Podcasts about Emi

Fluent Fiction - Japanese: Mystery on the Bridge: Blossoms, Art, and Unspoken Love Find the full episode transcript, vocabulary words, and more:fluentfiction.com/ja/episode/2026-03-07-23-34-00-ja Story Transcript:Ja: 春のうららかな日、上野公園は桜の花びらで満たされていました。En: On a lovely spring day, Ueno Park was filled with cherry blossom petals.Ja: ピンクと白の花のシャワーが風に揺れ、公園には花見を楽しむ人々が溢れていました。En: The pink and white flowers swayed in the wind, and the park was bustling with people enjoying hanami.Ja: 家族の楽しげな声があちこちから聞こえてきます。En: The joyous voices of families could be heard from all directions.Ja: そんな中、一つの橋に突然現れた絵がみんなの注目を集めていました。En: Amidst this scene, a painting that suddenly appeared on a bridge captured everyone's attention.Ja: その絵は鮮やかで、どこからともなく現れた謎の作品でした。En: The painting was vivid, a mysterious work that had appeared out of nowhere.Ja: 絵を見つめる人々は、いったい誰がこんな美しいものを描いたのか、不思議に思っていました。En: People staring at it wondered who could have painted such a beautiful piece.Ja: 美術学生の雪子もその絵を見に来ました。En: Bijutsu student Yukiko also came to see the painting.Ja: 彼女は卒業プロジェクトのアイデアを探していたのです。En: She was searching for ideas for her graduation project.Ja: 同時に、彼女の幼なじみの浩志が大阪から遊びに来ていました。En: At the same time, her childhood friend Koji was visiting from Osaka.Ja: 浩志は、雪子に密かに恋心を抱いていましたが、その気持ちを打ち明ける勇気はありませんでした。En: Koji secretly harbored feelings for Yukiko but lacked the courage to confess them.Ja: 「雪子、あの絵、すごいよな？」浩志は興奮した声で言いました。En: "Yukiko, that painting is amazing, isn't it?" Koji said excitedly.Ja: 「うん、本当にすごい。でも誰が描いたのかな？」雪子はあたりを見渡しました。En: "Yeah, it's really amazing. But I wonder who painted it?" Yukiko looked around.Ja: すると、近くにいた露店の店主、恵美が近づいてきました。En: Just then, a nearby stall owner, Emi, approached them.Ja: 「昨夜、怪しい人影が橋のそばで何かしているのを見たわ」と彼女はぽつりと言いました。En: "Last night, I saw a suspicious figure doing something near the bridge," she said quietly.Ja: でも、詳しいことは教えてくれませんでした。En: But she didn't provide any more details.Ja: 雪子はもっと知りたかったので、恵美さんに質問をしましたが、恵美さんは頑なに口を閉ざしました。En: Yukiko wanted to know more, so she asked Emi questions, but Emi remained stubbornly silent.Ja: 一方で浩志は、恵美さんをあまり急かさないように雪子に言いましたが、雪子はどうしても知りたくて、さらに質問を続けました。En: Meanwhile, Koji advised Yukiko not to press Emi too hard, but Yukiko was determined to find out and continued with her questions.Ja: そこへ、突然激しい雨が降ってきました。En: Suddenly, a heavy rain began to pour.Ja: 絵が雨で流されそうになり、雪子は慌てて抱えていた傘を広げ、絵を守りました。En: The painting was in danger of being washed away, so Yukiko hastily opened the umbrella she was carrying to protect it.Ja: その姿を見て、恵美さんはゆっくりと口を開きました。En: Seeing this, Emi slowly began to speak.Ja: 「あの絵を描いたのは、あなたのクラスメートの田中くんよ。」と。En: "The one who painted that picture is your classmate, Tanaka-kun."Ja: その言葉を聞いて、雪子は驚きました。En: Hearing those words, Yukiko was astonished.Ja: 田中くんはとても内向的で、こんな大胆な場所に絵を描くとは想像もしませんでした。En: Tanaka-kun was very introverted, and she never imagined he would create such a bold painting in a public place.Ja: しかし、その意外な事実が彼女の心を刺激し、新しいインスピレーションを与えました。En: However, this unexpected fact stimulated her imagination and gave her new inspiration.Ja: そして、雨が止んだあと、浩志は決心しました。En: After the rain stopped, Koji made a decision.Ja: 「雪子、実は、ずっと君が好きだったんだ。」En: "Yukiko, actually, I've always liked you."Ja: 雪子は驚きつつも、その告白に嬉しさを感じました。En: Yukiko, surprised, felt happiness at his confession.Ja: 彼女は絵と浩志から、新しい道を見出しました。En: She discovered a new path through the painting and Koji.Ja: プロジェクトにインスパイアされただけでなく、浩志との関係も新しい一歩を踏み出しました。En: Not only was she inspired for her project, but she also took a new step forward in her relationship with Koji.Ja: その橋の絵は、ただの謎ではなく、雪子にとって大切な春の思い出となりました。En: The painting on the bridge was not just a mystery but became a cherished spring memory for Yukiko.Ja: 彼女は、これからも思いがけないところからインスピレーションを受け入れ、個人的な成長と芸術的追求の両立を図ることを決心しました。En: She decided to embrace inspiration from unexpected places, striving for both personal growth and artistic pursuit. Vocabulary Words:lovely: うららかなfilled: 満たされていましたpetals: 花びらswayed: 揺れjoyous: 楽しげなamidst: そんな中vivid: 鮮やかmysterious: 謎のfascinated: 不思議に思ってgraduation: 卒業project: プロジェクトharbored: 抱いてlack: ありませんでしたconfess: 打ち明けるsuspicious: 怪しいstubbornly: 頑なにpress: 急かさないastonished: 驚きましたintroverted: 内向的bold: 大胆なunexpected: 意外なstimulated: 刺激しcourage: 勇気cherished: 大切なembrace: 受け入れpursuit: 追求blossom: 花見splendid: すごいdetermined: 決心cherish: 大切に

Rubrikā „Muzykys žvyrs” muzikis Ingars Gusāns, ari Solvvaļnīks i muzykys entuziasts Silvestrs Solovjevs stuosta par latgalīšu muzykys īrokstim, kaidi albumi latgalīšu muzykā ir izdūti, i kam ir vārts dagrīzt viereibys. Žvyrs ir grants, i Sovvaļnīks skaita, ka „latgalīšu muzykys ceļš nikod nav bejs leidzons, tys vysod ir bejs kai pa granta ceļu, ari idejiski „Muzykys žvyrs” ir vysā pamatuoti – vysu laiku ceinomēs, īmam, sovpateigs ceļš.” Apsavieršonā vysaidi muzykys žanri, grupys i solo muokslinīki. Itūreiz par folklorys kūpys „Grodi” jaunuokū albumu „Sudrabu smeldama” (2025), kas sajiems Latvejis muzykys īrokstu goda bolvu „Zelta mikrofons” albuma dizaina kategorijā, tyka ari nomināts storp lobuokajim tautys muzykys albumim, taipat tyka nomināts ari Latvejis myzykys nūzaris bolvai GAMMA tautys muzykys žanrā, i albums nomināts ari Latgalīšu kulturys goda bolvai „Boņuks 2025”. Folklorys kūpys „Grodi” albumā „Sudrabu smeldama” atrūnamys dzīsmis i tautys muzyka nu Latvīšu folklorys kruotivis ekspediceju, Emiļa Melngaiļa pīrokstu, Mārtiņa Boiko veiktūs īrokstu i pošys Aīdys Rancānis personeigūs arhivu – dzīsmis i daņči nu Bolvu nūvoda Brīžucīma, Medņovys, Viļakys, Bierzpiļs i Škilbānu pusis, Kruoslovys nūvoda Izvolta, Dagdys, Bukmuižys, Ludzys nūvoda Nierzys i Mežavydu pogosta. Taipat ari Sibirejis latgalīšu montuojums, kurū sovulaik Timofejevkys cīmā īrakstejs Latvīšu folklorys kruotivis pietnīks i „Grodu” daleibnīks Aigars Lielbārdis. Sudobrys – kai pūrs, goreiguos boguoteibys simbols, gudreiba, dzeivisziņa, dzeivisgudreiba, dabojama caur dorbu, paaudžu sarunom i dzeivi kūpā. Doba kai spāka olūts, dzīsme i daņcs kai katarse, škeisteišonuos, kas kai atteirej, tai dūd spāka.

If you were stranded on a desert island today, what's the one song you couldn't live without? This week hosts Jim DeRogatis and Greg Kot round up a handful of Desert Island Jukebox picks from previous guests of Sound Opinions. The hosts also review the new albums from Peaches and Danny Brown.Join our Facebook Group: https://bit.ly/3sivr9TBecome a member on Patreon: https://bit.ly/3slWZvcSign up for our newsletter: https://bit.ly/3eEvRnGMake a donation via PayPal: https://bit.ly/3dmt9lUSend us a Voice Memo: Desktop: bit.ly/2RyD5Ah Mobile: sayhi.chat/soundops Featured Songs:The Beatles, "In My Life," Rubber Soul, Parlophone, 1965The Beatles, "With A Little Help From My Friends," Sgt. Pepper's Lonely Hearts Club Band, Parlophone, 1967Peaches, "No Lube So Rude," No Lube So Rude, Kill Rock Stars, 2026Peaches, "Be Love," No Lube So Rude, Kill Rock Stars, 2026Peaches, "Not In Your Mouth None Of Your Business," No Lube So Rude, Kill Rock Stars, 2026Danny Brown, "Copycats," Stardust, Warp, 2025Danny Brown, "Whatever The Case," Stardust, Warp, 2025Danny Brown, "Book of Daniel," Stardust, Warp, 2025Danny Brown, "All4u," Stardust, Warp, 2025Danny Brown, "Lift You Up," Stardust, Warp, 2025Roxy Music, "Virginia Plain," Roxy Music, Island and Reprise, 1972Soft Machine, "Hope For Happiness," The Soft Machine, ABC and Probe, 1968Spoon, "Let Me Be Mine," They Want My Soul, Loma Vista and ANTI, 2014Rolling Stones, "Emotional Rescue," Emotional Rescue, Rolling Stones, 1980Jeff Tweedy, "Lou Reed Was My Babysitter," Twilight Override, dBpm, 2025Tyrannosaurus Rex, "A Beard of Stars," A Beard of Stars, Regal Zonophone, 1970Tyrannosaurus Rex, "By the Light of the Magical Moon," A Beard of Stars, Regal Zonophone, 1970Afrika Bambaataa and Soulsonic Force, "Planet Rock," Planet Rock (Single), Tommy Boy, 1982The Spinners, "Mighty Love," Mighty Love, Atlantic, 1973The Delfonics, "La-La Means I Love You," La-La Means I Love You, Philly Groove, 1968Kate Bush, "Running Up That Hill (A Deal With God)," Hounds of Love, EMI, 1985Local H, "How's The Weather Down There?," Whatever Happened To P.J. Soles?, Studio.E, 2004Mark Lannigan, "Solitaire," Imitations, Vagrant, 2013Mark Lannigan, "Ugly Sunday," The Winding Sheet, Sub Pop, 1990Nirvana, "Lithium," Nevermind, DGC, 1992Tsunami, "In a Name," Deep End, Simple Machines, 1993The Lemon Twigs, "Any Time Of Day," Everything Harmony, Captured Tracks, 2023Nicholas Krgovich, "Rosemary," Rosemary (Single), Tin Angel, 2018The Butterfield Blues Band, "East-West," East-West, Elektra, 1966The Third Mind, "East West (Live)," Live Mind, Yep Roc, 2025Beach Bunny, "Dream Boy," Honeymoon, Mom + Pop, 2020Redd Kross, "Candy Coloured Catastrophe," Redd Kross, In The Red, 2024See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

In today's episode, we're speaking with Emi Fukahori and Mathieu Theis, Co-founders of Swiss specialty coffee business MAME.Multiple-time Swiss competition winners, Emi and Mathieu founded MAME in Zurich in 2016, driven by a shared passion for coffee tasting, sensory analysis and competition craft, combined with Japanese precision. Today, they operate eight coffee shops across Zurich and Geneva and, one most recently, Tokyo.In this conversation, Emi and Mathieu share their guiding principles for tailoring every guest experience and creating memorable coffee moments. They also discuss how they've drawn inspiration from Michelin-starred chefs to scale high-quality and maintain a strong brand identity as they grow internationally.Credits music: "Lay on Grass" by Sam Stokes in association with The Coffee Music Project and SEB Collective. Tune into the 5THWAVE Playlist on Spotify for more music from the showSign up for our newsletter to receive the latest coffee news at worldcoffeeportal.comSubscribe to 5THWAVE on Instagram @5thWaveCoffee and tell us what topics you'd like to hear

1er septembre 1973, nous sommes au cœur de l'Afrique, au Nigeria, un pays étonnant dont les incroyables ressources en pétrole, gaz, fer et charbon ont produit une société à deux vitesses. Sa capitale, Lagos, est une ville étonnante, grouillante de population, polluée sous un climat tropical, et ceinturée de forêts luxuriantes.Alors qu'est-ce que vient y faire Paul McCartney, ancien leader des Beatles qui n'ont jamais vendu autant de disques avec les rééditions de tous les 45 Tours et des deux doubles 33 Tours, rouge et bleu ? Pas y fêter son premier succès mondial, Live and Let Die… Un triomphe, comme le film d'ailleurs, qui impose un nouvel acteur dans les habits de James Bond.Et bien figurez-vous que c'est encore une de ses idées à lui pour tirer le meilleur de sa créativité. Maintenant qu'il est bien rôdé avec un nouveau groupe, il compte y retrouver les grandes heures qui lui ont permis d'enregistrer des disques novateurs comme Sgt Pepper Lonely Hearts Club Band, tellement génial que quelques jours après sa sortie, Jimi Hendrix, en faisait déjà un cover sur scène, Paul avait éprouvé un indicible frisson en assistant au concert.Et donc, il demande à EMI, la multinationale qui le distribue, où ils possédent des studios. Un peu partout dans le Commonwealth. Los Angeles, Paris, Berlin, Tokyo, Athènes. Oui, euh, vous n'avez rien de plus … exotique ? Exotique ? Attendez … Johannesbourg, Bombay, Hong Kong, Lagos … Lagos, c'est où ? Au Nigeria.Paul se voyait en touriste la journée avec son band, au boulot le soir et la nuit, ce n'est pas exactement ça qui se produit. Déjà, juste avant le grand départ, il perd son bassiste et son batteur qui n'ont pas envie de risquer leur vie dans ce coupe-gorge. On leur en a parlé de Lagos !Et donc, les Wings sont réduit à trois quand, sortis de l'aéroport, ils découvrent des rues encombrées et des trottoirs débordant de miséreux, de malades, errant devant des maisons délabrées … et un studio entouré de hauts murs protégés par des bouquets de fils barbelés. Ambiance. Un studio … pas exactement comme celui d'Abbey Road. Un matériel très ancien, des micros qui ont souffert, des pièces mal insonorisées où il règne une chaleur humide insupportable. Et si ce n'était que ça. Rentrant un soir avec Linda, Paul subit un vol à main armée, entendez-moi, les mecs ont des armes de guerre, et perd ainsi les cassettes démos de tous ses titres. Il est aussi dérangé par Ginger Baker, l'ancien batteur du groupe Cream et partenaire d'Eric Clapton, expatrié là-bas, et franchement menacé par Fela, pape du jazz africain, et surtout chef tribal, qui n'entend pas non plus qu'un ex-Beatle enregistre à Lagos sans son autorisation.Mais rien n'y fait, on n'arrête pas un passionné, Paul arrondit les angles, sympathise avec tout le monde et enregistre un album aux sonorités franchement nouvelles, la pochette d'ailleurs, fallait oser. Le disque fait un triomphe montrant que, contre toute attente, non seulement, il peut y avoir un “après Beatles” mais surtout qu'il en était la machine débridée à entraîner la création. Et un musicien de scène qui n'a depuis jamais perdu l'enthousiasme de se retrouver face à un public …

