Podcasts about Husky

Bobbin Headcast 226 - Best Of 2025 - By Husky - 24/12/25  Follow us on the social links below www.facebook.com/bobbinheadmusicwww.soundcloud.com/bobbinheadmusicwww.twitter.com/bobbinheadmusicwww.instagram.com/bobbinheadmusic Track listing 1. Shabi – Mellow Scene – Groove Culture 2. Moodena – Phonky - Tropical Disco3. Jude Brown – Feeling Free – Salted Music 4. Jeremy Joshua & DJ Mes – Touch My Mind (Miguel Migs Remix) – Salted Music 5. Ada Morghe – Amin Bird (Mousse T Remix) – Lalabeam Records6. Husky & Akeem Raphael – Regular Man – Bobbin Head Music 7.  Random Soul – Lay It On The Line – Random Soul Recordings8. Luca Olivotto – Remember – Groove Culture Deep9. Nathan Haines & Marlena Shaw – Squire For Hire (Fouk Remix) - Foliage10. Shabi – Light My Fire – Large Music11. Random Soul – No Credit (VIP Boogie Mix) – Random Soul Recordings12. Natalie Z & Lunabass – Who You Are (Husky's Beach Club Mix) – Bobbin Head Music13. Sebb Junior – Get Down - La Vie D'Artiste Music14. ManyFew & Husky – Say My Name (Husky's Beach Club Mix) – ManyFew Records15. Dante Tom – Key To Your Soul (Sebb Junior Remix) - La Vie D'Artiste Music16. Ralph Rosario & Eric Kupper – Take Me Up – Stickman Records17. Soul Avengerz Feat Sian-lee – Let's Go All The Way – Fool's Paradise 18. Jonas Blue & Malive – Edge Of Desire – Defected Records 19. Random Soul Feat Nada-Leigh – Need You – Random Soul Recordings 20. Doug Willis & Mike Dunn – Luv 2 Dance – Z Records 21. Random Soul – Devil On My Shoulder – Random Soul Recordings 22. Sudden Moves – All Got Soul – Robsoul 23. Akeem Raphael & Husky – Weightless Love – House Heads 24. Jay Vegas – Don't Want It – Hot Stuff 25. Darius Syrossian – Tengo La Musica (Crackazat Remix) – Moxy Music26. Sam Karlson – On The Run – Fool's Paradise 27. Random Soul Feat Nada-Leigh – Stronger (Grant Nelson Remix) – Random Soul Recordings28. Mark Knight & Mark Dedross – Fighting Love – Fool's Paradise 29. Random Soul– Mesmerizing (Extended Club VIP) – Random Soul Recordings30. Husky – Breathe – Bobbin Head Music 31. Wh0 & David Penn – La Fiesta – Toolroom 32. Monty Kiddo – The Sit Down – HouseU 33. Blackchild – Nothing Better Than Music – Defected 34. Weiss (UK) Feat Louise Marshall – Promises – Electronic Nature Records 35. Chris Lake & Abel Balder – Ease My Mind – Black Book Records 36. Low Steppa & Capri – Got The Funk – Defected  37. DJ Dove – Lonely No More - Toolroom38. Husky– True Love – TMRW Music39. Chris Lake – Savana – Black Book Records 40. Sonny Fodera & Jazzy – All This Time - SOLOTOKO

The show kicks off with talk of a Rams watch party and whether the team is truly legit this season. There’s also a local heads-up for Cerritos residents about rising sewage fees, along with practical advice on which bills you should never skip—spoiler: pay your water bill. Michael Monks joins in with his unique take on downtown LA, offering a darkly humorous “weathervane” observation from Skid Row that signals the arrival of winter. The conversation also touches on Burbank’s decision not to pursue litigation over Warner Bros.’ sale to Netflix. Conway then shares memories of his former partner Doug Steckler, including why Steckler despised New Year’s and a hilarious story involving the “Husky section” at Montgomery Ward—one of many classic Steckler moments. The episode wraps with Eric Lisardo’s special “Conway Christmas” segment featuring the signature “Dinga DONGA,” updates from Nick Reiner, and commentary from a defense lawyer weighing in on who hired attorney Alan Jackson. See omnystudio.com/listener for privacy information.

We've got a big show with tons of College Football talk, NFL, NHL and more College Football! Give us a listen, give us a share!

We're talking all about squirrel doggin', epic fails with bow gear and the coyote - or husky dog- that kept us wondering. Don't miss this week's Hunting Roots podcast. The Hunting Roots Podcast is brought to you by OnX Hunt. www.onxmaps.comwww.mossyoak.com

National champion and one of the greatest players to ever play on Montlake, Lincoln Kennedy, joins the show to talk about the new age of college football as well as his relationship with Washington as an alumni and analyst with the Big Ten Network. UW Leah, Coach V, and Trevor Mueller break down the Huskies' dominant 38-10 win over Boise State in the LA Bowl.

SPONSORS: - Don't miss out on all the action this week at DraftKings! Download the DraftKings app today! Sign-up using https://dkng.co/bears or through my promo code BEARS - Protect your family with life insurance from Ethos. Get your free quote at https://Ethos.com/BEARS - Head to https://DRINKAG1.com/BEARS you'll get the welcome kit, a Morning Person hat, a bottle of Vitamin D3+K2, a AG1 Flavor Sampler and you'll get to try their new sleep supplement AGZ for free. - Sign up for a $1 per month trial period at https://shopify.com/bears. Christmas CAME early! The Summer Bears are now the *Winter Bears* and they have returned to phone it in and fulfill some contractually obligated laughs. Chris Distefano and Stavros Halkias invade YMH Studios to talk awful breakfast decisions, Bert's cruise from hell, fat-guy medicine science, Husky-induced life chaos, bombing on MTV, fighting GLP-1 drugs, Mike Tyson saving Big Pun at The Tunnel, and why both of them should never own pets, houses, or functioning digestive systems. It's chaotic, barely prepared, medically concerning, and absolutely perfect. Enjoy! https://www.instagram.com/stavvybaby2 https://www.instagram.com/chrisdcomedy/ 2 Bears, 1 Cave Ep. 319 https://tomsegura.com/tour https://www.bertbertbert.com/tour https://www.chrisdcomedy.com/ https://www.stavvy.biz/ https://store.ymhstudios.com Gambling problem? Call one eight hundred Gambler. In New York, call 8778-HOPENY or text HOPENY (467369). In Connecticut, Help is available for problem gambling. Call 888-789-7777 or visit https://ccpg.org. Please play responsibly. On behalf of Boot Hill Casino & Resort (Kansas). Pass-thru of per wager tax may apply in Illinois. Twenty-one plus age and eligibility varies by jurisdiction. Void in Ontario. Restrictions apply. Bet must win to receive Bonus Bets which expire in 7 days. Minimum odds required. For additional terms and responsible gaming resources, see https://DKNG.co/audio. Limited time offer. Chapters 00:00:00 - Intro 00:03:29 - Slutty Little Breakfast 00:07:14 - Podcast Polyamory 00:14:15 - Chrissy Housing Crisis 00:21:35 - Stavros Vs Fat Guy Medicine 00:31:48 - Fat Joe, Guy Code, & Graveyard Of Failed Shows 00:46:14 - Maybe The Worst Dog Ever 00:56:17 - Geopolitical Shenanigans & NYC Mayors 01:08:11 - Wrap Up Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome to another episode of Women Petpreneurs! In today's book club edition, join hosts Mary Oquendo, SacheenMobley, and Denise Heroux for a lively year-end roundtable on their favorite humorous books. Rather than tackling something heavy, the trio shares uplifting reads that sparked laughter and brought a smile to their faces.Mary Oquendo kicks things off with a recap of “Fever Beach” by Carl Hiason, celebrating the author's knack for turning absurd situations into wild, satisfying stories where everyone gets what they deserve. Denise Heroux dives into the empowering self-help classic “You're a Badass” by Jen Sincero, highlighting the relatable humor and real-life lessons that invite readers to embrace life's messiness. Then, Sacheen Mobley reviews “A Spirited Life,” Mary Oquendo's own heartwarming tale of Spirit the Husky—drawing parallels to “Chicken Soup for the Pet Lover's Soul” and reflecting on the powerful connection between pets and their humans.With anecdotes, laughter, and genuine recommendations, this episode is a warm reminder to seek out stories that lift your spirits and connect us—whether through the pages of a book or the wag of a tail. Don't miss out on their picks, personal stories, and a look ahead to the next book club read!

Just some coaching stuff and a few bowl games to talk about this week, not much. LOL. We talk, CFB, NFL, Olympic hockey, MLB and more. Give us a listen, give us a share!

Bucky's back and his house is still in the same place! Others have not been so lucky. It's the day before the day before and we are faced with the realization that we might actually watch the Seahawks face 44-year old Phillip Rivers in his first football game in 5 years. Can the Colts keep it close? Rivers has had just three practices and it seems like a perfect opportunity for the Seahawks defense to have another great game. :30- ICYMI: Chris Petersen The former Husky head coach joined the show earlier this week to give us his thoughts on the CFP and whether or not he'd ever coach again. :45- No Cliché Keys to Victory! The Seahawks face the Colts on Sunday, so we give our keys to a Seahawks win, no (some) cliches allowed! See omnystudio.com/listener for privacy information.

