your book Story Trumps Structure, which is out now in a second edition. I call it discovery writing, so similar to you. But most people in the writing community seem to obsess about plotting and planning. So talk about your process of organic writing. You say in the book, “Trust the fluidity of the process.” Tell us more about that. Steven: Well, I remember in high school even, when my teacher got up front and he kind of got this very almost wise look on his face, and he goes, “A story is something with a beginning, a middle, and an end.” I'm sitting there in high school like, “Well, so does a bratwurst. What are you talking about here?” A description of a chair has a beginning, a middle, and an end. The sentence, “Preheat the oven to 450 degrees,” has a beginning, a middle, and an end. My view is that saying a story is something that has three acts is like saying that a pizza is something with three toppings. It might have three. It might have one. It might have five. So the idea for me is not to worry about structure, trying to tick off the boxes of a template, a formula you find online, a fill-in-the-blanks kind of a thing. But instead, to actually look at what lies at the heart of the story—the character, the tension, the struggle, the pursuit, the pivots and plot twists, and the payoff at the end. As you develop those aspects of the story, I feel like you need to worry less and less about following a formula. The more you understand what lies at the heart of a story, I feel like the less you need to plot and the less you need to write by the seat of your pants. A lot of people say, “Oh, you write by the seat of…” No, I don't write by the seat of my pants, because I know what a story contains, so I know that in a certain scene a character will make certain choices that are unpredictable but that escalate the tension, and different things like that. I'm a huge proponent of discovery, as you say, or organic writing. I won't get the quote exactly right, but Ray Bradbury said something along the lines of, “Plot is the tracks left in the snow after your characters have run by on their incredible destinations. It cannot precede action. It is the chart that remains when an action is through.” So he's saying plot is not what precedes action. After the action, you have plot. So the whole idea of trying to plot out a story before you write it is going about writing exactly backwards. Plot doesn't precede action. It's the result. So I always tell people, “Don't worry so much about the plot. I want you to look at the pursuit.” A plotter might say, “Well, what should happen?” And they'll just come up with something. But an organic writer—a pursuit-based question would be, what does the character want? Now, when I know what the character wants, I will know what should happen. So literally, it will lead me to the story. Focusing on plot will not necessarily lead you to the story. It might lead you down the wrong track. Jo: Then in terms of your actual writing process— Do you start writing without knowing the ending? Do you write in order? Is the organic side also in the process? Steven: I've never started a book where I know how it will end. So I usually start with either a character that's fascinating or, in some cases, a premise, a question. Then as I write, I explore the possibilities of where it might go. I've tried to outline a scene—like one scene, not a whole book—and it never works. I can't even outline one scene. I've tried, and I'm like, okay, that's… What I end up with is completely different from it, so it's just a waste of time and effort for me to try to outline or plot out a story. I'm much more interested in the pathway the characters will take as they face obstacles and setbacks in their pursuit. As the struggles and the tension develop, what choices will they make? That's how the story will unfold for me. Jo: I'm similar. Then I also wonder— Do you do character sheets and character bios, or do the characters also unfold organically? Steven: Absolutely, I don't do any of the sheets and bios and stuff. The characters really come to me as I write. I begin to get to know them. I always tell people, a character with an attitude is more interesting than a character with a background. So a lot of people will spend a lot of time on, like, where's this character gone to college, and what's their first pet's name, all that stuff. I'm not trying to dump on that idea. I get that that can be helpful. But I'm like, how would I know that until I've spent time with them? Then once I begin to spend time with them, I'm writing and I'm like, “Nah, this doesn't seem like what that character would really say or do,” so I have to go back and rejigger the story to hopefully make it fit with that character. Then I like to give the characters some sort of attitude. I'm not talking about a negative or judgy attitude, but an attitude about something that is unique or different, and that makes them not a template character, not an archetype or whatever, but unique. Sort of this constellation of unique traits, characteristics, maybe wounds, flaws and so on, that create a character where you're like, “This is a character like none I've ever seen before. I want to spend time with this character.” Jo: Then you're spending time with the character by writing what's happening, as opposed to writing loads of stuff beforehand and then starting to write. You're actually finding all of this out during the process of writing. Steven: Yes, and I think it's kind of like getting to know someone. If I were to say, “Okay, I'm going to write down Jo's bio,” or whatever—okay, I'm making stuff up, because I don't know you super well. If we were to spend time together, hang out, whatever, talk, over the course of time I would start to know, oh, she likes this, she doesn't like that. This is important to her. This is what she would weep or pound the table over—whatever, all of the things that come with time. It's like a friendship in real life to me. So I can't sit down and tell you what a character in real life would think and say and do if I don't know them, but the more time I spend with them, then the more I'm able to predict that accurately. I think the mistake a lot of people make is they think, “I'm going to get to know this character with a background,” and then they start writing it, and instead of looking at the context, they look back at the—I don't know what you call it—the background or something like that. I always feel like what you mentioned earlier is, like, hold it loosely in your hand. Trust the fluidity of the process. As you're writing, you have an instinct. “Ah, I think this character would say this or do this.” So trust that. Trust that instinct. Trust that moment in the story, instead of trying to go back to an outline, back to a character description, or whatever it might be. So I'm a big proponent of looking at the context—not just what happened, but what is the result? So looking at the impetus and the implication of the choices and the activities. When something occurs, what would the character naturally say or do or think or respond? Then what would that cause? What's the implication that that would have on the rest of the story, on the rest of the characters? So, really trying to keep your finger on the pulse of the story, and adapt as you move forward through it. Jo: I love all of that, but I also am very aware that you've been in traditional publishing for over 20 years, and one of the things with agents and publishers is that they often ask for an outline. So how do you manage that? Or how did you more earlier in your career, because I imagine they just trust you now. Earlier in your career, or people listening who want to pitch but they write in this organic way, how do we deal with that kind of thing? Steven: Well, okay, so there's two good questions. One is about producing an outline for an agent or editor or publisher and so on. The other is how to pitch a story. So the first: I would write the premise down, and maybe a paragraph or two, and then where I think it might go. Basically, I would focus on the questions that the characters will face, maybe the moral dilemmas, the sacrifices they have to make, the world they live in. I kind of know that stuff, and I can write a couple of paragraphs about that. But beyond that, I just don't know what's going to happen, so I can't really provide more. I'm looking at my shelf at the books that I've done, and mostly that's what I've done is kind of a couple of paragraphs focusing on the premise and the problem, the struggle, and so on like that. As far as pitching a story, I always tell people, “Don't pitch the plot, pitch the pivot.” I think that there's a screenwriter—I think that he talks about this a little bit. I've not read the book Save the Cat, but people have told me, “Oh, he kind of brings this up in that book.” The idea is to pitch the irony instead of what occurs. So sometimes when I tell people to pitch, or I give them ideas, one process that you can use is: when, must, before, or else. So, when this occurs, this character must do something before this, or else. So you have the character, you have the struggle, you have the inciting incident, you have the stakes, and you have the countdown. It works well for thrillers. So for instance, like Jaws. When a man-eating shark starts eating people in a small seaside village, the sheriff must stop him before more people die and the town loses its economy. So there you have when, must, before, or else. Now, no one's going to buy the story based on that, because there's no irony, there's no pivot. It's just a description of the plot, and that's what most people pitch. So I always tell people, pitch the part of the story that you wouldn't expect. So for instance, in there you might pitch: when a shark starts eating people in a small seaside village, the only one who can stop him is afraid of the water. Now you're like, “Oh, well, that's interesting. How does that happen? What happens there?” With my book Broker of Lies, the pitch was something like, when a high-level Pentagon redactor ends up on the run, he must stop a terrorist attack before he's neutralised by the people he trusts the most. So the pivot is that the people he