On this episode of National Disability Radio, we sit down with award-winning recording artist, advocate, and author Lachi for a powerful conversation about disability pride, music, and unmasking. Lachi shares her journey, from navigating the music industry as a blind artist, to founding RAMPD, a coalition amplifying disability culture across the industry. We talk about what it means to say “I identify as blind,” move beyond the medical and social models of disability into a cultural model rooted in identity and joy, and remind listeners that no one can defeat someone who hasn't given up. From glam canes to Grammy stages, this episode is about claiming space, rejecting internalized ableism, and turning perceived flaws into flexes. Transcript: Alden Blevins: It’s Lachi? I feel very- Lachi: Lachi like Versace. Alden Blevins: Lachi like… Oh, I love that. Michelle Bishop: That is the best way to explain it. Lachi: I mean, but you know what I’m saying? Come on. Alden Blevins: Well, we’re really excited about having you today because we’re all music lovers in this group here. Michelle Bishop: Yes. Alden Blevins: We talk about music all the time. Michelle Bishop: So much. Lachi: Good, good, good, good, good, good, good. I’m in the right place. Michelle Bishop: Hi everyone. Welcome back to National Disability Radio, the official podcast of the National Disability Rights Network. I am Michelle Bishop, 1/3 of your podcast hosting team. Stephanie Flynt McEben: And I’m Stephanie Flynt McEben, public policy analyst here at NDRN. Alden Blevins: I am Alden. I am a communication specialist at NDRN and I am so excited today, like I mentioned, we’re all lovers of music, so we got a guest that I’m really excited about. Lachi is an award-winning recording artist and a recording Academy Grammy’s national trustee. She’s also a disability advocate who’s been breaking barriers in the music industry and beyond. She’s the founder of RAMPD, which by the way, is such a fun play name. I really love that. And the author of the upcoming book, I Identify as Blind. So without further ado, Michelle, you’ve got some questions to kick us off, I think. Michelle Bishop: Yes. We’re so excited to have you with us. As Alden said, we are. We’re huge music lovers. I’m pretty sure we spend most of our meetings where we allegedly plan this podcast just talking about music. So you’re absolutely in the right place today, but to get us started, I mean, you’ve been open about the fact, and I’m just really interested in this as a disability rights podcast. You’ve been really open about the fact that it took you some time to really embrace your identity as a blind and disabled woman, especially in the industry that you’re in that often really rewards conformity. Can you tell us a little bit more about that journey for you, both as an artist and as someone navigating just the world with a disability? Lachi: Okay. Yeah, for sure. Hey, everybody. Lachi here, Lachi like Versace. I am a Black woman with cornrows, chilling here in New York in my studio. I also identify as blind, I identify as neurodivergent, and I identify as an Aries. So do with that what you will. Michelle Bishop: All the important points right there. Lachi: All the important points like name, age, sign. Thank you. Okay. Yeah, but I’m really glad to be here. And thank you for that question, and thank you for having me. So music has always been a very integral part of my life of growing up. Where other babies would kick in the womb, when she was pregnant with me, I was playing the piano in the womb. I don’t know how she got a piano in there, but she’s not a liar, so I’m going to take her word for it. When I was super-duper young, I didn’t really have a lot of friends, especially because of the fact that I had differences and this and that. And so I would take to music to, I guess, understand the world better and have the world understand me better. I just knew how to express myself through song and it just said the things I needed to say. It was the prayer I needed. And because of music, I started to find confidence in how to speak and how to behave and how to act. And as I got older, when I was growing up, disability was not necessarily a thing people talked about a lot in schools and teachers didn’t know what to do. My parents didn’t really know what to do. And so I would always just turn to music. It’s actually right now I’m working on a children’s album because I think that kids need to hear music that has to do with disability and neurodivergence, as well as their parents as they grow up. When I got into college, I started wanting to do music, but I studied business and finance because when I told my parents I wanted to do music, they were like, “That’s not how you spell doctor.” because they are Nigerian immigrants and everybody else in my family went to either med school and blah, blah, blah. And I was like, “No, I want to do music.” But I did get a day job after school, after college, and didn’t love it because this girl is not going to exist behind a desk. So I ended up going to South by Southwest and I got signed actually from playing the guitar at a hole in the wall spot that nobody was at, except for this A&R apparently. So we got signed to an imprint under EMI, which was a major label back then, and we started touring and music then became my life. Now today, why wouldn’t I pay my respects back to music? I mean, it’s because of music that I was able to really lean into who I am, my disability, my confidence, et cetera. So because of that, because of how much music has given to me in my life, I’m here using music to give back to other people with disabilities. Now, your question was essentially, how do you sit here and try to bring about change for disability in an industry that is not only about conformity, but also about like, “Hey, pick me to exploit.” is essentially what the music industry is. You’re raising your hand to be exploited and that’s what kind of authenticity is that? But at the end of the day, music is some of the truest forms of storytelling. And I think to myself, just the way that hip hop has amplified Black culture and the way that country music has amplified rural culture and the way that different global musics have represented different global cultures. I want to use music to amplify disability culture. I want to use music to amplify disability stories and feelings that are difficult to put words to, that are words of the soul, which is essentially what music is. And so I started going to studios and realizing things weren’t as accessible as they should be. I started speaking with organizations and realizing things weren’t as inclusive as they should be. And the response I kept getting was like, “Oh, well, there’s nobody with a disability in the music industry, so why would we make these measures?” And so I have made it my life’s goal through RAMPD, which by the way, the best thing we ever accomplished was our acronym, not us working with the Grammys to get sign language on the red carpet, not us getting these partnerships with title, Live Nation, Spotify. I mean, we’ve done so much, not just for artists, but also for professionals. And we’ve started to realize something really interesting with the work we’ve done with RAMPD. We are getting people joining our membership who are director level folks, who are label owners, who are like the big wigs that write the checks, and they’re like, “I’m neurodivergent. I’m actually hard of hearing. I have a TBI.” And so when I originally set out, they said, “We don’t do disability inclusion because nobody’s disabled.” That was three years ago. Now I’m like, not only are there neurodivergent and disabled music professionals out here, but we all are. So really to conclude, it’s just that everyone is navigating trying to make it out in this world, but everyone’s masking. Everyone feels that they have to change some part of themselves to be as close as they can to what success looks like, be as close as they can to what “beauty” looks like, what winning looks like. But really all it is internalized ableism. And I say, as soon as we drop that internalized ableism and we really start to sit in who we truly are and we start to recognize our perceived flaws as flexes, that’s when we truly start to win. And so that’s what we’re finding out with RAMPD, that people are like, “You know what? I’m tired of navigating this difficult industry with the added layer of having to mask.” And so that’s why I do what I do. Michelle Bishop: Yes. And honestly, as ridiculous as it sounds that they say to you, “Oh, there aren’t any people with disabilities.” When I tell you, we see that in everything that we do. I do voting work at NDRN and we’ll have elections officials tell us, “This polling place isn’t accessible, but there aren’t any people with disabilities that vote here.” And it’s like, “What? You realize we’re everywhere and we do all sorts of things.” Maybe the reason they think there’s no people with disabilities here is because they’re stuck outside and they can’t get in because you didn’t make it accessible, just a thought. But I mean, it sounds like coming up against all that is really, correct me if I’m wrong, helped you to develop that identity and that disability pride in the industry. When did you first say, “I identify as blind.” and what did that mean for you? Lachi: Well, so when I first came into really doing the disability thing, really leaning in, I wanted to find out more influencers or thought leaders and such with disabilities. I didn’t really know that many people. This is pre COVID, 2018, 2019, that kind of thing. And so I came across an influencer, her name is Molly Burke, and we’re great friends now, but I didn’t know her back then. I had just seen her tagline and it had said, “I’m Molly Burke and I’m a YouTuber who happens to be blind.” And for some reason I was like, “I don’t know if I love the happens to be blind thing.” I was like, “Well, I’m proud of being blind. Blindness is part of my identity. I don’t just happen to be a woman. I don’t just happen to be a Nigerian. I don’t just happen to be all of the things I am.” And so I would go to… I was touring… We’re always touring and every time I tour and do a show, I do a comedic open where I just introduce myself, I do a quick self-description, et cetera. And in my self-description, I would say, and I don’t just happen to be blind. My blindness is part of my identity, has given me all of the opportunities I have, and it’s really made me a deeper blah, blah, blah. It was just too long. So I had punched it up to be, “My name is Lachi like Versace. She, her, I’m a Black woman with cornrows and I identify as blind.” And the interesting thing about that is people took onto it. They were like, “Oh, that’s cool, nice and punchy.” But whenever I would say it in front of a large crowd or like I’ve said it on interviews or during commercials, I would get this weird, I don’t know, pushback of like, you can’t identify as blind. Blindness is an identity. It’s a medical condition. Or they’ll be like, “Do you read braille or not?” Or they’ll be like, “We don’t want people to think trans blindness is a thing where you just have a blind identity.” And then you can be like, “Well, I’m blind today, so that’s my identity.” And I thought that was really fun. I was like, “Look, everybody’s upset. They’re talking about blindness though.” So I really leaned all the way into it. And I have to say, I am super proud of my disability identity. Was it music that brought me there? I think in a sense and in a way, like today I have a few songs, you guys are music lovers, I have a few songs out that really talk about my disability pride. I think that a lot of the times as we navigate the world, masking our disability, masking our chronic condition, our difference or whatever, we end up overcompensating. We end up building up this really, really thick problem solving muscle or this really, really thick how to get around things muscle and we overcompensate. When we’re finally accommodated, when we finally get to a place where we’re accommodated or we have the tools we need, we’re coming in like bulk as hell. We’re coming in with problem solving muscles. We’re coming in with all of these things that we had to build up because of navigating the world differently, because of every day working through this very difficult maze that is living a life unaccommodated, then when we finally are accommodated, then we are killing it and crushing it. And how could you not be proud of that? How can that not give you a sense of pride? So the songs that I would love for you guys to check out that are mine is I have a song called Life on Hard, which has gone viral several times on Instagram. I’m known as an Instagram rapper, which is like, what? Hello, I do disability advocacy. Look at that stuff. But anyway, so I have a song called Life on Hard, which is essentially about just winning the game of life, playing it on the hardest setting out here while people are still trying to consult the manual. I have another song called Professional, which is oftentimes when I walk on the stage, people see the cane and they’re like, “Aw, she’s going to do a song for us. Is this from Make a Wish Foundation?” And then I bust out these raps or I hop on the piano and I go ape on this piano and then they’re like, “Oh, snap. What? Okay.” And I’m like, “Bro, I’m a professional artist. I’m not object for pity to make you feel good because you felt weird on a Monday and you didn’t feel like getting up for work, but it’s like, she could do it. So can I.” I’m like, “No, I can do it. You most likely probably just can’t.” So that’s what that song’s about. And then there’s The Bag, and The Bag is just essentially like, I’ve been told no so much like, “No, you can’t. No, you’re not good enough. No, we don’t want you.” And I’m like, “You know what? Yes, I am good enough and I deserve everything. So I’m going to throw everything I deserve in the bag, which is everything.” I don’t know. I would not be the person I am if I didn’t love all parts of myself. And that includes my disabilities, that includes my neurodivergences and all of the other wacky, weird body jazz that I bring with me everywhere I go. Michelle Bishop: Lachi, can we maybe, do you and I just FaceTime each other every morning and hype each other up? Stephanie Flynt McEben: I was literally about to say the same thing. I would like in on a true call. Michelle Bishop: I don’t know if you know. Actually, I want to say quickly, I know some of those songs actually from social media, but they’re real. They’re so real. So people haven’t heard music, go check it out. I don’t know if you know one of our co-hosts, Stephanie is blind. You’re speaking directly to her soul right now. Stephanie Flynt McEben: I literally just texted them in our podcast group text and I was like, she’s totally speaking to my soul RN, but of course I don’t want to interrupt anything. Michelle Bishop: No, I know you’re dying to talk to her about the book, Stephanie, and take it away. Stephanie Flynt McEben: Yeah, no, absolutely, for sure. And as somebody who is blind and who also identifies as a blind person and definitely does not identify with the medical model of disability, clearly gotten to more of a social model. But yeah, in terms of going through that journey of accepting all of who you are and everything about yourself, for me, I mean, it took a minute, especially when you’re talking about your experiences as a child and I totally feel that. I was that girl playing the harmonica on the jungle gym by herself. Anyway, this is about you. This is not about me, but I’m just saying that I totally relate to you on a spiritual level. And given that, I would love to know, were there any particular moments when it came to writing the book that were particularly hard or healing? Because I mean, I think that we all know that it’s not always a linear journey. Some days are going to be harder than others. And so would love to get your perspective on that. And I think that our listeners would be interested. Lachi: Yeah, absolutely. The journey for me has been one of constantly unwrapping this amazing gift. I always try to use that as the visual, if you will, of you have this big present and you get to unwrap it and then you just keep getting something cooler inside and then you get to unwrap that and you get something cooler inside and you just keep unwrapping this beautiful gift that is yourself. But you don’t realize that when you first get the box, the amazing stuff that’s going on inside, and it takes time to get to it. So a lot of times growing up, I would kick myself in the butt of, I wish I had come to this when I was so much younger. I wish there were people out there when I was younger, role models that I could look up to when I was eight years old and pointing on the TV and saying like, “Okay, well, I mean, I understand that Ray Charles existed, but that’s not going to…” Stephanie Flynt McEben: Stevie Wonder is here, Ray Charles is here, but we need more of us. Hello. Lachi: We need more of us. Hello. Exactly. And so this time and place where I am right now is where I needed to be for this to work. So I can’t really kick myself in the butt of like, “I wish I had this. I wish I knew this so much earlier. I would’ve been so much further.” That kind of thing. You have to be where you got to be where you need to be. Even right now, this conversation we’re having right now is going to have been necessary for the next thing that is happening in our lives. And just the other day, I was hanging out with Queen Herby, who’s been one of my favorite more modern rappers. I just did a thing with Apl.de.ap. I have done some stuff with Black Caviar. Folks that I’ve looked up to, I’m having the opportunity to Snoop Dogg. I’m having the opportunity to work with these days because of the fact that I am here at the right time now. So when I was writing my book, we were peeling back all the layers. I’m a generally very positive and energetic, social butterfly type of person today. But it’s interesting, I wasn’t always this person and I had to unpack all the layers to get there. One of the biggest things that happens to me, so I’ve always been low vision. So I was born with relatively low vision and it stayed the same throughout my teens and early 20s. But one day I woke up and my sight was just gone. Boom. So the interesting thing is anybody listening would be like, “Oh my God, if I woke up and my sight was gone, I would just die or I would not know what to do. My life would be over.” Stephanie Flynt McEben: Yep. Heard that a million times. Yes. Lachi: But for me, it was weird because I was already low vision, so I was going from level one to the underwater level or whatever. So it wasn’t like that life changing of a thing. I was already using screen readers or Zoom text. I was already doing stuff of that nature. So I wake up blind and I’m just like, “Okay, I guess this is it. This is the day that they told me was coming.” What had ended up happening was my corneas had erupted. And so I went to the doctor and he was like, “You’re going to become completely blind. You’re going to go from this much worse vision than you’ve had to complete blindness over the course of time.” So here you go, here’s a coupon. Bye.” or whatever. So I’m like, all right. So I had decided at that moment that I wanted to start a bucket list. So I was like, okay, what are all the things I’ve always wanted to do before completely going completely blind? So I was like, let me go skydiving, let me go spolunking, let me go meet with people, meet with celebrities and just do all of the things I’ve always wanted to do before I lose my vision. So I went out and I did it. This is still me doing it. This is still me doing it. And so I say that because to people who say if I ever went blind, I would just die. Well, when I went blind, it made me want to live. And that’s what opened me up into being this person that I am today. Stephanie Flynt McEben: That is amazing. I genuinely love that. Lachi: We talk about charity model and propping disabled folks up as tools of pity. We talk about medical model, which is really just waiting around for cure, making the cure the hero. We talk about social model, which is a really good place to live in the sense of things are impairing if they’re not accessible. Society is impairing if it’s not inclusive. But honestly, if I have all of the things, like if I have all my tools, if I have all that I need and if folks are inclusive, then I’m still blind, but I’m not impaired. But I like to go a little step further into what is the cultural model. And so the cultural model is it’s not just a discussion of what society should and shouldn’t do. It’s actually a celebration of what you gain as a person who identifies with their disability or their neurodivergence, the things they need to overcompensate because they’re navigating the world a little differently, leaning into that. So let’s say for instance, deaf culture, sign language, and the fact that folks can have complete discussions outside of what we’re talking about, there is so much deaf pride out in these streets, that is a celebration of culture that comes out of disability. And for me, let’s say for instance, I have ADHD and it powers my one million and counting ideas. I have diagnosed OCD, which helps me carry out all those one million and counting ideas. I have diagnosed general anxiety disorder, which gives me my empathy and my excitement. And then I am blind, which when I have the tools I need, it gives me drive. It keeps me determined, it keeps me focused, and it gives me my dope ass glam canes. There was a girl and her mom, and she came up to me after a show and she was like, “Oh my God, your music was great.” I was like, thank you. She’s like, “Mommy, can I get one of those canes?” And then her mom was like, “Ugh, well, you have to be blind.” And I’m like, “Yeah, girl, you better want to be me.” Stephanie Flynt McEben: Yeah. We drive sticks. Anyway, sorry. Lachi: Yes. You know what? I speak softly and I carry a big old stick. Thank you. Stephanie Flynt McEben: Yes. Amen to that. Exactly. As somebody who considers themself a lifelong disability advocate, I never really thought about it in the sense of going beyond the social into the cultural. So thank you so, so much. We all learn something new every single day on this podcast, but I’d love to know a little bit more about, obviously you were very, very, very good at talking through these experiences in such a way that they are very relatable and easy to understand and that thing. So I’d love to pick your brain about the intended audience of your book. Who did you write it for? Other blind folks? Did you write it for, was it written for multiple audiences? Lachi: Yeah, honestly, I wrote it for the person who is masking. I wrote it for anyone who is tired of… Listen, let me put it like this. Let’s face it, disability is boring, a lot of the time it’s sad and it’s compliancy. We have to go the extra mile to make it fun because the actual truth of it is that the only reason it’s boring, sad, and compliancy is because society has kept it that way through its collective internalized ableism. And so my book is actually a humor book. It’s a pop culture book. It’s a comedy book. In fact, when we were talking to the publisher, it’s like, we should be putting this up against other comedic books, not necessarily disability books because it’s a book. I got so many jokes. I have dad jokes, they’re corny jokes, I have rap bars. I rap in a lot of the book just because I was like, “Hey, this rhymes.” I’m going to say it like a rap. We’re doing the audiobook right now, so I actually get to wrap it, which is really fun. Stephanie Flynt McEben: Oh, that is so cool. Oh my gosh. Lachi: Which is really, really fun. But really, honestly, what the book is what everything I do is it is using joy, soul, pop culture, jokes, humor, fashion, and just a really good time to celebrate disability, as well as community. So what you’ll find in this book is my story through my story, through historical deep dives, through interviews with some really, really cool popular figures and a really big deep dose of disability joy. And so a lot of folks who have disabilities, they will read this book and they’ll be energized. It’ll be like, “This is really great. I’m glad that I finally get to read a book that talks about disability in a positive way.” For blind specific folks, they might relate to a few of my stories because I talk about the day I woke up blind, I talk about when I went skydiving blind, I talk about just some of my interesting blind moments. But then I also talk about how I would go to red carpets and not know how to talk to anybody. So I’m in this amazing room with all these celebrities I can’t see and I’m just sitting on the wall. So I talk about some of the hard times too as well. But at the end of the day, really what the book is is an invitation in for somebody who feels a little different, a little awkward, has to mask, and just needed that invite in to talk about disability in a fun, joyful, celebratory way, to recognize that yes, that thing in you that’s different, that thing in you that society has told you you should view as a weakness and hide, you should be proud of. And I say this to people all the time. I say it in the industry, I say it to all my friends, I say it to anyone who will listen. I say it to my local barista and they come back and they say things like, “Oh my God, I’m so glad you said it that way. It turns out I have a titanium hip and I’ve never told anybody about that.” And that’s the vibe. The vibe is someone who was like, “I really needed this to be said to me this way, and now I am able to step all the way into my disability identity.” Alden Blevins: I love, especially what you said about joy. I feel like for me as an autistic person, my experience in the arts is that it is really a space where people who maybe don’t belong in other spaces or don’t feel like they belong in other spaces or are made to feel like they don’t belong in other spaces. I think that a lot of them really do find a safe space in music, in the arts, in theater. And I just wanted to ask, why do you think the music space is such a special one for you and why do you think it’s a place where other people with disabilities seem to flock together as well? Lachi: I mean, you hit the nail on the head. Counterculture, I mean, music often rewards counterculture. And then it eventually becomes mainstream and then we got to rebel against that. So music is a place where your soul can speak. And I think a lot of the times with disabilities, especially autism for me, I’m ADHD, OCD, a different neurodivergence situation, but a lot of the issue is communication. We don’t know how to say exactly what we need or whoever we’re talking to just doesn’t know how to hear what we’re saying. And so I think that what music does is it allows a soul to speak to a soul. A lot of the times music does this thing where you’ll be listening to a song and you’ll just be like, “That, that right there. That’s what I it me. That’s the thing I’m feeling.” type deal. Music has the ability to do that. And so for me, right now, this children’s album that I’m working on, the kids’ album, which is an album that is essentially R&B, pop, electronic, sort of the genres that I dance in for kids centered on disability and neurodivergence. Because what I want to do is be able to say, “Hey, I want you to point at that and say, that’s me.” And I think the easiest and quickest way to point at something and say, “That’s me also.” has been music. And so it’s why it’s been my strongest medium. Again, it’s not my only medium. I’m talking to folks through the book, I’m talking to folks through fashion, et cetera, et cetera. But again, music has been just the quickest, easiest point A to point B conversation easer, if you will, about disability. Another thing I also love to use is humor and comedy. So I make jokes all the time. They’re all bad. They’re all very not good jokes. I need to probably get a joke writer, but the fact that I’m having such a good time telling the jokes, I think I think is all that really matters. So I think both music and humor are just really, really great spaces for two people to get to relate to something that may be difficult to talk about. Stephanie Flynt McEben: Yo, if you need a joke writer, I’m your girl. I actually do a joke every single episode of this podcast. Michelle Bishop: Her jokes are not better than yours, Lachi. Don’t hire her. Stephanie Flynt McEben: My jokes are pretty bad. They’re worse than dad’s jokes. They’re like granddad jokes. Alden Blevins: Yeah. Stephanie is the queen of the jokes on our podcast. She always brings one through. Didn’t know that you were working on a children’s music album, and I think that’s really interesting. I actually used to be a teacher, so children’s music is something that’s near and dear to my heart. So I just wanted to ask, what would you want to tell to younger people with disabilities, younger disabled creatives about claiming space and being able to tell their own stories? Lachi: Well, one thing that I heard from someone else, I don’t remember who it was. I think it was- Michelle Bishop: Jordan? Lachi: Yes, Jordan. He’s the one that said this. Michelle Bishop: I love him. Lachi: Yeah, he’s so funny. I met him at a… What did I meet him at? The Webby Awards or something. But anyway, no one can ever defeat someone who hasn’t given up. And for some reason that hit me, and I don’t even think he was trying to say it that deep. He was just saying a joke or something. But I took that and it was like, no one can ever defeat someone who hasn’t given up. So at the end of the day, you are really the only one who can end whatever you’re trying to get. Because as long as you are still going for it, it is still still there. It’s like a Schrodinger’s cat. It’s like as long as you’re still running for it, that opportunity is still there for you to have. The opportunity is never lost as long as you’re still going for it. And people can tell you, people can take your shoulders and tell you to go right. People can take your shoulders and tell you to go left. But until you take your own shoulders and go in the direction that your heart, your soul, your passion, your fire, desires, that is when you truly begin to live. And so I say personally, lean into that. I hear from a lot of younger, especially creators with disabilities. I mentor a lot of folks, tons and tons of folks. It’s one of the things I love to do the most. But what I love to tell folks is you are going to be the best you. And that you is going to include all of the different parts of who you are, but it is especially going to include you leaning in to the things that make you different and unique as unique selling points. Earlier I talked about how people try so hard to be the “definition of beauty”, definition of success, definition of whatever. Everyone’s trying to be this reference man. Everyone’s trying to be as close as they can to the reference man. And if I’m as close as I can to the reference man, then I’ll be successful or then I’ll get this job or then I’ll get this gig. But the truth of the matter is when we look at all of the people that are doing all of the big things, they’re “eccentric”. They’re “weird”. They did some big different idea that no one was thinking about and everybody fell into their trend. The further away you are from the reference man, that is when you start to win. That is when you’ll start to see success. That is when you’ll start to feel much better about yourself. That is when you can wake up in the morning, look in the mirror and say, “I am fine.” When you are able to accept all of those different freckles of yourself that are as far away from the reference man as possible, because guess what? There is room outside of the barrel for everyone to win if they are all being their unique self and running their unique purpose. That’s what I would tell to young disabled creators. Michelle Bishop: That’s amazing. Almost feel like we should stop there, but I have so many follow-up questions. Lachi: Listen, I’m here to drop as many mics as they will let me keep breaking. Michelle Bishop: I was wondering how you see the conversation around disability and inclusion and evolving these days. And a lot of our listeners are people with disabilities or people who have other even multiple intersecting identities in which they experience barriers as well. What does allyship look like to you? Lachi: This is one of my favorite questions. So yes, we have folks with disabilities and we have folks who want to work with people with disabilities, want to help a friend with a disability, want to make sure they don’t say the wrong thing to a person with a disability, neurodivergence, chronic condition, mental health condition. That’s not an ally. Wanting to help a person with a disability is not an ally. To me, wanting to support someone with a disability, that’s an ally in the very basic definition of allyship. Here’s what I think an ally is. To answer the question, I got to do two things. One, talk about the disability umbrella. So the disability umbrella encompasses so many forms of disability. It is neurodivergence, which is ADHD, dyslexia, OCD. It is mental health conditions like anxiety, depression, bipolar. It is someone who learns a little differently. It is someone who has explosive situations like anger management. It is someone who has substance abuse disorder, maybe somebody who drinks too much or uses different substances. It is chronic back pain. You know what I’m saying? It is asthma. It is EDS. It’s POTS. It is long COVID. It is different complications that you gain after pregnancy. It is different complications that you gain as you age. It is different complications you gain through menopause. It is temporary. It is breaking your arm and wearing a cast. It is seasonal depression. There is nobody on this earth that is not within the disability umbrella. And I don’t mean that you’re going to grow into it. I don’t mean in the future. I mean right now. Whether you identify as a person with a disability or not, you have disability identity because you have experience in your body disability. And when you figure that out, then you’re an ally. Allyship is seeing yourself through the other person because you can’t look through someone else’s eyes unless you can see yourself in them. And you can’t see yourself in disability until you recognize the disability identity within yourself. All of a sudden, and I say this and people are like, “What? I say this, but I’ve seen this. I’ve seen it happen. I’ve seen people who did not associate themselves with any form of disability or anything and they’re just like, Oh, them. Oh, I’ll help them. We have a conversation and then we have a follow-up conversation and then we’re drinking and then all of a sudden they’re telling me all their disabilities and then they’re walking a little different when they encounter disability. It’s no longer a them thing. And so that’s what an ally is. People with disabilities are also allies. I am an ally to the deaf community because I recognize though I’m not deaf, I see the having to navigate the world differently in you of myself. So that’s how I define an ally. An ally is someone who understands their own disability identity and can see it in others. Michelle Bishop: Don’t mind me over here just taking notes. Stephanie Flynt McEben: Literally. Oh my gosh. Lachi, thank you so, so, so much for being with us and taking time. I know that your website, lachimusic.com is one of the places where folks can stay up to date on all of the latest and greatest things that you’re up to. Is there anything else in particular you would like to plug for our listeners? Lachi: Like you said, LACHI, L-A-C-H-I M-U-S-I-C. I’m on the internets everywhere. Instagram, Spotify, check out the old music. If you’re a creator, a music creator or professional with a disability, check us out at RAMPD, R-A-M-P-D.org. Or if you want to donate or if you want to partner with us over at RAMPD, please do. If you are a cane user, whether you’re a blind cane user or you use Mobility Cane, check out glamcanes.com, get your canes bejeweled. I Identify as Blind, our book is out on Penguin Random House, imprint called Tiny Reparations by Phoebe Robinson, who is also a comedian. So we’re out here all writing very funny books. So please check it out. And lastly, listen, try to find moments in your day of disability joy. And when you find that moment, take a picture of it or write it down so that you can go back to it and live for those moments. So thank you guys so much for having me on this podcast. It’s really been a blast getting to talk at you about all things I identify as blind. Alden Blevins: I love it. I was over here taking notes too because I just found so much of myself in what you were saying and so many things were poignant and empowering. I, as an autistic person, try to be an ally to other parts of the disability community myself. And that’s something where I’m always trying to put myself in the shoes of another person and what they might experience. So I think that’s really powerful. We were so grateful to be able to connect and learn more about you, Lachi. Lachi: Yes, yes, yes. So honored to be here, guys. Michelle Bishop: Before you head out, Lachi, do you want to hear one of Stephanie’s grandpa jokes? Lachi: I was going to say, I was like, “Let’s hear one of these granddad jokes.” Let me see. Stephanie Flynt McEben: Okay. This might be- Michelle Bishop: Okay, do it. Stephanie Flynt McEben: … a granddad joke. Okay. Where do spiders like to get their information? Lachi: The web? Michelle Bishop: That would be something to do with web. Stephanie Flynt McEben: But what kind of web? Lachi: Wow. Really? You are fired from being my comedy writer. You are fired to be my comedy writer. I was rooting for you too. I was like, let’s just… Please. Stephanie Flynt McEben: I wouldn’t even get to the punchline yet. Michelle Bishop: Worldwide web? Stephanie Flynt McEben: It is the worldwide web. Michelle Bishop: Oh. Stephanie Flynt McEben: It’s fine. It’s fine. My wife warned me not to tell that joke this month and I didn’t lose it. Michelle Bishop: Oh my gosh. I’m so glad you stuck around for that part. Lachi: As I live and breathe. Thank you guys so, so much. This has been so much fun and I will see who else I can tell that joke to. And go ahead and just to help you out, Stephanie, I’ll go ahead and embarrass myself by telling that joke to others. Stephanie Flynt McEben: Not my best work, but that is allyship. Yes. Michelle Bishop: Oh my gosh, Lachi, thank you so much. And everyone, please lachimusic.com. Check it out. Listen to the music, read the book. Alden Blevins: Speaking of the worldwide web, this has been National Disability Radio. We celebrate stories, leadership, and talent of people with disabilities. If you enjoyed this episode, be sure to subscribe, share, and continue the conversation with us on that worldwide web at ndrn.org or anywhere you get your favorite podcasts. Thanks for listening and until next time. Stephanie Flynt McEben: Bye.

