Podcasts about Estate

This is a Grave Talks CLASSIC EPISODE! PART TWOIn the small town of Trinway, Ohio, the grand Prospect Place Estate has stood since 1856. Built by abolitionist George Willison Adams, the 29-room mansion once served as a symbol of freedom and progress, playing a role in the history of the Underground Railroad.Today, the estate is known for something else—its reputation as one of Ohio's most haunted locations.Amy Green of the G.W. Adams Educational Center joins us to explore the remarkable history of Prospect Place and the chilling encounters reported by visitors and investigators alike. Shadow figures, disembodied voices, ghostly laughter, and even the lingering scent of cigar smoke have all been experienced within its walls.But who—or what—still remains at Prospect Place?#ProspectPlace #ProspectPlaceEstate #HauntedOhio #TheGraveTalks #UndergroundRailroad #HauntedMansion #ParanormalPodcast #GhostEncounters #HistoricHauntings #ParanormalInvestigation #OhioGhosts #SupernaturalStoriesLove real ghost stories? Want even more?Become a supporter and unlock exclusive extras, ad-free episodes, and advanced access:

This is a Grave Talks CLASSIC EPISODE!In the small town of Trinway, Ohio, the grand Prospect Place Estate has stood since 1856. Built by abolitionist George Willison Adams, the 29-room mansion once served as a symbol of freedom and progress, playing a role in the history of the Underground Railroad.Today, the estate is known for something else—its reputation as one of Ohio's most haunted locations.Amy Green of the G.W. Adams Educational Center joins us to explore the remarkable history of Prospect Place and the chilling encounters reported by visitors and investigators alike. Shadow figures, disembodied voices, ghostly laughter, and even the lingering scent of cigar smoke have all been experienced within its walls.But who—or what—still remains at Prospect Place?#ProspectPlace #ProspectPlaceEstate #HauntedOhio #TheGraveTalks #UndergroundRailroad #HauntedMansion #ParanormalPodcast #GhostEncounters #HistoricHauntings #ParanormalInvestigation #OhioGhosts #SupernaturalStoriesLove real ghost stories? Want even more?Become a supporter and unlock exclusive extras, ad-free episodes, and advanced access:

Estate planning isn't just a legal task — it's one of the most meaningful acts of care you can take for the people (and animals) you love. In this episode, hosts Kristi Ackley and Ali Schneider sit down with Rachel Schromen, estate planning attorney and founder of Schromen Law in St. Paul, Minnesota, to demystify the process and make it feel a whole lot less scary. Rachel brings a refreshingly human approach to a field often seen as cold or intimidating — blending her legal expertise with training as an end-of-life doula and a deep belief that emotions belong in the room.✨ In this episode, you'll learn: Why making the appointment is the hardest — and most important — first step How emotional barriers keep people from planning, and how to move through them What to expect at your first estate planning meeting Why even a small estate deserves legal protection The difference between a healthcare directive, power of attorney, will, and trust — and when you need each Which life events should prompt a review of your estate plan How to incorporate charitable giving into your plan, regardless of estate size Why pet planning matters more than most people realize — and how to do it thoughtfully

On today's podcast, we interview Beth Novak, President & CEO, and Aron Weinkauf, Winemaker & Vineyard Manager, of Spottswoode Estate. We deeply respect Spottswoode for its farming practices and the wines it produces; they are among our favorites in the valley. Spottswood is a family-owned winery that cares not just about the vines they farm or the wines they produce, but also the people involved in making them. The estate has a long history, and it is one of the only vineyards in California certified regenerative organic, which we obviously love. We dive into the property's history, Beth and Aron's journey, their industry-leading progressive farming and winemaking practices, and what Napa needs going forward. 

IQ versus EQ in estate and letting agency: why emotional intelligence matters. I chat with Grace Milham about how understanding people, from landlords to teams, boosts results, improves interactions, and turns good agents into great ones. Practical EQ tips included.

Dj Justin e Dj CiomMix negli studi di Delta 1 per "Questa estate non finirà". Tutti gli interventi con Daniele Di Ianni.

