Podcasts about Google Images

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Send us a textIn today's spicy drop, Peaches' back after a one-day hiatus—sorry not sorry—and he's coming in hotter than a Chinese stealth jet built entirely out of stolen parts. From the Pentagon reclaiming Panama like it's 1914, to the US Space Force asking for scraps while trying to refuel space warships mid-orbit, this one's got everything: geopolitical hot takes, budget rants, and even a shoutout to F-15Es babysitting the Pacific while we wait for the F-15EXs to show up fashionably late.Oh, and that $2.1 TRILLION F-35 program? Apparently, it's just a long-term payment plan that spans 100 years. You know, like student loans—but with jet engines.China's “J-36” makes an appearance, but Jared's not buying the hype. After all, when 80% of your military tech is duct-taped IP theft, maybe don't flex so hard.And if Congress can't pass a damn budget, maybe we should shut it all down and hard reset this clown show.You didn't ask for this dose of snark, sarcasm, and space-fueled doomscrolling—but here it is.

Working It Out fan favorite Hasan Minhaj returns for a third episode. Mike and Hasan discuss the enduring memories of childhood crushes, an obsession with who was the fastest in elementary school, and why comedy and politics move in cycles. Plus, Hasan keeps Google Image searching Mike, and Mike invites himself along on a hangout with Hasan's high school friend group The Hit Squad.Please consider donating to UNICEF

Welcome to our short and sharp summer series where we revisit some of your very favourite episodes. We've added an additional little intro, reflecting on our chat with Phil Dudman and general updates since then.  We got so many amazing tips from Phil, and we hope you do too.  Here's the original episode spiel: Buckle up ya'll, it's the final episode for Season 2 and we're welcoming one of the nicest blokes in gardening to the microphone, Mr Phil Dudman. With a diverse and colourful career that extends from touring with an 80's rock band, to hosting garden tours in Italy, an epiphany when Phil was 27 sent him down the literal and metaphorical garden path and he hasn't looked back since. Phil is a trained horticulturalist, gardening talkback host on ABC Local Radio, the horticultural editor at Organic Gardener Magazine, has written books and is a familiar face on TV, Youtube and social media. Phil runs workshops and courses both online and from his own backyard, and you can explore what's on offer at www.growyourfood.com.au. Phil lives and gardens on the land of the Widjabul-Wai-bal people of the Bundjalung Nation in the Northern Rivers region of NSW. We chat to Phil about pests, garden design, attracting birdlife to your backyard and weeding with wine at 10am.  Before we get into it though, Emily and Maddie are drinking a Jauma grenache. We're talking about online marketplace purchases and tip shop wins. We're using Google Images to sort out our plant ID issues. We're sluggish with the garlic, and Maddie is barely keeping the lights on with her garden. Emily's finally sorted the pesky carport out, and her 7 year old daughter is winning at gardening this month.  Follow Phil on Instagram here, check out his YouTube here and his website here

According to a global Surfshark's study, governmental requests for content removal climbed to nearly 330k, with an annual average growth rate of 34% since 2020. Starting at over 44,000 requests in 2020, this number surpassed 100,000 by 2023, indicating that the volume of requests has more than doubled. "Government requests to remove content from Google shed light on the legal rules that govern online access to information. These requests often focus on political content or criticism of government actions. To justify such restrictions, governments typically cite laws related to defamation, privacy and security, or copyright. Google reviews each request carefully to determine if the content breaks any laws or violates its policies before deciding how to proceed," says Emilija Kucinskaite, Senior Researcher at Surfshark. Top countries by Google content removal requests Since 2020, nearly 330k requests have been submitted, originating from almost 150 countries, with an annual average growth rate of 34%. In this decade, 3 countries have accounted for around 80% of the total content removal requests. Russia accounts for 64% of the total, with over 211,000 requests (almost 130 per day). South Korea is second, with 10% of requests, totaling nearly 33,000 requests or approximately 20 per day. India follows with 5%, translating to almost 16,000 requests or around 9 per day. Among the top 15 with the highest number of Google removal requests are also Taiwan, Turkey, Brazil, Bangladesh, France, Pakistan, the United States, Australia, Germany, Vietnam, the United Kingdom, and Indonesia. Notably, of all countries or regions not in this list (about 90% of all countries) submitted fewer than one request per day on average. Courts and government agencies may request to remove content from Google products and services - from Blogger and Google Translate to Gmail. However, this decade, the majority of requests have been directed towards YouTube, which accounts for 54% of requests. Web Search is in second place accounting for 31% of requests. Together, these two platforms account for 85% of the received content removal requests. Global insights: why do governments ask for content removal? Each request is categorised by reason, with over 20 different grounds for requesting content removal from Google products or services. This decade, the three most common reasons have been National Security, with over 96,000 requests; Copyright, with nearly 71,000 requests; and Privacy and Security, with more than 37,000 requests. Together, these three reasons account for over 60% of content removal requests globally. Privacy and Security requests primarily focus on Web Search, YouTube, and Google Images; Defamation-related requests are mainly directed at YouTube, Web Search, and Local Reviews; Fraud-related requests predominantly target Google Ads, YouTube, and Web Search. See more stories here.

Le monde marin regorge de mystères et de créatures légendaires, mais peu suscitent autant d'engouement et de terreur que le Kraken. Figure emblématique de la mythologie maritime, cette créature mythique hante l'imagination des hommes depuis le Moyen Âge. Il est souvent dépeint comme un énorme céphalopode, une sorte de pieuvre ou de calmar géant, munis de bras tentaculaires capables d'enlacer un navire entier. Il émergeait des profondeurs obscures pour semer la terreur parmi les marins. Le Kraken trouve ses origines dans les sagas nordiques et scandinaves.  D'où vient cette légende ? Mythe ou réalité ? À quoi ressemble-t-il ? Écoutez la suite dans cet épisode de "Maintenant vous savez - Culture". Un podcast Bababam Originals, écrit et réalisé par Jonathan Aupart. Première diffusion : 14 décembre 2023. À écouter aussi : Quelle est l'histoire du véritable d'Artagnan ? Comment Jennifer Lopez a-t-elle participé à l'invention de Google Images ? Pourquoi la saga Hunger Games revient-elle à la mode ? Retrouvez tous les épisodes de "Maintenant vous savez - Culture". Suivez Bababam sur Instagram. Learn more about your ad choices. Visit megaphone.fm/adchoices

Bex Scott welcomes guest Ruth from Periwinkle Collectibles on Instagram to the show to talk all about Federal Glass, among other things. Ruth teaches Bex some fascinating facts about Federal Glass, their patterns, which country they released certain items in, and how to spot the collectibles in the wild. Not every thrift trip can be single-minded, however, so Bex and Ruth talk about some of the other vintage items they search for and enjoy as well.  Ruth claims Pyrex collecting was her gateway into other milk glass companies, patterns, and makers, and admits that in the early days, she would find something she thought was Pyrex only to bring it home and learn it wasn't. Through those research lessons, she found that something she initially thought was Fire King was in fact Federal Glass and that sent her on a whole new collecting journey. Bex learns about the sheer number of varieties of dot colors and sets available in Federal Glass, how so many promotional items came to be made of Federal Glass, and how to differentiate Federal from other items in the wild. Join this episode to learn what Facebook Group to join for identifying Federal, what pieces are most sought-after, and exactly how many collections Ruth draws the line at maintaining. Resources discussed in this episode:Vintage Federal Glass Facebook GroupEarly American Pattern Glass Society: Federal Glass vintage patterns reference“Shield F - The Mark of Quality” by Marg Iwen, Winter 2006, The Federation of Historical Bottle CollectorsFederal Glass circus bowlsFederal Glass dots bowlsFederal Glass mushroom bowl1974 Federal Glass ad page—Contact Ruth | Periwinkle CollectiblesInstagram: @periwinklecollectiblesContact Rebecca Scott | Pyrex With Bex: Website: PyrexWithBex.comInstagram: @pyrexwithbex— TranscriptBex Scott: [00:00:02] Hey everybody, it's Bex Scott and welcome to the Pyrex with Bex podcast where, you guessed it, I talk about vintage Pyrex, but also all things vintage housewares. I'll take you on my latest thrifting adventures, talk about reselling, chat with other enthusiasts about their collections, and learn about a bunch of really awesome items from the past. Subscribe now on Apple, Spotify, or wherever you love listening to podcasts so you don't miss a beat. Hey everybody, this is Bex Scott and you are listening to the Pyrex with Bex podcast. And today I am very excited to have Ruth from Periwinkle Collectibles. Welcome back Ruth. Ruth: [00:00:41] Hi Bex, it's good to be back. Bex Scott: [00:00:44] How have you been since we last talked? Ruth: [00:00:46] Oh, it's been a great, wonderful summer. But the days are getting shorter, the leaves are starting to fall, and it's time to start thinking about collections, isn't it? Bex Scott: [00:00:57] It is. And my favorite Halloween fall season for Pyrex displays is just around the corner and I, as everybody knows, am an avid Pyrex collector. You collect Pyrex yourself, but today I'm very excited because you are going to talk to us about a different collection that you have. So maybe just kick us off and let us know what you're going to be chatting about. Ruth: [00:01:23] Sure, sure. I thought that Pyrex, at least for me, was a gateway into a lot of other milk glass companies and patterns and makers, and many of us have found something at the thrift, found something out in the wild, brought it home thinking it was Pyrex. Started doing a little bit of research. And for me, this was before Google Image and before AI put all kinds of weird things out there, but it was before Google Image, so you'd have to try and describe what you had found to figure out, well, this isn't Pyrex, because it takes a while to realize that most Pyrex pieces have Pyrex stamped on them. And so you find a pretty white bowl at the thrift store with a really cute pattern, or what you think is really cute. And I mean, now I just, I flip things over and look for the maker mark. But back then I would just go oh 2.99 and this is pretty, in the cart it goes, and I'd bring it home and I'd go, oh, I found this great Pyrex. And then I'd start looking at it and trying to figure out the pattern and oh my gosh, I realized it wasn't Pyrex. Well, then what the heck was it? Well, I found quite a few pieces that had a really large capital F in a shield and I thought, wow, I found Fire-King! And I went on, this is the days of Facebook groups being the only place to really share things. Ruth: [00:02:51] This is kind of early days of Instagram and before a lot of other social media. I remember going onto a Fire-King group and excitedly sharing what I had found. And wow, I got politely but quickly schooled that what I had found was not Fire-King, but it was Federal. And I'm like Federal? What the heck is that? So I started looking up the patterns of that and going, oh. So I mean, Federal Glass was a company that was around for, I think, around 80-ish years in the States. I think they were in Ohio. They started off making, I think it was like pressed glass in the early 1900s. They made an awful lot of depression glass. And I'll be honest, even though I lived through the 80s and 90s, I have never collected depression glass in my life. A lot of my friends were collecting depression glass during that time, but I never really got into it. It didn't, it didn't appeal to me because depression glass, that's a whole nother discussion. But Federal made a lot of depression glass. They made a lot of barware. But what I particularly really enjoy is the opal ware or the, what people call milk glass, and the pretty patterns that I thought were made by Federal. Because when I flipped the bowl or the casserole or the mug over, it had an F and a shield. But I also discovered that, well, Federal made an awful lot of milk glass or opal ware, they also sold what was called blanks to decorator companies. And so I live in Canada, and what I have learned over the years is that in particular, there was a company outside of Toronto that did a lot of decorating of Federal blanks and other Fire-King and a few other blanks too, and they were called Cutler. C U T L E R. So they, like, printed on Federal blanks. And that's kind of the main reason why the Federal glass that's found in Canada, it's a lot of different patterns. I mean, there is some overlap, but there's quite a lot of patterns that are more commonly found in Canada than in the States. Bex Scott: [00:05:19] Interesting. I am already learning things from you because I had no idea. I had heard of Cutler and I'd heard of Federal Glass, but that is very cool. Ruth: [00:05:29] Yeah, I mean Cutler, they bought blanks from other companies and they did a lot of glassware. But basically their thing was they decorated glassware. You know, they painted onto items made by other companies. So there's a lot of Federal Glass in Canada that is tourist ware, you know, mugs with city, city and town names on them and festivals and hockey teams and businesses and things like that. And of course, it exists in the States also, and Federal in the states was also making decorated milk glass and other glass items. But it explains why some patterns show up in Canada in way larger quantities. There was a gas company in Quebec, I believe it was, that gave away the circus bowls. That's a pattern that a lot of Federal collectors, or you've probably seen it too, it has like red, orange, green, blue pattern around the edge of various circus animals and circus carts and things. Well, that was a giveaway from a gas station in Quebec. Bex Scott: [00:06:41] No way. Ruth: [00:06:43] Yes way. Bex Scott: [00:06:44] I would love to get that from a gas station. Why can't we get that from gas stations now? Ruth: [00:06:48] I know. When I could, when I could afford gas in the 80s, it was Petro Can. And all we got was those ugly glasses that said every garage sale you ever go to in Canada. But this was an earlier time because I think Federal Glass was out of business by 1980, for sure. I've seen a whole bunch of different sources. Some say 77, some say 79, whatever. By 1980, they were gone. So a lot of this stuff was given away in the 60s and 70s. But that's why there's so many circus bowls in Canada, in particular in Ontario and Quebec. And maybe the company was in Ontario as well, but definitely found way more in the eastern half of Canada than the western half of Canada. Bex Scott: [00:07:31] So has that made the circus bowls more popular in the States for collectors? Ruth: [00:07:37] Yeah, yeah, that does do that because they're harder to find. And isn't that what always happens with collectors is the sought-after is the harder to find? Is that just the way we are as people? Is that just... Bex Scott: [00:07:54] Yeah. We always want what we can't have. Ruth: [00:07:56] Exactly, exactly. So it was like the circus bowls. And then there was also the dots. There's way more of them that show up. And that's in particular one of my favorite patterns, because along the way, as I was looking for Pyrex, I found a brown dot Federal mug that I thought was kind of cute. So I brought it home and started looking at how many colors does that come in? And I went, well, I'm going to see what I can find. And eight years later, 27 mugs later, I'm still finding new ones. Bex Scott: [00:08:35] That was going to be my next question. How many different dot colors does it come in? Ruth: [00:08:40] Oh boy. Well, yeah. First of all, there's two dot variations. There's one where all the dots are the same size, basically, and another where there's two sizes of dots. And then the shape of the mug, there's three variations. So the colors, I think basically it's about 6 or 8 per shape. And then on the two size dots I've only ever been able to find or hear of about 6. We have on the Facebook group, the Federal Facebook group that I belong to, which Bex is going to link in the podcast. Bex Scott: [00:09:23] Yes. And they finally just accepted me. They actually accepted me really fast. So now I can drool over all of the beautiful photos. Ruth: [00:09:30] And it's, it's, there are some books out there on Federal, but not really that concentrate on the milk glass side of it. They're more the depression glass and the pressed glass type of stuff. So in that Facebook group, there's a lot of albums in there which a lot of Canadian and American collectors have contributed to, to help with that body of knowledge and help us figure out what was Cutler. And people have actually found some Cutler catalogs as well. But to help us figure out what was the actual pattern names, because there is no official websites or books, a lot of Federal patterns have nicknames, and there's multiple nicknames for a lot of the patterns. And then we find a catalog page and realize the name is actually not at all what anyone has ever called it. Bex Scott: [00:10:22] Mm. Yeah. Kind of like Pyrex with some of the strange nicknames that the bowls get out there. Ruth: [00:10:29] Yeah, yeah. Because there was no real company information. And so people make things up, like for example, for Federal there's a - oh, there's also a dot pattern that I didn't even talk about, which most people refer to as atomic, where it's a dot with like a little kind of swirl circle around it. I mean, one, no company in the 50s or 60s or 70s - this is just one of my pet peeves - ever named anything atomic. That name is retroactive. But that aside, that pattern name is actually called Bolero. And there's catalog proof in the Federal group for anyone who wants to argue that one. Printed proof. But the dots, I don't think, ever really had a name that we found so far because they were mostly Cutler. Some were released in the States. But that explains why on the dot bowls there's five different sizes, and Federal bowls are measured, similar to how Pyrex bowls are, across the top in inches for the people who don't like to talk the Pyrex models of 401 or 402 or whatever. Some people think of them in regards to how many inches they are. But Federal there's no molds, i.e. size numbers on them. So they're always called 5 inch, 6 inch, 7, 8, 9 inch, etc. so there's basically five sizes for the regular mixing bowls. There's no Cinderella bowls, there's no space savers, there's no divideds, but there is covered casseroles. There is a few baking dishes. But anyhow, sorry, where was my brain going with that? I was talking about the differences. But that's why people, that's why there are kind of select colors for the dots in 5 to 9 inch, whereas 9 inches super rare has only been found in a couple of colors and a 5 inch in a few more colors, but the 6, 7 and 8, which were a typical 3 bowl set for Federal, came in even more colors. Ruth: [00:12:44] Like, I think there's 8 or 10 colors for every size there. So when people say, well, what was the official set? What did it look like? Well, there's only a few catalog pages showing some of those variations. And of course, over time sets have been broken up and also a lot of those bowls were sold individually. So people would buy bowls and make up their own sets. You know, they'd pick, you know, a yellow 5 inch and a pink 7 inch and et cetera, et cetera. There are a few standard color combinations that were released, and that's just for one pattern. The dots. Stories like that surround almost every pattern where Blossom Time, for instance, there are certain colors you can find all over the place in Canada, but in the States, they they have a whole other color because they're, Federal made it, the pattern, and here Cutler made the pattern. Or, like some Pyrex stuff, just certain patterns were shipped to certain parts of the country or certain, you know, Kmart bought this product line and Kresge bought this other one and The Bay... I don't think The Bay and Eaton's carried Federal because the quality of Federal is different than Pyrex. Bex Scott: [00:14:07] Mhm. I was going to say it. How do you explain it? Is it a little less in quality would you say, than Pyrex? Ruth: [00:14:14] I would say, yeah. I mean that's, that's my personal opinion, just based upon the hundreds of pieces that I've seen over the years. And what happens if you, if your Federal piece accidentally goes into the dishwasher, it deteriorates much quicker than the end of the year is the 70s and 80s Pyrex that, you know, the odd dishwasher trip doesn't usually do too much harm, but Federal, half a dozen dishwasher trips can turn the whole thing into a piece of opal. Bex Scott: [00:14:48] You'd be left with a lot of opal in your collection. Ruth: [00:14:50] Yeah, well, and Federal had released a lot of opal. Like, it's very common to find just the plain nesting bowl that's Federal at the thrift or the flea or garage sale or whatever. And it can be hard to tell whether it was released that way or whether it was dishwasher, but if it's shiny, generally it was released that way. So, I mean, I probably find 15 - 20 opal Federal bowls for every one pattern that I find, at least, if not more. And I probably have, okay, I have a few sets of 5 to 9 inch oval and some of the sizes, again, way more common to find. 6, 7 and 8 inch super common, 5 fairly common, the bigger ones a little less common because sometimes it's just what people use and they also scratch on the interior quicker, like the pattern wears off faster. The interior scratches easier. Metal mixers do a real number on them. And while there's, you know, the school of people who are like, well, you know, you got to use, do you use it? You know, always the first question out of non-collectors mouth. Do you use it? And for Federal, yeah. You know, I use it, but I carefully hand wash it and hand use a gentle linen cloth and dry it and put it back on the shelf so it retains its shine because it, 100% agree with you, it does not have the quality and also the baking durability. It doesn't have that Pyrex baking durability. But that doesn't mean, it's still beautiful. It came in a lot of really pretty pretty patterns and some that are very highly sought-after. Are you aware of any of the Federal patterns or anything that's crossed your radar that you thought was? Bex Scott: [00:16:51] I think the only ones that I really knew of were, I'd heard of the circus, the stripes, there's the dots and then the daisy ones I've seen before. Ruth: [00:17:02] Right, right, right. The daisy. And then there's also a mushroom set that's quite sought-after. Bex Scott: [00:17:09] Everybody loves anything mushroom. Ruth: [00:17:10] Yeah, but it's also, it's primary colored mushrooms. Bex Scott: [00:17:15] Okay, I like that. Ruth: [00:17:16] Yeah, yeah. So it has like the yellow, the orange. There's like kind of 5, which I know is more than actually primary colors. But it was like a yellow, orange, red, green and blue that the mushroom set also comes in, and again, a kind of a printed band around the upper edge, which is a fairly common thing for, and it was a, I believe that one was a Cutler one as well. I think that one was a Cutler one as well. There's also some sort of harlequin or diamond type patterns that some people are very fond of. I mean, it's, right now it's the bright colors that appeal to people. There's a pattern that looks like French onion that Federal actually called Bucks County. Bex Scott: [00:18:05] Hmm. Where does that name come from? Ruth: [00:18:08] No clue. No clue. You'll rarely find it online under that name unless somebody has a box. But that's what it's called. There's a couple of variations on the kind of gingham tablecloth red and white check look. Bex Scott: [00:18:25] Oh, I've seen those. Do they come in little cereal bowls? Ruth: [00:18:28] Yes, they - oh, yeah, that's true. We didn't talk about cereal bowls, which is a shape size that Pyrex didn't really-- Bex Scott: [00:18:37] -- yeah-- Ruth: [00:18:38] -- didn't really do. I mean, Fire-King did a lot of, but, and so when you find them out in the wild with that little, that little cereal bowl, which I think most people nowadays would more call it a snack bowl, but, you know, they're even smaller than 401s. They have often a band of color around them. And they're generally, when you find them, they're either Anchor Hocking/Fire-King, or they are Federal. And just a quick flip to the bottom of the bowl looking for, you know, either one of the Fire-King logos or the Anchor Hocking logo, or the infamous F, large capital F in a shield to let you know which it is. And there's some patterns that kind of look like they might be Fire-King. There's a little bit, you know, there's popular patterns, like the KitchenAid pattern that Hazel-Atlas put out, which is like the turquoise or commonly turquoise, it looks like a coffee pot and a bowl and cups and plates that go around the outer rim of the bowl of Federal did a version of that, which I think that one was the Cutler one, I can't remember. Got to look on the albums on the group, but that I've only found one of, that's a bit harder one to find as well because it's pretty, you know, Hazel-Atlas had the just turquoise. Every single bowl was turquoise. Federal, of course, always does the color variation where each size of bowl is a different color. And then there's also some black and gold patterns. There's some all gold patterns. No clear lids, the lids, the lidded casseroles always have opal lids with a fairly distinctive knob shape. Bex Scott: [00:20:28] And are the lids as hard to find in Federal as they are in Pyrex now? Ruth: [00:20:33] Oh, harder. Harder, harder. Bex Scott: [00:20:35] Oh no. Harder. Ruth: [00:20:38] Because they didn't release as many, they didn't do, like they only had, there's only a few - I'm trying to think if it's 3 or 4 covered casseroles that came with lids. And those casseroles are, some people even call them bowls because they're round with sort of a shape at the bottom that's very reminiscent of the Fire-King splash proof bowls, but it's only on half of the bowl. It's like the top, it's like they couldn't decide who to flatter with their repetition of that pattern, you know, Pyrex with the roundness or Fire-King with the splash. So it's like a hybrid between the two. That's how, I don't know really if that's what was their intent, but that's how I've always thought of them in the casseroles and then the bakeware. There's kind of an oval dish, a couple of them, but the shapes are much, much more limited, you know, which is also probably contributed to their, they were sold for less money, sold by the lower end department stores, from what I've been able to see from advertisements and such, because they weren't as durable, they scratched up faster, they broke faster. Not quite Glass Bake. Sorry, not a fan. Bex Scott: [00:21:56] That's okay. I'm not either. Ruth: [00:21:58] But you know, you look at Glass Bake sideways and it cracks, scratches. Federal at least, you know, sure, maybe it scratches as fast, but at least it's pretty. Bex Scott: [00:22:15] It is. And speaking of not being a fan, is there a pattern in Federal or a couple patterns that you would say have a resounding, like the fan base isn't there for them, they're maybe considered ugly or not as desirable? Because I know in Pyrex it's usually Old Orchard and Forest Fancy that doesn't have a lot of love. So is there anything, anything in Federal like that? Ruth: [00:22:44] There's a pattern that's kind of black, a little bit of black with some brown flowers that not too many people are fond of. There's a pattern called Bouquet that comes in a dark teal that people aren't as fond of, because there's quite a bit of it out there. Whereas actually there's one size in that pattern and color that is super desirable because they barely released any. It's weird. It's one of those things where what is it, like, Woodlawn, where there's, like tons of 401 to 403, but the 404 is hard to find. Or was it Snowflake Garland where the 401 to 403 is, you know, it's a middle of the road pattern, but the 404 is super hard to find. So therefore people like it more. There's some of that going on. There's also a gold-only pattern, I think it's called Golden Glory, that was quite common. You've probably seen it. It kind of looks like gold bushes. Bex Scott: [00:23:52] Oh yeah. Yeah, I know what you're talking about. Ruth: [00:23:54] Yeah. And it was actually released twice. So that's why there's so much of it. It was first released in the, oh, I'm trying to remember, in the late 50s. Because I'm fond of it, because it's the pattern I grew up with, it's what my mother had. Right? Bex Scott: [00:24:11] Yeah. You have the memories associated with it. Ruth: [00:24:13] Right. But the pattern itself is not very popular. And then it was rereleased again, I think in the 70s when they were trying not to go under. So there's that. The golden brown, there isn't as many brown patterns as there is in Pyrex. I mean, there isn't as many patterns, period. But some of them are just, they're just, they're cute, they're adorable. They come in a lot of variations. And heck, we live in Canada where there's actually more of it. So I, I at first would leave it behind all the time because I was like, no, no, I'm only collecting Pyrex, I'm only collecting Pyrex. And then as you collect more of something and it gets harder to find and you start looking at the other, you start, you know, because there's generally very little monogamy in glass collecting, but you just start looking, you know, at the other things available and the other patterns and bringing them home and kind of going, oh, because I remember saying to some of my friends, no, I don't. I brought this home, isn't it pretty? And they're like, didn't you say you don't collect Federal? That was like, you know, 2000. Bex Scott: [00:25:27] That sounds familiar with me, too. Yeah. Ruth: [00:25:32] And before you know it, you're collecting it. Bex Scott: [00:25:35] Yeah. I've slowed down a lot on the Pyrex collecting lately, and maybe Federal is my next new thing that I have to to collect. So I'm looking at all these bright, cheery photos, and there's one in the vintage Federal Glass Facebook group and it's of these really nice boxes. So does Federal have a box for each dish that's as nice as the Pyrex ones? Ruth: [00:26:01] I honestly don't know because there just, there hasn't, I mean, there's some boxes out there, especially for those Federal made a lot of snack sets and boxes always survived for the snack sets because they weren't an everyday use type of, I don't know if everybody in the audience is familiar with a snack set. It's kind of like a large, generally oval-ish plate with a little raised and then indented smaller circle where you would put a cup and it was made for party use where you could hold this plate with the cup that was held in place with the little glass lip on the plate with a bit of food, you know, and your tea, and still stand and chat with people and be able to, you know, yeah, lift up your... Yeah there's an adorable pattern that kind of looks like cannabis that's like black, turquoise and pink. I can't remember the exact name of it. A lot of people like that. There's one in the snack sets of Federal one I think that's like a little pastel houses that are cute. I haven't delved into the world of snack sets other than looking at them, because I draw the line at 47 collections. Bex Scott: [00:27:17] Just 47. 48 is too many. 47 is okay though. Ruth: [00:27:20] There has to be a line, right? There has to be. Bex Scott: [00:27:22] Yeah. Ruth: [00:27:23] There's also because Federal did far more promotional items. They made promotional items with images on them that today we would not find socially acceptable. Bex Scott: [00:27:39] Mhm. Mhm. Ruth: [00:27:40] Okay. For certain banks or teams that had images that were derogatory to various, and in particular Indigenous, parts of the population. Some people collect those because they say it, because it's important to acknowledge the mistakes we made in the past. And some people choose to not go there at all. You know, it's a personal, that's a personal choice. But there's, there seems to be quite a bit more of that in Federal than there, you know, I can't, I don't know if I've ever seen any Pyrex that had what we would consider to be an offensive image. Bex Scott: [00:28:25] I'm trying to think maybe some of the coffee mugs. Ruth: [00:28:28] Yeah, true. Some of the sayings. Bex Scott: [00:28:31] Mhm. But nothing out of like the patterned dishes or bowls that I can think of. Ruth: [00:28:37] Yeah. There was a full set of bowls with a black silhouette of an Indigenous person with feathers in their hair that there's a lot of controversy about. Some people, you know, really think it's great. Other people think it's offensive. That's up to the individual to make their choice. For me, luckily that was released in the States. It doesn't show up here, so I don't have to, I don't have to look at it on the shelf and go is this is too offensive to go in the cart? Because it's important to acknowledge, you know, mistakes made in the past. But I don't particularly want to take pictures of it and glorify it in any way. So there's that. There's a lot of, you know, the office culture mugs. You know, what was acceptable to have on a mug in the 70s is often not acceptable today, thank goodness. Bex Scott: [00:29:40] Yes. Ruth: [00:29:41] A lot of, a lot of tourist ware and things like that. And a lot of glassware. There's glass canisters that Federal made that a lot of people misidentify as other companies. They call, the Federal company called them, I was going to say store-and-go, but I don't know if that's quite the right color. They came, they looked very similar to the Atterbury Scroll pattern that, I don't know. Are you familiar with any of this? Bex Scott: [00:30:13] I don't think so. I'm gonna have to look them up because I really like canisters. Ruth: [00:30:17] Yeah. So there were glass canisters with glass lids that had a plastic gasket. Not just all around the lip, but across the bottom as well. They came, Federal released them in oh, I think amber, clear, turquoise, and a kind of aurora borealis finish. I hunted for years to find every single color. They came in a bunch of shapes as well. I think an avocado green maybe is, no, I don't think Federals came in avocado green. Part of the problem is they look very, very similar to another company's gloss. So there's a lot of, and they're, none of them are stamped, but there is catalog showing Federal as hey, you know we make this. Because they made a lot of pressed glass in their history. Bex Scott: [00:31:15] That makes it tricky to identify then. You definitely need to find that catalog to make sure you have the legitimate piece. Ruth: [00:31:23] It's in the album, it's in the albums on the group. But so I think it's by color that you can tell from what company is what company. I just, I'm just trying to think what colors I have in my personal collection, because I tried hard to just find the Federal ones, which are easier to find here in Canada than other places. Bex Scott: [00:31:45] Yeah, that's another thing I'm going to add to my list then to search for in the stores. I'm sure it's not easy to find though. Ruth: [00:31:52] The those those plastic gaskets just didn't hold up like the... Bex Scott: [00:31:56] Yeah. Ruth: [00:31:57] Like the beautiful ground glass stoppers and edges on the Belgium canisters. You know, the bubble top, Belgium canisters that we all like or the Takahashi glass canisters with the ground edges. I have a little, I think that's collection 42. Bex Scott: [00:32:22] I love that. I'm going to go and count my collections now. Ruth: [00:32:26] I'm joking. And then I'm thinking, wait, am I really? Bex Scott: [00:32:31] Like I'm not actually. Ruth: [00:32:35] From Federal I always think, no, I have everything I want and then I find or a friend finds and they go, do you have the 5 inch solid colored bowl in, you know, and they name a color. And I look at my list and I go, dang, I have the other 5 colors. I don't have that one. Yeah. So I now, for Federal, I keep a list of the things that I don't have because it's easier than keeping a list of the things I do have. Bex Scott: [00:33:07] Mhm. That's a smart way to do it. Ruth: [00:33:09] Yeah. Because recently, fairly recently I found a 9 inch dot nesting bowl in turquoise. If it was in the Pyrex world it would almost be called rare. Definitely hard to find. And there's, there hasn't been a lot of them. And that's one that I actually, someone in Alberta had found it and I actually, yeah, coughed up and had to make that one mine. Bex Scott: [00:33:41] Yeah you invested in it. Ruth: [00:33:43] I invested. Yeah. That's the right way up. I really wanted it because I had the 5, 6, 7 and 8 in that color. So it just it had to be mine. But the vast majority of the Federal pieces I have are, I'd say 95% of them are from Canada, and 85% of them I found, I found locally or, you know, friends found locally because I have a lot of friends that collect locally. And what do we do? We find for each other and we trade. Right? Bex Scott: [00:34:19] That's the fun part of it. Making friends and finding things for each other and buying and trading. And that's what makes this whole addiction or hobby or however you want to explain it or justify it, that's what makes it fun. Ruth: [00:34:37] Serotonin is important. Bex Scott: [00:34:39] Yeah. Yeah. Ruth: [00:34:41] Definitely. It's almost more fun to find something that someone else has been looking for. Bex Scott: [00:34:48] Exactly. Yeah. You can score their holy grail. Ruth: [00:34:53] Yeah, yeah. Speaking of holy grails, beside the 9 inch turquoise that I was so happy to add to my collection, I actually found the batter bowl, a dot, red dot batter bowl. The white ones are a little bit more common for Federal, but I found a dot batter bowl at the thrift store. Bex Scott: [00:35:12] Oh wow. Ruth: [00:35:13] Last year or the year before? It was two years ago. Yeah, definitely two years ago, because I happened to be at a whole opposite end of the city than I normally am for an appointment and went, oh man, I have, I'm on my lunch still - wink wink - and I have time to... That's okay. I'm retired now, it doesn't matter. I was rushing back to the, rushing back to work and went, oh man, I'm driving right by this thrift store I never get to. Quickly swung in, raced up and down a few aisles and there it was for 4.99. Bex Scott: [00:35:50] Oh my gosh. Ruth: [00:35:51] And I went, the thrift gods were looking out today. Bex Scott: [00:35:54] The rays of sunshine came down into the store. It was right there. And they were singing. And yeah, I can see it. Ruth: [00:36:03] Angels sing. Bex Scott: [00:36:05] Yeah. Ruth: [00:36:09] That's the feeling when you find something you've been looking for on the thrift store shelf. Bex Scott: [00:36:15] Yeah. You start to float and everything is just perfect. That's exactly how I feel. Ruth: [00:36:21] You hug it to yourself. Bex Scott: [00:36:23] Yeah. Ruth: [00:36:26] Do you have a cart? You put it in the cart, you put your coat over it. Bex Scott: [00:36:29] Yes. Yeah. Nobody else can see that because they will try and steal it. Ruth: [00:36:35] Sadly, yes. Absolutely. And it doesn't matter how badly you have to go to the washroom, you do not leave your cart outside of the washroom with the precious item in it. Bex Scott: [00:36:46] Well, on that cheerful note. I have learned a ton today about Federal Glass, and I think I'm going to have to have you back for another episode to teach me more about Federal and all of these other 47 collections that you have. But thank you so much for giving me all your knowledge today. I know it's just the tip of the iceberg, but I have to make sure that everybody joins that vintage Federal Glass group. We'll put that in the show notes, and then make sure you follow Ruth at Periwinkle Collectibles on Instagram as well. Ruth: [00:37:23] Thanks, Bex. It's been a pleasure. Bex Scott: [00:37:25] Thanks so much for joining me, Ruth. 