trusts at the Pentagon the most are actually trying to neutralise him because he's on the run, and all that kind of stuff. So why would they be trying to do that? Well, that's interesting. So it's always looking for the irony, the pivot. Why is this character the last one in the world who would ever be equipped to tackle this problem or face this issue? So that's one way to do a pitch. Obviously there's lots of them, but I think your goal with a pitch is to get them to say, “Tell me more.” It's not necessarily to summarise the whole story. Jo: That's great advice. So you teach writers—I first saw you at ThrillerFest, I think it was 2012—and you do events, you run writing retreats. So you work with a lot of authors, and I wondered, what are the challenges that you see from authors with, say, five books? So not the beginner authors, because obviously there's a lot of challenges. But those who, let's say they've got the three to five books, things are going all right, but they're like, “How do I get to the next level?” What are the craft issues, or the business issues as well, that mid-list authors face? Steven: Well, business, I'm not the guy to ask. I could try to answer that, but I mean, basically: meet your deadlines and write something amazing. Try to be easy to work with, but also stand up for what you wrote as far as working with editors. It's sort of a fine line you have to walk. The one thing that over the last few years I've really noticed in a lot of writers who are in that space is that they don't have many pivots. They tend to write predictable stories, and that's why they tend to stay where they're at—whether it's because they're following an outline or a plot formula or whatever it is. So when I talk about a pivot, I mean a moment in the story where something happens that's both unexpected and inevitable. For instance, if you're reading a story, you want things to make sense. You want them to be logical. That's one thing. But you don't want them to be too predictable. If it's too predictable, it's boring. It's like, I'm not interested. So we also want surprises. We want these two things. We want logic, and we want surprise. When those two things meet and you have a moment in the story where it's like, “I didn't see that coming, but that totally makes sense,” that's what we want, and we want that in every scene. I feel like a lot of authors don't have that in every scene. Now, you might say, “Well, every scene?” Well, yes, because basically those two factors, logic and surprise, can only meet in four different ways. You could have something that's very logical but has no surprises. That's going to be boring. It's going to be too predictable. We don't want that. You could have something that is very surprising but not logical. It makes no sense. A lot of stuff is surprising, but that's not what we want, because it's unbelievable, and it's like, what is going on here? You could have something that has neither logic nor surprise, which obviously we don't want that. The only other option is to have a moment that is both logical and surprising. So you have a choice in every scene. You have four choices, actually. You can have it be predictable and boring. You can have it be nonsensical. You can have it be unbelievable. Or you can have a pivot. So I find myself trying to really coach people on pivots. They'll say, “Oh, well, do I need it in every scene?” I'm like, “You can choose, but do you want it to be predictable or boring or nonsensical, or do you want it to really drive the story forward?” I think it's because people have been taught structure and plot and three acts and all this kind of stuff, but they haven't been taught this idea—even though it's not something I made up. Aristotle, in Poetics, thousands of years ago, put it a little bit differently, but he said, “The reversal of the situation”—what I call the pivot—”is the moment at which the action veers around to its opposite”—that would be what I call surprise—”subject always to a rule of probability or necessity”—which is the logic. So he's basically saying the same thing in just a little bit different language, but you have these three factors. You have logic, you have surprise, and you have them come together in a specific moment. I don't know why it's not taught more. I have never found anyone who teaches pivots. I have not found any books, so I wrote a book recently about how to use pivots. It's so central, and I think great storytellers naturally do it. You'll read a book, or you'll maybe watch a show, and you're like, “Oh, I didn't see that coming. That totally makes sense.” I don't see anyone else out there really focusing on teaching that. So that's a huge thing for me, really, to help people move up in their writing, elevate it to a different level. Jo: Is that Delve, Pivot, Propel? Steven: Yes. That book came out a couple years ago. We just re-released it. I updated it some, but it talks pretty much in depth about pivots and how to actually use those to propel the stories forward. Jo: Maybe you could just give us one tip on how to do that, because going back to the organic writing—let's say I've been organically writing, and every time a character has a decision to make, I think at that point about what I want to write and I write it. Are you suggesting that we go back in the edit and look at the end of every scene and redo it? Because I can't imagine that I would get this right every time. I would need to do that in an edit, I think. Steven: I think for me, when I'm writing, I'm always asking myself a series of questions. One is, what would the character naturally do? I want to make it believable and natural. Let them do it. I want to escalate the tension, so I'll ask myself, “How can I make things worse?” Then I'll always ask myself, how can I add a pivot to this scene? So as I'm writing a scene—again, I don't know how it will end when I start it—but if I use the first idea that comes to mind, probably a lot of readers would guess that as well, because it's the first idea that comes to mind. It's probably logical and probably predictable. That's why most stories end up being too predictable. It's because we go with the first idea that maybe we had. So I try to discard that. Maybe the second idea, just discard it. Then I start thinking, okay, now if I've discarded the obvious, what is going on? What's below the surface? So to answer your question, I'm looking for what isn't what it appears to be, or who isn't who they appear to be, or a surprising way to bring together plot threads that I didn't see related before. So it's always looking for the unexpected, the surprise, because most of the time that is what we're missing. Now, if you have a great surprise, then you have to lean into making it believable. So you've got to move into that idea of, well, what would the character naturally do? You can't just have him do something ridiculous and then say, “Oh, it's for my twist.” No, you can't do that. You've got to play fair. So it has to be believable, causally related, logical, and surprising. That's what you're shooting for. Those are the questions going through my mind. So as I'm working on a scene, I'm like, “How could I end this?” Or include something that people won't see coming right away. The best ideas always come to me then. It's so interesting. A lot of people will say, “Oh, don't write organically,” or, quote, “by the seat of your pants,” whatever they'll say, “because then you might write yourself into a corner.” I'm like, “Yes, absolutely write yourself into a corner. That's what I'm trying to do in every scene.” And then you write yourself out of a corner in a way that's logical and surprising. The best twists I've ever come up with have been when I'm in a corner. So why would I warn people against going to the place where the best ideas await them? That just seems mean. Why would I do that? No, I want you to have the best possible ideas. So yes, look for corners, write yourself into them, and then write yourself out of them in a way that's both logical and surprising. Jo: I guess also it needs to be genre specific. We write mainly thrillers, and there is this fine line, isn't there? I love Stephen King, but one of the most unbelievable endings is Under the Dome. I still remember feeling betrayed. I don't know if you've read that one, but— Steven: Oh, no. Jo: I was like, “I'm sorry, you've just changed genre in the last chapter of the book. What is going on here?” Steven: That's actually interesting. The fourth question I ask… So I ask, what would the character naturally do? How can I make things worse? How can I add a pivot? But the fourth question is, what promises have I made that I have not yet kept? So genre, to me, is a promise. You build up a promise in your writing at the beginning of the book, and then I feel like as we write, we have to honour that. So if we bring something up that's super interesting, bring it back or whatever. Keep your promises. Keep your narrative promises. It's true of really any genre. Let's say you're writing a romance. You want to respect the conventions, but not fall into the clichés. So there's going to be a moment where the lovers meet, right? They haven't met before. I don't know what they call it, a meet cute or a cute meet. I think they call it a meet cute, I guess. Jo: Yes. They do. Steven: Anyway. So they're going to meet, right? And you're like, “Oh, I'll just have them meet.” Well, try to do it in a way we haven't seen before. Add something else to the scene. Add a third element, as my friend Bob Dugoni likes to say. Add something a little bit that we're like, “Huh, I've never seen that before.” We know they're going to meet, but let them meet in a way that we don't anticipate, that we can't predict right away, that isn't exactly by the numbers, and then you're going to be on the right track. Jo: So then, talking about reader expectations and genre, I wondered if I could also ask you about your Christian faith, because many people listening are people of faith, and some people want to write a Christian book. Other people want to bring their faith into, say, a mainstream type thriller in an authentic way. So how do you balance your faith and your writing? Because I think you have