POPULARITY
3 episodes with Hemsley
4 episodes with Hemsley
3 episodes with Hemsley
2 episodes with Hemsley
6 episodes with Hemsley
2 episodes with Hemsley
9 episodes with Hemsley
2 episodes with Hemsley
2 episodes with Hemsley
37 episodes with Hemsley
2 episodes with Hemsley
2 episodes with Hemsley
2 episodes with Hemsley
2 episodes with Hemsley
2 episodes with Hemsley
3 episodes with Hemsley
2 episodes with Hemsley
2 episodes with Hemsley
Het draaide deze handelsdag weer om één man: Donald Trump. Hij zei dat 'ie verder wilde onderhandelen met Xi Jinping (deze week nog) en stapte in het vliegtuig naar het Midden-Oosten. Koud geland in Saoedi-Arabië sloot hij voor 600 miljard dollar aan deals.Twee bedrijven springen eruit. Boeing en Nvidia. De laatste mag ineens duizenden van zijn beste AI-chips gaan verkopen. De exportrestricties die de vorige Amerikaanse regering had verzonnen? Die worden opgeheven. Deze aflevering kijken we naar die ommezwaai en welke andere beursbedrijven gaan profiteren.Europa profiteert voorlopig nog niet, want zij zitten nog altijd niet met Trump om tafel. De Amerikaanse minister van Financien zegt dat dat er voorlopig niet in zit. Hoe lang moet Ursula vonder Leyen naar haar telefoon kijken en wat betekent het dat 'wij' geen deal hebben?Dat, maar ook hebben we het over de problemen van Alfen. Over de bonusrel bij KLM en de ontslagronde bij Microsoft.Ook hebben we het over de Amerikaanse economie. Daar regent het goed nieuws. De inflatie is lager dan gedacht én de recessievrees kan weer in de ijskast. Die trekken economen in. See omnystudio.com/listener for privacy information.
From the archive: This episode was originally recorded and published in 2021. Our interviews on Entrepreneurs On Fire are meant to be evergreen, and we do our best to confirm that all offers and URL's in these archive episodes are still relevant. Jason McGowan and Sawyer Hemsley founded Crumbl Cookies in 2017, now the fastest-growing franchise and second-largest cookie company in the nation with 260 stores in 36 states in 4 years. Top 3 Value Bombs 1. Don't be afraid of going after something - even if you are not experienced. 2. Connect with your audience on a personal level. 3. Do not skimp on quality of service and product. Need cookies like… now? Visit their website to find a Crumbl near you - Crumbl Cookies Sponsor NetSuite Over 41,000 businesses have future-proofed their business with NetSuite, by Oracle - THE number one cloud E.R.P. Download the CFO's Guide to AI and Machine Learning for free at NetSuite.com/fire
TheWanderingPaddy Poetry - The Book of Truths. Out Now on Amazon. Become a member at https://plus.acast.com/s/thewanderingpaddy. Hosted on Acast. See acast.com/privacy for more information.
#subscribe Welcome to another episode of Know Your Wrestling! Join me your host Mark Silvester as I talk you through a particular wrestler or PPV. With it being the big WrestleMania XL this year, I will react to what I consider the best or most important match from that particular WrestleMania. So please join me in this next episode, where I do a reaction to The Ultimate Warrior's return match to the WWF! Match was: Ultimate Warrior vs. Hunter Hearst Hemsley - WrestleMania XII (1996). Please buy our shirt: https://www.teepublic.com/en-gb/t-shirt/13668606-know-your-wrestling-nwo-logo?store_id=486178 Subscribe to our podcast: https://podcasts.apple.com/gb/podcast/know-your-wrestling/ https://soundcloud.com/know-your-wrestling https://shows.acast.com/650a0212d26fbc001125114c https://knowyourwrestling.podbean.com/ Please subscribe to our YouTube: youtube.com/channel/UCCokEpBKmKGvUAKCjWw5XZQ Please like and follow: www.facebook.com/knowyourwrestling/ twitter.com/KYourWrestling Subscribe to Tony: www.youtube.com/user/LoserQuestShow www.youtube.com/channel/UCj8-aurGivxuW6HM_u94V2A www.youtube.com/channel/UCie84qi0lY0o-CMNzj4frbQ https://www.youtube.com/@WhatAreMovie Follow Richy: www.twitter.com/RichardFilmer1
Everyone is talking about the efficacy of Gestalt Language Processing and Natural Language Acquisition, so we thought we better have a look into what recent research is telling us. In this insightful episode of The Talking DLD Podcast, Professor Bronwyn Hemsley and Dr Caroline Bowen AM discuss their recent systematic review of interventions based on Gestalt Language Processing and Natural Language Acquisition (GLP/NLA): Clinical implications of absence of evidence and cautions for clinicians and parents. Resources Bryant, L., Bowen, C., Grove, R. Dixon, G., Beals, K., Shane, H., & Hemsley, B. (2024). Systematic review of interventions based on Gestalt Language Processing and Natural Language Acquisition (GLP/NLA): Clinical implications of absence of evidence and cautions for clinicians and parents. Current Developmental Disorders Reports, 12, 1–14 (2024). https://doi.org/10.1007/s40474-024-00312-z The National Clearinghouse on Autism Evidence and Practice The Autism CRE Australia Supporting Autistic Children Guideline The Communication Hub
In this week's episode Professor Bronwyn Hemsley and Dr Lucy Bryant from UTS speak about their soon to be published systematic review into GLP. Bronwyn and Lucy speak about how and why they started this research and some considerations they would like stakeholders to reflect upon. The systematic review will be linked here once it has been published. Speech Pathology Australia supports individualised, person-centred care as best practice. SPA understands that there are differing perspectives about GLP, and understands the hesitation that both speech pathologists and people with lived experience hold. There is need for ongoing professional conversation about research, evidence base and, importantly, ensuring that consumer voice is included, especially in situations where they may have been historically excluded or marginalised. Resources: The publication of the review launches SHIELD (Science Highlights, Information, and Evidence on Language Development), a new research collaborative at UTS led by Professor Bronwyn Hemsley and Dr. Lucy Bryant, with Dr. Caroline Bowen (UTS), Dr. Rachel Grove (UTS), Gaenor Dixon (Queensland Department of Education), Dr. Katharine Beals (Drexel University), and Professor Howard Shane (Boston Children's Hospital, Harvard Medical School). In 2024, the team looked for evidence of GLP/NLA's impact on language, communication, or behaviour in individuals with communication disabilities. Hear about their findings and implications for speech pathologists. For SHIELD updates contact Bronwyn: Bronwyn.Hemsley@uts.edu.au Contact Lucy: lucy.bryant@uts.edu.au Read “A linguist's take on GLP/NLA” https://link.springer.com/article/10.1007/s40474-024-00309-8 and a critical appraisal https://journals.sagepub.com/doi/full/10.1177/23969415241249944 The National Clearinghouse on Autism Evidence and Practice: https://ncaep.fpg.unc.edu/ Should I use this therapy approach: https://speechpathologyaustralia.org.au/resource?resource=556 Speech Pathology Australia acknowledge the Traditional Custodians of lands, seas and waters throughout Australia, and pay respect to Elders past and present. We recognise that the health and social and emotional wellbeing of Aboriginal and Torres Strait Islander peoples are grounded in continued connection to culture, country, language and community and acknowledge that sovereignty was never ceded. Free access to transcripts for podcast episodes are available via the SPA Learning Hub (https://learninghub.speechpathologyaustralia.org.au/), you will need to sign in or create an account. For more information, please see our Bio or for further enquiries email speakuppodcast@speechpathologyaustralia.org.au Disclaimer: © (2024) The Speech Pathology Association of Australia Limited. All rights reserved. Important Notice, Please read: The views expressed in this presentation and reproduced in these materials are not necessarily the views of, or endorsed by, The Speech Pathology Association of Australia Limited (“the Association”). The Association makes no warranty or representation in relation to the content, currency or accuracy of any of the materials comprised in this recording. The Association expressly disclaims any and all liability (including liability for negligence) in respect of use of these materials and the information contained within them. The Association recommends you seek independent professional advice prior to making any decision involving matters outlined in this recording including in any of the materials referred to or otherwise incorporated into this recording. Except as otherwise stated, copyright and all other intellectual property rights comprised in the presentation and these materials, remain the exclusive property of the Association. Except with the Association's prior written approval you must not, in whole or part, reproduce, modify, adapt, distribute, publish or electronically communicate (including by online means) this recording or any of these materials.
When it comes to choosing where to operate a business, location is often the most important criterion. But if you ask chef Peter Hemsley of upscale seafood restaurant Aphotic, it is beyond that in San Francisco. Just 19 months ago, the chef opened Aphotic in a cavernous, inky black space near the intersection of Folsom and Third streets in SoMa. By the end of the year, it will be closed. Hemsley is adamant that it wasn't the food or even the $215 price tag on the 11-course tasting menu that caused the restaurant to fold. He blames the city. “If I could have found a better location, I would have,” Hemsley told The Standard. “But it's expensive and hard, and, for those who can't, the lesson is: Don't invest in San Francisco, because you won't make it.”
We have the KING OF CRUMBL, SAWYER HEMSLEY letting me Dumpster Deep Dive him. We talk about his childhood, mission, college, starting crumbl, managing friendships while being a boss, lawsuits, home building, dating, new business ventures and everything in between! We end with TRASHTOPICAN! SPONSORS//anewtherapyutah.com / josie75SpearmintLOVE.com - code WEEKLYTRASH
We're honoured to be joined by one of the most important food writers in the world in the incredibly charming Melissa Hemsley, who takes us through her ridiculously successful career as a figurehead in the healthy eating movement, initially with her sister as part of Hemsley & Hemsley and now on her own. From her times working as a private chef for some of the most famous and musicians and actors in the world to becoming a 6 time best selling cookbook author to introducing this country to healthy living - we uncover all of Melissa's incredible stories from her illustrious career. Buy Melissa's Incredible New Book Here - https://www.amazon.co.uk/Real-Healthy-Unprocess-everyday-bestseller/dp/1529940257
Interviewer info Lyssa Rome is a speech-language pathologist in the San Francisco Bay Area. She is on staff at the Aphasia Center of California, where she facilitates groups for people with aphasia and their care partners. She owns an LPAA-focused private practice and specializes in working with people with aphasia, dysarthria, and other neurogenic conditions. She has worked in acute hospital, skilled nursing, and continuum of care settings. Prior to becoming an SLP, Lyssa was a public radio journalist, editor, and podcast producer. In this episode, Lyssa Rome interviews Dr. Liss Brunner about how clinicians can incorporate social media into their work with people with acquired brain injuries. Guest info Dr Melissa ‘Liss' Brunner is an early career researcher, lecturer at the University of Sydney, and a certified practicing speech pathologist with over twenty years of experience in supporting adults with swallowing and communication difficulties. Liss has clinical and research expertise in acquired neurologic disorders, particularly working with people who have experienced a stroke or traumatic brain injury (TBI). Diverse research experiences have enabled Liss to build specialist skills in qualitatively driven social media and digital health mixed methods research. Liss's doctoral research laid the necessary groundwork in understanding the complexity of the issues surrounding people with TBI using social media and how it may (or may not) be addressed during their rehabilitation. Listener Take-aways In today's episode you will: Understand how people with acquired brain injury use social media. Learn about barriers and facilitators for safe social media use after brain injury. Describe how speech-language pathologists can target social media use in rehab for people with acquired brain injury. Edited Transcript Lyssa Rome Welcome to the Aphasia Access Aphasia Conversations Podcast. I'm Lyssa Rome. I'm a speech language pathologist on staff at the Aphasia Center of California and I see clients with aphasia and other neurogenic communication disorders in my LPAA-focused private practice. I'm also a member of the Aphasia Access Podcast Working Group. Aphasia Access strives to provide members with information, inspiration, and ideas that support their aphasia care through a variety of educational materials and resources. I'm today's host for an episode that will feature Dr. Melissa or Liss Brunner. Liss is an early-career researcher, lecturer at the University of Sydney, and a certified practicing speech pathologist with over 20 years of experience in supporting adults with swallowing and communication difficulties. Liss has clinical and research expertise in acquired neurologic disorders, particularly working with people who have experienced a stroke or traumatic brain injury. She focuses on qualitatively driven social media and digital health mixed-methods research. Her doctoral research laid the necessary groundwork in understanding the complexity of the issues surrounding people with TBI using social media, and how it may or may not be addressed during their rehabilitation. Dr. Liss Brunner, welcome to the Aphasia Access podcast, I'm so glad to be talking with you. Dr. Liss Brunner Thanks so much for having me. I'm really, really excited to be here and talk about one of my favorite things. Lyssa Rome Great. So I want to just start by asking you what made you want to study social media use among people with acquired brain injuries? And why is it important to study that? Dr. Liss Brunner I suppose I want to start by asking you a question, Lyssa, if that's alright. Okay. So, I mean, do you use social media? Lyssa Rome I do use social media. Dr. Liss Brunner And what are your favorite types of social media? And why do you use them? Hope you don't mind me asking. Lyssa Rome That's fine. So I primarily use two social media platforms. I use Facebook for professional reasons. There's a lot of networking amongst speech pathologists on Facebook. I also use it because I get some exercise classes there, so that's kind of nice. And then I also use Instagram, which I primarily go to to find out about knitting and sewing patterns, and to look for gardening ideas. So it's sort of more hobby-based for me. Dr. Liss Brunner Perfect. I love that. I mean, I use Facebook also, but it's mainly to stay in touch with like high school or uni friends and my family. And I also use Instagram, and like you lots of hobby-based stuff. I love watching videos around food. Always makes me hungry, but I still love it. But I also love seeing what people are reading. So I will also quite often post what I've just read and get ideas for books that I could be reading and things like that. And I use it a little bit professionally as well to share what I've been doing and what I've been working on. And I use Twitter or X, as it's now known, probably more so professionally. So I do a lot of sharing about the work that I'm doing in there. But I use a whole heap of other platforms, as well, and kind of all for different reasons. If you think about it, over 60% of the world's population, actually, are active social media users. And we've just talked about how we use more than one platform. The average is actually seven different social media platforms for people who are active users. And so I got interested in supporting others in using social media, because I realized how integral it was starting to become, in my own life, and for the people around me. After a brain injury, we know it happens like that in a split second. And it can happen to anyone at any age. And so after those brain injuries occur, people lose lots of their friends. And, you know, their relationships just aren't what they used to be. They're quite often strained. They're not as fun as they used to be. And it can be really hard and devastating, not just for that person, but everyone around them, as well. And so family and close friends can find it really challenging to stay connected in a really meaningful way. And you don't really realize how important that is until it changes. And so, in rehab, I really like to support people to build up their social communication skills, with different people, different places. And I really believe that these days, one of those places we need to consider is social media. It's great to stay connected, you can make new friends, you can practice your communication skills in different ways, you can just kind of be included. So you know, you can tell everyone what's going on in your life after injury, or you can ignore that and just talk about other things like gardening and food and stuff. You can use social media to be what you want it to be. So that's kind of why I got into it. And why I think it's important. Lyssa Rome It sounds like you've just described both how people use it before their injury, but then also some changes in use after their injury, for example, and think of in the States—I don't know if this is also true in Australia—there's Caring Bridge and Go Fund Me and other sorts of websites where people are sharing information about their rehab process and about what's going on with someone who's had a brain injury or another kind of illness. Tell us a little bit about how people with acquired brain injuries are using social media. Dr. Liss Brunner Yeah, absolutely. I think this is one of the most interesting things to me is that I've interviewed lots of people after a brain injury about how they use social media. And just like many of us, they use a variety of platforms, they have individual preferences, they use them for different purposes. Some prefer Instagram, others prefer Facebook, others prefer online gaming with their friends. Many of them use social media for making and maintaining relationships. So that connection, others use it for altruism, so supporting others in need and sharing their experiences and strategies after a brain injury. But others also use it for advocacy, and activism. So sharing their experiences after brain injury to raise awareness, and reduce stigma that can be associated with it. Others are really active in contacting politicians and advocating for better support services and infrastructure. So they use it for a multitude of reasons. And it's quite often deeply personal, the way in which they do so. Unfortunately, I did also find out that quite often, people kind of relearning to use social media, sort of through trial and error. So they don't necessarily get lots of support to do it. they've encountered lots of challenges in using it well, so they can have some difficulties with cognitive fatigue, or even just navigating the different social media platforms because they're quite often apt to change, so to speak. Lyssa Rome RIght. Yeah. It sounds like they're both some real benefits to people with acquired brain injuries, but then also some risks involved. So maybe you could tell us a little bit more about some of those risks and some of the benefits for people with acquired brain injury using social media? Dr. Liss Brunner Yeah, absolutely. I mean, I'll start with the good stuff. So there's lots of advantages to using social media. I mean, obviously, we can use it to create connections, we can totally use it for the entertainment factor—I do all the time. But it's also a huge source of information and news can be an absolutely wonderful platform for sharing information and advocating for awareness. As I've said, I think it's a really great way to share your thoughts and connect with others if you're feeling particularly isolated. And I know that for people after brain injury, who have difficulty with their social communication, there's lots of advantages in particular. So some people may talk a lot more after their brain injury and some people may feel that they talk a bit too much. And so, you know, platforms like Twitter, or X, that have a shorter amount of space for you to make a post, that might mean that they have an opportunity to really work on limiting how much they say. And likewise, for those who have the opposite issue, and they kind of are more likely to struggle to find things to say, the same platform could be seen as a bit of a relief, because there's less pressure to write really long posts. So, you know, I think there are functions of the different social media platforms that can be really advantageous for people who have difficulties communicating. For people who have difficulties concentrating in fast-paced conversations in person, the asynchronous approach of social media can be again, provide less pressure, they don't have to think and respond in the moment, they can actually take their time to do that. So that can provide a bit of relief as well. And I find in general, people are way more tolerant around incorrect spelling and grammar and things like that in social media. And you can type words, you can add pictures. I love using GIFs and memes and emoticons. So, you know, all of these things can be used to make communication easier in these platforms. So lots of advantages, I think that we could kind of really draw on to support people. But obviously, there's also that downside, that darker side of social media, there's lots of risks. And it can be a really tricky space to navigate with and without a brain injury. And there's lots of concern, particularly from clinicians and family and friends around the real and sometimes perceived risks of using social media after a brain injury. So I've spoken to lots of clinicians and family members over the years. And they often tell me about how they're really worried about people being fairly