Cinematographer Lawrence Sher, ASC has a career that spans indie favorites like Garden State to blockbuster hits like the Hangover movies and Joker. But it was the arduous process of creating lookbooks for Garden State that sparked an idea: a comprehensive, searchable database of cinematic images. This idea evolved into ShotDeck, a powerful tool for filmmakers and creatives alike. Larry's initial struggle involved manually grabbing screenshots from DVDs and tapes. Google Images offered some help, but the images lacked the cinematic quality he sought. By 2015, he began working with a computer engineer to build a solution, realizing that if he found such a library valuable, his colleagues would too. After years of beta testing, ShotDeck officially launched as a company in 2020. ShotDeck can also be used beyond pre-production pitch decks. “In my day to day, what I realized was every director I communicated with, across all the other departments, we were constantly in need of communicating creative ideas,” Larry says. “It's difficult to communicate creative ideas with words. Having images that you can point to with a director is the easiest way.” Larry would like ShotDeck to become the "visual IMDb," housing an exhaustive collection of cinematic imagery. Recently, ShotDeck partnered with Canva, integrating its library directly into the design platform. This allows Canva users to seamlessly access and incorporate over 1.5 million high-definition film stills into their projects, streamlining workflows for filmmakers, designers, and content creators. For Joker: Folie à Deux, Larry and director Todd Phillips continued their 15 year collaboration. Certain scenes of the movie were partly influenced by The Sonny and Cher Comedy Hour. Larry had to rely on using screen grabs from the show's DVDs as visual references, since they weren't inputted into ShotDeck yet. Joker: Folie à Deux maintains a visual connection to the first Joker, but expands on the original by embracing more fantastical elements. They scaled up the stages and sets, which provided greater flexibility in lighting and camera movement. Larry was able to use more color and a wider range of lighting techniques during the musical sequences, as Arthur Fleck becomes more and more detached from reality. He sees Joker: Folie à Deux as an operatic tragedy, exploring the internal conflict of a person battling their shadow self and delving into the complexities of love and its potential to drive someone to the edge. Larry defends director Todd Phillips's creative vision for the sequel. “When you make a sequel, you have to have a new approach to the material, otherwise why do a sequel to anything?” he points out. “This idea that Todd just took $200 million and just lit it on fire is absurd. The greatest thing about Todd as a filmmaker is he's at heart a gambler. He's a gambler in the way that the movie business should be a gamble. What are we doing this for if not to continue to express something that isn't simply trying to service the audience? We're giving something that you might not have asked for.” He continues, “The movie we made and the way we approached it, it's exactly what we were trying to do.” Find Lawrence Sher: Instagram @lawrencesherdp Hear our previous interview with Lawrence Sher on Joker: https://www.camnoir.com/ep56/ You can see Joker: Folie a Deux currently streaming on Max. Shotdeck is now available on Canva. Sponsored by Hot Rod Cameras: https://hotrodcameras.com/ Sponsored by ARRI: https://www.arri.com/en The Cinematography Podcast website: www.camnoir.com YouTube: @TheCinematographyPodcast Facebook: @cinepod Instagram: @thecinepod Blue Sky: @thecinepod.bsky.social

The best first-look show continues a day late but not a dollar short. Peter is back from the Big D and Davis tilts his best ball advancing teams. If you appreciate the audio format, please leave us a review... and sorry about the end where we just look at random Tight Ends on Google Image. Also shoutout to IKB for sponsoring the show and make sure to head over there to be in the Swolecast Members league. Hosted on Acast. See acast.com/privacy for more information.

Dan Sullivan and Gord Vickman examine the intersection of emotion, artificial intelligence, and human consciousness—and explain what will always set humans apart. What does it truly mean to be conscious in a world increasingly overwhelmed by technology?Show Notes: The entire human experience of being an individual is consciousness.The scientific community still doesn't understand why humans are conscious or how to measure consciousness.By 2026, experts predict 90% of online content could be AI-generated.AI lacks the multi-sensory and emotional depth of the human experience. It can never fully replicate human consciousness and interaction.Technological advancements often fade as fads because they can't substitute the richness of human interaction.Humans tend to project significance onto new technologies that simply isn't there.Google Images has started delivering AI-generated results.AI is a capability, and it becomes increasingly more useful the more you view it through this lens.Our ability to advance AI technology is limited by the physical resources this technology consumes. Resources: Emotional Intelligence: Why It Can Matter More Than IQ by Daniel Goleman Perplexity Thinking About Your Thinking by Dan Sullivan

After a two-week hiatus, Fratello On Air returns with an episode about how we research watches before buying. This is a listener suggestion that likely comes from the South in the USA. We know this because the message contained the word, "ya'll." Well, giddyup because it's time to discuss our top tips. For our listeners, the watch content starts after 20 minutes.Specifically, our listener Adam emailed us and asked how we research watches with little published history. He's especially interested in how we approach long-dormant brands or those who exist in name only. We've danced around this subject, but it's time to go head-on and share.HandgelenkskontrolleMike is in the middle of moving, which caused us to miss last week's episode. Our apologies! We'd also appreciate it if you'd send your episode ideas as we've lost our shared file! We kick off our episode discussing Sneakerness, a recent sneaker event Balazs attended in Budapest. Then, we discuss the recent PAM01655 and our displeasure with the display that reveals an underwhelming movement. For the Handgelenkskontrolle, Balazs is wearing the new Nivada Grenchen Antarctic GMT. Mike is wearing his trusty Rolex Submariner 14060M.How we research a watchThere's no perfect answer when it comes to researching a watch, but we have plenty of thoughts. Firstly, ask someone who knows more about a given watch. Importantly, do this before buying! Next, we appreciate reference sites like Ranfft and other blogs dedicated to research. Old advertisements and catalogs are a good tip but need to be treated with caution if the illustrations are hand-drawn. eBay and old auction results can provide useful information. We also like Google Images and Instagram. Forums can hold key details even if many images have disappeared. Finally, YouTube is a newer medium that is increasingly useful. The reality is that researching a vintage watch, especially an obscure model, is hard work and it takes time. The key, once again, is to do this work before buying.Thanks, Adam, for the suggestion, and thanks everyone for listening. Again, if you have ideas for future shows, please send them our way!

Here's a list of the most effective ways for searching Google to help you find anything in just a couple of clicks. Try these 15 simple methods to search Google for the information! Either this or that 1:07 Searching using synonyms 1:57 Searching within websites 2:40 The power of the asterisk 3:21 When lots of words are missing 3:55 Using a number range 4:38 Searching for a title or URL 5:22 Finding similar websites 5:44 Whole phrases 6:11 Unimportant search words 6:58 Searching for images using images 7:17 Defining words and learning where they come from 7:51 Finding a specific file 8:35 Using Google as a spell checker 9:06 Tracking your packages 9:33 Bonus trick 10:00 SUMMARY Google search is not only a powerful search tool but also the best friend for millions of people. It is always there for you (except for those times when you have no Internet connection – scary), and can help you with anything. It will find the lyrics to that song you heard on the radio but only got “you, me, forever, rain,” share the recipe for the most delicious pie and recommend the best restaurant around. Students can't go without it, and it is the key source of information for most adults, too. Simply put in a couple of potential variations of what you're looking for, and separate them by typing the “|” symbol. Instead of this symbol, you can also use “or.” If you need to find websites on a given subject rather than those that include a specific phrase, add the “~” symbol to your search. Sometimes you read an interesting article on a website and find yourself subsequently wanting to share it with your friends or simply reread it. The easiest way to find the desired piece of information again is to search within the website. To do this, type the address of the site, then a keyword or entire phrase from the article, and it should come up immediately. When your cunning memory decides not to let us remember that one keyword, phrase, or number we need to find what we're looking for, you can turn to the powerful "*" symbol. Just use it in the place of the word/phrase you can't remember, and you should be able to find the results you're looking for. If it's the lengthier half of the phrase you can't remember rather than a single keyword, try writing out the first and last words and putting “AROUND + (the approximate number of missing words)“ between them. If we want to find out about scientific discoveries during the 20th century, we can write: scientific discoveries 1900…2000. Yes, it is easy like that. It also works with other numbers. BONUS You did some hard work learning to use Google like a pro, so now it's time to play. If you search Atari Breakout on Google Images, the famous brick breaker will start right there. Enjoy it! Subscribe to Bright Side : https://goo.gl/rQTJZz ---------------------------------------------------------------------------------------- Our Social Media: Facebook:   / brightside   Instagram:   / brightgram   SMART Youtube: https://goo.gl/JTfP6L 5-Minute Crafts Youtube: https://www.goo.gl/8JVmuC ---------------------------------------------------------------------------------------- For more videos and articles visit: http://www.brightside.me/ Learn more about your ad choices. Visit megaphone.fm/adchoices