How do you capture something as enormous and personal as the feeling of “home” in a book? How can you navigate the chaotic discovery period in writing something new? With Roz Morris. In the intro, KU vs Wide [Written Word Media]; Podcasts Overtake Radio, book marketing implications [The New Publishing Standard]; Tips for podcast guests; The Vatican embraces AI for translation, but not for sermons [National Catholic Reporter]; NotebookLM; Self-Publishing in German; Bones of the Deep. This episode is sponsored by Publisher Rocket, which will help you get your book in front of more Amazon readers so you can spend less time marketing and more time writing. I use Publisher Rocket for researching book titles, categories, and keywords — for new books and for updating my backlist. Check it out at www.PublisherRocket.com This show is also supported by my Patrons. Join my Community at Patreon.com/thecreativepenn Roz Morris is an award-nominated literary fiction author, memoirist, and previously a bestselling ghostwriter. She writes writing craft books for authors under the Nail Your Novel brand, and is also an editor, speaker, and writing coach. Her latest travel memoir is Turn Right at the Rainbow: A Diary of House-Hunting, Happenstance & Home. You can listen above or on your favorite podcast app or read the notes and links below. Here are the highlights and the full transcript is below. Show Notes How being an indie author has evolved over 15 years, from ebooks-only to special editions, multi-voice audiobooks and tools to help with everything Why “home” is such a powerful emotional theme and how to turn personal experiences into universal memoir Practical craft tips on show-don't-tell, writing about real people, and finding the right book title The chaotic discovery writing phase — why some books take seven years and why that's okay Building a newsletter sustainably by finding your authentic voice (and the power of a good pet story) Low-key book marketing strategies for memoir, including Roz's community-driven “home” collage campaign You can find Roz at RozMorris.org. Transcript of the interview with Roz Morris JOANNA: Roz Morris is an award-nominated literary fiction author, memoirist, and previously a bestselling ghostwriter. She writes writing craft books for authors under the Nail Your Novel brand, and is also an editor, speaker, and writing coach. Her latest travel memoir is Turn Right at the Rainbow: A Diary of House-Hunting, Happenstance & Home. Welcome back to the show, Roz. ROZ: Hi, Jo. It's so lovely to be back. I love that we managed to catch up every now and again on what we're doing. We've been doing this for so long. JOANNA: In fact, if people don't know, the first time you came on this show was 2011, which is 15 years. ROZ: I know! JOANNA: It is so crazy. I guess we should say, we do know each other in person, in real life, but realistically we mainly catch up when you come on the podcast. ROZ: Yes, we do, and by following what we're doing around the web. So I read your newsletters, you read mine. JOANNA: Exactly. So good to return. You write all kinds of different things, but let's first take a look back. The first time you were on was 2011, 15 years ago. You've spanned traditional and indie, you've seen a lot. You know a lot of people in publishing as well. What are the key things you think have shifted over the years, and why do you still choose indie for your work? ROZ: Well, lots of things have shifted. Some things are more difficult now, some things are a lot easier. We were lucky to be in right at the start and we learned the ropes and managed to make a lot of contacts with people. Now it's much more difficult to get your work out there and noticed by readers. You have to be more knowledgeable about things like marketing and promotions. But that said, there are now much better tools for doing all this. Some really smart people have put their brains to work about how authors can get their work to the right readers, and there's also a lot more understanding of how that can be done in the modern world. Everything is now much more niche-driven, isn't it? People know exactly what kind of thriller they like or what kind of memoir they like. In the old days it was probably just, “Well, you like thrillers,” and that could be absolutely loads of things. Now we can find far better who might like our work. The tools we have are astonishing. To start with, in about 2011, we could only really produce ebooks and paperbacks. That was it. Anything else, you'd have to get a print run that would be quite expensive. Now we can get amazing, beautiful special editions made. We can do audiobooks, multi-voice audiobooks. We can do ebooks with all sorts of enhancements. We can even make apps if we want to. There's absolutely loads that creators can do now that they couldn't before, so it's still a very exciting world. JOANNA: When we first met, there was still a lot of negativity here in the UK around indie authors or self-publishing. That does feel like it's shifted. Do you think that stigma around self-publishing has changed? ROZ: I think it has really changed, yes. To start with, we were regarded as a bit of the Wild West. We were just tramping in and making our mark in places that we hadn't been invited into. Now it's changed entirely. I think we've managed to convince people that we have the same quality standards. Readers don't mind—I don't think the readers ever minded, actually, so long as the book looked right, felt right, read right. It's much easier now. It's much more of a level playing field. We can prove ourselves. In fact, we don't necessarily have to prove ourselves anymore. We just go and find readers. JOANNA: Yes, I feel like that. I have nothing to prove. I just get on with my work and writing our books and putting them out there. We've got our own audiences now. I guess I always think of it as perhaps not a shadow industry, but almost a parallel industry. You have spanned a lot of traditional publishing and you still do editing work. You know a lot of trad pub authors too. Do you still actively choose indie for a particular reason? ROZ: I do. I really like building my own body of work, and I'm now experienced enough to know what I do well, what I need advice with, and help with. I mean, we don't do all this completely by ourselves, do we? We bring in experts who will give us the right feedback if we're doing a new genre or a genre that's new to us. I choose indie because I like the control. Because I began in traditional publishing—I was making books for other people—I just learned all the trades and how to do everything to a professional standard. I love being able to apply that to my own work. I also love the way I can decide what I'm going to write next. If I was traditionally published, I would have to do something that fitted with whatever the publisher would want of me, and that isn't necessarily where my muse is taking me or what I've become interested in. I think creative humans evolve throughout their lives. They become interested in different things, different themes, different ways of expressing themselves. I began by thinking I would just write novels, and now I've found myself writing memoirs as well. That shift would have been difficult if someone else was having to make me fit into their marketing plans or what their imprint was known for. But because I've built my own audience, I can just bring them with me and say, “You might like this. It's still me. I'm just doing something different.” JOANNA: I like that phrase: “creative humans.” That's what we are. As you say, I never thought I would write a memoir, and then I wrote Pilgrimage, and I think there's probably another one on its way. We do these different things over time. Let's get into this new book, Turn Right at the Rainbow. It's about the idea of home. I've talked a lot about home on my Books And Travel Podcast, but not so much here. Why is home such an emotional topic, for both positive and negative reasons? Why did you want to explore it? ROZ: I think home is so emotional because it grows around you and it grows on you very slowly without you really realising it. As you are not looking, you suddenly realise, “Oh, it means such a lot.” I love to play this mind game with myself—if you compare what your street looks like to you now and how it looked the first time you set eyes on it, it's a world of difference. There are so many emotional layers that build up just because of the amount of time we spend in a place. It's like a relationship, a very slow-growing friendship. And as you say, sometimes it can be negative as well. I became really fascinated with this because we decided to move house and we'd lived in the same house for about 30 years, which is a lot of time. It had seen a lot of us—a lot of our lives, a lot of big decisions, a lot of good times, a lot of difficult times. I felt that was all somehow encapsulated in the place. I know that readers of certain horror or even spiritual fiction will have this feeling that a place contains emotions and pasts and all sorts of vibes that just stay in there. When we were going around looking at a house to buy, I was thinking, “How do we even know how we will feel about it?” We're moving out of somewhere that has immense amounts of feelings and associations, and we're trying to judge whether somewhere else will feel right. It just seemed like we were making a decision of cosmic proportions. It comes down so much to chance as well. You're not only just deciding, “Okay, I'd like to buy that one,” and pressing a button like on eBay and you've won it. It doesn't happen like that. There are lots of middle steps. The other person's got to agree to sell to you, not do the dirty on you and sell to someone else. You've got all sorts of machinations going on that you have no idea about. And you only have what's on offer—you only get an opportunity to buy a place because someone else has decided to let it go. All this seemed like immense amounts of chance, of dice rolling. I thought, yet we end up in these places and they mean so much to us. It just blew my mind. I thought, “I've got to write about this.” JOANNA: It's really interesting, isn't it? I really only started using the word “home” after the pandemic and living here in Bath. We had luckily just bought a house before then, and I'd never really considered anywhere to be a home. I've talked about this idea of third culture kids—people who grow up between cultures and don't feel like there's a home anywhere. I was really interested in your book because there's so much about the functional things that have to happen when you move house or look for a house, and often people aren't thinking about it as deeply as you are. So did you start working on the memoir as you went to see places, or was it something you thought about when you were leaving? Was it a “moving towards” kind of memoir or a “sad nostalgia” memoir? ROZ: Well, it could have been very sad and nostalgic because I do like to write really emotional things, and they're not necessarily for sharing with everybody, but I was very interested in the emotions of it. I started keeping diaries. Some of them were just diaries I'd write down, some of them were emails I'd send to friends who were saying, “How's it going?” And then I'd find I was just writing pieces rather than emails, and it built up really. JOANNA: It's interesting, you said you write emotional things. We mentioned nostalgia, and obviously there are memories in the home, but it's very easy to say a word like “nostalgia” and everyone thinks that means different things. One of the important things about writing is to be very specific rather than general. Can you give us some tips about how we can turn big emotions into specific written things that bring it alive for our readers? ROZ: It's really interesting that you mention nostalgia, because what we have to be careful of is not writing just for ourselves. It starts with us—our feelings about something, our responses, our curiosities—but we then have to let other people in. There's nothing more boring than reading something that's just a memoir manuscript that doesn't reach out to anyone in any way. It's like looking through their holiday snaps. What you have to do is somehow find something bigger in there that will allow everyone to connect and think, “Oh, this is about me too,” or “I've thought this too.” As I said, we start with things that feel powerful and important for us, and I think we don't necessarily need to go looking for them. They emerge the more deeply we think about what we're writing. We find they're building. Certainly for me, it's what pulls me back to an idea, thinking, “There's something in this idea that's really talking to me now. What is it?” Often I'll need to go for walks and things to let the logical mind turn off and ideas start coming in. But I'll find that something is building and it seems to become more and more something that will speak to others rather than just to me. That's one way of doing it—by listening to your intuition and delving more and more until you find something that seems worth saying to other people. But you could do it another way. If you decided you wanted to write a book about home, and you'd already got your big theme, you could then think, “Well, how will I make this into something manageable?” So you start with something big and build it into smaller-scale things that can be related to. You might look at ideas of homes—situations of people who have lost their home, like the kind of displacement we see at the moment. Or we might look at another aspect, such as people who sell homes and what they must feel like being these go-betweens between worlds, between people who are doing these immense changes in their lives. Or we might think of an ecological angle—the planet Earth and what we're doing to it, or our place in the cosmos. We might start with a thing we want to write about and then find, “How are we going to treat it?” That usually comes down to what appeals to us. It might be the ecological side. It might be the story of a few estate agents who are trying to sell homes for people. Or it might be like mine—just a personal story of trying to move house. From that, we can create something that will have a wider resonance as well as starting with something that's personally interesting to you. The big emotions will come out of that wider resonance. JOANNA: Trying to go deeper on that— It's the “show, don't tell” idea, isn't it? If you'd said, “I felt very sad about leaving my house” or “I felt very sad about the prospect of leaving my house,” that is not a whole book. ROZ: Yes. It's why you felt sad, how you felt sad, what it made you think of. That's a very good point about “show, don't tell,” which is a fundamental writing technique. It basically tells people exactly how you feel about a particular thing, which is not the same as the way anyone else would feel about it—but still, curiously, it can be universal and something that we can all tap into. Funnily enough, by being very specific, by saying, “I realised when we'd signed the contract to sell the house that it wasn't ours anymore, and it had been, and I felt like I was betraying it,” that starts to get really personal. People might think, “Yes, I felt like that too,” or “I hadn't thought you'd feel like that, but I can understand it.” Those specifics are what really let people into the journey that you're taking them on. JOANNA: And isn't this one of the challenges, that we're not even going to use a word like “sad,” basically. ROZ: Yes. It's like, who was it who said, “Don't tell me if they got wet—tell me how it felt to get wet in that particular situation.” Then the reader will think, “Oh yes, they got wet,” but they'll also have had an experience that took them somewhere interesting. JOANNA: Yes. Show me the raindrops on the umbrella and the splashing through the puddles. I think this is so important with big emotions. Also, when we say nostalgia—we've talked before about Stranger Things and Kate Bush and the way Stranger Things used songs and nostalgia. Oh, I was watching Derry Girls—have you seen Derry Girls? ROZ: No, I haven't yet. JOANNA: Oh, it's brilliant. It's so good. It's pretty old now, but it's a nineties soundtrack and I'm watching going, “Oh, they got this so right.” They just got it right with the songs. You feel nostalgic because you feel an emotion that is linked to that music. It makes you feel a certain way, but everyone feels these things in different ways. I think that is a challenge of fiction, and also memoir. Certainly with memoir and fiction, this is so important. ROZ: Yes, and I was just thinking with self-help books, it's even important there because self-help books have to show they understand how the reader is feeling. JOANNA: Yes, and sometimes you use anecdotes to do that. Another challenge with memoir—in this book, you're going round having a look at places, and they're real places and there are real people. This can be difficult. What are things that people need to be wary of if using real people in real places? Do you need permissions for things? ROZ: That book was particularly tricky because, as you said, I was going around real places and talking about real people. With most of them, they're not identifiable. Even though I was specific about particular aspects of particular houses, it would be very hard for anyone to know where those houses were. I think possibly the only way you would recognise it is if that happened to be your own house. The people, similarly—there's a lot about estate agents and other professionals. They were all real incidents and real things that happened, but no one is identifiable. A very important thing about writing a book like this is you're always going to have antagonists, because you have to have people who you're finding difficult, people who are making life a bit difficult for you. You have to present them in a way that understands what it's like to be them as well. If you're writing a book where your purpose is to expose wrongdoing or injustices, then you might be more forthright about just saying, “This is wrong, the way this person behaved was wrong.” You might identify villains if that's appropriate, although you'd have to be very careful legally. This kind of book is more nuanced. The antagonists were simply people who were trying to do the right thing for them. You have to understand what it's like to be them. Quite a lot of the time, I found that the real story was how ill-equipped I sometimes felt to deal with people who were maybe covering something up, or maybe not, but just not expressing themselves very clearly. Estate agents who had an agenda, and I was thinking, “Who are they acting for? Are they acting for me, or are they acting for someone else that we don't even know about?” There's a fair bit of conflict in the book, but it comes from people being people and doing what they have to do. I just wanted to find a good house in an area that was nice, a house I could trust and rely on, for a price that was right. The people who were selling to me just wanted to sell the house no matter what because that was what they needed to do. You always have to understand what the other person's point of view is. Often in this kind of memoir, even though you might be getting very frustrated, it's best to also see a bit of a ridiculous side to yourself—when you're getting grumpy, for instance. It's all just humans being humans in a situation where ultimately you're going to end up doing a life-changing and important thing. I found there's quite a lot of humour in that. We were shuffling things around and, as I said, we were eventually going to be making a cosmic change that would affect the place we called home. I found that quite amusing in a lot of ways. I think you've got to be very levelheaded about this, particularly about writing about other people. Sometimes you do have to ask for permission. I didn't have to do that very much in this book. There were people I wrote about who are actually friends, who would recognise themselves and their stories. I checked that they didn't mind me quoting particular things, and they were all fine with that. In my previous memoir, Not Quite Lost, I actually wrote about a group of people who were completely identifiable. They would definitely have known who they were, and other people would have known who they were. There was no hiding them. They were the people near Brighton who were cryonicists—preserving dead bodies, freezing them, in the hope that they could be revived at a much later date when science had solved the problem that killed them. I went to visit this group of cryonicists, and I'd written a diary about it at the time. Then I followed up when I was writing the book to find out what happened to them. I thought, I've simply got to contact them and tell them I'm going to write this. “I'll send it to you, you give me your comments,” and I did. They gave me some good comments and said, “Oh, please