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Trump evades Iran via catering truck, Pete Hegseth's Pentagon is a disaster, and Jared pays off a gangster and drug trafficker as part of his Albanian island takeover.This week Tommy and Ben cover shocking new info on how Trump hid from Iran on his way back from the NATO summit in Turkey, leaving his staff and the press behind as decoys. They shake off their déjà vu to dig into the latest developments in Iran and Israel before touching down in Yemen as the conflict between the internationally recognized Yemeni government and the Houthis heats up. In London, a brave Sudanese protester calls out the UAE's prime minister for underwriting the war in Sudan. Over at the Pentagon, Pete Hegseth continues to try to remake the military in MAGA's image, but still finds time to blame an underling for our dire munitions shortage and cozy up to defense contractors. They dig into the strategy behind Ukraine's attacks on Wildberries (the Amazon.com of Russia), Jared Kushner's payout to a gangster in his quest to steal an island from Albania, the grim news on Ebola and Trump's inaction on the crisis, and why Claude is coming for political speechwriters. Then, Ben speaks to Richard Horsey of the International Crisis Group about the state of play in Myanmar, how coup leader and now-president Min Aung Hlaing is making diplomatic inroads with his neighbors, and the recent—and rare—glimpse of Myanmar's detained former leader Aung San Suu Kyi.Hate listening to ads? Become a Friends of the Pod subscriber for ad-free episodes of Pod Save America, Pod Save the World, Lovett or Leave It, Runaway Country, Offline with Jon Favreau, and more—plus exclusive content, including bonus episodes of Pod Save America. Subscribe now at crooked.com/friends, on Apple Podcasts, or through the Pod Save America YouTube channel.To watch this episode with subtitles, click here and turn on closed captions (CC).You can request a transcript by emailing transcripts@crooked.com. Include the podcast name, episode title, and air date. Please allow 48 hours for delivery.

How can you tell where the real innovation in publishing is happening right now, and why is it emerging from the indie side first? How do you market your own book when you've spent 35 years marketing everyone else's? John Bond talks about Going Indie and what he's learned about authors who last. In the intro, my thoughts on writing with AI, Charles Dickens and encouragement for the 3-year-old dancing to K-Pop at the wedding, UK copyright law, The end of an era — Hugh Howey; Notre Dame, Paris; Today's show is sponsored by Bookfunnel, the essential tool for your author business. Whether it's delivering your reader magnet, sending out advanced copies of your book, handing out ebooks at a conference, or fulfilling your digital sales to readers, BookFunnel does it all. Check it out at bookfunnel.com/thecreativepenn This show is also supported by my Patrons. Join my Community at Patreon.com/thecreativepenn John Bond is the co-founder of Whitefox, a premium publishing services agency, and has over 35 years in traditional publishing, from bookselling to marketing and management. He's also the co-author of Going Indie: Publishing Your Book Your Way, with James Silver. You can listen above or on your favorite podcast app or read the notes and links below. Here are the highlights and the full transcript is below. Show Notes Why 2012 was a watershed moment for publishing in the UK Whether the snobbery around self-publishing has finally gone How to co-write a book with someone, and why there's no formula The pride swallowing involved in getting endorsement quotes for your own book The shadow economy of indie sales that no industry chart measures The hallmarks of writers who build a long-term career You can find John at wearewhitefox.com. Transcript of the interview with John Bond Jo: John Bond is the co-founder of Whitefox, a premium publishing services agency, and has over 35 years in traditional publishing, from bookselling to marketing and management. He's also the co-author of Going Indie: Publishing Your Book Your Way, with James Silver. So welcome back to the show, John. John: Thank you, Jo. Thanks so much for having me. Jo: You were last on the show in 2022. You've been on a couple of times, but just set the scene. Tell people a bit more about you and your long background in publishing. John: I suppose I could say I started as a marketing manager at Penguin back in the early 1990s in London, and that role eventually evolved into running sales and marketing, as it often does. I did that at Penguin and at HarperCollins. Then I ran one of the publishing divisions at HarperCollins, including 4th Estate, and published Hilary Mantel and Jonathan Franzen and Chimamanda Ngozi Adichie and others. I left that in 2011 and set up Whitefox in 2012, and it's a classic startup story. It was somebody I worked with at HarperCollins. We sat around a kitchen table, came up with an idea for a business, which was Whitefox, and that's grown into the creative agency that it is today. Jo: So back then, did you think, “I can do this better”? Was that