Felülírja az elméleteket egy újonnan felfedezett fekete lyuk Rakéta     2024-11-08 07:09:04     Tudomány Az objektum a korai univerzum 'legjobb étvágyú' fekete lyuka, amit eddig felfedeztek. Steve Jobs zsenialitásának titka egy ritka képességben rejlett – vajon mi az? Igényesférfi.hu     2024-11-08 04:34:19     Infotech Apple Tim Cook Steve Jobs Tim Cook, az Apple jelenlegi vezérigazgatója élete egyik legnagyobb kiváltságának tartja, hogy annak idején a techóriás fiatalon elhunyt társalapítója, a zseniális feltaláló-üzletember, Steve Jobs szárnyai alatt tanulhatott. Cook nemrégiben elárulta, szerinte mely tulajdonsága emelte igazán naggyá az IT és a szórakoztatóipar néhai gigászát. Miért pont mindig az orruk hiányzik az ókori egyiptomi szobroknak? Telex     2024-11-08 04:59:35     Tudomány Egyiptom A szobrok sérülései nemcsak véletlen balesetek miatt keletkeztek, hanem nagyon is tudatos pusztítás nyomán is. Megújult a Telekom Hello Biznisz ITBusiness     2024-11-08 06:06:08     Mobiltech Telekom KKV A Telekom Hello Biznisz megújította platformját, hogy még jobban támogassa a kis- és középvállalkozásokat (kkv-k) Magyarországon. A platform új helyre költözött, friss, könnyen használható felülettel, és új funkciókkal bővült, amelyek a vállalkozások digitális fejlődését segítik. Az új felületen elérhetők a Telekom által összeállított, lépésekre bo Torvalds megvillant, és a Linux máris gyorsabb 2,6 százalékkal Bitport     2024-11-08 13:41:00     Infotech Alapítvány Linux Megmutatta, hogy nem a semmire kap a fizetésén felül több mint egymillió dollárt a Linux Alapítványtól. Súlyos a kiberbiztonsági szakemberhiány Mínuszos     2024-11-08 07:33:37     Infotech Kiberbiztonság Digitális átállás A magyarországi kiberbiztonsági szektor gyors ütemben fejlődik, de ennek ellenére továbbra is jelentős hiány mutatkozik képzett szakemberekből. Amagyarországi kiberbiztonsági szakemberhiány veszélyezteti az ágazat biztonságos működését és ellenállóképességét. Ahogy kiberbiztonsági fenyegetések egyre összetettebbé válnak és a digitális átállás üteme Milyen hatásai lesznek a generatív mesterséges intelligenciának? Digital Hungary     2024-11-08 05:47:00     Infotech Mesterséges intelligencia Internet Hungary A 25. Internet Hungary konferencián Fehér Katalin újmédia és társadalmi-kulturális MI kutató a generatív mesterséges intelligencia etikus használatának kihívásait és lehetőségeit mutatta be. Rávilágított, hogyan formálhatja ez a technológia mindennapjainkat, és milyen elvek mentén szükséges a bizalom és átláthatóság megteremtése a jövőbeli felhaszn Megvan, miért okozhat rákot a vörös hús 24.hu     2024-11-08 14:29:10     Tudomány Kutatók szerint a felfedezés új rákellenes kezelési módszerek kidolgozásában is segíthet. Különös felhőt fotózott le a NASA műholdja First Class     2024-11-08 13:57:11     Tudomány Világűr NASA Műhold Új-Zéland Új-Zéland lélegzetelállító tájai már számos filmben szolgáltak háttérként, azonban az ország Otago régiójában felbukkanó különleges felhő ugyancsak nem evilági hangulatot áraszt – bár ez teljesen valóságos. Az online fotók és videók megváltoztatják a gondolkodásmódot? ICT Global     2024-11-08 04:03:58     Infotech Mesterséges intelligencia Google Egy új tanulmány szerint a Google Images használata hosszabb távon képes előidézni sztereotípiaképződést és -fenntartást. A digitális detox az előítéletek kezelésében is megoldást jelenthet, mivel mi magunk idézzük elő a mesterséges intelligencia által közvetített sztereotípiákat, úgy viszont kevesebb alapanyagot kaphat az AI. Kína elkészítette a valódi Halálcsillagot, az ellenséges műholdakat kiiktatni képes fegyvert hirado.hu     2024-11-08 05:07:00     Tudomány Kína Világűr Star Wars Műhold Kínai tudósok azt állítják, hogy sikerült megalkotniuk egy olyan fegyvert, amely képes elpusztítani az ellenséges műholdakat az űrben. Egyre többen reagálnak az AI kockázataira Fintech     2024-11-08 04:05:03     Modern Gazdaság Mesterséges intelligencia Felmérés Google Egyesült Királyság Az Egyesült Királyság kormánya új, átfogó platformot indít útjára, amely segíti a vállalkozásokat az egyre szélesebb körben elterjedt mesterséges intelligencia (AI) technológiák kockázatainak felmérésében és csökkentésében. Eközben a Google szintén figyelmeztetett az AI alapú csalások térnyerésére. AI biztonsági platform a kockázatok enyhítésére Az Manipulált toborzás? Új kihívások előtt a HR Behaviour     2024-11-08 14:51:02     Karrier Mesterséges intelligencia Az új mesterséges intelligencia-eszközök célja a toborzási folyamatok egyszerűsítése, de szakértők szerint jelenleg sok esetben inkább akadályokat képeznek. A gyors és nagy számú jelentkezés miatt a munkaadók túlterheltek, és nehezen szűrik ki a valódi jelölteket. Ezt tovább bonyolítják az álláskeresők által alkalmazott manipulációs technikák, péld A további adásainkat keresd a podcast.hirstart.hu oldalunkon.

Felülírja az elméleteket egy újonnan felfedezett fekete lyuk Rakéta     2024-11-08 07:09:04     Tudomány Az objektum a korai univerzum 'legjobb étvágyú' fekete lyuka, amit eddig felfedeztek. Steve Jobs zsenialitásának titka egy ritka képességben rejlett – vajon mi az? Igényesférfi.hu     2024-11-08 04:34:19     Infotech Apple Tim Cook Steve Jobs Tim Cook, az Apple jelenlegi vezérigazgatója élete egyik legnagyobb kiváltságának tartja, hogy annak idején a techóriás fiatalon elhunyt társalapítója, a zseniális feltaláló-üzletember, Steve Jobs szárnyai alatt tanulhatott. Cook nemrégiben elárulta, szerinte mely tulajdonsága emelte igazán naggyá az IT és a szórakoztatóipar néhai gigászát. Miért pont mindig az orruk hiányzik az ókori egyiptomi szobroknak? Telex     2024-11-08 04:59:35     Tudomány Egyiptom A szobrok sérülései nemcsak véletlen balesetek miatt keletkeztek, hanem nagyon is tudatos pusztítás nyomán is. Megújult a Telekom Hello Biznisz ITBusiness     2024-11-08 06:06:08     Mobiltech Telekom KKV A Telekom Hello Biznisz megújította platformját, hogy még jobban támogassa a kis- és középvállalkozásokat (kkv-k) Magyarországon. A platform új helyre költözött, friss, könnyen használható felülettel, és új funkciókkal bővült, amelyek a vállalkozások digitális fejlődését segítik. Az új felületen elérhetők a Telekom által összeállított, lépésekre bo Torvalds megvillant, és a Linux máris gyorsabb 2,6 százalékkal Bitport     2024-11-08 13:41:00     Infotech Alapítvány Linux Megmutatta, hogy nem a semmire kap a fizetésén felül több mint egymillió dollárt a Linux Alapítványtól. Súlyos a kiberbiztonsági szakemberhiány Mínuszos     2024-11-08 07:33:37     Infotech Kiberbiztonság Digitális átállás A magyarországi kiberbiztonsági szektor gyors ütemben fejlődik, de ennek ellenére továbbra is jelentős hiány mutatkozik képzett szakemberekből. Amagyarországi kiberbiztonsági szakemberhiány veszélyezteti az ágazat biztonságos működését és ellenállóképességét. Ahogy kiberbiztonsági fenyegetések egyre összetettebbé válnak és a digitális átállás üteme Milyen hatásai lesznek a generatív mesterséges intelligenciának? Digital Hungary     2024-11-08 05:47:00     Infotech Mesterséges intelligencia Internet Hungary A 25. Internet Hungary konferencián Fehér Katalin újmédia és társadalmi-kulturális MI kutató a generatív mesterséges intelligencia etikus használatának kihívásait és lehetőségeit mutatta be. Rávilágított, hogyan formálhatja ez a technológia mindennapjainkat, és milyen elvek mentén szükséges a bizalom és átláthatóság megteremtése a jövőbeli felhaszn Megvan, miért okozhat rákot a vörös hús 24.hu     2024-11-08 14:29:10     Tudomány Kutatók szerint a felfedezés új rákellenes kezelési módszerek kidolgozásában is segíthet. Különös felhőt fotózott le a NASA műholdja First Class     2024-11-08 13:57:11     Tudomány Világűr NASA Műhold Új-Zéland Új-Zéland lélegzetelállító tájai már számos filmben szolgáltak háttérként, azonban az ország Otago régiójában felbukkanó különleges felhő ugyancsak nem evilági hangulatot áraszt – bár ez teljesen valóságos. Az online fotók és videók megváltoztatják a gondolkodásmódot? ICT Global     2024-11-08 04:03:58     Infotech Mesterséges intelligencia Google Egy új tanulmány szerint a Google Images használata hosszabb távon képes előidézni sztereotípiaképződést és -fenntartást. A digitális detox az előítéletek kezelésében is megoldást jelenthet, mivel mi magunk idézzük elő a mesterséges intelligencia által közvetített sztereotípiákat, úgy viszont kevesebb alapanyagot kaphat az AI. Kína elkészítette a valódi Halálcsillagot, az ellenséges műholdakat kiiktatni képes fegyvert hirado.hu     2024-11-08 05:07:00     Tudomány Kína Világűr Star Wars Műhold Kínai tudósok azt állítják, hogy sikerült megalkotniuk egy olyan fegyvert, amely képes elpusztítani az ellenséges műholdakat az űrben. Egyre többen reagálnak az AI kockázataira Fintech     2024-11-08 04:05:03     Modern Gazdaság Mesterséges intelligencia Felmérés Google Egyesült Királyság Az Egyesült Királyság kormánya új, átfogó platformot indít útjára, amely segíti a vállalkozásokat az egyre szélesebb körben elterjedt mesterséges intelligencia (AI) technológiák kockázatainak felmérésében és csökkentésében. Eközben a Google szintén figyelmeztetett az AI alapú csalások térnyerésére. AI biztonsági platform a kockázatok enyhítésére Az Manipulált toborzás? Új kihívások előtt a HR Behaviour     2024-11-08 14:51:02     Karrier Mesterséges intelligencia Az új mesterséges intelligencia-eszközök célja a toborzási folyamatok egyszerűsítése, de szakértők szerint jelenleg sok esetben inkább akadályokat képeznek. A gyors és nagy számú jelentkezés miatt a munkaadók túlterheltek, és nehezen szűrik ki a valódi jelölteket. Ezt tovább bonyolítják az álláskeresők által alkalmazott manipulációs technikák, péld A további adásainkat keresd a podcast.hirstart.hu oldalunkon.

Welcome to Episode 33 of the 90-Day Website Mastery Podcast, the ultimate resource for business owners, marketing managers, and web professionals looking to transform their online presence! Join hosts Jonny Ross and Pascal Fintoni as they share actionable insights, practical advice, and the latest trends in website strategy.This week, we dive into:

Kicking off the week with Pinterest Artificial Intelligence and advertisements from a clubhouse Marketing Club room we had earlier this month. Listen to this episode and imagine how Google Images can enhance your business for higher performances. Connect with ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Favour Obasi-ike⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠LinkedIn⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. Resources ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Follow Work & PLAY Entertainment on Facebook⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Follow Work & PLAY Entertainment on Pinterest⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Follow Work & PLAY Entertainment on LinkedIn⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Join the PGA Newsletter here!⁠⁠ >>⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Get all the episodes in the academy ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠here⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠! ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Book a meeting with me here