Bucky's back and his house is still in the same place! Others have not been so lucky. It's the day before the day before and we are faced with the realization that we might actually watch the Seahawks face 44-year old Phillip Rivers in his first football game in 5 years. Can the Colts keep it close? Rivers has had just three practices and it seems like a perfect opportunity for the Seahawks defense to have another great game. :30- ICYMI: Chris Petersen The former Husky head coach joined the show earlier this week to give us his thoughts on the CFP and whether or not he'd ever coach again. :45- No Cliché Keys to Victory! The Seahawks face the Colts on Sunday, so we give our keys to a Seahawks win, no (some) cliches allowed!

The Huskies are 9-1 ahead of their final non-conference game. They've racked up four wins over ranked opponents, representing some of the top squads in the nation, with their lone loss coming by four points to the No. 1 team in the country at home, with two key players out.Those two players are back, or close, and we're just starting to see what this Husky team can be. Their stars led the way over the Gators in MSG on Tuesday night, while new guys like Braylon Mullins, Eric Reibe, and Malachi Smith showed off what they bring to the table.It's an exciting prospect to know that Dan Hurley has the Huskies rolling once again. This year, though, the competition around the country may be deeper at the top. We discuss the Florida game, the Texas matchup, and competition around the league and nation in the latest episode of The UConn Fast Break.Photo: Twitter/X - @UConnMBB This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit theuconnfastbreak.substack.com

Just two weekends removed from their final game of the year, the Washington Huskies have the honor of playing on the opening Saturday of bowl season. The Mountain West Champions, Boise State, will be meeting the Dawgs in SoFi to compete for the Bucked Up LA Bowl Hosted by Gronk. Jack McCauley and Luke Mounger get together to preview one last Husky game for the 2025 season. The two former Dawgman interns rotate through their normal segments and crown Luke the champion of Betting B1G for 2025. Tune in to hear the storylines Jack and Luke will be monitoring, who they anticipate to have a big day on Saturday, and their thoughts on the upcoming tilt with the Broncos by clicking the audio link To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

Bobbin Headcast 225 - By Husky – 11/12/2025  Follow us on the social links below www.facebook.com/bobbinheadmusicwww.soundcloud.com/bobbinheadmusicwww.twitter.com/bobbinheadmusicwww.instagram.com/bobbinheadmusic Track listing 1. Magnifik Feat Lucy Sugarman – Eyes On Us (Simon Field Remix) – Bobbin Head Music 2.  Fouk – Neon Drift (First Light Remix) – Freerange 3. Husky – Hypnotic – Bobbin Head Music 4. Dominic Martin – Striving For The Truth – Lost My Dog5. Fouk – Get It Done – Freerange 6. Dave Mayer – Basement Nights – Bobbin Head Music 7. N.W.N & Sebb Junior – Baby Baby - La Vie D'Artiste Music8. Mark Knight Feat Lucas Setto – Get With You Tonight (Jay Vegas Dub) – Fool's Paradise  9. Destiny II, Aria Lyric & Dave Lee – Im Here For This (Groove Assassin Vocal Dub) – Z Records 10. Stacy Kidd & Tiffany Jenkins – If I Was Your Women – House 4 Life 11. Jay Vegas – Raise Your Hands – Hot Stuff 12. Husky Feat Nat Conway – Can't Shake It Off (Alaia & Gallo Remix) – Bobbin Head Music13. Tiger Stripes – After Dark – Kaoz Theory14. Random Soul – No Credit (Extended Mix) – Random Soul Recordings15. BenKane – That Girl – Play & Tonic 16. Capri – Jack That – Jackies Music 17. Cumbiafrica, Simon Fava & Yvvan Back – A Bailar – Club Sweat 18. Akeem Raphael & Husky – Weightless Love – House Heads

My conversation with Waj starts at about 45 mins in to today's show after headlines and clips - "The Shit Show" Subscribe and Watch Interviews LIVE : On YOUTUBE.com/StandUpWithPete ON SubstackStandUpWithPete Stand Up is a daily podcast. I book,host,edit, post and promote new episodes with brilliant guests every day. This show is Ad free and fully supported by listeners like you! Venmo at the bottom! Please subscribe now for as little as 5$ and gain access to a community of over 750 awesome, curious, kind, funny, brilliant, generous soul Subscribe to Waj Substack Channel "The Left Hook" Check out his new show on youtube 'America Unhinged,' with Francesca Fiorentini and Wajahat Ali - Zeteo's new weekly show following Trump's first 100 days in office. Wajahat Ali is a Daily Beast columnist, public speaker, recovering attorney, and tired dad of three cute kids. Get his book Go Back To Where You Came From: And, Other Helpful Recommendations on Becoming American which will be published in January 2022 by Norton. He believes in sharing stories that are by us, for everyone: universal narratives told through a culturally specific lens to entertain, educate and bridge the global divides. Listen to Waj and DAnielle Moodie on Democracy-ish  He frequently appears on television and podcasts for his brilliant, incisive, and witty political commentary. Born in the Bay Area, California to Pakistani immigrant parents, Ali went to school wearing Husky pants and knowing only three words of English. He graduated from UC Berkeley with an English major and became a licensed attorney. He knows what it feels like to be the token minority in the classroom and the darkest person in a boardroom. Like Spiderman, he's often had the power and responsibility of being the cultural ambassador of an entire group of people, those who are often marginalized, silenced, or reduced to stereotypes. His essays, interviews, and reporting have appeared in The New York Times, The Atlantic, The Washington Post, The Guardian, and New York Review of Books. Ali has spoken at many organizations, from Google to Walmart-Jet to Princeton University to the United Nations to the Chandni Indian-Pakistani Restaurant in Newark, California, and his living room in front of his three kids. On YOUTUBE.com/StandUpWithPete ON SubstackStandUpWithPete Pete on Blue Sky Pete on Threads Pete on Tik Tok Pete on YouTube  Pete on Twitter Pete On Instagram Pete Personal FB page Stand Up with Pete FB page   Gift a Subscription https://www.patreon.com/PeteDominick/gift Send Pete $ Directly on Venmo

**Lancey B's The Funktion Replay On traxfm.org. This Week Lance Featured Soul/Boogie/Contemporary Soul/ Dance Classics From Sade, Bill Withers, Leela James, Rob Base & DJ Eazy Rock, Urban Sound Lab, Kelly Finnigan, Husky, Labi Siffre, James Brown, Durell Anthony, Calibro 35, Sinclair, Grooveman Spot & More #originalpirates #soulmusic #contemporarysoul #70smusic #80smusic #disco #danceclassics #funk #R&B Catch Catch Lancey B's The Funktion Every Tuesday From 12:00PM UK Time On www.traxfm.org Listen Live Here Via The Trax FM Player: chat.traxfm.org/player/index.html Mixcloud LIVE :mixcloud.com/live/traxfm Free Trax FM Android App: play.google.com/store/apps/det...mradio.ba.a6bcb The Trax FM Facebook Page : https://www.facebook.com/profile.php?id=100092342916738 Trax FM Live On Hear This: hearthis.at/k8bdngt4/live Tunerr: tunerr.co/radio/Trax-FM Radio Garden: Trax FM Link: http://radio.garden/listen/trax-fm/IEnsCj55 OnLine Radio Box: onlineradiobox.com/uk/trax/?cs...cs=uk.traxRadio Radio Deck: radiodeck.com/radio/5a09e2de87...7e3370db06d44dc Radio.Net: traxfmlondon.radio.net Stream Radio : streema.com/radios/Trax_FM..The_Originals Live Online Radio: liveonlineradio.net/english/tr...ax-fm-103-3.htm**

Last week, Washington's coaching staff signed 25 players during the early signing period. In this podcast, Dawgman's Scott Eklund and Chris Fetters go through each of the 12 offensive prospects and the one specialist who signed and where they see each one fitting in once they arrive. They went through each position group and started things off by discussing Derek Zammit, a quarterback from New Jersey, who committed to the Huskies over offers from Alabama and Miami among others.  A big focus was the targets that Zammit will have to throw to including a three highly-rated wideouts in Mason James, Jordan Clay and Trez Davis as well as a wideout who emerged on the 7on camp circuit, Blaise LaVista. The Huskies were able to flip Clay (Baylor) and Davis (Tulane) late in the process and they talked about how all that played out. The offensive line got a lot of attention with five-star Kodi Greene leading the way. They also talked a lot about the running back class which featured four-star Valencia (Ca.) tailback Brian Bonner and three-star Oregon tailback Ansu Sanoe as well as the tight ends who saw a flip from Kekua Aumua from Florida as well as Sam Vyhlidal who came on during the spring and summer with great workouts in front of the Husky coaching staff. To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

Last week, Washington's coaching staff signed 25 players during the early signing period. In this podcast, Dawgman's Scott Eklund and Chris Fetters go through each of the 12 defensive prospects who signed and where they see each one fitting in once they arrive. A big focus was the versatility of the defensive prospects including top in-state prospect Derek Colman-Brusa who could play almost anywhere along the defensive line next season. He is joined by another top in-state prospect in O'Dea's David Schwerzel who signed late on Wednesday with the Dawgs as well as top out-of-state targets Tufanua Ionatana Umu-Cais  and JD Hill and a developmental prospect like Ta'a Malu who is only in his second season of playing football. At linebacker the Huskies added two long, hard-hitting athletes at the position in Ramzak Fruean and Ezaya Tokio, each of whom is over 6'4" tall. In the secondary, much like the defensive line, the Huskies added five players, four of which could project at four different positions in the deep patrol. Elijah Durr, Jeron Jones and Ksani Jiles each look like they are fits at corner. Gavin Day, a hard-hitting safety from the state of Nevada, will be an in-the-box safety while Rahsjon Duncan is a swing player who could play both safety or corner and was called by national pundits/analysts the hardest hitting corner in class. To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

The planning for Operation Husky was anything but smooth and comprehensive. Everyone had a dog in this fight, but in the end, Monty won. Meanwhile, Mussolini is tempted to pull out of the war. Learn more about your ad choices. Visit megaphone.fm/adchoices

Braga, King, and Ski talk: :15: Living to 100, Lanning fiending for five stars, USC hoarding three stars, the best WR room Oregon's ever had. 20:07: Tosh and Stein jumping ship and who replaces them, bro Dan vs nerd Chip, Husky fan copium, Automatticus Sappington. 47:00: The return of Bryant/Moore/Stewart, possible playoff matchups, the dead MBB team. 1:00:00: B1G lines. 1:20:04: Top 3 road trip snacks.