the impetus, “I can do publishing better than Penguin and HarperCollins”? John: No, I thought we would solve a problem. There's something very attractive about that whole startup mentality and beginning something from scratch. I mean, I was in my early 50s. I'd had a long career in traditional publishing. On the plus side, I knew a lot of people, and I thought I could get meetings, people would reply to my phone calls or my emails. On the downside, I didn't necessarily have the energy of a 20 to 25-year-old. I knew a lot of people and I knew quite a lot of things, and I also knew what problems something like Whitefox could solve. We set up with this idea that if we could galvanise and organise the diaspora of freelancers in the publishing space and make them available to anybody that wanted to make a book, that that would be quite a powerful thing. These incredibly creative, wonderful people who were below the radar and were not particularly valued or managed or utilised properly. I thought if we could access that and make that available not just to traditional publishing people who know about these people, but to individual authors, businesses, brands, people that wanted to make a book, and if you added a layer of our expertise from traditional publishing, that could be quite powerful, I suppose. That's what I was thinking back then. Jo: It's funny, though. You said these wonderful freelancers who were not particularly valued or managed or utilised properly. That could also apply to a lot of authors in traditional publishing. John: Totally. Totally. But if I'm honest, I don't think I was thinking about that. What's really evolved since we started, even in that 2011, 2012 period, is so much has happened to independent writers, indie authors. The whole ecosystem has become much more vibrant, and what is accessible to those writers is much greater. I'd like to think we've played a part in that. What that's done is put power back into writers' hands, and that quickly became apparent in the business as a byproduct of what we'd set up. Jo: Yes, and 2012 I do think in the UK was a pivot point, because I got into self-publishing in 2006/2007 when the Americans did with the beginning of the Kindle and the iPhone. Really the American ecosystem grew first. I happened to be in Australia, and so I think I was able to escape the negativity of the vortex in the UK, which took a number more years to embrace self-publishing as a force to be reckoned with as opposed to an embarrassing thing in the corner for vanity press. Do you see 2012 as a changing point in UK publishing? John: I think we'd just come out of the Kindle moment, hadn't we? There were all sorts of conversations going on about how that was going to change things forever. I think no one quite knew what the upshot of that was going to be, but we knew that it was incredibly disruptive. In 2012, Penguin, as it was then, before Penguin Random House, had offered to buy Author Solutions for $115 million, presumably seen as some kind of defensive measure as to what the market was going to evolve into. I think it felt like a real period of change. In the UK, James Daunt took over running Waterstones, and he was then ultimately going to run Barnes & Noble. It felt like a bit of a watershed. I think we were lucky in that sense, that maybe in the UK and in London, what we were creating coincided with an opening up of opportunity and creativity, and people wanting access to more tools to be able to do things themselves. Getting this idea that you invest in your own talent and what that could mean for your ability to do things quicker, better. Some of it was happenstance, but lucky for us. As you say, we then became aware that in a sense a lot of these things had come to fruition earlier on the US side. In London, that whole idea of setting up something that wasn't a traditional rights-owning model, but where you wanted to be working with people creatively, felt actually really exciting and timely. Jo: And when you started to work with independent authors, probably a couple of years after that, you started to work with a lot more indie authors and things really started to change in terms of the business side. Did you feel any of the snobbery from the traditional industry? Like you mentioned, you have a lot of contacts, a lot of connections. I came to your wonderful launch party and there were just people from all over the industry. I wondered if you got any kickback, or if anyone raised their eyebrows a little bit at who you were choosing to work with? John: Oh, definitely. And I would say I really think that's gone. You may think differently, Jo, but from my perspective, I think there has been such an evolution in the nearly 15 years that we've been going. So any of that residual snobbery, looking down your nose at people that were going DIY, producing multiple books, learning from every single publication. We've spoken about this before. I remember you sat on the panel of a FutureBook conference in the UK, which was run by a trade magazine, with this idea of looking at the, in quotes, “digital future of the business.” It felt like there were a lot of things