don't put that,” or “Let me clarify this.” Everything was fine. So there I did actually seek them out and check that what I was going to write was okay. JOANNA: Yes, in that situation, there can't be many cryonicists in that area. ROZ: They really were identifiable. JOANNA: There's probably only one group! But this is really interesting, because obviously memoir is a personal thing. You're curating who you are as well in the book, and your husband. I think it's interesting, because I had the problem of “Am I giving away too much about myself?” Do you feel like with everything you've written, you've already given away everything about yourself by now? Are you just completely relaxed about being personal, for yourself and for your husband? ROZ: I think I have become more relaxed about it. My first memoir wasn't nearly as personal as yours was. You were going to some quite difficult places. With Turn Right at the Rainbow, I was approaching some darker places, actually, and I had to consider how much to reveal and how much not to. But I found once I started writing, the honesty just took over. I thought, “This is fine. I have read plenty of books that have done this, and I've loved them. I've loved getting to know someone on that deeper level.” It was just something I took my example from—other writers I'd enjoyed. JOANNA: Yes. I think that's definitely the way memoir has to happen, because it can be very hard to know how to structure it. Let's come to the title. Turn Right at the Rainbow. Really great title, and obviously a subtitle which is important as well for theme. Talk about where the title came from and also the challenges of titling books of any genre. You've had some other great titles for your novels—at least titles I've thought, “Oh yes, that's perfect.” Titling can be really hard. ROZ: Oh, thank you for that. Yes, it is hard. Ever Rest, which was the title of my last novel, just came to me early on. I was very lucky with that. It fitted the themes and it fitted what was going on, but it was just a bolt from the blue. I found that also with Turn Right at the Rainbow, it was an accident. It slipped out. I was going to call it something else, and then this incident happened. “Turn Right at the Rainbow” is actually one of the stories in the book. I call it the title track, as if it's an album. We were going somewhere in the car and the sat nav said, “Turn right at the rainbow.” And Dave and I just fell about, “What did it just say?!” It also seemed to really sum up the journey we were on. We were looking for rainbows and pots of gold and completely at the mercy of chance. It just stayed with me. It seemed the right thing. I wrote the piece first and then I kept thinking, “Well, this sounds like a good title.” Dave said it sounded like a good title. And then a friend of mine who does a lot of beta reading for me said, “Oh, that is the title, isn't it?” When several people tell you that's the title, you've got to take notice. But how we find these things is more difficult, as you said. You just work and work at it, beating your head against the wall. I find they always come to me when I'm not looking. It really helps to do something like exercise, which will put you in a bit of a different mind state. Do you find this as well? JOANNA: Yes, I often like a title earlier on that then changes as the book goes. I mean, we're both discovery writers really, although you do reverse outlines and other things. You have a chaotic discovery phase. I feel like when I'm in that phase, it might be called something, and then I often find that's not what it ends up being, because the book has actually changed in the process. ROZ: Yes, very much. That's part of how we realise what we should be writing. I do have working titles and then something might come along and say, “This seems actually like what you should call it and what you've been working towards, what you've been discovering about it.” I think a good title has a real sense of emotional frisson as well. With memoir, it's easier because we can add a subtitle to explain what we mean. With fiction, it's more difficult. We've got to really hope that it all comes through those few words, and that's a bit harder. JOANNA: Let's talk about your next book. On your website it says it might be a novel, it might be narrative nonfiction, and you have a working title of Four. I wondered if you'd talk a bit more about this chaotic discovery writing phase when we just don't know what's coming. I feel like you and I have been doing this long enough—you longer than me—so maybe we're okay with it. But newer writers might find this stage really difficult. Where's the fun in it? Why is it so difficult? And how can people deal with it? ROZ: You've summed that up really well. It's fun and it's difficult, and I still find it difficult even after all these years. I have to remind myself, looking back at where Ever Rest started, because that was a particularly difficult one. It took me seven years to work out what to do with it, and I wrote three other books in the meantime. It just comes together in the end. What I find is that something takes root in my mind and it collects things. The title you just picked out there—the book with working title of Four—it's now two books. One possibly another memoir and one possibly fiction. It's evolving all the time. I'm just collecting what seems to go with it for now and thinking, “That belongs with it somehow. I don't yet know how, but my intuition is that the two work well together.” There's a harmony there that I see. In the very early stages, that's what I find something is. Then I might get a more concrete idea, say a piece of story or a character, and I'll have the feeling that they really fit together. Once I've got something concrete like that, I can start doing more active research to pursue the idea. But in the beginning, they're all just little twinkles in the eye and you just have to let them develop. If you want to get started on something because you feel you want to get started and you don't feel happy if you're not working on something, you could do a far more active kind of discovery. Writing lists. Lists are great for this. I find lists of what you don't want it to be are just as helpful as what you do want it to be because that certainly narrows down a lot and helps you make good choices. You've got a lot of choices to make at the beginning of a book. You've got to decide: What's it going to be about? What isn't it going to be about? What kind of characters am I interested in? What kind of situations am I interested in? What doesn't interest me about this situation? Very important—saves you a lot of time. What does interest me? If you can start by doing that kind of thing, you will find that you start gathering stuff that gets attracted to it. It's almost like the world starts giving it to you. This is discovery writing, but it's also chivvying it along a bit and getting going. It does work. Joanna: I like the idea of listing what you don't want it to be. I think that's very useful because often writers, especially in the early stages—or even not, I still struggle with this—it's knowing what genre it might actually be. With Bones of the Deep, which is my next thriller, it was originally going to be horror and I was writing it, and then I realised one of the big differences between horror and thriller is the ending and how character arcs are resolved and the way things are written. I was just like, “Do you know what? I actually feel like this is more thriller than horror,” and that really shaped the direction. Even though so much of it was the same, it shaped a lot about the book. It's always hard talking about this stuff without giving spoilers, but I think deciding, “Okay, this is not a horror,” actually helped me find my way back to thriller. ROZ: Yes, I do know what you mean. That makes perfect sense to me, with no spoilers either. It's so interesting how a very broad-strokes picture like that can still be very helpful. Just trying to make something a bit different from the way you've been envisaging it can lead to massive breakthroughs. “Oh no, it's not a thriller—I don't have to be aiming for that kind of effect.” Or try changing the tone a little bit and see if that just makes you happier with what you're making, more comfortable with it. JOANNA: You mentioned the seven years that Ever Rest took. We should say the title is in two words—”Ever” and “Rest”—but it is also about Everest the mountain in many ways. That's why it's such a perfect title. If that took seven years and you were doing all this other stuff and writing other books along the way, how do you keep your research under control? How do you do that? I still use Scrivener projects as my main research place. How do you do your research and organisation? ROZ: A lot of scraps of paper. My desk is massive. It used to be a dining table with leaves in it. It's spread out to its fullest length, and it's got heaps of little pieces of paper. I know what's on them all, and there are different areas, different zones. I'm very much a paper writer because I like the tangibility of it. I also like the creativity of taking a piece of paper and tearing it into an odd shape and writing a note on that. It seems as sort of profound and lucky as the idea. I really like that. I do make text files and keep notes that way. Once something is starting to get to a phase where it's becoming serious, it will then be a folder with various files that discuss different aspects of it. I do a lot of discussing with myself while writing, and I don't necessarily look at it all again. The writing of it clarifies something or allows me to put something aside and say, “No, that doesn't quite belong.” Gradually I start to look at things, look at what I've gathered, and think, “How does this fit with this?” And it helps to look away as well. As I said with finding titles, sometimes the right thing is in your subconscious and it's waiting to just sail in if you look at it in a different way. There's a lot to be said for working on several ideas, not looking at some of them for a while, then going back and thinking, “Oh, I know what to do with this now.” JOANNA: Yes. My Writing the Shadow, I was talking about that when we met, and that definitely took about a decade. ROZ: Yes. JOANNA: I kept having to come back to that, and sometimes we're just not ready. Even as experienced writers, we're not ready for a particular book. With Bones of the Deep, I did the trip that it's based on in 1999. Since I became a writer, I've thought I have to use that trip in some way, and I never found the right way to use it. I came at it a couple of times and it just never sat right with me. Then something on this master's course I'm doing around human remains and indigenous cultures just suddenly all clicked. You can't really rush that, can you? ROZ: You absolutely can't. It's something you develop a sense for, the more you do—whether something's ready or whether you should just let it think about itself for a while whilst you work on something else. It really helps to have something else to work on because I panic a bit if I don't have something creative to do. I just have to create, I have to make things, particularly in writing. But I also like doing various little arty things as well. I need to always have something to be writing about or exploring in words. Sometimes a book isn't ready for that intense pressure of being properly written. So it helps to have several things that I can play with and then pick one and go, “Okay, now I'm going to really perform this on the page.” JOANNA: Do you find that nonfiction—because you have some craft books as well—do you find the nonfiction side is quite different? Can you almost just go and write a nonfiction book or work on someone else's project? Does that use a different kind of creativity? ROZ: Yes, it does. Creativity where you're trying to explain something to creative people is totally different from creativity where you're trying to involve them in emotions and a journey and nuances of meaning. They're very different, but they're still fun. So, yes, I am an editor as well, and that feeds my creativity in various unexpected ways. I'll see what someone has done and think, “Oh, that's very interesting that they did that.” It can make me think in different ways—different shapes for stories, different kinds of characters to have. It really opens your eyes, working with other creative people. JOANNA: I wanted to return to what you said at the beginning, that it is more difficult these days to get our work noticed. There's certainly a challenge in writing a travel memoir about home. What are you doing to market this book? What have you learned about book marketing for memoir in particular that might help other people? ROZ: Partly I realised it was quite a natural progression for me because in my newsletter I always write a couple of little pieces. I think they're called “life writing.” Just little things that have happened to me. That's sort of like memoir, creative nonfiction, personal essays. I was quite naturally writing that sort of thing to my newsletter readers, and I realised that was already good preparation for the kind of way that I would write in a memoir. As for the actual campaign, I actually came up with an idea which quite surprised me because I didn't think I was good at that. I'm making a collage of the word “home” written in lots of different handwriting, on lots of different things, in lots of different languages. I'm getting people to contribute these and send them to me, and I'm building them into a series of collages that's just got the word “home” everywhere. People have been contributing them by sending them by email or on Facebook Messenger, and I've been putting them up on my social platforms. They look stunning. It's amazing. People are writing the word “home” on a post-it or sticking it to a picture of their radiator. Someone wrote it in snow on her car when we had snow. Someone wrote it on a pottery shard she found in her drive when she bought the house. She thought it was mysterious. There are all these lovely stories that people are telling me as well. I'm making them into little artworks and putting them up every day as the book comes to launch. It's so much fun, and it also has a deeper purpose because it shows how home is different for all of us and how it builds as uniquely as our handwriting. Our handwriting has a story. I should do a book about that! JOANNA: That's a weird one. Handwriting always gets me, although it'd be interesting these days because so many people don't handwrite things anymore. You can probably tell the age of someone by how well-developed their handwriting is. ROZ: Except mine has just withered. I can barely write for more than a few minutes. JOANNA: Oh, I know what you mean. Your hand gets really tired. ROZ: We used to write three-hour exams. How did we do that? JOANNA: I really don't know. JOANNA: Just coming back on that. You mentioned mainly you're doing your newsletter and connecting with your own community. You've done podcasts with me and with other people. But I feel like in the indie community, the whole “you must build your newsletter” thing is described as something quite frantic. How have you built a newsletter in a sustainable manner? ROZ: I've built it by finding what suited me. To start with I thought, “What will I put in it? News, obviously.” But I wasn't doing that much that was newsworthy. Then I began to examine what news could actually be. The turning point really happened when I wrote the first memoir, Not Quite Lost: Travels Without a Sense of Direction. I thought, “I have to explain to people why I'm writing a memoir,” because it seemed like a very audacious thing to do—”Read about me!” I thought I had to explain myself. So I told the story of how I came to think about writing such an audacious book. I just found a natural way to tell stories about what I was doing creatively. I thought, “I like this. I like writing a newsletter like this.” And it's not all me, me, me. It's “I'm discovering this and it makes me think this,” and it just seems to be generally about life, about little questions that we might all face. From then, I found I really enjoyed writing a newsletter because I felt I had something to say. I couldn't put lists of where I was speaking, what I was teaching, what special offers I had, because that wasn't really how my creative life worked. Once I found something I could sustainably write about every month, it really helped. Oh, it also helps to have a pet, by the way. JOANNA: Yes, you have a horse! ROZ: I've got a horse. People absolutely love hearing the stories about my ongoing relationship with this horse. Even if they're not horsey, they write to me and say, “We just love your horse.” It helps to have a human interest thing going on like that. So that works for me. Everyone's got different things that will work for them. But for me, it builds just a sense of connection, human connection. I'm human, making things. JOANNA: In terms of actually getting people signed up—has it literally just been over time? People have read your book, signed up from the link at the back? Have you ever done any specific growth marketing around your newsletter? ROZ: I tried a little bit of growth marketing. I have a freebie version of one of my Nail Your Novel books and I put that on a promotion site. I got lots of newsletter signups, but they sort of dwindled away. When I get unsubscribes, it's usually from that list, because it wasn't really what they came for. They just came for a free book of writing tips. While I do writing tips on my blog—I'm still doing those—it wasn't really what my newsletter was about. What I found was that that wasn't going to get people who were going to be interested long-term in what I was writing about in my newsletter. Whatever you do, I found, has got to be true to what you are actually giving them. JOANNA: Yes, I think that's really key. I make sure I email once every couple of weeks. And you welcome the unsubscribes. You have to welcome them because those people are not right for you and they're not interested in what you're doing. At the end of the day, we're still trying to sell books. As much as you're enjoying the connection with your audience, you are still trying to sell Turn Right at the Rainbow and your other books, right? ROZ: Absolutely, yes. And as you say, someone who decides, “No, not for me anymore,” and that's good. There are still people who you are right for. JOANNA: Mm-hmm. ROZ: I do market my newsletter in a very low-key way. I make a graphic every month for the newsletter, it's like a magazine cover. “What's in it?” And I put that around all my social media. I change my Facebook page header so it's got that on it, my Bluesky header. People can see what it's like, what the vibe is, and they know where to find it if they're interested. I find that kind of low-key approach works quite well for what I'm offering. It's got to be true to what you offer. JOANNA: Yes, and true for a long-term career, I think. When I first met you and your husband Dave, it was like, “Oh, here are some people who are in this writing business, have already been in it for a while.” And both of you are still here. I just feel like— You have to do it in a sustainable way, whether it's writing or marketing or any of this. The only way to do it is to, as you said, live as a creative human and not make it all frantic and “must be now.” ROZ: Yes. I mean, I do have to-do lists that are quite long for every week, but I've learned to pace myself. I've learned how often I can write a good blog post. I could churn out blog posts that were far more frequent, but they wouldn't be as good. They wouldn't be as properly thought through. In the old days with blogs, you had an advantage if you were blogging very frequently, I think you got more noticed by Google because you were constantly putting up fresh content. But if that's not sustainable for you, it's not going to do you any good. Now there's so much content around that it's probably fine to post once a month if that is what you're going to do and how you're going to present the best of yourself. I see a lot on Substack—I've recently started Substack as well—I see people writing every other day. I think they're good, that's interesting, but I don't have time to read it. I would love to have the time, but I don't. So there's actually no sin in only posting once a month—one newsletter a month, one blog post a month, one Substack a month. That's plenty. People will still find that enough if they get you. JOANNA: Fantastic. So where can people find you and your books and everything you do online? ROZ: My website is probably the easiest place, RozMorris.org. JOANNA: Brilliant. Well, thank you so much for your time, Roz. As ever, that was great. ROZ: Thank you, Jo.The post Writing Emotion, Discovery Writing, And Slow Sustainable Book Marketing With Roz Morris first appeared on The Creative Penn.