Discover the latest from Google with AI image labeling updates and insights into optimizing for user intent. Learn about the EXIF data in SEO, more Google bugs, the results of a deep dive into AI Overviews, and other optimization insights in this episode.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Some signs of tech progress are obvious: the moon landing, the internet, the smartphone, and now generative AI. For most of us who live in rich countries, improvements to our day-to-day lives seem to come gradually. We might (might), then, forgive some of those who claim that our society has not progressed, that our lives have not improved, and that a tech-optimist outlook is even naïve.Today on Faster, Please! — The Podcast, I talk with economist Noah Smith about pushing the limits in areas like energy technology, how geopolitical threats spur innovation, and why a more fragmented industrial policy might actually be an advantage.Smith is the author of the popular Noahpinion Substack. He was previously an assistant finance professor at Stony Brook University and an economics columnist for Bloomberg Opinion.In This Episode* Recognizing progress (1:43)* Redrawing the boundaries of energy tech (12:39)* Racing China in research (15:59)* Recalling Japanese economic history (20:32)* Regulating AI well (23:49)* Rethinking growth strategy in the EU (26:46)Below is a lightly edited transcript of our conversationRecognizing progress (1:43)Pethokoukis: Noah, welcome to the podcast.Smith: Great to be here!Not to talk about other podcast guests, but I will very briefly — Last year I did one with Marc Andreessen and I asked him just how tech optimistic he was, and he said, “I'm not sure I'm an optimist at all,” that the most reasonable expectation is to expect the future to be like the past, where we have a problem building things in the real world, that some of our best ideas don't necessarily become everything they could be, and I think a perfectly reasonable baseline forecast is that, for all our talk about optimism, and “let's go,” and “let's accelerate,” that none of that happens. Does that sound reasonable to you or are you more optimistic?I'm optimistic. You know, a few years ago we didn't have mRNA vaccines. Now we do. And now we have a magical weight loss drug that will not only make you lose weight, but will solve half your other health problems for reasons we don't even understand yet.So much inflammation.Right. We didn't even have that a few years ago. That did not exist. If you told someone that would exist, they would laugh at you. A magic pill that not only makes you thin, but also just solves all these other health issues: They would laugh at you, Scott Alexander would laugh at you, everyone would laugh at you. Now it's real. That's cool.If you had told someone a few years ago that batteries would be as insanely cheap as they are, they would've been like, “What? No. There's all these reasons why they can't be,” but none of those reasons were true. I remember because they did actually say that, and then batteries got insanely cheap, to the point where now Texas is adding ridiculous amounts of batteries for grid storage. Did I predict that was going to happen? No, that surprised me on the upside. The forecasters keep forecasting sort of a leveling off for things like solar and battery, and they keep being wrong.There's a lot of other things like reusable rockets. Did you think they'd get this good? Did you think we'd have this many satellites in the low-earth orbit?AI just came out of nowhere. Now everyone has this little personal assistant that's intelligent and can tell them stuff. That didn't exist three years ago.So is that, perhaps, growing cluster of technologies, that's not just a short-term thing. Do you think all these technologies — and let's say particularly AI, but the healthcare-related stuff as well — that these taken together are a game-changer? Because people always say, “Boy, our lives 30 years ago didn't look much different than our lives today,” and some people say 40 years ago.But that's wrong!Yes, I do think that is wrong, but that people's perception.When I was a kid, people didn't spend all day looking at a little screen and talking to people around the world through a little screen. Now they do. That's like all they do all day.But they say that those aren't significant, for some reason, they treat that as a kind of a triviality.Like me, you're old enough to remember a thing called “getting bored.” Do you remember that? You'd just sit around and you're like, “Man, I've got nothing to do. I'm bored.” That emotion just doesn't exist anymore — I mean, very fleetingly for some people, but we've banished boredom from the world.Remember “getting lost?” If you walk into that forest, you might get lost? That doesn't happen unless you want to get lost, unless you don't take your phone. But the idea that, “Oh my God, I'm lost! I'm lost!” No, just look at Google Maps and navigate your way back.Being lost and being bored are fundamental human experiences that have been with us for literally millions of years, and now they're just gone in a few years, just gone!Remember when you didn't know what other places looked like? You would think, “Oh, the Matterhorn, that's some mountain in Switzerland, I can only imagine what that looks like.” And then maybe you'd look it up in an encyclopedia and see a picture of it or something. Now you just type it into Google Images, or Street View, or look at YouTube, look at a walking tour or something.Remember not knowing how to fix things? You just had no idea how to fix it. You could try to make it up, but really what you'd do is you'd call someone who was handy with stuff who had this arcane knowledge, and this wizard would fix your cabinet, or your dresser, or whatever, your stereo.Being lost and being bored are fundamental human experiences that have been with us for literally millions of years, and now they're just gone in a few years, just gone!So why does that perception persist? I mean, it's not hard to find people — both of us are probably online too much — who just will say that we've had complete and utter stagnation. I don't believe that, yet that still seems to be the perception, and I don't know if things haven't moved fast enough, if there are particular visions of what today should look like that haven't happened, and people got hung up on the flying-car, space-colony vision, so compared to that, GPS isn't significant, but I think what you have just described, not everybody gets that.Because I think they don't often stop to think about it. People don't often stop to think about how much the world has changed since they were young. It's like a gradual change that you don't notice day-to-day, but that adds up over years. It's like boiling the frog: You don't notice things getting better, just like the frog doesn't notice the water getting hotter.Do you think it's going to get hotter going forward, though? Do you think it's going to boil faster? Do you think that AI is such a powerful technology that it'll be indisputable to everybody that something is happening in the economy, in their everyday lives, and they look a lot different now than they did 10 years ago, and they're going to look a whole lot different 10 years from now?Utility, remember — back to econ class — utility is concave. A utility of wealth, utility of consumption, is concave, which means that if you get 10,000 more dollars of annual income and you're poor, that makes a hell of a lot of difference. That makes a world of difference to you. But if you're rich, it makes no difference to you. And I think that Americans are getting rich to the point where the new things that happen don't necessarily increase our utility as much, simply because utility is concave. That's how things work.In the 20th century, people escaped material poverty. They started out the century with horses and buggies, and wood-burning stoves, and freezing in the winter, and having to repair their own clothes, and having food be super expensive, and having to work 60-hour weeks, 80-hour weeks at some sweatshop, or just some horrible thing, and horrible conditions with coal smoke blackening the skies; and then they ended in nice, clean suburbia with computers and HDTVs —I guess maybe we didn't get those till the 2000s — but anyway, we ended the 20th century so much richer.Basically, material poverty in rich countries was banished except for a very few people with extreme mental health or drug problems. But then for regular people, material want was just banished. That was a huge increment. But if you took the same increment of wealth and did that again in the next century, people wouldn't notice as much. They'd notice a little bit, but they wouldn't notice as much, and I think that it's the concavity of utility that we're really working against here.In the 20th century, people escaped material poverty. They started out the century. . . having to work 60-hour weeks, 80-hour weeks at some sweatshop. . . and then they ended in nice, clean suburbia with computers and HDTVs . . .So is economic growth overrated then? That kind of sounds like economic growth is overrated.Well, no. I don't know that it's overrated. It's good, but I don't know who overrates it. Obviously it's more important for poor countries to grow than for rich countries to grow. Growth is going to make a huge difference to the people of Bangladesh. It's going to be life-changing, just as it was life-changing for us in the 20th century. They're going to have their 20th century now, and that's amazing.And, to some extent, our growth sustains their growth by buying their products; so that helps, and contributing to innovations that help them, those countries will be able to get energy more easily than we were because they're going to have this super-cheap solar power, and batteries, and all this stuff that we didn't have back in the day. They're going to have protections against diseases, against malaria, and dengue fever, and everything. We didn't have those when we were developing, we had to hack our way through the jungle.So growth is great. Growth is great, and it's better for the people in the poor countries than for us because of concavity of utility, but it's still good for us. It's better to be advancing incrementally. It's better to be feeling like things are getting better slowly than to be feeling like things aren't getting better at all.So many things have gotten better, like food. Food has gotten immeasurably better in our society than it was in the '90s. The food you can eat at a regular restaurant is just so much tastier. I don't know if it's more nutritious, but it's so much tastier, and so much more interesting and varied than it was in the '90s, and people who are in their 40s or 50s remember that. And if they stop to think about it, they'll be like, “You know what? That is better.” We don't always stop to remember what the past was. We don't remember what food was like in the '90s — I don't. When I'm going out to a restaurant to eat, I don't think about what a restaurant was like in 1994, when I was a kid. I don't think about that. It just doesn't come to mind. It's been a long time.In Japan I noticed it a lot, because Japan had, honestly, fairly bland and boring food up until about 2010 or so. And then there was just this revolution where they just got the most amazing food. Now Japan is the most amazing place to go eat in the world. Every restaurant's amazing and people don't understand how recent that is. People don't understand how 20 years ago, 25 years ago, it was like an egg in a bowl of rice and sort of bland little fried things. People don't remember how mediocre it was, because how often did they go to Japan back in 2005?It's better to be feeling like things are getting better slowly than to be feeling like things aren't getting better at all.Redrawing the boundaries of energy tech (12:39)Your answer raised several questions: One, you were talking about solar energy and batteries. Is that enough? Is solar and batteries enough? Obviously I read about nuclear power maybe too much, and you see a lot of countries trying to build new reactors, or restart old reactors, or keep old nuclear reactors, but over the long run, do we need any of that other stuff or can it really just be solar and batteries almost entirely?Jesse Jenkins has done a lot of modeling of this and what would be the best solutions. And of course those models change as costs change. As battery costs go down and battery capabilities improve, those models change, and we can do more with solar and batteries without having to get these other things. But the current models that the best modelers are making right now of energy systems, it says that we're probably looking at over half solar and batteries, maybe two thirds, or something like that. And then we'll have a bunch of other solutions: nuclear, wind, geothermal, and then a little bit of gas, we'll probably never completely get rid of it.But then those things will all be kind of marginal solutions because they all have a lot of downsides. Nuclear is very expensive to build and there's not much of a learning curve because it gets built in-place instead of in a factory (unless it's on a submarine nuclear plant, but that's a different thing). And then wind takes too much land, really, and also the learning curve is slower. Geothermal is only certain areas. It's great, but it's only certain areas. And then gas, fossil fuel, whatever.But the point is that those will all be probably part of our mix unless batteries continue to get better past where we even have expected them to. But it's possible they will, because new battery chemistries are always being experimented with, and the question is just: Can we get the production cost cheap enough? We have sodium ion batteries, iron flow batteries, all these other things, and the question is, can we get the cost cheap enough?Fortunately, China has decided that it is going to pour untold amounts of capital and resources and whatever into being the Saudi Arabia of batteries, and they're doing a lot of our work for us on this. They're really pushing forward the envelope. They're trying to scale every single one of these battery chemistries up, and whether or not they succeed, I don't know. They might be wasting capital on a lot of these, or maybe not, but they're trying to do it at a very large scale, and so we could get batteries that are even better than we expect. And in that case, I would say the share of solar and batteries would be even higher than Jesse Jenkins and the other best modelers now predict.But you don't know the future of technology. You don't know whether Moore's Law will stop tomorrow. You don't know these things. You can trace historical curves and forecast them out, and maybe come up with some hand-wavy principles about why this would continue, but ultimately, you don't really know. There's no laws of the universe for technological progress. I wish there were, that'd be cool. But think solar and batteries are on their way to being a majority of our total energy, not just electricity, but total energy.Racing China in research (15:59)Does it concern you, in that scenario, that it's China doing that research? I understand the point about, “Hey, if they want to plow lots of money and lose lots of money,” but, given geopolitical relations, and perhaps more tariffs, or war in the South China Sea, does that concern you that that innovation is happening there?It absolutely does concern me. We don't want to get cut off from our main sources of energy supply. That's why I favor policies like the Inflation Reduction Act. Basically, industrial policy is to say, “Okay, we need some battery manufacturing here, we need some solar panel manufacturing here in the country as a security measure.” Politicians always sell it in terms of, “We created this many jobs.” I don't care. We can create jobs anyway. Anything we do will create jobs. I don't care about creating specific kinds of jobs. It is just a political marketing tactic: “Green jobs, yes!” Okay, cool, cool. Maybe you can market it that way, good for you.But what I do care about is what you talked about, which is the strategic aspect of it. I want to have some of that manufacturing in the country, even if it's a little inefficient. I don't want to sacrifice everything at the altar of a few points of GDP, or a few tenths of a percent of points of GDP at most, honestly. Or sacrifice everything in the altar of perfect efficiency. Obviously the strategic considerations are important, but, that said, what China's doing with all this investment is it's improving the state of technology, and then we can just copy that. That's what they did to us for decades and decades. We invented the stuff, and then they would just copy it. We can do that on batteries: They invent the stuff, we will copy it, and that's cool. It means they're doing some of our work, just the way we did a lot of their work to develop all this technology that they somehow begged, borrowed, or stole.. . . what China's doing with all this investment is it's improving the state of technology, and then we can just copy that. That's what they did to us for decades and decades. We invented the stuff, and then they would just copy it. We can do that on batteries. . .The original question I asked about: Why should we think the future will be different than the recent past? Why should we think that, in the future, America will spend more on research? Why do we think that perhaps we'll look at some of the regulations that make it hard to do things? Why would any of that change?And to me, the most compelling reason is, it's quite simple just to say, “Well, what about China? Do you want to lose this race to China? Do you want China to have this technology? Do you want them to be the leaders in AI?” And that sort of geopolitical consideration, to me, ends up being a simple but yet very persuasive argument if you're trying to argue for things which very loosely might be called “pro-progress” or “pro-abundance” or what have you.I don't want to whip up any international conflict in order to stimulate people to embrace progress for national security concerns. That wouldn't be worth it, that's like wagging the dog. But, given that international conflict has found us — we didn't want it, but given the fact that it found us — we should do what we did during the Cold War, during World War II, even during the Civil War, and use that problem to push progress forward.If you look at when the United States has really spent a lot of money on research, has built a lot of infrastructure, has done all the things we now retrospectively associate with progress, it was for international competition. We built the interstates as part of the Cold War. We funded the modern university system as part of the Cold War. And a lot of these things, the NIH [National Institutes of Health], and the NSF [National Science Foundation], and all these things, of course those came from World War II programs, sort of crash-research programs during and just before World War II. And then, in the Civil War, of course, we built the railroads.So, like it or not, that's how these things have gotten done. So now that we see that China and Russia have just decided, “Okay, we don't like American power, we want to diminish these guys in whatever way we can,” that's a threat to us, and we have to respond to that threat, or else just exceed to the loss of wealth and freedom that would come with China getting to do what it wants to us. I don't think we should exceed to that.I don't want to whip up any international conflict in order to stimulate people to embrace progress. . . But, given that international conflict has found us. . . we should do what we did during the Cold War, during World War II, even during the Civil War, and use that problem to push progress forward.Recalling Japanese economic history (20:32)You write a lot about Japan. What is the thing you find that most people misunderstand about the last 30 years of Japanese economic history? I think the popular version is: Boom, in the '80s, they looked like they were ahead in all these technologies, they had this huge property bubble, the economy slowed down, and they've been in a funk ever since — the lost decades. I think that might be the popular economic history. How accurate is that?I would say that there was one lost decade, the '90s, during which they had a very protracted slowdown, they ameliorated many of the effects of it, but they were very slow to get rid of the root cause of it, which was bad bank debts and a broken banking system. Eventually, they mostly cleaned it up in the 2000s, and then growth resumed. By the time per capita growth resumed, by the time productivity growth and all that resumed, Japan was aging very, very rapidly, more rapidly than any country has ever aged in the world, and that masked much of the increase in GDP per worker. So Japan was increasing its GDP per worker in the 2000s, but it was aging so fast that you couldn't really see it. It looked like another lost decade, but what was really happening is aging.And now, with fertility falling all around the world right now in the wake of the pandemic, probably from some sort of effect of social media, smartphones, new technology, whatever, I don't know why, but fertility's falling everywhere — again, it looked like it had bottomed out, and then now it's falling again. We're all headed for what happened to Japan, and I think what people need to understand is that that's our future. What happened to Japan in the 2000s where they were able to increase productivity, but living standards stagnated because there were more and more old people to take care of. That is something that we need to expect to happen to us, because it is. And, of course, immigration can allay that somewhat, and it will, and it should. And so we're not because of immigrationWill it in this country? In this country, the United States, it seems like that should be something, a major advantage going forward, but it seems like it's an advantage we seem eager to throw away.Well, I don't know about eager to throw away, but I think it is in danger. Obviously, dumb policies can wreck a country at any time. There's no country whose economy and whose progress cannot be wrecked by dumb policies. There's no country that's dumb-proof, it doesn't exist, and it can't exist. And so if we turn off immigration, we're in trouble. Maybe that's trouble that people are willing to accept if people buy the Trumpist idea that immigrants are polluting our culture, and bringing all kinds of social ills, and eating the pets, and whatever the hell, if people buy that and they elect Trump and Trump cracks down hard on immigration, it will be a massive own-goal from America. It will be a self-inflicted wound, and I really hope that doesn't happen, but it could happen. It could happen to the best of us.There's no country whose economy and whose progress cannot be wrecked by dumb policies. There's no country that's dumb-proof, it doesn't exist, and it can't exist.Regulating AI well (23:49)Do you think what we're seeing now with AI, do you think it is an important enough technology that it is almost impossible, realistically, to screw it up through a bad regulation, through a regulatory bill in California, or something on the national level? When you look at what's going on, that if it's really as important as what perhaps the most bullish technologists think it is, it's going to happen, it's going to change businesses, it's going to change our lives, and unless you somehow try to prohibit the entire use of the technology, there's going to be an Age of AI?Do people like me worry too much about regulation?I can't say, actually. This is not something I'm really an expert on, the potential impact of regulation on AI. I would never underestimate the Europeans' ability to block new technologies from being used, they seem to be very, very good at it, but I don't think we'll completely block it, it could hamper it. I would say that this is just one that I don't know.But I will say, I do think what's going to happen is that AI capabilities will outrun use cases for AI, and there will be a bust relatively soon, where people find out that they built so many data centers that, temporarily, no one needs them because people haven't figured out what to do with AI that's worth paying a lot of money for. And I have thoughts on why people haven't thought of those things yet, but I'll get to that in a second. But I think that eventually you'll have one of those Gartner Hype Cycles where eventually we figure out what to do with it, and then those data centers that we built at that time become useful. Like, “Oh, we have all these GPUs [graphics processing units] sitting around from that big bust a few years ago,” and then it starts accelerating again.So I predict that that will happen, and I think that during the bust, people will say, just like they did after the Dot-com bust, people will say, “Oh, AI was a fake. It was all a mirage. It was all useless. Look at this wasted investment. The tech bros have lied to us. Where's your future now?” And it's just because excitement about capabilities outruns end-use cases, not all the time, obviously not every technology obeys this cycle, for sure . . . but then many do, you can see this happen a lot. You can see this happen with the internet. You can see this happen with railroads, and electricity. A lot of these things, you've seen this pattern. I think this will happen with AI. I think that there's going to be a bust and everyone's going to say, “AI sucks!” and then five, six years later, they'll say, “Oh, actually AI is pretty good,” when someone builds the Google of AI.Rethinking growth strategy in the EU (26:46)To me, this always gets a lot of good attention on social media, if you compare the US and Europe and you say, the US, it's richer, or we have all the technology companies, or we're leading in all the technology areas, and we can kind of gloat over Europe. But then I think, well, that's kind of bad. We should want Europe to be better, especially if you think we are engaged in this geopolitical competition with these authoritarian countries. We should want another big region of liberal democracy and market capitalism to be successful.Can Europe turn it around? Mario Draghi just put out this big competitiveness report, things Europe can do, they need to be more like America in this way or that way. Can Europe become like a high-productivity region?In general, European elites' answer to all their problems is “more Europe,” more centralization, make Europe more like a country. . . But I think that Europe's strength is really in fragmentation . . .I think it can. I wrote a post about this today, actually, about Mario Draghi's report. My bet for what Europe would have to do is actually very different than what the European elites think they have to do. In general, European elites' answer to all their problems is “more Europe,” more centralization, make Europe more like a country. You know, Europe has a history of international competition. France, and Germany, and the UK, and all these powers would fight each other. That's their history. And for hundreds of years, it's very difficult to change that mindset, and Mario Draghi's report is written entirely in terms of competitiveness. And so I think the mindset now is “Okay, now there's these really big countries that we're competing with: America, China, whatever. We need to get bigger so we're a big country too.” And so the idea is to centralize so that Europe can be one big country competing with the other big countries.But I think that Europe's strength is really in fragmentation, the way that some European countries experiment with different institutions, different policies. You've seen, for example, the Scandinavian countries, by and large, have very pro-business policies combined with very strong welfare states. That's a combination you don't see that in Italy, France, and Germany. In Italy, France, and Germany, you see policies that specifically restrict a lot of what business can do, who you can hire and fire, blah, blah, blah. Sweden, and Denmark, and Finland, and Norway make it very easy for businesses to do anything they want to do, and then they just redistribute. It's what we in America might even call “neoliberalism.”Then they have very high taxes and they provide healthcare and blah, blah, and then they basically encourage businesses to do business-y things. And Sweden is more entrepreneurial than America. Sweden has more billionaires per capita, more unicorns per capita, more high-growth startups per capita than America does. And so many people fall into the lazy trap of thinking of this in terms of cultural essentialism: “The Swedes, they're just an entrepreneurial bunch of Vikings,” or something. But then I think you should look at those pro-business policies.Europeans should use Sweden as a laboratory, use Denmark, use Norway. Look at these countries that are about as rich as the United States and have higher quality of life by some metrics. Look at these places and don't just assume that the Swedes have some magic sauce that nobody else has, that Italy and Greece and Spain have nothing to learn from Sweden and from Denmark. So I think Europe should use its fragmentation.Also, individual countries in Europe can compete with their own local industrial policies. Draghi talks about the need to have a Europe-wide industrial policy to combat the industrial policies of China and America, but, often, when you see the most effective industrial policy regimes, they're often fragmented.So for example, China until around 2006, didn't really have a national industrial policy at all. At the national level, all they did was basically Milton Friedman stuff, they just privatized and deregulated. That's what they did. And then all the industrial policy was at the provincial and city levels. They went all out to build infrastructure, to attract FDI [foreign direct investment], to train workers, all the kinds of things like that. They did all these industrial policies at the local level that were very effective, and they all competed with each other, because whichever provincial officials got the highest growth rate, you'd get promoted, and so they were competing with each other.Now, obviously, you don't want to go for growth at the expense of anything else. Obviously you'd want to have things like the environment, and equality, and all those things, especially in Europe, it's a rich country, they don't just want to go for growth, growth, growth only. But if you did something like that where you gave the member states of the EU more latitude to do their local policies and to set their local regulations of things like the internet and AI, and then you use them as laboratories and copy and try to disseminate best practice, so that if Sweden figures something out, Greece can do it too, I think that would play to Europe's strength, because Draghi can write a million reports, but Europe is never going to become the “United States of Europe.” Its history and ethno-nationalism is too fragmented. You'll just break it apart if you try.The European elites will just keep grousing, “We need more Europe! More Europe!” but they won't get it. They'll get marginally more, a little bit more. Instead, they should consider playing to Europe's natural strengths and using the interstate competitive effects, and also laboratory effects like policy experimentation, to create a new development strategy, something a little bit different than what they're thinking now. So that's my instinct of what they should do.Faster, Please! is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber.Micro Reads▶ Business/ Economics* Behind OpenAI's Audacious Plan to Make A.I. Flow Like Electricity - NYT* OpenAI Pitched White House on Unprecedented Data Center Buildout - Bberg* OpenAI Executives Exit as C.E.O. Works to Make the Company For-Profit - NYT* OpenAI to Become For-Profit Company - WSJ* Mark Zuckerberg's AI Vision Makes Metaverse a Slightly Easier Sell - WSJ* Intel's Foundry Shake-Up Doesn't Go Far Enough - WSJ* OpenAI CTO Mira Murati Is Leaving the Company - Wired* Meta unveils augmented reality glasses prototype ‘Orion' - FT▶ Policy/Politics* The Schumer Permitting Exception for Semiconductors - WSJ Opinion* Biden breaks with environmentalists, House Dems on chip bill - Politico* Mark Zuckerberg Is Done With Politics - NYT▶ AI/Digital* I Built a Chatbot to Replace Me. It Went a Little Wild. - WSJ* Meta's answer to ChatGPT is AI that sounds like John Cena or Judi Dench - Wapo* Want AI that flags hateful content? Build it. - MIT* The Celebrities Lending Their Voices to Meta's New AI - WSJ▶ Biotech/Health* Why do obesity drugs seem to treat so many other ailments? - Nature* Antimicrobial resistance is dangerous in more ways than one - FT Opinion* Who's Really Keeping Ozempic and Wegovy Prices So High? - Bberg Opinion▶ Clean Energy/Climate* Microsoft's Three Mile Island Deal Is Great News - Bberg Opinion* China's accelerating green transition - FT* Microsoft's Three Mile Island Deal Isn't a Nuclear Revival — Yet - Bberg Opinion* A Faster, Cheaper Way to Double Power Line Capacity - Spectrum* A Public Path to Building a Star on Earth - Issues▶ Space/Transportation* Hypersonic Weapons — Who Has Them and Why It Matters - Bberg▶ Up Wing/Down Wing* Trump Offers Scare Tactics on Housing. Harris Has a Plan. - Bberg Opinion* The Sun Will Destroy the Earth One Day, Right? Maybe Not. - NYT* How supply chain superheroes have kept world trade flowing - FT Opinion* Can machines be more ‘truthful' than humans? - FT Opinion▶ Substacks/Newsletters* America's supply chains are a disaster waiting to happen - Noahpinion* The OpenAI Pastiche Edition - Hyperdimensional* The Ideas Anticommons - Risk & Progress* Sam Altman Pitches Utopian impact of AI while Accepting UAE Oil Money Funding - AI Supremacy* The Government's War on Starter Homes - The Dispatch* NEPA Nightmares III: The Surry-Skiffes Creek-Whealton Transmission Line - Breakthrough Journal* Dean Ball on AI regulation, "hard tech," and the philosophy of Michael Oakeshott - Virginia's NewsletterFaster, Please! is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit fasterplease.substack.com/subscribe

A long-overdue episode with friend of the show, Lloyd Alter, about a blog he wrote and his book "The Story of Upfront Carbon". We get into the language of sustainability, carbon, and lots of the words that are ubiquitous in this space (sustainability and the built environment, obviously).We get into the sustainability of travel, to some extent too,Lloyd's book: The Story of Upfront Carbon: How a Life of Just Enough Offers a Way Out of the Climate CrisisBuy it from the independent bookshop website (you can switch regions)You can also buy it from Amazon, but only if you really have no other optionInnovateUK – Net Zero Heat Open DayA showcase of IUK innovation lab projects including Transform-ERThursday 3rd October, online, 9am-12pmRegister here Notes from the show"Sustainable design is dead, long live regenerative design!" from Lloyd's Substack, Upfront CarbonA sustainable architecture Google Images search A regenerative architecture Google Images search That absurd vertical forest building in MilanCOP26: Sufficiency Should be First - Yamina SahebWe Have to Put Sufficiency First in a Low-Carbon World - Lloyd's old Treehugger blog about the SER frameworkZAP episode 144 - “Use less stuff”: embodied carbon, value chains, and the potential for change in the Declaration de Chaillot. With Lloyd Alter (Carbon Upfront), Kelly Alvarez Doran (Ha/f Climate Design), and Will Arnold (The Institution of Structural Engineers)**SOME SELF-PROMOTING CALLS TO ACTION**We don't actually earn anything from this, and it's quite a lot of work, so we have to promote the day jobs.Follow us on the Zero Ambitions LinkedIn page (we still don't have a proper website)Jeff, Alex, and Dan about websites, branding, and communications - zap@eiux.agency; Everything is User ExperienceSubscribe and advertise with Passive House Plus (UK edition here too)Check Lloyd's Substack: Carbon UpfrontJoin ACANJoin the AECB Join the IGBCCheck out Her Own Space, the renovation and retrofit platform for women**END OF SELF-PROMOTING CALLS TO ACTION**

Welcome to another episode of Fratello On Air. This week, we take a listener suggestion and discuss how we research watches before buying. We've hit upon this before, but it's a constantly evolving topic that deserves an update. For our beloved listeners, the watch content begins after 19 minutes.If you're a watch collector and enjoy vintage, landing a great specimen often requires research. In this episode, we mention some of our most common tactics. Some of these processes are tried and true while others are more recent. They're all helpful, though, and can lead to a rewarding result. The lack of doing one's homework, however, can be disastrous.HandgelenkskontrolleWe open our episode on watch research with a recap of Balazs' experience at a recent UEFA European Championship match in Stuttgart. It was a fantastic time without any travel troubles! Mike mentions a recent disappointing trip to the famed Portobello Road in London where the watches were abysmal. For the Handgelenkskontrolle, Mike is wearing a new arrival. It's a '60s 14ct gold Movado Museum watch with a manual winding movement that needs a service. This leads to a discussion about the designer of the watch, Nathan George Horwitt. Balazs is still (rightfully!) in love with his new Rolex Submariner 5513.Research before buyingOne of our faithful listeners, Adam, sent us a note and asked if we could discuss how we research a watch before deciding to buy. In particular, he mentioned defunct brands. The topic is a wide one, but we mentioned several of our go-to tips including:Using a site such as Google Images to compare different examples of the same watchFollowing the links found on Google Images to see if old forums or sales ads add new informationForumsSocial media including Instagram to find similar models and authorities on given brands who can helpIt is even more difficult to research defunct brands or watches from the '30s or '40s. We discuss our techniques for sorting the good from the bad.Thanks again for listening and we hope you enjoyed the show. Feel free to send additional ideas for show topics and we will add them to the queue!

In this episode, Deena delves into the crossroads of fashion and the Red Carpet. Exploring the shift from spontaneous elegance to calculated stylization, she recalls the pioneering Giorgio Armani Oscars moments from the 80s which redefined the interaction between fashion and Hollywood. Reflecting on Versace's imprint on the Red Carpet, Deena highlights iconic instances such as Elizabeth Hurley's safety pin dress and Jennifer Lopez's jungle-print dress which inspired the creation of Google Images. Looking back at these moments, Deena boldly raises the question: has today's meticulous styling dimmed the once-spontaneous allure of the red carpet? This episode will leave you thinking about the interplay of authenticity, branding, and beauty in today's world of celebrity couture. Hosted on Acast. See acast.com/privacy for more information.

In Dinner for Shoes episode 36, Summer Roll + Swim Brands, Sarah shares some of her favorite swimwear brands for 2024, all of which have a focus on diversity and inclusivity, and many of which are notably sustainable. She welcomes Vivek Agarwal, founder of OOKIOH, and Hannah Attalah, founder of Oceanus, for interviews, as these are two of her all-time favorite swim labels. Sarah samples three different Summer Rolls from Bon Banh, a popular Vietnamese dish she's never tried. Needless to say, she'll be back for more. THIS DINNER Soy Tofu Summer Roll, Lemongrass Shrimp Summer Roll, and Lemongrass Chicken Summer Roll from Bon Banh in Hoboken, NJ. THESE SHOES  Personalized Teva Hurricane XLT2 Sandals THIS OUTFIT  Lisa Says Gah x OOKIOH Como Top in Buon Appetito Black Lisa Says Gah x OOKIOH Surfrider Bottom in Buon Appetito Black Mother The Down Low Undercover Short Fray in Material Girl OOKIOH Marseille Marble Sunglasses Jenny Bird Odette Earrings in Gold/Shell Jenny Bird Odette Collar in Gold/Shell THESE CHAPTERS 3:50 - THE OUTFIT BEHIND THE SHOES 7:01 - MY FAVORITE SWIMWEAR BRANDS 15:54 - SUMMER ROLLS FROM BON BANH 19:11 - VIVEK AGARWAL OOKIOH INTERVIEW 40:30 - HANNAH ATTALAH OCEANUS INTERVIEW THIS PRODUCTION is created, written, hosted, and produced by Sarah Wasilak. is creative directed and executive produced by Megan Kai. is tech supervised by Nick Zanetis. includes photos and videos in chronological order by Libinski 0G via Google Images, Sarah Wasilak, Duvin Design Co., Frankies Bikinis, OOKIOH, Oceanus, Icon Swim, Jade Swim, Lisa Says Gah, Riot Swim, Aerie, Andie Swim, Lachlan Bailey via OOKIOH, and Jaime Winstone via Oceanus.  is made with love. Dinner for Shoes is a podcast hosted by Sarah Wasilak, a fashion and food enthusiast with her mouth full. With appearances by her cats, Trish and Kit, and agendas that almost always go to shit, we aim to dive into a discussion about fashion and style and break some bread in each episode.  Dinner for Shoes podcast episodes are released weekly on YouTube, Spotify, and Apple. You can follow along for updates, teasers, and more on TikTok, Instagram, and Facebook. If there are any fashion topics you've been pondering or good eats you think Sarah should try, don't hesitate to send a DM or an email. Dinner for Shoes is an original by The Kai Productions. Follow Dinner for Shoes: @dinnerforshoes on Instagram, TikTok, Facebook, and YouTube  Follow host Sarah Wasilak: @slwasz on Instagram  Follow producer Megan Kai: @megankaii on Instagram  Get in touch: dinnerforshoes@gmail.com To make this video more accessible, check out YouDescribe, a web-based platform that offers a free audio description tool for viewers who are blind or visually impaired.