some series that are more sort of Christian than others. Steven: It's interesting. When my first novel came out—The Pawn, like a chess piece, The Pawn—back almost 20 years ago. Gosh, 20 years ago. Nineteen. But anyway, when it came out, someone wrote to me and said, “Is this a Christian book?” I'm like, “What would make a book not Christian?” I'm like, maybe if it has a lot of idolatry, or witchcraft, or maybe sexuality or graphic violence. Then I'm like, oh, wait, that's… No, that's the Old Testament. So it's interesting, because people have asked me similar questions over the years. My books are not sermons in disguise. I'm trying to write great stories that anyone of any background or faith will enjoy. I always ask big questions. I let my characters wrestle with questions that matter, I think. Do my choices matter? Is there hope? Is there a God? Is there no God? Do I have free will? Can I find forgiveness? Can I offer forgiveness? Can I extend it, or whatever? So I always try to base the stories on something deeper. I do believe that there is good and there's evil in the world. That's part of my worldview. So when people talk about moral ambiguity, I don't want to write or read something that's morally ambiguous. I want moral complexity, but I also want moral clarity. So whenever you write, the question is, what are you justifying and what are you condemning? And if you're justifying something that's morally—I would say wrong, actually—then I don't feel like that's the kind of book I would want to write. So I want to write stories that explore good and evil, that explore our world, human nature, in an honest way. I feel like when you write honest stories, people, no matter what their background or whatever faith, then they will connect with it. I think a lot of people, if they start off with an agenda—whatever that agenda might be, let's say it is a Christian agenda, like I want people to trust in Jesus, let's say—so they write a story. Well, what you're doing, you're actually starting your story with an answer, and drama is not built on answers, it's built on questions. So you're actually diminishing the amount of tension. You're also diminishing the possibility of a pivot, because we all get where you're going. It's predictable, but there's probably no surprise. You're diminishing the payoff at the end, because we're like, “I saw that coming. I exactly knew where you were going with this.” So instead, I don't start with an answer. I always start with a question, or in some cases a moral dilemma, like, what's more important, protecting the innocent or telling the truth? That's interesting to me. If I had to choose between the two, would I tell the truth or would I protect the innocent? It's interesting, because people might come down on different sides of it. They might say, “Oh, you should always tell the truth,” or they say, “You always should protect the innocent.” I'm like, okay, well, let's explore it. Let's literally ask the question. So I come from a certain worldview, but I've written characters who have very different worldviews from me. I'm always just trying to be honest with the character, ask big questions, tell a story that examines human nature and sort of the paradoxes of the human condition in a way that will resonate with really whoever the readers might be. Jo: And of course that worldview is part of your author voice and part of what readers come to you for. I also notice that you have some pretty diverse different series. How do you manage that diversity of series under your one brand? Do you find your readers move from one to the other, or do you have different readerships? Steven: You mentioned the B word—brand. That's what publishers are always telling me: “What's your brand?” I'm like, “I don't know. You tell me what my brand is.” I've done fantasy, science fiction, conspiracy. I've done spies and police procedurals and crime and suspense, thrills, whatever. So I would say the one thing that really ties all my stories together is probably just suspense. They are stories with suspense. Some are more high concept thrillers, some are more dark fantasy, but they're built around suspense. So I guess that would be intelligent suspense, maybe, if I was trying to come up with a brand. Something like that. Because I don't want them to be dumbed down. They're not dumbed down stories, so they're a little bit more complex than you might find in other places, but always built around the idea of suspense. Suspense to me is basically—my definition is apprehension born of concern. So we're concerned about a character, and we're apprehensive because there's peril around the bend, or right in front of them. So I want the readers to really care about a character, and then try to build the story and the suspense around that empathy or sympathy that we have for the character. Jo: I think it's really interesting, because again, you mentioned 2007—we're coming up on 20 years since first published. The publishing industry has changed a lot. So what do you think has changed most in publishing for you, and what are your thoughts on routes to market for new authors these days? Or even established authors who are finding that things have changed, which they obviously have. Steven: Well, I'm not a marketer, I'm not a businessman. I'm just a storyteller at heart. So I just keep writing stories that I would be intrigued with reading, stories that I feel like are resonant. Then I look for publishers for those. I've been to a variety of different publishers over the last decade. I've done some different types of stories. I feel like you have to just write the story instead of trying to write for a specific market trend or something like that. So I might not make as much as some of my friends, I might not sell as many books, but I feel like I have to write certain stories if they grab ahold of me. There's a Native American—I think the Pawnee tribe, anyway, in the United States—but they were saying that all the stories that exist are out there already, and when one finds you, it's your job to share it with the world. I think that's kind of interesting. Sometimes—maybe it's just true for you, I don't know, Jo—but it's like a story will grab hold of me, or an idea, and I'm like, “I can't shake it.” That's a story that I want to tell the world. I would say that stories are becoming shorter, dumber. People are trying to write faster. They're trying to write several books a year, and as a result of that, some of the quality has gone down. This is all unfortunate. I'm still sort of a dinosaur. I still tend to write longer, complex stories. But people have shorter attention spans and whatever, and they're not reading as much. The structure of stories, I think, is changing slightly, where people will have to spend more time on a hook to really grab the attention of the readers. Then there might be a longer slow period, or more info dumping, which I'm not a fan of. So they kind of look like, “I want to get readers hooked at the beginning, and then get them to flip pages.” So I tend to set up my stories a little bit differently than that. So I'm not the best guy to ask about marketing and sales and stuff like that. I feel like, write a story that will not let you go. And if you do that, I feel like that's the kind of story that will resonate with readers, because there's a deep honesty to it. You care, you're passionate about it. It's not just something you're trying to spin out just to sell books. That's my view. Jo: I guess I also feel that writers are doing other things. So you have non-fiction, you have your podcast, you do events. I see you sell books direct from your website. It's like the business expands into multiple streams of income, so that the art doesn't have to pay all the bills. Steven: That's interesting. I do love to teach writing at conferences, events, and speak at different things. So I guess if you think about it that way, my brand might be just story, or storytelling, or something like that. Really trying to get out there, and whether it's speaking or writing, just tell a great story. So it's so interesting when I work with publishers and they'll ask, “What's your brand?” Basically it's like, “What's your box?” is really what they're asking. What box can we stick you in that will make it easy for us to package you and sell you? I know myself, and just a lot of authors that I know, we don't think in a box. Every one of my stories is not boxy. It's not the same. They're different. I know a lot of authors like that too. So it's unfortunate. I get it, that it's part of them trying to market and sell the books. I understand that, but I think being honest, genuine with the story, doing the very best you can, writing a worthy book, and then letting them come up with a way to categorise it, is probably the best bet. I don't know. Jo: We're almost out of time, but this is obviously a podcast, and you have a podcast. So tell us about The Story Blender Podcast and what people might find over there. Steven: Yes, I appreciate it. Basically, I interview some of the leading writers and storytellers in the world every week, and the goal is for great storytellers to share the secrets of great storytelling. So I basically pick their brains, kind of like what you were doing with me today, and find out what projects they're working on, and really just try to get insights into storytelling. So it's tons of fun. I've been doing it now for a number of years, and I guess I've interviewed over 250 different authors and writers from around the world, and so I always enjoy it. It's a ton of fun. It's The Story Blender, and people can find it anywhere. Jo: So where can people find you and your books and everything you do online? Steven: Probably the best place is StevenJames.net. I think I'm on different socials @readstevenjames, so you can look me up there—Facebook, Instagram, X, and so on. I think they're all under readstevenjames. Check out the website, drop me a note. I always enjoy hearing from readers. Jo: Well, thanks so much for your time, Steven. That was great. Steven: Thanks, Jo. I appreciate it. Good luck. The post Organic Writing And The Power Of The Pivot In Fiction With Steven James first appeared on The Creative Penn.