In a civil complaint filed against Epstein's estate and its executors, Alice Doe asserts that she was groomed by Epstein and his associate Ghislaine Maxwell starting when she was about 13 years old. The lawsuit claims the grooming began at a summer music camp, after which she was brought into Epstein's orbit under the guise of mentorship and financial support. Over time, Doe alleges, the relationship escalated into repeated sexual abuse at Epstein's residences—New York, Florida, and New Mexico—and travel aboard his private jets. The complaint further asserts that Epstein and Maxwell used their wealth and influence to exert control over her life: paying for tutoring, co-signing leases, and fostering dependency, thereby silencing her or pressuring her into complicity.Beyond the personal abuse allegations, Doe accuses the estate's legal team of obstructing justice. She claims that the executors have delayed discovery, resisted turning over documents, and attempted to funnel her claims into a private Epstein Victims Compensation Fund, rather than face open litigation. Her attorneys allege the estate lawyers have engaged in tactics that belittle her and discourage her from pressing forward, all while trying to limit public scrutiny. Doe has refused to suspend her lawsuit, insisting on full accountability through court rather than behind closed doors.to contact me:bobbycapucci@protonmail.com

'Vila' se titula el disco que Fabiano do Nascimento, el guitarrista brasileño que vive en California, ha grabado con una orquesta de 16 músicos bajo la dirección del trombonista y arreglista Vittor Santos: 'O tempo (Foi o meu mestre)', 'Tema em harmônicos', 'Uirapuru', 'Trenzinho imaginário', 'Valsa' y 'Floresta dos sonhos'. Del disco 'Donateando. The music of João Donato', de Ramiro Pinheiro y Rodrigo Balduíno, publicado por el sello de Jordi Pujol, 'Vento no canavial' -con el trombón de Rita Payès-, 'Então, que tal', 'Nua idéia' -con Rita Payès y Mônica Salmaso- y 'Bluchaga'. Doble adelanto del próximo disco de la cantante sueca Elisabeth Melander, producido por Arnaldo de Souteiro, con 'Jardín botánico' de Michael Franks y la adaptación al inglés, 'In summer', de la canción italiana 'Estate'. Despedida con 'Don´t look down' del nuevo disco de Pat Metheny.Escuchar audio

In a civil complaint filed against Epstein's estate and its executors, Alice Doe asserts that she was groomed by Epstein and his associate Ghislaine Maxwell starting when she was about 13 years old. The lawsuit claims the grooming began at a summer music camp, after which she was brought into Epstein's orbit under the guise of mentorship and financial support. Over time, Doe alleges, the relationship escalated into repeated sexual abuse at Epstein's residences—New York, Florida, and New Mexico—and travel aboard his private jets. The complaint further asserts that Epstein and Maxwell used their wealth and influence to exert control over her life: paying for tutoring, co-signing leases, and fostering dependency, thereby silencing her or pressuring her into complicity.Beyond the personal abuse allegations, Doe accuses the estate's legal team of obstructing justice. She claims that the executors have delayed discovery, resisted turning over documents, and attempted to funnel her claims into a private Epstein Victims Compensation Fund, rather than face open litigation. Her attorneys allege the estate lawyers have engaged in tactics that belittle her and discourage her from pressing forward, all while trying to limit public scrutiny. Doe has refused to suspend her lawsuit, insisting on full accountability through court rather than behind closed doors.to contact me:bobbycapucci@protonmail.comBecome a supporter of this podcast: https://www.spreaker.com/podcast/the-moscow-murders-and-more--5852883/support.

In a civil complaint filed against Epstein's estate and its executors, Alice Doe asserts that she was groomed by Epstein and his associate Ghislaine Maxwell starting when she was about 13 years old. The lawsuit claims the grooming began at a summer music camp, after which she was brought into Epstein's orbit under the guise of mentorship and financial support. Over time, Doe alleges, the relationship escalated into repeated sexual abuse at Epstein's residences—New York, Florida, and New Mexico—and travel aboard his private jets. The complaint further asserts that Epstein and Maxwell used their wealth and influence to exert control over her life: paying for tutoring, co-signing leases, and fostering dependency, thereby silencing her or pressuring her into complicity.Beyond the personal abuse allegations, Doe accuses the estate's legal team of obstructing justice. She claims that the executors have delayed discovery, resisted turning over documents, and attempted to funnel her claims into a private Epstein Victims Compensation Fund, rather than face open litigation. Her attorneys allege the estate lawyers have engaged in tactics that belittle her and discourage her from pressing forward, all while trying to limit public scrutiny. Doe has refused to suspend her lawsuit, insisting on full accountability through court rather than behind closed doors.to contact me:bobbycapucci@protonmail.comBecome a supporter of this podcast: https://www.spreaker.com/podcast/the-epstein-chronicles--5003294/support.

Theresa Helm has alleged that Epstein's estate has been uncooperative with survivors in terms of transparency, accountability, and compensation. She and other claimants have brought civil lawsuits against the estate, accusing it of rape, sexual battery, false imprisonment, and of perpetuating a system that allowed Epstein and his enablers to continue abusing and trafficker women and minors. Helm has called for the release of federal documents related to Epstein's cases, arguing that they are essential for understanding the full scope of what happened, who was involved, and how much oversight (or negligence) there was.She has also alleged that many survivors were recruited under false pretenses (e.g. “job interviews,” modeling, legitimate opportunities), and that the estate has not done enough to address the harms done or to compensate victims fairly. Some of the lawsuits in which she is involved (including Teresa Helm et al v. Epstein's estate) seek not only monetary damages but acknowledgment of wrongdoing, accountability for enablers, and public disclosure of records. Helm emphasizes that this is about more than money—it's about exposing structural wrongdoing and ensuring survivors' voices are heard.to contact me:bobbycapucci@protonmail.comsource:DisplayFile.aspx (vicourts.org)Become a supporter of this podcast: https://www.spreaker.com/podcast/the-epstein-chronicles--5003294/support.

Annie Farmer's lawsuit against the Jeffrey Epstein estate details her experience as one of the youngest known victims in his trafficking network. She alleges that she was lured in 1996, when she was just 16 years old, under the guise of attending a career-oriented retreat in New Mexico. Instead, she was brought to Epstein's secluded Zorro Ranch, where she was subjected to inappropriate touching and sexual assault. The lawsuit states that Ghislaine Maxwell was directly involved in orchestrating the abuse—posing as a mentor figure and participating in grooming tactics that made the encounter appear safe and professional, when in fact it was anything but.to  contact me:bobbycapucci@protonmail.comsource:DisplayFile.aspx (vicourts.org)Become a supporter of this podcast: https://www.spreaker.com/podcast/the-epstein-chronicles--5003294/support.

Robert Ravens shares the fascinating story of Tasmania's Bridestowe Lavender Estate, from its ambitious origins to its global reputation for premium lavender products. Discover the innovative history, strategic marketing, and sustainable practices that have transformed this estate into a world-renowned destination and brand. Some highlights: History of Bridestowe Lavender Estate Innovations in lavender, cultivation and distillation Marketing strategies and social media impact Challenges of agricultural management and biosecurity Future plans and legacy of the estate See omnystudio.com/listener for privacy information.