being talked about, but not a lot of action on the traditional side. I suppose some sort of awe that there was some magic going on with people who were making a success of self-publishing. But then quite a lot of people looking down their noses at things that shouldn't get through the gatekeepers. I do think that's gone. Or if it's not completely gone, I can see it on the way out of the door, because there's no room for that when agents are struggling to sell books to publishers because publishers are looking at the next indie author, the next Freida McFadden, the next Sarah J. Maas, the next Rebecca Yarros. So whoever it may be, or wherever they're publishing, whatever they're doing now, wherever they may be, knowing that a lot of those people will already be publishing and be on not their first, second, third or fourth, but potentially their 10th or 11th book. It's a race to see who can help those authors, as a traditional publisher would see it, amplify what they're doing. I think the idea that there's an us and them, if it did exist then, which it certainly did in certain publishing quarters, is gone. I used to go to those conferences, like the FutureBook Conference, and certain publishers would talk about publishing, and when they meant publishing, they meant a really tiny area of quite literary, traditional imprints. That's what publishing meant. They didn't even mean publishing to mean educational publishing, or children's publishing, or academic publishing, and certainly not Kindle or POD or whatever. So I think that's had to change for very good, sound, commercial, economic reasons. Jo: Yes, you're right. I definitely have heard, as we go to similar events sometimes, and you do hear agents used to talk a lot more about finding books very occasionally in a slush pile, or doing courses so you could meet people and do pitch events and all this. Now it's often build an audience on BookTok or whatever, and sell lots of books, and traditional publishing as an amplifier, as you said. That's how I always hear them pitch it now, the question of— What can traditional publishing still do when indie authors can do so much? It does seem to be, well, we can amplify you, we can get you into traditional press, we can get you in traditional bookstores, we can help you with film and movie deals, that kind of thing. So that's really interesting, because that's actually changed quite a lot. They don't now seem to say, “Oh, well, we can make sure we pay you,” or, “We are editorial success as such.” John: I think they don't say editorial success or quality or indeed marketing, because that was what used to be said. I think there's an understanding that a lot of indie writers are better marketeers of their own books than traditional publishers, and if you go into the publishing machine, then you'll get your slot. It lasts for a certain period of time and then that moves on to another book. Whereas obviously if you're writing your own book and you're marketing your own book, you're able to do that yourself 24/7 wherever you are in the world, and you will know more about your readers and your audience and how that evolves than a traditional publisher would. What they probably mean now is, as you said, as much as anything, distribution, or even physical distribution. Because to be part of that process, I think that is still where a large conglomerate is able to wield some muscle, with this idea that if you physically want to see your book in bricks and mortar retailers in X outlets around the world, that's potentially easier to do if that is your aim, via a traditional publisher. So it is constantly evolving, because it used to be that marketing was the silver bullet, and I don't think that's the case anymore. Jo: No. We'll come back to marketing, shall we? Struggling with marketing. So let's get into your book. You recently co-wrote Going Indie with James Silver, Publishing Your Book Your Way. Obviously you already knew a lot about indie authors, so I wonder, what did you discover in the process of researching the book and the interviews you did? And I was one of your interviews. Did anything come up that surprised you, since you're already pretty embedded in the world? John: I would say some of it was reinforcing what I knew. So how everything is so intertwined, how in some ways unlinear everything is. People are doing lots of things in a different order to the way that traditionally writers would perceive this relay race of a manuscript gets passed to an editor, an editor passes on. That's just not how it is or needs to be anymore. I still think there is—not even a misconception—but I think there's a received wisdom that when you're talking about self-publishing, you're talking about fiction. The majority of books that Whitefox produces are not fiction, they're non-fiction. Some of them are quite mainstream, some of them are quite niche. That idea of connecting to your audience and your followers, and being slightly more scientific about how you find readers in your non-fiction niche, I think is still unspoken about in a way, in that genre fiction tends to be what people automatically assume the