Joseph is out this week, so the leftover crew considers what it means for Google image search to be taken over by AI images, talks about #finance, and discusses how an already sensationalist NY Times article about internet in the Amazon rainforest got further sensationalized. Articles discussed: AI Images in Google Search Results Have Opened a Portal to Hell You Probably Unwittingly Voted to Give Elon Musk a Huge Raise First Google Search Result for Tiananmen Square “Tank Man” Is AI Generated Selfie ‘Remote' Amazonian Tribes Have Been Using the Internet for a Long Time Learn more about your ad choices. Visit megaphone.fm/adchoices

This week we give Cap'n Content a break as Kevin throws Robert for loop by digging into the world of the Japanese Girls Metal Band boom that has been gaining momentum worldwide since 2010. This episode tests Robert's endurance as he listens to music slightly outside of his wheelhouse with the quick tempos and technical ecstasy that is Japanese Metal! Come join us and listen to one of Kevin's guilty pleasure genres. Make sure you have YouTube or Google Images available as you listen, so that you can get the full effect of this very visual genre!What is it we do here at InObscuria? Every show Kevin opens the crypt to exhume and dissect from his personal collection: an artist, album, or collection of tunes from the broad spectrum of rock, punk, and metal. Don't try to understand all of the lyrics unless you are Japanese or speak Japanese! Our hope is that we turn you on to something that we think should be the next big thing.Songs this week include:Lovebites - "Scream For Me" from Awakening From Abyss (2017)DESTROSE - "Rose Of Destruction" from Rose Of Destruction - Single (2010)Aldious - "Luft" from Radiant A Live At O-EAST (2016)Raglaia - "Cross" from Breaking Dawn EP (2015)Exist†Trace - "True" from Virgin (2012)BAND-MAID - "Shake That" from New Beginning (2015)Mary's Blood - アルカディア from Confessions (2019)Visit us: https://inobscuria.com/https://www.facebook.com/InObscuriahttps://twitter.com/inobscuriahttps://www.instagram.com/inobscuria/Buy cool stuff with our logo on it!: https://www.redbubble.com/people/InObscuria?asc=u*April Fools – This is a remix of our 2nd episode released back in November of 2019

 I saw the video from Neil TysonAnd he is explaining in precise words: The religions are correct: For spiritual purposes. For giving faith.Forgoing beyond worldly matters.For finding spiritual happiness.To become humble in front of the creator. To connect with the divine.To become honest and humble. And that proves even the greatest scientific geniuses.Like Kopernikus, Einstein, Tesla, Leonardo Da Vinci, Newton…Religions have nothing to do with science!We cannot let the Religions dictate what is scientifically true or wrong!Even so, science is 97% wrong!Only 3% remain true for longer than 5 years! People give up their faith in God and prefer science to be true!Life is not logical. We live in chaos that has some order! (Google: Images, Order in Chaos, Mandelbrot, fractal geometry). There are indefinite more irrational numbers than rational numbers.Why do even the greatest geniuses submit that there is a force, power that is beyond themselves? It is absolute nonsense that science should prove God's existence…Science is looking for trueness and is mainly always wrong … But through science, we discover and develop so much more opportunities, that science makes sense!I have learned as an engineer to create a model from/for the reality that should be as simple as possible.And that model is good enough if this model is true for only one aspect, even though there exist millions of aspects.We have learned:What we can watch, that we can control!What we cannot watch in every aspect, we never can control…!What can we watch in every aspect?Nearly nothing, compare to the things that exist…So, we never can prove that God is true! My Video: Science and God https://youtu.be/ujvD-ihBYVUMy Audio: https://divinesuccess.net/wp-content/uploads/2021/Podcast2/Science-and-God.mp3

►► Download the 20 Ways To Start Writing A Song Cheat Sheet here: http://songwritertheory.com/freeguide/ In this episode of the Songwriter Theory Podcast, we're talking about 1 factor that seems to be one of the factors contributing to a song actually being good. We're talking about how every part of the song working together to communicate what the song is about - aka the COHESION of the song. If your lyrics are about something tragic, but the melody sounds playful and the harmony sounds like a grand romantic piece, is that any good? No. The song may be made of different parts and song sections, but it also is a singular song. So let's discuss the COHESION or..... I'll say it, synergy of songs. Transcript: As songwriters who are seeking to constantly improve at the craft of songwriting and write better and better songs, I think we are constantly on this quest where we're asking ourselves, "How do I write a better song? How do I write a better chorus? How do I write better melodies? How do I write a bridge that's more emotionally resonant?" And yet sometimes we don't actually take the time to think about, "Well, wait a second. When I say better chorus, when I say a better song, what does that even mean? What are the things that we're looking at? What are some of the factors that lead into this idea of something being better in any piece of art?" This is a difficult thing for us to tackle, but as I mentioned in last week's episode, we're going to try. And I realized very quickly that this probably would take more than one episode to even begin to do this justice and not have it be multiple hours long. So this is going to be part one in our Who Knows How Long series about trying to tackle what actually makes a song great or what are some of the common factors to what sort of leads to a good song. Let's talk about it. Hello, friend. Welcome to another episode of the Songwriter Theory Podcast. I'm your host as always, Joseph Vidal. I know that you would take some time out of your busy day, your busy week to talk songwriting with me. If you're listening to anything and instead you're listening to something that you're hoping is going to help you and hopefully me talking about it will also help me become better songwriters so that we can all become better songwriters together, at least be striving in that direction so that hopefully both you and I are better songwriters next year than we were this year and much better five years from now than now and etc. So on, so forth. Don't want to bore you. It's just going through random numbers. I think you understand. So that's the goal. But in today's episode, we're tackling something heavy. Not heavy, maybe emotionally, but something that I feel like most people aren't even willing to start to discuss. But I think it's important to discuss because if we can't define or talk about here are some factors that seem to lead to a song being better or more good or great, then, you know, how can we possibly talk about here's how to make your lyrics better? Like we'll define better if we can't have some idea of some of the factors that go into an element of the song or the song as a whole being better, then we can't actually answer the question what would make this better. So I think it's an important thing to discuss. I think it's something that artists in general don't talk about enough. And it's just one of those things that I think it's a net negative for all of us. Yes, it's a hard discussion, but that doesn't mean it's not one worth having. Most important discussions are difficult and don't have clear answers, but that doesn't make them not important to have. So we're going to do that. It's going to be part one because I realized there's no shot that I could even begin to do justice to this in one part. So we're breaking it up. Let me know in the comments down below if you're on YouTube what some of your ideas are and please back them up. Don't just be like, "I think a great song is X and you have no reasoning as to Y." I mean, you can, but it's kind of hard to... it's not really making a point if you just list a thing and don't justify why it's a thing. But that being said, I am very curious what other people think is meant to be a discussion. I again do not pretend to have the answers. I have spent a lot of time thinking about this pretty much throughout my life, but that doesn't mean that I'm right. It doesn't mean that I'm right. But hopefully it's at least well thought out and has some merit to talking about, hopefully. But I guess that's up to you to decide. So if you haven't already, be sure to grab my free guide. 20 different ways to start writing a song, especially if you're like, "All right, we're talking philosophy and getting real deep into what makes something good today." But where's my hard just go do this songwriting advice? There it is, songwritertheory.com slash free guide. It gives you 20 different ways to start writing a song because I'm personally of the opinion, at least for me, it has been very helpful to have a bunch of different ways that I know I can start a song because sometimes if you start a song the same way every time, sometimes the results in the song start to sound the same. And whether or not that's a problem, certainly a problem that comes up, I think, is writer's block. I've done too many piano riffs for weeks or months. I'll sit at the keyboard or piano and be like, "I just don't have anything." But it's not that I'm out of creative ideas, it's that I'm out of piano-based creative ideas. So just going over to my guitar, or writing a bass line with the keyboard, or starting with lyrics, or starting with what I think is a compelling symbol, or going to find artwork on Google Images or an art museum that I find inspiring that I'm like, "Ooh, that can make a good song." All those sorts of things can be really helpful to jump-start your creativity even when you think it's gone or currently the muse isn't visiting you or however you want to look at it. But again, songwritingtheory.com slash free guide. The first factor that I think we're going to talk about is cohesion or unity or, if we want to use the word, if you're in the corporate world I'm sorry, you're probably about to get triggered, but synergy of parts. Every element of our song should be in agreement on what is being communicated. Your melody, or for a great song or a good song, the melody shouldn't be communicating or sounding like it's communicating love. It's like a love song in the melody. Well the chord progression sounds like you're angry. The song is angry. And then the lyrics are actually telling a tragic and sad story of losing a close relative. Right? Because those three, those don't go together. They're not all on the same page communicating something. Even if the chord progression is great and the music is great and then the melody is great and the lyrics are great on their own, but when we put them together they're a mess because they don't actually work together. It's one of the classic, you know, the whole is not a sum of its parts. The idea that a team is not just how good each of the individual players are. It's how well they work together is a part of it. This is why more talented teams often lose because they just don't have the cohesion or synergy that a team that technically is less talented has. And I think the same thing is true for, well, anything. We could talk about how this is true for movies, right? You can have the greatest actor of all time. Missed cast in a movie might tank a movie. But you think like, oh, we got the greatest actor of all time, whoever you think that is, in a movie and most of the things about the movie are fantastic, but yet that actor is so wrong for the role that it just ruins the movie. It's a real thing that can happen, right? Because it's not just a sum of its parts. No piece of art is simply a sum of its parts. There's more to it than that. The parts all need to be on the same page. Think about something ridiculous. This would work in comedy to comedic effect. But generally in a movie if the soundtrack is communicating something wildly different than what's going on on screen and it's not giving the quote unquote right emotional cues, that would ruin the whole movie. There's a way to know this. You can look it up. There's tons on YouTube and they're hilarious, right? But if you think of it as being in the real movie, it would ruin it. So there's one that I think is like Seinfeld music to The Shining. And it makes it hilarious. But of course it would have ruined the actual movie. And this applies. They do things like adding a laugh track or taking away a laugh track from something. It totally changes how the scene feels by having a soundtrack where it did or having a laugh track where it didn't before or not having a laugh track where it used to. Soundtrack, same idea. Obviously different because laugh versus not laugh. It's a little binary and soundtrack really hits at all the different emotions. But you know you couldn't just take the Star Wars soundtrack and then put it on, I don't know, Dune and it'd just be like oh it's perfect because the Star Wars soundtrack is great and the Dune movie's fantastic. So like no, no. Because they might not fit together. They might not work together. In fact I think they wouldn't. I think the Dune soundtrack's fantastic. It's perfect for that movie. And Star Wars soundtrack is perfect for Star Wars. And the Dune soundtrack of course is Hans Zimmer and the Star Wars one of course is John Williams. And those two are both all time great film composers according to most people and I would tend to agree that they certainly have the longevity and the peaks that you want to look for in greatness. But I would never want to trade those two. I would never want to trade those two. I would never want anybody but John Williams for Star Wars and I would never want anybody but Hans Zimmer and his styles for the Dune soundtrack. Because things including art are not just a sum of their parts. It's how they all work together. Are they working together well? So an easy way and practical way in my opinion to sort of test this with our own songs. Because even though we're talking sort of we're getting very philosophical today. But I think it's important that we be able to connect it with okay but what do I do with this? And one of the things I think we can do is we can test this by isolating each of our parts and then testing to see do they all evoke the same emotion? They all seem to be on the same page for what's being communicated. Now obviously lyrics are always going to be more precise than music and what they communicate. We're probably going to at best we're going to get into specific emotions when it comes to music. You're not going to be able to listen to a piece of music with no context and be like this sounds like my parents just passed away due to cancer and I live in X country and my income is X amount of dollars. Lyrics of course can communicate more factual information than music can. But we're looking for something like the lyrics elicit this idea of wistfulness. And the melody sounds wistful so that even if I just listened to the melody, if I were just hum the melody to someone or to myself, I think it sounds wistful. It sounds deeply connected to what the lyric is communicating. Such that if I just read the lyric alone as poetry with no melody to help it out, no background music, no chord progression, nothing, does it still elicit the same emotion that the song is going for? Does it still communicate the same thing that the song is going for? The lyrics alone. And then the same thing with the melody. Sometimes I'll call this the theme test, which is a nod to themes in movie soundtracks. And there are a bunch of different great examples of this. But take something like the Jaws theme. The Jaws theme is a great example of this. Like two notes, John Williams, very well conveys the idea of something's coming for you and it's a scary thing. You wouldn't have to watch Jaws to hear that Jaws theme and it elicits some sort of look over your shoulder like what's coming for me emotion. Which fits perfectly with what it's trying to communicate in the movie. And that's just, you know, we could talk about the orchestration, but just the "melody" of that part alone communicates that. It doesn't need all the orchestration and all that in order to very well communicate what it's trying to communicate. And so anyway, so I call it the theme test for that reason. It's the idea that is your melody approaching, communicating so clearly the central emotion of the thing. That if it were just a theme or a motif in a movie where there were no lyrics and it just was this melody, does that still carry that same emotion that your lyrics and then your chord progression or just general harmony are going for? There's a lot of examples of this, right? Imperial March, which is Darth Vader's theme, is another example of this. You know, the depth to that one I think is even more because it also is a theme that depending on the arrangement can be sort of adjusted to lean into different elements of the theme. Meaning like in its full orchestration it very well evokes this idea of this relentless unstoppable army coming for you and this unstoppable force in the form of Vader and very sort of just powerful, nobody can touch this. But then in different orchestrations with the same melody it evokes this tragedy of the character as well, which you see in episode six when Vader is, spoiler alert, dying, but dying as Anakin Skywalker. And it has a tragic element to it and not just because of that scene but just the music alone does. It has this element of a broken former fallen hero. And a part of that is masterful orchestration and a part of that is writing a melody that well fits with both of those things. And just one last example because some of you are probably like, "Yes, we get it, you like Star Wars." But the ring theme in Lord of the Rings is maybe even the best example of this in a way given that that ring theme, if you just think about the melody, if you've ever heard it, and if you haven't after this podcast go listen to it. But that melody and the whole sound of that ring theme evokes this wonder and sort of the seduction of this mysterious item. Like it has a sort of like, "Ooh, what is that? I want to swim closer. I want to touch it. I'm just drawn to it. I feel like it's ee ee." Like if you told me it was a siren song, it feels like it matches the same sort of, it appears beautiful. It's something that you want. But deep down you know it's bad for you because the ring of course, I'm not going to explain Lord of the Rings. I don't know how you can be alive on the planet and not know the basic premise of Lord of the Rings and what the ring is and represents. So I will spare you telling you what you almost certainly already know. But it's perfect for what the ring is. Absolutely perfect. And to a degree because what those melodies have in their favor versus ours is they don't have to be "singable" because they're played by instruments. So you less have to worry about singability which limits their melodies less. So probably most of our melodies aren't going to be able to reach the heights that a theme that's played with an organ or with a flute or you know with a violin can reach. But I think the closer we get to that the better it is. And the same thing is going to be true for the harmony or chord progression or arrangement, however you want to look at it. All sort of sides of the, not exactly the same coin, but basically all of the music that isn't the melody. Is that something where if you played your song for someone and it had no vocals in it, so none of the melody and none of the lyrics, would somebody still gather from that song? Roughly what the core emotion of it is. And I think I implied this when I used the word "wistful" earlier, but we're looking for more than like "oh it sounds sad." I mean that's the baseline that we should go for, right? But we want to be more precise than sad. Because sad is basically 50% of all emotions roughly fit into sad. That's not very precise. We mentioned this in last week's episode, maybe you weren't here, but "wistful" is something like sadness for because of no longer having something that was a happy thing. So sort of this combination of you're glad that you had this happy thing, but you're sad you don't have it anymore. It's way more specific than just sad. Because bitter is sad, it's sort of a hybrid of sad and angry. Especially if you had a Venn diagram of angry and sad, the part in the middle where they meet is bitter. There's maybe a little bit more to it, right? But at a high level it's something like that. So that shows those words are more precise. Because bitter is a form of sadness. And so is wistful. But wistful and bitter could hardly be more different. They're very very different. They have similarities, right? They both kind of share the idea that you're probably looking back at something. Bitter is more like I'm just ticked about how it ended or something. Whereas wistful is more like, but I'm glad it happened. And maybe I'm not mad about any element of it. There's no anger in wistful usually. There's a lot of anger in bitter. But anyway, the emotion that we're talking about here should be something more like the words bitter or wistful. And less like the words like, oh it's like kind of happy or sad. I mean, you might be able to do something as simple as major versus minor key. We'll accomplish happy versus sad. That's the baseline requirement. Which although let me point out that it's not true that you put something in major key and it's automatically happy in minor and it's automatically sad. There's plenty of poppy, happy, catchy songs that are in minor and plenty of super depressing songs that are in major. But we should be going for something with our chords, our background music that elicits a more specific emotion than just sad versus happy. So this is one of those things where like perfect is unattainable, right? But I think philosophically speaking, a perfect song would be one where if a thousand people all listened to the melody alone, no lyrics, just the melody. Maybe it's hummed, maybe it's played by a violin. I don't know. And a thousand different people just read the lyrics as if it were poetry. And then another thousand people just listened to all the background music. And then they were pulled after and they were asked what was that song about. They all would have the exact same answer and it would be correct. To me that would be like one, this first factor we're talking about, that would be perfection. Again, obviously that's unattainable, right? So we're trying to just get as close to that as we can, which is still going to be pretty far from that, right? But to me that's the goal. Perfection is something you can never actually achieve. It's a direction to be pointed in. I think that's the direction that this factor is pointing in. And by the way, this is also something that should apply across each song section, right? So it's more than just the three parts of melody, harmony, and lyrics. It's also the synergy or the cohesion of your verses with your choruses and all of that. We could even dive way deeper into sort of the specifics of like what does musical cohesion across song sections talk about. And of course there's going to be a lot of variety there, right? But like one obvious example would be if between each of your song sections there was a crazy key change that made no sense, was super disjointed, not intentionally, it didn't like fit with the lyric or like it makes sense that the lyric would have the disjointed. But like just in a song that is pretty straightforward, it has this disjointed key change between every song. That would be an obvious, like that's not as bad as weird for no reason. It doesn't fit with the lyric of the song, right? So moving in the opposite direction of that to me would be the key there. But again, we could probably spend this entire year's worth of podcasts just diving into different ways. We could apply this one factor to songs, but I don't want to put you through that. So we're not going to do it. But I'm just throwing out there that there's way more to this factor than just the cohesion of those three parts. We could talk about song sections. We could talk about viewing the song as a whole versus viewing the song as a sum of parts, which is not, I think both can be helpful. Ultimately, the whole is the most important. But but obviously it is made up of parts, right? So if your song has a terrible chorus, but the rest is great, probably the song is going to be sunk. So there's a lot to this factor. But I think we I think we have established the central idea that across all things, I think, certainly all artistic things, and certainly for songs, I think this cohesion of all the parts is all moving in the same direction, just like you would expect the soundtrack and the script and the cinematography and the acting of the actors to all point to the same thing. Now before somebody comments this, I'm going to just throw out there that let me take an example that I think is pretty commonly done. And I personally think is fine and great. And on the surface, it may seem like it's in conflict with this, but I don't think it is. And that's when you have a song that sounds happy. But when you listen to it, it's actually kind of bitter and sarcastic. So it sounds like it's a nice, oh, happy song. But if you really listen or pay attention or read the lyrics, you realize, oh, no, this is like, you're just slamming this person with sarcasm. You might say, wait a second. So shouldn't it sound angry? Shouldn't the melody sounded because that's the core emotion? No. Well, I think it can. I think it can in that work, because that is true. But it also is true and makes sense that it would sound happy because what is sarcasm? Sarcasm literally is verbal irony. So then what is irony? Irony is saying something that is the opposite of what you mean. So if you say to somebody like, you know, no, I care about your opinion so much. If you're using sarcasm, what you mean is I don't care about your opinion at all. Right? I couldn't possibly care less about your opinion. Something like that. So it makes sense that if it's the opposite, that sarcasm is essentially your words, if you read it like a script, what they actually say versus what you actually mean, insert it with the tone, are actually opposites. So it makes sense the music would follow that, right? Where the music sounds like it's happy. Yeah, go you. But really, it's no, screw you, you suck. That makes sense that it would have that. So your lyrics are where you're communicating the you suck part. And then the music is what's adding to the irony by sounding happy. So that's actually an example of on the surface, maybe it seems like it breaks this rule, but actually it's a perfect example of this rule applied in some ways where the song is actually essentially utilizing music to double down on the sarcasm. And there are other examples like that, right? And of course, there's multiple ways to do this factor. Again, this is a thing where we could talk about this for the rest of the year. And some of you are probably thinking, it seems like we're gonna, because you're still talking about it. But no, we're down. We're down with this point. So that being said, I now realize that I thought that this episode would have time for two factors. But we had time for one. So we're gonna have another episode where we're gonna tackle what I think is another factor that is something to consider, something to look at, that I think is common to certainly all art at least, and certainly songs where this is just a factor to something being more good or better versus another thing that has less of this factor. But hopefully this was helpful to you. Hopefully it gave you something to think about whether it be in the form of, huh, maybe I should run my songs through some of those tests of does this melody communicate without the lyrics and without the background music? The same thing that the lyrics are trying to communicate or the music or to the last sarcastic song point. You know, is there a way that I can have my melody and my, let's say, lyrics intentionally conflict but in that conflict it actually sort of elevates the main idea in the way that like angry lyrics plus happy music sort of adds to the, like that sarcasm in the combination of things. You know, it's not just sarcasm that can be used that way. There are many emotions where we could toy with, let's take wistful. I said earlier that wistful is something like a combination of happy and sad, right? You're sad that you don't have the thing anymore but you're happy that you had it. It's a fond memory. So in that case, you could communicate that maybe by the music and the lyrics both being wistful or perhaps you could communicate that in a different way where the music just sounds sort of happy but the lyrics have this sad sort of I miss you element to it or maybe the opposite would be the way to go but there's many different ways to break this down and apply this I think. And you know, getting creative with it I think can be a good idea for whatever that's worth. But let me know what you think. Does this seem like something that like yeah, okay, that seems like a good starting place at least for that factor generally seems to be a factor to whether a song or really any piece of art is good or not or more good, right? Basically if you have two songs that are exactly the same but one is more obviously cohesive in all of the different parts communicating in one direction the same thing versus another one where it's like yeah, but the melody kind of has a different emotion to it that doesn't really fit with the lyrics. To me, I think yes, yes, obviously, it would always be better for all of the parts to be working together rather than one kind of going rogue communicating something that really the song isn't trying to communicate so it just kind of feels out of place. But next week, factor number two. Hopefully this was helpful. Hopefully that will be helpful. If you haven't already, be sure to grab the free guide songartatheory.com slash free guide. 20 different ways to start writing a song. These episodes are admittedly philosophical. Don't worry, we'll get back to hard teaching. But in the meantime, this hard teaching or maybe not hard teaching but hard go do this uber practical in that guide, which hopefully compensates for the fact that these podcasts are admittedly at least during this series where we're getting away from that a little bit. I think ultimately this is in some ways the most practical thing we could talk about because what else is there even to talk about if we can't begin to discuss what makes a song great or what makes this song great, right Rick Beato? But yeah, Rick Beato is great. I love Rick Beato. I'm just throwing that out there. If you don't know who Rick Beato is, first of all, how? Second of all, check him out. I certainly don't agree on some things. But to his credit, he admits that he doesn't consider lyrics when he's talking about what makes a song great. My pushback to him is how could you possibly claim a song to be great if you don't even think about the lyrics? Like, that's such an important part of whether a song is great. To talk about the music production as a reason that the song is great to me also doesn't really make sense. It's like, well, it makes the production great. So the track, that specific arrangement of the song might be great. But that doesn't make the song itself great, which is basically just the combination of lyrics, chords, and melody. But alas, I still love Rick Beato. He's the grandfather slash godfather of music YouTube as far as I'm concerned. And he's just super awesome. Also he's done great things for the world because I feel like I was the only person on the planet that was like, guys, of course music theory is helpful as musicians and songwriters. You know, I wasn't on YouTube at the time, but just as a human, I felt like half the time was like, how do these people... does everybody like pretend like it's worthless? That knowledge? Rick Beato came on the scene and everybody was like, oh yeah, how about that? It's actually deeply practical. And for that, he will always be a legend. He'll always be a legend. Rick Beato's the best. Anyway, have a great week. I'll talk to you in the next one.