vulnerable online, that they're at risk of being exploited, that they may ruin their own reputation by some of the things that they're saying online. And quite often, as clinicians, I suppose we can act as gatekeepers in a way. And so there's often this really big focus on our duty of care in the clinical context, because we want to prevent harm, we want people to do well and not actually be hurt more. And so we can be really risk averse, I suppose. There can be this real sense of responsibility for minimizing all of the risks. And so there's lots of issues around people getting fixated on social media, and that might lead to cognitive fatigue. It could be that they're having negative mental health or emotional effects of what they're seeing in social media. They could start withdrawing from in-person interactions because they're spending a lot of time online. I mentioned reputation management. So potentially people would say something online that will influence how other people perceive them. So whilst people are in post traumatic amnesia after a traumatic brain injury, they may regret posting something. Others have reported that their family members tell them that they're saying inappropriate things online and that's negatively affected their relationships. And sometimes it's affected their employment opportunities down the track as well. Others have had difficulties managing their finances and security due to difficulties with disinhibition and impulsivity. And so there's lots of concerns in particular around things like cyber scams and, and things like that. Lyssa Rome It sounds like the risks that a lot of us are faced with when we're using social media platforms. But even more so right, because of some of the issues specific to people with brain injuries that you've just described? Dr. Liss Brunner Absolutely. Lyssa Rome I'm wondering what kind of barriers and facilitators there are to successful social media use? You mentioned clinicians, reluctance, or sort of concern about the risks? What are some of the other things that we should be thinking about? Dr. Liss Brunner Yeah, absolutely. I mean, there's lots of barriers. But there's also lots of facilitators as well, which is good. I've spoken about some of the risks, but some of the other barriers are sometimes quite immediate. So some people might have physical barriers to using social media. So their vision might have changed, their hand mobility, and fine motor control might have changed, or they might not be able to independently go and get their device. And so they might need someone to go and get it for them. Others may not have devices, or reliable internet access, particularly if they're in a hospital, sometimes internet access is restricted. So there's those actual accessibility issues. In terms of the changes in cognitive communication, I think, a lot of what we can see in in person interactions—so when people are having a face to face conversation—those sorts of changes we see after a brain injury can often be influencing their online interactions just as much. So for example, after a traumatic brain injury, inattention, and being easily distracted, can be quite an issue for many. And so you might see this where someone will start responding to a post, but they'll get distracted, and they'll send, you know, a message that they either didn't mean to send or it wasn't complete, or it gets misinterpreted. And it can just unravel quite quickly. Sometimes, you know, emotional control changes quite often after an acquired brain injury. So managing your feelings can be really challenging. So some people can get really overloaded by the amount of information in their social media feeds and timelines. Or they might get really overwhelmed when they're seeing negative or sad posts. Like, obviously, we're seeing lots of sad things and disturbing things in the news, in particular, online at the moment, there's lots of conflict around the world. So being able to manage your feelings can be really challenging if you're not conscious about the influence social media posts can have on you. Sometimes, you know, there's issues in impulse control. And so some people will get sent friend requests and they will click accept without thinking, Oh, actually, do I know this person? Or do I want to have this person as a friend or, you know, posting before you think about what you're saying and how someone's going to take that and what the potential repercussions might be? It could be that, you know, people have difficulty finding the right words and that they may put words in that they're not wanting To say, and again, that can get misinterpreted. The other thing is that there's lots of information. And so it's quite hard to find and constantly changing. And I feel like that can increase the demands on people's memory, and how they sort through and organize information. So that can be overwhelming and challenging as well. On the flip side, there's lots of facilitators that we can harness for good to combat some of these things. And during my PhD, I identified five factors that influence social media use after a brain injury. And sometimes these things are barriers, and sometimes they're facilitators. So I think it's really quite helpful to think about things in this way. And so the first factor is purpose. So it's really important to think about, if someone is motivated to use social media, what's motivating for them? It could be that they are wanting to practice their communication. It could be that they are wanting to connect. They might want to find a romantic partner. They might want to figure out who they are now, after their brain injury. It could be just to fill in time, right? So purpose really influences how someone uses social media. The second factor, I think, relates to knowledge and experience. And so it's not just that person with a brain injury, but also the people around them. So some of the barriers can be that people aren't really clear on how to support people to use social media. And that could be because of their own experience and ability, and confidence. So all of those things can really influence how you use social media. The big one, that third factor is caution, I think, you know, it's really critical to be aware of the risks, which I've spoken about, and how to navigate them. The fourth factor is networks. And so it's really kind of thinking about who is your online network of people? So who do you want to contact? Who do you maybe not want to stay in contact with? And increasing opportunities to have really successful interactions with those people. And the fifth concept is really around support. So trying to find structures that influence success in social media interactions. So giving people practical supports and resources, whether that's an actual person, or whether it's a training program, or practice, with someone setting them up with a PR so they can have someone to practice with regularly. I think they're the five different factors that really influence how someone who's going to use social media, and whether they use it well, safely. And meaningfully, I suppose, because that's what you want it to be. The other thing that I think is really important, from a clinician perspective, in terms of facilitating use is to kind of be proactive. So rather than being reactive, and just only stepping in when problems happen is actually being a person that can support people with brain injury to use social media and asking those questions. So I feel like some of the research that I've been doing is really kind of been critical to try and find guidance for clinicians on how to do that, and how to have those conversations. So I spoke about those five different factors. I reckon if, for example, you were wanting to think about someone's purpose in social media, really, you just need to identify what platforms they want to use? Why do they want to use them? What's going to be really meaningful for them? So writing that down and thinking: Okay, who are you connecting with in that? Why do you want to use it? How can we make that better for you? So it's a really nice way to just start those conversations. Lyssa Rome When I think about clinically sort of getting to know someone, part of it is who are you communicating with? Like, who are you having conversations with? And if we think a little bit more broadly, you know, it's not just conversations in person or over the phone. And so to take an inventory that really reflects the person's actual communication across all different kinds of settings, is really important. I'm curious how people with acquired brain injuries are using these different social media platforms, you sort of mentioned some of them along the way, as you've been discussing the risks and the benefits, etc. But I just wonder if you could say a little bit more about that. Dr. Liss Brunner Yeah, I mean, we've been doing a few different little studies looking at how brain injury is spoken about, and who's using it in different platforms. So we've done a study, study looking at Twitter, it was Twitter, then it's now called X, I suppose. But back then it was Twitter. And we kind of really just explored what was being said about brain injury. And actually, I found there were actually lots of people with brain injury using the platform to connect with others to share issues around their health, life after their injury, raising awareness, and also as a source of inspiration and hope. So both giving and receiving those messages. So that was really nice. And then we've recently actually just completed some studies where we looked similarly, at YouTube and Instagram. And in both platforms, it was really clear that this is a space where people are sharing their stories of change. And because of the inherent functions of the platforms, they can share content that they make, or reshare, and a lot of it is quite visual. It really gives that person who's sharing the content, a lot more control over how they tell their stories. And I love seeing and hearing how people use social media to tell their stories. We're all so different. And even though there are similarities amongst the stories that people are telling about their brain injury, there's so much personalization and individuality. It's fantastic to see. In some of the interviews that I've done, you know, one person told me about how they use Instagram to share their photos of the world so that they were a photographer before their injury. And since their injury, they see the world differently. And they're taking very different photos. So I think everyone's using different platforms the way in which they want to, yeah, it's super interesting. Others have made using social media their vocation, so as a way of connecting with others who've had a brain injury and sharing, you know, tips and ideas to support recovery. And so that's kind of their job, and it's giving them that sense of purpose. Not just in using social media, but purpose in life and giving back and being able to feel like they have a sense of belonging and contribution. So, yeah, I find it super interesting. I love it. Lyssa Rome Well, and one of the reasons that I was really drawn to your work and wanted to talk with you on this podcast is that it seems like at its heart, what you've been studying and working on is promoting and enabling life participation for people with acquired brain injuries for whom social media is an important life activity—either was already before the injury or is now after the injury. And, to me, it's just, it's so meaningful for people and to sort of turn our attention toward social media in this way, I think is great. So it makes me wonder, to what extent are rehab professionals, speech language pathologists and others, addressing social media use with their clients or their patients? Dr. Liss Brunner This is a really hard answer to give. Because I'm speaking generally. And I know that, you know, we are very individual as clinicians as well. But when I used to talk about this, you know, I started more than a decade ago in this space, I would ask clinicians when I was talking at presentations, who's worked with clients on using social media, and I would maybe have one person put their hand up. Now, when I ask that question, the response is actually very different, and I would say, you know, the majority of people would indicate that they've worked on using social media in some way, shape, or form. But I feel like we don't necessarily have lots of guidance on how to do that well. And so lots of clinicians have said to me that they feel kind of lost when it comes to using social media. Not everyone uses social media and some of us have our preferred platforms that we feel comfortable with and don't know anything about some of the other platforms, right? Some of us say using social media is just a bit of fun. And it's, you know, a bit of a distraction from real life. So we have lots of attitudes and beliefs around it. And there's lots of challenges in addressing social media, because as I said, the platforms are constantly changing. And it's really hard to stay up-to-date. And so lots of people are really uncertain about all of those factors, and then they are, we've also got all of these medical and legal responsibilities, and we don't know where our boundaries are, in terms of navigating risks— whether we should be gatekeepers, or whether we should be just supporting people with information and education and coming in and supporting them if problems happen. Lots of people just basically want guidance, was what I heard. They want to know when to introduce the use of social media. They want to know when to let go of control of how people use it, and how to encourage really positive interactions. I feel like a lot of people have told me that because they're so uncertain, they tend to be mostly restrictive, rather than proactive. And so that restrictive practice occurs in lots of different ways. So it could be encouraging, and helping families to keep devices at home and away from people who have a brain injury. It could be that they give people the devices, but they limit the internet connectivity, so they can't use them functionally. Or it could be that they manipulate the privacy settings. So it allows people just to lurk and watch other people's posts, but doesn't let them post and interact. And so, you know, there's often issues where family members are encouraged to monitor social media posts for appropriate content and things like that. And I find that's, you know, not ideal for anyone, really, no one wants to have to do that. And no one wants that to happen to them. And it can create lots more barriers to autonomy. I'm pretty sure if my parents were telling me what to do and what not to do in social media, I'd not have a great response. And I also feel if I tried to tell my kids what to do and what not to do, they'd probably go straight out and do what I told them not to do. Because as if I would not because I'm old. Right? And not cool. There's probably another word for cool now that I don't know. You know, I think it's, it's really personal. It's tricky to navigate. And as clinicians, we've got to be really clear about what our attitudes and beliefs are and how they influence what we perceive as appropriate or inappropriate and how we navigate those conversations. I love referring people to the Mark Ylvisaker and Tim Feenye paper that's about Dobermans and Poodles. Because it really does push people to think about how we interact and influence people in our rehabilitation practices. So I think as clinicians, we want to be proactive, but we're just not quite clear on how we should do it. Lyssa Rome In one of your papers, you wrote about how we as speech language pathologists can move from a sort of paternalistic attitude toward supporting the autonomy of our clients with acquired brain injury. And it's something I think about a lot, not necessarily just in this context of social media, but in all other kinds of ways. And I'm wondering if you could say a little bit more about that, and about how SLPs and other rehab professionals should be thinking about including social media training and the work we do? Dr. Liss Brunner Yeah, it's really tricky. Because, you know, we don't want to be restrictive. We don't want to be gatekeepers, we want to be supportive. And I feel like sometimes when we don't have guidance, from our evidence in the research or practical resources, we can flounder a little bit, particularly when we know there are so many risks associated with something like using social media. I think we can probably all acknowledge that restriction isn't the answer, because it doesn't set people up for real life. It doesn't give them opportunities to learn from mistakes, which is what we would do a lot of the time in real life. I think one of the things that we can really do is harness the knowledge and skills of the person themselves, to help us as clinicians to know more about how they want to use social media, which platforms they're interested in, particularly if we've got no clue about how to use it ourselves. And so this could be a way to really educate ourselves, and kind of have more of a collaborative approach with that person. So you can set goals together, you can identify what's going to look like successful social media is to that person. How can we use what they did before their brain injury to guide us in terms of, is this something you want to get back to? Or do you want to do something different now? Those sorts of things. We can look for ways to provide them opportunities for participation, and give them some instructions on what might work really well. Let them go and try that. Give them education and really constructive feedback, so that they're working towards those positive interactions and trying to mitigate those risks in that really proactive way. Obviously, I think we need some policy around this, and guidance so that we can actively support people. But I think probably one of the first things that we need to do is address social media goals in rehabilitation. And these can be informed by other successful brain injury rehabilitation approaches, you know, so we've got lots of information on functional rehabilitation, we know that more meaningful rehab is motivating and more likely to have better outcomes. And we could adopt strategies that have been used in rehab that support other activities that we feel are higher risk. So always I think of return to driving. You know, we support people, occupational therapists, support people to return to drive and I think that's inherently really dangerous. But we do it because we see it as a really important goal for people to return to after injury. I kind of feel that social media is kind of in a similar vein, we know there's risks, let's put education and practice in place to support them to do well. Lyssa Rome Speaking of education and practice, you've created a training program for people with acquired brain injuries on how they can start to successfully use social media. So can you describe that and tell us a little bit about that program? Dr. Liss Brunner Yeah, I mean, I worked as a clinician for many, many years before I got suckered into research and fell in love with it. And so I always want to think about the practical implications of the research that I'm doing, I want to provide resources and guidance. And so I was very lucky to be able to work with the team at Sydney Uni, and the University of Technology in Sydney, and brain Injury Australia. We were able to source some funding through a grant, which was fabulous. And we had this larger project called the Social Brain Toolkit. And part of that was developing social-ABI-lity. And so it meant that we were able to work with people who've had a brain injury, some family members, some clinicians, and other researchers to design this social-ABI-lity program. And essentially, it's a free online training program on how to use social media after brain injury. Very simply, it's designed so that people with a brain injury can do it themselves, or they can do it with family or a friend or a clinician to support them. It takes about two to three hours to work through everything. And there's four modules, and so the modules are: What is social media; staying safe in social media; how do I use social media; and who can I connect with in social media. And we've really used metacognitive principles to support people to make a plan for using social media in a way that really suits them. And so we wanted to give them ideas on staying safe. When using social media and cyber safety, even those, there's one module on staying safe. Cyber safety is actually threaded through all four modules, because it was such a priority for everyone that we spoke to. And it just provides people with opportunities to learn about using social media, and really promoting the idea of finding social media buddies and building up a support network in social media. So there's written info, there's videos, there's questions to work through, there's a printable worksheet, so people can write down and keep the messages of the four modules. And things like that. We've run a pilot study, so that people could test out the prototype. And they found it was quite valuable. They thought it was really engaging and functional. They also told us what they didn't think was working. So we tweaked it, and hopefully made it better. And then we actually piloted that again, because we knew that just the training by itself was probably not going to achieve the best outcomes possible. We wanted to know whether group intervention would help. So we kind of got people to do the social-ABI-lity program, and also a peer practice group. So we set up the social-ABI-lity plus a social media practice group kind of thing. We set up some Facebook groups, because Facebook is one of the social media platforms that lets you set up a group and have private conversations. But you also don't necessarily have to be friends with everyone. So it meant people could keep their distance if they wanted to. In this study, we ran two groups for 12 weeks. And we basically just gave them stuff to talk about and connect with in this Facebook group. We also added in occasional meetups on Zoom so that people could meet each other face-to-face, even though