Charles Skaggs and Jesse Jackson discuss "The Last Days of the Powell Estate", the second audio drama from Series 4 of Big Finish Productions' Doctor Who: The Ninth Doctor Adventures range, featuring Christopher Eccleston as the Ninth Doctor, Billie Piper as Rose Tyler, and Camille Coduri as Jackie Tyler! Find us here:Instagram: @nextstopeverywherepodcast Facebook: Facebook.com/Nextstopeverywherepodcast Bluesky: @charlesskaggs.bsky.social, @jessejacksondfw.bsky.social Email: NextStopWho@gmail.com Listen and subscribe to us in Apple Podcasts and leave us a review!

The Poem of the Man God is a retelling of the Gospel story of Jesus of Nazareth as recorded in the private revelations of Maria Valtorta. In this episode, we see Jesus and the Apostles at the estate of Joseph of Arimathea (where He speaks of charity). Original music by Angela Marie (Mohammed). Messiah. Savior. Passion of Christ. Religion. Wisdom. Miracles. Catholic Christian Theology. Apostles. Disciples. Believers. Followers. Early Church. Holy Communion. Healing. Suffering Sacrifice. New Testament. Bible. Parables.

For 25 years, the Cascio family was Michael Jackson's shield. They testified at his 2005 trial. Frank Cascio wrote a book defending him. They went on national television saying Jackson never harmed anyone.Now all five Cascio siblings are suing, alleging Jackson drugged, raped, and sexually trafficked them since childhood. The estate says it's a $200 million extortion scheme.Former prosecutor Eric Faddis joins Hidden Killers to break down the most complicated credibility question in recent entertainment law: what happens when your most loyal defenders become your accusers—after decades of sworn statements saying nothing happened?The legal terrain is brutal. The Cascios already signed a settlement in 2019—reportedly $690,000 per sibling per year for five years—with confidentiality, non-disparagement, and arbitration clauses. They collected on it. Now they want it voided, claiming duress and lack of proper legal counsel.A hearing determines whether this goes to public court or private arbitration. The estate wants it sealed. The Cascio attorneys say arbitration is being weaponized to silence abuse victims.Eric Faddis breaks down what it takes to void a settlement you've already cashed, how 25 years of defense testimony affects credibility, what the federal sex trafficking statute actually requires, and whether alleged threats to "expand the circle of knowledge" right before a $600 million Sony deal constitutes extortion—or just aggressive negotiation.The Cascios claim they were "deprogrammed" by watching Leaving Neverland in 2019. The estate says the timing proves opportunism.Join Our SubStack For AD-FREE ADVANCE EPISODES & EXTRAS!: https://hiddenkillers.substack.com/Want to comment and watch this podcast as a video? Check out our YouTube Channel. https://www.youtube.com/channel/UC8-vxmbhTxxG10sO1izODJg?sub_confirmation=1Instagram https://www.instagram.com/hiddenkillerspod/Facebook https://www.facebook.com/hiddenkillerspod/Tik-Tok https://www.tiktok.com/@hiddenkillerspodX Twitter https://x.com/TrueCrimePodThis publication contains commentary and opinion based on publicly available information. All individuals are presumed innocent until proven guilty in a court of law. Nothing published here should be taken as a statement of fact, health or legal advice.#MichaelJackson #CascioLawsuit #FrankCascio #MichaelJacksonEstate #MJLawsuit #LeavingNeverland #SexTrafficking #Arbitration #EricFaddis #HiddenKillers

In this episode, host Ashley Blackington sits down with Caroline Benefield—digital marketer, stepparent, and someone who found herself living a decade of life in 18 months. Caroline shares what it really means to become the third parent in a blended family, how she navigated losing both parents while building a new family dynamic, and what happens when your dream job turns out not to be your dream.Between January 2022 and June 2023, Caroline got engaged, bought a house, moved in with her fiancé and his two kids, lost both parents, managed two estates as an only child, canceled her wedding, got married on her back porch, left corporate life, wrote a romance series, and started a digital marketing business. Through it all, she's been learning how to show up as a secure, trusted adult in her stepkids' lives—with boundaries, intention, and a lot of therapy.In This Episode-What it means to be "the third parent" in a blended family—not the replacement, not the villain, but an additional secure adult-Why Caroline's approach is about enhancing existing support rather than reinventing the wheel-How she and her husband decided which parenting responsibilities she'd take on—and which ones stay with the biological parents-The importance of moving into a new house together rather than slotting into an existing family home-Navigating grief while building a new family—losing her father after a decade-long decline and her mother suddenly within 18 months-Estate planning lessons: why her mom's organized estate closed in 9 months while her dad's is still open after 4 years-What happens when your dream job (becoming a romance author) turns out not to be your dream-Why she started a digital marketing business specifically for moms and women—the people shortest on time with the most to give-The fiber arts connection: how teaching the kids to crochet and needlepoint became a way to share something her own mom taught herKey Quotes"My job as a stepparent is not to reinvent the wheel in their lives. My job is to come in and give them extra support and resources to navigate all of the complications and emotions that come with little bodies and little brains."— Caroline Benefield"If you are not married to your partner and you don't intend to be, please, please set them up for success. Please set everything up."— Caroline Benefield on estate planningResources & LinksCaroline's website: southerngritdigital.comServices: Digital marketing for creatives, entrepreneurs, moms, and women (email marketing, compliance audits, digital ads, full-service packages) Action Steps for Listeners1. If you're dating someone with kids: Ask yourself if you can be a safe and secure adult in their lives. That's the starting point.2. If you're in a blended family: Have clear conversations about boundaries and responsibilities before integration gets messy. Who handles discipline? What decisions require both biological parents?3. Estate planning reminder: Set up rights of survivorship, trusts, and clear documentation. Even if you have a will, it's not enough if things have to go through probate.4. If you're a long-term partner but not married: Make sure you're set up legally. Your partner's kids will be next of kin, not you, unless paperwork says otherwise.5. Therapy isn't optional: Caroline, her husband, and their relationship all have their own therapy. It's how they navigate the hard stuff.6. For moms and women entrepreneurs: If you're at the point where you know you need marketing help but don't know where to start, visit southerngritdigital.com.Connect with Ashley:Website: https://www.ashleyblackington.comPodcast website: https://www.andbothpodcast.com/Dovetail® App: https://apps.apple.com/us/app/dovetail-app/id6744341822Instagram: @mydovetail.appLinkedIn: https://www.linkedin.com/in/ashleyblackington/

The Poem of the Man God is a retelling of the Gospel story of Jesus of Nazareth as recorded in the private revelations of Maria Valtorta. In this episode, we see Jesus and the Apostles at the estate of Nicodemos, where he gives the Parable of the Two Sons. Original music by Angela Marie (Mohammed). Messiah. Savior. Passion of Christ. Religion. Wisdom. Miracles. Catholic Christian Theology. Apostles. Disciples. Believers. Followers. Early Church. Holy Communion. Healing. Suffering Sacrifice. New Testament. Bible. Parable.

Mary Doe, a pseudonym used to protect her identity, filed a lawsuit against the Jeffrey Epstein estate alleging she was a victim of sexual abuse orchestrated by Epstein and his associates. According to the lawsuit, she was recruited as a minor under false pretenses of financial assistance and education opportunities. Instead, she was subjected to a cycle of grooming, manipulation, and exploitation. Mary Doe claims she was trafficked to Epstein's residences in New York, Florida, and the Virgin Islands, where she endured repeated abuse.She also alleges Epstein's powerful connections and wealth were used to intimidate her into silence and compliance, perpetuating her exploitation over an extended period.The complaint further details how Epstein's network of associates facilitated and covered up the abuse, underscoring a broader system of coercion and control. Mary Doe asserts the estate is directly responsible for enabling Epstein's operations, as it provided the financial resources and infrastructure used to carry out and conceal his crimes. to contact me:bobbycapucci@protonmail.comsource:DisplayFile.aspx (vicourts.org)Become a supporter of this podcast: https://www.spreaker.com/podcast/the-epstein-chronicles--5003294/support.

A new federal lawsuit filed this week accuses Michael Jackson's estate of child trafficking. The plaintiffs: four members of the Cascio family, siblings Jackson called his "second family" for over twenty-five years.According to court documents, Edward, Dominic, Marie-Nicole, and Aldo Cascio allege Jackson abused them beginning when some were as young as seven years old. They claim he groomed and isolated each child during trips around the world—including the Dangerous Tour, HIStory Tour, and visits to Neverland Ranch.The allegations are explosive. But so is the family's history of defending Jackson.Frank Cascio wrote a 2011 book declaring Jackson's innocence. The family appeared on Oprah in 2010 saying Jackson was never inappropriate. As recently as 2018, Frank was trying to turn his book into a TV series celebrating his friendship with Jackson.The estate calls this extortion. Attorney Marty Singer says the Cascios already received a settlement worth over three million dollars—then allegedly demanded two hundred thirteen million more.The Cascios say they were coerced into signing that settlement without lawyers while still processing trauma from watching "Leaving Neverland."A fifth sibling, Eddie, is pursuing separate claims in arbitration. He's also connected to the fake tracks scandal—songs he sold to the estate that Jackson's own family says weren't Michael's voice.Their attorney is Mark Geragos, who defended Jackson in 2003 and called him innocent. Now he's arguing the opposite.A hearing is set for March 5th. Michael Jackson was acquitted in 2005 and denied all allegations. His estate continues to deny them.Join Our SubStack For AD-FREE ADVANCE EPISODES & EXTRAS!: https://hiddenkillers.substack.com/Want to comment and watch this podcast as a video? Check out our YouTube Channel. https://www.youtube.com/channel/UC8-vxmbhTxxG10sO1izODJg?sub_confirmation=1Instagram https://www.instagram.com/hiddenkillerspod/Facebook https://www.facebook.com/hiddenkillerspod/Tik-Tok https://www.tiktok.com/@hiddenkillerspodX Twitter https://x.com/TrueCrimePodThis publication contains commentary and opinion based on publicly available information. All individuals are presumed innocent until proven guilty in a court of law. Nothing published here should be taken as a statement of fact, health or legal advice.#MichaelJackson #CascioFamily #BreakingNews #JacksonEstate #ChildTraffickingLawsuit #LeavingNeverland #FrankCascio #TrueCrimeToday #MarkGeragos #MichaelJackson2026