Three hundred sessions. Wild. To mark the milestone, Si has stitched together a signature OPDJ journey packed with soulful goodness, big disco moments and a handful of personal picks from our resident crew. It's a proper celebration mix, a nod to nearly two decades of House Finesse and the amazing community that has grown around it. Settle in, turn it up and enjoy the ride. Track Listing Louie Vega, Anane – Last Night A DJ Saved My Life (feat Anané, Tony Touch) (Extended Mix) [00:00] Husky, Rona Ray – Hold Me (Art of Tones Extended Remix) [04:50] Art Of Tones, Another Artist – Everything I Do (Art of Tones Extended Mix) [10:56] Output / Input – Every Time You Touch Me (Dave Lee Boogiefied Mix) [14:41] Gizelle Smith – Dust (Dimitri From Paris vs Cotonete Discomix) [20:24] Dave Lee ZR, Shawnee Taylor – People Of All Nationz (Extended Mix) (selected by Andi King) [26:49] Michael Gray, Phebe Edwards – Life Will Be (Extended Mix) [33:05] Dolos – Night So Right (Dr Packer Remix) [38:18] DJ Spen, Inaya Day – War Cry (Extended Mix) [43:06] Emel – Get On Up (Mark Picchiotti Extended Remix) [48:41] Jestofunk, Jocelyn Brown – Special Love (Pastaboys Remix) [53:45] Peyton – A Higher Place (James Hurr Extended Remix) [59:41] DJ Pierre, Kathy Brown – House Music Always (Original Old Skool Chicago Mix) [63:58] Jestofunk, CeCe Rogers – Happy (Bob Sinclar's Anthem For Life Remix) [68:29] Jay Vegas – Heat It (2025 Refresh) [73:59] Adelphi Music Factory – Studio 64 (Club Mix) [79:04] Earth n Days – You Can Do It (Extended Mix) [84:08] Drama, A-Trak, The Brothers Macklovitch – Dancing On My Own (Extended Remix) [88:05] Dennis Ferrer, GiGi – Affirmations (Dennis Ferrer Extended Remix) (selected by LYP) [92:24] The Ones – Flawless (Phunk Investigation Extended Club Mix) (selected by Sarah Jae) [97:36] Daft Punk – One More Time (12 Mix) (selected by Disco77) [104:15] The Vision, Andreya Triana – Mountains (selected by One Phat DJ) [109:58] Social Links Threads: https://www.threads.net/@housefinesse Mastodon: https://mastodon.social/@housefinesse Bluesky: https://bsky.app/profile/housefinesse.bsky.social Mixcloud: https://www.mixcloud.com/onephatdj Instagram: https://www.instagram.com/onephatdj Credits Mixed by One Phat DJ Production by Unstyled Studios Hosted on Pinecast Cover art by House Finesse Resident selectors: LYP, Andi King, Disco77, Sarah Jae Check out our podcast host, Pinecast. Start your own podcast for free with no credit card required. If you decide to upgrade, use coupon code r-b0b82e for 40% off for 4 months, and support House Finesse.

It's Championship Weekend and we've got a ton to talk about! We've got all the coaching merry-go-round scuttlebutt, we talk about who's going where and more rumors. We'll also break down what we think the play-off committee will do. And then, of course the games! Give us a listen, give us a share!

- SCOTT EKLUND (Dawgman247) joins us on National Signing Day and the Dawgs have landed a big recruit in Trez Davis. Scott gives us all the details on the newest Husky recruiting class. Where is the local talent going or has it been a down year in the state? :30- AL KINISKY (Kraken Audio Network Color Analyst) The Kraken haven't played since Saturday, but they're back at it tomorrow in Edmonton who had their number when the teams met last time. Can they get vengeance tomorrow? What's up with the power play and how can we fix it? Any injury updates? :45- We close out the show with one last thing!

We are looking ahead since it's Hump Day and the Seahawks face the Falcons on Sunday, plus it's National Signing Day, so we have to talk Dawgs with our Husky guests.

We are looking ahead since it's Hump Day and the Seahawks face the Falcons on Sunday, plus it's National Signing Day, so we have to talk Dawgs with our Husky guests.See omnystudio.com/listener for privacy information.

- SCOTT EKLUND (Dawgman247) joins us on National Signing Day and the Dawgs have landed a big recruit in Trez Davis. Scott gives us all the details on the newest Husky recruiting class. Where is the local talent going or has it been a down year in the state? :30- AL KINISKY (Kraken Audio Network Color Analyst) The Kraken haven't played since Saturday, but they're back at it tomorrow in Edmonton who had their number when the teams met last time. Can they get vengeance tomorrow? What's up with the power play and how can we fix it? Any injury updates? :45- We close out the show with one last thing! See omnystudio.com/listener for privacy information.

10 am: Dom Amore from the Hartford Courant will talk UConn sports (i.e, Jim Mora, Husky hoops), MLB, and other related topics 11 am: Rickey Hampton from The African-American Athlete Podcast will talk about Thursday's Cowboys-Lions showdown, and other Detroit sports-related topics (i.e., Pistons, Tigers)

When a mighty snowstorm buries Lapland and traps the reindeer inside their stables, Christmas preparations come to a sudden halt! With Glow the Elf snowed in and no way to reach the magical moss meadow, only one team can save the day - the fearless and furry Husky Heroes. Join Father Christmas and Pupkin as six determined huskies dig their way to victory in a race against the snow to rescue Christmas!

Well, as with all things technology, I am cursed. Here's the actual pod for the week a day late. Sorry folks. 

Bobbin Headcast 224 - By Husky – 27/11/2025Follow us on the social links below www.facebook.com/bobbinheadmusicwww.soundcloud.com/bobbinheadmusicwww.twitter.com/bobbinheadmusicwww.instagram.com/bobbinheadmusic Track listing 1. Rudi'Kastic - A Chance Again - Moulton Studio's2.  Hallex M – If Ever I Feel Better – United Music Records 3. Husky & Akeem Raphael - Regular Man - Bobbin Head Music 4. Megatronic - Something - Razor n Tape5. Husky & Akeem Raphael - Regular Man - Bobbin Head Music6. Seamus Haji – 2000 Black (Moodena Remix) – Big Love 7. Disco Milieu – Midnight Fantasy – Boogie Brunch Records 8. Sebb Junior - We Got The Feeling' - La Vie D'Artiste Music9. Shabi – Honey Groove – Heat Traxx 10. Joey Musaphia & Michelle Weeks – Heaven (Fouk Remix) – Soulfuric 11. Mo'Cream – Real Love – Large Music 12. Adam Nyquist Feat Morris Revy – No More Games – Bobbin Head Music 13. Nathan G – Love Will Find A Way – Luvbug Recordings14. Akeem Raphael & Husky – Weightless Love – House Heads15. Close Counters – My Baby – Nervous 16. Random Soul – No Credit (VIP Boogie Mix) – Random Soul Recordings17.Josh Baker – Subsonic – You&Me 18.RUZE & Chesster – NY Project – PIV Records 

We got a HUGE pod! Give us a listen, give us a share!    