it was online. So, you know, at the same time, they could have conversations and get to know each other in that way and see each other's faces. And the two groups found that this was really beneficial. So they had more confidence in using social media and they were just thinking about using it in a very different way. The other thing that we thought about though was we know that there's just this connection between people who've actually lived the path, rather than, you know, being directed by someone like me who hasn't raised this difference in connection. And so we wanted to know whether having a peer moderated group would actually change things. And so we've recently just run a peer-moderated group. And so we kind of sweet-talked two of our previous participants who were quite active in the groups and said, “Do you want to be part of our research team? Would you like to moderate a group? And we'll see what happens.” And so we negotiated with these two awesome people. And they ran the group for eight weeks. So we shortened it a little bit just to make it more feasible and test it out. And before we started the group, we met with our two peer moderators, and said, “What do you feel comfortable doing? What don't you feel comfortable doing?” And we negotiated our roles before we even started, and even though they weren't significant changes in confidence, or any of the quantitative data that we collected in terms of quality of life and things like that, the conversations that people had, were just, I'm going to use one of the moderators words “profound.” They were so different, they were more poignant, and deeper, the conversations that they had in these peer-moderated group, and the reflections that all of the participants had really showed that they connected on a really different level, which was quite lovely. Again, they found it was all feasible and engaging. But there was something about that added element of the peer moderators that made it extra awesome for the people involved, as well as for the peer moderators themselves, they just found that they had improved confidence and improved sense of self for being involved in it. So it was that sense of giving back that really made that group scene, which was really lovely. Lyssa Rome I think that that's so exciting. And it makes me wonder what else you're working on? And what's coming next. Dr. Liss Brunner Yeah, I mean, there's so many ideas, and it's just a matter of actually making them happen. Lyssa, at the moment, were actually designing a social media communication assessment tool that we hope will really help not just clinicians, but also people with brain injury, to start this process of figuring out their purpose in using social media and what their goals might be. And so we're designing it with people with brain injury and clinicians around the world. So that hopefully, it will be really relevant to everyone to just start those conversations. So we hope to have the first version of this available to share freely, hopefully, by the end of the year—next year, definitely. But I'm really excited to see how that pans out. That's the first next step. Lyssa Rome Yeah. I think that that is really exciting. And it it, it reminds me of something else that you've written about, which is how SLPs can almost assess their own social media use or think about it, and step back and think about it in order to better help their clients in their social media goals. And I'm wondering if you could explain a little bit about that for our listeners. Dr. Liss Brunner This is some work that I actually really loved doing. I think one of the things that can really support how we're able to assist others in using social media is to be really aware of our own use of social media. And I think in this particular paper that you're referring to, it's like we use the metaphor of a garden. And we kind of encouraged people to think about their own use and purpose of using social media. And we used this very arty based approach to thinking about our professional social media identity. And so we kind of describe this process of visualizing your own social media garden. And so it's a metaphor you can use to think about your purpose and build a strategy around how you're going to achieve that. And I think it can be used to get kind of like this real understanding of what social media really means to you, and identify aspects of your own professional identity that are important and could be enriched through using social media. So I think, you know, if you're interested in not just how you use social media professionally, but also how you can help people clinically, in this paper, we really tried to provide another resource to outline strategies for using different techniques to build up your professional and clinical practice. Lyssa Rome For me, as a clinician, I think one of the takeaways from this conversation and from reading your articles, which we will link to in the show notes, is this idea that we should be reflecting on our own social media use, and our own assumptions about social media use and its risks and its benefits. What other takeaways should listeners be thinking about—things that they can implement in their own clinical practice? Dr. Liss Brunner I couldn't agree more, Lyssa. I think reflecting on your own social media use is really powerful. I think it's a really good place to start. And I think then you can just start by having the conversation with people asking about why they use social media. Which platforms are you interested in? What do you want to get out of using social media? Who do you want to connect with? Just having those conversations, I think will give you very rich data to start making some decisions, having ideas around what goals could be targeted. I think, as you said, we'll put the link to some of my papers. But certainly the facilitators that I've mentioned in the AJSLP paper, can be kind of those five factors that can really guide you in thinking about the different aspects to consider around social media use. So you can kind of use that as a bit of a guide, until we're able to create and trial new resources to support that further. I think there's probably three key resources that I typically recommend that people check out if they want to support people to use social media. I think the obvious one that I'll point out is the social-ABI-ity program. And we'll pop the link in there. I think the other thing that I'd like to mention is another free online training program called Cyberability. And this has actually been designed by some colleagues here in Australia at Monash University, led by Dr. Kate Gould. But it's been built in collaboration, again, with people with brain injury, but who have also been scammed online. So they've got that lived experience. And they contribute their strategies and tips and what they've learned from going through that experience in this training. So I'll make sure that we get the Cyberability training link for you as well. The other resource that I find really useful here in Australia, is that we've got the Australian eSafety Commissioner website. And it's actually been supported by our government to provide lots of advice and resources on staying safe online. And I think, for kids in particular, I can be really handy. So I don't particularly work with kids. But I find that some of the resources there are really good if you do work with children. And there's actually an eSafety guide. And so it actually lists all of the different social media platforms and talks about how to protect your information and report harmful content on those particular platforms. So I think that's a really handy tool for people to know about as well. Lyssa Rome Those seem very useful. Thank you for bringing those to us. And again, we'll link to those resources. I am so glad to have had this chance to talk with you and I'm really looking forward to all of the exciting things that you're working on now. Dr. Liss Brunner, thanks so much for being a guest on this podcast. Dr. Liss Brunner Thank you so much for having me, Lyssa. It's been wonderful. I could talk about this stuff forever and a day. So I'm really pleased that we've had this opportunity. Thank you. Lyssa Rome And thanks also to our listeners. For the references and resources mentioned in today's show, please see our show notes. They're available on our website, www.aphasiaaccess.org. There, you can also become a member of our organization, browse our growing library of materials and find out about the Aphasia Access Academy. If you have an idea for a future podcast episode, email us at info@aphasiaaccess.org. Thanks again for your ongoing support of Aphasia Access. For Aphasia Access Conversations, I'm Lyssa Rome. Additional Resources Contact Liss: melissa.brunner@sydney.edu.au eSafety Commissioner: www.esafety.gov.au/ eSafety Guide to Staying Safe Online: www.esafety.gov.au/kids/I-want-hel…ing-safe-online Cyberability - free training on how to stay scam safe after brain injury: www.cyberability.org.au/ social-ABI-lity - free training on how to use social media after brain injury: abi-communication-lab.sydney.edu.au/courses…I-lity/ Brunner, M., Hemsley, B., Togher, L., Dann, S., & Palmer, S. (2021). Social media and people with traumatic brain injury: a metasynthesis of research informing a framework for rehabilitation clinical practice, policy, and training. American journal of speech-language pathology, 30(1), 19-33. https://doi.org/10.1044/2020_AJSLP-20-00211 *Email Liss for a copy* Brunner M, Rietdijk R, Summers K, Southwell K, Avramovic P, Power E, Rushworth N, Togher L (2024) ‘It gives you encouragement because you're not alone': A pilot study of a multi-component social media skills intervention for people with acquired brain injury. (Invited paper for a Special Issue on SLT/P clinical management of traumatic brain injury across the lifespan), 59, 543–558. https://doi.org/10.1111/1460-6984.12806 Brunner M, Rietdijk R, Avramovic P, Power E, Miao M, Rushworth N, MacLean L, Brookes AM, Togher L (2023). Developing social-ABI-lity: an online course to support safe use of social media for connection after acquired brain injury. AJSLP (Invited paper for a Special Issue of Select Papers from the International Cognitive-Communication Disorders Conference), 32(2S), 924-940. https://doi.org/10.1044/2022_AJSLP-22-00099 Brunner M, Rietdijk R, Togher L (2022). Training resources targeting social media skills: A scoping review to inform rehabilitation for people who have an acquired brain injury. JMIR, 24(4), e35595. https://www.jmir.org/2022/4/e35595/ Brunner M, Bryant L, Turnbull H, Hemsley B (2022). Developing and sustaining a social media ecosystem in speech-language pathology: Using innovative qualitative methods to visualise and cultivate a social media garden. IJSLP (Special Issue on New perspectives, insights, and practices: Qualitative research innovations in Speech-Language Pathology), 24 (5), 558-569. https://doi.org/10.1080/17549507.2022.2069860 *Email Liss for a copy* Ylvisaker, M., & Feeney, T. (2000). Reflections on Dobermanns, poodles, and social rehabilitation for difficult-to-serve individuals with traumatic brain injury. Aphasiology, 14(4), 407–431. https://doi.org/10.1080/026870300401432 University of Sydney profile Acquired Brain Injury Communication Lab website Twitter/X @LissBEE_CPSP Mastodon @LissBEE LinkedIn Instagram Facebook
Franchise Brands executive chairman Stephen Hemsley speaks to Proactive's Stephen Gunnion about the company's achievements in 2023 and the strategic focus moving into 2024. Hemsley highlighted the doubling in size through the Pirtek acquisition, contributing to record profits for the year. Despite some market challenges, particularly in Q4, Hemsley expresses confidence in the company's performance and outlines key strategies for debt reduction and business integration up to 2027. Hemsley noted, "2023 was a game of two halves. The year started very strongly for all the businesses, including Pirtek, but softened towards the end of the year." He also elaborated on the impact of specific market headwinds and how the company is compensating with growth in other sectors like waste management and transport. Looking ahead, the primary focus for Franchise Brands is on integrating its acquisitions and leveraging operational efficiencies to repay debt. Hemsley explained the importance of growing system sales through the maximum potential model, which helps franchisees expand their market reach. The 2023 annual results presentation can be viewed here: https://www.franchisebrands.co.uk/wp-content/uploads/2024/06/2023-Annual-Results-Investor-Presentation-UPDATED.pdf Don't miss this insightful discussion on Franchise Brands' growth trajectory and future plans. Visit Proactive's YouTube channel for more videos, and don't forget to like, subscribe, and enable notifications for future content. #FranchiseBrands #StephenHemsley #BusinessGrowth #PirtekAcquisition #2023Results #BusinessIntegration #WasteManagement #TransportSector #OperationalGearing #ProactiveInterviews #FranchiseExpansion #ProactiveInvestors #invest #investing #investment #investor #stockmarket #stocks #stock #stockmarketnews
Balancing Entrepreneurship and Personal Well-being: Insights from Marcus Hemsley In this episode of No Bullshit Talks, host Sabrina welcomes Marcus Hemsley to explore the intersections of entrepreneurship, personal growth, and well-being. Marcus, co-founder of Fountain Partnership and founder of the Million Tree Pledge and The Reconnect Weekend Retreat, shares his journey from burnout to mastering 'peace money,' offering strategies for balancing productivity with tranquillity. Marcus discusses the shift from anxious money to peace money, handling stress, and the significance of self-awareness and a growth mindset. The discussion also touches on the pitfalls of the personal development industry, advocating for a subtractive approach to mental noise reduction. Tune in to gain actionable insights on achieving a balanced, peaceful, and successful entrepreneurial life. Timestamps 00:00 Introduction to No Bullshit Talks 01:17 Meet Marcus Hemsley 02:01 Marcus's Journey: From Marketing to Sustainability 03:11 The Reality of Running Multiple Businesses 04:36 Personal Development and Burnout 06:26 The Concept of Peace Money vs. Anxious Money 09:14 Leadership and Accountability 15:27 The Importance of Maturity and Growth Mindset 23:53 Finding Balance: Peace Money in Practice 28:41 Dealing with Stress and Overwhelm 29:15 The Importance of Slowing Down 29:33 Personal Development Pitfalls 30:24 The Power of a Calm Mind 32:43 Handling Business Challenges 33:39 Internal vs. External Slowdown 34:24 The Concept of Peace Money 36:44 Real-Life Examples of Staying Calm 41:57 The Role of Negativity Bias 46:10 Practical Tips for Entrepreneurs 50:03 Personal Reflections and Growth 58:04 Final Thoughts and Advice
“The Courtship of Bess Richards” (October 4, 1986) The second episode of Amen concerns Sherman Hemsley's Ernie trying to land his choir a new singer in Nell Carter's Bess, and the result is a comedy of errors in which both he and she perform romantic interest that neither is capable of actually feeling. The result is a WWF-style wrestling match between these two iconic sitcom stars, and we're joined once again by Dr. Alfred L. Martin to discuss how this is rendered all the stranger because Hemsley and Carter both were closeted and therefore all too accustomed to acting out hetero identities different from how they lived privately. This episode mentions a TV Guide article about Sherman Hemsley's private life that I now cannot find online. However, I bought the issue on eBay and will post as soon as it arrives. You can see Zach Wilson's posting of it on Twitter. Thanks, Zach! Buy Dr. Alfred's book, The Generic Closet: Black Gayness and the Black-Cast Sitcom. Listen to Hemsley in the performance of Purlie that Alfred mentions. Watch a clip of Hemsley's gay villain turn in 2000's Screwed. Listen to Dr. Alfred's previous episodes: Roc Has a Gay Uncle Moesha Meets a Gay Guy Sanford Arms Meets a Gay — And He's Black!
The Aztecs lost a wild one against Colorado State on the road. The Kiss The Rings crew discuss all the ups & downs. Then, special guest Aztec4Life #42 Jeremy Hemsley joins the show to share and reconnect with Aztec Nation!
The Aztecs lost a wild one against Colorado State on the road. The Kiss The Rings crew discuss all the ups & downs. Then, special guest Aztec4Life #42 Jeremy Hemsley joins the show to share and reconnect with Aztec Nation!
Sarah, trained at the Royal Welsh College of Music and Drama as a post graduate Stage Management student. Throughout her career, she has remained true to her love of theatre and event production work which has given the Company its solid and varied skill set. Over the last few years, Sarah has produced a number of significant large-scale cultural events, both in the UK and Europe. Sarah is a sort after theatre production manager, most recently working with Cbeebies on their annual panto. Through a number of significant cultural events, Sarah has developed an understanding of the world of television and televised live events. @theatreartlife Thank you to our sponsor @clear-com The TheatreArtLife Podcast is a branch of our larger TheatreArtLife Community. Come visit us at www.theatreartlife.com
Sarah, trained at the Royal Welsh College of Music and Drama as a post graduate Stage Management student. Throughout her career, she has remained true to her love of theatre and event production work which has given the Company its solid and varied skill set. Over the last few years, Sarah has produced a number of significant large-scale cultural events, both in the UK and Europe. Sarah is a sort after theatre production manager, most recently working with Cbeebies on their annual panto. Through a number of significant cultural events, Sarah has developed an understanding of the world of television and televised live events. “ATTENTION SPOTIFY LISTENERS: IF you want to WATCH this with VIDEO, you can also subscribe to our video version: https://open.spotify.com/show/5e9KnBRZdjUTXTvCe6Nrqm?si=6639537c61044396” @theatreartlife Thank you to our sponsor @clear-com The TheatreArtLife Podcast is a branch of our larger TheatreArtLife Community. Come visit us at www.theatreartlife.com
Sarah, trained at the Royal Welsh College of Music and Drama as a post graduate Stage Management student. Throughout her career, she has remained true to her love of theatre and event production work which has given the Company its solid and varied skill set. Over the last few years, Sarah has produced a number of significant large-scale cultural events, both in the UK and Europe. Sarah is a sort after theatre production manager, most recently working with Cbeebies on their annual panto. Through a number of significant cultural events, Sarah has developed an understanding of the world of television and televised live events. “ATTENTION SPOTIFY LISTENERS: IF you want to WATCH this with VIDEO, you can also subscribe to our video version: https://open.spotify.com/show/5e9KnBRZdjUTXTvCe6Nrqm?si=6639537c61044396” @theatreartlife Thank you to our sponsor @clear-com The TheatreArtLife Podcast is a branch of our larger TheatreArtLife Community. Come visit us at www.theatreartlife.com
Sarah, trained at the Royal Welsh College of Music and Drama as a post graduate Stage Management student. Throughout her career, she has remained true to her love of theatre and event production work which has given the Company its solid and varied skill set. Over the last few years, Sarah has produced a number of significant large-scale cultural events, both in the UK and Europe. Sarah is a sort after theatre production manager, most recently working with Cbeebies on their annual panto. Through a number of significant cultural events, Sarah has developed an understanding of the world of television and televised live events. @theatreartlife Thank you to our sponsor @clear-com The TheatreArtLife Podcast is a branch of our larger TheatreArtLife Community. Come visit us at www.theatreartlife.com