When a task feels too big, the instinct is to look for one extraordinary person who can carry it, but that is not how God designed His mission to work. He does not plant superheroes. He plants communities. Romans 16 is an often-overlooked chapter in the New Testament, often skimmed because of its long list of greetings. However, it is actually a vivid portrait of how God works through His people. All of us have a role. All of us have a place.

From 2005 - Maria Housden, author of "Unraveled: The True Story of a Woman who Dared to Become a Different Kind of Mother."

During her two terms as PM, Jacinda gained global attention for her response to the terror attack in Christchurch and for giving birth at the same time as running the country.Jacinda grew up as a good Mormon girl who planned on making a difference behind the scenes.But when she unexpectedly became head of the Labor Party, only weeks away from a federal election, Jacinda discovered she had a talent for leadership.Jacinda's memoir about her time as PM and her life before and after is called A Different Kind of Power.This episode of Conversations was produced by Jen Leake and Nicola Harrison is the Executive Producer.Further InformationA Different Kind of Power is published by Penguin.For more information, Penguin authors Jacinda Ardern

What does the national debt have to do with your health? More than most people think. In this episode, Dr. Huntley sits down with Dr. Kasie Whitener, a radio host, business professor, entrepreneur, and the current Libertarian Party nominee for U.S. Senate in South Carolina. Dr. Whitener brings a perspective that is rarely heard in public health spaces, and this conversation is all the better for it. Dr. Whitener is not a career politician. She is a researcher, an educator, and a community builder who sees public health as deeply connected to the fiscal decisions made at the federal level. Her motivation is straightforward: every policy issue, at its core, is a funding issue. Resources ▶️ Join the PHEC Podcast Community ▶️ Visit the PHEC Podcast Show Notes ▶️ DrCHHuntley, Public Health & Epidemiology Consulting  

There are many ways to find community. You can join a club, a sports team, connect with family, and even find it at work. With so many versions of community in the world around us, what makes a church uniquely different? In this series, we will look at what it means to be a different kind of community. In doing so, we might find not just the community we are looking for, but one that exists to love the whole world.

On this episode of Off the Mats Podcast, I sit down with Ben Kerslake, a BJJ brown belt whose life recently changed after undergoing surgery that resulted in an ileostomy. Ben shares the story behind his health journey, what recovery has been like, and how he is adjusting physically and emotionally to life with an ostomy. We also discuss the challenges of stepping away from Brazilian jiu-jitsu, the support he has received from the people around him, and his return to the mats. Ben speaks openly about vulnerability, confidence, adaptation, and what strength looks like when your body and daily routine suddenly change. This is an honest conversation about resilience, ostomy awareness, major surgery recovery, and the determination to keep moving forward both on and off the mats.

It's not the usual rant about how a home is too expensive nowadays. Jeremy Bradley talks about two friends both going through their own housing crisis. First, JB talks about a pal who bought into luxury apartment living and kind of regrets it. Later, a friend has inherited his childhood house but doesn't know if he wants to keep it and move into it or let it be a memory from the past. JB chimes in with his thoughts.

In the stand alone message, Ps Jason celebrates 250 years of American freedom and challenges us to remember the greatest freedom ever given...the freedom Jesus won for us at the cross. As always, thank you for your generosity!  If you would like to give to Destiny Church, please click this link and then click the giving tab! https://destinychurch.me/ Or text destinychurchgive to 77977!

Today's Post - https://bahnsen.co/4vddsCn In a midyear 2026 Dividend Cafe holiday episode, the host reviews surprises and themes shaping markets: despite the “Mag Seven” down about 2%, the S&P 493 is up roughly 15–16% and the overall index about 10%, reflecting a major rotation toward value, smaller caps, and sectors like industrials, utilities, and energy. Another surprise is the two-year Treasury yield rising from ~3.4% to nearly 4.25% as rate-cut expectations faded, flattening the curve without derailing equity valuations. He discusses AI “vulnerabilities,” noting hyperscalers' surging CapEx and financing, dispersion across AI-related stocks, and froth signaled by a parabolic semiconductor run and tech's heavy S&P weight, alongside speculation in meme stocks and levered single-stock ETFs. Economically, tariffs were partially removed, labor data remains mixed, M&A/SPAC activity is strong, energy and small caps have worked, housing has softened, and he reiterates disciplined, fundamental, value-oriented investing. 00:00 Holiday Weekend Welcome 00:36 Midyear Market Setup 01:21 Mag Seven Surprise 03:27 Rates Rise Yet Stocks 04:40 AI Theme Check In 05:28 Capex And Cash Flow 08:08 Valuations And Dispersion 09:50 Semiconductor Froth Warning 12:03 Speculation Beyond Crypto 14:36 Economic Tug Of War 17:14 M&A And SPAC Revival 18:26 Other Themes Scorecard 20:07 Midyear Closing Thoughts Links mentioned in this episode: DividendCafe.com TheBahnsenGroup.com