We just visited RealTruck's brand-new 15,000 sq ft flagship retail store in Rochester Hills, Michigan… and it is INSANE. In this episode we sit down with Lauren (yes, her entire job for the last year has been to make this store perfect) and get the full rundown on why RealTruck – a company that's dominated online for years – decided to go brick-and-mortar, and why this store is a total game-changer for truck, Jeep, and Bronco owners. What you'll see: - 15,000 sq ft showroom packed with full-size trucks & Jeeps loaded with accessories - 5 lifestyle display vehicles you can climb in, open doors, and drool over - Massive tire & wheel wall with real 33", 35", and 37" tires side-by-side - On-site professional installation bay (white-glove service – they do the heavy lifting!) - The ultimate "stealth mode" shopping experience – no giant boxes shipped to your house (spouse-approved!) - Tonneau covers, steps, hitches, Husky liners, SuperLift suspension, roof-top tents, winches, rock sliders, lighting, recovery gear… basically everything RealTruck owns under one roof - They can order ANYTHING from realtruck.com and have it shipped straight to the store for install Location: 2576 S Adams Rd, Rochester Hills, MI 48309 (Right next to Walmart, Meijer, Tractor Supply – tell your wife you'll "wait in the car"… then disappear into truck heaven) Store page & hours: https://www.realtruck.com/store/detroit (Grand Opening with Calvin Johnson this Thursday + Trucks & Tacos event this Saturday!) If you're in Michigan (or willing to road-trip), you HAVE to see this place. Touch it, feel it, sit in it, and drive away with it installed the same week. This isn't just a store – it's an experience. RealTruck has been advertising with us for over 3 years – we're pumped to finally walk through the doors and show you what they've built. Like, comment, and let us know – are you Team Online or Team Touch-It-First brick-and-mortar now? #RealTruck #RealTruckStore #TruckAccessories #JeepBuild #Overlanding #TonneauCover #LiftKits #Michigan Trucks #TrucksAndTacos RealTruck First Flagship Store Tour Jeep Wrangler Build Rochester Hills MI Welcome to Jeep Talk Show, the ultimate podcast for Jeep enthusiasts! Join Tony, and, the crew as we dive into off-road adventures, Jeep Wrangler 392 updates, Jeep Gladiator camping, and the Jeep Cherokee relaunch. From $130K Jeep resale trends to Gladiator tent reviews, we cover Jeep modifications, off-road gear, and events like Easter Jeep Safari and Great Smoky Mountain Jeep Invasion. Get expert Jeep 4xe towing tips, lightweight truck camper insights, and off-road trail guides for Jeeps. Subscribe for weekly Jeep news, join our community at jeeptalkshow.com/discord, and hit the trail with us! Head to https://jeeptalkshow.com to explore our world of Jeep madness, subscribe, and let us make your day a little more rugged and a lot more fun. Ready to roll with us? Let's hit the trails together! #Jeep Talk Show, #Jeep podcast, #off-road podcast, #Jeep community, #Jeep off-roading, #Jeep Wrangler, #Jeep Gladiator, #Jeep news, #Jeep modifications, #Jeep accessories, #off-road adventures, #Jeep events, #Jeep 4xe, #Wrangler 392, #Jeep camping, #Jeep trails, #Jeep Wrangler 392, #$130K Jeep resale, #Jeep infotainment bricking, #TuneOutdoor Gladiator tent, #RealTruck trail access 2025, #Jeep Gladiator camping, #lightweight truck camper, #$13K Jeep camper, #Jeep Cherokee relaunch 2025, #Great Smoky Mountain Jeep Invasion, #Easter Jeep Safari 2025, #Jeep Badge of Honor app, #women off-road Jeep podcast, #Chic Chat Jeep podcast, #Jeep off-road gear reviews, #best Jeep accessories 2025, #Jeep 4xe towing tips, #off-road trail guides for Jeeps

Duck week deserves some extra Husky talk, so we invited CAM CLEELAND (Learfield Washington color analyst) and SOFTY to join the show and help us celebrate the rivalry. There's plenty of trash talking to be had and we will even talk about the rivalry and this week's matchup! :30- We are back with more of the Duck week roundtable! Are the guys feeling a Dawgs upset this week and if so, what do the Dawgs need to do to win? Are these teams more similar than they look? :45- We wrap up the Husky roundtable and add in some last minute jabs for good measure!!

Duck week deserves some extra Husky talk, so we invited CAM CLEELAND (Learfield Washington color analyst) and SOFTY to join the show and help us celebrate the rivalry. There's plenty of trash talking to be had and we will even talk about the rivalry and this week's matchup! :30- We are back with more of the Duck week roundtable! Are the guys feeling a Dawgs upset this week and if so, what do the Dawgs need to do to win? Are these teams more similar than they look? :45- We wrap up the Husky roundtable and add in some last minute jabs for good measure!! See omnystudio.com/listener for privacy information.

MMQB begins with HUGH MILLEN Did Hugh have any concerns coming away from yesterday's win and close things ended up? Should we be criticizing the defense for allowing the Titans to get back into the game? What did Hugh think of Sam Darnold's rebound after last week? Analyzing the connection between Darnold and JSN. :30- More MMQB with Hugh and we discuss just how skilled JSN really is and what happened on that 63-yard touchdown. :45- We wrap up the first hour of MMQB with Hugh and some Husky talk. Should the Dawgs consider Jedd Fisch already?] See omnystudio.com/listener for privacy information.

MMQB begins with HUGH MILLEN Did Hugh have any concerns coming away from yesterday's win and close things ended up? Should we be criticizing the defense for allowing the Titans to get back into the game? What did Hugh think of Sam Darnold's rebound after last week? Analyzing the connection between Darnold and JSN. :30- More MMQB with Hugh and we discuss just how skilled JSN really is and what happened on that 63-yard touchdown. :45- We wrap up the first hour of MMQB with Hugh and some Husky talk. Should the Dawgs consider Jedd Fisch already?]

In the sixth episode of Circling Seattle Sports' weekly UW women's basketball show, "The Husky women's hoops show," CSS Storm writer and contributor Rowan Schaberg and "The Next" women's basketball writer and CSS contributor Bella Munson join CSS founder and editor-in-chief Charles Hamaker to discuss the teams 4-0 start to the season, who has surprised them the most so far, what areas of concern they have for this team, and so much more.

It's Cupcake Saturday in the SEC! We're getting down to the end of the season stretch! Lots of College Football talk! We'll also discuss MLB free agency, the NFL and more! Give us a listen, give us a share!

Husky HoopsPurdue RecapB1G PredictionsUCLA Preview

We've got MLB, MLS, NFL and of course College Football Talk! Give us a listen, give us a share!

Bobbin Headcast 223 - By Husky – 13/11/2025  Follow us on the social links below www.facebook.com/bobbinheadmusicwww.soundcloud.com/bobbinheadmusicwww.twitter.com/bobbinheadmusicwww.instagram.com/bobbinheadmusic Track listing 1. Husky Feat Alyson Joyce – Do You Like It – Bobbin Head Music 2.  Output/Input Feat Antonio McLendon – Every Time You Touch Me (Dave Lee Boogiefied Remix) – Z Records 3. Random Soul – No Credit (VIP Boogie Mix) – Random Soul Recordings4. Jay Bhana – Squatter Camp (Dave Mayer Remix) – Bobbin Head Music 5. Kinjo & Birdee – Desire - Juliet6. Ramus Faber & Lucas Nord Feat Melo – Somebody – Farplane 7. Roel – Come To That Day – Soulfuric Traxx8. Kokiri & Husky – You [Got It All] – Bobbin Head Music 9. DJ S.K.T Feat Iris Gold – 4am in London (Harry Romero Remix) – Armada Subjekt  10. David Penn – YEAH YEAH – Urbana Recordings 11. Akeem Raphael & Husky – Weightless Love – House Heads12. Maex & Samiro – What Is Salsa (CASSIMM Remix) – Kokolores Records 13. Yolanda Be Cool Feat Traxsman – Get Down – Swet It Out 14. NESI (ES) – From Chicago – Heat Traxx15. Jay De Lys – Control – PIV Records 16. Andrea Lane – You Can't Stop – Wh0 Plays 

There wasn't a lot to talk about or a lot of analysis needed following Washington's ugly 13-10 loss to Wisconsin at Camp Randall Stadium on Saturday, but the guys from Dawgman -- Kim Grinolds and Scott Eklund -- did their best to make sense of what happened in the Husky defeat. Topics discussed include... Washington's inability to extend drives The injuries to the offensive line as well as Jonah Coleman and Denzel Boston Demond Williams' struggles The defense played well-enough to win Costly turnovers Bad weather To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

This episode gets down and dirty and pulls no punches in the wake of the Madison debacle. If you're a Husky fan looking for quality insight it's a great show. If you're looking for a fun shot in the arm this probably isn't the episode for you. Of note, there were multiple technical issues during the editing process including the editing software being unable to connect with the internet. So rather than take two days to get this published and posted. we're running it Sunday morning unedited and as a bare-bones episode with no Pup cold open