I'm Ellen Bernstein-Ellis, Program Specialist and Director Emeritus for the Aphasia Treatment Program at Cal State East Bay and a member of the Aphasia Access Podcast Working Group. Aphasia Access strives to provide members with information, inspiration, and ideas that support their aphasia care through a variety of educational materials and resources. I'm today's hosts for an episode that will feature Jocelen Hamilton and Theresa Yao from Stanford Healthcare. We will discuss how adapting the A-FROM to swallowing disorders can offer a person-centered approach to assessing and treating a person with dysphagia. Guest Bios Theresa Yao is a licensed speech language pathologist at Stanford healthcare and a lecturer at San Jose State University. Her clinical and research interests include head and neck cancer rehabilitation, voice disorders, dysphagia, and aphasia. She is passionate about serving people from diverse backgrounds with communication and swallowing disorders. She was a fellow for life of the Albert Schweitzer Fellowship program, and co-founded the Bay Area's Swallowing Support group. She has been actively volunteering in community groups for stroke survivors who need communication support. She has always been a strong advocate for her patients and profession. Jocelen Hamilton has practiced as a licensed speech language pathologist for 19 years. She specializes in management of communication and swallowing disorders in adults with head and neck cancer. She began her career at the University of Iowa Hospitals and Clinics, and then joined the Stanford Outpatient Head and Neck Clinic in 2020. She also previously served as a clinical assistant professor for the University of Iowa's Communication Sciences and Disorders department with a focus on supervising graduate students and helping individuals with strokes and brain injuries. Her current clinical interests center around the development of frameworks to facilitate whole person care for individuals with swallowing disorders. Listener Take-aways Think creatively about how to apply the A-FROM to other communication disorders, like swallowing Learn how dysphagia can impact the participation, environment and personal domains Consider some PROs that help to capture the impact of dysphagia on quality of life of both the patient and the caregiver Explore some ways to adapt EMRs to incorporate A-FROM or Swal-FROM into your daily notes Show notes edited for conciseness and clarity Ellen Bernstein-Ellis So I'm excited to have both of you here today. Thank you and welcome, Theresa. Theresa Yao 00:55 Thank you, Ellen. I'm glad to be here. Ellen Bernstein-Ellis 00:57 And Jocelen you too. Jocelen Hamilton 00:59 Yes. Thank you so much for having us. Ellen Bernstein-Ellis (Interviewer) Welcome both of you, again, to this podcast. And as our listeners get to know you, we like to open with a fun icebreaker question. I'm going to pose two different questions that you've selected for today. So, Theresa, let's start with you. I guess for full disclosure, I want to admit that, I will share--I don't have to admit, I am sharing that I had the honor and pleasure of being your supervisor at Cal State East Bay in the Aphasia Treatment Program (ATP). So I know that may come up today. I just want to let our listeners know that we've known each other for a while. I have been really fortunate in that relationship and seeing you emerge and thrive as such a wonderful contributor to our field. So Theresa, could you please share one experience or role that has been meaningful to you as an aphasia ambassador? Theresa Yao 03:22 Thank you, Ellen. It was great experience when I was in the Aphasia Treatment Program at Cal State East Bay. So that's actually one of the experiences I wanted to share as an opening, because I was at the Aphasia Treatment Program as a co-director for the choir, Aphasia Tones. And that was one of the best memory in my life. And I remember one time, one of our members who had more of a severe expressive aphasia, and usually has minimum verbal output, and we all know him. But whenever he starts singing, Can't Help Falling in Love, this particular song, you can hear that those beautiful words just came out right out from his mouth, fluently, beautifully. He was always so happy every time that he heard the music, and he just enjoy singing along. That was just a really amazing moment for me to realize that people with aphasia with minimum verbal output, they can still enjoy and participate in choir, and can still communicate that way. It's just showed me how powerful it was to use the Life Participation Approach to Aphasia. And in our choir at that time, we have all different levels of severity. All members join together, and then they all enjoy and engage in this choir experience. So that's really meaningful. Whenever I think of LPA, I think of him, I think of this song, and I think of Aphasia Tones. Ellen Bernstein-Ellis 04:54 Thank you for sharing that. And Theresa, it was wonderful to have you as a co-director. And see you step up to the challenge of leading the choir. And you're right, we really have a strong motto of participation at every level. And you really worked hard to make sure that happened. So thank you for sharing that. And yes, that's one of my favorite topics, so I loved hearing about that. And Jocelen, I'm also excited to ask you to share with the listeners something about one of your experiences. So would you like to share an Aphasia Access, favorite resource or moment? What comes to mind for you? Jocelen Hamilton 05:28 Yes, well, this is really neat for me to be on this podcast, because it is this podcast that is a favorite of mine, and a major “aha” for me. Ellen Bernstein-Ellis Well, thank you, just thank you. Jocelen Hamilton I worked with patients with head neck cancer for about nine years. I then did a major shift and then worked in a graduate training clinic at the University of Iowa. And during that time, previously, when I was at the hospital with a very heavy caseload and working with individuals with dysphagia. And so then switching over and working with individuals with strokes and brain injuries, that was much more communication focused. And I had this caseload I was taking over with the graduate students and learning about all the current treatment principles and treatment options and all the research that had been developed. It had been probably close to 10 years since I had worked regularly with individuals with neurogenic communication disorders. I had knew nothing about LPAA. I knew nothing about Aphasia Access, the organization. And I was thinking about this recently, of how I even came across it. But I think probably I was searching one of these treatment modalities, and a podcast came up. So I listened to some of the other podcasts and I was like, oh my goodness, this totally resonated, LPAA. And the podcasts and other resources through the website, totally resonated with me, and helped me better understand what my frustration was within an impairment only based approach, which was in my training and my background, and things like that, to like see a whole different way. So I learned as much as I could. And I tried to share all of that with my students, we were all learning together of how to implement this. So it's really neat to now be a part of this podcast and participate. Ellen Bernstein-Ellis 07:32 We're so glad you agreed. And I just want to thank you. If there was ever a wonderful plug for membership to Aphasia Access, I think you just gave it. Thank you so much. for that. Well, let's dive in a little bit more to our topic of the day. We're going to be talking about how and why you both decided to adopt the A-FROM or the Framework for Outcome Measurement of Aphasia by Kagan and Simmons-Mackie to your work with head and neck cancer patients. So I know we usually focus on aphasia, but we're taking this really important tool and talking about how you adapt it. So many listeners are, of course already familiar with the A-FROM. But can you briefly describe the social model framework for our listeners? Theresa Yao 08:16 I can start with just a brief introduction. I think everyone, if you're listening to this podcast, you are already very familiar with A-FROM, which is based on the World Health Organization's ICF model. They address a few health and social domains such as body structure, function, activities, participation and contextual factors like personal and environmental factors. And like Ellen mentioned before, Dr. Kagan and colleagues, adapted this ICF model to create a very user-friendly framework for the outcome measurement in aphasia. And this becomes the Living with Aphasia Framework Outcome Measures the A-FROM and it has the domain of aphasia severity, which is the body function or impairment level, and then also participation, environment, personal factor. So these are the core concepts of the LPA approach. Thats what we are based on using this A-FROM to adapt it to this Swallow-SWAL-FROM, we call it. The Living with Swallowing Difficulties framework of measures. Ellen Bernstein-Ellis 09:22 So let's talk a little bit more about this. Jocelen, do you want to share your story as an SLP and how you came to introduce the A-FROM into your work at Stanford in the head and neck cancer clinic? Jocelen Hamilton 09:37 Sure. So after about a year and a half of working with individuals with aphasia and applying LPAA and using the A-FROM with clients, I then changed gears back to working with people who had neck cancer and we moved to California and I joined the Stanford team and I was back into primarily working with individuals with dysphagia. I just kept thinking about how can I take this model the A-FROM and apply that to working with individuals with dysphagia. How I would previously use the A-FROM is that Venn diagram. I would just draw it on a piece of paper and start writing my notes on that as I was maybe doing an intake or working with a client. I started doing some of that model just in my note taking and looking at these different domains that might be impacted. And this was just kind of over a series of months, and even a year, where I was thinking about how to apply this and shared it with my patients. Here are some of the things that I'm seeing and what you're sharing with me that shows your participation is being impacted. Then I ended up talking with our director, Heather Starmer, about an idea of a project—like how can I move this ahead. Theresa had recently joined our team and Heather said, you might want to talk to Theresa about that. She might be interested in doing a presentation on this. And so it was great, because Theresa and I had not yet talked about our aphasia backgrounds together. It was really neat to then work together and begin to apply this with more of our patients. Initially, we kind of struggled with what the environmental domain look like for somebody with dysphagia. And it was neat to talk through different cases with each other to see how it could apply. And then that's where the Swal-FROM came from. Ellen Bernstein-Ellis 11:39 Wow, that's wonderful that the two of you were at the right place at the right time. And I always feel that the expression “stronger together” seems really fitting in this situation. But Theresa, do you want to share how you brought a life participation perspective into your work at Stanford? Theresa Yao 11:57 Yes, sure. Because I've always been a big fan of the ICF model. When I was a student clinician in Aphasia Treatment Program, I learned so much from this model, from LPAA, and from Ellen, you. And also, of course, our members in our Aphasia Treatment Program. And I just could see the huge benefit from the LPA approach in the client's life. So that's why once I started working in real clinics, I always think about this model. And when I started in at Stanford, I started working with the head neck cancer patients. I just feel like so many patients, they live with long term dysphagia, or a sore throat because of the neck cancer treatment they had. And they sometimes just can't get rid of it. They have to live with it. It's just like aphasia. They live with aphasia. And then it just clicked. I just think that it's pretty similar to the situation that you're living with aphasia, and it's that same impact on patients quality of life, on their participation. Then I just started thinking, maybe we can do something with this model to help our patients. And then, of course, Jocelen was there, and then we were just talking about her experience with aphasia treatment and LPAA. And we just clicked. That's why we came up with this (ASHA) presentation, and this idea of how to adapt this A-FROM to our Swal-FROM. And then also, we're talking about this because I also started a support group because I feel like people wanted to get connected. They wanted to engage like aphasia group. They wanted that community to be able to participate, to be able to share. So that's why I think this also helped me to try to initiate this project, this group, so that we can help more people so that they can, they can help each other. Ellen Bernstein-Ellis 13:56 I really love that you saw the power of group therapy, and you then were able to bring it into a different treatment arena. I really don't remember hearing too much about separate support groups for people with swallowing disorders. I don't know how common they are. But it sounds wonderful that you started one, Theresa. So very exciting. What do we know about the incidence of dysphagia in stroke survivors, and then people in skilled nursing, and from there, head and neck cancer? The reason I ask because I think there's overlap. I mean, you're seeing the dysphagia in head and neck cancer, but we know that it occurs frequently. Do you have any numbers to share about the incidence in stroke survivors? Jocelen Hamilton 14:39 Yes, so it's about 45% of individuals with strokes experience, some degree of dysphagia and there's been research that's shown 40 to 60% of older individuals in nursing homes have dysphagia. There's even some research out there that one in 25 adults will experience dysphagia. Then when we look at individuals with head and neck cancer, and this could be on the lower range, but one of the particular statistics is 45 to 50% of individuals with head and neck cancer experience dysphagia. Ellen Bernstein-Ellis 15:11 The importance of considering the whole person (for dysphagia tx) is really going to affect a lot of people that we might be seeing as therapists. And the two of you saw that there was a strong impairment focus in dysphagia management. Can you give an example? Theresa Yao 15:27 I can talk a little bit about this. When I was in grad school, I know that most of the things we learned was how to identify the impairment of dysphagia. We learned all kinds of treatments and exercises for dysphagia. We learned like how to modify diet, how to look for aspiration, penetration. Almost everything we learned, and also what we've been practicing in our clinical practice are heavily focused on the deficit and impairments. That's basically how we trained to assess and treat the physiological changes or the deficit. It just, to me, sounds like it's really technical. I recently just look up the ASHA NOMS, the National Outcomes Measurement System-- that's what we usually use as judgment of whether the patient is making progress or not. They use this particular functional communication measures to see there's like different levels. If you're really looking at this national measurement system, you can see that the wording and the definition of each level is pretty much impairment focus. They mention diet level, safety, efficiency of swallowing, compensatory strategies, or cues, etc. So these are really heavily focused on impairment, but you don't really see like things that relate to participation, quality of life, environment, and those factors. So the consequences that if all the clinicians are just looking at the impairments and not looking at other factors, then you are missing a lot, you're not treating the whole person. Ellen Bernstein-Ellis 17:11 Well, that's perfect, because that leads me to my next question. Why is it important to go beyond the impairment level measurement with dysphagia? Jocelen Hamilton 17:24 I would say, because dysphagia is more than a physical difficulty. That's our name for that physical impairment. But it influences more, just like we know, with aphasia, that it's not just how much they can say, what they understand in the different modalities, but how a change in this function in the body influences everything. So one of the analogies that I can relate to, that I've heard before in terms of looking at accessibility, has to do with like, physical impairments. So if somebody is paralyzed, they can't move their legs, well, the physical therapists are going to look at their legs and see the range of motion, their strength and all of that. But they're also going to think about how are they going to get into their house? And how are they going to move around? Well, sometimes what can happen with dysphagia, as Theresa already talked about, we're looking just at how does that epiglottis move? What is the airway invasion like? But then are we going to talk about well, what's going to happen? We just had the holiday with Thanksgiving and the holidays now. What are family meals going to look like? I think one of the things that sticks out to me is what would my day to day life and social life be like if I couldn't drink with ease and comfort, I couldn't eat with ease and comfort, if I needed to have special food and special liquids and special strategies? So this impacts so many things within a social realm, and personal realm as well. We'll get into that in more detail as we go. But it's not just about the change in a physical function. How does that influence the rest of our lives? And it really does. There's been research that shows about burden and quality of life and psychological health. Ellen Bernstein-Ellis 19:08 Well, this really hits close to home for me. I'm going to share with our listeners a personal story, because I've always been very passionate about our field and an advocate for speech language pathologists, but being on the other side of the table, when my husband was diagnosed with terminal cancer, did nothing but increase my own respect and appreciation for the role we play in supporting our clients and their loved ones. Through this process, specifically with dysphagia, and I want to give a shout out to my husband's speech pathologist at Stanford, Heather Starmer, (and another congratulations to her because she just was made a 2023 ASHA fellow), but I'll just always remember the day that we came in. I know that Heather was set with her treatment plan-- I could already guess what we needed to do for the day. And that plan went out the window because we both signaled, Steve and I, that he was just feeling an increasing burden of trying to manage all of the home tasks we were supposed to do for both PT and speech, and it was just really impacting how he was feeling. And so instead, Heather focused on the personal impact and the quality of life issues that we were bringing up. Steve wanted to be compliant. He wanted to be the best patient there was. But she really listened to him carefully. She brought her best counseling skills to the table that day, and helped us come up with a plan that we could manage in a way that would help us sustain his quality of life as best as possible. So I really saw, personally, I mean, I saw day in and day out how his dysphagia from his head neck cancer really impacted, hugely impacted, his participation with our family, and his quality of life. I am grateful for this work that you're doing and the passion you feel for looking at the whole person as you assess and treat dysphagia. And thanks to you, I've been reading, since dysphagia is not usually in my wheelhouse as much these days, but thanks to preparing for this particular episode, I was able to read some articles by Rebecca Smith and her colleagues that showed me that there's some amazing work being done looking at this whole topic, so thank you for that. Okay, and taking a deep breath, because that's a story I've been thinking about for quite a bit. Back into our next question. What is the speech pathologist's role in assessing and addressing health related quality of life and the associated mealtime quality of life? That seems to be talked about a lot in the literature right now. Jocelen, is that you again? Jocelen Hamilton 21:57 I'm glad you mentioned Rebecca Smith's work. There are actually three papers, I think, that that group, she and colleagues, put out in 2022. And specifically, I'll share a few quotes from their paper The True Cost of Dysphagia and Quality of Life: The Views of Adults with Swallowing Disability, but in a way, there's a call to action, and she's not the first to mention it. But for us to include social participation, and their overall well-being, as part of our dysphagia intervention. To make that routine, and then to also ask questions: How are you doing? How are the holidays? How are these social settings with eating? I like to ask patients and their family members, and ask them separately, not meaning like individually, within the same session: Are you participating in doing this, the same things that you did before your diagnosis? Or how is that looking? Are you going out to eat as much? What do you miss now that is different and you're experiencing changes in your swallowing. And it's interesting, because sometimes the partner will say that they miss going out to eat, and they need to navigate feelings like, “Well, I don't feel comfortable eating this in front of my loved one who has difficulty swallowing. I feel conflicted about I get to eat ribs, and they don't.” Those kinds of things. The importance of eliciting these stories, so we can really see what are their challenges, because then we can, like LPAA teaches us, we can engage in this creative problem solving and how we can help navigate through some of these challenges. I think those are a couple of important things that we can look at to support people. Ellen Bernstein-Ellis 23:45 Thank you. And I just wanted to let our listeners know that we're putting all these references into our show notes. I took some from your ASHA presentations that I attended. So those will all be cited in the show notes. Well, to expand to the participation, environment, and personal domains, you started to think about using patient reported outcomes or PROs for assessment. Why don't we go through the domains and discuss potential tools and interventions to fill out this framework a little bit more. So what might it look like if you consider participation? Jocelen Hamilton 24:24 When we're looking at participation, we're looking at these meaningful activities may or may not involve oral intake, but looking at their current levels of participation compared to their pre cancer status. So how often, and in what ways, is someone with swallowing challenges participating? I kind of already talked about that a little bit. And how are the family members doing? Here's one of the interesting things that I've had patients share here. Sometimes, one of the swallowing strategies that a patient needs to complete is a purposeful throat clear, and a re-swallow, or some patients do naturally their throat clearing, or maybe they're coughing when they're eating and drinking. This is an area where it calls attention to them when they're doing this. And then during the pandemic, we were all super hyper aware is somebody clearing their throat? Is somebody coughing? I've had some patients where they really don't feel comfortable because it calls attention. And people ask, how are they doing? And also, another challenge being that when swallowing is hard, talking and swallowing is extra hard. When swallowing is challenging, most people need to just do that, where we take for granted that meals are a very social time. So some of those issues can be really challenging. There's also some individuals where their difficulty with swallowing has to do with loss of the bolus coming out and so there's almost changes in appearance, where they may not feel it. Their lip, their chin might be numb, and they don't know that liquids are dripping out, or they have a piece of food sitting there. So, they might be hesitant to go out and participate in different social settings. Even sometimes we have patients where they don't feel comfortable eating with their own family members, where