conversation is about. This probably doesn't surprise you, but I was pleasantly surprised to have it confirmed to me quite how much swapping and sharing there is of skills and knowledge in that space. I'm not saying indie writing is egoless at all, but there's quite a lot of sharing of knowledge and what works, and collaboration, which I think is great to see. Again, if you've, as I did many years ago, come out of corporate conglomerate publishing, traditional publishing, there's less of that by the very nature of the kind of organisation. And look, we just talked about marketing a little while ago. I do think this whole idea that the cutting edge of experimentation, it's not traditional publishing, it's indie writers. They are looking at not just how to find readers, but how to fulfil orders, how to make commercial sense of what they're doing from the absolute outset and get-go of what they're doing. And just how now the lines are blurring between what would be classified as traditional digital publishers and the writers who are doing their own thing, or doing their own thing on behalf of a few other writers. Those lines have completely blurred. There used to be this traditional hardback, paperback, X number of books a year, a year after hardback there's a paperback. This is the model we have been doing for centuries, and people doing things on their own. I think that's blurring massively, and the Venn diagrams of people's areas of expertise are just overlapping massively. Jo: Well, I think you're right there, and certainly the hardback special editions with sprayed edges and foil. A lot of us now are doing that first and not putting out the other, or putting out the rest of it at the same time. I dare say probably there are more indie authors with sprayed edge hardbacks than there are traditionally published authors. John: I'm sure that's right. And what's interesting is if you go to a traditional book printer, they are loving the direct communication with writers, that's not coming through traditional channels and traditional relationships. It's great business, it's interesting. I think that's something that's even developed in the last couple of years, that cutting out of some of the middle men required. Jo: Yes, and in terms of supporting freelancers and small publishing houses and printers and stuff, the other thing I've heard is that indie authors pay upfront, or they pay quickly, compared to some of these big publishers who are asking for long lead times and steep discounting. So actually a lot of these independent businesses are doing better under indie author work than they were under traditional. John: I think that's right, and that's what I mean also about the sharing of information and this collaborative idea of sharing creative knowledge. I mean, I'm making it sound like a kind of 19th century cooperative, which it isn't. I'm not suggesting that for a second. It's this idea that there's a lot of people learning a lot of things and there's a keenness to share some of that information, because if you've developed your own readership for your unique creative product, some of those learnings are very exciting. The printers I've spoken to love working on those kinds of things, because they are also being challenged to come up with new ways of developing ever more innovative physical product. Jo: Yes, I think it's a fun, creative time for sure. Things like Kickstarter, which you came on and talked about crowdfunding years ago, and I've obviously done. I think, what am I on now? Seven? I've just done my seventh. John: Wow. Jo: It's so much fun. But now what's happening is traditional publishers are arriving on Kickstarter and all that kind of thing. So we really see a blurring. Let's come back to your book, so Going Indie. You co-wrote it. Now obviously there are lots of positive sides of collaboration, but in terms of any challenges with collaboration and co-writing and the writing process of doing this? Because I've done this several times and I've found it very challenging. So tell us about the collaborative writing process. John: We thought a lot about it before we took it on. What I would say, having done it, is I am assuming there is no formula for how you do this. At Penguin I worked with a married couple who were crime writers, and they wrote books together. They merged their names so it appeared to be one name. I could not tell you, and they didn't share what that process was, whether they were writing different chapters or … I don't know. So I can only speak from my own experience. James is an established journalist. He's great with deadlines. He was very good at chivvying me along when I needed to be persuaded to hit the deadlines that I'd promised. I write blogs, I write newsletters, I write content for our website, but this is my first book. I've never written anything of this length. So in a way it started with the structure. It started with this idea that we would play to what we perceived as our respective strengths in terms of writing. We absolutely were not each writing every third word or anything like that. It was a process of trust in different parts. I thought, James