On this episode of National Disability Radio, we sit down with award-winning recording artist, advocate, and author Lachi for a powerful conversation about disability pride, music, and unmasking. Lachi shares her journey, from navigating the music industry as a blind artist, to founding RAMPD, a coalition amplifying disability culture across the industry. We talk about what it means to say “I identify as blind,” move beyond the medical and social models of disability into a cultural model rooted in identity and joy, and remind listeners that no one can defeat someone who hasn't given up. From glam canes to Grammy stages, this episode is about claiming space, rejecting internalized ableism, and turning perceived flaws into flexes. Transcript: Alden Blevins: It’s Lachi? I feel very- Lachi: Lachi like Versace. Alden Blevins: Lachi like… Oh, I love that. Michelle Bishop: That is the best way to explain it. Lachi: I mean, but you know what I’m saying? Come on. Alden Blevins: Well, we’re really excited about having you today because we’re all music lovers in this group here. Michelle Bishop: Yes. Alden Blevins: We talk about music all the time. Michelle Bishop: So much. Lachi: Good, good, good, good, good, good, good. I’m in the right place. Michelle Bishop: Hi everyone. Welcome back to National Disability Radio, the official podcast of the National Disability Rights Network. I am Michelle Bishop, 1/3 of your podcast hosting team. Stephanie Flynt McEben: And I’m Stephanie Flynt McEben, public policy analyst here at NDRN. Alden Blevins: I am Alden. I am a communication specialist at NDRN and I am so excited today, like I mentioned, we’re all lovers of music, so we got a guest that I’m really excited about. Lachi is an award-winning recording artist and a recording Academy Grammy’s national trustee. She’s also a disability advocate who’s been breaking barriers in the music industry and beyond. She’s the founder of RAMPD, which by the way, is such a fun play name. I really love that. And the author of the upcoming book, I Identify as Blind. So without further ado, Michelle, you’ve got some questions to kick us off, I think. Michelle Bishop: Yes. We’re so excited to have you with us. As Alden said, we are. We’re huge music lovers. I’m pretty sure we spend most of our meetings where we allegedly plan this podcast just talking about music. So you’re absolutely in the right place today, but to get us started, I mean, you’ve been open about the fact, and I’m just really interested in this as a disability rights podcast. You’ve been really open about the fact that it took you some time to really embrace your identity as a blind and disabled woman, especially in the industry that you’re in that often really rewards conformity. Can you tell us a little bit more about that journey for you, both as an artist and as someone navigating just the world with a disability? Lachi: Okay. Yeah, for sure. Hey, everybody. Lachi here, Lachi like Versace. I am a Black woman with cornrows, chilling here in New York in my studio. I also identify as blind, I identify as neurodivergent, and I identify as an Aries. So do with that what you will. Michelle Bishop: All the important points right there. Lachi: All the important points like name, age, sign. Thank you. Okay. Yeah, but I’m really glad to be here. And thank you for that question, and thank you for having me. So music has always been a very integral part of my life of growing up. Where other babies would kick in the womb, when she was pregnant with me, I was playing the piano in the womb. I don’t know how she got a piano in there, but she’s not a liar, so I’m going to take her word for it. When I was super-duper young, I didn’t really have a lot of friends, especially because of the fact that I had differences and this and that. And so I would take to music to, I guess, understand the world better and have the world understand me better. I just knew how to express myself through song and it just said the things I needed to say. It was the prayer I needed. And because of music, I started to find confidence in how to speak and how to behave and how to act. And as I got older, when I was growing up, disability was not necessarily a thing people talked about a lot in schools and teachers didn’t know what to do. My parents didn’t really know what to do. And so I would always just turn to music. It’s actually right now I’m working on a children’s album because I think that kids need to hear music that has to do with disability and neurodivergence, as well as their parents as they grow up. When I got into college, I started wanting to do music, but I studied business and finance because when I told my parents I wanted to do music, they were like, “That’s not how you spell doctor.” because they are Nigerian immigrants and everybody else in my family went to either med school and blah, blah, blah. And I was like, “No, I want to do music.” But I did get a day job after school, after college, and didn’t love it because this girl is not going to exist behind a desk. So I ended up going to South by Southwest and I got signed actually from playing the guitar at a hole in the wall spot that nobody was at, except for this A&R apparently. So we got signed to an imprint under EMI, which was a major label back then, and we started touring and music then became my life. Now today, why wouldn’t I pay my respects back to music? I mean, it’s because of music that I was able to really lean into who I am, my disability, my confidence, et cetera. So because of that, because of how much music has given to me in my life, I’m here using music to give back to other people with disabilities. Now, your question was essentially, how do you sit here and try to bring about change for disability in an industry that is not only about conformity, but also about like, “Hey, pick me to exploit.” is essentially what the music industry is. You’re raising your hand to be exploited and that’s what kind of authenticity is that? But at the end of the day, music is some of the truest forms of storytelling. And I think to myself, just the way that hip hop has amplified Black culture and the way that country music has amplified rural culture and the way that different global musics have represented different global cultures. I want to use music to amplify disability culture. I want to use music to amplify disability stories and feelings that are difficult to put words to, that are words of the soul, which is essentially what music is. And so I started going to studios and realizing things weren’t as accessible as they should be. I started speaking with organizations and realizing things weren’t as inclusive as they should be. And the response I kept getting was like, “Oh, well, there’s nobody with a disability in the music industry, so why would we make these measures?” And so I have made it my life’s goal through RAMPD, which by the way, the best thing we ever accomplished was our acronym, not us working with the Grammys to get sign language on the red carpet, not us getting these partnerships with title, Live Nation, Spotify. I mean, we’ve done so much, not just for artists, but also for professionals. And we’ve started to realize something really interesting with the work we’ve done with RAMPD. We are getting people joining our membership who are director level folks, who are label owners, who are like the big wigs that write the checks, and they’re like, “I’m neurodivergent. I’m actually hard of hearing. I have a TBI.” And so when I originally set out, they said, “We don’t do disability inclusion because nobody’s disabled.” That was three years ago. Now I’m like, not only are there neurodivergent and disabled music professionals out here, but we all are. So really to conclude, it’s just that everyone is navigating trying to make it out in this world, but everyone’s masking. Everyone feels that they have to change some part of themselves to be as close as they can to what success looks like, be as close as they can to what “beauty” looks like, what winning looks like. But really all it is internalized ableism. And I say, as soon as we drop that internalized ableism and we really start to sit in who we truly are and we start to recognize our perceived flaws as flexes, that’s when we truly start to win. And so that’s what we’re finding out with RAMPD, that people are like, “You know what? I’m tired of navigating this difficult industry with the added layer of having to mask.” And so that’s why I do what I do. Michelle Bishop: Yes. And honestly, as ridiculous as it sounds that they say to you, “Oh, there aren’t any people with disabilities.” When I tell you, we see that in everything that we do. I do voting work at NDRN and we’ll have elections officials tell us, “This polling place isn’t accessible, but there aren’t any people with disabilities that vote here.” And it’s like, “What? You realize we’re everywhere and we do all sorts of things.” Maybe the reason they think there’s no people with disabilities here is because they’re stuck outside and they can’t get in because you didn’t make it accessible, just a thought. But I mean, it sounds like coming up against all that is really, correct me if I’m wrong, helped you to develop that identity and that disability pride in the industry. When did you first say, “I identify as blind.” and what did that mean for you? Lachi: Well, so when I first came into really doing the disability thing, really leaning in, I wanted to find out more influencers or thought leaders and such with disabilities. I didn’t really know that many people. This is pre COVID, 2018, 2019, that kind of thing. And so I came across an influencer, her name is Molly Burke, and we’re great friends now, but I didn’t know her back then. I had just seen her tagline and it had said, “I’m Molly Burke and I’m a YouTuber who happens to be blind.” And for some reason I was like, “I don’t know if I love the happens to be blind thing.” I was like, “Well, I’m proud of being blind. Blindness is part of my identity. I don’t just happen to be a woman. I don’t just happen to be a Nigerian. I don’t just happen to be all of the things I am.” And so I would go to… I was touring… We’re always touring and every time I tour and do a show, I do a comedic open where I just introduce myself, I do a quick self-description, et cetera. And in my self-description, I would say, and I don’t just happen to be blind. My blindness is part of my identity, has given me all of the opportunities I have, and it’s really made me a deeper blah, blah, blah. It was just too long. So I had punched it up to be, “My name is Lachi like Versace. She, her, I’m a Black woman with cornrows and I identify as blind.” And the interesting thing about that is people took onto it. They were like, “Oh, that’s cool, nice and punchy.” But whenever I would say it in front of a large crowd or like I’ve said it on interviews or during commercials, I would get this weird, I don’t know, pushback of like, you can’t identify as blind. Blindness is an identity. It’s a medical condition. Or they’ll be like, “Do you read braille or not?” Or they’ll be like, “We don’t want people to think trans blindness is a thing where you just have a blind identity.” And then you can be like, “Well, I’m blind today, so that’s my identity.” And I thought that was really fun. I was like, “Look, everybody’s upset. They’re talking about blindness though.” So I really leaned all the way into it. And I have to say, I am super proud of my disability identity. Was it music that brought me there? I think in a sense and in a way, like today I have a few songs, you guys are music lovers, I have a few songs out that really talk about my disability pride. I think that a lot of the times as we navigate the world, masking our disability, masking our chronic condition, our difference or whatever, we end up overcompensating. We end up building up this really, really thick problem solving muscle or this really, really thick how to get around things muscle and we overcompensate. When we’re finally accommodated, when we finally get to a place where we’re accommodated or we have the tools we need, we’re coming in like bulk as hell. We’re coming in with problem solving muscles. We’re coming in with all of these things that we had to build up because of navigating the world differently, because of every day working through this very difficult maze that is living a life unaccommodated, then when we finally are accommodated, then we are killing it and crushing it. And how could you not be proud of that? How can that not give you a sense of pride? So the songs that I would love for you guys to check out that are mine is I have a song called Life on Hard, which has gone viral several times on Instagram. I’m known as an Instagram rapper, which is like, what? Hello, I do disability advocacy. Look at that stuff. But anyway, so I have a song called Life on Hard, which is essentially about just winning the game of life, playing it on the hardest setting out here while people are still trying to consult the manual. I have another song called Professional, which is oftentimes when I walk on the stage, people see the cane and they’re like, “Aw, she’s going to do a song for us. Is this from Make a Wish Foundation?” And then I bust out these raps or I hop on the piano and I go ape on this piano and then they’re like, “Oh, snap. What? Okay.” And I’m like, “Bro, I’m a professional artist. I’m not object for pity to make you feel good because you felt weird on a Monday and you didn’t feel like getting up for work, but it’s like, she could do it. So can I.” I’m like, “No, I can do it. You most likely probably just can’t.” So that’s what that song’s about. And then there’s The Bag, and The Bag is just essentially like, I’ve been told no so much like, “No, you can’t. No, you’re not good enough. No, we don’t want you.” And I’m like, “You know what? Yes, I am good enough and I deserve everything. So I’m going to throw everything I deserve in the bag, which is everything.” I don’t know. I would not be the person I am if I didn’t love all parts of myself. And that includes my disabilities, that includes my neurodivergences and all of the other wacky, weird body jazz that I bring with me everywhere I go. Michelle Bishop: Lachi, can we maybe, do you and I just FaceTime each other every morning and hype each other up? Stephanie Flynt McEben: I was literally about to say the same thing. I would like in on a true call. Michelle Bishop: I don’t know if you know. Actually, I want to say quickly, I know some of those songs actually from social media, but they’re real. They’re so real. So people haven’t heard music, go check it out. I don’t know if you know one of our co-hosts, Stephanie is blind. You’re speaking directly to her soul right now. Stephanie Flynt McEben: I literally just texted them in our podcast group text and I was like, she’s totally speaking to my soul RN, but of course I don’t want to interrupt anything. Michelle Bishop: No, I know you’re dying to talk to her about the book, Stephanie, and take it away. Stephanie Flynt McEben: Yeah, no, absolutely, for sure. And as somebody who is blind and who also identifies as a blind person and definitely does not identify with the medical model of disability, clearly gotten to more of a social model. But yeah, in terms of going through that journey of accepting all of who you are and everything about yourself, for me, I mean, it took a minute, especially when you’re talking about your experiences as a child and I totally feel that. I was that girl playing the harmonica on the jungle gym by herself. Anyway, this is about you. This is not about me, but I’m just saying that I totally relate to you on a spiritual level. And given that, I would love to know, were there any particular moments when it came to writing the book that were particularly hard or healing? Because I mean, I think that we all know that it’s not always a linear journey. Some days are going to be harder than others. And so would love to get your perspective on that. And I think that our listeners would be interested. Lachi: Yeah, absolutely. The journey for me has been one of constantly unwrapping this amazing gift. I always try to use that as the visual, if you will, of you have this big present and you get to unwrap it and then you just keep getting something cooler inside and then you get to unwrap that and you get something cooler inside and you just keep unwrapping this beautiful gift that is yourself. But you don’t realize that when you first get the box, the amazing stuff that’s going on inside, and it takes time to get to it. So a lot of times growing up, I would kick myself in the butt of, I wish I had come to this when I was so much younger. I wish there were people out there when I was younger, role models that I could look up to when I was eight years old and pointing on the TV and saying like, “Okay, well, I mean, I understand that Ray Charles existed, but that’s not going to…” Stephanie Flynt McEben: Stevie Wonder is here, Ray Charles is here, but we need more of us. Hello. Lachi: We need more of us. Hello. Exactly. And so this time and place where I am right now is where I needed to be for this to work. So I can’t really kick myself in the butt of like, “I wish I had this. I wish I knew this so much earlier. I would’ve been so much further.” That kind of thing. You have to be where you got to be where you need to be. Even right now, this conversation we’re having right now is going to have been necessary for the next thing that is happening in our lives. And just the other day, I was hanging out with Queen Herby, who’s been one of my favorite more modern rappers. I just did a thing with Apl.de.ap. I have done some stuff with Black Caviar. Folks that I’ve looked up to, I’m having the opportunity to Snoop Dogg. I’m having the opportunity to work with these days because of the fact that I am here at the right time now. So when I was writing my book, we were peeling back all the layers. I’m a generally very positive and energetic, social butterfly type of person today. But it’s interesting, I wasn’t always this person and I had to unpack all the layers to get there. One of the biggest things that happens to me, so I’ve always been low vision. So I was born with relatively low vision and it stayed the same throughout my teens and early 20s. But one day I woke up and my sight was just gone. Boom. So the interesting thing is anybody listening would be like, “Oh my God, if I woke up and my sight was gone, I would just die or I would not know what to do. My life would be over.” Stephanie Flynt McEben: Yep. Heard that a million times. Yes. Lachi: But for me, it was weird because I was already low vision, so I was going from level one to the underwater level or whatever. So it wasn’t like that life changing of a thing. I was already using screen readers or Zoom text. I was already doing stuff of that nature. So I wake up blind and I’m just like, “Okay, I guess this is it. This is the day that they told me was coming.” What had ended up happening was my corneas had erupted. And so I went to the doctor and he was like, “You’re going to become completely blind. You’re going to go from this much worse vision than you’ve had to complete blindness over the course of time.” So here you go, here’s a coupon. Bye.” or whatever. So I’m like, all right. So I had decided at that moment that I wanted to start a bucket list. So I was like, okay, what are all the things I’ve always wanted to do before completely going completely blind? So I was like, let me go skydiving, let me go spolunking, let me go meet with people, meet with celebrities and just