they will eat completely separate from their spouse. Ellen Bernstein-Ellis 26:28 I am just really struck again about the overlap of some of the things in your head neck cancer patients with clients I see with aphasia. It's really striking. So should we take a moment and discuss how this might look if you consider the environment? Jocelen Hamilton 26:44 I really didn't address a PRO at all. Ellen Bernstein-Ellis 26:46 Oh, it's not too late. We can still do that. Ellen Bernstein-Ellis 26:52 Why don't you go ahead? Jocelen Hamilton 26:55 Sure. Okay. So we're looking in this interview, right, like gathering information, learning how these things are challenging for them. For patient reported outcomes, PROs, Theresa, and I both looked into different ones. And oh, this one has these questions. And this would fall within this domain. So I'll touch base on a few of them here. And then some of them, they have questions that actually apply to all of the domains. So for these, there's one the Swal-QOL, this is probably the most broad in terms of looking at all of the domains that are within this Swal-FROM. It has 10 different quality of life concepts that it has specific questions for. So for this one, there's one subset that's all about social functioning. Some of the questions, they're rating from either strongly agree five point scale to strongly disagree, One of the questions, for example, is “I do not go out to eat because of my swallowing problem.” That really tells you where they're at with that participation, or “Social gatherings like holidays or get togethers are not enjoyable because of my swallowing problem.” So that really hones in on that challenge. Within our specific area of practice with individuals with head neck cancer, there's a scale called the Performance Status Scale Head Neck Cancer, PSS-HN. Now you might think, how might I use this? I encourage people to be open minded, even though this wasn't validated. And some of these are not validated on individuals who have dysphagia from a different cause other than head neck cancer. It doesn't mean that you can't use it as a way to gather information, engage, and perhaps re administer. I'm also a big fan of, as people fill this out, having a conversation about their responses as they go to gather information. But with this, the Performance Status Scale, there's a specific rating scale about public eating. So zero means always eats alone. And 100 is no restriction of eating for any place food or company. So they would eat out at any opportunity. Where in-between might be one point on the scale, “eats only in the presence of selected persons and selected places”, or they would eat out but there would be another option, “eat out, but be more selective about the diet textures and things they would consume in a social setting”, which is common. Some individuals will specifically choose different foods when they're when they're in a social setting. There's also another PRO, the Dysphagia Handicap Index. So with this one, it's a 25 item questionnaire and it does specifically look at physical, functional and emotional aspects of dysphagia. And so a couple of questions from there that would fit with the participation domain include, “I'm embarrassed to eat in public” and “I don't socialize this much due to my swallowing problem”. Those could give some insight into these areas by selecting some of those questions. Ellen Bernstein-Ellis 30:08 Well, I'm really glad you caught me. I think I was so struck about the overlap that, thank you for coming back and talking about those PRO's. Are we good? Can we transition to the environment next? What would this look like? What does the Swal-QOL look like if you consider the environment. Theresa Yao 30:29 When you talk about the environment, it can be factors such as the availability of the appropriate food textures, and oral liquid consistencies across different social settings. For example, if you go out to the restaurant, are there any easier food texture that's available for people with dysphagia? And that's one of the environmental factors. And then there's a new article from ASHA leader that just came out about dining with dysphagia. So that's actually a pilot program from University of Cincinnati that try to help restaurants to expand their menu options so that they have more choices for people with swallowing disorders. Ellen Bernstein-Ellis That's amazing. Theresa Yao Also, another factor that related to the environment is the attitude and level of acceptance or support the people with dysphagia can get from their family, their friends, or even just strangers in their eating situation. So just like Jocelen mentioned, if you're coughing or clearing the throat, what the reaction from other people will be like, -- if they're supportive, or if they're not so. Sometimes these factors can make a patient uncomfortable eating out because of those environmental factors. And then also, the attitude from people around usually can be impacted by culture. Which type of textures they prefer to consume, and how they consume. If you go to a different type of restaurant, they may have different types of food textures, that are specifically for that culture, so that's also another factor. And then also, on the broader spectrum, is the attitude from the healthcare professionals or the public, because the attitude from healthcare professionals is basically, because dysphagia is invisible, and when you are in the hospital, not everyone can see it. If you have leg injury or arm injury, people can see it. But if you have dysphagia, you can't see it. And then when the health care provider is, prescribing your pills, and if you can't swallow, how can they take the pill? They probably are not aware of this, this type of disability, so they may not prescribe you the right pills. These are the things that we can consider as environmental factors. And of course, even larger scale, there's health care policies, the service systems, that may impact the people with a dysphagia too, because insurance may not pay all the dysphagia services, or how often can people get dysphagia support or service? So those are all the environmental factors that we may consider. Ellen Bernstein-Ellis 33:21 I think the importance of this framework is helping us as clinicians to continue to think just broader and more widely about what's impacting the person in front of us. I mean, wow, you are giving us a lot of factors, from the very personal to the broader social policy. And I want us to take a moment and also talk about personal factors, that whole domain. Theresa Yao 33:41 Personal factors can also be very, very important. And a lot of things can be involved. So we know that the person was dysphagia may not be the same person, have the same hobbies or same traits, as before their treatment. So that may cause anxiety, or they may feel embarrassed because of their eating habits, or the change of their eating habits. Because we know that eating and drinking is very individualized. Some people, if they're born as a slow eater, they probably are okay with their dysphagia diet or if we ask them to eat slowly and take smaller bites, that's totally fine. But if some people are born as a fast eater, they will have a huge challenge with, if you give them the strategy to eat slow, taking small bites, because that's just not them anymore. They just feel like they're a different person and then they feel disappointed or frustrated if they can't eat as fast as they used to. And I always share this in my clinic. I see two patients with similar procedures. One person can feel really happy with their diet. They feel okay because they're always eating soft foods or soups. And then another person just with a little bit of impairment of mouth opening, they feel like it's just really frustrating because they can't bite their sandwiches and burgers. And that just makes a huge difference. But if you're only looking at their swallow study, it's the same, they probably don't have any major impairment, but the impact on the quality of life on their participation, environment, and also personal factor. It's so different. So that's why I think considering a personal factor is really important. Ellen Bernstein-Ellis 35:38 So you're giving us examples of the things we should be thinking about, you're giving us examples of some of the PROs that might help us measure. But if many of the EMRs, the electronic medical records are set up for impairment focused measures, how can you adapt the documentation to include these other domains? That's always a barrier, or can be maybe, not always, can be. Jocelen Hamilton 36:00 I think sometimes it can be a barrier. If sometimes the entry is just you have to click certain things, there's not a lot of room for free text. With the EMR that we have, we can have a set template, but we can copy and paste anything in there. So what I did is I took the A-FROM--actually, in the same paper that put out the A-FROM, they put the FROM, Framework for Outcome Measurement, and actually suggest that you could use it for individuals with TBI and called it TBI-FROM. I took that and put it into a template and have the citation for it there and then added a title. It gives a visual for other individuals reading the note of what I'm talking about. ‘Survivorship beyond body function domain: Dysphagia's impact on personal, participation, environmental domains', so I have that as a title. I have it as this set, we use epic, so I can do dot phrases (Smart Phrases). I can drop that into a note. And then as I go through and document, I have the subtitles of body function, participation, environment, personal factors in as I'm collecting this information. That's how I can organize my note. I don't do it every single time with every single patient. Sometimes some of our sessions are more impairment focused, like we need to for safety reasons focus on this. Sometimes it's more a whole session all about how are they doing with their personal domain? I had a patient in the clinic today, and he is depressed, and we just had this quick talk of, “Okay, what do we need to do? Can you talk to your primary care doctor? This is common, many individuals with head neck cancer have depression.” But I'll organize my note, getting back to the notes, with those subtitles and putting the information in there. It also is a cue for me, because I keep needing cues and reminders to come back and broaden that focus, instead of always being in on the impairment and you monitor, document, and then monitor, as I'm reviewing back on their notes to see how they're doing across these different domains. Ellen Bernstein-Ellis 38:19 That is a beautiful example of how you can adapt something. I'm sure a lot of our listeners really appreciate you describing it so carefully, and hopefully will inspire some of them to see what they can do to adapt their EMRs. A little bit earlier, you mentioned the importance of getting perspective from both the client and the care partner. How does the caregiver or care partner experience fit into the Swal-FROM? Theresa Yao 38:47 Caregiver or care partners, they play a really important role in this whole journey with individuals with dysphagia. And I'm sure Ellen, you probably were in that role before. Most of the time, it's the caregiver making the meals for the spouse. Making the meals for the patients with dysphagia can be very challenging. Because just the texture, you have to take care, and the taste. I have caregivers talking to me. They told me that they tried their best to make all the foods but the patient didn't eat at all or didn't like it at all. Then they feel super frustrated. These are all the challenges that the caregivers may face. Dr. Samantha Shune and colleagues, they did a lot of work on this caregiver burden topic. Their study said increased caregiver burden has been associated with the degree of impact that dysphagia is having on mealtime logistics. Family members also report increased anxiety and fear and frustration, stress, embarrassment and social isolation. So these are very two critical things to consider when we're thinking about whole person care, because we can't just care for one person, the patient. But if the caregiver is also experiencing all the stress, all the anxieties, we also need to consider that factor. Researchers in Australia, Professor Nund and colleagues, they also pointed out that this specific caregiver burden is third party disability. And it's the consequence of that person's impairment, which impacts the functioning and ability of their family members or significant others. That's why we want us to fit this caregiver experience into this Swal-FROM framework. Just adding the family caregiver in all the different domains to support patients with dysphagia. And caregiver can influence four domains. But at the same time, also, we need to take care of, examine, the four domains of the family member or the caregiver--going to check their participation, their environment, and their personal factors. Those are really important, because their health and well-being can be affected by being in the journey of taking care of people with dysphagia. So they're super tied closely. That's why we wanted to fit this framework as well. Ellen Bernstein-Ellis 41:21 One of the clinical tools I've learned is available is a PRO measure called the CARES, developed by Shune and colleagues, and we'll again put the citation in our show notes. Theresa, could you describe that a little bit more?. Theresa Yao 41:37 So this is a wonderful screening tool that developed by Dr. Shune and colleagues. It's full name is called Caregiver Analysis of Reported Experiences with Swallowing Disorders. It has 26 items in the questionnaire. And then there's two parts that explore a different aspect of dysphagia's impact on the caregiver. One is a checklist on the behavior and functional changes, and one is a checklist of the subjective caregiver stress. Basically, it's a simple yes/no questionnaire. You can give it to the caregiver and they can just circle yes or no. Then from that, you can figure out what area you may address as an SLP. Or you may want to refer them to a specific team or professionals to address that, because we have limited scope of practice, we can't do everything. But if we can help them to identify the issue and then point them in the right direction, to the right team. That may help a lot. Ellen Bernstein-Ellis 42:43 In your ASHA presentation you also mentioned the Rome Foundation is a resource and another website that offers skill building around managing serious illness conversations. We're going to put both of those resources into the show notes for people, but we don't have time right now to go into them fully. But Jocelen, can you address or share what benefits you've seen by adopting this framework? Does it help with goal setting? Does it help with acceptability of recommendations? What have you seen? Jocelen Hamilton 43:12 I think it's helped me and I feel like it's helped patients and our families have a little more clarity about, okay, these are the areas that are challenging. And again, I'm a visual person, so if I write it out with them, and they're telling me things, and I'm explaining, I get excited about the diagram, and I'm like, you know, see, this seems like an area of challenge. Is there something that you're interested in doing in this area? Are you willing to talk with another person who's gone through this? So I feel like it really can give clarity, I think, for myself, what you know that A-FROM does, and Swal-FROM now is to not, I professionally can get really hung up on the impairment. And I can't always change that, right? We can't always change it to the degree that we would like. Of course, we would like everybody to have complete resolution, right? And so there can be this frustration and powerlessness with that. And obviously the patients and our family members can be experiencing that also. And with this broader view, we can say but here's what we can focus on what can we do to have you participate that would make you feel better? What can we do that would help you with your personal feelings? So I feel like it addresses things that matter and we can have more conversations about how is their day to day life being impacted? What are some small steps we can take in a direction that might help them and their families. Ellen Bernstein-Ellis 44:43 That's beautiful. Thank you so much, Theresa and Jocelen. It has been a pleasure and I've learned so much from both of you, listening to you apply this framework and look deeply and carefully at quality of life for people with dysphagia. I really appreciate it. Is there anything else you want to add? Theresa Yao 45:03 I just wanted to add a little bit. So I think it's really important as clinicians to listen to our patients and caregivers, because we need to learn from their experiences, their perspective. And, like we mentioned dysphagia is invisible. I wanted to share one of the quotes from one of the dysphagia support members. He says, “dysphagia is a label you carry with you inside.” And that's really just so true, because it's hidden. If you go outside, people see like you what you can walk, you can talk, but they don't know that this disability is hidden inside. And I think it's so important to address not just the impairment, but also listen to the patient's perspective. And then help them to address all the domains. I always think that you become a better clinician because what you learn from your patient. So that's all we need to do. Ellen Bernstein-Ellis 46:08 I can't think of a better way to close this interview. Even though I could ask you several more questions, we could be here for another hour, I just want to thank you for bringing that patient's voice, a client's voice, into the discussion today, so beautifully. And let's end on that note of really learning from our patients' perspectives. So I want to thank you both. And I want to thank our listeners for listening today. And for the references and resources mentioned in today's show, please see our show notes. They're available on our website at www.aphasiaaccess.org. And there you can also become a member of our organization. Jocelen Hamilton Yes, yes, Do it! Ellen Bernstein-Ellis Thank you! Browse our growing library materials and find out about the Aphasia Access Academy. If you have an idea for a future podcast episode, email us at info@AphasiaAccess.org For Aphasia Access Conversations, I'm Ellen Bernstein-Ellis. And thanks again for your ongoing support Aphasia Access Resources and References Ariadne Labs: Serious Illness Care Program https://www.ariadnelabs.org/serious-illness-care/serious-illness-care-program/ The Rome Foundation https://theromefoundation.org/ Chen, A. Y., Frankowski, R., Bishop-Leone, J., Hebert, T., Leyk, S., Lewin, J., & Goepfert, H. (2001). The development and validation of a dysphagia-specific quality-of-life questionnaire for patients with head and neck cancer: the MD Anderson dysphagia inventory. Archives of Otolaryngology–Head & Neck Surgery, 127(7), 870-876. Hamilton, J., Yao, T. J. (2023). Framework to Guide Whole-Person Care for Individuals with Dysphagia. 2023 ASHA Convention, Boston, MA. Hamilton, J., Yao, T. J. (2022). Shifting to Whole-Person Care for Head Neck Cancer Survivors Living with Dysphagia. 2022 ASHA Convention, New Orleans, LA. Hickey, E. and Douglas, N. (2021) Person-Centered Memory and Communication Interventions for Dementia: A Case Study Approach. Plural Publishing, Inc. Howells, S. R., Cornwell, P. L., Ward, E. C., & Kuipers, P. (2021). Client perspectives on living with dysphagia in the community. International Journal of Speech-Language Pathology, 23(2), 201-212. Kagan, A., Simmons‐Mackie, N., Rowland, A., Huijbregts, M., Shumway, E., McEwen, S., ... & Sharp, S. (2008). Counting what counts: A framework for capturing real‐life outcomes of aphasia intervention. Aphasiology, 22(3), 258-280. List, M. A., D'Antonio, L. L., Cella, D. F., Siston, A., Mumby, P., Haraf, D., & Vokes, E. (1996). The performance status scale for head and neck cancer patients and the functional assessment of cancer therapy‐head and neck scale: a study of utility and validity. Cancer: Interdisciplinary International Journal of the American Cancer Society, 77(11), 2294-2301. McGinnis, C. M., Homan, K., Solomon, M., Taylor, J., Staebell, K., Erger, D., & Raut, N. (2019). Dysphagia: interprofessional management, impact, and patient‐centered care. Nutrition in Clinical Practice, 34(1), 80-95. McHorney, C. A., Bricker, D. E., Kramer, A. E., Rosenbek, J. C., Robbins, J., Chignell, K. A., ... & Clarke, C. (2000). The SWAL-QOL outcomes tool for oropharyngeal dysphagia in adults: I. Conceptual foundation and item development. Dysphagia, 15, 115-121. Nund, R. L., Scarinci, N. A., Cartmill, B., Ward, E. C., Kuipers, P., & Porceddu, S. V. (2016). Third-party disability in carers of people with dysphagia following non-surgical management for head and neck cancer. Disability and rehabilitation, 38(5), 462–471. https://doi.org/10.3109/09638288.2015.1046563 Shune, S. Moving beyond the isolated swallow: Dysphagia in the context of the shared mealtime. https://dysphagiacafe.com/2015/03/19/moving-beyond-the-isolated-swallow-dysphagia-in-the-context-of-the-shared-mealtime/ Shune, S., Davis, C., & Namasivayam-MacDonald, A. (2021). Contributors to Dysphagia-Related Burden Among Spousal Caregivers of Stroke Survivors. Archives of Physical Medicine and Rehabilitation, 102(10), e65. Shune, S. E., & Namasivayam-MacDonald, A. (2020). Dysphagia-related caregiver burden: Moving beyond the physiological impairment. Perspectives of the ASHA Special Interest Groups, 5(5), 1282-1289. Silbergleit, A. K., Schultz, L., Jacobson, B. H., Beardsley, T., & Johnson, A. F. (2012). The dysphagia handicap index: development and validation. Dysphagia, 27, 46-52. Smith, R., Bryant, L., & Hemsley, B. (2023). The true cost of dysphagia on quality of life: The views of adults with swallowing disability. International Journal of Language & Communication Disorders, 58(2), 451-466. Smith, R., Bryant, L., & Hemsley, B. (2022). Dysphagia and quality of life, participation, and inclusion experiences and outcomes for adults and children with dysphagia: A scoping review. Perspectives of the ASHA Special Interest Groups, 7(1), 181-196.