Husky voice, Friday night whiskey, and a mountain of cheese from the book launch. In this episode I lift the lid on what really happens inside a print judging room. The rotation of five from a pool of seven. Silent scoring so no one nudges anyone else. How a challenge works, what the chair actually does, and why we start with impact, dive through craft, then finish on impact again to see what survives. Layout over composition, light as the whole game, and a final re-rank that flattens time drift so the right image actually wins. If you enjoy a peek behind the curtain, you will like this one. You can grab a signed copy of the new Mastering Portrait Photography at masteringportraitphotography.com and yes, I will scribble in it. If you already have the book, a quick Amazon review helps more than you know. Fancy sharpening your craft in person? Check the workshops page for new dates and come play with light at the studio.  The book: https://masteringportraitphotography.com/resource/signed-copy-mastering-portrait-photography-new-edition/ Workshops: https://masteringportraitphotography.com/workshops-and-mentoring/   Transcript [00:00:00]  Hey, one and all. How are you doing? Now? I'll be honest, I still have the remnants of a cold, and if you can hear that in my voice, I do apologize, I suppose you could call it slightly bluesy, but you can definitely hear that I'm ever so slightly husky. It's Friday night, it's eight 30, and I was, I've been waiting a week to record this podcast, hoping my voice would clear it hasn't, and so I've taken the opportunity having a glass of whiskey and just cracking on. So if you like the sound of a slightly bluesy voice, that's great. If you don't, I'm really sorry, but whichever, which way I'm Paul. And this is the Mastering Portrait Photography podcast. So it's been a busy month or two. You can always tell when it's busy [00:01:00] 'cause the podcasts. Get, don't really get delivered in quite the pace I would like. However, it really has been a busy couple of weeks the past few. Let me, I'm gonna draw your attention to it. The past couple of weeks, we've, there's a ton of stuff going on around us for a moment. I was up in Preston. I've been up in Preston twice over the past couple of weeks. The first one was working as a qualifications judge for the BIPP, the British Institute Professional photographers. Um. Which I love judging. I love judging. It's exhausting, but I love it. And that was qualifications, panels. Then last week was the launch. Of the updated edition of Mastering Portrait Photography, the book, which is where it all started, where Sarah Plata and I published this book that seems to have been incredibly popular. 50,000 copies translated from English into four other languages. Chinese, Korean, German. And Italian, do not ask me, do not ask me the logic on why the book is in those [00:02:00] particular languages. To be fair, we only found out about the Chinese and Korean when we were trying to get some marketing material together to talk about the new book Nobody had told us. I'm not even sure the publisher knew, to be honest. Uh, but we have found copies. We have a Chinese copy here in the studio. I'm still trying to get a Korean version. So if you are listening to this. Podcast in Korea. Please tell me how to get hold of a version in Korean because we'd love to complete the set. There's, in fact, there's two Italian versions. We knew about that. There's a German version we knew about that hardback version. It's great. It's really beautiful. Very I, like I, I don't live in Germany and I don't like to stereotyping entire nation, but the quality of the book is incredible. It's absolutely rock solid, properly engineered. Love it. We have a Chinese version here but the Korean version still alludes us. However, this week the new version, mastering portrait photography is out. And as you know, I, Sarah interviewed me for the podcast last week to talk about it. Well, it's out. We've had our launch party, uh, we invited everybody who [00:03:00] has featured in the book who, everybody, every picture in the book that we asked the person in it to come to the studio for a soiree. And it was brilliant. I've never seen so much cheese in all my life, and by I don't mean my speech, I mean actual cheese. We had a pile of it, still eating it. So it's been a week and I'm still eating the cheese. I dunno quite how, well, quite by how much we vacated, but probably by several kilos. Which I'm enjoying thoroughly. I've put on so much weight this week, it's unreal, but I'm enjoying the cheese. And then on Sunday we had an open day where we had set the studio out with some pictures from the book and some notes of the different people. Who featured and what I might do, actually, I'd, I wonder if I can do a visual podcast. I might do a visual podcast where I talk about those images, at some point on the website, on masteringportraitportraitphotography.com. I will do the story and the BTS and the production of every single image that's in the book, but it's gonna take me some [00:04:00] time. There's nearly 200 images in there. Um, and every one of them, bar one is a new image or is, is. It is, it is a new image in the book, and it has been taken in the 10 years or the decades subsequent to the first book, all bar one. Feel free to email me. Email me the image you think it might be. You'll probably guess it, but it's it's definitely in there. Um, and so it's been really busy. And then at the beginning of this week, I spent two days up in Preston again, judging again, but this time it was for the British Institute of Professional Photographers print Masters competition. Ah, what, what a joy. Six other judges and me, a chair of judges. Print handlers, the organizers. Ah, I mean, I've seen so many incredible images over those 48 hours, and in this podcast I want to talk a bit about how we do it, why we do it, what it feels like to do it, [00:05:00] because I'm not sure everybody understands that it's it, it's not stressful, but we do as judges, feel the pressure. We know that we are representing, on the one hand, the association as the arbiters of the quality of the curators of these competitions, but also we feel the pressure of the authors because we are there too. We also enter competitions and we really, really hope the judges pay attention, really investigate and interrogate the images that we've entered. And when, when you enter competitions, that heightens the pressure to do a good job for the authors who you are judging. So in this podcast, I'm gonna talk through some of the aspects of that. Forgive me if it sounds like I'm answering questions. It's because I wrote myself some questions. I wrote some [00:06:00] questions down to, how I structures the podcast usually, uh, the podcast rambles along, but this one I actually set out with a structure to it, so forgive me if it sounds like I'm answering questions. It's 'cause I'm answering my own questions. What does it feel like? How do you do it? Et cetera, et cetera. Anyway, I hope it's useful. Enjoy. And it gives you an insight into what it's like to be a competition judge. Okay. As you walk into the judging room. For me at least, it's mostly a sense of excitement. There's a degree of apprehension. There's a degree of tension, but mostly there's an adrenaline rush. Knowing that we're about to sit and view, assess, score these incredible images from photographers all over the world, and let's remember that every photographer when they enter a print competition, which is what I'm talking about primarily here. Every photographer [00:07:00] believes that print that category that year, could win. Nobody enters an image thinking that it doesn't stand a chance. Now you might do that modest thing of, I don't know, you know? Oh no, I don't. I I just chance my arm. No one enters a print they don't think has a chance of doing well. That just doesn't happen. It's too expensive. It takes too much time. And as judges. We are acutely aware of that. So when you walk into the room, lots of things are going in your on, in your heads. Primarily, you know, you are there to do a job. You are there to perform a task. You are going to put your analytical head on and assess a few hundred images over the next 48 hours. But as you walk in, there's a whole series of things. You, you are gonna assess the room. You see that your fellow judges, you're gonna see the print handlers. You're going to see the chair, you're gonna see the people [00:08:00] from whichever association it is who are organizing it, who or who have organized it. You'll see stacks of prints ready to be assessed. There's a whole series of things that happen. A lot of hugging. It's really lovely. This year the panel of judges, uh, had some people in it I haven't seen for quite a few years, and it was beyond lovely to see them. So there's all of that, but you, there's this underlying tension you are about to do. One of the things you love doing more than anything else in as part of your job. So there's the excitement of it and the joy of it, but there's always this gentle underlying tone of gravitas of just how serious it is. What we are doing. So there will be plenty of laughter, plenty of joy, but you never really take your eye off the task in hand. And that's how it feels as you go to take your seats on the judging [00:09:00] panel. So the most important thing, I think, anyway, and I was chair of qualifications and awards for the BIPP for a number of years, is that the whole room, everybody there is acting as a team. If you are not gonna pull as a team, it doesn't work. So there has to be safety, there has to be structure. There has to be a process and all of these things come together to provide a framework in which you assess and create the necessary scores and results for the association, for the photographers, for the contestants. So you take your seats, and typically in a room, there are gonna be five judges at any one time assessing an image. It's typically five. I've seen it done other ways, but a panel of judges is typically five. The reason we have five is at no point do all of the judges agree. [00:10:00] We'll go through this later in more detail, but the idea is that you have enough judges that you can have contention, you can have. Disagreements, but as a panel of judges, you'll come up with a score. So you'll have five judges sitting assessing an image at any one time. To the side of the room, there'll be two more judges typically. Usually we have a pool of seven, five judges working, two judges sitting out every 10 prints or 10 minutes or whatever the chair decides. They'll we'll rotate along one, so we'll all move along one seat and one of the spare judges will come in and sit on the end and one of the existing judges will step off. And we do that all day, just rotating along so that everybody judges, broadly speaking, the same number of images. Now, of course there is a degree of specialism in the room. If a panel has been well selected, there'll be specialists in each of the categories, but you can't have, let's say there's 15 categories. You [00:11:00] can't have five specialist judges per category. That's simply impractical. Um, you know, having, what's that, 75 judges in a room, just so that you can get through the 15 categories is. A logistics task, a cost. Even just having a room that big, full of judges doesn't work. So every judge is expected to be reasonably multi-talented, even if you don't shoot, for instance, landscapes. You have to have a working knowledge of what's required of a great landscape. Because our job as a panel isn't that each of us will spot all of the same characteristics in an image, all of the same defects, all of the same qualities. Each judge has been picked to bring their own. Sort of viewpoint, if you like, to the image. Some judges are super technical, some judges, it's all about the atmosphere. Some judges, it's all about the printing and there's every bit of image production is [00:12:00] covered by each of the individual specialisms of the judges. And so while there is a degree of specialism, there will be a landscape. Specialist in the room or someone who works in landscape, there will be plenty of portrait photographers, wedding photographers, commercial photographers. The idea is from those seven, we can cover all of those bases. So we have seven judges all at fellowship level, all highly skilled, all experienced. And then there's the chair. Now the chair's role is not to affect the actual score. The chair's role is to make sure the judges have considered everything that they should be considering. That's the Chair's job, is to make sure the judges stay fresh, keep an eye on the scores, keep an eye on the throughput. Make sure that every image and every author are given a. The time and consideration that they are due. What do I mean by that? Well, I just mean the photographers spent a lot of time and effort and [00:13:00] finance putting this print in front of us, and so it's really important that we as judges give it due consideration. The chair, that's their role is to make sure that's what really happens. So the process is pretty simple, really. We will take our seats as a panel of judges and when we are settled. The chair will ask for the print, one of the print handlers. There's normally a couple of print handlers in the room, one to put the image on, one to take the image off. The print handler will take the first image or the next image off the pile and place it in front of us on the light box. They will then check the print to make sure there's no visible or obvious dust marks, um, or anything, and give with an air blower or with the back of a a handling glove, or very gently take any dust spots away. They will then step back. Now, the way the judges are set, there are five seats in a gentle arc, usually around the light [00:14:00] box. The outer two judges, judges one and five will step into the light box and examine or interrogate the print carefully. They will take as much time as they need to ascertain what they believe the score for that image should be. They will then take their seats. The next two judges in, so let's say Judge two and four, they will step in to interrogate the print and do exactly the same thing. When they're ready, they'll step back and sit down. And then the middle judge, the final judge in seat three, they will step up and interrogate the print. And the reason we do it that way is that everybody gets to see the print thoroughly. Everybody gets to spend enough time. Examining the print. And at that point, when we all sit down, we all enter our scores onto whatever the system is we're using either using iPads or keypads. There's all sorts of ways of doing it, but what's really important is we do all of this in total silence and we don't really do it because we need to be able to [00:15:00] concentrate. Though that has happened, sort of distracting noises can play havoc. Um, we really do it so that we are not influencing any other judge. So there's no, oh, this is rubbish, or, oh, this is amazing. Or any of this stuff, because the idea is that each judge will come to their own independent score. We enter them, and then there's a process as to what happens next. So that's the process. If at some point a single judge when the image appears, says, I can't judge this for whatever reason, usually it's because they've seen the image before. I mean, there's one this week where I hadn't directly influenced the image. But the author had shown me how they'd done it, so they'd stepped me through the Photoshopping, the construction, the shooting, everything about the image. I knew the image really well, and so when the image appeared on the light box, I knew while I could judge it, it wasn't fair to the author or to the other [00:16:00] competitors that I should. So I raised my hand, checked in with the chair, chair, asked me what I wanted. I said, I need to step off this. I'm too familiar with the work