In this episode of Face2Face, David Peck speaks with magician, actor and creator Steve Valentine about creativity, the subconscious mind and rediscovering the art of magic. Steve reflects on how the brain is always working beneath the surface, often producing creative breakthroughs when we least expect them. He shares how revisiting the history of magic and returning to routines he once performed has reignited his passion and opened new perspectives on his craft. Their conversation explores how reflection, curiosity and our past experiences shape the way we create and perform. Thoughtful and engaging, this episode is a reminder that creativity is rarely linear and that sometimes the best way forward is to look back.Steve Valentine is a Scottish-born actor, magician, and creator whose career spans television, film, voice acting, and live performance. Born in Scotland and raised near London, he began performing at the age of five, training in theatre and dance before discovering a lifelong passion for magic.Valentine has appeared in more than 250 hours of television and over 15 feature films. He is best known for his starring roles as criminologist Nigel Townsend on NBC's Crossing Jordan, choreographer Martine on WB's Nikki and 80s rock legend Derek Jupiter on Disney's I'm In the Band. He also hosted SYFY's Estate of Panic, earning a Rose d'Or nomination. A versatile performer, Valentine has appeared in The Big Bang Theory, CSI, Supernatural, Psych, and Hot in Cleveland and had a memorable role in Robert Zemeckis' The Walk. His voice work includes beloved characters in Sofia the First, Tinker Bell and the globally popular Dragon Age video game series.Beyond screen work, Valentine is an internationally acclaimed magician and live entertainer. A multi-award winner at Hollywood's Magic Castle, including Close-Up Magician of the Year and Stage Magician of the Year. He has performed everywhere from Las Vegas stages to royal palaces. He is also a keynote speaker who blends magic, storytelling, and performance insights to inspire audiences worldwide. A prolific creator, Valentine founded the global training platform Magic On The Go, hosts the popular podcast Magicians Only and continues to develop television projects, stage shows, and creative work that reflects his boundless curiosity and love of performance.Learn more about Steve here.David Peck is a writer, speaker, and award-winning podcaster who works at the intersection of storytelling, social change, and meaningful dialogue. As the host of Face2Face and former host of Toronto Threads on 640 AM, he has published over 650 in-depth interviews with some of the world's most compelling thinkers, artists and storytellers, including Viggo Mortensen, Sarah Polley, Raoul Peck, Werner Herzog, Chris Hadfield, David Cronenberg, Jason Issacs, Gillian Anderson and Wade Davis. With a background in philosophy and international development, David brings a thoughtful, globally aware perspective to every conversation.He's a published author and experienced keynote speaker, known for creating spaces where complexity is welcomed and ideas come alive. Whether moderating panels, hosting live events, or speaking on issues ranging from ethics to media, David's work is grounded in a deep curiosity about people. At heart, he simply loves good conversation — and believes it's one of the best ways we grow, connect, and make sense of the world.For more information about David Peck's podcasting, writing and public speaking please visit his site here.F2F Music and Image Copyright: David Peck and Face2Face. Used with permission. Hosted on Acast. See acast.com/privacy for more information.

Four siblings are suing Michael Jackson's estate over alleged abuse. Jack Kennedy Schlossberg claps back about FX's Love Story about his uncle JFK Jr.See omnystudio.com/listener for privacy information.

Episode Summary In this episode of Gary's Gulch, Gary Pinkerton shares a candid reflection on the growing misuse of artificial intelligence — and why many current applications may be creating more noise than value. While AI holds enormous potential to eliminate repetitive work and enhance human productivity, Gary argues that it is increasingly being used in ways that waste time, weaken human communication, and replace meaningful thinking with surface-level outputs. He explains why AI should amplify human capability, not replace human judgment, creativity, or emotional intelligence. Through real-world examples — including a client case involving estate planning and AI-generated financial misunderstandings — Gary highlights the risks of relying on AI without expertise or context. The episode then transitions into a preview of a new educational course Gary is developing with lender Aaron Chapman, focused on building generational wealth through the strategic combination of real estate investing, infinite banking, and asset protection. Listeners will walk away with a clearer understanding of where AI helps, where it fails, and how disciplined financial systems — not shortcuts — create lasting wealth. Links & Resources Connect with Gary Pinkerton https://www.paradigmlife.net/  gpinkerton@paradigmlife.net https://garypinkerton.com/  Keywords Artificial Intelligence productivity AI limitations Human creativity vs AI Infinite banking Whole life insurance strategy Wealth building systems Real estate investing Asset protection Financial education Estate planning basics Generational wealth Cash flow investing Financial independence Human decision making AI and business communication Wealth mindset Passive income strategy Capital deployment Financial resilience Economic uncertainty Episode Highlights 00:03–00:40 – Episode overview: AI reflections and upcoming wealth-building course preview 00:40–02:25 – Frustrations with AI-driven communication replacing human interaction 02:25–04:23 – Historical fear cycles around technology and why AI won't replace humans 04:23–05:49 – Emotional decision-making vs AI's intellectual reasoning limits 05:49–07:21 – Creativity and intuition as uniquely human advantages 07:21–08:27 – AI's real strength: eliminating repetitive, data-heavy tasks 07:42–11:27 – Client case study showing AI misunderstanding estate and insurance planning 11:27–12:43 – Why expertise and context matter more than AI-generated answers 12:43–13:24 – "Operationalize the mundane to humanize the exceptional" philosophy 13:24–14:26 – Human creativity as the driver of innovation across history 14:26–15:27 – Transition into wealth-building framework and Gary's personal financial turning point 15:27–16:58 – Reframing whole life insurance as a savings system, not an investment 16:58–18:50 – How infinite banking enables repeated capital deployment 18:50–19:50 – Addressing common criticisms of whole life insurance strategies 19:50–20:17 – Building resilient wealth systems designed to withstand market volatility  

In this episode, I'm taking you to Blenheim Palace in Oxfordshire, England — one of the most magnificent country estates in all of Britain and absolutely worth your time.I'll share why Blenheim Palace isn't just another stately home, but a UNESCO World Heritage Site packed with history, drama, and architectural wow moments. From its sweeping Baroque design to its jaw-dropping interiors, this place is grand in every sense of the word.Of course, we'll talk about its connection to Sir Winston Churchill — who was born here — and what you can expect from the exhibitions dedicated to his life and legacy. But Blenheim Palace is so much more than Churchill. I'll walk you through the state rooms, the long library, the formal gardens, the landscaped parkland, and those iconic views that make you stop and just stare for a minute.I'll also share why I think you should plan to spend a full day here (yes, a full day), along with practical tips on timing your visit, how to approach the palace and grounds, and how to make the most of your time.If you love history through travel, grand architecture, gorgeous gardens, and places that feel both regal and deeply human, then Blenheim Palace deserves a spot on your England itinerary.Let's wander through one of England's most impressive estates together.Want to chat more about Blenheim Palace?Send me a note at Lynne@WanderYourWay.comIn this episode:0:45: Intro1:53: Placing Blenheim Palace on the map3:31: Palace history5:35: Pricing 7:06: Things to see in Blenheim Palace14:49: The palace grounds21:05: Final thoughts and tips26:58: Wrapping it upImportant links:Blenheim PalaceWander Your WayWander Your Way AdventuresWander Your Way ResourcesREI ★ Support this podcast ★

The Belton Estate (Part 2⁠Anthony Trollope (1815 - 1882)⁠Clara Amedroz is the virtuous, intelligent, and quick-witted heroine of this novel. Like all women of her time, she has few options other than to marry. She is lucky enough to have two eligible suitors, and chooses the more urbane and worldly of the two. Alas, however, she realizes fairly quickly that Captain Aylmer is not a nice person. Throughout much of the novel we find her trying hard not to recognize that Will Belton - the suitor she rejected, and who still loves and wants to marry her - is.As in all of Trollope's novels, the sub-plots are at least as engaging as the main story: here, we find Clara associated with, and ultimately for some time dependent on, Mr. and Mrs. Askerton, who - having perforce lived together for some time before they were married - are social outcasts. Clara is courageous enough to remain loyal to these friends, knowing that thus she, too, risks social condemnation and reduces her value on the marital market-place.She becomes wiser, more generous, and more forgiving as her outlook on the world matures in various trials-by fire: the experiences she endures as a result of her mistaken allegiance to Captain Aylmer; her friendship with the Askertons; and the malicious gossip and social ostracization attendant on her loyalty to them. The question that will decide her ultimate happiness is whether she can be as generous and forgiving of herself. (Summary and read by Kirsten Wever)Genre(s): Historical FictionLanguage: EnglishKeyword(s): ⁠literature⁠, ⁠fiction⁠ , ⁠romance⁠, ⁠satire⁠ , ⁠historical-fiction⁠ 

John and Jay are back to talk about ghosts, sea monsters, and shape-shifting birds as they talk about My Little Pony: The Ghost of Paradise Estate!

Estate planning isn't just about who gets what; it's about what happens to your money, your taxes, and your family when you're no longer here. On this episode of Think Smart with TMFG, we explain why a will is only one part of the process and how taxes can become the biggest surprise for families. From executors and guardianship to beneficiary designations and probate, real planning is about coordination, not just paperwork. We also walk through what happens at death from a tax perspective in Canada. Many assets are treated as if they were sold, which can trigger capital gains and fully taxable RRSP or RRIF balances, sometimes creating the largest tax bill of your lifetime. The goal isn't just to have documents in place. It's to reduce stress, avoid unnecessary taxes, and make things easier for the people you care about. Question for our listeners: What feels more overwhelming to you: choosing an executor, understanding the tax impact, or making sure everything is properly coordinated?

Today we're talking about estate planning, not from a place of fear but from a place of love and making things easier on our families one day. We discuss why planning ahead matters, how it reflects biblical stewardship, and the simple steps that bring clarity instead of confusion during life's hardest moments. We answer lots of questions including: What documents do I need?  What is a trust and how is that different from a will? What questions should I ask my aging parents?  What does my adult child need and why? How do I get started? What is my next step towards estate planning? When should I update my estate plan? Estate planning isn't about paperwork. It's about peace, protection, and loving your family well.  March Memory Verse on stewardship:  1 Peter 4:10–11  "Each of you should use whatever gift you have received to serve others, as faithful stewards of God's grace in its various forms. If anyone speaks, they should do so as one who speaks the very words of God. If anyone serves, they should do so with the strength God provides, so that in all things God may be praised through Jesus Christ. To him be the glory and the power for ever and ever. Amen." Contact Angela by email: angela@angelasniderlaw.com Anglea's direct line for estate planning 731-664-1822 Learn more about estate planning on Angela's website www.angelasniderlaw.com Follow our Rambling podcast on all the socials: Facebook IG TikTok

Four adult siblings are taking legal action against Michael Jackson's estate, accusing the late pop star of child sex trafficking and alleging that he sexually abused them during their childhoodSee omnystudio.com/listener for privacy information.