As millions of Americans celebrate Independence Day with fireworks, family gatherings, and patriotic festivities, broadcaster and transformation coach Stan Hustad invites listeners to see the holiday through an entirely different lens. In this warm and engaging episode of The Transformation Zone, a simple story about a frightened rescue dog becomes an unforgettable metaphor for the emotional and spiritual storms that every person eventually faces. The result is an episode that begins with laughter, moves toward reflection, and concludes with genuine hope. A Story Every Pet Owner Understands Stan begins with an observation familiar to almost every dog owner. While people eagerly anticipate fireworks, many dogs experience them as terrifying explosions. His own beloved rescue dog, Jackson, dreaded every Fourth of July until the family discovered a simple solution—a ThunderShirt (or 'thunder jacket'), a comforting wrap that gently calms anxious animals during storms and fireworks. The image is both humorous and touching. Listeners can almost picture Jackson waiting by the hallway where his thunder jacket hung, knowing comfort was only moments away. It is an entertaining story, but it is also preparing listeners for something much more significant. The Thunder Jacket We All Need The conversation then turns inward. Stan asks a wonderfully simple question: What is your thunder jacket? When life becomes frightening... When relationships become uncertain... When careers are shaken... When health changes unexpectedly... Where do you go for comfort? Who wraps around your life with reassurance? What beliefs, relationships, habits, or faith keep you steady when everything around you feels like fireworks? Rather than offering easy answers, Stan encourages listeners to identify those sources of genuine security before life's storms arrive. A Different Kind of Freedom Because the program airs during Independence Day weekend, the discussion naturally expands beyond fireworks. Freedom, Stan suggests, is much more than political liberty. Real freedom includes freedom from fear. Freedom to love. Freedom to serve. Freedom to live fully alive rather than constantly reacting to anxiety and uncertainty. It is a refreshing reminder that external celebrations are at their best when they awaken something deeper inside us. Lighting Up Our Senses One of the program's most memorable moments comes when Stan recalls a lyric from John Denver: "You light up my senses like a storm in the desert." Instead of simply admiring the lyric, he transforms it into a personal prayer. As we grow older, we often lose some of our physical senses. Perhaps, however, we can gain something even greater. Greater sensitivity. Greater awareness. Greater compassion. Greater attentiveness to people rather than projects. Greater appreciation for relationships instead of simply pursuing performance. It becomes a beautiful prayer that God would 'light up our senses' so we notice the people around us more deeply than ever before. Transformation Begins with Awareness Like many episodes of The Transformation Zone, this one reminds us that transformation rarely begins with dramatic events. It begins by noticing. Noticing our fears. Noticing our need for comfort. Noticing the people who may be quietly struggling beside us. Noticing opportunities to become someone else's 'thunder jacket.' That may be the greatest transformation of all. Things to Remember • Every person eventually experiences emotional and spiritual storms. • Comfort is not weakness—it is one of life's deepest necessities. • Freedom includes freedom from fear as well as freedom to serve. • Sensitivity is a strength that often grows with wisdom and experience. • Sometimes the smallest stories carry the biggest lessons. Things to Share • Share this episode with every pet owner preparing for fireworks weekend. • Talk with family members about what has become their own 'thunder jacket' during difficult seasons. • Encourage someone who may be quietly carrying anxiety or uncertainty. • Remember that simple illustrations often open the door to profound conversations. Things to Take Action On • Identify the people, practices, and beliefs that steady your life when storms come. • Become a source of calm for someone facing uncertainty this week. • Spend a few quiet moments asking God to 'light up your senses' so you become more aware of the needs around you. • As you celebrate freedom, consider how you can help someone else experience greater peace. A Closing Thought Fireworks are designed to light up the sky. This episode reminds us that perhaps our greatest calling is to light up someone's life. Whether through encouragement, compassion, wisdom, or simply being present, we all have the opportunity to become a kind of thunder jacket for another person—a reassuring presence in the middle of life's unexpected storms. As Stan Hustad often reminds us, transformation is not merely about changing circumstances. It is about becoming the kind of person who helps others navigate theirs. If the fireworks in your life—whether joyful celebrations or unexpected explosions—have left you searching for direction, encouragement, or a fresh perspective, Stan would be delighted to help. Through decades of experience in broadcasting, coaching, leadership, and personal transformation, he has walked alongside individuals and organizations facing both opportunity and adversity. Reach out, start the conversation, and discover how today's challenges can become tomorrow's transformation. After all, the very best fireworks are the ones that illuminate lives, not just the night sky. And if any of you would like to see the radio program on the video connection just click right here https://youtu.be/YnuZyEJC_uQ

Welcome to Lighthouse Church! We are located in the City of Vista, in the North County of San Diego. To join us in person, head over to: 342 Eucalyptus Ave. Vista, CA 92084 We meet every Sunday at 9:00 AM, 10:30 AM & 12:00 PM If you want to know more about us or to connect with us, let us know by filling out this Digital Connect Card: https://gotolighthouse.churchcenter.com/people/forms/665423 If you made a decision to follow Jesus today, or want help taking your Next Step, send us an email at: info@lighthousechurchnc.org If you would like to make a contribution to Lighthouse Church, or to give your tithe or offering digitally, you can do that by heading to our website. www.lighthousechurchnc.org/give

On this month's 21andsensory Podcast episode I have the lovely Eliza Fricker on as my special guest. Eliza is an author & illustrator, and an advocate & consultant for PDA, autism and learning. She is the Sunday Times bestselling author of The Family Experience of PDA and Can't Not Won't.Eliza has published several books, including A Different Kind of Parenting and the acclaimed autobiographical Thumbsucker. We chatted about Eliza's latest book ‘Could Try Harder' which explores topics such as masking, girlhood, the hidden cost of being misunderstood and about what happens when a person is taught all their life to perform instead of belong.Eliza's Links:Website: Missing the MarkSubstack Eliza Fricker's SubstackInstagram: @elizafricker_missingthemarkEliza's booksMy 21andsensory links:Illustration Portfolio | Instagram | Podcast | YouTube | Blog | TikTok | X | ⁠Bluesky | Patreon

In this episode, Haylie Pomroy is joined by Dr. Craig P. Tanio to explore the evolving field of brain health, including current approaches to supporting patients with chronic illnesses, the importance of multimodal interventions, and the value of partnering with healthcare providers who advocate for their patients. Dr. Tanio shares his journey into caring for individuals with complex chronic conditions through a "clinic without walls" approach, explains why patients should actively evaluate and engage with their healthcare providers, and discusses the importance of finding clinicians who foster trust, compassion, and hope. Together, they also examine how data-driven insights can enhance personalized care and highlight strategies that may support cognitive function and long-term brain health. Discover how patient-centered care, innovative approaches, and brain health strategies can help improve outcomes for those living with chronic illness here on Fast Metabolism Matters. If your body feels like it's running on empty, overburdened, or just not responding the way it used to, Haylie's latest book, Toxic Overload, tells you exactly what to do. Download your free digital copy today and start understanding what your body is trying to tell you.   Free Download: Get Your Copy of Toxic Overload