do all of the things I’ve always wanted to do before I lose my vision. So I went out and I did it. This is still me doing it. This is still me doing it. And so I say that because to people who say if I ever went blind, I would just die. Well, when I went blind, it made me want to live. And that’s what opened me up into being this person that I am today. Stephanie Flynt McEben: That is amazing. I genuinely love that. Lachi: We talk about charity model and propping disabled folks up as tools of pity. We talk about medical model, which is really just waiting around for cure, making the cure the hero. We talk about social model, which is a really good place to live in the sense of things are impairing if they’re not accessible. Society is impairing if it’s not inclusive. But honestly, if I have all of the things, like if I have all my tools, if I have all that I need and if folks are inclusive, then I’m still blind, but I’m not impaired. But I like to go a little step further into what is the cultural model. And so the cultural model is it’s not just a discussion of what society should and shouldn’t do. It’s actually a celebration of what you gain as a person who identifies with their disability or their neurodivergence, the things they need to overcompensate because they’re navigating the world a little differently, leaning into that. So let’s say for instance, deaf culture, sign language, and the fact that folks can have complete discussions outside of what we’re talking about, there is so much deaf pride out in these streets, that is a celebration of culture that comes out of disability. And for me, let’s say for instance, I have ADHD and it powers my one million and counting ideas. I have diagnosed OCD, which helps me carry out all those one million and counting ideas. I have diagnosed general anxiety disorder, which gives me my empathy and my excitement. And then I am blind, which when I have the tools I need, it gives me drive. It keeps me determined, it keeps me focused, and it gives me my dope ass glam canes. There was a girl and her mom, and she came up to me after a show and she was like, “Oh my God, your music was great.” I was like, thank you. She’s like, “Mommy, can I get one of those canes?” And then her mom was like, “Ugh, well, you have to be blind.” And I’m like, “Yeah, girl, you better want to be me.” Stephanie Flynt McEben: Yeah. We drive sticks. Anyway, sorry. Lachi: Yes. You know what? I speak softly and I carry a big old stick. Thank you. Stephanie Flynt McEben: Yes. Amen to that. Exactly. As somebody who considers themself a lifelong disability advocate, I never really thought about it in the sense of going beyond the social into the cultural. So thank you so, so much. We all learn something new every single day on this podcast, but I’d love to know a little bit more about, obviously you were very, very, very good at talking through these experiences in such a way that they are very relatable and easy to understand and that thing. So I’d love to pick your brain about the intended audience of your book. Who did you write it for? Other blind folks? Did you write it for, was it written for multiple audiences? Lachi: Yeah, honestly, I wrote it for the person who is masking. I wrote it for anyone who is tired of… Listen, let me put it like this. Let’s face it, disability is boring, a lot of the time it’s sad and it’s compliancy. We have to go the extra mile to make it fun because the actual truth of it is that the only reason it’s boring, sad, and compliancy is because society has kept it that way through its collective internalized ableism. And so my book is actually a humor book. It’s a pop culture book. It’s a comedy book. In fact, when we were talking to the publisher, it’s like, we should be putting this up against other comedic books, not necessarily disability books because it’s a book. I got so many jokes. I have dad jokes, they’re corny jokes, I have rap bars. I rap in a lot of the book just because I was like, “Hey, this rhymes.” I’m going to say it like a rap. We’re doing the audiobook right now, so I actually get to wrap it, which is really fun. Stephanie Flynt McEben: Oh, that is so cool. Oh my gosh. Lachi: Which is really, really fun. But really, honestly, what the book is what everything I do is it is using joy, soul, pop culture, jokes, humor, fashion, and just a really good time to celebrate disability, as well as community. So what you’ll find in this book is my story through my story, through historical deep dives, through interviews with some really, really cool popular figures and a really big deep dose of disability joy. And so a lot of folks who have disabilities, they will read this book and they’ll be energized. It’ll be like, “This is really great. I’m glad that I finally get to read a book that talks about disability in a positive way.” For blind specific folks, they might relate to a few of my stories because I talk about the day I woke up blind, I talk about when I went skydiving blind, I talk about just some of my interesting blind moments. But then I also talk about how I would go to red carpets and not know how to talk to anybody. So I’m in this amazing room with all these celebrities I can’t see and I’m just sitting on the wall. So I talk about some of the hard times too as well. But at the end of the day, really what the book is is an invitation in for somebody who feels a little different, a little awkward, has to mask, and just needed that invite in to talk about disability in a fun, joyful, celebratory way, to recognize that yes, that thing in you that’s different, that thing in you that society has told you you should view as a weakness and hide, you should be proud of. And I say this to people all the time. I say it in the industry, I say it to all my friends, I say it to anyone who will listen. I say it to my local barista and they come back and they say things like, “Oh my God, I’m so glad you said it that way. It turns out I have a titanium hip and I’ve never told anybody about that.” And that’s the vibe. The vibe is someone who was like, “I really needed this to be said to me this way, and now I am able to step all the way into my disability identity.” Alden Blevins: I love, especially what you said about joy. I feel like for me as an autistic person, my experience in the arts is that it is really a space where people who maybe don’t belong in other spaces or don’t feel like they belong in other spaces or are made to feel like they don’t belong in other spaces. I think that a lot of them really do find a safe space in music, in the arts, in theater. And I just wanted to ask, why do you think the music space is such a special one for you and why do you think it’s a place where other people with disabilities seem to flock together as well? Lachi: I mean, you hit the nail on the head. Counterculture, I mean, music often rewards counterculture. And then it eventually becomes mainstream and then we got to rebel against that. So music is a place where your soul can speak. And I think a lot of the times with disabilities, especially autism for me, I’m ADHD, OCD, a different neurodivergence situation, but a lot of the issue is communication. We don’t know how to say exactly what we need or whoever we’re talking to just doesn’t know how to hear what we’re saying. And so I think that what music does is it allows a soul to speak to a soul. A lot of the times music does this thing where you’ll be listening to a song and you’ll just be like, “That, that right there. That’s what I it me. That’s the thing I’m feeling.” type deal. Music has the ability to do that. And so for me, right now, this children’s album that I’m working on, the kids’ album, which is an album that is essentially R&B, pop, electronic, sort of the genres that I dance in for kids centered on disability and neurodivergence. Because what I want to do is be able to say, “Hey, I want you to point at that and say, that’s me.” And I think the easiest and quickest way to point at something and say, “That’s me also.” has been music. And so it’s why it’s been my strongest medium. Again, it’s not my only medium. I’m talking to folks through the book, I’m talking to folks through fashion, et cetera, et cetera. But again, music has been just the quickest, easiest point A to point B conversation easer, if you will, about disability. Another thing I also love to use is humor and comedy. So I make jokes all the time. They’re all bad. They’re all very not good jokes. I need to probably get a joke writer, but the fact that I’m having such a good time telling the jokes, I think I think is all that really matters. So I think both music and humor are just really, really great spaces for two people to get to relate to something that may be difficult to talk about. Stephanie Flynt McEben: Yo, if you need a joke writer, I’m your girl. I actually do a joke every single episode of this podcast. Michelle Bishop: Her jokes are not better than yours, Lachi. Don’t hire her. Stephanie Flynt McEben: My jokes are pretty bad. They’re worse than dad’s jokes. They’re like granddad jokes. Alden Blevins: Yeah. Stephanie is the queen of the jokes on our podcast. She always brings one through. Didn’t know that you were working on a children’s music album, and I think that’s really interesting. I actually used to be a teacher, so children’s music is something that’s near and dear to my heart. So I just wanted to ask, what would you want to tell to younger people with disabilities, younger disabled creatives about claiming space and being able to tell their own stories? Lachi: Well, one thing that I heard from someone else, I don’t remember who it was. I think it was- Michelle Bishop: Jordan? Lachi: Yes, Jordan. He’s the one that said this. Michelle Bishop: I love him. Lachi: Yeah, he’s so funny. I met him at a… What did I meet him at? The Webby Awards or something. But anyway, no one can ever defeat someone who hasn’t given up. And for some reason that hit me, and I don’t even think he was trying to say it that deep. He was just saying a joke or something. But I took that and it was like, no one can ever defeat someone who hasn’t given up. So at the end of the day, you are really the only one who can end whatever you’re trying to get. Because as long as you are still going for it, it is still still there. It’s like a Schrodinger’s cat. It’s like as long as you’re still running for it, that opportunity is still there for you to have. The opportunity is never lost as long as you’re still going for it. And people can tell you, people can take your shoulders and tell you to go right. People can take your shoulders and tell you to go left. But until you take your own shoulders and go in the direction that your heart, your soul, your passion, your fire, desires, that is when you truly begin to live. And so I say personally, lean into that. I hear from a lot of younger, especially creators with disabilities. I mentor a lot of folks, tons and tons of folks. It’s one of the things I love to do the most. But what I love to tell folks is you are going to be the best you. And that you is going to include all of the different parts of who you are, but it is especially going to include you leaning in to the things that make you different and unique as unique selling points. Earlier I talked about how people try so hard to be the “definition of beauty”, definition of success, definition of whatever. Everyone’s trying to be this reference man. Everyone’s trying to be as close as they can to the reference man. And if I’m as close as I can to the reference man, then I’ll be successful or then I’ll get this job or then I’ll get this gig. But the truth of the matter is when we look at all of the people that are doing all of the big things, they’re “eccentric”. They’re “weird”. They did some big different idea that no one was thinking about and everybody fell into their trend. The further away you are from the reference man, that is when you start to win. That is when you’ll start to see success. That is when you’ll start to feel much better about yourself. That is when you can wake up in the morning, look in the mirror and say, “I am fine.” When you are able to accept all of those different freckles of yourself that are as far away from the reference man as possible, because guess what? There is room outside of the barrel for everyone to win if they are all being their unique self and running their unique purpose. That’s what I would tell to young disabled creators. Michelle Bishop: That’s amazing. Almost feel like we should stop there, but I have so many follow-up questions. Lachi: Listen, I’m here to drop as many mics as they will let me keep breaking. Michelle Bishop: I was wondering how you see the conversation around disability and inclusion and evolving these days. And a lot of our listeners are people with disabilities or people who have other even multiple intersecting identities in which they experience barriers as well. What does allyship look like to you? Lachi: This is one of my favorite questions. So yes, we have folks with disabilities and we have folks who want to work with people with disabilities, want to help a friend with a disability, want to make sure they don’t say the wrong thing to a person with a disability, neurodivergence, chronic condition, mental health condition. That’s not an ally. Wanting to help a person with a disability is not an ally. To me, wanting to support someone with a disability, that’s an ally in the very basic definition of allyship. Here’s what I think an ally is. To answer the question, I got to do two things. One, talk about the disability umbrella. So the disability umbrella encompasses so many forms of disability. It is neurodivergence, which is ADHD, dyslexia, OCD. It is mental health conditions like anxiety, depression, bipolar. It is someone who learns a little differently. It is someone who has explosive situations like anger management. It is someone who has substance abuse disorder, maybe somebody who drinks too much or uses different substances. It is chronic back pain. You know what I’m saying? It is asthma. It is EDS. It’s POTS. It is long COVID. It is different complications that you gain after pregnancy. It is different complications that you gain as you age. It is different complications you gain through menopause. It is temporary. It is breaking your arm and wearing a cast. It is seasonal depression. There is nobody on this earth that is not within the disability umbrella. And I don’t mean that you’re going to grow into it. I don’t mean in the future. I mean right now. Whether you identify as a person with a disability or not, you have disability identity because you have experience in your body disability. And when you figure that out, then you’re an ally. Allyship is seeing yourself through the other person because you can’t look through someone else’s eyes unless you can see yourself in them. And you can’t see yourself in disability until you recognize the disability identity within yourself. All of a sudden, and I say this and people are like, “What? I say this, but I’ve seen this. I’ve seen it happen. I’ve seen people who did not associate themselves with any form of disability or anything and they’re just like, Oh, them. Oh, I’ll help them. We have a conversation and then we have a follow-up conversation and then we’re drinking and then all of a sudden they’re telling me all their disabilities and then they’re walking a little different when they encounter disability. It’s no longer a them thing. And so that’s what an ally is. People with disabilities are also allies. I am an ally to the deaf community because I recognize though I’m not deaf, I see the having to navigate the world differently in you of myself. So that’s how I define an ally. An ally is someone who understands their own disability identity and can see it in others. Michelle Bishop: Don’t mind me over here just taking notes. Stephanie Flynt McEben: Literally. Oh my gosh. Lachi, thank you so, so, so much for being with us and taking time. I know that your website, lachimusic.com is one of the places where folks can stay up to date on all of the latest and greatest things that you’re up to. Is there anything else in particular you would like to plug for our listeners? Lachi: Like you said, LACHI, L-A-C-H-I M-U-S-I-C. I’m on the internets everywhere. Instagram, Spotify, check out the old music. If you’re a creator, a music creator or professional with a disability, check us out at RAMPD, R-A-M-P-D.org. Or if you want to donate or if you want to partner with us over at RAMPD, please do. If you are a cane user, whether you’re a blind cane user or you use Mobility Cane, check out glamcanes.com, get your canes bejeweled. I Identify as Blind, our book is out on Penguin Random House, imprint called Tiny Reparations by Phoebe Robinson, who is also a comedian. So we’re out here all writing very funny books. So please check it out. And lastly, listen, try to find moments in your day of disability joy. And when you find that moment, take a picture of it or write it down so that you can go back to it and live for those moments. So thank you guys so much for having me on this podcast. It’s really been a blast getting to talk at you about all things I identify as blind. Alden Blevins: I love it. I was over here taking notes too because I just found so much of myself in what you were saying and so many things were poignant and empowering. I, as an autistic person, try to be an ally to other parts of the disability community myself. And that’s something where I’m always trying to put myself in the shoes of another person and what they might experience. So I think that’s really powerful. We were so grateful to be able to connect and learn more about you, Lachi. Lachi: Yes, yes, yes. So honored to be here, guys. Michelle Bishop: Before you head out, Lachi, do you want to hear one of Stephanie’s grandpa jokes? Lachi: I was going to say, I was like, “Let’s hear one of these granddad jokes.” Let me see. Stephanie Flynt McEben: Okay. This might be- Michelle Bishop: Okay, do it. Stephanie Flynt McEben: … a granddad joke. Okay. Where do spiders like to get their information? Lachi: The web? Michelle Bishop: That would be something to do with web. Stephanie Flynt McEben: But what kind of web? Lachi: Wow. Really? You are fired from being my comedy writer. You are fired to be my comedy writer. I was rooting for you too. I was like, let’s just… Please. Stephanie Flynt McEben: I wouldn’t even get to the punchline yet. Michelle Bishop: Worldwide web? Stephanie Flynt McEben: It is the worldwide web. Michelle Bishop: Oh. Stephanie Flynt McEben: It’s fine. It’s fine. My wife warned me not to tell that joke this month and I didn’t lose it. Michelle Bishop: Oh my gosh. I’m so glad you stuck around for that part. Lachi: As I live and breathe. Thank you guys so, so much. This has been so much fun and I will see who else I can tell that joke to. And go ahead and just to help you out, Stephanie, I’ll go ahead and embarrass myself by telling that joke to others. Stephanie Flynt McEben: Not my best work, but that is allyship. Yes. Michelle Bishop: Oh my gosh, Lachi, thank you so much. And everyone, please lachimusic.com. Check it out. Listen to the music, read the book. Alden Blevins: Speaking of the worldwide web, this has been National Disability Radio. We celebrate stories, leadership, and talent of people with disabilities. If you enjoyed this episode, be sure to subscribe, share, and continue the conversation with us on that worldwide web at ndrn.org or anywhere you get your favorite podcasts. Thanks for listening and until next time. Stephanie Flynt McEben: Bye.