for me to give this a cold read, an objective read. So I if, if possible, if there's another judge, could they just step in and score this one image for me? And that means it's fair for all of the contestants. So that's that bit of process when we come to our score. Let's assume the score's fine. Let's assume, I dunno, it gets an 82, which is usually a merit or a bronze, whatever the system is. The chair will log that, she'll say that image scored 82, which is the average of all five of us. She'll then check in with the scores and the panel of judges. He or she rather, uh, they, so they will look at us and go, are you all happy with that result? That's really important. Are you all happy? Would that result? Because that's the opportunity as judges for one of us, if we're not comfortable that the image is scored where we think it probably should. And [00:17:00] remember with five of you, if the score isn't what you think, you could be the one who's not got your eye in or you haven't spotted something, it might well be you, but it's your job as a judge to make sure if there's any doubt in your mind about the scoring of an image that. You ask for it to be assessed again, for there to be discussion for the team to do its job because it might be that the other members of the panel haven't seen something that you have or you haven't seen something that they have, that both of those can be true. So it's really important that you have a process and you have a strict process. And this is how it works. So the chair will say you are happy. One of the judges may say. No, I'm not happy or may say I would like to challenge that or may simply say, I think this warrants a discussion. I'm gonna start it off. And then there's a process for doing that. [00:18:00] So the judge who raises the challenge will start the dialogue and they'll start in whichever direction it is that they think the scoring is not quite right. They will start the dialogue that way. So let's say the score, the judge who's raising a challenge says the score feels a little low. What happens then is raise a challenge and that judge will discuss the image or talk to the image in a way that is positive and trying to raise the score. And they're gonna do that by drawing attention to the qualities that they feel the image has, that maybe they're worried the other judges haven't seen when they're done, the next judge depends, depending on the chair and how you do it. The next judge will take their turn and he goes all the way around with every judge having their say. And then it comes back to the originating judge who has the right of a rebuttal, which simply means to answer back. So depending on how the [00:19:00] dialogue has gone it may be that you say thank you to all of the judges. I'm glad you saw my point. It would be great if we could give this the score that I think this deserves. Similarly, you occasionally, and I did do one of these where I raised a challenge, um, where I felt an image hadn't scored, or the judges hadn't seen something that maybe I had seen in the image, and then very quickly realized that four judges had seen a defect that I hadn't. And so my challenge, it was not, it's never a waste of a challenge. It's never ever a waste because it's really important that every image is given the consideration it deserves. But at the end of the challenge that I raised, the scoring stayed exactly the same. I stayed, I said thank you to all of the judges for showing me some stuff that I hadn't noticed. And then we moved on. More often than not, the scores move as the judges say, oh, do you know what, you're right, there is something in this. Or, no, you're right. We've overinflated this because we saw things, but we missed these technical defects. It's those kinds of conversations. So that's a, a chair, that's a, a judge's [00:20:00] challenge. Yeah, this process also kicks in if there's a very wide score difference between the judge's scores, same process, but this time there's no rebuttal. Every judge simply gives their view starting with the highest judge and then working anywhere on the panel. Um, and then there's a rare one, which does happen which is a chair's challenge, and the chair has the right in, at least in the competitions that I judge, the chair has the right to say to the panel of judges. Could you just give this another consideration? I think there might be things you've missed or that feels like you're getting a little bit steady in your scoring. 'cause they, the chair of course, has got a log of all the scores and can see whether, you know, you're settling into like a 78, 79 or one judge is constantly outta kilter. The chair can see everything and so your job as the chair is to just, okay guys, listen, I think this image that you've just assessed. Possibly there's some things one way or the [00:21:00] other that you might need to take into consideration. It doesn't feel like you have. I'd like you to discuss this image and then just do a rescore. So those are the, those are the mechanisms. So in the room you've got five judges plus two judges who are there ready to step in when required either on the rotation or when someone recuses themself and steps out. Usually two print handlers and then usually there's at least one person or maybe more from the association, just doing things like making sure things are outta their boxes, that the scores are recorded on the back of the prints, they go back into boxes, there's no damage because these prints are worth quite a lot of money. And so, there's usually quite a few people in the room, but it's all done in silence and it's all done to this beautiful process of making sure it's organized, it's clear it's transparent, and we're working as one team to assess each image and give it the score that it deserves. so when the print arrives on the box. It has impact. Now, whether you like it or not, [00:22:00] whether you understand it or not, whether you can define it or not, the print has an impact. You're gonna see it, you're gonna react to it. How do you react to it? Is it visceral? Does your heart rate climb? Do you. Do you explore it? Do you want to explore it? Does it tell a clear story? And now is when you are judging a competition, typically the association or the organization who are running the competition will have a clear set of criteria. I mean, broadly speaking, things like lighting, posing layout or composition storytelling. Graphic design, print quality, if it's a print competition. These are the kinds of things that, um, we look for. And they're listed out in the competition guides that the entrant, the author will have known those when they submitted their print. And the judges know them when we're assessing them, so they're kind of coherent. Whatever it is that the, the entrance were told, that's what we're judging [00:23:00] to the most important. Is the emotional connection or the impact? It's typically called visual impact or just impact. What's really important about that is that it's very obvious, I think, to break images down into these constructed elements like complimentary colors or tonal range or centers of interest, but they don't really do anything except create. Your emotional reaction to the picture. Now, we do use language around these to assess the image, but what we're actually looking for is emotional impact. Pictures tell stories. Stories invoke emotions. It's the emotions we're really looking for. But the trick when you are judging is you start with the initial impact. Then you go in and you in real tiny detail, look at the image. Explore it, interrogate it, [00:24:00] enjoy it, maybe don't enjoy it. And you look at it in all of the different categories or different areas, criteria that you are, that the judges that the organization have set out. And then really, although it never gets listed twice, it should do, impact should also be listed as the last thing you look at as well. Because here's the process. You look at the image. There's an impact. You then in detail investigate, interrogate, enjoy the image. And then at the very end you ask yourself, what impact does it still have? And that's really important because the difference between those two gives you an idea of how much or how well the image is scoring in all of the other areas. If an image has massive impact when you, let's put 'em on the light box, and then you explore it and you [00:25:00] enjoy it, and you look at it under the light, and then at the end of it you're still feeling the same thing you did when it came on the light box, that's a pretty good indicator that all the criteria were met. If on the other hand, as you've explored the image, you've realized. There are errors in the production, or you can see Photoshopping problems or blown highlights or blocked blacks, or things are blurred where they should be sharp or you name it. It's these kinds of things. You know, the printing has got banding in the sky, which is a defect. You see dust spots from a camera sensor. These gradually whittle away your impact score because you go back to the end and you ask, what impact does the image now have? And I've heard judges use terms like at the end of the process, I thought that was gonna be amazing when it first arrived on the light box. I just loved the look of it from a distance, but when I stepped in, there were just too many things that [00:26:00] weren't quite right. And at the end of it, I just felt some would, sometimes I've heard the word disappointed you. So that's certainly how I feel. When an image has this beautiful impact and the hair stand up on the back of your neck and you just think, I cannot wait to step in and explore this image in detail. 'cause I tell you one thing, most authors don't own a light box. When you see a print on a beautiful light box, the, there's something about the quality. The way the print ESS is you actually get to see what a print should look like. So when you step in, you are really excited to see it. And if at the end of that process you're slightly disappointed because you found defects in the printing or problems with the focusing or Photoshop or whatever it is. You really are genuinely disappointed. So that's how you approach it. You approach it from this standpoint of a very emotional, a very emotional connection with the image to start with, and then you break [00:27:00] it down into its elements, whatever those elements are for the competition. And then at the end, you ask yourself really, does it still have the impact? I thought it would because if it does, well, in that case, it's done really, really well. one of the things that's really interesting about judging images is we, we draw out, we write out all of these criteria and. Every image has them really. I mean, well, I say that of course every image doesn't have them. If you are, if you're thinking about landscape or a picture of a shampoo bottle, it doesn't have posing, for instance, if that's one of your criteria. But typically there's a standard set of criteria and every image has them layout, color uh, photographic technique, et cetera. So if we look at let's say composition, let's talk about composition. Personally, I like to use the term layout rather than composition because it [00:28:00] feels a little bit more like a verb. You lay the image out, you have all of the bits, you lay them out. I like that because when we are teaching photography when we say to someone, right, what are all of the bits that you have in front of you? How are you gonna lay them out? It feels a lot more, to me, at least more logical than saying, how are you gonna compose the image? Because it allows. I think it allows the photographer to think in terms of each individual component rather than just the whole frame. So we are looking for how the image is constructed. Remember that every photographer really should think about an image. As telling a story, what's the story that you want somebody else? Somebody that you've never met. In this case a judge, but it could be a client or it could just be somebody where your work is being exhibited on a wall. What do you want them to look at? What do you want them to see? Where do you want that eye to go? And there are lots of tricks to [00:29:00] this, and one of them is layout or composition. So we've got through the initial impact, boom. And the excitement. And then you start to think, is the image balanced? I like to think of an image having a center of gravity. Some photographers will use center of interest, which is a slightly different thing, but I think an image has a center of gravity. The component parts of the image create balance. So you can have things right down in the edges of the frame, but you need something to balance it like a seesaw. You can't just. Throw in, throw parts of the puzzle around the frame. So you are looking for where do they land? And of course, as photographers, we talk about thirds, golden ratios, golden spirals, all of these terms. But what we are really looking for is does the image have a natural flow? Does it feel like everything's where it should be? Does your eye go to the bit that the author probably wanted you to look at? Have they been effective in their [00:30:00] storytelling? And by storytelling, I don't necessarily mean storytelling as in photojournalism or narrative rich photography. What I mean is what did they want you to see, and then did you go and see it? Separation? Is the background blurred? And let's say the, the subject is sharp. That's a typical device for making sure you look at the subject. Is the color of the background muted in a way that draws your attention? Again to whatever it is in the foreground. So layouts one of those tools. So we work our way around it and try and figure out does the positioning of all of the elements of the image does their positioning add or distract from the story? We think that author was trying to tell. Let's remember that it's not the judge's job to understand the story. It's the author's job to tell the story in a way that the judges can get it. Too often, you know, when I, when I've judged [00:31:00] a competition, someone will come and find me afterwards and say, did you understand what that was about? I was trying to say this, and it's like, well, I didn't see that, but that's not my fault. You know, it's, it's down to you to lead me pictorially to. Whatever it is you're trying to show. Same with all judges, all viewers, clients. It doesn't really matter. It's the author's job, not the judges. So at the end of that, you then move on to whatever's the next criteria. So you know, you assess these things bit by bit, and by the way, every judge will do it in a slightly different order. There'll be written down in an order. But each judge would approach it in a different manner. For me, typically it's about emotional connection more than anything else, it's about the emotion. I love that genuine, authentic connection of a person in the image. To me, the viewer. I will always go there if, if it's a portrait or a wedding or fashion image, if there's a person in it or a dog, I suppose, [00:32:00] then I will look for that authenticity, that, that visceral, it feels like they're looking at me or I'm having a dialogue with them. That's my particular hot button, but every judge has their room and that's how you approach it. So when it comes to a photograph in the end, you don't really have anything other than light when you think about it, right? That's, you pick up a camera, it's got a sensor, it's got film, it's got a lens on the front, and a shutter stopping light coming, or it goes through the lens, but the, the shutter stops it hitting a sensor. And at some point you commit light to be recorded. And it's the light that describes the image. There's nothing else. It's not something you can touch or hear, it's just light. And of course light is everything. I think, I think the term pho photography or photograph is a mix of a couple of words, and it's a relatively