Todd Ogasawara is joined by guest panelists Steven Hughes, Sven Johannsen, and Frank McPherson for this podcast. They discuss: Google Bard's new image generator Revive a useless Microsoft Surface RT by installing Raspberry Pi OS Comments on initial reactions from Apple Vision Pro adopters Rumors of a folding iPad mini SODI SMS300 Vertical Gravity Auto-Locked Laptop Stand Hacks using ambient light sensors for spying even when camera is covered? Time to replace your home router? Older routers targeted by hackers Boox Note Air3 C color e-ink Android based tablet

Introduction   In the world of SEO (Search Engine Optimization), text-based content often takes center stage.    Those who have done any work on their website's SEO, you likely have spent a significant effort in crafting compelling articles, adding content to your pages, and optimizing keywords.    However, in the pursuit of improving website rankings, one vital element is often overlooked—images.    In this episode of The Private Practice Elevation Podcast, we'll explore the importance of optimizing images for SEO and provide you with tips and tricks to ensure your visual content doesn't go unnoticed by search engines.   Why Image Optimization Matters for SEO Enhanced User Experience: High-quality, well-optimized images can significantly enhance the user experience on your website. Fast-loading pages with attractive visuals keep visitors engaged and reduce bounce rates, which are crucial ranking factors for search engines. Ranking in Google Images: Google Images is a popular search engine in its own right. Optimized images have a better chance of ranking here, driving additional organic traffic to your website. This is particularly advantageous if your site relies heavily on visual content, such as e-commerce stores or photography portfolios. Page Loading Speed: Image optimization plays a crucial role in improving page loading speed. Slow-loading pages can result in a poor user experience and negatively affect your SEO rankings. Compressed and properly sized images can help mitigate this issue. Mobile Optimization: With the increasing use of mobile devices for web browsing, image optimization becomes even more critical. Smaller file sizes ensure faster load times on mobile networks and better performance for mobile users.   Tips and Tricks for Optimizing Images for SEO   Choose the Right File Format: The most common image formats are JPEG, PNG, and GIF. JPEG is ideal for photographs and complex images, while PNG is better for images with transparency. Use GIFs for animations. Choosing the right format can significantly impact image quality and file size. Resize Images: Before uploading, resize your images to the exact dimensions needed for your website. This reduces unnecessary file size and ensures a faster loading time. Compression: Use image compression tools or plugins to reduce file sizes without sacrificing quality. There are many online tools and WordPress plugins available for this purpose. Descriptive Filenames: Give your image files descriptive filenames that include relevant keywords. For example, instead of "IMG001.jpg," use "red-convertible-car.jpg" if the image depicts a red convertible car. This helps search engines understand the image's content. Alt Text: Always include descriptive alt text for your images. Alt text not only improves accessibility for visually impaired users but also provides search engines with context about the image. Use relevant keywords naturally within the alt text. Image Titles: Consider adding titles to your images, but use them sparingly and make sure they are concise and descriptive. Monitor Performance: Regularly monitor your website's performance, including image load times. Tools like Google PageSpeed Insights and GTmetrix can help identify areas for improvement.   Conclusion   Optimizing images for SEO on your private practice website is a crucial yet often overlooked aspect of digital marketing. By following these strategies, you can enhance your website's user experience, improve page load times, and increase your visibility in search engine results, including Google Images.    Remember that SEO is an ongoing process, and regularly optimizing your images is essential to maintaining and improving your website's performance in the ever-competitive online landscape. Start prioritizing image optimization today and reap the benefits of improved search engine rankings and user engagement.  

In this episode of The Actor's Career Compass, host Martin Bentsen discusses the difference between actor types and archetypes. He clarifies that types are based on real-life people and their appearance, while archetypes are more general character roles. Bentsen emphasizes the importance of understanding your type and using it to target your marketing materials. He provides a list of common casting types and encourages listeners to search these types on Google Images to see how people perceive them.Bentsen also advises against using vague terms like "leading man" or "queen bee" to describe yourself as an actor, as they lack a clear consensus on appearance and can lead to confusion. He stresses the importance of focusing on the types you enjoy playing and using those as a foundation for your career.Overall, this episode offers valuable insights into understanding and utilizing actor types to enhance your career prospects. Bentsen's practical advice and emphasis on taking control of your own narrative make it a must-listen for actors looking to navigate the industry effectively.

Transcript: Something I think songwriters don't talk about enough are songwriting sessions, because not every songwriting session looks the same or should look the same. In fact, I think there are a lot of different types of songwriting sessions, and most of the time a successful songwriting session is one with a pretty specific goal, not just something like, "I'm going to work on song X." I don't think that is specific enough. So in this episode of the Songwriting Theory Podcast, we are going to talk about five different songwriting sessions that will change everything. Let's talk about it. Hello, friend. Welcome to another episode of the Songwriting Theory Podcast. I'm your host, as always, Joseph Adala. I'm honored that you take some time out of your busy day, your busy week, to talk songwriting with me. It's coming out a bit later than usual, but I was sick with the flu for a week, so that's why this got delayed. And my apologies in advance for any coughing. I will be sure to try to do it not into the mic or anything, but still recovering from that. If you haven't already, be sure to grab my free guide, "20 Different Ways to Start Writing a Song," because a great way to make sure you don't get creatively stuck is simply by starting in different spots, starting with different things, not always starting with a chord progression, not always starting with a bass line, not always starting with lyrics, not always starting with music. Sometimes changing it up is a great way to stay creatively fresh and get some different results with your songs. There's something I don't talk about probably as much as I should, but these aren't just 20 ways to start a song, but they can be 20 different ways to start any given song section. So if you wrote your first verse, and that first verse is built off of a sweet bass line, that's how you started your song, and now you're sort of stuck on the chorus, or you're trying to figure out where the chorus needs to go, you can again go to 20 different ways to start writing a song, but in this case you're actually starting a song section, because just because you started the verse with the bass line doesn't mean that you can't start your chorus with something different, like your melody or with the piano riff or something else. So let's talk about these five different song... so be sure to check that out. It's at songwritingtheory.com slash free guide. So let's talk about these different songwriting sessions. We'll start with the beginning, and that is simply an idea gathering session. And the beauty of these is, first of all, they're fun, and it's just a great way to get really excited about songwriting. If you're stuck on songs, just going back to basics and sitting down with only the intent of gathering ideas. There's something beautiful about the lack of pressure that you have when you know that you are sitting down just to come up with ideas. You don't need to care whether they're good ideas, you're just trying to get as many ideas as possible. And also the lack of pressure that you know you're not trying to come up with an idea so that you can write a song 10 minutes later off of that idea. It just frees you up to think of more ideas, to possibly think outside the box a little bit more. So be sure to check that out at songwritingtheory.com slash free guide. So let's dive into the songwriting sessions that we are talking about. The first one is right at the beginning. It's an idea gathering songwriting session. And you can even argue this isn't really even a songwriting session because it's sort of a pre-songwriting session or as sometimes I like to think of it a song developing session. And really that wording comes from a lot of times in movies they'll say like a movie is in development and what that means, what that usually refers to is the process before you actually start making the movie in the way that most of us think of making a movie. So principal photography is when they actually start to film the movie. It's really getting made. But development is sort of that stage where they're kicking around ideas, they're trying to figure out maybe casting, they're trying to figure out what's the right budget for this movie, is this something that we can do with the budget that we have, all those sorts of things. It's really the pre-movie making stage if you will. So in the same way there's no reason that we as songwriters can't have essentially a pre-songwriting stage. In fact I think it's a great idea. Authors do the same thing. Most of the time an author doesn't just sit and start writing a book. Some do, but a lot plan beforehand. They'll do exercises to really flesh out their characters and make sure they understand their characters before they start writing for them. They don't discover their characters as they write the book. They already know their characters before they write the book. Or they know the general plot points. They try to outline the book, make sure that the story arc makes sense and it resonates with the characters and it makes sense. All the characters' decisions make sense before you actually put the proverbial pen to paper. So this is something that I think we should do more often in songwriting. I don't think we need to do as much of it because a book is a pretty big endeavor. There's a lot when it comes to characters and story. And songs have less. So there's no reason to spend months developing a song before you actually write it in the way that maybe it does make sense to do for a book. But there's something glorious just about having no pressure to come up with a song idea and immediately execute on it. There's something just great about that. Because in an idea gathering songwriting session, you're not actually trying to write a song. You're really not even trying to figure out what is a good idea for a song. You are simply, you have one job, gather ideas. You're not worried about whether the ideas are rotten or great. You're not worried about anything like that. That's for later in the process. For now, you just want to go find ideas and find as many ideas as you can. And really we're trying to maximize the pool of ideas we have that we actually go execute on. Because I think another mistake that is pretty common to songwriters is really, I could call it just impatience. I think impatience is something that negatively affects many songwriters where they're too impatient to actually edit lyrics. They're too impatient to actually craft a song. They just want to get a song done so every song takes an hour. And it's like, well, I can tell. It's not that you can't write a great song in an hour. Of course you can. But just like a book, can you write a book in a month? Yeah. But on average, if you took a million authors and said, okay, write a book in a month, and took those same million authors and said, okay, now write a book in a year, of course on average the yearbooks are going to be way better. That's why authors take a year to write a book. Right? You know, this is the whole process, not just the writing part, editing, all that sort of thing. But usually it's, you know, an author comes out with a book something like once every six months if they're pretty fast, or a year on this lower side. And I think sometimes songwriters struggle with impatience. Whether impatient to start writing a song, they're impatient to finish a song, they're impatient to just, you know, put out there whether the lyrics make sense or not, whether the lyrics are really something powerful or not. They're just like, oh, it's done. It's done. We think too improvisationally, I think, sometimes when it comes to songwriting, which we'll talk about a little bit more for songwriting session too. But a part of the beauty of this is it forces us to come up with more ideas, and then we can choose the best ideas for ourselves. Because the pressure of I'm going to come up with a great idea and immediately execute on it, probably the idea sucks. Right? If you and I, right now, were to try to think through a song idea, and we were to go write a song off of the first idea that we have that's halfway decent, by tomorrow we might think that was a stupid idea. Why do we even make a song off of that? But when you have a giant pool of ideas, it allows you to pull from the best ideas you have, and it also allows you to pull from the ideas that most resonate with you at the moment. Because, you know, if you got laid off two months ago and you were ticked at your boss because you feel like you were not the right person to get laid off, blah blah blah, so you're ticked about it, now two months later when you have a better job and maybe you're not bitter about it anymore, maybe right now is not the time to write that song. Right? Maybe in two months when you have a new boss and they're kind of annoying you too or something, then maybe that brings back the emotions that you had when you were laid off and maybe now that's the time to write the song. So there's an element of that too, right? Where some nights or some days writing a sweet love song might be something that makes sense based on how you're feeling. In other days you couldn't do that if you tried, but you can write a bitter angry song. So when you have a giant pool of ideas to work off of, it allows you the luxury of sort of working on a song that best fits where you are at right now mentally, emotionally, etc. and it also allows you to be more picky, where if you have 30 ideas and you're only writing one song off of one of those ideas, you get to pick the best idea of 30, which is probably a much better idea than just coming up with an idea and immediately executing on it, because now it's one of one idea. That idea might have sucked. You might have just written a whole song in an hour or something that already you wrote a song in an hour, so on average they're probably not going to be that great, it's probably going to need a little more crafting after the fact. And you might have built it on an idea that wasn't even a good idea to begin with, which you can still have great songs off of not great ideas. I think ideas are somewhat overrated to a degree, but ideally if you're going to spend time writing a song, don't you want it to be on some of your best ideas? And a great way to have best ideas is to have a long list of ideas. In fact, again this goes back to a mistake that I think a lot of songwriters make. Our ideas should far outpace our songs. Far outpace. You might have something like 20 ideas for every one song you write, or 10 ideas for every one song you write, at least. At least, because if you sit down to just come up with ideas for 15 minutes, 15 minutes, you probably have 25 plus ideas. Easily. You might even have more. Maybe you only have five ideas. Okay, that still is at a rate of 20 ideas in an hour. And what are you going to do? Release any more than 20 songs in a year? So if you take an hour, have one idea gathering session for one hour, you have enough song ideas if you used every single one for the whole year. So no matter how you look at it, it just seems silly to ever be in a situation where you came up with 20 song ideas this year, and all 20 of those ideas turned into songs. Why? There's no reason for it. Just spend an extra three, four hours just gathering ideas, and you might have 20 better ideas to then build 20 songs off of. And for the most part here, we're talking about lyrical ideas. And there are many great ways to gather lyrical ideas. One is just sit with a pen and paper and just write down anything that comes to mind. A cool word, a song title that you think would be interesting, a piece of symbolism that resonates with you. You might not even know what it means yet. But you're just like, "Ooh, Shadow of the Tiger. That sounds cool." I don't know what it would mean, but it sounds cool. So write it down. You can figure out later if it has a sensical meaning, if it's worth actually developing further. You don't have to worry about that part here. Turn off that editor portion of your brain. Turn off that portion of your brain that says, "That's a bad idea. You suck." Turn that part of your brain off as much as you can, because it's not helpful to this. And that's the glory of this song-ending session. It's very clear about just produce as many ideas as possible. Turn the editor off. Your job is not even to find a good idea. It's just to gather ideas as quickly as you can and as many as you can. Something else you can do is look up, like Google Images, look up art. Go to an art museum. If you're somebody that really, you know, computer screens hinder your creativity, go to a local art museum. Take a pen and paper and decide that you're going to go to the art museum, maybe with your spouse, significant other kids, whatever. And you're going to bring a pen and paper. And you're going to write every little idea that you get by going to the art museum. That can be a great way to go. And that might be enough ideas. Going to the art museum once might provide enough ideas for songs for the next three years. Right? So, just taking the time to have an idea-gathering song-writing session, I think, is a great way to go. You almost certainly won't regret it. And they're just a lot of fun. And then, sort of the other side of the coin is an improvisation song-writing session. And if idea-gathering tends to be more on the lyrical side of things, improvisation is sort of the equivalent on the musical side of things. So this is where we are just trying to get in our instrumentalist mindset and just kind of try to create magic by just going. Just play. Just play until you find that guitar riff that resonates with you. Just play on the piano until you hit three notes in a row that's like, "Ooh, that's the start of a magical melody that resonates with me." Or just sing or hum randomly in the shower or anywhere else in the car. And in that moment where you're like, "Ooh, I kind of got goosebumps from that melody I just made up." That's your hint. That's something that's worth developing further into a song. So this is essentially doing the same thing, gathering ideas, but instead these are musical ideas. And it's a great no-pressure way or low-pressure way to start writing interesting music because interesting music is less likely to come from picking a stock chord progression and going from there. And we've talked a lot about stock chord progressions because I think two things can be true at once. It can be true that it's the easiest way to write a song, especially for beginners, especially for people who don't know any music theory. But it's also true that as you develop as a songwriter, it is no longer the best way to write a song. If I were to help somebody write their first song, and I've done videos and podcasts about this, it is probably best for your first song to write with a stock chord progression. But if you're on song 2030 and you're still just using stock chord progressions, you are massively missing out because we're choosing to build our song on a, by definition, cookie cutter foundation. Why would you do that? It's essentially like saying, "I'm going to build my whole book off of I'm just going to do the hero's journey." Like, the hero's journey is by definition cookie cutter. That doesn't mean you can't make something magical off of it. The original Star Wars trilogy is great, fantastic, and it's off of the hero's journey. Now also it benefits from at the time most movies and stuff weren't built off of that. So now it would feel a little like, "Okay, here we go again." Whereas when Star Wars did it, whenever you're the first, you kind of have the advantage of... It's like if somebody sounded exactly like The Beatles today, you'd be like, "Oh, so derivative." Meanwhile, the same person is like, "The Beatles are the codes." So that's the glory of being first as you get credit that maybe sometimes you don't deserve. Or you do deserve because you were the first. But anyway, by definition, if you start your song on a stock, well-used, overused chord progression, you are building your song off of something that is by definition uninteresting. Because uninteresting is almost, when it comes to creative, is something that's just not different. It's the same old, same old. We've all heard it a million times before. If you start with the same stock characters for a movie, why would you do that? You should build your movie off of a cool, different, likable character. Or you should build it off of... Be like Christopher Nolan. Build your movie off of a really cool concept like entering people's dreams for inception. Or the Prestige, which is a cool concept with magicians back in the 1800s or something. But why build your song off of a cookie cutter foundation when you can build it off of not a cookie cutter foundation? And that's what improvisation gets us. Instead of building your song now off of, "Oh, I guess I'll use the 1-5-6-4, the 1-4-5-4." Instead of that, you're playing on your instrument or using your voice to try to find some magic that then you can build your song off of. That way, if you come up with a sweet bass line, now you're building your song off of a foundation that is already interesting. Unlike the chord progression, which probably isn't interesting, now you have this really sweet bass line that, because you improvised for an hour, you've got this awesome bass line. And that can be maybe the bass line for your verse or maybe for your chorus. And now you can build a melody on top of that and then figure out the chords from there and write the lyrics and do the rest of the normal songwriting process. But at least now you've built it on an intriguing foundation. You've built your song off of a good idea instead of a, by definition, cookie cutter idea. And also, improvisation is just fun. To me, if you don't enjoy the process of gathering ideas, whether musically or lyrically, then you probably are not going to enjoy songwriting because this is like the most fun portion. This is where there's the least struggle. Because an improvisation songwriting session is sit down for half an hour and just play on your instrument. See if you can find something super cool. There's nothing really to get frustrated about. You probably will get at least a few decent ideas. Maybe you won't find a magical idea per se, but it probably will still feel like, "That was fun. That was a good time." And just as a last note on this, the beauty of improvisation too is I think it puts music theory and feelings in their proper place when it comes to music, which is largely we should be writing music off of what feels right, but using theory to inform us and to get us there faster. Because that's essentially those two in their right role. Any time we say that there's some music theory concept or "rule," music theory doesn't really provide rules. It just provides ideas and concepts. But if there's ever a point that we come up with, say, an awesome chord progression or sweet bass line, and then we figure out, "Oh, well, based on some music theory concepts, I probably should..." No, if it sounds great, go with it. Go with the feel when it comes to music. I think this is maybe an inherent difficulty of songwriting. And I haven't thought fully through this yet, so I'm not entirely sure if I agree with what I'm about to say. I think when it comes to words, your brain is slightly more useful than your heart, but when it comes to music, it's the opposite. Because I think trusting your gut, going with the improvised part, or just doing what feels right often is going to result in the best music, which doesn't mean we don't use music theory to inform it. Of course that's going to help. But ultimately going with your gut, going with the feel. But I think with lyrics, it tends to be a more... I mean, this is why books... Any form of writing, right? Every form of writer except songwriter acknowledges that the editing process is the most important part when it comes to words. Whether you're writing essays, articles in a newspaper that don't really even exist anymore and suck, but whatever. Back in the day, they were legitimate, I guess. Whether you're writing a book, a screenplay... Editing is where usually the magic happens. You take something that's kind of a good idea but rough around the edges, not actually good, and you form it into something good in the editing. And that's true, I think, with lyrics too. So I think a hard part of songwriting is switching our brain back and forth. Because some of the things that will make you strong as a music writer are actually weaknesses as a lyricist, I think, and then vice versa. So... Improvisation. Great songwriting session. So we've talked about idea gathering, that's basically lyric ideas and improvisation, which is essentially music ideas. Then we have one hour song drafts, or what I call song sprints. And I've talked about this a decent amount recently, especially if you've been listening to me going through your answers to what your biggest songwriting struggles are. But maybe you may or may not have been keeping up on those, which is totally fine. I don't want to make... I will re-say it here, just in case. Or if you're new here, you could be new here as well. But I think something that probably every creative person, but certainly songwriters, need to think about is, where are you on the spectrum of obsessing over quantity versus obsessing over quality? Or seen another way, are you somebody that leans towards, if anything, you are too busy just pumping out song after song to actually take some time to maybe edit the song into something better, or spend more time crafting the song to make it better instead of just moving on to the next song before that song is actually done or ready or actually good? It's like you write it and it's like a five out of ten. And instead of editing it into an eight out of ten or a nine out of ten, you just move on to the next song, which is missed opportunities. Or are you somebody on the other side of the spectrum where you spend so much time crafting and obsessing over every single piece of a song that you don't actually get songs done? And probably all of us are going to fall into one of these two camps. And I think regardless of what camp you're in, you need to be cognizant of that and push yourself towards the other camp. Partially because I think probably the best is somewhere in the middle, right? If you tinker too much and you only write two songs a year, that's a problem. If you write 200 songs a year but they're all crap, that's a problem too. So a song sprint is especially for those of us that lean into the quality element. And if anything, probably need more help getting out of our own heads and just going fast, working on quantity. If you're somebody that, oh, every song they write takes an hour, then this is not the thing for you. If anything, you need to push in the opposite direction. Because if your average song takes an hour, I'm sorry, you're not spending enough time on a song. You're just not. You're not. I don't even have a follow up to that. I think it's self-explanatory, but just as a side story, I have a friend who is a professional songwriter paid by Sony just to write songs. That was literally his old job. And it was a 40 plus hour a week job that it was paid a lot of money in the 80s to do. And the expectation was that he would have one song a week, which if you do basic math means their expectation was something like 40 plus hours on a song. So if you think one hour is plenty on a song, but Sony thought 40 hours plus on a song, those numbers are wildly different, wildly different. So maybe, maybe one hour is not enough. Can you write a great song in an hour? Yes, absolutely. You can write a great song in 15 minutes. It's been done before. That's the exception, not the rule. It's the exception, not the rule. Even if you listen to songwriters, yeah, the most common story they tell is that magical song that came together in 20 minutes because Americans like that crap. We like the success story overnight that conveniently ignores that they worked for it for like 10 years. So it just seemed like an overnight success. We love, we eat up the stories where we can delude ourselves that, oh, just, I don't need to work to earn it. I just magically, there's this moment where I go perform on an open mic and somebody really important is there. So the first open mic I go to, I get discovered, whatever that means. And then it's just easy from there. We love that story, even though it's very much the exception, not the rule. So I think that's why those get told the most. But any songwriter, if you listen to the full story, it's, yeah, most songs, there's a struggle. Sometimes it takes a while of revisiting the song because the lyric just isn't working or I just couldn't figure out the bridge. And a lot of it is not time necessarily even spent writing as much as it's resting on the idea or tinkering with the idea. There's a bunch of different things that go into it. It's not usually like it took 50 hours of active work finishing a song. It's not necessarily that. Sometimes it's just sitting there and listening to the song and thinking, what is it? What is it about this that isn't resonating with me? What is it about that lyric that makes me cringe? And then figuring out how to rework it. So anyway, so if you're a person that averages one hour song, look, you need to push in the opposite direction. But for those of us that, if anything, are in the other camp, where if anything, we probably spend too much time obsessing over every little detail, a good habit to get into is a song sprint. Because it forces us to get out of our own hands, trains us to stop overthinking if we are falling into the trap of overthinking. And also trains us to be biased towards finishing over perfection because perfectionism is a double edged sword like most things. I think you need a little bit of it. Otherwise, your standards are too low. But if you have too much of it, you never get anything done because nothing's ever going to be perfect. So it has value. I think people who don't have any perfectionism at all and have no artistic standards at all, they just pump out. Like, oh, it took me 20 minutes, pump it out just the way it is. Like, well, you have no standards. You have no artistic standards. And that's fine. But like, I don't know, don't be upset when people are like, yep, that song exists. That's what's going to happen. Like, on average, a 20 minute song is going to sound like a 20 minute song. Chocka, I know. It's almost like if you or I wrote a book in two weeks, it probably would look like a book that took two weeks. And books that take a year, on average, are going to look way better. It's almost like there's a reason for that. It's so weird to me how we know that's true in literally everything, but then deny it when it comes to songwriting. For anything creatively. If somebody built your house in two weeks, you would be like, I'm sorry, I am not entering that house. Explain how you built my whole house in two weeks. If somebody built you a piece of software and it took two weeks, and you're like, I don't know, that's a pretty involved web app. You built that in two weeks? What's the code look like? Is it really buggy and bad? Something's got to give. We know this for literally everything, except we deny it when it comes to songwriting. But anyway. Song drafts or song sprints, which to me should result in song drafts, not necessarily finished songs. Now they're finished in the sense that they have all the parts, but most of the time, if you do a song sprint, I think what you will get probably, most of the time, not always, is a finished draft of a song that then you can edit and craft into something better. Maybe the bridge needs to be reworked because the music just wasn't working for the bridge. Or maybe the lyrics need a lot of work is probably most likely to be the case. But at least trains us into being biased towards getting things done. And it also reduces the perceived value of each individual song in a good way, I think. In the same way that we want to do with ideas. Where if you know I'm going to finish one song a week, guaranteed, because I'm going to do one song sprint a week, and I'm also going to do more in-depth crafting for my other songs throughout the week. But I know that at the very minimum, I'm going to finish one song a week. That helps you to not fall overly in love with any specific song. And then you're less likely to obsess and just overly tinker on one song. Because the reality is value is somewhat seen as how many... If you finish two songs a year, the amount of pressure and value on each one of those songs is huge. If you write 200 songs in a year, you probably don't remember or even care about half the songs. Now I think that's too far in one direction, and two is too far in the other. I don't know where the sweet spot is. Probably 20 to 50 songs a year is probably the sweet spot. Maybe 15 to 50 somewhere in there. But song sprints, especially for those of you that are more like me, which is probably a lot of you because you listen to this podcast, but people who spend time, if anything too much time, crafting, obsessing, maybe not finishing. Song writing session number four, song developing. So we touched on this, but I think this is another thing that is often missed that can be so helpful. It's just taking time to flesh out a song, the background of the song, maybe the outline of the song, what you're communicating each song section. What does the chorus have to say? What does the first verse have to say versus the second verse? Making sure that they have something different to say. They have something to contribute to the conversation. We're not just repeating ourselves. Developing the characters a little bit more. Figuring out the symbolism. So going back to that idea gathering concept, I think I said something like Shadow of the Tiger. Song developing is when you would take the, okay, let's say you think Shadow of the Tiger is a sweet song title. I think it maybe is a little too try hard. It just sounds like it's trying to be cool to me, which it is cool, but it's kind of like Black Sun or something. It just feels like it's trying too hard, right? Like, of course. It's like take some space thing and make it dark. Every metal band just does that over and over. Some of them are kind of cringe, right? So anyway, to me Shadow of the Tiger is, at least right now in my head, it's borderline cringe is maybe trying too hard to be cool. But let's just say that that's the idea we're going off of. In the song developing step, that's when you would take that idea and be like, okay, let's see if I can make Shadow of the Tiger into an interesting symbol for something. Like, what does that mean? What is the Shadow of the Tiger? Is it that there's this tiger that's going to eat me and its shadow is overcast over me? So then what does the tiger represent? Clearly some form of danger. What is it? Is it addiction? Is it maybe the beast within, right? Is it a darker side of me that threatens to eat me whole? Is it we're just spitballing here, right? But you know, that's what right now what I'm doing is sort of sound developing, right? We're taking an idea that we have and we're trying to flesh it out a little bit more. We're not jumping into let's write the song Shadow of the Tiger. I'll figure out what it means later. No, that's a problem because now we've written a whole song that means nothing because you didn't even know what it meant before you wrote the song. So that's a problem. We need to get clear on what is that about? And if the one hour song draft or a song sprint is biased towards just going, right? Getting out of our own heads and just going. Song developing is biased towards making sure you go in an intentional direction, making sure you don't get stuck when you get to the second verse because you didn't figure out before you started writing what the first verse needs to say versus what the second verse needs to say. If you have a third verse versus what the third verse has to say, we can avoid those pitfalls just by planning it beforehand, right? It's like an author. If they get halfway through the book and they're like, now what? Well, you didn't take the time to outline at the beginning. So that's the problem. Maybe you think you're at the middle of the book, but really you're at the end of the book. Maybe your whole plot was just going nowhere because you haven't figured it out yet. So this song developing is being biased not towards just going, but making sure that the direction we go is actually the quote unquote right direction or a good direction or direction that we can make work. So excuse me, but you can think about this as like mapping out before you go on a trip, right? So my wife and I went to Denver last year because I had never, as you may or may not know if you've been a listener for a while, I'm a pretty diehard Denver Broncos fan. I mentioned it once in a while, but you know, I've watched every single game for as long as I can remember. I've suffered ever since Super Bowl 50, etc. Maybe you don't care about football. That's fine. Just know that they are in Denver, Colorado. So I had only been to Denver, Colorado for one day and we visited the stadium as a part of our honeymoon, which based long story short, I just worked out that way where they screwed up our flight and I said, look, I'll forgive you if you drop us off in Denver for a day, give us a day there. And then that flight takes us back home to Ohio. So it wasn't a part of the plan, but we kind of made it happen. But I had never, you know, I'm a diehard fan and I had never been in Denver for football games. So we planned a three day trip, right? And when we did that, we planned out one of the main things we have to have. We have three days in Denver, really like two and a half days. So what are the things we have to hit if we never come back, which I'm sure we will, because again, diehard Denver fan and also Denver is beautiful for any of you who might live in Denver. Holy crap. I mean, Colorado is just so beautiful. But before we committed to the trip and how many days it was, we figured out what are we actually doing? Right? What are we doing here? That's a normal thing that you would do with the trip. Otherwise you just get to the hotel and be like, now what? And that's a problem. You're already there. You've already committed. Maybe there's nothing to do. Maybe you went to a city where there isn't that much to do. Or maybe you needed more time and three days wasn't even going to begin to cover it. So song developing is doing that, but instead of for a trip, it's first song. It's first song. It's figuring out, you know, how many song sections you need to tell the story you're going to tell, how to flesh out your idea, making sure that, you know, the song structure is going to serve what you're trying to say in the song. And also song developing frees you up to explore creatively without the pressure and burden of meter and rhyme and just the overall lyric pressure. There's something about being able to just write and write in prose, write basic English or whatever language you're writing songs in or whatever your first language is and just write. You're not worried about meter and getting the rhyme scheme. You're just writing. And you may, if you just write a page just worth, have a bunch of different lines that you came up with right on the spot that actually make perfectly great lyrics. And maybe they'll need some adjusting. Maybe there are just some good ideas in there, but it's a great way to just get your thoughts out and start developing out your idea before you are committing to the actual writing of lyrics where you are worried about meter and rhyme and all that. You can think of it as it's sort of the same idea as a lot of music producers will talk about. They always, if they have a vocalist in, they'll be like, all right, let's just do a practice run. And they tell the vocalist, oh yeah, I'm not recording. We're just doing a practice run. They always hit record. They always hit record. Why? Because a lot of times the singer will do much better in that first take when they think they aren't being recorded. Because psychologically there's something about, oh, this is a practice take. It's not even being recorded. That frees them up to just sing. But then they tighten up a little bit when it comes to when they know they're being recorded. It's the same idea as, you know, it's playoff football right now or, you know, any sport of your choosing. It's a thing to freeze up a little bit in the playoffs. Get a little tighter because now you know if we lose or out, it's done. So now there's all this pressure that there wasn't before. So song developing helps with all that. And really what it looks like is planning out your song a little bit, outlining your song, figuring out the background of your song, fleshing out your characters if applicable, figuring out your symbolism, what does it really mean. Doing some prose writing just to flesh out your idea with no expectation for it to be calm lyrics or anything. Just fleshing out your idea before you really try to start writing your lyrics. And then a fifth songwriting session is lyric editing. I don't think a single song should be released without the lyrics going through some form of editing phase. I don't think a single song should be released that doesn't have at least one pass for an editing phase. Are there exceptions to this? Probably. But very much the exception. So if you're not editing your lyrics at all, you don't even entertain the idea that maybe you could word something a little bit better or cleaner or clearer or in a way that's more poetic or more powerful that would give people more chills. Or you haven't considered that maybe some of your words, especially verbs, are particularly weak and don't really incite any emotion in anybody and just by going through your verbs and seeing if you can upgrade them to something that is maybe a little bit more emotionally packed. If we're not doing that, missed opportunities. Because just changing one word in a line from a met verb to a really powerful verb can make all the difference in the world. In fact, I think you should go through every word generally or almost every word. But at the very least, go through all your verbs. At the very least, you should never put out a song without looking at all the verbs you have and saying, "Is there a better verb that I could use here?" And you can literally plug the word into thesaurus.com and sometimes it will literally give you a word and you're like, "Oh yeah, that is a much more emotionally packed, better, more precise word. That is exactly what I'm trying to say." There's no reason to not at least do that. You'd never release a book or a poem or a movie, unless you're Disney maybe, a movie or anything without editing first. Without editing the screenplay, without editing the book. Again, usually multiple times. I mean, I just watched a Brandon Sanderson update video and I think he talked about how they're on draft four for a book and they expect to have five total drafts for a book. That's what writing a book looks like. That's what writing looks like, is you have to edit. And a common phrase, or at least one that I heard a lot specifically in college from my composition professor that's really stuck with me because the more I've written, the more it seems obviously true to me. Writing is editing. And all he meant was, it's a very concise way of saying that most of the final quality of your writing is created not in the writing process, not in the first draft. It's created in the editing process where you find better ways to word things, where you clean up the clunky wording, where you find better words. You think about sentences that just don't feel like they're quite working, so maybe they should just be cut out. Maybe they need to be changed. Maybe they just need a verb change and all of a sudden they work much better. Maybe you need to get rid of your adjectives which didn't really add much, they just kind of get in the way. Editing can take so many different forms, but simply, again, simply finding one verb that you can upgrade in a song section or in a line can make a huge difference. A huge difference. So don't overestimate how much even a little editing can do for your lyrics. I'm a big fan of spending a decent amount of time on editing. Also, I think there's some part of the process that you could argue is like a hybrid between editing and writing. A lot of some people call this rewriting. I technically put this in my editing process. That's when you technically have written a line, but instead of trying to fix the line, you entertain the idea that maybe the line is inherently broken, so you just rewrite the line. Is that editing or is that writing? I don't know, it's kind of both, right? Because you're taking a written line that the writing has already been done for and you are rewriting because in the editing process you saw that the line wasn't working. It's kind of a hybrid. I personally put it in the editing process. It doesn't really matter, but that's a part of editing too, right? Rewriting. Another common phrase, somebody brought this up in the live stream, I think a commenter brought this up, but they said writing is rewriting. That's very common. It's similar to the writing is editing phrase. It means sort of the same thing, right? That rewriting or editing, that's where the magic is made. That's where you get from a good idea that's meant in execution to something that is actually good. So five songwriting sessions, idea gathering, improvisation, one hour song draft, or what I call a song sprint, song developing, and lyric editing. If you aren't having these as songwriting sessions, you totally should. Totally give them all a shot. Probably more than one shot. See which ones work for you. I have a feeling all of them will work for you again, unless you're somebody that leans into quantity over quality, then the one hour song draft. You already do that and you probably, if anything, should do less of it, not more of it. If your average song is something that takes half an hour or an hour, my challenge to you would be pushing the opposite direction, because just like quantity people or just like quality people need to push towards quantity or people who obsess about quality need to obsess more about efficiency, being faster. People who are already just obsessed with efficiency maybe need to work on actually crafting a song instead of just pumping out every single idea they come up with. So that's my challenge to you if you're one of those people. If not, all five songwriting sessions should be for you. I guess all five are for anyone. Just don't concentrate on it as much if you're somebody that already does that by default. But hopefully this has helped with you. Again, be sure to grab my free guide. 20 different ways to start writing a song. Again, I can help you with starting a new song, section two for a song you've already written. If you already have a baseline for your first verse and you're trying to write your chorus now and you're stuck, you can start with a melody. Just know that it should be in the same key as your bass line. So if you wrote your bass line in A major and now you're trying to start your chorus with a melody, just make sure it's also in A major. Because most of the time you don't change keys between song sections. And if you do, it might be something like to the relative minor and the bridge. Of course there are exceptions, but most of the time your song is going to be largely in one key, maybe with the key change at the end, especially if you're trying to model after 70s music, which seemingly every single song did that. And now it's almost dead. I feel like key changes almost never happen now. If anything, maybe it's time to bring them back. But songwritertheory.com slash free guide. Hopefully this episode has helped with you. Thank you so much for listening. I appreciate every single one of you. And I will talk to you in the next one.