Non so voi, ma io non ho mai sentito parlare un pesce, ma a quanto pare Emi sì e oggi ce lo racconta per filo e per segno. A detta sua, questa puntata è solo una banalissima scusa per raccontarvi una cosa che ho scoperto completamente a caso, ma si è talmente sbattuto a cercare tutti i versi dei pesci che merita quantomeno una possibilità.See omnystudio.com/listener for privacy information.

En France, c'est un bilan morose pour la 62ᵉ édition du salon international de l'agriculture, qui a connu une baisse de 28 % de fréquentation par rapport à l'année dernière. Un métier en crise, où seulement 13 000 agriculteurs s'installent chaque année. Un chiffre en chute libre et qui n'a pas évolué depuis 2020. Malgré tout, ce métier passionne encore. Alors, qui sont les nouveaux agriculteurs qui embrassent cette profession ?  Elles sont debout sur le ring et tentent de ceinturer des moutons. Emi et Léana ont 19 ans. Elles participent avec fierté au Concours Général Agricole organisé par le Salon de l'agriculture, une institution qui accompagne les agriculteurs tout au long de leur parcours. « Le concours est vraiment axé sur le mouton vendéen. On a préparé trois agnelles. On les a choisies avec l'aide du berger de l'exploitation qu'on a au lycée », nous raconte l'une d'elles. Murielle, 20 ans, frimousse de fonceuse, poursuit ses études au lycée agricole. Elle a déjà en tête l'exploitation de ses rêves. Elle nous raconte ce qu'elle envisage : « Je veux travailler avec des brebis laitières, plutôt dans les montagnes, et avant cela, être bergère. Je ne veux pas m'installer tout de suite. Je veux des expériences dans l'élevage et pourquoi pas m'installer en collectif plus tard ». Un parcours assez classique, car s'installer prend quelques années. Simon Martin est secrétaire général adjoint du syndicat des Jeunes agriculteurs. « Aujourd'hui, on est rendu à 33 ans pour l'âge de l'installation. On voit que c'est l'engagement d'une vie de s'installer. On voit très bien qu'il faut un peu plus de temps pour le maturer et pouvoir se lancer dans un gros projet. », explique le jeune homme.  Marie Le Potier est conseillère en élevage laitier. Son mari, Fabien le Brun, est salarié dans la ferme de ses parents. Ensemble, ils vont franchir le pas et s'installer. « Nos parents, d'un côté comme de l'autre, sont installés sur une exploitation en production laitière et c'est notre objectif de poursuivre avec les élevages de la famille », raconte-t-elle.  Malgré les crises sanitaires à répétition et les manifestations d'agriculteurs pour améliorer la profession, le couple se lance. « C'est sûr qu'il y a des situations qui posent question pour la suite. Mais, aujourd'hui, on croit en ce métier. On voit qu'il y a des filières de qualité qui se développent de plus en plus. Sur les exploitations familiales, nous sommes engagés dans des filières de qualité qui permettent de se diversifier et de mieux valoriser les produits. C'est ça, qu'on souhaite poursuivre. Et oui, il y a de l'avenir là-dedans », confie Marie, confiante.  « C'est maintenant ou jamais » Florent Pajor, 34 ans, dirige sa ferme depuis un an. Ce fils de fermier ne voulait pas reprendre l'exploitation de son père.  Trop compliqué et source de conflit selon lui. Il nous explique pourquoi il a choisi l'autonomie : « Je n'ai pas souhaité m'installer avec lui. Il est en âge d'être à la retraite. Je ne me voyais pas reprendre une quantité d'hectares. Moi je voulais vraiment ma structure individuelle. Il faut être fou, mais passionné avant tout. »  « Ça fait peur, mais j'ai eu le cran et l'opportunité de me dire : c'est maintenant ou jamais. Quand on a des terrains qui se présentent à nous, qui sont à vendre, on se dit : "c'est soit je saisis l'opportunité, soit je reste salarié". Ça prendra du temps pour pouvoir en vivre et être épanoui totalement. Je ne regrette pas. C'est un chemin qui va être long et passionnant », poursuit-il.  Actuellement, un fermier sur trois qui part à la retraite n'est pas remplacé, un problème pour l'avenir du secteur agricole.

Je ne vous apprends rien, on en a raconté de belles histoires, des trucs de fou sur la musique pop et on en raconte encore tous les jours. Et pourtant, la plus incroyable d'entre elles, on ne l'a jamais vraiment racontée. Ou plutôt, on ne l'a pas écoutée. Elle n'avait pourtant aucune chance de passer inaperçue puisque ses protagonistes étaient alors les gens les plus médiatisés au monde. Non vraiment, qui aurait pu se remettre en selle pour courir à la victoire après une chute pareille ? En effet, ce 20 septembre 1969, les Beatles sont réunis dans le quartier général de Apple, la firme de disques qu'ils ont créée il y a même pas deux ans. Et pourtant, il s'y est passé tellement de choses que cela semble déjà une éternité. En janvier dernier, ils jouaient sur le toit devant des caméras et un public médusé, après être passés à deux doigts de la séparation. Et puis Paul McCartney avait réussi à réunir tout le monde durant l'été pour un album qui allait sortir bientôt et qui s'annonçait déjà comme le meilleur qu'ils aient jamais enregistré. Une merveille ! Et justement, Paul, qui depuis deux ans, joue le rôle de locomotive pour que le groupe compose et enregistre, face à un John Lennon complètement démobilisé, est aujourd'hui, gonflé à bloc. Leur nouveau manager, dont il se méfie comme de la peste entre parenthèses, a en effet renégocié le contrat des Beatles avec EMI à un très bon tarif pour les 7 années à venir. Alors ils sont venus tous les quatre pour le signer quand John Lennon annonce à Paul qu'il quitte le groupe. C'est fini, les Beatles ! Mais bon, on n'en dit rien, hein, ce ne serait pas bon pour les affaires et le disque qui va sortir.Paul quitte les bureaux rapidement, en premier, il fait bonne figure devant les fans fidèles qui font le pied de grue, puis monte dans sa mini Morris pour regagner son domicile. Et là, durant tout le trajet, il est en pilote automatique. Mettez vous à sa place. Depuis l'adolescence, il n'a connu que les Beatles, un groupe local d'une ville ouvrière, devenu le plus grand phénomène que la Terre ait jamais porté. Lui, la superstar, est à présent sans-emploi.Alors Paul rentre chez lui et n'en sort plus. Il boit du soir au matin au grand désespoir de sa jeune épouse Linda. La rumeur idiote mais persistante prétendant qu'il est mort et a été remplacé par un sosie n'arrange rien, elle fait les gros titres, et voilà qu'il plonge dans la dépression. Il n'a plus rien dans la vie, même l'argent est bloqué à cause de leurs affaires. Plus rien ? Ah bon.Linda et lui, enfin surtout Linda, décident donc de repartir de rien, c'est-à-dire d'une ferme abandonnée du bout du monde qu'il a achetée trois ans plus tôt, en Ecosse. Aucun équipement, ça tombe bien, personne ne viendra l'ennuyer. Le début de l'histoire d'un improbable retour, celui d'un artiste condamné selon toute probabilité à prendre sa retraite à l'âge de 27 ans car brutalement privé de ses partenaires. Elle va démontrer que Paul avait bien été le moteur de la créativité spectaculaire des Beatles car il a continué à tourner à plein régime chez lui. Cette chanson que vous ne connaissez probablement pas et qui date de 1971, le prouve à l'envi.

Od Užica do nominacije za EMI nagradu: Saznajte kako je jedna Srpkinja "obukla" najveće svetske zvezde! U 358. epizodi podkasta Pojačalo, Ivan је ugostio Jovanu Gospavić, istaknutu srpsku kostimografkinju koja već više od decenije gradi izuzetno uspešnu karijeru u Londonu u svetskoj filmskoj i TV industriji. Razgovor prati njen nesvakidašnji razvojni put – od odrastanja u Užicu i prvih koraka u svetu umetnosti, preko studija na Fakultetu primenjenih umetnosti u Beogradu i praškoj akademiji DAMU, pa sve do selidbe u Veliku Britaniju. Jovana otvoreno deli svoja iskustva o probijanju na zahtevno inostrano tržište, počevši od specifičnog angažmana dizajniranja uniformi za Britansku mačevalačku asocijaciju, do rada na velikim istorijskim filmskim i televizijskim projektima poput filma Emma i serija Queen Charlotte: A Bridgerton Story i Mary & George, koje su joj donele i dve nominacije za prestižnu nagradu Emi. O čemu smo pričali: - Početak - Početak razgovora - Kad porastem biću - Priprema za fakultet - Studentski dani - Studiranje u Pragu - Iz Češke u London - Dizajn u mačevanju - Prvi veliki projekat - Rad na seriji The Third Day - Drugi zanimljivi projekti - Uticaj globalnih dešavanja - CGI i AI u filmskoj industriji - Zaključak razgovora Podržite nas na BuyMeACoffee: https://bit.ly/3uSBmoa Pročitajte transkript ove epizode: https://bit.ly/4sfWXEl Posetite naš sajt i prijavite se na našu mailing listu: http://bit.ly/2LUKSBG Prijavite se na naš YouTube kanal: http://bit.ly/2Rgnu7o Pratite Pojačalo na društvenim mrežama: FB: https://www.facebook.com/PojacaloRS/ IG: https://www.instagram.com/pojacalo.rs/ X: https://x.com/PojacaloRS LN: https://www.linkedin.com/company/pojacalo TikTok: https://www.tiktok.com/@pojacalo.rs

Una conversación profunda, reveladora y absolutamente necesaria para cualquiera que ame la música… pero quiera entender el negocio detrás de ella. En este episodio, converso con María Isabel de los Ríos, periodista, académica, ejecutiva de la industria y autora del libro “De Pasión a Profesión – Manual de la Industria Musical”, un compendio de más de 800 páginas que busca llenar un vacío histórico: la falta de educación sobre el negocio de la música en español. Hablamos de TODO:

Portuguese pilot Emi Carvalho got into hang gliding over a decade ago. Now living in Switzerland Emi is fully bi-wingual, and has instructed both hang gliding and paragliding. His passion these days is bivvy flying and depending on the weather will pick the kit that fits the mission, but more often than not the kit that fits the bill to have more fun is a short-pack hang glider. It's a bit heavier (similar to a light-weight paragliding tandem set up) and a bit more bulky, but you get to fly prone! In this fun talk Emi shares his expertise with short pack hang gliders, their development, and their application in adventure flying and bivvy trips.

Nalin Agrawal, Co-founder of SnapMint, is a three-time entrepreneur and IIT Bombay alumnus who has quietly built one of India's most efficient consumer financing platforms, scaling from a tiny ₹5 crore revenue to ₹350 crores while serving 7 million monthly users across 23,000 pin codes. In this candid, wide-ranging conversation with host Akshay Datt, Nalin reveals the contrarian principles behind SnapMint's success: why they have never charged a single rupee in late fees, how their data science moat achieves industry-beating credit loss rates, and why they believe India will leapfrog credit cards entirely and go straight to EMI on UPI. What you will learn in this episode:

Fluent Fiction - Japanese: Snowfall Bonds: Satoshi's Journey to Connection Find the full episode transcript, vocabulary words, and more:fluentfiction.com/ja/episode/2026-02-25-08-38-20-ja Story Transcript:Ja: 木々に積もった雪が淡い光を反射し、静寂につつまれた朝。En: The snow piled on the trees reflected a faint light, enveloping the morning in silence.Ja: 生徒たちは伝統的な旅館に着きました。En: The students arrived at a traditional ryokan.Ja: ここは日本の古い木造建築、温かな灯りがもれる玄関が美しい場所です。En: It was a place of beautiful Nihon-style old wooden architecture, with warm light emanating from the entrance.Ja: サトシたちの冬休みの学校旅行の始まりです。En: This marked the beginning of Satoshi's winter school trip.Ja: サトシは静かな男の子です。En: Satoshi is a quiet boy.Ja: 心の中で自分の本当の興味を探していました。En: Inside, he was searching for his true interests.Ja: クラスメイトと一緒にいることは、彼には少し緊張します。En: Being with his classmates made him a little nervous.Ja: しかし、今回は違います。En: However, this time it was different.Ja: 彼は新しい自分を発見したいと思っています。En: He wanted to discover a new self.Ja: その朝、旅館の庭を歩くと、エミが話しかけてきました。En: That morning, while walking in the garden of the ryokan, Emi spoke to him.Ja: 彼女は明るくて冒険心に溢れています。En: She is bright and full of adventure.Ja: 「サトシ、一緒に写真を撮ろう！」エミは楽しそうに言いました。En: "Hey Satoshi, let's take a picture together!" Emi said cheerfully.Ja: サトシは少し驚きながらも、彼女の誘いに頷きました。En: Surprised but willing, Satoshi nodded at her invitation.Ja: 昼間、みんなは温泉に行きました。En: During the day, everyone went to the hot springs.Ja: 蒸気が心と体を温め、リラックスできます。En: The steam warmed their hearts and bodies, allowing relaxation.Ja: ここでサトシはハルトと一緒になります。En: Here, Satoshi was with Haruto.Ja: ハルトはいつも冗談を言って周りを笑わせますが、実は何かに悩んでいる様子もありました。En: Haruto always jokes and makes everyone laugh, but he also seemed to be troubled by something.Ja: 夜になり、いよいよ節分の儀式が始まります。En: As night fell, the setsubun ceremony began.Ja: サトシは少し不安でしたが、「鬼は外、福は内」と大きな声で叫びます。En: Satoshi felt a bit anxious but shouted loudly, "Oni wa soto, fuku wa uchi" (demons out, luck in).Ja: 豆を庭にまき、悪いものを追い出します。En: He scattered beans in the garden to drive away the bad.Ja: 突然、サトシの口から心の中の悩みがこぼれました。En: Suddenly, his inner worries spilled out.Ja: 「僕はみんなが好き…でも、どう人とつながればいいのかわからない。」En: "I like everyone... but I don't know how to connect with people."Ja: 一瞬、静寂が流れました。En: For a moment, silence passed.Ja: しかし、エミが優しく微笑んでサトシの肩を叩きました。En: However, Emi smiled gently and patted Satoshi's shoulder.Ja: 「大丈夫だよ、私たちは一緒だよ。」En: "It's okay, we're all together."Ja: ハルトも「そうそう、みんな同じ気持ちだよ！」と続けます。En: Haruto added, "Yeah, we all feel the same way!"Ja: サトシの胸に温かいものが広がりました。En: Warmth spread through Satoshi's heart.Ja: 彼は自分が受け入れられていると感じました。En: He felt accepted.Ja: クラスメイトの支えと理解が、彼の心を明るくしました。En: The support and understanding from his classmates brightened his heart.Ja: 旅行の終わり、サトシは自然と笑顔が増えていました。En: By the end of the trip, Satoshi's smiles naturally increased.Ja: 彼はこれからもっとクラスメイトと話してみよう、と思います。En: He thought he'll try talking more with his classmates from now on.Ja: 旅館を後にし、彼らは深い雪の中を歩きながら、更に繋がりを深めました。En: Leaving the ryokan, they walked through the deep snow, deepening their connections.Ja: サトシは小さな声で言いました。「ありがとう、みんな。」En: Satoshi said in a small voice, "Thank you, everyone."Ja: エミとハルトは微笑みながら、彼の肩を抱きしめます。En: Emi and Haruto smiled and wrapped their arms around his shoulder.Ja: 雪はゆっくり降り続け、その下で新しい友情の種が生まれました。En: The snow continued to fall slowly, and beneath it, the seeds of new friendship were born. Vocabulary Words:piled: 積もったfaint: 淡いsilence: 静寂traditional: 伝統的なemanating: もれるquiet: 静かなinterests: 興味adventure: 冒険心cheerfully: 楽しそうにinvitation: 誘いrelaxation: リラックスtroubled: 悩んでいるceremony: 儀式anxious: 不安shouted: 叫びますscattered: まきworries: 悩みconnect: つながるpat: 叩きましたacceptance: 受け入れられているunderstanding: 理解brightened: 明るくしましたnaturally: 自然とconnections: 繋がりmuttered: 小さな声で言いましたfriendship: 友情seeds: 種beneath: 下marked: 始まりenveloped: つつまれた

durée : 00:15:37 - Disques de légende du mercredi 25 février 2026 - Après le refus de György Cziffra de les enregistrer pour EMI, c'est Aldo Ciccolini qui a hérité de ces plages de Liszt. Le début d'une collaboration longue de 40 ans avec la maison de disque. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 00:15:37 - Disques de légende du mercredi 25 février 2026 - Après le refus de György Cziffra de les enregistrer pour EMI, c'est Aldo Ciccolini qui a hérité de ces plages de Liszt. Le début d'une collaboration longue de 40 ans avec la maison de disque. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

IM (4/1/1955 – 25/2/2019) – Mark Hollis is Dood maar niet vergeten. Hij was de componist, tekstschrijver en zanger van Talk Talk. Hollis overleed vandaag in 2019 op 64-jarige leeftijd. Hij genoot alom aanzien in…Continue Reading "Geniaal songwriter was probleem voor EMI"

Send a textThe Horrific Podcast #377 welcomes a true horror icon!We're joined by Emily Perkins, known to horror fans for her unforgettable performances and lasting impact on the genre

Episode 160 of the Truth About Vintage Amps Podcast, where amp tech Skip Simmons fields all of your questions about tube amps.  Thank our sponsors: Grez Guitars; Emerald City Guitars and Amplified Parts.  Some of the topics discussed this week: 1:09 Fishing and weather report, Tule fog 4:43 Skip's amp backlog 5:19 A West guitar amp with a Dynaco 454216 transformer, a paper plate breakfast hack 10:45 Our sponsors! 12:56 What's on Skip's bench: A 1950 Princeton, a White amplifier, a Tweed Deluxe AND a Vibrolux; Electromuse amps 14:39 The Lonesome Captain's music video (YouTube link) 17:31 A Webster-Chicago 166-1 with a post phase-inverter tone control 20:36 The Valco/National/Supro single 6V6 with reverb and tremolo 28:06 A Silvertone 1472 with replaced parts; terminal strip grounds 30:55 Two filter cap Princetons (link to TDPRI forum) 32:11 An original Garnet Session Man; modding a Masco ME-27; recommended reading 39:49 The Wood Wire & Volts show; the Benson Babylon (as mentioned on episode 158!) 44:16 Speaker impedance mismatch on a Danelectro amp and its effect on tone, Spanish rice, Goya pasta 50:21 Suggestions for an unused triode in a Geloso G226A amp 54:32 Bill Krinard's return?; Dr. Z's new, single-ended PhD amp; Emery Sound amps 57:18 A new speaker for my Traynor YGM-3?; Peavey amps; smoked pork tenderlions 1:03:35 Making a baby Leslie speaker at home and adding caps to filter out EMI/interference (check out more pics on our Patreon) 1:11:00 Getting spray paint off a grill cloth (3M Safest Stripper); fixing a Fender speaker baffle; and a cursed reverb unit 1:16:50 A Cunningham CX322 tube giveaway; Alembic stereo pre-amps, redux Note: Starting around minute 60, our Zoom connection went bad and Skip can be a little hard to hear. We tried to clean it up as best we could. Sorry! Want amp tech Skip Simmons' advice on your DIY guitar amp projects? Want to share your top secret family recipe? Need relationship advice? Join us by sending your voice memo or written questions to podcast@fretboardjournal.com! Include a photo, too. Want to support the show? Join our Patreon page to get to the front of the advice line, see exclusive pics, the occasional video and more.  Hosted by amp tech Skip Simmons and co-hosted/produced by Jason Verlinde of the Fretboard Journal. 