Description: Becoming a financial caregiver for an aging parent can happen overnight. And even financially savvy families can find themselves unprepared. In this episode of Friends Talk Money, we talk with Beth Pinsker, author of My Mother's Money and personal finance writer at MarketWatch. Beth shares what she learned while managing her mother's finances during a long medical crisis, including: • Why a durable power of attorney is critical • The mistakes people make with Medicare • How long-term care insurance really works • IRS issues after a parent dies • Estate planning gaps that cause family conflict • What every adult child should do now This is a practical and emotional conversation about money, aging, and protecting the people you love. If you have aging parents or want to make things easier for your own children one day, this episode is essential. Links: My Mother's Money By Beth Pinsker (Amazon) Terry Savage Personal Financial Organizer (Terry Savage) Estate Planning Search (Search Attorneys)

The Belton Estate (Part 1)Anthony Trollope (1815 - 1882)Clara Amedroz is the virtuous, intelligent, and quick-witted heroine of this novel. Like all women of her time, she has few options other than to marry. She is lucky enough to have two eligible suitors, and chooses the more urbane and worldly of the two. Alas, however, she realizes fairly quickly that Captain Aylmer is not a nice person. Throughout much of the novel we find her trying hard not to recognize that Will Belton - the suitor she rejected, and who still loves and wants to marry her - is.As in all of Trollope's novels, the sub-plots are at least as engaging as the main story: here, we find Clara associated with, and ultimately for some time dependent on, Mr. and Mrs. Askerton, who - having perforce lived together for some time before they were married - are social outcasts. Clara is courageous enough to remain loyal to these friends, knowing that thus she, too, risks social condemnation and reduces her value on the marital market-place.She becomes wiser, more generous, and more forgiving as her outlook on the world matures in various trials-by fire: the experiences she endures as a result of her mistaken allegiance to Captain Aylmer; her friendship with the Askertons; and the malicious gossip and social ostracization attendant on her loyalty to them. The question that will decide her ultimate happiness is whether she can be as generous and forgiving of herself. (Summary and read by Kirsten Wever)Genre(s): Historical FictionLanguage: EnglishKeyword(s): literature, fiction , romance, satire , historical-fiction 

Another Kiwi success story from the world of wine. Marlborough's Wairau River 2025 Sauvignon Blanc has made the World's Best Sommeliers' Selection for 2026 – chosen by top sommeliers from 17 countries across six continents. It's the only Australasian wine to make the list. Rose Family Estate CEO Lindsay Parkinson told Mike Hosking this award is all about balance, and some sommeliers have very specific requirements, so they're chuffed to meet those. LISTEN ABOVE See omnystudio.com/listener for privacy information.

Maria Farmer, one of the earliest known accusers of Jeffrey Epstein, has alleged that Epstein and his associate Ghislaine Maxwell sexually abused her when she was in her late teens in the mid-1990s. Farmer has stated that Epstein and Maxwell recruited her under the pretense of helping her artistic career, then coerced her into sexual encounters at Epstein's New York townhouse and Palm Beach mansion. She has also described being trafficked to other locations where Epstein's powerful friends were present and claims that attempts to report the abuse to authorities were ignored or dismissed, allowing the exploitation to continue. Farmer's testimony has been part of civil claims against Epstein's estate and documents made public through litigation have detailed her accounts of manipulation, isolation, and sexual assault.In addition to her personal abuse claims, Farmer has accused Epstein and Maxwell of operating a larger trafficking network in which vulnerable young women were groomed and exploited. She has provided sworn statements and affidavits asserting that Epstein maintained detailed records and materials related to the abuse, and that individuals in his circle were aware of, or complicit in, the exploitation. Farmer's allegations have contributed to a broader legal and public examination of Epstein's conduct, including claims against his estate by survivors seeking compensation and accountability for decades of alleged trafficking and sexual abuse.to contact me:bobbycapucci@protonmail.com

Common Mistakes During Family Business Estate Planning Estate planning is technical. Family business estate planning is emotional. Because in a family enterprise, wealth is never just capital. It represents identity. Sacrifice. Legacy. Control. Protection. And when estate planning is driven by fear instead of preparation, families don't just protect assets — they unintentionally weaken the people who must steward them. In this episode of The Family Biz Show, wealth psychologist Jim Grubman, co-author of Wealth 3.0, challenges the most common assumptions shaping multi-generational estate planning. What he reveals reframes everything.   The 70% Myth That Built an Industry You've heard it: "Seventy percent of wealth transfers fail by the second generation." It's repeated in boardrooms. It's cited in advisor presentations. It's used to justify complex trust structures and control mechanisms. But where did it actually come from? Jim explains how limited, narrow research became accepted as universal truth — and how that narrative shaped decades of defensive estate planning. When founders believe generational decline is inevitable, they design structures around protection instead of development. Fear becomes policy.   Exposure Is Not Preparation Many G1 leaders assume: "My kids grew up around this business. They've seen it. They'll figure it out." But as one next-generation leader put it: "Just because I was along for the ride doesn't mean I know how to drive." Estate planning often transfers ownership without transferring capability. Preparation is not passive. It requires: Intentional financial education Decision-making responsibility Governance participation Clear communication Without these, wealth transitions become fragile.   The Hidden Estate Planning Variable: Parenting The quiet truth behind most generational breakdowns? It's not tax law. It's not structure. It's not even governance. It's parenting. Jim calls it the "hidden dirty little secret" of wealth. Families often assume they can raise children the same way they were raised — even when their economic reality has completely changed. But wealth changes context. Context requires adaptation. If parenting doesn't evolve, tension accumulates. And no trust structure can fix that.   The Language That Shapes Legacy One of the most powerful insights in this episode is linguistic. "Shirt sleeves to shirt sleeves in three generations." It's not even a complete sentence. There's no verb. No inevitability. Just assumption. Yet families internalize it as destiny. And when inevitability is assumed, estate plans become restrictive. Control increases. Trust decreases. Narrative drives structure. Structure drives outcomes.   Adaptation Is the Real Strategy Successful multi-generational families ask three questions: What should we keep? What should we let go? What must we learn? Estate planning is not static. Every generation faces: Different markets Different personalities Different spouses Different pressures Replication does not guarantee continuity. Adaptation does.   Key Takeaways • The "70% wealth transfer failure" statistic is often overstated and misunderstood. • Fear-based estate planning leads to over-control and restrictive structures. • Exposure to wealth does not equal readiness to manage it. • Preparation for generational transition must be active and intentional. • Parenting and communication are central to long-term wealth continuity. • Language and inherited narratives shape governance decisions. • Estate planning should focus on developing capable stewards — not just protecting assets.   The Real Purpose of Family Business Estate Planning Estate planning is not primarily about minimizing taxes. It is about aligning: Wealth and capability Structure and trust Protection and preparation Family identity and future leadership When estate planning is fear-driven, families fragment. When it is preparation-driven, families flourish. This episode is a masterclass in reframing estate planning from defensive preservation to intentional generational development. Because wealth doesn't fail. Preparation does.

Maria Farmer, one of the earliest known accusers of Jeffrey Epstein, has alleged that Epstein and his associate Ghislaine Maxwell sexually abused her when she was in her late teens in the mid-1990s. Farmer has stated that Epstein and Maxwell recruited her under the pretense of helping her artistic career, then coerced her into sexual encounters at Epstein's New York townhouse and Palm Beach mansion. She has also described being trafficked to other locations where Epstein's powerful friends were present and claims that attempts to report the abuse to authorities were ignored or dismissed, allowing the exploitation to continue. Farmer's testimony has been part of civil claims against Epstein's estate and documents made public through litigation have detailed her accounts of manipulation, isolation, and sexual assault.In addition to her personal abuse claims, Farmer has accused Epstein and Maxwell of operating a larger trafficking network in which vulnerable young women were groomed and exploited. She has provided sworn statements and affidavits asserting that Epstein maintained detailed records and materials related to the abuse, and that individuals in his circle were aware of, or complicit in, the exploitation. Farmer's allegations have contributed to a broader legal and public examination of Epstein's conduct, including claims against his estate by survivors seeking compensation and accountability for decades of alleged trafficking and sexual abuse.to contact me:bobbycapucci@protonmail.comBecome a supporter of this podcast: https://www.spreaker.com/podcast/the-moscow-murders-and-more--5852883/support.

Maria Farmer, one of the earliest known accusers of Jeffrey Epstein, has alleged that Epstein and his associate Ghislaine Maxwell sexually abused her when she was in her late teens in the mid-1990s. Farmer has stated that Epstein and Maxwell recruited her under the pretense of helping her artistic career, then coerced her into sexual encounters at Epstein's New York townhouse and Palm Beach mansion. She has also described being trafficked to other locations where Epstein's powerful friends were present and claims that attempts to report the abuse to authorities were ignored or dismissed, allowing the exploitation to continue. Farmer's testimony has been part of civil claims against Epstein's estate and documents made public through litigation have detailed her accounts of manipulation, isolation, and sexual assault.In addition to her personal abuse claims, Farmer has accused Epstein and Maxwell of operating a larger trafficking network in which vulnerable young women were groomed and exploited. She has provided sworn statements and affidavits asserting that Epstein maintained detailed records and materials related to the abuse, and that individuals in his circle were aware of, or complicit in, the exploitation. Farmer's allegations have contributed to a broader legal and public examination of Epstein's conduct, including claims against his estate by survivors seeking compensation and accountability for decades of alleged trafficking and sexual abuse.to contact me:bobbycapucci@protonmail.comBecome a supporter of this podcast: https://www.spreaker.com/podcast/the-epstein-chronicles--5003294/support.

If the words “estate planning” intimidate or bore you, you're not alone. But estate planning isn't just for the wealthy or the elderly. It's something everyone needs, at any age. Even if you feel like you don't have enough assets to justify a plan, putting one in place ensures your wishes are honored and your voice is heard when it matters most.Estate planning attorney Howard Rosen breaks it down in plain, practical language and explains why there's no better time than now to get started.Brought to you by NEXTVillageSF.orgNEXT Village SF is a neighborhood nonprofit providing services and support that empowers members to live independently. Contact them at (415) 888-2868

PJ speaks to Cllr Eoghan Fahy Hosted on Acast. See acast.com/privacy for more information.