Want the inside scoop on how to successfully navigate senior leadership appointments in consultancies? Don't miss an enlightening conversation with our experts, Deri, Simon, and Caroline as they pull back the curtain on designing organisational structure, performance management systems, and effective team engagement to prepare for a prosperous exit. We discuss strategies for growth and succession planning. Listen and learn from the experts as they share their personal experiences and strategies on building both internal capability and external recruitment to catapult a business to its desired size. Overcome the hurdles of building a talent pipeline and uncover the ways to maximize value at an equity event. Also, unearth the importance of finding the right people to fill gaps in your business and how to quickly make them value accretive.Finally, we explore the recruitment order for growing boutique firms, the roles necessary as a firm expands, and the significance of each role in the business. Take note of the importance of a Chief Operations Officer, Chief Business Development Officer, the role of an operations lead, and when it's crucial to have these roles within your firm. Also, learn about constructing internal capability and external recruitment strategies to facilitate growth. Prepare yourself for an informative and insightful episode that you simply can't afford to miss.Prof. Joe O'Mahoney helps boutique consultancies scale and exit. Joe's research, writing, speaking and insights can be found at www.joeomahoney.com
If the current polls are to be believed the next chancellor of the exchequer could be a woman. That woman would be Rachel Reeves, the current shadow chancellor and the MP for Leeds West. Originally from Lewisham, South London, she attended a state school, made it to Oxford University then into the world of finance working as an economist for the Bank of England. Labour have yet to announce their manifesto and detailed costed policies to put to the electorate, but we can examine the philosophy behind Labour's economic thinking because Rachel has just published her latest book, The Women Who made Modern Economics, and hear how they have influenced her own thinking. In October 2019, Coleen Rooney posted on social media that she had been concerned by articles appearing in newspapers that could only have come from stories on her private Instagram account. So she laid a trap for the account she suspected of the leak, and then told the world ‘It was…Rebekah Vardy's account'. Immediately dubbed ‘Wagatha Christie' - Rebekah Vardy, who continues to deny she was the source of those stories, sued Coleen for libel. A High Court judge ruled in Coleen Rooney's favour last year and she is now putting her side of the story in a documentary series on Disney Plus called Coleen Rooney: The Real Wagatha Story. She speaks to Emma Barnett in a radio exclusive interview. British poet Becky Hemsley has self-published four collections of her work and has been top of the Amazon poetry chart twice now - most recently around International Women's Day last March. Originally a primary school teacher, she now focuses solely on her poetry. She joins Emma to explain why and to perform some of her poetry live. Presented by Emma Barnett Producer: Louise Corley Studio Engineer: Bob Nettles
In today's episode, Ryan speaks to Matt Hemsley, a former Scottish professional footballer. With the dream of playing for Leicester, Matt was picked to enroll in the Northampton Center of Excellence before playing professionally. Matt credits his smooth transition from sports to the gradual steps he took whilst in his sporting career and he has an amazing story he shares with us today.With the zeal to pursue his business adventure, Matt began as a generalist marketer in a small firm before branching into digital marketing. He currently works for US tech firm, Asana, where he is best described as the marketing ops guru :)Tune in to learn more about:- Matt's earliest memory of street football in Bedfordshire- How and when Matt decided to pursue football as a professional career- The structure of youth football in England- His experience leaving home at the age of 16 to be a full-time footballer- Moments that sparked after sports thoughts in him and the gradual steps he took to secure a smooth transition - Skills and capabilities he has brought to the corporate world from football and what he had to leave behind- Wonderful insights for a smooth transition based on his journey …and so much more!Are you looking for Career Clarity for your next step, for more information, or to book a consultancy, make sure you check out http://www.2ndwind.io
Talk Art Live with Oliver Hemsley!!! Season 17 FINALE!!! For our second interview with artist Oliver Hemsley, we meet within his debut exhibition at TKE Studios, Margate - the artist studio complex and gallery founded by Tracey Emin. Recorded in front of an intimate audience of art lovers, Margate family and friends, this episode is one of our proudest moments - proud of our talent friend Oliver and his extraordinary exhibition. We discuss his new works on canvas - a new development in his journey making paintings, having predominantly previously worked on paper.Oliver Hemsley is an autobiographical artist who lives in Suffolk with his two dogs. For his first solo exhibition, Hemsley presents a selection of intimate and confronting self-portrait paintings produced in his home studio. CAREGIVERS is an unapologetic and uncompromising look at the body and the personal complexities of an existence that is dependent on the care of others.Hemsley is the first artist to have a solo show curated by Tracey Emin and Elissa Cray at TKE Studios and it has been selected to coincide with Margate Pride. You can read more from Oliver in our recent Talk Art: The Interviews book. Available now! You can listen to our previous 2021 interview with Oliver in the Talk Art podcast archive (click here).Special thanks to Oliver, Tracey and Elissa! We also recommend reading this new review of Oliver's exhibition at ANOTHER Magazine: https://www.anothermag.com/art-photography/15075/oliver-hemsley-tracey-emin-exhibition-caregivers-margateVisit Oliver's new exhibition @TKEStudios in Margate, Kent until 15th October 2023. Visit: https://www.TraceyEminFoundation.com/TKE EXHIBITION OPENING HOURS:SATURDAYS AND SUNDAYS 12PM - 4PMFor images of all artworks discussed in this episode visit @TalkArt. Talk Art theme music by Jack Northover @JackNorthoverMusic courtesy of HowlTown.comIf you've enjoyed this episode PLEASE leave us your feedback and maybe 5 stars if we're worthy in the Apple Podcast store. For all requests, please email talkart@independenttalent.com Hosted on Acast. See acast.com/privacy for more information.
This week, we continue out look back at the films released by Miramax in the 1980s, focusing on 1987. ----more---- TRANSCRIPT From Los Angeles, California. The Entertainment Capital of the World. It's the 80s Movie Podcast. I am your host, Edward Havens. Thank you for listening today. On this episode, we are continuing our miniseries on the movies released by Miramax Films in the 1980s, concentrating on their releases from 1987, the year Miramax would begin its climb towards the top of the independent distribution mountain. The first film Miramax would release in 1987 was Lizzie Borden's Working Girls. And yes, Lizzie Borden is her birth name. Sort of. Her name was originally Linda Elizabeth Borden, and at the age of eleven, when she learned about the infamous accused double murderer, she told her parents she wanted to only be addressed as Lizzie. At the age of 18, after graduating high school and heading off to the private women's liberal arts college Wellesley, she would legally change her name to Lizzie Borden. After graduating with a fine arts degree, Borden would move to New York City, where she held a variety of jobs, including being both a painter and an art critic for the influential Artforum magazine, until she attended a retrospective of Jean-Luc Godard movies, when she was inspired to become a filmmaker herself. Her first film, shot in 1974, was a documentary, Regrouping, about four female artists who were part of a collective that incorporated avant-garde techniques borrowed from performance art, as the collective slowly breaks apart. One of the four artists was a twenty-three year old painter who would later make film history herself as the first female director to win the Academy Award for Best Director, Kathryn Bigelow. But Regrouping didn't get much attention when it was released in 1976, and it would take Borden five years to make her first dramatic narrative, Born in Flames, another movie which would also feature Ms. Bigelow in a supporting role. Borden would not only write, produce and direct this film about two different groups of feminists who operate pirate radio stations in New York City which ends with the bombing of the broadcast antenna atop the World Trade Center, she would also edit the film and act as one of the cinematographers. The film would become one of the first instances of Afrofuturism in film, and would become a cultural touchstone in 2016 when a restored print of the film screened around the world to great critical acclaim, and would tie for 243rd place in the 2022 Sight and Sound poll of The Greatest Films Ever Made. Other films that tied with include Preston Sturges' Sullivan's Travels, Woody Allen's Annie Hall, David Cronenberg's Videodrome, and Stanley Kubrick's A Clockwork Orange. A Yes, it's that good, and it would cost only $30k to produce. But while Born in Flames wasn't recognized as revolutionary in 1983, it would help her raise $300k for her next movie, about the lives of sex workers in New York City. The idea would come to her while working on Born in Flames, as she became intrigued about prostitution after meeting some well-educated women on the film who worked a few shifts a week at a brothel to earn extra money or to pay for their education. Like many, her perception of prostitution were women who worked the streets, when in truth streetwalkers only accounted for about 15% of the business. During the writing of the script, she began visiting brothels in New York City and learned about the rituals involved in the business of selling sex, especially intrigued how many of the sex workers looked out for each other mentally, physically and hygienically. Along with Sandra Kay, who would play one of the ladies of the night in the film, Borden worked up a script that didn't glamorize or grossly exaggerate the sex industry, avoiding such storytelling tropes as the hooker with a heart of gold or girls forced into prostitution due to extraordinary circumstances. Most of the ladies playing prostitutes were played by unknown actresses working off-Broadway, while the johns were non-actors recruited through word of mouth between Borden's friends and the occasional ad in one of the city's sex magazines. Production on Working Girls would begin in March 1985, with many of the sets being built in Borden's loft in Manhattan, with moveable walls to accommodate whatever needed to be shot on any given day. While $300k would be ten times what she had on Born in Flames, Borden would stretch her budget to the max by still shooting in 16mm, in the hopes that the footage would look good enough should the finished film be purchased by a distributor and blown up to 35mm for theatrical exhibition. After a month of shooting, which involved copious amounts of both male and female nudity, Borden would spend six months editing her film. By early 1986, she had a 91 minute cut ready to go, and she and her producer would submit the film to play at that year's Cannes Film Festival. While the film would not be selected to compete for the coveted Palme D'Or, it would be selected for the Directors' Fortnight, a parallel program that would also include Spike Lee's She's Gotta Have It, Alex Cox's Sid and Nancy, Denys Arcand's The Decline of the American Empire, and Chantel Akerman's Golden Eighties. The film would get into some trouble when it was invited to screen at the Toronto Film Festival a few months later. The movie would have to be approved by the Ontario Film and Video Review Board before being allowed to show at the festival. However, the board would not approve the film without two cuts, including one scene which depicted the quote unquote graphic manipulation of a man's genitalia by a woman. The festival, which had a long standing policy of not showing any movie that had been cut for censorship, would appeal the decision on behalf of the filmmakers. The Review Board denied the appeal, and the festival left the decision of whether to cut the two offending scenes to Borden. Of all the things I've researched about the film, one of the few things I could not find was whether or not Borden made the trims, but the film would play at the festival as scheduled. After Toronto, Borden would field some offers from some of the smaller art house distributors, but none of the bigger independents or studio-affiliated “classics” divisions. For many, it was too sexual to be a straight art house film, while it wasn't graphic enough to be porn. The one person who did seem to best understand what Borden was going for was, no surprise in hindsight, Harvey Weinstein. Miramax would pick the film up for distribution in late 1986, and planned a February 1987 release. What might be surprising to most who know about Harvey Weinstein, who would pick up the derisive nickname Harvey Scissorhands in a few years for his constant meddling in already completed films, actually suggested Borden add back in a few minutes of footage to balance out the sex with some lighter non-sex scenes. She would, along with making some last minute dialogue changes, before the film opened on February 5th, not in New York City or Los Angeles, the traditional launching pads for art house films, but at the Opera Plaza Cinema in San Francisco, where the film would do a decent $8k in its first three days. Three weeks after opening at the Opera Plaza, Miramax would open the film at the 57th Street Playhouse in midtown Manhattan. Buoyed by some amazing reviews from the likes of Siskel and Ebert, Vincent Canby of the New York Times, and J. Hoberman of The Village Voice, Working Girls would gross an astounding $42k during its opening weekend. Two weeks later, it would open at the Samuel Goldwyn Westside Pavilion Cinemas, where it would bring in $17k its first weekend. It would continue to perform well in its major market exclusive runs. An ad in the April 8th, 1987 issue of Variety shows a new house record of $13,492 in its first week at the Ellis Cinema in Atlanta. $140k after five weeks in New York. $40k after three weeks at the Nickelodeon in Boston. $30k after three weeks at the Fine Arts in Chicago. $10k in its first week at the Guild in San Diego. $11k in just three days at the TLA in Philly. Now, there's different numbers floating around about how much Working Girls made during its total theatrical run. Box Office Mojo says $1.77m, which is really good for a low budget independent film with no stars and featuring a subject still taboo to many in American today, let alone 37 years ago, but a late June 1987 issue of Billboard Magazine about some of the early film successes of the year, puts the gross for Working Girls at $3m. If you want to check out Working Girls, the Criterion Collection put out an exceptional DVD and Blu-ray release in 2021, which includes a brand new 4K transfer of the film, and a commentary track featuring Borden, cinematographer Judy Irola, and actress Amanda Goodwin, amongst many bonus features. Highly recommended. I've already spoken some about their next film, Ghost Fever, on our episode last year about the fake movie director Alan Smithee and all of his bad movies. For those who haven't listened to that episode yet and are unaware of who Alan Smithee wasn't, Alan Smithee was a pseudonym created by the Directors Guild in the late 1960s who could be assigned the directing credit of a movie whose real director felt the final cut of the film did not represent his or her vision. By the time Ghost Fever came around in 1987, it would be the 12th movie to be credited to Alan Smithee. If you have listened to the Alan Smithee episode, you can go ahead and skip forward a couple minutes, but be forewarned, I am going to be offering up a different elaboration on the film than I did on that episode. And away we go… Those of us born in the 1960s and before remember a show called All in the Family, and we remember Archie Bunker's neighbors, George and Louise Jefferson, who were eventually spun off onto their own hit show, The Jeffersons. Sherman Hemsley played George Jefferson on All in the Family and The Jeffersons for 12 years, but despite the show being a hit for a number of years, placing as high as #3 during the 1981-1982 television season, roles for Hemsley and his co-star Isabel Sanford outside the show were few and far between. During the eleven seasons The Jeffersons ran on television, from 1975 to 1985, Sherman Hemsley would only make one movie, 1979's Love at First Bite, where he played a small role as a reverend. He appeared on the poster, but his name was not listed amongst the other actors on the poster. So when the producers of the then-titled Benny and Beaufor approached Hemsley in the spring of 1984 to play one of the title roles, he was more than happy to accept. The Jeffersons was about to start its summer hiatus, and here was the chance to not only make a movie but to be the number one listed actor on the call sheet. He might not ever get that chance again. The film, by now titled Benny and Buford Meet the Bigoted Ghost, would shoot in Mexico City at Estudios America in the summer of 1984, before Hemsley was due back in Los Angeles to shoot the eleventh and what would be the final season of his show. But it would not be a normal shoot. In fact, there would be two different versions of the movie shot back to back. One, in English, would be directed by Lee Madden, which would hinge its comedy on the bumbling antics of its Black police officer, Buford, and his Hispanic partner, Benny. The other version would be shot in Spanish by Mexican director Miguel Rico, where the comedy would satirize class and social differences rather than racial differences. Hemsley would speak his lines in English, and would be dubbed by a Spanish-speaking actor in post production. Luis Ávalos, best known as Doctor Doolots on the PBS children's show The Electric Company, would play Benny. The only other name in the cast was boxing legend Smokin' Joe Frazier, who was making his proper acting debut on the film as, not too surprisingly, a boxer. The film would have a four week shooting schedule, and Hemsley was back to work on The Jeffersons on time. Madden would get the film edited together rather quick, and the producers would have a screening for potential distributors in early October. The screening did not go well. Madden would be fired from the production, the script rewritten, and a new director named Herbert Strock would be hired to shoot more footage once Hemsley was done with his commitments to The Jeffersons in the spring of 1985. This is when Madden contacted the Directors Guild to request the Smithee pseudonym. But since the film was still in production, the DGA could not issue a judgment until the producers provided the Guild with a completed copy of the film. That would happen in the late fall of 1985, and Madden was able to successfully show that he had directly a majority of the completed film but it did not represent his vision. The film was not good, but Miramax still needed product to fill their distribution pipeline. They announced in mid-March of 1987 that they had acquired the film for distribution, and that the film would be opening in Atlanta, Dallas, Houston, Miami, Nashville, St. Louis, and Tampa-St. Petersburg FL the following week. Miramax did not release how many theatres the film was playing in in those markets, and the only market Variety did track of those that week was St. Louis, where the film did $7k from the four theatres they were tracking that week. Best as I can tell from limited newspaper archives of the day, Ghost Fever played on nine screens in Atlanta, 4 in Dallas/Fort Worth, 25 screens in Miami, and 12 in Tampa-St. Pete on top of the four I can find in St. Louis. By the following week, every theatre that was playing Ghost Fever had dropped it. The film would not open in any other markets until it opened on 16 screens in the greater Los Angeles metro region on September 11th. No theatres in Hollywood. No theatres in Westwood. No theatres in Beverly Hills or Santa Monica or any major theatre around, outside of the Palace Theatre downtown, a once stately theatre that had fallen into disrepair over the previous three decades. Once again, Miramax didn't release grosses for the run, none of the theatres playing the film were tracked by Variety that week, and all the playdates were gone after one week. Today, you can find two slightly different copies of the film on a very popular video sharing website, one the theatrical cut, the other the home video cut. The home video cut is preceded by a quick history of the film, including a tidbit that Hemsley bankrolled $3m of the production himself, and that the film's failure almost made him bankrupt. I could not find any source to verify this, but there is possibly specious evidence to back up this claim. The producers of the film were able to make back the budget selling the film to home video company and cable movie channels around the world, and Hemsley would sue them in December 1987 for $3m claiming he was owed this amount from the profits and interest. It would take nine years to work its way through the court system, but a jury in March 1996 would award Hemsley $2.8m. The producers appealed, and an appellate court would uphold the verdict in April 1998. One of the biggest indie film success stories of 1987 was Patricia Rozema's I've Heard the Mermaids Singing. In the early 1980s, Rozema was working as an assistant producer on a Canadian Broadcasting Corporation current affairs television show called The Journal. Although she enjoyed her work, she, like many of us, wanted to be a filmmaker. While working on The Journal, she started to write