recent idea. I think [00:33:00] it was Victorian and it's, isn't it light and art photographic or photograph, um. So that's what it is. It's capturing light and creating a reaction from it. So the quality of light is possibly the most important thing. There is too much of it, and you're gonna have blown highlights, nasty white patches on your prints, too little of it. You're gonna have no detail in the shadows and a lot of noise or grain, whether it's film or whether it's off your sensor. And then there's the shape of the light. The color of the light, and it doesn't really matter whether it's portrait, wedding, landscape, product, avant garde, it's light that defines things. It's light that can break an image. So with portraiture, for instance, we tend to talk about. Sculpting or dimensionality of light. We tend to talk about the shape of the subject. We talk about flattering light. We talk about hard and soft light, and all of these things [00:34:00] mean something. This isn't the podcast to talk about those in detail, but that's what we're looking for. We are looking for has the light created a sense of shape, a sense of wonder, a sense of narrative. Does the lighting draw your eye towards the subject? And when you get to the subject, is it clear that the lighting is effective and by effective, usually as a portrait photographer anyway. I mean flattering. But you might be doing something with light that's counterintuitive, that's making the subject not flattered. That's maybe it's for a thriller style thing, or maybe it's dark and moody. Harsh, as long as in tune with the story as we are seeing it, then the lighting is assessed in that vein. So we've seen some incredible beauty shots over the past couple of days where the lighting sculpted the face. It had damaged ality, but it was soft. There were no hard shadows, there were no [00:35:00] blown highlights. The skin, it was clear that the texture of the skin, the light, it caught the texture. So we knew exactly what that would be. It had. Captured the shape. So the way the gens or shadows ripple around a body or a face tell you its shape. They haven't destroyed the shape. It's it's catch shape, but it hasn't unnecessarily sculpted scars or birthmarks or spots, you know? And that's how lighting works. So you look for this quality, you look for control, you look for the author, knowing what they're doing. With landscapes, typically it's, it is very rare, in my opinion, for a landscape. To get a good score if it isn't shot at one end of the day or the other. Why? Well, typically, at those points of the day, the light from the sun is almost horizontal. It rakes across the frame, and you get a certain quality to the way the shadows are thrown. The way the [00:36:00] light, sculpts hills, buildings, clouds, leaves, trees, the way it skips off water, whether it's at the beginning of the day or the end of the day. It's quite unusual though we do see them for an amazing photograph of escape to be taken at midday. But you can see how it could be if you have the sun directly overhead, because that has a quality all of its own. And you know, if when an author has gone to the effort of being in the right place to shoot vertical shadows with a direct overhead son, well maybe that's so deliberate that the, the judges will completely appreciate that and understand the story. So it's looking for these things and working out. Has the lighting been effective in telling the story? We think the author was trying to tell? Lighting is at the heart of it. So when we've been through every criteria, whatever they are, lighting, composition, color, narrative, et cetera, et cetera, et cetera, [00:37:00] we've assessed every image, hundreds of them. We've had challenges, we've had conversations. We have a big pile of prints that have made it over the line. To whatever is your particular association scoring, whether it's merit or bronze or whatever. The puzzle isn't quite complete at that stage because there is of course, a slight problem and that problem is time. So if you imagine judging a section of images might take a couple of hours to do 70 prints, 60, 70 prints might take longer than that. In fact, it might take the best part of an afternoon. During that time. There's every chance the scores will wander. And the most obvious time is if a category spans something like a lunch break. We try to make sure categories don't do that. We try to complete categories before going for a break. We always try to be continuous, but [00:38:00] you've still got fatigue. You've got the judges rotating. So all of these things are going on. It sometimes it depends what images come up in what order could conceivably affect the scoring. For instance there's an image that came up this year where I think probably I was the judge that felt the strongest about it. There was something about this particular image that needed talking about, and so when it came up and it was scores that I raised a challenge and my heart rate, the minute the print hit the stand, my heart rate climbed through the roof. It was. Something about it that just connected with me. And then when I explored the image on the lights, on the light box, to me, there was very little that was technically holding it back. There were a couple of bits, but nothing that I felt warranted a lower score. And so I raised a [00:39:00] challenge. I said my point, I went through it in detail. I asked the other judges to consider it. From my viewpoint, they gave their views as to why they hadn't. But each of them understood where I was coming from and unlike the challenge I talked about earlier where no one changed their mind on this one, they did on this one. They also saw things that I saw when we went through it. But at the end of the process, the image was got a higher score, which is great, but. I didn't feel that I could judge the next image fairly because whatever came in, my heart rate was still battering along after seeing this one particular image. And that happens sometimes. It's not common, but I felt I needed to step off the panel before the next image came up. Which I did in work, working with the chair and the team. I stepped off for a couple of prints before stepping back on [00:40:00] just to let my eye settle and let myself get back into the right zone. But during the day, the zone changes. The way you change your perception of the images, as the images come through is so imperceptible, imperceivable, imperceptible. One of those two words is so tiny that you don't notice if there's a slight drift. And so there's every opportunity for an image to score a couple of points lower or a couple of points higher than it possibly could have done. If it had been seen at another point in the day. Maybe it had been, maybe if the image was seen after a series of not so strong images, maybe it would get a higher score. Or of course, the other way round. Maybe after seeing a series of really, really powerful, impactful images that came up, maybe it scored be slightly diminished. Both of those can be true. And so it's really important that we redress that any possible imbalance and every competition I've ever done has a final round. And the [00:41:00] way this is done is that we take the highest scoring images, top five, top 10, depending on the competition, and we line them up. And all of the judges now, not just the judges who are the five on the panel, all seven judges. Get an opportunity to bring each image back onto a light box if they wish, if they haven't seen them already. Because remember, some of those images may not have been assessed by the, well. It cannot have been assessed by all seven of the judges, so there's always gonna be at least two judges who haven't seen that image or seeing it for the first time as a judge. So we bring them back, we look at them, and then we rank them using one of numerous voting mechanisms where we all vote on what we think are the best images and gradually whittle it down until we're left with a ranked order for that category. We have a winner, a second, a third, a fourth, sometimes all the way down to 10 in order, depending on the competition. And that's the fairest way of doing it, because it means, okay, during the judging, [00:42:00] that image got, I dunno, 87. But when we now baseline it against a couple of images that got 90 something, when we now look at it, we realize that that image probably should have got a 90 as well. We're not gonna rescore it, the score stands, but what we are gonna do is put it up into there and vote on it as to whether it actually, even though it got slightly lower, score, is the winning image for the category. And every competition does something similar just to redress any fluctuations to, to flatten out time. It takes time outta the equation because now for that category, all seven judges are judging the winner at the same time, and that's really important. We do that for all the categories, and then at the end of that process, we bring back all of the category winners and we vote on which one of those. Wins the competition. Now, not every competition has an overall winner, but for the one we've just done for the print masters, for the BIPP print masters, there is an overall winner. And so we set them all out [00:43:00] and we vote collectively as a winner on the winner. And then, oh, we rank them 1, 2, 3, 4, or whatever. Um, really we're only picking a winner, but we also have to have some safety nets because what happens if for instance. Somebody unearths a problem with an image. And this has happened, sadly, this has happened a couple of times in my career where a photographer has entered an image that's not compliant with the rules but hasn't declared it. And it's always heartbreaking when it does happen, but we have to have a backup. So we always rank one, two, and three. So that's some backups, and that's the process. That's how we finish everything off. We have finished, we've got all the categories judged, the category winners judged, and then the overall one, two, and three sorted as well. at the end of the process? I can't speak for every judge. I can speak for me, I feel, I think three things. Exhaustion. It's really hard to spend 48 hours or longer [00:44:00] assessing images one by one, by one by one, and making sure that you are present and paying attention to every detail of every image. And you're not doing an author or an image a disservice. You pay each image or you give each image, you pay each image the due attention it deserves. I feel exhilaration. There's something energizing about assessing images like this. I know it's hard to explain, but there's something in the process of being alongside some of the best photographers that you've ever met, some photographers that you admire more than any others, not just as photographers, but as human beings. The nicest people, the smartest people, the most experienced people, the most eloquent people. There's something in that. So there's this [00:45:00] exhilaration. You are exhausted, but there's an exhilaration to it. And then finally, and I don't know if every photographer feels this or every judge feels this, I do. Which is massively insecure, I think. Can't think of the right words for it. There must be one. But I come away, much like when you've been out on the beers and you worry about all the things you've said, it's the same process. There was that image I didn't give enough credit for. There was this image I was too generous on. There were the things I said in a challenge when it gets a little bit argumentative or challenging. 'cause the clues in the title, you know, maybe I pushed too hard, maybe I didn't push hard enough. There are images you've seen that you wished you'd taken and you feel like. I'm not good enough. There's an insecurity to it too, and those are the three things I think as you leave the room, it's truly [00:46:00] energizing. Paradoxically, it's truly exhausting, but it's also a little bit of a head mush in that you do tend to come, or I do tend to come away a little bit insecure about. All the things that have gone on over the two days prior, and I've done this a long time. I've been judging for, I dunno, 15, 16, 17 years. And I've got used to those feelings. I've got used to coming away worrying. I'm used to the sense of being an underachiever, I suppose, and it's a wonderful , set of emotions that I bring home. And every time I judge. I feel better for it. I feel more creative. I feel more driven. I feel more determined. I feel like my eyes have been opened to genres [00:47:00] of photography, for types of imagery, for styles of posing or studio work that I've never necessarily considered, and I absolutely adore it every single second. So at the end of that, I really hope I've described or created a picture of what it's like to be a judge for this one. I haven't tried to explain the things we saw that as photographers as authors, you should think about when you are entering. I'm gonna do that in a separate podcast. I've done so many of those, but this one was specifically like, what does it feel like to be a judge? Why do we do it? I mean, we do it for a million reasons. Mostly we do it because people helped us and it's our turn to help them. But every photographer has a different reason for doing it. It's the most joyful process. It's the most inspiring process and I hope you've got a little bit of that from the podcast. So [00:48:00] on that happy note, I'm gonna wrap up and I'm gonna go and finish my glass of whiskey which I'm quite excited about if I'm honest. 'cause I did, it's been sitting here beside me for an hour and I haven't drunk any of it. I do hope you're all doing well. I know winter is sort of clattering towards us and the evenings are getting darker, at least for my listeners in the north and the hemisphere. Don't forget. If you want more information on portrait photography or our workshops we've announced all of the upcoming dates or the next set of upcoming dates. Please head across to mastering portrait photography.com and go to the workshop section. I love our workshops and we've met so many. Just lovely people who've come to our studio. And we've loved being alongside them, talking with them, hopefully giving a bit of inspiration, certainly taking a little bit of inspiration, if I'm honest, because everyone turns up with ideas and conversations. Uh, we would love to see you there. The workshops are all are all there on the website and the workshop section. You can also, if you wish, buy a signed copy of the book from mastering portrait photography.com. Again, just go to the [00:49:00] shop and you'll see it there on the top. Amazon has them for sale too. It is great. Amazon typically sells them for less than we do, but we have a fixed price. We have to buy them from the wholesaler at a particular price, whereas Amazon can buy many, many more than we can, so they get a better deal if I'm honest. However, if you want my paw print in there, then you can order it from us and it's supports a photographer and it's really lovely to hear from you. When you do, uh, one thing, I'd love to ask anyone who has bought the updated edition of the book, if you are an Amazon customer. Please could you go on to amazon.com and leave us a review? It's really powerful when you do that, as long as it's a good review. If it's a rubbish review, just email me and tell me what I could have done differently, and I'll email you back and tell you, tell you why I didn't. But if it's a half decent review, a nice review. Please head over to Amazon. Look for mastering portrait photography, the new version of the book, and leave us a review. It's really important particularly in the first couple of [00:50:00] weeks that it's been on sale. Uh, it would be really, really helpful if you did that. And on that happy note, I wish you all well. I've grabbed my glass of whiskey and I'm gonna wrap up and whatever else you do. Until next time, be kind to yourself. Take care.   