had done some research and will be better at writing that. He deferred to me on areas that he took to be my areas of expertise. We did every interview for the book together. We went over the notes from those before they became part of the interviews for the book. And some of the book's elements are diagrammatic, so those are very easy to collaborate on. I think we tried to be professionally, creatively constructive with each other. So it was raising an eyebrow rather than shouting at each other if we didn't agree about something. A lot of it was down to the editing, and I don't know what your experience was like with a co-writer, but a lot of it came down to: here is something which is quite baggy. How do we, between us, make this as tight as we possibly can? I don't mean copy editing or proofreading. I mean the actual sort of, how do we get this into a pithy, usable, practical but discursive book? We didn't ever set out for this to be a pure reference book at all. We wanted to take a snapshot of what was going on. So a lot of it was genuinely trying to do some research and get people to feed into what was going on from lots of different perspectives, which is why we wanted to get mainstream traditional publishers, we wanted to get agents, we wanted to get indie writers, we wanted to get people who have all sorts of experiences and perspectives. That's what makes it what it is, which is, here's what we think are some of the interesting discussion points of what's going on now. Jo: It is a fantastic snapshot. I think it's really interesting—and obviously you also have seen my book, Successful Self-Publishing, which is on its fourth edition—this is one of the difficult things with snapshot type books. So have you already thought about that? I know this one has just come out, but have you thought, “Oh no, in five years we have to do it again”? John: Well, I think we thought we're going to have to address AI, which we do in the book, and we really tried to caveat that with saying, look, so much may change so quickly, and here we are talking about what we know now. We obviously tried to set the context for where we are now, and we tried as much as possible to make something which would last as long as we can. I think what we did think was, we have tried to make it as international a perspective as possible. But at the same time, we are a London-based agency, and a lot of the views will be from people based in the UK. So I think what I would like to explore is something that looks at potentially somewhere like the US, where I think there'll be different people that would perhaps have different perspectives on different things. So I think we thought about potentially there being future iterations of the book, but not yet. Jo: Not yet. This is the challenge with non-fiction, of course. On that, I would say what you just said around the US and stuff, the successful UK authors all use the same systems as the US. So I wouldn't say that the US … I mean, we all have the US companies we all use. I say Kobo is obviously Canadian, but I would say that we use the same ways of doing things. Obviously you might interview a different author, but … John: That was all I meant. I meant interviewing. Because we've interviewed agents and authors and publishers and they are largely UK based. So it was the idea that maybe there are some perspectives on things rather than systemic. Jo: Differences. John: Yes. Just that. Jo: So then I guess another challenge, we've kind of nodded to it so far, is marketing. So let's talk about the challenges of getting this book out in terms of publishing and marketing. Because you've been on the inner circle side, trying to do that for other people's books, but your own book, this is a whole nother thing. So tell us about that. John: Well, how do you do it, Jo? I mean, honestly, I've loved some of it. I get how you become completely obsessed with your book and trying to make sure that you can get it into the hands of the people that you want to get it into the hands of. We've got some great endorsement quotes, which was a task that, how can I say this? I would call it pride swallowing. The idea that you really try and get people to say nice things about your book and, if they don't reply, you think, “How much do I pester them? How much do I annoy them by asking them again nicely?” And the absolute sheer unadulterated joy when they come back with something positive that you can use and utilise in some way. So that whole process of waiting for feedback, I suppose, and hoping that people are going to like what you've done and help you spread the word for it. We had a launch event, we've given books away. We've published the book as ebook and POD. I think one of the great things about that is it's enabled us to be completely adaptable and make changes right up until the last minute. That drove everybody in my team completely crazy because we were making changes up until the last minute. So, is the book definitely going to be available on publication date? What's it going to do? You know, all of that kind of stuff. Also, just getting this idea that I suppose you can never stop. Is that