For more information about our church, visit npfcc.org To help support the ongoing work of NPFCC and our mission partners around the globe, you can make a donation at npfcc.org/give

http://www.copperplatemailorder.com    Copperplate Time 541                                presented by Alan O'Leary                             www.copperplatemailorder.com  1. BOTHY BAND: Green Groves of Erin/Flowers of Red Hill.After Hours 2. DANU:   The Coachman's Whip.   When All is Said & Done3. BROCK MAGUIRE BAND:   The Bluebell Polka.  Green Grass, Blue Grass4. MACALLA:   Aililiú na Gamhna.   Women of Ireland5. TEADA:   Nora Criona.   Inné Amárach 6. TOMMY GUIHEN: The Navvy on the Shore/PegMcGrath's/McFadden's.  The Torn Jacket  7. JIMMY CROWLEY:   Jimmy Mo Mhíle Stór.  Jimmy mo Mhile Stór 8. DANNY O'MAHONY:  Lord Gordon's Reel.  Private   Recording 9. NOTIFY:  Sean Nancy's Reel. Private Recording  10. DAOIRI FARRELL:A Pint of Plain. A Lifetime of Happiness    11. LIAM FARRELL & RAYMOND ROLAND:               McGlinchey's HP/Cooley's HP Snuff. Trad Music From Galway & Clare 12. JOE COOLEY & JOE LEARY:  Queen of the Fair/The Carraroe Jig.   Cooley13. COLUM SANDS:   Fresh Bread.  Look Where I've Ended Up Now 14. JOHN McEVOY & JOHN WYNNE: The Last Train From Loughrea/Ned Coleman's. The Dancer at the Fair 15. SEAMUS ENNIS: Ask My Father/Pat Ward's Jig.  The Best Of Irish Piping 16. LIAM O'FLYNN:  Johnny McGreevey's/Sweeping the Cobwebs Out of the Sky.   The  Fine Art of Piping 17. LOUISE &MULCAHY FAMILY:  Planxty Davis/The Queen of May/Johnny Henry's Fave. The Reel Note 18. SEAMUS ENNIS: Football Crazy.  Private Recording 19. DICK GAUGHAN:The Father's Song. A Different Kind of Love Song 20. JUDY COLLINS: My Father. Who Knows Where the Time Goes 21. BOTHY BAND: Green Groves of Erin/Flowers of Red Hill.   After Hours

The hosts are back at it, breaking down war, peace, and the terms of Trump's Iran peace deal. Vice President Vance's bestseller "Communion" stirs up a fiery debate over theology and the econometrics of Japanese strawberries. New host Mat Nuclear previews "The Nuclear Reaction" ahead of its Daily Wire premiere. And Biden insider Michael LaRosa mourns the miserable plight of moderate Democrats at the hands of radical socialists. Friendly Fire Ep. 17

This week's episode is a little different than our usual conversations about birth trauma, healing, and maternal mental health.Kayleigh is taking listeners behind the scenes of her family's recent trip to Disney World and Universal Orlando, a trip she never expected would become one of their favorite family experiences. As a self-proclaimed non-theme-park expert, Kayleigh shares the planning strategies, lessons learned, and practical tips that helped make the trip successful for their family.Whether you're considering a Disney or Universal vacation, feeling overwhelmed by the planning process, or simply curious about how the trip went, this episode offers an honest look at navigating theme parks with a deeply feeling kiddo while managing parental expectations, anxiety, and sensory overwhelm.Key TakeawayThis episode is a reminder that parenting after trauma can still include joy, adventure, and unexpected moments of delight. While birth trauma may always be part of our stories, it doesn't have to define every chapter. Sometimes healing looks like watching your child experience something magical, realizing how far you've come, and creating new memories together.Tips Shared in This Episode

A series of changes across policy and regulation are reshaping the federal marketplace at the same time. Together, they point toward a system with tighter requirements and sharper expectations around performance and accountability. Here to help us understand the combined impact on the contracting community is Managing Partner at Centre Law and Consulting, Barbara Kinosky.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

It's Feel-Good Friday, when your Unpacked host (Aislyn) and producer (Nikki) get together to swap the stories making them feel good this week. And this week they're joined by Afar's director of photography, Michelle Heimerman. They share three stories that are making them feel optimistic this week. Stories like... Some genuinely good news for anyone who loves a beach: one of the world's most beach-blessed countries has spent the past decade quietly turning the tide on plastic pollution — and the playbook is more doable than you'd think. A high-altitude adventure that trades the summit selfie for something quieter and more lasting — proof that you can chase a punishing challenge purely for the experience, not the applause. Meet the women rewriting who gets to lead a safari — and why the guides who didn't grow up in the bush might just be the best ones behind the wheel. Resources Learn more about Bartek Ziemski Read more about Australia's plastic decrease Listen to the episode about ABC's female guiding program The Afar Nepal cover shoot ⁠video⁠ Ridwell, the recycling service Chapters Tune in every Friday through June for a fresh trio of stories from Afar's favorite travel writers and editors. Be sure to subscribe to the show and sign up for our podcast newsletter, ⁠Behind the Mic⁠, where we share upcoming news and behind-the-scenes details of each episode. And explore our second podcast, ⁠⁠⁠⁠⁠⁠Travel Tales⁠⁠⁠⁠⁠⁠, which celebrates first-person narratives about the way travel changes us, and ⁠⁠⁠⁠⁠View From Afar⁠⁠⁠⁠⁠, where we spotlight the people and ideas shaping the future of travel. Unpacked by Afar is part of ⁠Airwave Media⁠'s podcast network. Please contact ⁠⁠⁠⁠⁠⁠advertising@airwavemedia.com⁠⁠⁠⁠⁠⁠ if you would like to advertise on our podcast. Learn more about your ad choices. Visit megaphone.fm/adchoices

EDGE program committee members Ziv J Haskal, MD, FSIR; Brian Funaki, MD, FSIR; and Daniel Sze, MD, PhD, FSIR came together to discuss what you can expect from this year's meeting in Louisville, KY. Attend the meeting and learn through cases, decisions and real‑world judgment.Watch the vodcastRegister for EDGESupport the show

For the second time “teen takeover” in the Tampa Bay region has ended in arrests. A Polk County teen is facing an attempted murder charge after an incident at Clearwater Beach just over a week ago.Could social media be the key to keeping teens out of trouble?We also talk with the local architect undertaking the renovation project for the Jackson House in downtown Tampa.Also, does Hillsborough County need a new courthouse annex?And what does your book stack look like this summer?Website: https://www.wusf.orgSign up for our daily newsletter: https://www.wusf.org/wakeupcall-newsletterFollow us on social media:Facebook: https://www.facebook.com/WUSFInstagram: https://www.instagram.com/wusfpublicmedia/YouTube: https://www.youtube.com/channel/UCsN1ZItTKcJ4AGsBIni3