screenplays while taking a classes at a Toronto Polytechnic Institute on 16mm film production. Now, one of the nicer things about the Canadian film industry is that there are a number of government-funded arts councils that help young independent Canadian filmmakers get their low budget films financed. But Rozema was having trouble getting her earliest ideas funded. Finally, in 1984, she was able to secure funding for Passion, a short film she had written about a documentary filmmaker who writes an extremely intimate letter to an unknown lover. Linda Griffiths, the star of John Sayles' 1983 film Lianna, plays the filmmaker, and Passion would go on to be nominated for Gold Hugo for Best Short Film at the 1985 Chicago Film Festival. However, a negative review of the short film in The Globe and Mail, often called Canada's Newspaper of Record, would anger Rozema, and she would use that anger to write a new script, Polly, which would be a polemic against the Toronto elitist high art milieu and its merciless negative judgements towards newer artists. Polly, the lead character and narrator of the film, lives alone, has no friends, rides her bike around Toronto to take photographs of whatever strikes her fancy, and regularly indulges herself in whimsical fantasies. An employee for a temporary secretarial agency, Polly gets placed in a private art gallery. The gallery owner is having an off-again, on-again relationship with one her clients, a painter who has misgivings she is too young for the gallery owner and the owner too old for her. Inspired by the young painter, Polly anonymously submits some of her photographs to the gallery, in the hopes of getting featured, but becomes depressed when the gallery owner, who does not know who took the photos, dismisses them in front of Polly, calling them “simple minded.” Polly quits the gallery and retreats to her apartment. When the painter sees the photographs, she presents herself as the photographer of them, and the pair start to pass them off as the younger artist's work, even after the gallery owner learns they are not of the painter's work. When Polly finds out about the fraud, she confronts the gallery owner, eventually throwing a cup of tea at the owner. Soon thereafter, the gallery owner and the painter go to check up on Polly at her flat, where they discover more photos undeniable beauty, and the story ends with the three women in one of Polly's fantasies. Rozema would work on the screenplay for Polly while she was working as a third assistant director on David Cronenberg's The Fly. During the writing process, which took about a year, Rozema would change the title from Polly to Polly's Progress to Polly's Interior Mind. When she would submit the script in June 1986 to the various Canadian arts foundations for funding, it would sent out with yet another new title, Oh, The Things I've Seen. The first agency to come aboard the film was the Ontario Film Development Corporation, and soon thereafter, the National Film Board of Canada, the Ontario Arts Council, and the Canada Council would also join the funding operation, but the one council they desperately needed to fund the gap was Telefilm Canada, the Canadian government's principal instrument for supporting Canada's audiovisual industry. Telefilm Canada, at the time, had a reputation for being philosophically averse to low-budget, auteur-driven films, a point driven home directly by the administrator of the group at the time, who reportedly stomped out of a meeting concerning the making of this very film, purportedly declaring that Telefilm should not be financing these kind of minimalist, student films. Telefilm would reverse course when Rozema and her producer, Alexandra Raffé, agreed to bring on Don Haig, called “The Godfather of Canadian Cinema,” as an executive producer. Side note: several months after the film completed shooting, Haig would win an Academy Award for producing a documentary about musician Artie Shaw. Once they had their $350k budget, Rozema and Raffé got to work on pre-production. Money was tight on such an ambitious first feature. They had only $500 to help their casting agent identify potential actors for the film, although most of the cast would come from Rozema's friendships with them. They would cast thirty-year-old Sheila McCarthy, a first time film actress with only one television credit to her name, as Polly. Shooting would begin in Toronto on September 24th, 1986 and go for four weeks, shooting completely in 16mm because they could not afford to shoot on 35mm. Once filming was completed, the National Film Board of Canada allowed Rozema use of their editing studio for free. When Rozema struggled with editing the film, the Film Board offered to pay for the consulting services of Ron Sanders, who had edited five of David Cronenberg's movies, including Scanners, Videodrome and The Fly, which Rozema gladly accepted. After New Years 1987, Rozema has a rough cut of the film ready to show the various funding agencies. That edit of the film was only 65 minutes long, but went over very well with the viewers. So much so that the President of Cinephile Films, the Canadian movie distributor who also helped to fund the film, suggested that Rozema not only add another 15mins or so to the film wherever she could, but submit the film to the be entered in the Directors' Fortnight program at the Cannes Film Festival. Rozema still needed to add that requested footage in, and finish the sound mix, but she agreed as long as she was able to complete the film by the time the Cannes programmers met in mid-March. She wouldn't quite make her self-imposed deadline, but the film would get selected for Cannes anyway. This time, she had an absolute deadline. The film had to be completed in time for Cannes. Which would include needing to make a 35mm blow up of the 16mm print, and the production didn't have the money. Rozema and Raffé asked Telefilm Canada if they could have $40k for the print, but they were turned down. Twice. Someone suggested they speak with the foreign sales agent who acquired the rights to sell the film at Cannes. The sales agent not only agreed to the fund the cost from sales of the film to various territories that would be returned to the the various arts councils, but he would also create a press kit, translate the English-language script into French, make sure the print showing at Cannes would have French subtitles, and create the key art for the posters and other ads. Rozema would actually help to create the key art, a picture of Sheila McCarthy's head floating over a body of water, an image that approximately 80% of all buyers would use for their own posters and ads around the world. By the time the film premiered in Cannes on May 10th, 1987, Rozema had changed the title once again, to I've Heard the Mermaids Singing. The title would be taken from a line in the T.S. Eliot poem The Love Song of J. Alfred Prufrock, which she felt best represented the film. But whatever it was titled, the two thousand people inside the theatre were mesmerized, and gave the film a six minute standing ovation. The festival quickly added four more screenings of the film, all of which sold out. While a number of territories around the world had purchased the film before the premiere, the filmmakers bet big on themselves by waiting until after the world premiere to entertain offers from American distributors. Following the premiere, a number of companies made offers for the film. Miramax would be the highest, at $100,000, but the filmmakers said “no.” They kept the bidding going, until they got Miramax up to $350k, the full budget for the film. By the time the festival was done, the sales agent had booked more than $1.1m worth of sales. The film had earned back more than triple its cost before it ever opened on a single commercial screen. Oh, and it also won Rozema the Prix de la Jeunesse (Pree do la Jza-naise), the Prize of the Youth, from the Directors Fortnight judges. Miramax would schedule I've Heard the Mermaids Singing to open at the 68th Street Playhouse in New York City on September 11th, after screening at the Toronto Film Festival, then called The Festival of Festivals, the night before, and at the Telluride Film Festival the previous week. Miramax was so keen on the potential success of the film that they would buy their first ever full page newspaper, in the Sunday, September 6th New York Times Arts and Leisure section, which cost them $25k. The critical and audience reactions in Toronto and Telluride matched the enthusiasm on the Croisette, which would translate to big box office its opening weekend. $40k, the best single screen gross in all Manhattan. While it would lose that crown to My Life as a Dog the following week, its $32k second weekend gross was still one of the best in the city. After three weekends in New York City, the film would have already grossed $100k. That weekend, the film would open at the Samuel Goldwyn West Pavilion Cinemas, where a $9,500 opening weekend gross was considered nice. Good word of mouth kept the grosses respectable for months, and after eight months in theatres, never playing in more than 27 theatres in any given week, the film would gross $1.4m in American theatres. Ironically, the film did not go over as well in Rozema's home country, where it grossed a little less than half a million Canadian dollars, and didn't even play in the director's hometown due to a lack of theatres that were willing to play a “queer” movie, but once all was said and done, I've Heard the Mermaids Singing would end up with a worldwide gross of more than CAD$10m, a nearly 2500% return on the initial investment. Not only would part of those profits go back to the arts councils that helped fund the film, those profits would help fund the next group of independent Canadian filmmakers. And the film would become one of a growing number of films with LGBTQ lead characters whose success would break down the barriers some exhibitors had about playing non-straight movies. The impact of this film on queer cinema and on Canadian cinema cannot be understated. In 1993, author Michael Posner spent the first twenty pages of his 250 plus page book Canadian Dreams discussing the history of the film, under the subtitle “The Little Film That Did.” And in 2014, author Julia Mendenhall wrote a 160 page book about the movie, with the subtitle “A Queer Film Classic.” You can find copies of both books on a popular web archive website, if you want to learn more. Amazingly, for a company that would regularly take up to fourteen months between releases, Miramax would end 1987 with not one, not two, but three new titles in just the last six weeks of the year. Well, one that I can definitely place in theatres. And here is where you just can't always trust the IMDb or Wikipedia by themselves. The first alleged release of the three according to both sources, Riders on the Storm, was a wacky comedy featuring Dennis Hopper and Michael J. Polland, and supposedly opened in theatres on November 13th. Except it didn't. It did open in new York City on May 7th, 1988, in Los Angeles the following Friday. But we'll talk more about that movie on our next episode. The second film of the alleged trifecta was Crazy Moon, a romantic comedy/drama from Canada that featured Keifer Sutherland as Brooks, a young man who finds love with Anne, a deaf girl working at a clothing store where Brooks and his brother are trying to steal a mannequin. Like I've Heard the Mermaids Singing, Crazy Moon would benefit from the support of several Canadian arts foundations including Telefilm Canada and the National Film Board of Canada. In an unusual move, Miramax would release Crazy Moon on 18 screens in Los Angeles on December 11th, as part of an Oscar qualifying run. I say “unusual” because although in the 1980s, a movie that wanted to qualify for awards consideration had to play in at least one commercial movie theatre in Los Angeles for seven consecutive days before the end of the year, most distributors did just that: one movie theatre. They normally didn't do 18 screens including cities like Long Beach, Irvine and Upland. It would, however, definitely be a one week run. Despite a number of decent reviews, Los Angeles audiences were too busy doing plenty of other things to see Crazy Moon. Miramax, once again, didn't report grosses, but six of the eighteen theatres playing the film were being tracked by Variety, and the combined gross for those six theatres was $2,500. It would not get any award nominations, and it would never open at another movie theatre. The third film allegedly released by Miramax during the 1987 holiday season, The Magic Snowman, has a reported theatrical release date of December 22, 1987, according to the IMDb, which is also the date listed on the Wikipedia page for the list of movies Miramax released in the 1980s. I suspect this is a direct to video release for several reasons, the two most important ones being that December 22nd was a Tuesday, and back in the 1980s, most home video titles came out on Tuesdays, and that I cannot find a single playdate anywhere in the country around this date, even in the Weinstein's home town of Buffalo. In fact, the only mention of the words “magic snowman” together I can find for all of 1987 is a live performance of a show called The Magic Snowman in Peterborough, England in November 1987. So now we are eight years into the history of Miramax, and they are starting to pick up some steam. Granted, Working Girls and I've Heard the Mermaids Singing wasn't going to get the company a major line of credit to start making films of their own, but it would help them with visibility amongst the independent and global film communities. These guys can open your films in America. Thank you for joining us. We'll talk again next week, when we continue with story of Miramax Films, from 1988. Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode. The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment. Thank you again. Good night.
An art charity backed by Banksy, Tracey Emin and Gilbert & George is helping divert hundreds of young Londoners away from knife crime and serious violence every year - with creative disciplines from nail painting to podcasting.Now, Art Against Knives has produced a report with civil rights group Liberty in the hope of finding what it describes as a “non-policing solution” to London's tragic battle against rising knife crime, amid youth services ravaged by years of austerity and council cuts.The project was founded by Oliver Hemsley, who as a 20-year-old Central St Martin's student in 2008 was left paralysed and in a wheelchair after being stabbed in a random, unprovoked teen gang attack.As part of his recovery, the promising fashion designer's friends helped raise cash and secure donated artworks for auction from some of Britain's biggest creative names - and Art Against Knives was born, co-founded with Hemsley's business partner Katy Dawe.This episode was recorded in Barnet, a borough where Met data shows knife crime's up over 20 per cent since last year.We met the charity's chief executive Dr Sally Zlotowitz to discuss their work, their report with Liberty, young people's perceptions of the police, plus the social impact of lockdowns and the cost of living crisis on young Londoners. Hosted on Acast. See acast.com/privacy for more information.
Friend and guest preacher Matt Hensley gives a powerful message on the journey of forgiveness.
What is our hope as Christians? Matt Hemsley walks through the historical perspective and understanding of a Jewish audience hearing Jesus’s words, “Thy Kingdom Come”. Our present hope in Jesus as King, His kingdom here on earth and His return to be King over all.
Get ready for an episode of the Jess Marshall podcast like no other as Jess sits down with Courtney Hemsley to talk about her entrepreneurial journey, the lessons she's learned, and the spirituality that keeps her grounded.
Welcome back to Season 3 of the Kiss My Aesthetic Podcast!
Welcome to The Nonlinear Library, where we use Text-to-Speech software to convert the best writing from the Rationalist and EA communities into audio. This is: Schizophrenia as a deficiency in long-range cortex-to-cortex communication, published by Steven Byrnes on February 1, 2023 on LessWrong. (Written in a hurry. I was almost going to title this “My poorly-researched pet theory of schizophrenia”. Hoping for feedback and pointers to relevant prior literature. I am very far from a schizophrenia expert.) 1. What's my hypothesis? My hypothesis is that the root cause of schizophrenia is (.drumroll.) a deficiency in medium- to long-range cortex-to-cortex connections. Some elaboration: When I say “deficiency”, I mean either “the connections aren't there in their normal numbers” or “the connections are there, but for some reason they're not accomplishing what they accomplish in neurotypical people”. When I say “cortex-to-cortex connections”, I think the main culprit is direct connections between Cortex Region A and Cortex Region B, but it's also possible that the relevant thing is indirect connections between Cortex Region A and Cortex Region B, e.g. via the thalamus or cerebellum. When I say “medium- to long-range”, this definitely includes e.g. connections between different lobes, and it probably also includes connections across a few centimeters of cortex in humans. I haven't really thought about what would happen if there was a deficiency in all connections of any length, including the very short ones, but I would weakly guess that this would present as schizophrenia as well. 2. How did I originally come up with that hypothesis? I can pinpoint the exact moment: I was reading about visual processing abnormalities in schizophrenia, and more specifically the paper Weak Suppression of Visual Context in Chronic Schizophrenia (Dakin, Carlin, Hemsley 2005). They showed people pictures like this: The task was to match the image contrast in the red circle to one of the circles on the left. The eye-popping results were: the schizophrenics did better than the control group, .with a p-value of 0.0000002! Indeed, “12 out of 15 [subjects with schizophrenia] were more accurate than the most-accurate control.” .i.e., there were only three subjects with schizophrenia who did not outperform each and every one of the 33 people in the control groups. And one of those three was later re-diagnosed as not schizophrenic after all! Back to the task, the control group gets misled by the contrast level outside of the red circle, and the schizophrenic group didn't. Here's how I interpreted that: Each part of the visual cortex is trying to make sense of (more specifically, predict) the sensory inputs that it's getting. To do a good job at that task, in normal life, it's helpful to take account of information happening elsewhere in the visual field. After all, distant parts of the visual field are conveying information about ambient light levels, textures and slopes, and things like that. When a neurotypical person grows up viewing naturalistic images, they form lots of predictive models that are near-optimally incorporating all that distant “context” information, pulled in from all across the visual cortex and maybe elsewhere in the brain too. And that screws them up in this particular task. The goal of this task is to ignore all context and look at the red circle contents in isolation. The visual system does not have a set of predictive models that are tailored for accomplishing this task, so the control groups tend to do poorly. But schizophrenics are succeeding at the same task. Why? Well, presumably for them, the distant “context” information is not available in the first place. So their visual cortex is generally unable to leverage it for better predictive models. This makes their sensory predictions generally worse in a naturalistic setting. But it allows them to do better in this unnatural setting, where the contextual information is only there t...
Our guest this time is Rita Sookrit, Canada Learning Lead at Hemsley Fraser. Rita is a globally-experienced L&D leader. Skilled in aligning business goals with L&D strategy, she helps companies implement innovative solutions using technology, tools, and frameworks. She also combines business acumen with portfolio skills to build trust, align stakeholders, tackle challenges, and inspire creativity for workplace learning. Questions For Rita Include: Tell us about Hemsley Fraser Group's award-winning multi-modal library and ways it allows for the 'ultimate flexibility in program design'.Users can choose from the Hemsley Fraser library's range of topics and content types – fluid books, videos, animations, podcasts, infographics, and quizzes as well as virtual training, in-person or bite-size sessions. Depending on the industry and/or job type, do some forms of learning content work better than others?Leaders and executives must be able to develop and fine-tune their teams' workplace skills to ensure resilience during another tough year ahead (slowing economy, Ukraine war, lasting effects of Covid). How can an employee development framework help leaders adapt to the changing marketplace and business environment?Considerations for wellness and mental health are a priority for many organizations. How do these impact learning efficacy?Remote learning is a top adjustment for trainers and learners in 2023. Tell us more about the challenges and opportunities.Legacy & third-party content: How does Hemsley Fraser Group help transform clients' old training programs so they are fit for the future? ("Utilize our design studio to uplift your existing content and/or integrate with other third-party content to create a one-stop-shop for your learners").About Hemsley FraserHemsley Fraser is a turn-key learning partner that helps organizations activate the change they need. The team creates, delivers, and manages learning experiences that engage individuals, teams, and the entire workforce. Passionate about learning, and the transformative effect that it can have on today's work experience, their mission is to transform how people learn, engage and develop in the rhythm of their work, wherever they are!We do our best to ensure editorial objectivity. The views and ideas shared by our guests and sponsors are entirely independent of The HR Gazette, HRchat Podcast and Iceni Media Inc.