Dinner for Shoes is a podcast hosted by Sarah Wasilak, a fashion and food enthusiast with her mouth full. With appearances by her cats, Trish and Kit, and agendas that almost always go to shit, we aim to dive into a discussion about fashion and style and break some bread in each episode.  In episode 16, Obstinate Daughter + Opposite Sisters, Sarah introduces viewers to her younger sister Rachel, who resides in Charleston with her fiancée Megan (our Dinner for Shoes producer!) and their three cats, The Three Potter Paws. Together, Sarah and Rachel discuss the ways in which their styles have grown completely different through the years. They look at old photos and comment hilariously on each other's outfits, Rachel judges Sarah's high school fashion in a round of rapid fire, and they enjoy their favorite dish — Farro Piccolo from The Obstinate Daughter on Sullivan's Island in South Carolina. At the end of the episode, viewers get to meet Bellatrix Lestrange (the cat version), and Rachel shares a personal story about how she stayed true to expressing herself through her clothing while growing up. Dinner for Shoes podcast episodes are released weekly on YouTube, Spotify, and Apple. You can follow along for updates, teasers, and more on TikTok, Instagram, and Facebook. If there are any fashion topics you've been pondering or good eats you think Sarah should try, don't hesitate to send a DM or an email. Dinner for Shoes is an original by The Kai Productions. Follow Dinner for Shoes: @dinnerforshoes on Instagram, TikTok, Facebook, and YouTube  Follow host Sarah Wasilak: @slwasz on Instagram  Follow producer Megan Kai: @megankaii on Instagram  Get in touch: dinnerforshoes@gmail.com To make this video more accessible, check out YouDescribe, a web-based platform that offers a free audio description tool for viewers who are blind or visually impaired.  THIS DINNER Farro Piccolo from The Obstinate Daughter in Sullivan's Island, SC THESE SHOES Nike Court Legacy Next Nature RACHEL'S OUTFIT Vintage PacSun shirt American Eagle Khaki Midi Short (3332-6155) Lameybrt Seashell Conch Surfer Choker Necklace SARAH'S OUTFIT Khy Cropped Raw Hem Rib Tank Zara sequin skirt (sold out) Vans Sk8-Hi Shoe in Black (1133) Gnoce Simple Gold Name Necklace (BRNS19) THESE CHAPTERS 0:00 - WHO IS RACHEL WASILAK? 2:20 - SISTERS WITH DIFFERENT STYLE 6:10 - WHEN WE WERE YOUNG 14:52 - FARRO PICCOLO: THE BEST DISH IN EXISTENCE 19:39 - RAPID FIRE: RACH JUDGES SARAH'S OUTFITS 27:36 - FIANCÉE FASHION 30:20 - OUR HIGH SCHOOL DAYS 33:07 - USING CLOTHES TO EXPRESS OURSELVES 37:30 - MEET BELLATRIX LESTRANGE, THE CAT  THIS PRODUCTION is created, written, hosted, and produced by Sarah Wasilak. is creative directed and executive produced by Megan Kai. is tech supervised by Nick Zanetis. includes photos in chronological order by Sarah Wasilak, disneytouristblog.com via Google Images, wdwmagic.twit.pics via Google Images, Megan Kai, and Alexander Shi @shilexphotography on Instagram. references Tusker House Restaurant in Disney World, The Crystal Palace in Disney World, Christmas Pom Margarita recipe via Dayna Ferraro @styledbydaises on Instagram, Jess Sims's Saturday 60 Peloton Workout, Woxer underwear, and Solid & Striped swimwear. is made with love. *Please note, Zara products were ordered previous to backlash surrounding the brand's “The Jacket” campaign, which has been removed. Dinner for Shoes does not condone any references, intentional or not, to violence. Our hearts are with those affected by the war between Israel and Hamas and the genocide in Gaza. Furthermore, we are sending love to innocent people everywhere and praying for peace. 

The Sit-Down w/Don Tony (Recorded 12/10/23) hosted by Don Tony. Some Topics Discussed: Virtue signaling? Selective outrage? IWC goes NUTS on 'WWE On FOX' Twitter account for using the term 'Dem Boyz'. Yet another Tweet Don Tony found by the same account from September 2023 was ignored by most. DT reveals the explicit reason behind it. Some outside the box WrestleMania 40 Match ideas: Randy Orton vs LA Knight... Solo Sikoa vs John Cena (Career On The Line)... Jade Cargill vs Charlotte Flair... Randy Orton/LA Knight winning Tag Team Titles.. Rey Mysterio vs Dominik Mysterio Hair vs Mask Match.. Drew McIntyre vs Sami Zayn and more A tale of two Google Image searches: CM Punk in AEW vs CM Punk in WWE: Can you spot the glaring difference? DT explains why CM Punk will likely not win the 2024 Royal Rumble  What grade to you give Rhea Ripley's Women's Championship run in 2023? Addressing fake news that WWE has only sold 8000 tickets (actual number 30,000) Thoughts on Trent Seven signing with TNA/Impact and Marshall & Ross Von Erich signing with AEW Kazuchika Okada arrives in TNA/Impact for a cup of coffee: Will it make any difference? DT explains why TNA/Impact would be a perfect fit for Giulia in 2024 Honest thoughts why MLW will have a very difficult 2024 Plus: Andrade returning to WWE.. Showing love to Lash Legend, Cora Jade and Vic Grimes.. CM Punk/WWE Hall Of Fame.. Shohei Ohtani signing w/Dodgers.. Mark Henry/Paul Wight in AEW.. Rumors of WWE cutting house shows.. How to troll Velveteen Dream.. and much more!

Charissa Thompson was on Pardon My Take and said she would sometimes have to make up reports if she didn't have time to talk to the coach. Many sideline reporters in the industry took to Twitter and they were angry at her for making stuff up. They felt she was devaluing their position. Gio can't believe the outrage. Gio wonders how sideline reporters will ever deal with the fallout. He's joking. Jerry returns for an update and has audio of Joe Burrow heading to the locker room after an injury to his throwing wrist. Stef Diggs said he's not responsible for what his brother writes on Twitter. Brian Cashman said he cleared the air with Giancarlo Stanton and his agent. Boomer Google images ‘fournier' and it's disgusting. In the final segment of the hour, Peter Schwartz called Charissa Thompson lazy on Twitter.

Hour 1 The Ravens beat the Bengals last night but both teams suffered big injuries. Mark Andrews is out for the year for the Ravens and Joe Burrow left with a wrist injury. Boomer said the Thursday night product is not great football. Even with 2 great teams in a great game it doesn't have any feel of importance. Teams should have some sort of mini-bye week before a Thursday night game. There are more injuries and more penalties. Joe Burrow was not on the injured list but had something on his wrist when he got off the plane. Boomer wonders if bettors could sue the Bengals for not having him on the injury report when he was injured. Jerry is here for his first update of the day but first we reminisced back when Gio had just a mustache and he was fat. Jerry has audio from last night's Ravens win over the Bengals. Odell Beckham Jr talked about the injury to Mark Andrews. Saquon Barkley said loyalty doesn't mean anything in this league, it's just a business. Jerry went around the NBA last night. Patrick Beverly reacts to Draymond Green putting Rudy Gobert in a headlock.  Jerry plays What The Hell is That? Stephen A. Smith said he loves sex, ‘I just do'. In the final segment of the hour, Gio had a terrible round of golf and came within 6 feet of killing a person with a ball. He hit a ball over Montauk Highway and into a Valero gas station.  Hour 2 Charissa Thompson was on Pardon My Take and said she would sometimes have to make up reports if she didn't have time to talk to the coach. Many sideline reporters in the industry took to Twitter and they were angry at her for making stuff up. They felt she was devaluing their position. Gio can't believe the outrage. Gio wonders how sideline reporters will ever deal with the fallout. He's joking. Jerry returns for an update and has audio of Joe Burrow heading to the locker room after an injury to his throwing wrist. Stef Diggs said he's not responsible for what his brother writes on Twitter. Brian Cashman said he cleared the air with Giancarlo Stanton and his agent. Boomer Google images ‘fournier' and it's disgusting. In the final segment of the hour, Peter Schwartz called Charissa Thompson lazy on Twitter.  Hour 3 Saquon Barkley talked about getting a lot of carries but then being devalued when it comes to contract time. He said loyalty doesn't mean anything in the NFL, it's just a business. Boomer said Saquon shouldn't play if he has even the slightest of injuries. Risk of injury goes up in a meaningless season. Gio said he is getting $10 million. Gio said he likes the Giants to score 20 this week. A caller said Gio should take a Cialis when he golfs. Jerry returns for an update but first Gio said the most popular dance in the NFL is the ‘squabble'. Gio wants Boomer and Phil to do that dance on the NFL Today. We also talked with Jerry about golf and Cialis or Viagra. The Ravens lost Mark Andrews to a season ending injury last night. Patrick Beverly talked about the Draymond Green choke of Rudy Gobert. In the final segment of the hour, a doctor calls to give us the history of Viagra. A caller said weed is better on the golf course to perform better.  Hour 4 Yesterday Gio had a terrible round of golf so we took some calls from guys who also had terrible golf experiences. We also talked about taking Viagra or Cialis to improve your golf game. Jerry returns for his final update of the week and starts with John Harbaugh talking about Lamar Jackson's performance. Mark Andrews is done for the year with an ankle injury and OBJ talked about that. Joe Burrow left the game with a wrist injury on his throwing hand. Saquon Barkley said there's no loyalty in the NFL, just business. Stef Diggs said he's not his brother and is not responsible for what he says. Patrick Beverly commented on Draymond Green choking out Rudy Gobert. Gio thinks Charissa Thompson will cave to the pressure and apologize when she does her podcast with Erin Andrews. Stephen A. Smith was asked if he would go a year without sex for a Knicks championship. The Moment of The Day involves Viagra, Cialis, golf and Boomer's putter. In the final segment of the week, it's our NFL picks with Boomer, Gio and Jerry.