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Darker Knight joins DJ & Hooligan in flight as they cover the start of Husky Basketball season, make B1G Predictions and preview the battle of UWs

- Headlines and GREGG BELL (Tacoma News Tribune) Gregg brings us the latest 12th man news, including any trade rumors swirling ahead of today's deadline, injury updates and more. :30- MLB free agency has begun, so long Mitch Garver. :35- Well we didn't get off on the right foot with yesterday's pick, can Bucky fix things? :45- UW is finally ranked, maybe now Husky fans can stop freaking out.

Beat Migs!! Steve ate some very expensive carrot cake, the Huskies are ranked top 25, and Mitch Levy, from the podcast Mitch Unfiltered, talks about the trade deadline and big games for the Seahawks.

It's season two of the Hoops Show! Jack McCauley joins former Husky players Jason Crandall and Noah Dickerson to recap the UNLV exhibition win, the season schedule, and expectations for this year's Hoop Dawgs. With a new year and only two returning players (Franck Kepnang and Zoom Diallo), UW Head Coach Danny Sprinkle had a huge recruiting task in front of him. And he produced one of the nation's best transfer classes The guys go straight into UW's 77-62 exhibition win over UNLV where they saw the new group for first time. Yes, there were some guys missing, but they each gave their thoughts. Noah spent time with a number of the players over summer playing with them and getting to know them. He offered thoughts on players we didn't get to see, as well as other observations. Jack asked Jason and Noah about the recent alumni events, including checking out the new hoops facility. How has it all impacted the culture? After a quick break, Jack then goes into a scheduele overview, first into the non-conference part and then into the Big Ten Conference schedule. The three then go into their overall expectations for the team and also go around and predict the opening night starting lineup. The season starts a week from today as UW hosts Arkansas Pine-Bluff. They also talk about an 'X factor' for the season. What could that be? To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

In the third hour, Dave Softy Mahler and Dick Fain chat with Kevin Harlan about the big Broncos comeback, the Colts’ success so far, Russell Wilson, and more NFL, then they discuss the Dawgs loss to Michigan last week and the Seahawks’ Monday night victory.See omnystudio.com/listener for privacy information.

After a bye week, #23 Illinois heads out west to face Washington. Mike Carpenter discusses the ramifications a win (or loss) would have on Illini football for the rest of the season, and if Luke Altmyer and the offense can outduel the Ryan Walters-led Husky defense.