Marcus Hemsley is the founder and Director at one of the world's best marketing agencies. He is an expert in results led marketing and his company was recognised by Google as the best in growing companies online. As you would expect as the founder of one of the most successful digital agencies, when Marcus speaks about marketing he is not short of an audience. But over the past few years Marcus has been sharing about something else that he is passionate about, but is a subject that comes up against more resistance than marketing - and that is the climate emergency. Marcus has co-foundedmovement as a response to the environmental issues, and in order to be a good ancestor to his 877 descendants. On this show, he will be sharing about that movement, the challenges he has faced in getting the message out there and how he has approached it. Enjoy! What you'll discover: How Marcus ended up doing what he does today in business and creating an award winning marketing agency. The first time Marcus felt really compelled to do something about the climate emergency and why. What led to co-founding the The Million Tree Pledge. Marcus' approach for putting a talk together about marketing versus the environment. How Marcus uses stories to shift perspective about the environment. How he tackles the objections that come up around taking action. The most important things we can do as individuals and businesses to be good ancestors. All things Marcus: https://www.youtube.com/watch?v=Zjdk1LU3cms https://www.milliontreepledge.org/ https://www.fountainpartnership.co.uk LinkedIn: https://www.linkedin.com/in/marcushemsley/ Books*: The Obstacle is the Way by Ryan Holiday The Inside Out Revolution by Michael Neill Essentialism by Greg Mckeown Slowing Down to the Speed of Life by Richard Carlson & Joseph Bailey Episode 175 Creating a Tipping Point for the Planet One Talk at a Time with Graham Hill Resources: Want to get better at finding and sharing your stories then check out our FREE Five Day Snackable Story Challenge Practice your speaking & test your content in a safe space in The Speaking Club ‘Live' Membership Want to create a signature talk that sells, then check out our Nail Your Signature Talk in 60 Days programme. Want to find out about working with me 121 then book a call here. https://www.saraharcher.co.uk Thanks for listening! To share your thoughts: Share this show on Twitter, Facebook or LinkedIn. To help the show out: Leave an honest review at www.ratethispodcast.com/tsc. Your ratings and reviews really help get the word out and I read each one. Subscribe on iTunes. *(please note if you use my link I get a small commission, but this does not affect your payment)
Sawyer Hemsley is the co-founder and CBO of Crumbl Franchising, America's fastest-growing gourmet cookie company. Originally from Preston, Idaho, Sawyer didn't venture far for his degree in marketing at Utah State. After graduating, Sawyer was a marketing assistant of On Advertising, an advertising agency in Preston but left in 2017 to start Crumbl, the first of many projects. Since then, he's founded Hemsley Ventures, a forward-thinking, values-driven investing group that uplifts brands to become new-nostalgic favorites through capital, community, and strategic brand positioning. His projects include Polar Bear Eats, Peach Grove House, and Hemsley Ranch with big visions for more in 2023. -------------------------- In today's episode, we cover: Meet Sawyer, Crumbl, and his origin story Growing up in a small town and giving back to your community How Sawyer and Michelle got connected Peach Grove House: the vision and future goals How Sawyer ties in nostalgia when building a brand Creating Hemsley Ventures Allowing brands to adapt over time Buying Polar Bear and drumming up the hype Sawyer's latest project: Hemsley Ranch Initiatives that Sawyer's working on How branding shapes our experience ----------------------- RESOURCES: Kiss My Loops - TikTok Video Training ----------------------- Guest info: For more on Sawyer and his entrepreneurial journey, you can follow him at @sawyerhemsley on all social platforms, and to follow all fun projects and brands, follow @hemsleyventures. ----------------------- WORK WITH MKW CREATIVE CO. Connect on social with Michelle at: Kiss My Aesthetic Facebook Group Instagram Tik Tok ----------------------- Did you know that the fuel of the POD and the KMA Team runs on coffee? ;) If you love the content shared in the KMA podcast, you're welcome to invite us to a cup of coffee any time - Buy Me a Coffee! ----------------------- This episode of the Kiss My Aesthetic Podcast is brought to you by Audible. Get your first month free at www.audible.com/kma.
-Cuff & Mo make a trip to Frisco to sit down with Courtney Hemsley to discuss what it means to pivot when find your back against the wall. As the owner of Empire Development Solutions, Courtney talks about what it means to have VISION and more importantly, the work that is necessary in order to turn a VISION into a reality. After detailing some of the humble beginnings she experienced, Hemsley really dives into things like work ethic and how her life changed when she became a single mom. After a long career in the corporate world, Hemsley talks about how she leveraged her experience in construction finance and turned it into a bubbling empire. The guys also get Courtney's opinion on things like the importance of relationships in business and what it means to value yourself before closing things out with a very interesting answer to whom would get to sit at her imaginary round table. --- Send in a voice message: https://anchor.fm/ryan-cuffee4/message
On this episode of Cambro Eats, I had the pleasure of interviewing the co-founder of Crumbl Cookies, Sawyer Hemsley. Sawyer started Crumbl with his cousin in 2017 while at Utah State. Focusing on making their signature milk chocolate chip cookies the best it could be while adding weekly flavors turned out to be a winning combination. Customer flock to the stores and online delivery for weekly tastings! In a very short time, Crumbl has become one of the fastest growing cookie businesses ever. With almost 600 locations and on target for 1,000 by the end of 2022, Crumbl is on course for a meteoric rise. In this interview, we discuss the start of the business, on-going business challenges and what the future holds for Crumbl. Guest: Sawyer Hemsley Host: Felix Bazgan Sawyer Hemsley – Crumbl Cookies: Website | TikTok | Instagram | Twitter Cambro: Website | Instagram | Facebook | Twitter | Tik Tok | Cambro Eats Website
DAVID GAUSA presents SUTIL SENSATIONS RADIO / N#419 TRACKLIST OCTOBER 7th 2022 / 7 OCTUBRE 2022 The first show of the 17th season 2022/23! Summer 2022 Music Recap Supermode 'Tell Me Why' (MEDUZA Extended Remix) - Axone Ben Hemsley 'Erase Me' - Armada John Summit & Guz feat. Stevie Appleton 'What A Life' - Off The Grid ACRAZE ft. Cherish 'Do It To It' (A-BO Bootleg) - Unreleased Jamie Jones 'My Paradise' (Vintage Culture Remix) - Defected Fisher ft. Meryll 'Yeah The Girls' - Catch & Release Tensnake 'Coma Cat' (Purple Disco Machine Re-Work) - Defected Jaded & Carlita 'Zorro' - Higher Ground Fred again.. x Swedish House Mafia feat. Future 'Turn On The Lights again..' - Atlantic Records UK --- TRACKS OF THE WEEK / TEMAS DE LA SEMANA Mau P 'Drugs From Amsterdam' - Repopulate Mars Anyma & Chris Avantgarde 'Consciousness' (Eric Prydz Remix) - Afterlife --- THE TECH HOUSE ZONE Joshwa Miracles - Black Book Dillon Hart Francis 'Goodies' - Astralwerks Chris Lorenzo x COBRAH Mami - Late Checkout Odd Mob 'LEFT TO RIGHT' - Tinted Julio Navas, Gustavo Bravetti, David Amo 'Raw' (Tony Romera Remix) - Toolroom James Hype 'Crank' - Tomorrowland Music Star B feat. MC GQ 'House Massive' - Snatch! --- Vintage Culture & Three Drives 'Greece 2000' - Armada Kx5 (Kaskade & deadmau5) 'Take Me High' - mau5trap --- THE LAIDBACK ROOM / LA SALA 2 Rampa feat. Chuala 'Les Gout' - Keinemusik Awen & Caiiro 'Your Voice' (Adam Port Remix) - Madorasindahouse Golden Features feat. Rromarin 'Touch' (Solomun Remix) - Foreign Family Collective ANOTR x Abel Balder 'Your Mind' - NO ART --- DAVID GAUSA IN THE MIX: #CANELAFINA TAKEOVER RFS DU SOL 'Alive' (Solomun Remix - taken from 'Surrender' Remixes) - Rose Avenue/Reprise Black Circle 'Double Dip' - Moon Harbour DJ Tennis 'Repeater' - Aus Music Hot Since 82 'Poison' - Knee Deep In Sound Emanuel Satie, Maga, Sean Doron, Tim Engelhardt feat. Hannah Noelle 'Disconnect' - Scenarios Kevin de Vries 'Dance With Me' - Afterlife Alphadog 'It's Insanity' (Goom Gum Remix) - Kinetika Enrico Sangiuliano 'Sound Of Space' - NINETOZERO Sonique 'It Feels So Good' (BEC Extended Remix) - Altra Moda --- THE CLASSIC / EL CLASICO Tensnake 'Coma Cat' - Defected --- If you want to know more about DAVID GAUSA, visit: Si quieres saber mas de DAVID GAUSA, visita: http://www.davidgausa.com http://instagram.com/davidgausa http://www.facebook.com/davidgausa http://twitter.com/davidgausa http://soundcloud.com/davidgausa http://www.mixcloud.com/davidgausa http://www.youtube.com/davidgausa http://www.sutilrecords.com http://www.facebook.com/sutilrecords
Today's episode is featuring Crumbl's own COO, Sawyer Hemsley! Tune in to learn about Crumbl's top-secret cookie calendar, the beginnings of the iconic branding, and how new flavors are born.
This episode Murph is joined by his 1st roommate at Texas A&M University-Corpus Christi Shaun Hemsley aka Big Smooth where he spoke about being the 1st graduate class of our university, his days playing high school ball in Los Angeles and what made him decide his career path to become a Los Angeles Fire Fighter? What made Big Smooth give Murph this exclusive interview? How did Big Smooth get his nickname? Tune In! Follow Mr. Shaun Hemsley: Email: clipse_29@hotmail.com Follow Murph: Twitter: @ItsDMurph Instagram: @ItsDMurph Follow WhyNotSports: Instagram: @WhyNotSports_ www.dmurphspeaks.com
Sawyer Hemsley, Co-Founder and COO of Crumbl Cookies, talks about all things cookies! Crumbl started with one bakery only five years ago, and now it's the fourth fastest-growing restaurant chain in the country! We get to hear about his life as the COO, with a standing 3pm meeting every day to taste cookies, and how his team comes up with the flavor rotations every week. We talk about his original quest to create the world's best chocolate chip cookie recipe, and which flavors his customers crave! Robin asks about how Crumbl has been able to grow from one bakery to over 600 in only five years, and how the Tik Tok craze for their brand started! Our Drink of The Day is a mouth-watering dessert cocktail inspired by one of Crumbl's iconic flavors, and our drink of the day involves a LOT of cookies! More info at www.ivegotasecretwithrobinmcgraw.com Episode Resources: Crumbl: https://crumblcookies.com/ Crumbl on IG: https://www.instagram.com/crumblcookies/ Crumbl on Tik Tok: https://www.tiktok.com/@crumblcookies Learn more about your ad choices. Visit megaphone.fm/adchoices
Ben Hemsley is one of the hottest DJ's and producers out of the UK. He combines oldschool trance with new house elements, and it all hits the spot! Check the podcast, to get to know more about Ben!
Featuring tracks from Matt Lange, Nils Hoffmann, Guy J, Forerunners, Genix, BT, Above & Beyond, Ben Hemsley, Simon Patterson, Ciaran McAuley & Paul Denton, Solarstone, Ferry Tayle, JamX & De Leon and many more. Visit www.albatrancesessions.com for full tracklistings.
Be sure to follow Crumbl on all social media platforms @Crumbl Cookies and follow Sawyer @Sawyer Hemsley To find a Cumbl near you visit www.crumblcookies.com or download the Crumbl App! If you enjoyed this episode of The Radcast, let us know by visiting our website www.theradcast.com. Check out www.theradicalformula.com. Like, Share and Subscribe to our YouTube channel, or leave us a review on Apple Podcast. Be sure to keep up with all that's radical from @ryanalford @radical_results @the.rad.cast.
For all of you Chubbies that love the longer podcast here is Dr. Sever's Full episode! Get your official Chubby Guys Podcast Merch at the link below: • https://bit.ly/3vTOFHR #education #educator #school #movie #entrepreneur #youtube ---------------------------------------------------------------- Support Our Sponsors: • The Bearded Pup: https://bit.ly/3y7jmuY • Gillum Insurance: https://bit.ly/3GaBfZU • AP Prep: https://bit.ly/34i4ooL • McDonald's of Jackson and Vinton Counties: https://bit.ly/3KNoisG • Geiger Brothers: https://bit.ly/3IHNUFB ------------------------------------------------------------------------------------- CHUBBY CONNECT: Facebook: https://www.facebook.com/chubbyguyspodcast Instagram: https://www.instagram.com/the_chubby_guys_podcast/ TikTok: https://www.tiktok.com/@chubbyguysspodcast Website/Merch: https://www.chubbyguyspodcast.com/
Welcome back to part 2, Chubbies! If you missed part 1 you can check it out in the link below. In this part, Joe takes us through what he plans to do in retirement and overall we continue to get to know the man... Joe! Part 1: https://youtu.be/EzWinWfr2_8 Get your official Chubby Guys Podcast Merch at the link below: • https://bit.ly/3vTOFHR #education #educator #school #movie #entrepreneur #youtube ------------------------------------------------------------------------------------- Support Our Sponsors: • The Bearded Pup: https://bit.ly/3y7jmuY • Gillum Insurance: https://bit.ly/3GaBfZU • AP Prep: https://bit.ly/34i4ooL • McDonald's of Jackson and Vinton Counties: https://bit.ly/3KNoisG • Geiger Brothers: https://bit.ly/3IHNUFB ------------------------------------------------------------------------------------- CHUBBY CONNECT: Facebook: https://www.facebook.com/chubbyguyspodcast Instagram: https://www.instagram.com/the_chubby_guys_podcast/ TikTok: https://www.tiktok.com/@chubbyguysspodcast Website/Merch: https://www.chubbyguyspodcast.com/
Our friend Joe stopped by the studio to take a deep dive into his career, growing up in Southern Ohio, and being a movie star in a local film. Get your official Chubby Guys Podcast Merch at the link below: • https://bit.ly/3vTOFHR #education #educator #school #movie #entrepreneur #youtube ------------------------------------------------------------------------------------- Support Our Sponsors: • The Bearded Pup: https://bit.ly/3y7jmuY • Gillum Insurance: https://bit.ly/3GaBfZU • AP Prep: https://bit.ly/34i4ooL • McDonald's of Jackson and Vinton Counties: https://bit.ly/3KNoisG • Geiger Brothers: https://bit.ly/3IHNUFB ------------------------------------------------------------------------------------- CHUBBY CONNECT: Facebook: https://www.facebook.com/chubbyguyspodcast Instagram: https://www.instagram.com/the_chubby_guys_podcast/ TikTok: https://www.tiktok.com/@chubbyguysspodcast Website/Merch: https://www.chubbyguyspodcast.com/
On this weeks episode of 'The Moments That Made Me' We are joined by the beautiful Jasmine Hemsley. Jasmine is a 3 time best selling author, founder of Hemsley and Hemsley, and East by West. TV Presenter, Chief, food and health writer and wellbeing expert. Lastly but not least Jasmine is also an incredible mother to her year old daughter.So join Roxie as she talks with Jasmine ,as she takes us through her three defining moments. See acast.com/privacy for privacy and opt-out information.
Welcome back to The Process Podcast. In this episode, I am speaking with my good friend Jasmine Hemlsey; best known as one half of the Hemsley & Hemsley cookbook duo and for bringing Ayurveda to the masses, in the modern world. Jasmine and I met about 10 years ago as we were both beginning to set up business in the food and wellness industries. I was always inspired by Jasmine's outlook and the things she was speaking about always resonated with me more than traditional diet books and general food content. She really opened my eyes to looking backwards at nutrition through the ages, and trusting in long-lasting, ancient traditions. In this episode we have a long overdue catch up about many things; from life during covid and motherhood, to more specific life learnings and things like the daily rituals to conquer all. We discuss navigating the modern world in a way that's more authentic and true to our unique, individual selves, and we discuss more spiritual things like manifestation and visualisation and the role they play in our everyday lives, too. We talk about Ayurveda, of course, and explore the 3 doshas in-depth, as well as the keys to finding balance for our unique make up and blueprint. We also look into daily rituals - from diet and food, to beauty and relaxation - and how we can really be armed with nurturing tools at times of imbalance, stress-overload and / or rock bottom.
It's a brand-new year, filled with possibility and opportunity. But in order to make the most of 2022, franchisors will need to utilize every skill they picked up throughout the previous few in order to make the most of the months ahead. For Stephen Hemsley, co-founder of Franchise Brands, that means practicing empathy and ensuring that product and service are always kept at the forefront of the customer experience. But how do you translate this idea across industries, or solve the post-pandemic issues being felt across the entire franchising world? Tune in to find out, and learn more about the key leadership principles that Stephen has accrued after multiple decades at the corporate level. To keep your finger on the beating pulse of franchising, sign up for our newsletter at global-franchise.com, subscribe to our definitive magazine, and join the conversation with our experts today on LinkedIn, Twitter and Facebook. Ⓛ https://www.linkedin.com/company/global-franchise/ ⓣ https://twitter.com/globalfranmag ⓕ https://www.facebook.com/globalfranchisemag/ This episode of the Global Franchise Podcast is brought to you by Neighborly, the leader in home services franchising. Neighborly is the world's largest home services franchisor with 29 brands and nearly 5,000 franchises collectively serving more than 10 million customers in nine countries; with opportunities focused on repairing, maintaining, and enhancing homes and businesses. Visit https://franchise.neighborlybrands.com to learn more about the group's franchise opportunities.
In Episode 7, Jade relaxes at a sound bath at the Pyramids of Chi in the hills outside Ubud, run by Peter and Lynne McIntosh. And she speaks to best-selling author and sound bath expert Jasmine Hemsley about what sound healing actually is – and how we can bring it into our daily lives.Meet this week's guests: Jasmine Hemsley: A three-time best-selling author, founder of ‘Hemsley and Hemsley' and ‘East by West', a TV presenter, chef and wellness expert. She's listed in the UK's top 20 chefs and her latest book won the Women's Health Wellbeing Book of the Year award. Pre-Covid, she took her soothing sound baths around London as an antidote to the hectic pace of inner-city life. More recently, she's hosted weekday sound baths on Instagram live, and become a mainstay in many people's lockdown lives. She's also created downloadable sound baths for people to enjoy in their own time. Peter and Lynne McIntosh: The founders, developers and operators of the Pyramids of Chi – two huge pyramids in the magical area of Ubud. They offer sound healing, light therapy, cacao ceremonies, breath and voice workshops, yoga and more – and are also trained gong masters.All the LinksJade English InstagramJasmine Insta: https://www.instagram.com/jasminehemsley/?hl=enPyramids of Chi Insta: https://www.instagram.com/pyramidsofchi/Reel2media.comReel2media InstagramPineapple Audio productionPineapple Audio Instagram Finding Feel Good takes an in-depth look at Eastern alternative therapies to see how we might use some of the Balinese techniques, habits and rituals in our daily wellness routines to help get us closer to the person we want to be.Hosted by Jade English, a semi-finalist on BBC TV's ‘The Apprentice' turned holistic happiness hunter. Jade's mission is to bring the benefits of holistic practices to the masses, showing us you don't have to live a bohemian lifestyle to embrace your spiritual side.Recorded in the spiritual mecca of Bali, each episode sees Jade experience a different Eastern therapy to determine whether there is merit in the method and how we might incorporate it into our Western lives. Produced by Reel2Media and Pineapple Audio Production. See acast.com/privacy for privacy and opt-out information.
© 2020-2025 Ivy Podcast Discovery LLC