Fue en febrero de 1996. Danny Boyle estrenaba Trainspotting, adaptación de la novela de Irvine Welsh. Una película que capturó el espíritu de una generación desencantada a través de Renton, Spud, Sick Boy y Begbie. La historia de unos amigos y no tan amigos viviendo el lado más peligroso de la vida en la cuidad de Edimburgo. Pero Trainspotting fue mucho más que una película: su banda sonora vendió millones, educó musicalmente a toda una generación y tendió puentes entre el punk de los 70, la new wave de los 80 y el brit-pop y la electrónica de los 90. Tal fue el éxito de esta recopilación que EMI decidió publicar esta segunda parte. Pero no estamos hablando de sobras o descartes, este segundo disco incluye canciones que inspiraron a Danny Boyle y al equipo creativo durante el proceso, temas que estuvieron en versiones tempranas del montaje pero que finalmente no encajaron en el minutaje final, y otras que simplemente compartían ese espíritu salvaje, melancólico y rebelde de la película. Hoy en Conexiones MZK hablaremos de las canciones y escucharemos una selección de ambos volúmenes. Dirige Manuel Pinazo

Get ready for a high-octane episode, as Joel Cheesman and Emi Beredugo take the mic to dissect everything from "bougie" McDonald's Valentine's stunts to the high-stakes world of Big Tech. The duo dives deep into Rippling's bold Super Bowl debut featuring Tim Robinson, debating whether the "evil genius" move is a brilliant recruitment play or a calculated nod to Wall Street. While Microsoft celebrates a massive LinkedIn revenue milestone—proving the platform has officially pivoted from a resume database to a short-form video powerhouse—the hosts shift gears to the grittier side of the job hunt. From the rise of "Resume Botox" and ageism to the "resume slop" currently clogging AI-driven hiring funnels, the gloves come off. Plus, don't miss the heated critique of ZipRecruiter's new "Be Seen First" feature, which Emi and Joel argue might be doing more harm than good for the modern candidate. Chapters 00:00 - Introduction and Super Bowl Excitement 05:04 - The Beckham Family Drama 08:58 - Valentine's Day Fast Food Promotions 14:09 - Rippling's Super Bowl Ad 22:01 - LinkedIn's Revenue Growth and Strategy 27:57 - The Rise of Resume Botox and Ageism in Job Market 30:58 - The Age Discrimination Dilemma 35:59 - AI's Impact on Hiring Practices 45:00 - The Clumsy Evolution of Recruitment 56:04 - ZipRecruiter's Controversial New Feature

In this episode, host Kat (Ekaterina Popova) is joined by painter Emi Avora, a London-trained and Singapore-based artist whose work blends architectural structure with lush, dreamlike abstraction. Drawing from her upbringing in Greece, Mediterranean light, mythology, and lived experiences across cultures, Emi creates immersive interiors that feel both opulent and quietly haunting. www.emiavora.com   In this conversation, we discuss:   Emi's journey: From growing up in her father's studio in Corfu to her formal art education. The influence of light: How Mediterranean light remains a primary tool for creating clarity in her work. Finding roots through relocation: How moving to Singapore drew her back to symbols and mythology in her subject matter. Building a sustainable practice: Insights on balancing motherhood with a dedicated studio life and trusting the slow unfolding of your work. Professional milestones: Her recent recognition as the winner of the Women in Art Prize and what that visibility has meant for her career.   Connect with us: Website: https://www.createmagazine.co/ Instagram: @createmagazine Substack: https://createmagazine.substack.com

Fluent Fiction - Japanese: Ayumi's Journey: Finding Clarity on Kyoto's Sacred Trail Find the full episode transcript, vocabulary words, and more:fluentfiction.com/ja/episode/2026-02-05-08-38-20-ja Story Transcript:Ja: 冷たい冬の風がひゅうひゅうと吹き、京の街に雪がちらつき始めました。En: The cold winter wind blew with a whoosh, and snow began to flutter over the streets of Kyoto.Ja: 今日は節分の日。En: Today is Setsubun.Ja: 福を呼び込み、厄を追い払うときです。En: It's the time to invite good fortune and chase away misfortune.Ja: あゆみは京都・伏見稲荷大社へ向かっています。En: Ayumi is heading to Fushimi Inari Taisha in Kyoto.Ja: 彼女は大学卒業を控え、自分の進むべき道を探したいと思っています。En: She's about to graduate from university and wants to find the path she should take.Ja: しかし、心の中には不安と迷いが渦巻いています。En: However, her heart is swirling with anxiety and confusion.Ja: 「正しい選択ができるだろうか？」と、あゆみは自分に問い続けます。En: "Will I be able to make the right choice?" Ayumi keeps questioning herself.Ja: 「大丈夫だよ、あゆみ。En: "It's going to be okay, Ayumi.Ja: 登るだけで心がすっきりするはずだよ」と、児玉こうじがにっこりと微笑みました。En: Just climbing will surely clear your mind," said Kodama Koji with a cheerful smile.Ja: 幼馴染のこうじは、彼の妹えみと一緒にあゆみを応援するためについてきました。えみは元気いっぱいです。En: Her childhood friend Koji came along to support her, along with his sister Emi, who is full of energy.Ja: 「お姉ちゃん、きっとお稲荷様が導いてくれるよ！」En: "Big sister, I'm sure Oinari-sama will guide you!"Ja: 伏見稲荷は色鮮やかな鳥居が連なり、山道が魅力的です。En: Fushimi Inari features a series of vividly colored torii, and the mountain path is enchanting.Ja: 冬の冷たさにもかかわらず、灯篭に飾られた橙は暖かい光を放っています。En: Despite the cold of winter, the orange decorations on the lanterns give off a warm light.Ja: 三人は静かに参道を歩き始めました。En: The three of them began to walk silently along the approach.Ja: 歩みを止めたあゆみは、小さな袋から豆を取り出しました。En: Stopping in her tracks, Ayumi took out some beans from a small bag.Ja: 彼女は心を込めて豆を撒き、「鬼は外、福は内！」と声を上げました。En: With all her heart, she scattered the beans, shouting, "Out with the demons, in with good fortune!"Ja: その声は冬の空気を切り裂いて響きました。En: Her voice sliced through the winter's air and echoed.Ja: 「これで不安もどこかへ行くはず」En: "With this, my anxieties should go away somewhere."Ja: 山を登るにつれ、彼女の心も次第に軽くなりました。En: As she climbed the mountain, her heart gradually became lighter.Ja: 最後の鳥居をくぐり抜け、三人は頂上へと辿り着きました。そこから見ると、京都市内がまるで小さな宝石のように光り輝いていました。En: Passing through the last torii and reaching the summit, they were greeted by a view of Kyoto City shining like tiny jewels.Ja: あゆみは深く息を吸って、目を閉じました。En: Ayumi took a deep breath and closed her eyes.Ja: その瞬間、心にぽっかりと空いた穴が満たされるような感覚を味わいました。En: In that moment, she felt as if the empty hole in her heart was being filled.Ja: 「自分をもっと信じよう」と、彼女は決意しました。En: "I should believe in myself more," she decided.Ja: 何を選ぶにしても、それは自分自身の選択だから大切なのだと理解したのです。En: She realized that no matter what path she chose, it would be her own choice, and therefore, it was important.Ja: 帰り道、あゆみは軽やかでした。En: On their way back, Ayumi was lighthearted.Ja: 自分に自信が持てるようになったのです。En: She had gained confidence in herself.Ja: 「どんな道を選んでも大丈夫。En: "No matter what path I choose, it will be okay.Ja: 私は私のままでいいのだから」En: I can just be myself."Ja: こうして、あゆみは不安を乗り越えました。En: In this way, Ayumi overcame her anxieties.Ja: 将来への新たな一歩を踏み出していく彼女を、神様も微笑んで見守っているかのようでした。En: It was as if the gods themselves were smiling and watching over her as she took a new step towards her future. Vocabulary Words:flutter: ちらつき始めSetsubun: 節分misfortune: 厄swirling: 渦巻いてanxiety: 不安confusion: 迷いclearing: すっきりcharming: 魅力的vividly: 色鮮やかなlanterns: 灯篭approach: 参道track: 歩みを止めたscattered: 撒きechoed: 響きましたsummit: 頂上jewels: 宝石breath: 息を吸ってvoid: 空いた穴determined: 決意しましたnavigating: 選択lighthearted: 軽やかconfidence: 自信path: 道embrace: 理解したovercome: 乗り越えましたdivine: 神様fortunate: 福invocation: 呼び込みguidance: 導いてsilently: 静かに

Jean-Jacques Charbonier est l'invité du 227ème épisode du podcast C'est quoi le bonheur pour vous?

Join me on this episode of Snow Talk as we explore the vital connection between sales and operations at EMI, a leading snow management company. We'll discuss how EMI effectively aligns these departments to streamline processes, enhance communication, and ensure operational efficiency, especially during winter storms. I'm joined by Scott Shelton, the Business Development Manager, and Zach Kolasa, Operations Manager, who share insights on their comprehensive sales strategies, robust training programs, and the importance of educating clients on service expectations. As the conversation unfolds, we'll also examine tools and technologies that support seamless operations and improve customer experiences. Tune in for valuable lessons that can elevate your snow management business.

Send us a textWe reveal AEM's FibBlu, a compact, app-driven fiber certification kit designed to cut cost, extend battery life, and speed reporting while keeping accuracy on par with lab-grade tools. From GPS-tagged results to OCR label capture and open cloud storage, we show how moving certification to the phone reshapes field work.• sub‑$10k fiber certification focus and market gap• app‑driven control via Bluetooth with no onboard screen• dual‑ended, bidirectional, and loopback loss testing• open cloud choice with Google Drive, OneDrive, Dropbox• owner and user roles with access keys for team control• OCR label capture, GPS coordinates, instant PDF and CSV• live two‑unit workflow for main and remote ends• EMI shielding, calibration guidance, rugged form factor• packaging options and adapter flexibility for SC, LC, FC, ST• Blue series roadmap including upcoming copper qualifiersIf you're watching the show on YouTube, would you mind leaving us a five-star rating and sending the subscribe button and the bell button to be notified when new content is being produced?If you're listening to us on one of the audio podcast platforms, would you mind leaving us a five-star rating there as well?If you find value in this content, would you click on that QR button right there? You can schedule a 15-minute one-on-one call with me after hours, of course. You can even buy Let's Talk Cabling merchandise, like t-shirts and stuff like that.Support the showKnowledge is power! Make sure to stop by the webpage to buy me a cup of coffee or support the show at https://linktr.ee/letstalkcabling . Also if you would like to be a guest on the show or have a topic for discussion send me an email at chuck@letstalkcabling.com Chuck Bowser RCDD TECH#CBRCDD #RCDD

On this episode of Audio Talks, host Oisin Lunny welcomes Andrew Melchior—technologist, artist, and creative collaborator with Massive Attack, Björk, and David Bowie—for a deep dive into the shifting ground beneath music, technology, and culture. From Manchester's vibrant music scene to pioneering spatial audio and mixed reality, Andrew's career is a journey through the edges of innovation. Together, they trace the arc from classical roots and analog synths to the digital frontiers of streaming, AI, and immersive experiences. Andrew shares candid stories of musical mentorship, band adventures, and the evolution from vinyl to virtual worlds—whether helping Elbow produce their first EP, launching BowieNet at EMI, or building Massive Attack's experimental Phantom app that remixed music using heartbeats and motion sensors. The conversation explores the risks and possibilities of synthetic media, the rise of generative AI, and the urgent need to protect human creativity and cultural identity From sonifying cosmic radio bursts in a Finnish cathedral to advocating for climate-conscious touring, Andrew's vision is rooted in sustaining human agency and meaning amidst rapid technological change. Tune in for a masterclass in creativity, resilience, and the future of music—where technology is a tool, not a tyrant, and being useful is the ultimate revolution.

Fluent Fiction - Japanese: Finding Confidence: Haruki's Journey Through Friendship Find the full episode transcript, vocabulary words, and more:fluentfiction.com/ja/episode/2026-01-11-23-34-02-ja Story Transcript:Ja: 冬の朝、フリーランサーズ・ホームの窓際に、小さな雪の舞う風景が見えました。En: On a winter morning, a small snowy landscape could be seen from the window of Furīransāzu Hōmu.Ja: ハルキは、その窓辺の席に座って、静かにコーヒーを飲んでいました。En: Haruki sat at that window seat, quietly drinking coffee.Ja: コーヒーの香りは、彼の心を落ち着かせます。En: The aroma of the coffee calmed his mind.Ja: ここは、大学生やリモートワーカーに人気のあるコーヒーショップで、暖かい雰囲気が漂っています。En: This coffee shop is popular among university students and remote workers, exuding a warm atmosphere.Ja: 新学期が始まり、新たな課題と試験の準備に追われています。En: As the new semester began, he was busy preparing for new assignments and exams.Ja: ハルキは、植物学のプロジェクトを完成させるため、全力を尽くしていました。En: Haruki was putting all his effort into completing a botany project.Ja: しかし、彼は自分に自信が持てず、どうしても自分の能力に疑問を抱いていました。En: However, he lacked confidence in himself and couldn't help but doubt his abilities.Ja: そのとき、エミが現れました。En: At that moment, Emi appeared.Ja: 彼女は、真面目で、いつもハルキを支えてくれる友人です。En: She is a serious friend who always supports Haruki.Ja: エミは、「ハルキ、おはよう！どう、進んでる？」と優しく声をかけました。En: Emi gently greeted him, "Good morning, Haruki! How's it going?"Ja: ハルキは少し考えた後、「自信がないんだ。どうしたらいいかわからない、エミ」と彼の不安を打ち明けました。En: After thinking for a moment, Haruki confessed his anxiety, "I have no confidence. I don't know what to do, Emi."Ja: エミは親身に聞いてくれました。En: Emi listened empathetically.Ja: そして、ふと彼女の表情が変わり、「大丈夫、わたしが手伝うよ。それに、砂彩（さく）の才能も借りてみたら？」と提案しました。En: Then suddenly, her expression changed, and she suggested, "It's okay, I'll help you. And maybe you can borrow Sakura's talent too?"Ja: サクラは、ハルキとエミのクラスメートで、芸術の才能があると評判の学生です。En: Sakura is a classmate of Haruki and Emi, known for her artistic talent.Ja: でも彼女も、芸術のことで不安を抱えていました。En: However, she also harbored insecurities about her art.Ja: ハルキはしばらく迷いましたが、結局サクラに相談することにしました。En: Haruki hesitated for a while but eventually decided to consult Sakura.Ja: 数日後、フリーランサーズ・ホームでハルキはサクラと話していました。En: A few days later, Haruki was talking with Sakura at Furīransāzu Hōmu.Ja: 彼の作品にアートの要素を加えるため、サクラの意見を求めました。En: He sought her opinion to add artistic elements to his work.Ja: サクラは熱心に聞いて、アドバイスをくれました。En: Sakura listened intently and gave him advice.Ja: その日、いつもの席でエミとまた会いました。En: That day, he met Emi again at their usual seat.Ja: 彼女の顔は真剣でした。En: Her expression was serious.Ja: 「ハルキ、言いたいことがあるの」と彼女は突然言いました。En: "There's something I want to say," she said suddenly.Ja: 「いつも応援したい。大好きだから」。En: "I always want to support you. Because I really like you."Ja: ハルキは驚きましたが、彼女の言葉は彼に新しい視点を与えました。En: While Haruki was surprised, her words gave him a new perspective.Ja: その後、ハルキは自信を持ち、プロジェクトに情熱を注ぎました。En: After that, Haruki gained confidence and poured his passion into the project.Ja: サクラとの協力も功を奏し、プロジェクトは完成しました。En: The collaboration with Sakura was successful, and the project was completed.Ja: 発表の日、教授から高い評価を受け、彼は認められました。En: On the day of the presentation, he received high praise from the professor and was acknowledged.Ja: ハルキは微笑みました。En: Haruki smiled.Ja: 自分の可能性を信じること、そして友人に頼ることの大切さを、彼は学びました。En: He learned the importance of believing in his potential and relying on friends.Ja: エミとサクラの支えに感謝し、ハルキは新たな一歩を踏み出しました。En: Grateful for the support of Emi and Sakura, Haruki took a new step forward. Vocabulary Words:landscape: 風景exuding: 漂っていますsemester: 学期assignments: 課題confidence: 自信doubt: 疑問abilities: 能力empathetically: 親身にexpression: 表情suggested: 提案artistic: 芸術insecurity: 不安consult: 相談intently: 熱心にadvice: アドバイスperspective: 視点potential: 可能性relying: 頼るpresentation: 発表acknowledged: 認められましたgrateful: 感謝calm: 落ち着かせますpreparing: 準備effort: 全力support: 支えtalent: 才能admitted: 打ち明けpopular: 人気collaboration: 協力praise: 評価

They Tried to Kill Crypto — Now They Need It | BNY & Ripple Change Everything Traditional finance spent years trying to shut crypto out. Now they're quietly moving on-chain. One of the world's oldest banks, BNY Mellon, has launched tokenized deposit services, bringing programmable, on-chain cash directly into the core of the banking system — with Ripple and Ripple Prime positioned as early adopters. This isn't hype. This is infrastructure. At the same time: Ripple secures UK FCA approval with an EMI license and cryptoasset registration Banks that once debanked crypto are now lobbying Congress to ban stablecoin rewards The UK debates banning X, triggering backlash over free speech and censorship Geopolitical tensions escalate — from Trump's Greenland comments to border enforcement showdowns and media meltdowns This episode connects the dots between: ✔️ On-chain banking ✔️ Regulatory clarity vs institutional panic ✔️ Tokenized deposits vs stablecoins ✔️ Free speech, capital flight, and geopolitical pressure Nothing happening right now is accidental. This is a power transition — and the old system didn't win.