Mentioned in this Episode Connect with the Podcast:   Facebook: @texaswinepod   Instagram: @texaswinepod   Email: texaswinepod@gmail.com   Show notes and more: www.thisistexaswine.com   Help the Show:Subscribe to the newsletter. Donate virtual Texas wine or join the podcast membership at the Gold Medal, Silver Medal, or Bronze Medal Level! Leave a review on Spotify or Apple Podcasts!   Thanks to our sponsors: Vintage2: Contact Tim at weinheimergroup.com for more information about enhancing your winery's AI visibility.   Bending Branch Winery: Contact Jen at bendingbranchwinery.com for all of your custom crush winemaking needs.   Mentioned in this Episode Congratulations to the TWGGA 2026 Industry Excellence Award Recipients Andrew Chalk: “Cristaldi's Top 100 Wines of 2025 Is Almost 20% Texas” Texas Wine Growers Event on March 1 in Fredericksburg! Use code WINESHELLY for a discount! TICKETS Rootstock on March 28 in Waco! Use code SHELLY for a discount! TICKETS Texas Wine Auction on May 1–2 in Johnson City! Early Bird Tickets available through February 19 with code DRINKTX. TICKETS Drink North Texas on May 30 in Dallas. Early Bird Tickets available through April 30! TICKETS   Featured Interview Zachary Raines, Head Winemaker at Augusta Vin Winery   Demerit and Gold Star DEMERIT: none this episode   GOLD STARS: none this episode   Special Thanks Need lodging in Fredericksburg? Check out Cork + Cactus! Find Cork + Cactus and many more great rentals at Heavenly Hosts.com! Thanks to Texas Wine Lover for promotional help! For the latest information on Texas wineries and vineyards, visit Texas Wine Lover. Don't forget to download the Texas Wine Lover app too! Podcast music is by Landon Lloyd Miller. Check him out on Spotify HERE

In this episode, Maddy Roche and Bri Conn, CFP®, explain why legal documents alone aren't enough. Estate plans grant authority. Care plans provide direction. They spell out the details that make real-world care possible: where to find your mailbox key, your alarm code, how to feed your pets, what medical history your doctors should know, and what living with dignity truly means to you.They also discuss documenting cultural or religious preferences and why these plans should be treated as living documents, updated as your life, relationships, and values evolve.Key Takeaways:Estate plans give the who, care plans give the how. Legal documents grant someone the power to make decisions. Care plans outline what those decisions should actually look like, from daily routines to end-of-life wishes.Document the everyday details others wouldn't know. Alarm codes, mailbox locations, pet feeding routines, storage facilities, and where to find important items are all critical for someone stepping into your life.Define what life with dignity means to you. Cultural preferences, religious practices, LGBTQ+ identity, and personal boundaries should be clearly stated so your wishes are honored, not someone else's assumptions.Build a team to support you as you age. Financial planners, doctors, and aging care managers all play a role in ensuring your care plan can actually be executed when you need it.Treat your care plan as a living document. Update it as your life changes. New pet, new home, new diagnosis, new preferences. The goal is to keep it current so it reflects who you are now.Episode Hosts:Maddy Roche - Chief Growth Officer at Childfree Trust® and responsible for all sales & marketing initiatives.Bri Conn, CFP® - Customer Experience Manager at Childfree Trust®. Bri coaches clients through estate planning and care plan development, helping them document their wishes and build support teams.About Childfree InsightsChildfree Insights is a trusted resource for life planning without children. It explores financial planning, estate planning, relationships, and long-term decisions for adults building a future without kids. Home of Childfree Wealth® and Childfree Trust®.Connect with Us: Ready to work on building better financial habits? Connect with our financial planning team at childfreewealth.com or learn more about estate planning at childfreetrust.com. Follow Childfree Life by Design on your favorite podcast platform and join the conversation on social media: Instagram: https://www.instagram.com/childfreeinsightsFacebook: https://www.facebook.com/ChildfreeInsights/LinkedIn: https://www.linkedin.com/company/childfreeinsightsYouTube: https://www.youtube.com/@ChildfreeInsights Disclaimer: This podcast is for educational & entertainment purposes. Please consult your advisor before implementing any ideas heard on this podcast.

Tonight on The Pipes Magazine Radio Show, we feature Micah "Yeti" Cryder of Yeti Pipes, an artisan pipe maker based in Billings, Montana. Since beginning his craft in 2011, Micah has developed a distinctive style influenced by the American school of pipe making, with touches of modern industrial design and French Art Deco. His work is known for its bold lines, creative shaping, and meticulous finishes, reflecting both technical precision and artistic vision. In addition to his pipes, Micah has explored innovative materials through his Resin Project, expanding design possibilities with vibrant, vintage-inspired stem materials. At the top of the show in Pipe Parts, Brian will discuss his view on estate pipes.

Send a textIf you're a notary wondering whether there's a real future beyond loan signings, this episode will challenge how you think about your role, your business model, and the kind of work you want to be doing long-term.Bill Soroka sits down with Dean Eason-Williams, a North Carolina Notary Public, estate signing specialist, educator, and founder of NotaryCLT Services—the first signing company built exclusively around estate signing ceremonies.Dean's story mirrors the experience of many notaries. He entered the industry focused on loan signings, skeptical of new opportunities, and unsure whether estate planning work was even a real niche. Through personal loss, hands-on experience at the signing table, and years of working directly with families and attorneys, he made a decisive pivot into estate planning and trust delivery—and never looked back.We talk about why estate signings feel fundamentally different from transactional work, and why presence, empathy, and professionalism matter just as much as technical accuracy. Dean explains what notaries often underestimate about the emotional weight of estate planning appointments, and why he intentionally uses the phrase estate signing ceremony to describe the work.You'll also hear practical insights on:How notaries can stay compliant and confident without crossing into unauthorized practice of lawThe importance of understanding estate documents well enough to ethically redirect signer questionsWhy attorneys value notaries who can reduce friction instead of creating more workWhat led Dean to walk away from loan signings and build an estate-only signing companyHow quality assurance is becoming the defining factor for the next evolution of signing companiesWhy specialization creates stability, higher-value appointments, and stronger professional relationshipsDean also shares the motivation behind his book, From Trust to Transfer, a practical, plain-language guide written specifically for notaries who want to conduct estate planning signing ceremonies with clarity, confidence, and care. The book focuses on real-world scenarios, document familiarity, ethical redirection language, and helping notaries overcome fear when stepping into this work.If you're feeling burned out by low-pay signing services, race-to-the-bottom pricing, constant reprints, or work that feels purely transactional, this episode introduces a different model—one built on trust, service, and sustainable business growth.We also close with a bigger conversation about legacy: what it means to raise the bar in the notary profession, why doing the work well matters decades later, and how notaries can become part of the solution instead of another point of failure for families.This episode is especially relevant if you are:a new notary exploring alternatives to loan signingsan experienced notary ready to pivot or specializeinterested in estate planning, trust delivery, or working with attorneyscurious about building a signing business around quality and professionalismBefore you move on to the next episode, remember this:Insight alone doesn't change a notary business. Execution does.Join my free Skool community hereContact Dean Here:NotaryCLT Serviceshttps://www.notaryclt.comApex Mentorship (Skool)https://www.skool.com/notarycltapexFrom Trust to Transfer on Amazonhttps://a.co/d/06R9DjRq

What happens to your children, your home, your photos, and your money if something happens to you—tomorrow? In this episode of Adulting With Autism, we sit down with Attorney M. Cecilia Amo, founder of AMO LAW Legacy Planning (Costa Mesa, California), to talk about estate planning for real life—not just paperwork that sits in a drawer. Cecilia breaks down the difference between a will and a trust, why probate can be expensive and stressful, and how to build a plan that keeps your loved ones out of court and out of conflict. We also dig into why estate planning matters for families navigating autism, ADHD, disability, and government benefits, including how an inheritance can accidentally disrupt benefits if planning isn't done correctly—and what tools (like special needs planning) may help protect long-term stability. Cecilia is also the author of Your After-Credits Scene: A Nerd's Guide to Wills, Trusts & Legacy, where she teaches estate planning using pop culture references (think Star Wars, Harry Potter, Marvel) to make it actually understandable. In this episode, we cover: Estate planning myths: it's not just for the wealthy or elderly Will vs. trust: what each does (and doesn't do) Why probate is the government's "default" plan What happens if you're incapacitated without a power of attorney Kids protection planning and choosing guardians Why digital assets (photos, accounts) need planning too How to find an estate planning attorney who isn't just selling templates Learn more / Connect: AMO LAW: https://amo-law.com/ Book info: https://amo-law.com/aftercredits

Early Sunday morning, a man was shot and killed after allegedly violating the security perimeter of President Donald Trump’s Mar-a-Lago estate in Palm Beach, Florida, according to the U.S. Secret Service.See omnystudio.com/listener for privacy information.

Mary Ellen Garrett and Patsy Townsend, The Garrett Group at Merrill Lynch, on Retirement Planning, Estate Strategy, and Long-Term Care (North Fulton Business Radio, Episode 940) On this episode of North Fulton Business Radio, host John Ray welcomes Mary Ellen Garrett and Patsy Townsend of The Garrett Group at Merrill Lynch. Mary Ellen, in her 41st […]

Brett is based in Jacksonville Florida and specializes in reducing capital gains taxes. On today's show we are talking about substantial estate taxes that kick in above $15M in assets. Brett shares strategies for mitigating those taxes. To connect with Brett and to learn more visit capitalgainstaxsolutions.com. He also has a new book, available on Amazon called Building A Capital Gains Tax Exit Plan.-----------**Real Estate Espresso Podcast:** Spotify: [The Real Estate Espresso Podcast](https://open.spotify.com/show/3GvtwRmTq4r3es8cbw8jW0?si=c75ea506a6694ef1)   iTunes: [The Real Estate Espresso Podcast](https://podcasts.apple.com/ca/podcast/the-real-estate-espresso-podcast/id1340482613)   Website: [www.victorjm.com](http://www.victorjm.com)   LinkedIn: [Victor Menasce](http://www.linkedin.com/in/vmenasce)   YouTube: [The Real Estate Espresso Podcast](http://www.youtube.com/@victorjmenasce6734)   Facebook: [www.facebook.com/realestateespresso](http://www.facebook.com/realestateespresso)   Email: [podcast@victorjm.com](mailto:podcast@victorjm.com)  **Y Street Capital:** Website: [www.ystreetcapital.com](http://www.ystreetcapital.com)   Facebook: [www.facebook.com/YStreetCapital](https://www.facebook.com/YStreetCapital)   Instagram: [@ystreetcapital](http://www.instagram.com/ystreetcapital)  

AITA: For not giving someone my cart at Aldi's, DIRT ALERT: Gene Hackman estate update, an appreciation moment for "The Birdcage," and Jason's upcoming junket trip to Beverly HillsSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Listen and Subscribe to Money Making Conversations on iHeartRadio, Apple Podcasts, Spotify, or wherever you listen to podcasts. New Money Making Conversations episodes drop daily. I want to alert you, so you don’t miss out on expert analysis and insider perspectives from my guests who provide tips that can help you uplift the community, improve your financial planning, motivation, or advice on how to be a successful entrepreneur. Keep winning! Two-time Emmy and Three-time NAACP Image Award-winning, television Executive Producer Rushion McDonald interviewed Lisa Mulrain. CEO of Legacy Building LLC and founder of Mulrain Law, in a wide‑ranging conversation about financial literacy, credit repair, estate planning, community impact, and the mindset shifts required for long-term financial success. The discussion highlights her personal journey, her transition from federal service to entrepreneurship, and her mission to educate and empower individuals—especially in minority communities—to build and protect wealth.

Two-time Emmy and Three-time NAACP Image Award-winning, television Executive Producer Rushion McDonald interviewed Lisa Mulrain. CEO of Legacy Building LLC and founder of Mulrain Law, in a wide‑ranging conversation about financial literacy, credit repair, estate planning, community impact, and the mindset shifts required for long-term financial success. The discussion highlights her personal journey, her transition from federal service to entrepreneurship, and her mission to educate and empower individuals—especially in minority communities—to build and protect wealth.