Timestamps: 0:00 omg thank u!!! 0:07 Google Search payments to Apple 1:16 Alan Wake 2 PC requirements 2:39 WD, Kioxia merger blocked 3:43 Jukebox 4:15 QUICK BITS INTRO 4:25 iOS 17.1 released 5:08 Snapdragon X OEMs, Intel unbothered 5:45 Google Image sourcing, Leica copyright camera 6:16 Ford tests delivery drones 6:43 Flipper Zero can spam Bluetooth alerts News Sources: https://lmg.gg/vO3U8 --- Send in a voice message: https://podcasters.spotify.com/pod/show/techlinkedyt/message

Notes and Links to Sowmya Krishnamurthy's Work        For Episode 208, Pete welcomes Sowmya Krishnamurthy, and the two discuss, among other topics, her early love of hip hop and fashion, and the ways in which the two have always played off one another, her experiences in hip hop journalism and interning with Sean Combs and Bad Boy Records, trends in hip hop fashion and the ways in which they have been in response to racist laws and practice in the past, the power of ambassadors like Jay Z and Aaliyah, hip hop clothing lines, the power of designers from Versace to Virgil Abloh, and the evolution of more inclusive practices and views in the industry.        Sowmya Krishnamurthy is a music journalist and pop culture expert. Her work can be found in publications like Rolling Stone, Billboard, XXL, Playboy, High Snobiety, Complex, New York Magazine, Village Voice and Time. She has interviewed artists from J. Cole and Kendrick Lamar to Ariana Grande, Travis $cott and Alicia Keys. As an on-air host, she has appeared on MTV, MSNBC, VH1, Hot 97, Build Series, E!, BET, CNN, NPR, BBC, and more. Her work has been aired in the United States, Canada, the United Kingdom, France and Israel.  She hosted and programmed SiriusXM's The Look Out radio show. Her first book: Fashion Killa: How Hip-Hop Revolutionized High Fashion comes out October 10, 2023 (Gallery Books/Simon & Schuster). Sowmya began her career at William Morris Endeavor's Agent Training Program, CNN and Bad Boy Records. She is a graduate of the Ross School of Business at the University of Michigan.     Sowmya on Twitter   Buy Fashion Killa   Excerpt from Fashion Killa in Rolling Stone, October 3, 2023: "How Lil' Kim's Left Boob Symbolized a Shift High Fashion" At about 2:00, Sowmya talks about the “surreal” run-up to the October 10 publication date for her book   At about 3:20-3:57, Sowmya gives some seeds for the book's genesis   At about 4:00, Sowmya talks about the book's process and research, including how the pandemic provided time for the book's writing   At about 7:30, Sowmya reflects on how to sum up 50 years of hip hop and the difficulty of doing a chapter outline   At about 9:15, Sowmya talks about her focus on various topics in the books, including representing all regions of the country, international voices, and women   At about 11:00, Sowmya notes the arbitrariness of the 1973 “birthdate” for hip hop, not taking into account African traditions-call-and-response, etc.-and also how hip hop's origin with DJ Herc and Sidney Campbell came partly through fashion   At about 12:45, Sowmya highlights Dapper Dan and the importance of logos and “social signaling,” who gets to wear what, “sumptuary laws,” etc.   At about 15:20, Sowmya recounts the story of how Google Images started after Jennifer Lopez wore her iconic dress   At about 16:50, Pete fanboys over Pharrell, and Sowmya recounts how Jay Z's shift to a more formal clothing style and Pharrell and others bringing in skinny jeans were in some ways revolutionary   At about 20:20, Sowmya reflects on the outsized influence that 90s hip hop had on pop culture    At about 23:10, Sowmya talks about her upbringing in Kalamazoo, Michigan, especially her connections to music and 90s culture and things like Page Six   At about 27:00, Pete quotes from Sowmya's book-she cites a beautifully chaotic scene in the passage-and she expands upon the importance of these type of scenes pre-social media     At about 29:00, Pete wonders about Cam'ron inventing a color, and Sowmya talks about his and Kanye West and others wearing pink as a bold choice   At about 31:30, Pete shouts out some early hip hop purchases, and Sowmya describes her early hip hop influences and purchases    At about 33:50, Sowmya discusses some of her early writing opportunities in the hip hop and pop culture space   At about 34:20, Pete and Sowmya rate the verses from Drake's “Forever”   At about 35:20, Sowmya gives background on how she got a job with Sean Combs and Bad Boy Records   At about 41:30, Sowmya charts a surreal first experience in the Bad Boy offices   At about 45:00, Sowmya discusses the famous “Making the Band” skit from Chappelle Show, being that she worked with Sean Combs, and she shouts out his unceasing work ethic    At about 47:00, Sowmya talks about her work ethic and the era in which she started her work career   At about 48:35, Sowmya shouts out places to buy her book, including Rizzoli Bookstore in NYC, and she talks about the importance of the cover aesthetics    At about 50:50, Sowmya talks about the importance of the book's subject matter and books as “luxury items”   At about 52:15, Sowmya discusses the importance of her book's blurber, Slick Rick, and his importance in hip hop and fashion; additionally, she shouts out other “heartening” blurbs   At about 54:20, Sowmya talks about the title's genesis and she and Pete discuss the book's opening and early hip hop and self-expression    At about 55:40, Sowmya recounts the experience of buying a new CD in the 90s and early 2000s-the “connection” to the music    At about 58:30, Pete cites the book's opening and ending and its “bookend” quality; Sowmya expounds on “the walking billboard” that was the big logos of Hilfiger, etc., as well as the ways in which people do and don't show off wealth   At about 1:03:10, The two discuss the importance of The Source and Vibe as game-changers in representation and how much of hip hop fashion went against racist clothing laws of the past   At about 1:04:15, Sowmya gives some background on “backpack rap” in response to Pete's questions   At about 1:07:10, Pete reflects on interesting anecdotes and interviews    At about 1:08:10, The two discuss the clothing brand battles of the 90s and beyond-Sean John, ENYCE, etc., and Pete laments the loss of a treasured sweater   At about 1:09:00, Pete asks Sowmya to talk about what she sees happening in the future, involving hip hop/pop culture and fashion   At about 1:12:10, The two highlight some amazing photos in the book, including an heretofore obscure photo of Tupac in Milan    You can now subscribe to the podcast on Apple Podcasts, and leave me a five-star review. You can also ask for the podcast by name using Alexa, and find the pod on Stitcher, Spotify, and on Amazon Music. Follow me on IG, where I'm @chillsatwillpodcast, or on Twitter, where I'm @chillsatwillpo1. You can watch this and other episodes on YouTube-watch and subscribe to The Chills at Will Podcast Channel. Please subscribe to both my YouTube Channel and my podcast while you're checking out this episode.    Sign up now for The Chills at Will Podcast Patreon: it can be found at patreon.com/chillsatwillpodcastpeterriehl     Check out the page that describes the benefits of a Patreon membership, including cool swag and bonus episodes. Thanks in advance for supporting my one-man show, my DIY podcast and my extensive reading, research, editing, and promoting to keep this independent podcast pumping out high-quality content!    NEW MERCH! You can browse and buy here: https://www.etsy.com/shop/ChillsatWillPodcast    This is a passion project of mine, a DIY operation, and I'd love for your help in promoting what I'm convinced is a unique and spirited look at an often-ignored art form.    The intro song for The Chills at Will Podcast is “Wind Down” (Instrumental Version), and the other song played on this episode was “Hoops” (Instrumental)” by Matt Weidauer, and both songs are used through ArchesAudio.com.    Please tune in for Episode 209 with Julie Carrick Dalton. She is the author of The Last Beekeeper and Waiting for the Night Song, named a Most Anticipated 2021 novel by CNN, Newsweek, USA Today, Parade, and others, and an Amazon Editor's pick for Best Books of the Month. Julie is also a frequent speaker and contributor to multiple magazines about Fiction in the Age of Climate Crisis.    The episode will air on October 17.

Welcome back to Locatora Radio! September 15th to October 15th, marks Latinx History Month in the U.S. In this episode, we're reviewing the most pivotal pop culture moments in Latinx History, starting in 1980s to present day. We discuss iconic moments, like JLO's Versace dress (which led to the invention of Google Images), "lo que se ve, no se pregunta", Taco Bell's mascot, and more!Support the show: https://www.patreon.com/locatora_productionsSee omnystudio.com/listener for privacy information.

Mish and Zach have obtained a "Sports Guy"! We've elected the fabulous Broden Kelly to advise us on all things sporty, and this week... we're getting sporty, friends! This week we watched the short film "Porzingod" written and directed Conor Byrne. This YouTube video stars John Leguizamo and Adam Mucci, two die-hard New York Knicks fans literally praying for a brighter NBA season for their beloved basketball team. They speak about how awesome The Knicks were in the 90s and how disappointed they are with their ongoing losing streak. John Leguizamo plays himself - he''s a big Knicks fan! You should search it on Google Images and check out photos of him watching the games. Hosted on Acast. See acast.com/privacy for more information.

There's something ROTTEN in Denmark! Oh wait… no… that's Benito's garbage can. Inconsiderate dog owners, you're on notice. This week is all about art, poetry, and making a scene. Mary Beth rides for J Lo's Versace dress causing an internet firestorm and giving us the gift of Google Images, while Benito rides for strippers. Don't forget no matter where you live, everyday is another opportunity to support your local strippers!Please note that this episode may contain paid endorsements and advertisements for products and services. Individuals on the show may have a direct or indirect financial interest in products or services referred to in this episode.Sponsors:Head to https://www.squarespace.com/RIDE to save 10% off your first purchase of a website or domain using code RIDEProduced by Dear Media.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Mike Lin began his career as a website designer in 1995. He was initially exposed to desktop publishing through his work designing concert posters as a college concert promoter. Lin preferred to work independently and utilize his introverted personality to think through projects alone. His introverted nature proved helpful in his tech career, allowing him to think deeply and work diligently.Topics Covered in the Podcast Episode:1. The Benefits of Exercising for Mental Health- Exercise as one of the best things to do for mental health, especially when depressed- Personal experience with Orange Theory Fitness studio in San Francisco- Founder of Orange Theory Fitness, Ellen Latham, agrees that exercise is helpful for mental health- Release of dopamine from exercise found to be more effective than past medication for depression2. Career in Technology- Early employee at LinkedIn- Details about work experience and roles held- Started a t-shirt company called Tshirtsmatter.com- LinkedIn profile and Linktree account provided- Experience working independently as a designer- Refers to tech companies as Fang (Facebook, Apple, Amazon, Netflix, and Google)- Image of techies wearing t-shirts and jeans3. Resilience and Business Ideas- Resilience in career and life- Story about a call with a company that works with only five clients per quarter- New idea for an urban camping Airbnb experience- Company's requirement for generating $50,000 per month and spending $150,000,000 on ads- Claims to have scaled companies4. Orange Theory Fitness and Collaboration- Completed 97 workouts at Orange 30 Fitness over two and a half years- Wearing a t-shirt that says "Oranger Fitness is my drug" on 100th workout- Plans to send photo of t-shirt to owner of the franchise in San Francisco to see if they can make it an official collaboration between their merge company, T-Shirts Matter, and Orange Fitness- Spoken to Ellen Latham, the founder of Orange Theory Fitness- Reception of collaboration idea as international opportunity5. Career Trajectory- First job with a company called Creative Internet Design in Pasadena in 1997- Role in Adjacency, which was later acquired by Sapien- Worked for Yahoo Shopping, Yahoo Travel, LinkedIn, and Zinger- Worked in production design, visual design, and user interface design- Worked mostly independently with headphones on- Adjacency's prestigious clients like Apple, Land Rover, Nordstrom, Specialized Bikes, Virgin Music, Tag Hoyer, and Patagonia- Bernie Deshant as a mentor during depression- Career trajectory changed after job offer from AdjacencySocial media linkshttp://linkedin.com/in/mikelinhttp://instagram.com/mikelin.sfLink to websitehttp://t-shirtsmatter.com

In this week's episode of Your Podcast Consultant, I play a clip of Sting on the Tonight show with Jimmy Fallon.  Sting and The Police started out playing to a small audience, just like many of us. There were three people in the audience.  One of them was a DJ who started playing their music which helped them gain traction. Dave reflects on his own experience playing in a band with a small audience but landing a highly profitable gig for a birthday party. The lesson here is that a small audience can still have a big impact. So, why should you focus on the quality of your audience rather than the number of downloads? Dave explains that the number of downloads alone doesn't determine the success of your podcast. Instead, he encourages you to visualize the size of your audience using Google Images. Remember, these are real people choosing to listen to your show, and their engagement and feedback are what truly matter. Listeners have the power to delete or unsubscribe, so it's crucial to have the right people engaged. Don't get discouraged by low download numbers. Remember, the people who are listening are giving you their time, and that is valuable. Each listener represents an opportunity for your podcast to make an impact. If you're seeking expert guidance in launching, planning, growing, and monetizing your podcast, Dave Jackson wants to be your go-to podcast consultant. Visit schoolofpodcasting.com/ypc to access our services, including a private mastermind group and one-on-one coaching. Don't let the numbers discourage you. Focus on quality, engagement, and the value you bring to your listeners. Join our podcasting community and let us help you take your show to new heights.

Have you ever wondered how Google decides whether or not they should, or even where to show images in web search results and where Google plans to take images in the future?Author: JC ChouinardSource:https://www.jcchouinard.com/google-image-display-within-web-results/---The Unknown Secrets of Internet Marketing podcast is a weekly podcast hosted by internet marketing experts Matt Bertram and Chris Burres. The show provides insights and advice on digital marketing, SEO, and online business. Topics covered include keyword research, content optimization, link building, local SEO, and more. The show also features interviews with industry leaders and experts who share their experiences and tips. Additionally, Matt and Chris share their own experiences and strategies, as well as their own successes and failures, to help listeners learn from their experiences and apply the same principles to their own businesses. The show is designed to help entrepreneurs and business owners become successful online and get the most out of their digital marketing efforts.Please leave us a review if you enjoyed this podcast: https://g.page/r/CccGEk37CLosEB0/reviewFind more great episodes here: bestseopodcast.com/Follow us on:Facebook: @bestseopodcastInstagram: @thebestseopodcastTiktok: @bestseopodcastLinkedIn: @bestseopodcastPowered by: ewrdigital.comHosts: Matt Bertram & Chris BurresDisclaimer: For Educational and Entertainment purposes only.

Todays Bitesize Baffled is all about Google Image's and why it exists. This fact is brought to you by Sian Welby from the Capital Radio Breakfast Show. All on today's Bitesize Baffled!If you want to get involved then get in touch:Email us info@baffledpod.comFollow us on Instagram and TikTok @BaffledPodAnd see more of us on our YouTube---A Create Podcast Hosted on Acast. See acast.com/privacy for more information.

When Jennifer Lopez turned up on the Grammys' red carpet wearing a green Versace dress on February 23rd, 2000, there was such a rush from the public to see the image that it became the most searched-for term in Google's history.  As a result - Eric Schmidt later confessed - Google Images was developed and launched, and a whole new way of searching the web was created. In this episode, Arion, Rebecca and Olly discover where the iconic dress is now; explain how Geri Halliwell missed out on the chance of (increased) internet infamy; and reveal just how many dresses J-Lo tried on before settling on ‘the one'...    Further Reading: ‘How Jennifer Lopez's Versace Dress Created Google Images' (GQ, 2019): https://www.gq.com/story/jennifer-lopez-versace-google-images Geri Halliwell actually wore Jennifer Lopez's iconic Grammy dress first (yahoo.com): https://uk.style.yahoo.com/blogs/shine-on/geri-halliwell-actually-wore-jennifer-lopezs-175622959.html ‘Jennifer Lopez Tells the Story of the Green Versace Dress' (Vogue, 2019): https://www.youtube.com/watch?v=BTyBFcEgc-A ‘Why am I hearing a rerun?' Every Thursday is 'Throwback Thursday' on Today in History with the Retrospectors: running one repeat per week means we can keep up the quality of our independent podcast. We'll have something new for you tomorrow, so follow us wherever you get your podcasts: podfollow.com/Retrospectors   Love the show? Join  

Twitter Auction Complete Twitter is blocking third-party clients like Tweetbot and Twitterrific Sawyer Merritt on Twitter: "Boston Dynamics shows of their robots latest skills Tesla staged 2016 self-driving demo, says senior Autopilot engineer Twitter admits it's breaking third-party apps, cites 'long-standing API rules' Google Images Was Created Because Of Jennifer Lopez Leo's wake-up call Dozens of media companies set 2023 content deals with Twitter Free the nipple: Facebook and Instagram told to end ban on bare breasts New Study: No, Of Course Russian Twitter Trolls Didn't Impact The 2016 Election | Techdirt Saunas and cold shock Google's brief to SCOTUS on 230 Nick Cave says imitation ChatGPT song is 'a grotesque mockery of what it is to be human' Point-by-point rebuttal of that litigation Reid Hoffman makes a podcast with ChatGPT Nest cofounder's next thing: mail your dessicated food waste to him for chickenfeed Google Changelog YouTube is testing a hub of free, cable-style channels | Engadget Your Google Stadia controller won't be a paperweight after the service shuts down | Engadget Google plans AirTag clone, will track devices with 3 billion Android phones Google Translate now supports 33 new languages offline Fitbit step and heart rate data is appearing in Google Fit ChromeOS 109 rolling out with a tweak to how Android apps launch Google's bringing new features to older versions of Android Android Auto redesign rolling out draggable seek bar in music apps Google Discover rolls out three-column UI ahead of Pixel Tablet Android 13 is running on 5.2% of all devices five months after launch We like this compost bin Govee Smart Kettle State Dept phases out Times Roman in favor of 14 pt Calibri I'd Like to Play Alone, Please: Essays by Tom Segura Marshawn Lynch Shows Kevin Hart Beast Mode In The Cold Tubs Hosts: Leo Laporte, Jeff Jarvis, Stacey Higginbotham, and Ant Pruitt Download or subscribe to this show at https://twit.tv/shows/this-week-in-google. Get episodes ad-free with Club TWiT at https://twit.tv/clubtwit Sponsor: acilearning.com

Twitter Auction Complete Twitter is blocking third-party clients like Tweetbot and Twitterrific Sawyer Merritt on Twitter: "Boston Dynamics shows of their robots latest skills Tesla staged 2016 self-driving demo, says senior Autopilot engineer Twitter admits it's breaking third-party apps, cites 'long-standing API rules' Google Images Was Created Because Of Jennifer Lopez Leo's wake-up call Dozens of media companies set 2023 content deals with Twitter Free the nipple: Facebook and Instagram told to end ban on bare breasts New Study: No, Of Course Russian Twitter Trolls Didn't Impact The 2016 Election | Techdirt Saunas and cold shock Google's brief to SCOTUS on 230 Nick Cave says imitation ChatGPT song is 'a grotesque mockery of what it is to be human' Point-by-point rebuttal of that litigation Reid Hoffman makes a podcast with ChatGPT Nest cofounder's next thing: mail your dessicated food waste to him for chickenfeed Google Changelog YouTube is testing a hub of free, cable-style channels | Engadget Your Google Stadia controller won't be a paperweight after the service shuts down | Engadget Google plans AirTag clone, will track devices with 3 billion Android phones Google Translate now supports 33 new languages offline Fitbit step and heart rate data is appearing in Google Fit ChromeOS 109 rolling out with a tweak to how Android apps launch Google's bringing new features to older versions of Android Android Auto redesign rolling out draggable seek bar in music apps Google Discover rolls out three-column UI ahead of Pixel Tablet Android 13 is running on 5.2% of all devices five months after launch We like this compost bin Govee Smart Kettle State Dept phases out Times Roman in favor of 14 pt Calibri I'd Like to Play Alone, Please: Essays by Tom Segura Marshawn Lynch Shows Kevin Hart Beast Mode In The Cold Tubs Hosts: Leo Laporte, Jeff Jarvis, Stacey Higginbotham, and Ant Pruitt Download or subscribe to this show at https://twit.tv/shows/this-week-in-google. Get episodes ad-free with Club TWiT at https://twit.tv/clubtwit Sponsor: acilearning.com

Episode #52 we cover how you can apply images to your Google Search Ads to not only test out the results but provide a more visual experience for users to click. Sr. Client Strategist, Catherine Stewart, joins the podcast to discuss image extensions and tips and tricks on how to use them. Looking for more tips or how we can help your marketing strategy? Contact us at info@morevisibility.com.

If you type the word “carrot” into Google Images, you get thousands of photos of the classic root vegetable. They're all full-length, orange, straight, and pointy. Which is a little odd, because 70% of all the carrots we buy are, in fact, baby carrots.Or at least we think they're baby carrots. Turns out baby carrots aren't baby at all. And the story of their creation is twisty, uplifting, and super satisfying. It's all about a California carrot farmer with a distaste for waste—and a frustrated ex-wife.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

On this week's episode, Corinne and Krystyna help a listener who's been in an incredible relationship for the past two years, but can't stop thinking about his ex-wife. And someone attempts to answer Corinne's call for a man who values women as actual people instead of emotional-support humans. Today's Guys We Fcked guest is comedian and actor DAPHNIQUE SPRINGS. The group discusses the perks of having ho friends, sexting using pictures from Google Images, and the struggles of successful women dating in a world full of insecure men. Commentary from the man secure in his manhood — Mike Coscarelli.    WATCH THE GWF COMEDY SPECIAL -- "OUR SPECIAL DAY" -- FOR FREE: https://www.youtube.com/guyswefcked   Donate To An Abortion Fund  https://www.thecut.com/article/donate-abortion-fund-roe-v-wade-how-to-help.html   Follow Daphnique on IG/Twitter: @Iamdsprings   Follow Guys We Fucked on IG/Twitter/TikTok: @guyswefcked   Follow Corinne Fisher on Twitter/IG: @PhilanthropyGal (And follow Corinne's store on IG @PerfectlyCenteredStore) www.corinnefisher.com    Follow Krystyna Hutchinson on Twitter/IG: @KrystynaHutch www.krystynahutchinson.com    Follow Mike Coscarelli on Twitter/IG: @MikeCoscarelli    THIS WEEK'S FEATURED MUSIC: Jordi Polycarpe Song 1- Cadillac Song 2- Think About (Me) https://open.spotify.com/artist/1ycSxU53naFJFgqpg4OdrS?si=Q7VALRJUTHmrXJ00jbEQygSee omnystudio.com/listener for privacy information.

You wouldn't pay millions of dollars for a screenshot of the Mona Lisa from Google Images. But the original hanging in the Louvre is priceless, because there's only one of those. Now apply that logic to digital files, and you can understand NFTs. Yes, people are spending millions of dollars for images of things you […] The post MBA1914 What Are NFTs? appeared first on The $100 MBA.