Until she was 10, Emi Nietfeld led a pretty normal life. It was when her parents divorced that her world fell apart. Her father transitioned to a woman and changed his name to Michelle. Her mother was a police photographer with serious psychological problems. In her book, Acceptance, Emi who is now 32, talks about the price she paid for working so hard to overcome circumstances that no child should have to endure. They include stints in a psychiatric ward, living in foster care, stays in a homeless shelter and a suicide attempt at the age of 13. So how did she wind up graduating from Harvard? We talk about the notion of self-worth and how hard it is to outrun your past. "Now What?" is produced with the help of Steve Zimmer, Lucy Little and Jackie Schwartz. Audio production is by Nick Ciavatta.

In this episode of Off the Mats Podcast, I sit down with Emi Miller, known on Instagram as @nogi_chunli, to talk about training culture, mat etiquette, and the responsibility that comes with being a good training partner. Emi is an instructor at Gracie Barra Riverside and the creator of a widely shared “How to…” series that addresses real situations many grapplers experience but rarely talk about openly. We discuss how her posts—covering topics like how to roll with women, white belts, visitors, injured partners, and training across size and gender differences—came from years of observing common mistakes on the mat. Emi explains why communication, awareness, and intent matter more than strength or rank, and how small changes in behavior can dramatically improve safety and learning for everyone in the room. This conversation goes beyond social media and into Emi's coaching philosophy, her role as an instructor, and how gyms can build healthier environments through accountability and respect. Whether you're a new student trying to understand unspoken rules or an experienced grappler looking to be a better teammate, this episode focuses on how we show up for one another on the mats—and why that matters long after the round ends.

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Merci de soutenir mon travail sur Donorbox !Rencontre autour du livre "Cette vie… et au-delà. Enquête sur la continuité de la conscience après la mort" de Christophe Fauré, psychiatre et psychothérapeute.Présentation par l'éditeurExpérience de mort imminente (EMI), Expérience de fin de vie (EFV), Vécu subjectif de contact avec un défunt (VSCD)… certains phénomènes humains semblent contredire l'affirmation quasi unanime de la communauté scientifique selon laquelle la conscience ne serait qu'une simple production de notre cerveau.Nourri des traditions spirituelles (bouddhiste, hindouiste), dont le discours sur la nature de la conscience fait écho aux enseignements de la physique quantique, Christophe Fauré est un de ces médecins qui s'y intéressent et s'interrogent. En unité de soins palliatifs, où abondent les récits de tels phénomènes, il a constaté le réconfort et l'apaisement que ces expériences avaient apporté à la plupart des personnes les ayant vécues. Il a alors entrepris d'étudier tous les travaux scientifiques sur la question.Ce livre est le fruit de ses investigations, une enquête aussi troublante que passionnante, apportant des réponses à des interrogations universelles : Qu'y a-t-il après un décès ? Notre conscience perdure-t-elle après la mort physique ? Quelle est la nature de notre conscience ?Christophe Fauré, psychiatre, psychothérapeute, est l'auteur de nombreux livres, parmi lesquels Vivre le deuil au jour le jour. Il est spécialiste de l'accompagnement des ruptures de vie depuis une trentaine d'années.Acheter le livre Cette vie... et au-delà, enquête sur sa continuité de la conscience après la mort de Christophe Fauré sur le site des Librairies indépendantes :- le livre broché, éditions Albin Michel- en poche, éditions Le livre de pocheLa plate-forme d'accompagnement au deuil Une lumière dans la nuit Une interview réalisée par Anne Greffe. Tous droits réservés. Soutenir mon travail par un don unique ou mensuel sur donorbox !Soutenir mon travail sur PaypalSoutenir mon travail sur Patreon Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Fluent Fiction - Japanese: A Christmas Proposal in Shibuya: Love Found and Rings Returned Find the full episode transcript, vocabulary words, and more:fluentfiction.com/ja/episode/2025-12-20-08-38-20-ja Story Transcript:Ja: クリスマスイブの夜、東京の賑やかな街、渋谷には冬の寒さの中でも温かな雰囲気が漂っています。En: On Christmas Eve, in the lively city of Shibuya in Tokyo, a warm atmosphere lingers despite the winter chill.Ja: エミはKaitoと会う前に、少し緊張していました。En: Emi felt a bit nervous before meeting Kaito.Ja: 街の光が煌めく中、エンゲージメントリングをポケットの中で確かめながら、家族の期待と自分の想いが頭の中で交錯していました。En: As the city lights sparkled, she checked the engagement ring in her pocket, and the expectations of her family mingled with her feelings in her mind.Ja: しかし、いざ渋谷駅に着くと、人混みの中でリングがポケットから落ちてしまったことに気がつきます。En: However, as soon as she arrived at Shibuya Station, she realized that the ring had fallen out of her pocket in the crowd.Ja: 「どうしよう...」エミは心の中で叫びました。En: "What should I do..." Emi cried out in her heart.Ja: 人々が行き交う中でリングを探すのは、まさに針の穴を通すような困難でした。En: Searching for the ring amid the bustling crowd felt like threading a needle through a tiny hole.Ja: 焦るエミが探し続ける間、リングはたまたま近くを通りがかったRenの足元に転がりました。En: While a frantic Emi continued her search, the ring happened to roll to the feet of Ren, who was passing by.Ja: Renはそれを拾い、不思議そうにリングを眺めました。En: He picked it up and gazed at it curiously.Ja: エミは、リングを持っているRenを見つけ、急いで彼に話しかけました。En: Emi spotted Ren holding the ring and quickly approached him.Ja: 「そのリング、私の大切なものです。」エミは胸をドキドキさせながら説明しました。En: "That ring is something very important to me," Emi explained, her heart pounding.Ja: 「今夜、婚約の予定で...」En: "Tonight, I plan to get engaged..."Ja: Renはしばらく考え込みましたが、すぐにエミにリングを返しました。En: Ren thought for a moment but soon returned the ring to Emi.Ja: 「大切な時のために、どうぞ。」彼は微笑んで言いました。En: "For your important moment, here you go," he said with a smile.Ja: その時、エミは大切なのは家族の期待ではなく、彼との真実の愛だと気づいたのです。En: At that moment, Emi realized that what truly mattered was not her family's expectations but her true love with him.Ja: エミは無事にリングを取り戻し、心からの笑顔でKaitoのもとへ向かいます。En: With the ring safely back in her possession, Emi headed towards Kaito with a heartfelt smile.Ja: 彼女の中には新たな自信が芽生え、全ての期待を乗り越え、二人の絆を信じることができるようになっていました。En: A new confidence blossomed within her, allowing her to overcome all expectations and believe in their bond.Ja: 煌く渋谷の街は、二人の新しい未来を祝福するように優しく彼女を包み込みました。En: The sparkling city of Shibuya gently embraced her, as if blessing their new future together.Ja: クリスマスの夜空に、幸せな鐘の音が響き渡ります。En: In the Christmas night sky, the sound of happy bells resonated. Vocabulary Words:lively: 賑やかなatmosphere: 雰囲気lingers: 漂っていますchill: 寒さnervous: 緊張していましたexpectations: 期待mingled: 交錯していましたfrantic: 焦るbustling: 行き交うthreading: 通すcuriously: 不思議そうにengagement: 婚約possession: 取り戻しconfidence: 自信blossomed: 芽生えsparkling: 煌くembraced: 包み込みresonated: 響き渡りますbond: 絆heartfelt: 心からのovercome: 乗り越えgazed: 眺めましたpounding: ドキドキさせながらretrieve: 取り戻しpossibility: 可能性consumed: 消費していましたblessing: 祝福needle: 針の穴moment: 時discovered: 気がつきます

This playlist is 65% vinyl friendly. Very poor. Scorchio! ‘1960/1970 Vintage Stereo Design Record Player, in bright orange, the emblematic colour of the 1960 and an example of Mod Ultra Space Age Pop Art Raymond Loewy? France French Designer Museum-worthy‘ says the Etsy seller, adding ‘It has a few cracks, one of the speakers has a small tear in the cloth and may need an overhaul, a full check up to see how and if it works and if it is complete… WE HAVE NEVER TRIED TO USE IT AND I DO NOT KNOW IF IT WORKS OR PLAYS.‘ Thank flip it’s down to €4600, from €7100. Any track marked * has been given either a tiny or a slightly larger 41 Rooms tweak/edit/chop and the occasional tune might sound a bit dodgy, quality-wise. On top of that, the switch between different decades and production values never helps in the mix here. And a bit of a croak in my voice here and there. A temporary glitch, hopefully. Lyric of Playlist 146 Trickery involved but it has to be The Bots! 00.00 (Intro) THE FLAMINGOS – Stars (Edit) – Unreleased demo – 1983. Episode #1 for info. 00.41 NEW ORDER – Ruined In A Day (Reading Festival, 1993) – In Concert – 577, CD – BBC Transcription – 1993 I and my four-year-old, Alice were there, on what was a triumphant return, with the wonderful ‘Ruined’ in amongst new numbers from the band’s then recently released Republic album nobody would have previously heard in a live setting. BBC Transcription Services recordings – produced to service radio stations and usually for a very limited time frame for broadcast – had moved from vinyl to CD but with runs still only in their low hundreds New Order completists would be struggling to own a copy of this one… and I don’t. 04.42 MERIC LONG – A Small Act Of Defiance – Kablooey, LP – Polyvinyl Record Company – 2025 Book-ending a bunch of releases through the years as a member of The Dodos, Kablooey is seemingly Long’s first solo release under his own name since 2006. 07.43 BIOCHEMICAL DREAD – False Kings Of The Earth – 12″ – Pulsolid – 2004 Besides his work with Cabaret Voltaire this 12″ demonstrates there are gaps in my knowledge of Richard H. Kirk’s lengthy discography elsewhere. A copy of ‘False Kings… ‘ however is currently heading my way. RIP, Richard. 13.21 DARKSIDE – One Last Nothing – Download only – Matador – 2025 Including a past member of the 41 Rooms playlist parish, Nicolas Jaar, a US trio currently NOT releasing a 12″, though their Bandcamp visual hints otherwise. 18.32 AGENTS WITH FALSE MEMORIES – Agents With False Memories (extract), CD only – Ash International / Soleilmoon Recordings – 1996 Extract, indeed as Richard H. Kirk promptly returns to show 146 with this four minute snippet from a 53 minute track. 22.34 HUMANIZER – Shinobi – ? – ? – 2000s? Ignoring the slight Liam Gallagher drawl and with zero connection to any Death Metal band of the same name, this might have been Manchester sourced… and maybe with a Peter Hook connection. That’s what I’m vaguely remembering… from over a decade ago. Dunno… A ‘demo’ version, minus vocals, might also get an outing here at some point. 27.08 DIFFERENT GEAR – A Little Bit Paranoid (Extended Mix) * – 12″ – City Rockers – 2002 Courtesy of a ‘Phil Dirtbox’, the vocal is the winner here. 32.59 MERZ – Sorrow In The Sky (Nightingale Vs The Crow) – 7″ b-side – Lotus Records – 2002 The stuff that people sing about… and here with gusto and passion, to boot! 36.55 LUSCIOUS JACKSON – Why Do I Lie? (Sessions at 54th, 11.97) – Stream only – 1997 Vocalist, Jill Cunniff’s tale of lying sounding best live! 40.13 THE POPPY FAMILY – I Was Wondering – 7″ – London – 1971 A bit of a strange arrangement, this one. Albeit with a key change in there – verses with no choruses! Weird and wonderful… and maybe a bit brave in the pop world of the early ’70s, where the only PF track I remember hearing as a young teen was Which Way Are You Going Billy? That won’t be getting a 41 Rooms spin. 42.43 SOPHIE JAMIESON – Camera – I Still Want To Share, LP – Bella Union – 2025 Being over in Brighton recently it seemed appropriate I buy her clear vinyl album from the Bella Union shop and re Camera? It’s the subtle build in Sophie’s vocal and she’ll be here again at some point. 46.59 MARTYN BATES – The Rhyme Of Miracles – Arriving Fire, CD only – Ambivalent Scale – 2014 Martyn instils presence in a tune like few others for me. 50.28 JOSE FELICIANO – First Of May – 7″ b-side – RCA – 1969 ‘Feliciano seems to be on a heavy Bee Gees kick… after ‘Marley Purt Drive,’ he now does ‘First Of May’ and ‘Gotta Get A Message To You.’ And with his highly stylised projection, Jose manages to make them sound totally removed from anything the Gibb brothers originated’. – Disc (edited review of the album, 10 to 23), 15.11.69. As far as I know the Bee Gees tune was only ever released on a 7″ (my ‘format of choice’) for Jose in Mexico, New Zealand, Philippines and Spain and never as an A-side and arranger, Al Capps most probably winced if he ever got to see the NZ pressing below. Strangely, Jose’s very rarely performed the song live. I’ve only noted it three times, including two at London’s Jazz Cafe, in 1996 and again in 1998 and at the former it surfaced nearly under duress. With the audience (maybe unsurprisingly) constantly shouting out for past JF favourites Jose countered, ‘You know there’s a lot of songs you people ask me for that unfortunately… and I’m not being rude, a lot of artists are rude, they do it on purpose, but some of the songs that you ask me to sing, do you know that I haven’t sung them in years and I’ve forgotten the words and rather than make an ass out of myself that’s why I don’t sing them, OK? So, don’t take it personal… I don’t sing those songs anymore. But I’ll tell you what though there’s some that you ask for that I do remember, like this one. I hope that this one will satisfy you.’ That rare sighting was even more surprising considering Jose had taken the rare move of including his own recording of the song when guesting on Brian Matthew’s My Top Twelve for BBC Radio 1 back in June 1974. 54.11 JAPAN – Alien – Quiet Life, LP – Ariola Hansa – 1980 Bedford: Heronscroft, Putnoe, 1980 and Winkles, 1981… with a few Japan gigs thrown in at the time. 58.47 JOHN CALE – Chinese Envoy (M:FANS) – M: FANS, 2 LP – Double Six – 2016 ‘Approached as a reinterpretation of Cale's 1982 improvisational album, Music for a New Society… M:FANS is something of a funhouse mirror reflection of that work, using the basic song-structures of the original album as a starting point and using time, experience and the technological advances of the ensuing years to bring a new focus to the tunes. Some selections are comfortably familiar, while others have a significantly different footprint‘. – KCRW 01.02.32 ICEHOUSE – No Promises (Dance Mix) * – 12″ – Chrysalis – 1990 Fully five years after the track had seemingly done its thing it got an extended outing in Spain. 01.07.58 DAVID BOWIE – This Is Not America (BBC concert) – Bowie At The Beeb, 2CD – EMI – 2000 Part of Bowie’s special set for a small invited audience at the BBC’s Radio Theatre, in London, June 2000. 01.11.29 JOHNNY KEATING – Theme from Z-Cars (Johnny Todd) – 7″ – Piccadilly – 1962 Did I realise the grittier scripts involved here than had been delivered by Jack Warner’s strolling forerunner, Dixon Of Dock Green? Nah, I was five when Z-Cars kicked off but the theme (based on the traditional folk song, Johnny Todd) still brings a fuzzy feel. And Wikipedia will give you the full story on why Everton FC players come out to the tune at home games. 01.13.22 MARC COHN – ‘Walking in Memphis (Mahna Mahna)’ – Stream only – 1990’s? Cohn definitely wouldn’t have seen this coming, as the self proclaiming Mahna Mahna and the Snowths duo upstage him in a short but cheeky mashup (of sorts) I happened on via Youtube a couple of decades ago. I’ll openly admit I was a Muppets fan when they first aired on UK TV back in the mid ’70s and with Statler & Waldorf the stars for me I remember walking my girlfriend of the time, Jill home from work and then running up the hill to my house to record the show. Pre the age of video recorders, at one point there was a stack of ten to twenty AGFA(!!) cassette tapes of the shows in my bedroom. Getting back to Cohn, the fact he’s ‘racing’ a bit here actually adds to the cheeriness and I salute whoever was involved. 01.14.44 BERNARD CRIBBINS – The Hole In The Ground – 7″ – Parlophone – 1962 And like the Z-Cars theme I was five when this was released and I’d have definitely been singing this one in the years close after – and weirdly, although it’s the second tune from ’62 on this show, it’s not the last. 01.16.27 THE BOTS – Fuzzy Math – George W. Bush Greatest Hits, v/artists, CDr only – Spin The World – 2004 I heard this cut and paste work of art somewhere around its ‘release’ and as of 2004… ‘… utilizing the revolutionary Presidential Truth Filter(PTF). The PTF operates like this: All presidential statements are recorded, and made into a huge database. The database is searchable by speech, phrase, keyword, emotional intensity, etc. In parallel, an analysis is made of the historical circumstances of the particular presidency. The question must be asked, what is this man (all men so far…) really all about? What is a defining characteristic of this presidency? The final question which must be addressed by the PTF is, how can we use the assets in the database to concatenate the truth, and make the President speak it? The first attempt was Bushwack, in 1992. This turned into a huge hit before the Presidential election in 1992, though BMI denied that it was ever on the air at all. Through October of that year, stations such as San Francisco’s Live105 were playing it almost hourly. In 1997 Rock The House was a popular download at an early digital music download startup, muzic.com. In 2003 Bushwack2 was released at about the start of the Iraq war. The mood of the song is quite grim, as the truth of those times was interpreted by the PTF. In 2004, the PTF was reprogrammed to emphasize economics and general silliness, and Fuzzy Math was born. We think it’s the best one yet. Judge the results for yourself’. – thebots.net 01.19.26 DREXCIYA – Black Sea – The Journey Home, 12″ EP – Warp – 1995 First heard on either of Colin Faver’s or Colin Dale’s techno shows on KISS FM. Sounds more likely it was the former. 01.24.58 E-DANCER – Heavenly * – 12″ – KMS – 1997 The Inner City (‘Big Fun’) man, Kevin Saunderson with his techno head on. 01.28.51 CHARLES WEBSTER – Your Life * – 12″ – Peacefrog – 2000 Pitched up a bit (‘+3%’ says my file iD) this is a class slice of soulful techno/house. 01.33.11 CHARLOTTE DAY WILSON – Selfish – Download only – Stone Woman Music – 2025 This r&b musician has been around for a decade or so but I wouldn’t have guessed, judging by this slight departure to a ’90s UK garage feel (first half anyway). It suits her. 01.36.48 BENCH – Felice – Bliss, 2LP – Cylinder Recordings – 2000 The fifth appearance on 41 Rooms to date for this pretty much forgotten duo. 01.39.36 BLUE STATES – Your Girl – 12″ EP – Memphis Industries – 1999 First heard on a compilation CD a mate of mine, Sid put together, of fave tracks forwarded by mates of his. Not their own tracks, you understand. 01.43.45 THE MIRACLES – I’ll Try Something New – 7″ – Tamla – 1962 Hellfire! Those breakdown strings mid way are a bit of a jolt! Easy, Smokey! Writer, Robinson’s own version is actually the third to make it to 41 Rooms and his vocal arrangement sounds more like a remake than either Kiki Dee’s ‘straighter’ take or even the Supremes and Temptations stab at the song, when chronologically they both followed this Miracles single. 01.46.14 SMITH & MUDD – Blue River – 2LP – Claremont 56 – 2007 Electronic… downtempo… shuffling… drifting… or maybe flowing. 01.48.38 MERZ – A.M. (Good Morning) * – Single-sided, white label 12″ only – 1995 The second artist to return this show, multi instrumentalist and songwriter, Conrad Merz and his at times very idiosyncratic vocal (‘Many Weathers Apart’, for instance) seem to have trodden their own path through the years. 01.53.45 CRAIG ARMSTRONG (feat ELIZABETH FRASER) – This Love (& The Life That I Have) * – 41 Rooms Soft Mash Up only – Early 2000s I grabbed the extra voice – Virginia McKenna as Second World War spy Violette Szabo, reading the code poem The Life That I Have at the end of the film Carve Her Name With Pride – fully thirty plus years ago and I had a stab at floating it over This Love a long time ago but recently had another go. Aided by Jazz The Glass, we pitched her down slightly and then I took out a chunk of the poem in the second half. Not that it’s going to happen but I reckon it would need the song itself re-arranged/edited to work perfectly but methinks the idea is still a cool one. Show 147 hopefully surfaces Jan 4. Dec x The post Post Punk Plus Podcast Playlist 146 – Original upload 7.12.25 appeared first on 41Rooms.