This week on the show we have a special two-part episode with professional cyclist Maddy Nutt. We first hear from Maddy live from Emporia in the days leading into her Unbound XL race. Maddy talks about her win at the Traka 560, and why she was drawn to gravel to begin with. She also goes through a few pre-race details for Unbound, including her bike setup and the recipe for her favorite race day breakfast. Kathryn then catches up with Maddy after she is back home in London following her second place finish at the Unbound XL. Maddy goes over some of the highlights, and lowlights, of her race including dodging lightning strikes and hiking through mud. Listen in to find out if Maddy actually had fun during the Unbound XL, and if she will go for the cast iron frying pan.Follow Maddy on Instagram @maddynutty and check out her YouTube channel @maddynuttRegister for Feisty Fest at https://feisty.co/events/Follow us on Instagram:@feistycycling@feisty_mediaGirls Gone Gravel Website:https://www.girlsgonegravel.com/Support our Partners:SILCA: Use the code FeistyUnbound2026 for 15% off at https://silca.cc/en-ca Wahoo: Learn about the ELEMNT ROAM 3 at https://bit.ly/4tk2j23Momentous: Use code GIRLSGONEGRAVEL for up to 35% off your first order at livemomentous.comTifosi: Use the code FEISTY2026 for 20% off at tifosioptics.comRegister for Feisty Fest at https://feisty.co/events/

A Different Kind of Police Tool & A Different Kind of Investment Story. Meet Scot Cohen CEO $WRAPGuestScot Cohen: CEO & Executive Chairman, Wrap Technologies, Inc.Scot's BioCo-founder and largest shareholder of Wrap Technologies, Scot Cohen has led the company's strategy and financing since its 2016 founding. He brings 30+ years in asset management and capital markets, having co-founded Iroquois Capital, a New York hedge fund managing approximately $300M.Wrap Technologies, Inc.Website: wrap.com Ticker: Nasdaq: WRAPCompany BioWrap Technologies is a global public-safety technology company building non-lethal response solutions for law enforcement, security, and defense. The company is rapidly expanding into drone-based public safety, having launched DFR-X, the first U.S. commercially available non-lethal Drone First Responder interdiction system, alongside its MERLIN-Interdictor and MERLIN-1 counter-drone (C-UAS) payloads, which can deploy non-lethal force from the air and entangle hostile drones mid-flight.

Getting your young son to sit still for a church service, car ride, or class in school can be a challenge. But one school in Texas doesn't have this problem. Why? Well, they've tripled recess time. During the school day, the kindergartners and first graders at this school get four, 15 minute recess breaks outside each day. The teachers say the kids are more attentive than ever, and many have even decreased symptoms of ADHD. So if your son seems grumpy and uncooperative today, why don't you try a different kind of “time out”? Take a jog with him, ride a bike, or find interesting leaves and flowers. Time outSIDE, letting your boy be a boy, can turn his whole day around. To learn about raising boys to be godly men, visit Trail Life USA or RaisingGodlyBoys.com.

Deutsche Welle's Lars Bevanger traveled to northern Finland and reports on the country's booming gaming industry. The post A different kind of ‘Fintech' appeared first on The World from PRX.

SpaceX is set to go public next Friday. If all goes according to plan, the company is seeking a valuation of nearly $2 trillion. That would be the biggest initial public offering on record, and it would make CEO Elon Musk the world's first trillionaire. We'll learn more. Then, as part of Marketplace's "What's That Like?" series, we head to Zigong, China, to learn what it takes to be a master lantern artisan.

SpaceX is set to go public next Friday. If all goes according to plan, the company is seeking a valuation of nearly $2 trillion. That would be the biggest initial public offering on record, and it would make CEO Elon Musk the world's first trillionaire. We'll learn more. Then, as part of Marketplace's "What's That Like?" series, we head to Zigong, China, to learn what it takes to be a master lantern artisan.

A Different Kind of Power | Katherine Chow | HTB Livestream by HTB Church

A Different Kind of Community | Jessica Norman | HTB Livestream by HTB Church

In this episode of Plant. Harvest. Prosper., host Kellen Williams breaks down what really happens in the first 90 days after a sudden money event and why the families who keep their wealth are almost never the ones with the flashiest investment ideas or the savviest dealmaking instincts.

Anger Was A Symptom: A Police Chief's Journey Through Trauma, Ego, and Recovery. For many police officers, anger becomes part of the job. Long shifts, traumatic calls, stress, violence, and emotional exhaustion can slowly build over time. But what happens when anger becomes more than frustration? What happens when it begins destroying careers, relationships, leadership, and personal peace? The Law Enforcement Talk Radio Show and Podcast social media like their Facebook , Instagram , LinkedIn , Medium and other social media platforms. That is exactly what Police Chief Dr. Ron Camacho, our guest, openly discusses in this powerful episode of the Law Enforcement Talk Radio Show and Podcast. The Podcast is available for free on the Law Enforcement Talk Radio Show and Podcast website, also on Apple Podcasts, Spotify, YouTube, iHeartradio and most major podcast platforms. #Free #Podcast #Radio Now serving as the Police Chief in North Charleston, South Carolina, Dr. Camacho spent decades in law enforcement, rising through the ranks of the York City Police Department in Pennsylvania. Along the way, he discovered something many officers never fully confront: anger was not the root problem. It was only the symptom. Supporting articles about this and much more from Law Enforcement Talk Radio Show and Podcast in platforms like Medium , Blogspot and Linkedin. Childhood Trauma and Police Stress Collide Dr. Camacho admits that during parts of his police career, he became what he described as a “tyrant” as a supervisor. His anger affected not only his officers, but also his personal life and family relationships. Anger Was A Symptom: A Police Chief's Journey Through Trauma, Ego, and Recovery. Over time, he realized his emotional reactions were deeply connected to unresolved childhood trauma that had been intensified by years of police work. The combination of stress, fear, emotional suppression, and constant exposure to trauma created an emotional pressure cooker. The show is inspiring audiences through the Law Enforcement Talk Radio Show and Podcast Facebook, Instagram, YouTube, Apple, Spotify, iHeartradio and and many Podcast platforms. Like many officers, he pushed through it rather than addressing it. Anger became the outward expression of internal pain. Experts often describe anger as a secondary emotion. Underneath anger are frequently deeper emotions such as fear, grief, exhaustion, insecurity, burnout, sadness, or feeling powerless. For police officers, those emotions are often buried beneath a culture that encourages toughness and emotional control. Anger Was A Symptom: A Police Chief's Journey Through Trauma, Ego, and Recovery. The episode is available across major platforms including their website, Apple Podcasts, Spotify, YouTube, with highlights shared across their Facebook, Instagram, and LinkedIn profiles. The Hidden Cost of Anger in Law Enforcement Anger itself is not always harmful. In fact, it can be a natural survival response. But unmanaged anger can become destructive. According to the discussion in this episode, anger may show itself through: Emotional outbursts Increased stress Physical tension Damaged relationships Leadership problems Poor decision-making Mental and physical exhaustion The episode also explores how trauma impacts the body physically, including effects on the heart, muscles, hormones, and stress responses. Dr. Camacho explains how recognizing anger as a symptom rather than the true issue became a major turning point in his life and recovery. Learning to “Pause and Trace” One of the key concepts discussed is what many mental health professionals call the “Pause and Trace” method. Instead of reacting emotionally in the moment, individuals learn to stop and identify what is truly happening internally. Anger Was A Symptom: A Police Chief's Journey Through Trauma, Ego, and Recovery. Available for free on the Law Enforcement Talk Radio Show and Podcast website, also on Apple Podcasts, Spotify, Youtube and most major Podcast networks. Questions such as: What am I afraid of right now? What emotional need is not being met? What stress or trauma is driving this reaction? These kinds of reflections can help officers, supervisors, and civilians better understand the emotional roots behind anger. For Dr. Camacho, self-awareness became the beginning of healing. A Nationally Recognized Police Leader Beyond his personal journey, Dr. Ron Camacho has built an impressive law enforcement career spanning more than 30 years. He retired as patrol operations captain with the York City Police Department, supervising more than ninety officers and detectives. After retirement, he served internationally as a police advisor in Afghanistan and later worked with the U.S. State Department in Mexico, helping improve policing capabilities at local, state, and federal levels. This compelling conversation is available across Podcast platforms including Apple, Spotify, Facebook, Instagram, YouTube, and LinkedIn, where social audiences continue engaging with powerful stories about trauma, recovery, and resilience. His work in officer wellness, leadership, transparency, and community engagement has received national recognition from major police publications. He is also a graduate of the FBI National Academy and holds advanced criminal justice degrees, including a doctorate. Today, he continues mentoring police leaders across the country while advocating for emotional intelligence, healthy leadership, and officer wellness. Anger Was A Symptom: A Police Chief's Journey Through Trauma, Ego, and Recovery. A Different Kind of Conversation About Police Work This episode of the Law Enforcement Talk Radio Show and Podcast offers something many listeners rarely hear from law enforcement leaders: honesty about emotional struggles, trauma, ego, anger, and recovery. It is a reminder that behind every badge is a human being carrying experiences that can shape behavior in powerful ways. The Podcast is available for free on the Law Enforcement Talk Radio Show and Podcast website, also on Apple Podcasts, Spotify, YouTube, iHeartradio and most major podcast platforms. The Law Enforcement Talk Radio Show and Podcast continues bringing listeners real conversations from the front lines of crime, policing, trauma, survival, and healing. Be sure to follow us on X , Instagram , Facebook, Pinterest, Linkedin and other social media platforms for the latest episodes and news. Learn and get access to money saving tips and how to increase your net worth at www.LetSavings.com Download the Free Ebook about ways and tips to improve your health. You can get the ebook for free at www.LetHealthy.com Get the Free Clubhouse App, it is Drop In Social Audio. Think of it as your own talk radio show on your phone, and best of all it is free. Be sure to look for me and follow me, that's John J Wiley or @letradioshow  you can do all that here. You can contact John J. “Jay” Wiley by email at Jay@letradio.com , or learn more about him on their website . Find a wide variety of great podcasts online at The Podcast Zone Facebook Page , look for the one with the bright green logo. Be sure to check out our website . Listen to the full story on the Free Podcast, available on the Law Enforcement Talk Radio Show and Podcast Website, on Facebook, Instagram, YouTube, Apple, Spotify, and more. Anger Was A Symptom: A Police Chief's Journey Through Trauma, Ego, and Recovery. Attributions Healthline Camacho Consulting City of North Charleston SC Police Department Facebook Facebook Group   Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

The Vermont senate advances a bill to reform the state's homelessness policies; Advocates for foster youth in Vermont say the Department for Children and Families should not be taking a portion of their federal benefits to pay for the cost of foster care; A Vermont man held at a private prison in Mississippi died while being held in segregation;the regional grocery chain Healthy Living is challenging a vote by workers to unionize; the defending USL-2 champions Vermont Green FC play their home opener against Albany tonight; Plus…a woman talks about the bonds she formed caring for Jersey cows on her farm. 

In this message from Matthew 5, Pastor Caleb teaches through the first two Beatitudes: “Blessed are the poor in spirit” and “Blessed are those who mourn.” This sermon explores humility, dependence on God, surrender to Jesus, grief, repentance, and the comfort God brings through His presence, forgiveness, and restoration.Click here to view the episode transcript. (00:00) - Welcome and Introduction to the Beatitudes (00:44) - Understanding the Sermon on the Mount (02:10) - Why Crowds Traveled to Hear Jesus (04:35) - A Different Kind of Revolution (06:13) - The Beatitudes Must Lead Us to Jesus (07:24) - Matthew 5 and the First Two Beatitudes (07:50) - What Does Blessed Really Mean? (11:45) - Present Assurance and Future Promise (13:10) - What It Means to Be Poor in Spirit (15:52) - Solomon and the Emptiness of Life Without God (20:24) - The Kingdom of Heaven and Full Dependence on God (27:07) - Depend on God Daily, Not Just in Crisis (29:23) - Blessed Are Those Who Mourn (31:29) - Learning to Grieve in a Healthy Way (35:06) - Mourning Sin, Suffering, and What Breaks God's Heart (37:16) - God's Comfort, Forgiveness, and Restoration

Today's story is all about what happens when you become infatuated with someone you don't really know. And what strange or scary things you might do in order to make real contact with that person. The story is also about youth, love of language, and what you do with all your passion when you have more energy than you know what to do with.  This story is by Jonathan Lethem. He's a writer known for novels such as Motherless Brooklyn and The Fortress of Solitude, as well as short stories, recently collected in his book, A Different Kind of Tension. While he's amazing at crafting great narrative hooks, he's also quite good at recreating the awkward moments of young adulthood, as you'll hear in today's story, "The King of Sentences." The story is read by Brendan Hunt, the longtime writer and theater actor who is best known these days for the series Ted Lasso: Hunt helped to create it, write it, and on the show, he plays Coach Beard. Stay tuned after the story for a fascinating interview between Lethem and host Aparna Nancherla about creative influences, the power and peril of parasocial relationships, and more.  Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

In today's episode, Nick talks about The Strait of Hormuz Blockade, Eric Swalwell In Deep Doo Doo, Woman Loses Face To Dog, Gun Play At Chik-Fil-A, A Naked Black Man and A Different Kind of Whistleblower! The FULL SHOW is live streaming & FREE-ONLY on Rumble! Join our LIVE CHAT at 6pm ET every Mon-Thu or watch the FULL EPISODE anytime on demand after 7pm ET. Follow my Channel and get notified! https://rumble.com/c/TheNickDiPaoloShow MERCH - Grab some mugs, hats, hoodies, shirts, stickers etc… https://shop.nickdip.com/ PERSONAL VIDEO FROM ME – Send someone a personal video from me! Go to https://shoutout.us/nickdipaolo  or www.cameo.com/nickdipaolo SOCIALS/COMEDY- Follow me on Socials or Stream some of my Comedy!  https://nickdipaolo.komi.io/