In 1963, Capitol Records considered the Beatles “a band who looked and sounded weird with an odd name and no leader” and refused to release their records in America, despite being owned by EMI. As author Andrew Cook points out, “the truth is stranger than fiction”. New correspondence unearthed in his fascinating Capitol Gains maps out the tortuous wranglings of the deal-makers and “pantomime bad guys” behind the greatest and most successful marketing hype in history, all jockeying to take credit and manage their reputations. Some highlights here … … the truth behind Epstein's mythical phone calls … “the more successful the Beatles were, the more Capitol were proving themselves wrong” … why 1966 was the band's “Last Supper” … “from the Battle of Hastings to World War 2 to the Beatles ... it's the winners who rewrite history” … the American 12-track rule and how they repackaged product “to give it more grab” … the Beatles' commercial fate if they'd never been successful in the States … the pitiful (standard) original EMI deal – “18.75 of a penny per group member for every album” … the “Butcher sleeve”: how 750,000 were printed and the fortune lost in “Operation Retrieve”. And the Capitol exec whose kids made $1.5m from copies stashed in his garage … how Epstein was contracted to make 25 per cent of all Beatles monies ‘til 1975 … Bob Dylan's tangential role in the signing of the Beatles to Capitol … and the “cowboy film” that nearly happened. Order Capitol Gains here: https://www.amazon.co.uk/Capitol-Gains-Beatles-Conquered-America/dp/1803997281Help us to keep The Longest Conversation In Rock going: https://www.patreon.com/wordinyourear Hosted on Acast. See acast.com/privacy for more information.

In 1963, Capitol Records considered the Beatles “a band who looked and sounded weird with an odd name and no leader” and refused to release their records in America, despite being owned by EMI. As author Andrew Cook points out, “the truth is stranger than fiction”. New correspondence unearthed in his fascinating Capitol Gains maps out the tortuous wranglings of the deal-makers and “pantomime bad guys” behind the greatest and most successful marketing hype in history, all jockeying to take credit and manage their reputations. Some highlights here … … the truth behind Epstein's mythical phone calls … “the more successful the Beatles were, the more Capitol were proving themselves wrong” … why 1966 was the band's “Last Supper” … “from the Battle of Hastings to World War 2 to the Beatles ... it's the winners who rewrite history” … the American 12-track rule and how they repackaged product “to give it more grab” … the Beatles' commercial fate if they'd never been successful in the States … the pitiful (standard) original EMI deal – “18.75 of a penny per group member for every album” … the “Butcher sleeve”: how 750,000 were printed and the fortune lost in “Operation Retrieve”. And the Capitol exec whose kids made $1.5m from copies stashed in his garage … how Epstein was contracted to make 25 per cent of all Beatles monies ‘til 1975 … Bob Dylan's tangential role in the signing of the Beatles to Capitol … and the “cowboy film” that nearly happened. Order Capitol Gains here: https://www.amazon.co.uk/Capitol-Gains-Beatles-Conquered-America/dp/1803997281Help us to keep The Longest Conversation In Rock going: https://www.patreon.com/wordinyourear Hosted on Acast. See acast.com/privacy for more information.

1. Emílio Santiago - Bananeira (Dubdogz & JØRD Remix) 2. Mark Funk, Danny Cruz - The Vibe 3. Sgt Slick - Make It Happen 4. Ultra Naté - Free (Tasty Or Not Remix) 5. N.W.N., Sebb Junior - Come Again 6. Maut (BR) - Enjoy The Flight 7. House Freakers - Feel The Heat 8. Gwen McCrae - Keep The Fire Burning (Vitenberg Edit) 9. DECEMBR.12 - Dance For Me 10. Boogie Vice, N.You.Up, Joshua Morris - All By Design (Rafael Remix) 11. Bergerhaus - Sun Will Shine Another Day 12. Supernova - Velvet Avenue 13. AKAMI, CAMPANINI - Ritmo 14. Dario Nunez, Bubba Brothers - Shake Off The Drama

Welcome back to another episode of Upside at the EUVC Podcast, where ⁠Dan Bowyer⁠,⁠ Mads Jensen⁠ of ⁠SuperSeed⁠, ⁠Lomax Ward⁠ of ⁠Outsized Ventures⁠⁠⁠, and this week's special guest Robin Haak break down the real stories behind the headlines shaping European tech and venture.Robin joins us as the founder of Robin Capital, an early employee at SmartRecruiters, angel in 100+ companies, including eight unicorns, and one of the most active emerging GPs in Europe. He brings deep operator insight, especially into the German ecosystem, politics, and economy, which this episode leans heavily into.We cover everything from UK policy signals to German recession warnings, AI dominance to Europe's bureaucratic drag, the rise of solo GPs, and why the next decade of tech will be won or lost on energy availability more than anything else.What's covered:04:00 EU wants to restrict social media for minorsThe team debates the proposals to ban or limit social media for children under 16, the mental health case, and the tension between safety and overreach.06:00 Surveillance creep & messaging regulationRobin explains concerning drafts that would've allowed governments to read private messages. The group breaks down the slippery slope of “protect the children” legislation.10:00 UK Budget: surprisingly startup-friendlyDan and Lomax unpack EMI reforms, EIS/VCT clarity, and why the market reacted calmly. Signals of a more innovation-forward UK emerge.12:45 Lovable.ai's VAT scandal & Europe's compliance mazeA Swedish engineer's viral post on LinkedIn sparks a discussion on Europe's inconsistent VAT rules, compliance complexity, and whether hypergrowth and European regulation can co-exist.17:00 N26's long struggle with German regulatorsRobin, an early angel, offers an insider's view on the fintech's challenges—BaFin restrictions, governance issues, and the counterfactual: “Would N26 be worth €20B if it were French?”20:00 Germany's big macro problem: stagnation + overloadA brutally honest breakdown of the German economy: energy scarcity, migration overload, rising welfare costs, labor shortages, and political paralysis.28:00 Education, welfare, pensions & the cost structure crisisRobin explains why Germany's systems are buckling: the collapse of PISA scores, overloaded municipalities, and an economic model no longer supported by productivity.33:00 Nuclear shutdowns & Europe's AI energy deficitWhy Germany shut down its safest reactors, how it backfired, and why France and the Nordics will become the new AI infrastructure hubs.40:00 Startup ecosystem: the good, the bad, the bureaucraticFrom Munich's deep tech boom to notary nightmares, ESOP fixes, GmbH limitations, and how founders are learning to hack the system.55:00 The rise of Solo GPsThe team discusses the American roots, European trajectory, operator funds, fund-of-funds appetite, and why founders increasingly prefer solo GPs.01:00:00 AI CornerOpenAI's trillion-dollar capex future, Google's TPU resurgence, Anthropic momentum, Michael Burry shorting AI (and why it's misguided), and the geopolitics of compute.

In this conversation, Jimmy McLoughlin and Seb Johnson discuss the recent UK budget and its implications for entrepreneurs and startups. They explore the reactions from the Startup Coalition, the significance of changes to EMI and EIS, and the overall sentiment towards supporting the tech community. The discussion highlights the importance of government engagement with entrepreneurs and the need for effective implementation of budget measures to ensure they benefit the startup ecosystem. In this conversation, the speakers discuss the evolving landscape of innovation and government support for tech entrepreneurs in Europe, particularly in the UK. They explore the challenges and opportunities within the tech ecosystem, the importance of building a strong media presence for tech, and the geopolitical implications affecting European tech companies. The discussion also highlights the recent budget announcements and their potential impact on entrepreneurs, emphasizing the need for more accessible funding and support structures. The speakers call for feedback from the entrepreneurial community to shape future policies and ensure that the UK remains a competitive environment for tech innovation. The conversation delves into the challenges faced by entrepreneurs and businesses in the UK, particularly focusing on the impact of government policies, taxation, and cultural attitudes towards entrepreneurship. The speakers discuss the uncertainty in the business environment, the need for better government communication, and the importance of inspiring the next generation of entrepreneurs. They analyze the recent budget and its implications for economic growth, emphasizing the need for clarity and support for businesses to thrive. Chapters 00:00 Budget Reactions and Entrepreneurial Impact 08:17 Startup Coalition's Role and Perspectives 12:04 Key Budget Highlights for Startups 17:05 Incentives and Funding for Entrepreneurs 20:20 Future Focus: Non-Compete Agreements and Reviews 29:28 Navigating Innovation and Government Support 32:09 Scaling Europe: Building a Tech Media Powerhouse 35:28 European Nationalism in Tech Entrepreneurship 38:07 Geopolitical Implications for European Tech 39:07 Budget Insights for Entrepreneurs 43:40 The Call for Evidence: A Love Letter to Entrepreneurs 48:08 Reflections on the Budget and Its Impact 53:03 The Mood Music of UK Business and Investment 57:17 The Impact of Policy on Talent Retention 01:00:13 Uncertainty and Its Effects on Entrepreneurs 01:03:44 Government Communication Challenges 01:06:37 Cultural Attitudes Towards Entrepreneurship 01:10:16 Budget Analysis and Economic Choices 01:12:56 Policies for Growth and Business Encouragement 01:18:28 Navigating Taxation and Business Environment ********** Follow us on socials! Instagram: https://www.instagram.com/jimmysjobs Tiktok: https://www.tiktok.com/@jimmysjobsofthefuture Twitter / X: https://www.twitter.com/JimmyM Linkedin: https://www.linkedin.com/in/jimmy-mcloughlin-obe/ Want to come on the show? hello@jobsofthefuture.co Sponsor the show or Partner with us: sunny@jobsofthefuture.co Credits: Host / Exec Producer: Jimmy McLoughlin OBE Producer: Sunny Winter https://www.linkedin.com/in/sunnywinter/ Junior Producer: Thuy Learn more about your ad choices. Visit podcastchoices.com/adchoices

AIは情報を速く正確に返すことができる。 でも、怖さや詰まり、身体の微細な反応のような "生きた感覚" は理解できない。 本当の変化は、答えを知ることではなく、 感じた体験の奥で理解が生まれたときに起こる。 だから、 コーチングやファシリテーション 子育て トラウマや感情へのアクセス こうした領域では、人間の深さと関係性、そして "安全な器" が欠かせない。 急速に進化するAI時代だからこそ、 私たちが取り戻すべきものは、速さではなく深み。 沈黙や呼吸、安心の中で生まれる変容の力を、 これからも大切にしていきたいですね。 Enjoy the show.   Connect with Emi from here 

Before Operation: Mindcrime, there was this.Queensrÿche's 1984 debut The Warning is the album that almost didn't happen—at least not the way the band intended. While they were touring Japan, EMI executives remixed and completely rearranged their progressive metal masterpiece without permission, burying the band's weirdest, most ambitious material deeper in the tracklist. But even with corporate interference, The Warning stands as a pivotal moment in metal history: a Seattle band crafting something that sounded like nothing else in 1984, blending Iron Maiden gallops with Genesis-level prog complexity and Jeff Tate's otherworldly operatic vocals.In this episode, we break down why this debut matters—not just as a stepping stone to Mindcrime and Empire, but as a document of a band discovering their identity in real time. We debate whether it's a hidden gem or a rough draft, explore the label drama that reshaped the album's sequence, and dive into the tracks that reveal Queensrÿche's DNA: from the Maiden-esque power of “Deliverance” to the robotic sci-fi weirdness of “NM 156.” This is Double-A ball before the majors—you can see the talent, hear the potential, and witness five musicians isolated in Seattle creating something that would change progressive metal forever.If you love Iron Maiden, Judas Priest, Fates Warning, or Dream Theater, this episode is for you.Episode Highlights0:00 – Intro: Poll results and how The Warning won the Metal Union vote5:23 – Album context: Queensrÿche in 1984—Seattle isolation and the progressive metal blueprint12:45 – “Deliverance” – The opening track that wasn't supposed to open the album18:32 – The EMI remix controversy: How the label rearranged the album while the band toured Japan24:15 – “NM 156” – The weird, jazzy, robotic prog odyssey that terrified record executives31:40 – Jeff Tate's voice at 24: Operatic range, theatrical character work, and why he's more than just “metal Bruce Dickinson”38:50 – “Take Hold of the Flame” – The anthem that hints at Operation: Mindcrime44:20 – Geography matters: Why being in Seattle (not L.A.) saved this band from breaking up51:10 – “Road to Madness” – Epic ambition or forced prog? Debating the 10-minute closer58:30 – The verdict: EP, worthy album, or rough draft? The hosts cast their votes1:03:15 – What comes next: Rage for Order, Mindcrime, and the evolution into metal immortalityJoin the ConversationThis album won because you voted for it. Now it's your turn again—what 80s metal album should we break down next? Head to digmeoutpodcast.com to join the Metal Union, vote on future episodes, access bonus content, and join our private Discord community. Keep the show ad-free and help us dig deeper at dmounion.com.Subscribe, rate, and review wherever you listen to podcasts. Got a deep cut we need to cover? Drop your suggestions in the comments or hit us up on social media. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.digmeoutpodcast.com/subscribe

Microwave Journal editors Pat Hindle and Del Pierson review the articles int the 5G/6G special focus section, talk with Micro-Coax about EMI shielding and review industry news and events. Sponsored by RFMW and Micro-Coax.

Jerico Sabas, Product Manager at Micro Coax, talks about the importance of EMI shielding in various applications and newer materials that offer lighter weight, flexibility and improved shielding. Sponsored by Micro-Coax, an Amphenol company.

Send us a textWe return with industry updates and a stack of field questions, then dig into failed tests, fiber versus copper, PoE planning, hospital retrofit estimating, and the QA habits that prevent rework. The throughline is simple: document, communicate, and draw a hard line at safety and code.• Saving original test files and reading diagnostics• Verifying calibration and retesting comparable links• Choosing copper or fiber based on EMI, distance, and PoE• Proposing compliant alternatives when pushed to cut corners• Breaking hospital retrofits into zones and shifts• Building bid assumptions and weekly communication plans• Pulling four‑pair and matching connectors for PoE reliability• Running dual cables for wireless capacity and resilience• Establishing a QA process with 10 percent checks and photos• Assigning work by crew with traceable sign‑offs• Scheduling postmortems to capture and share lessonsMake sure you pay attention to my feed on December 6th. I have a huge announcement coming out.Support the showKnowledge is power! Make sure to stop by the webpage to buy me a cup of coffee or support the show at https://linktr.ee/letstalkcabling . Also if you would like to be a guest on the show or have a topic for discussion send me an email at chuck@letstalkcabling.com Chuck Bowser RCDD TECH#CBRCDD #RCDD

On October 14th, singer, songwriter and multi-instrumentalist D'Angelo died at the age of 51. Throughout his too short life, he made three unforgettable albums and cemented his legacy as one of the great artists of his time. Hosts Jim DeRogatis and Greg Kot pay tribute to D'Angelo by talking about his life, career and musical impact. They'll also revisit their classic album dissection of D'Angelo's masterpiece, Voodoo.Join our Facebook Group: https://bit.ly/3sivr9TBecome a member on Patreon: https://bit.ly/3slWZvcSign up for our newsletter: https://bit.ly/3eEvRnGMake a donation via PayPal: https://bit.ly/3dmt9lUSend us a Voice Memo: Desktop: bit.ly/2RyD5Ah Mobile: sayhi.chat/soundops Featured Songs:D'Angelo, "Untitled (How Does It Feel)," Voodoo, Virgin, 2000The Beatles, "With A Little Help From My Friends," Sgt. Pepper's Lonely Hearts Club Band, Parlophone, 1967D'Angelo, "Brown Sugar," Brown Sugar, EMI, 1995D'Angelo, "Playa Playa," Voodoo, Virgin, 2000D'Angelo, "Chicken Grease," Voodoo, Virgin, 2000D'Angelo, "Devil's Pie," Voodoo, Virgin, 2000D'Angelo, "One Mo'gin," Voodoo, Virgin, 2000D'Angelo, "Africa," Voodoo, Virgin, 2000D'Angelo, "The Root," Voodoo, Virgin, 2000D'Angelo, "Send It On," Voodoo, Virgin, 2000D'Angelo, "Feel like Makin' Love," Voodoo, Virgin, 2000D'Angelo and the Vanguard, "Sugah Daddy," Black Messiah, RCA, 2014D'Angelo and the Vanguard, "The Charade," Black Messiah, RCA, 2014D'Angelo and the Vanguard, "1000 Deaths," Black Messiah, RCA, 2014David Bowie, "Moonage Daydream," The Rise and Fall of Ziggy Stardust and the Spiders from Mars, RCA, 1972See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Long before he became famous as the sharp-tongued TV personality who launched the careers of pop stars, Simon Cowell was a rebellious teenager who dropped out of school and started his career in the mailroom at EMI. After a failed business left him nearly bankrupt, he found success by zigging where others zagged—initially by selling hit records based on TV shows like Power Rangers and WrestleMania. Eventually Simon got behind the TV camera himself, where his brutally honest feedback on shows like American Idol and The X Factor made him a household name. Today, through his company Syco Entertainment, Simon continues to discover new talent. His latest challenge: an upcoming Netflix show where he'll try to build a boy band from scratch.This episode was produced by Josh Lash, and edited by Neva Grant, with research by Iman Maani. Our audio engineers were Patrick Murray and Jimmy Keeley.You can follow HIBT on X and Instagram, and email us at hibt@id.wondery.com. Sign up for Guy's newsletter at guyraz.com or Substack.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.