a very obvious thing to say to a writer? It probably is. You just can't stop, because if you go, “Right, well, I've done it,” complacency is the enemy. Just as soon as you've got that quote, or someone said that they're going to give you an opportunity to talk about it on a platform, it's just another day and you've got to keep thinking about how you can spread the word and tell people that it exists. Jo: Yes, well, I think that's right, and particularly non-fiction, which unless it's very timely and you must get it out right now. But other than that— Most books you just have to keep marketing for years. Then just as you say, when do you stop? Well, you kind of never stop unless you want to, unless you want to retire and just give up, basically. Dean Wesley Smith, who's a big writer in the US and a kind of a mentor of mine in past years, he talks about it as this massive sea of books. And when a book arrives, he pictures it coming down and landing on the water. So the day you launch, it's landed on the water, and then it begins to sink. Then there are all these other books coming down. It's like this rain of books, and your book is sinking as soon as it lands. And your job is to keep it afloat somehow. John: Keep it afloat. Jo: Yes. John: I think you're right, and it's such an interesting perspective for us, who work with a lot of people who have one book. You know, they've spent 10 years writing it. It's their life story. It's their memoir. It's their self-help book. It's their book that accompanies them on their speaking journey, or whatever. Then there are the people who are writing constantly and can't stop writing because they're exercising that creative muscle all the time and wanting to get better, and wanting to improve and learn and understand why this works and why that hasn't worked. Just getting a glimpse into what it must be like for that person for whom writing is not a hobby. I kept saying to myself, “This is not something you're doing as a hobby.” I want this book to be of value to people, and if I'm investing that time and effort into something that I want to get out there, you've got to commit to whatever it is you need to do to make sure you're not sinking. Jo: Yes. John: I will now not be able to get that image out of my head. Jo: Yes. I know there's people listening who don't have a mind's eye, which I always find fascinating, but for those of us with a mind's eye, you can now picture that and you will never forget it. The other thing, I guess, is that, having done a lot, over 40 books now, the inevitable thing is you cannot keep pushing all of those books back up to the surface. So when you do get the bug as such of writing, the most interesting thing for all of us is always the next book. It's always like, ooh, the next thing I'm doing, I'm very excited about. So you do have to pick your battles on marketing. So have you got the bug, do you think? Are you thinking of other books in general? Because as you said, you must be, I guess, in your 60s. John: I am. Jo: You could retire. John: I am. You were talking about that long career. I could. I mean, I really love doing it, and I would love to do more. I think one of the things that surprised me was just how many ideas came up while we were doing the book about tangents that one could take it. I have no desire to write a novel. I don't want to do that. I wouldn't be very good at that. I do think there are some interesting spaces around where there's a kind of intersection of creativity and learning, and how you can develop books that would help people who are trying to achieve different things in different sectors of publishing. So without getting too granular about it, this book doesn't really address brands who want to become publishers, and I think that is something that our business has developed into working with, not just individuals, but businesses and brands. I think there's definitely spin-offs of this book which are not about repeating what we've done so far. And this whole idea of what you've been doing for a long time, what we've been doing since 2011, 2012, it's evolving now at such a speed. I mean, who would have known what was going to come out of TikTok? As you talk about TikTok to Shopify, that whole kind of new ways of finding readers, of taking books to market. As you said, Kickstarter, crowdfunding. There's all sorts of things that I think will emerge, because in a funny sort of way traditional publishing at the moment feels quite conservative with a small c. I mean, the bestsellers. Dan Brown is number one in the bestseller list this week in the UK as I speak, who has been a bestseller forever. And obviously new writers come along the whole time, but the market feels a little bit as if it's waiting now for innovation. I think if that innovation's going to happen, it's probably going to happen in the indie space before it happens in mainstream publishing. So people are coming to us and thinking, does that represent a trend? Does that represent something which could be a way of looking at something a little bit deeper, doing some research around and creating something which is not a long book, not a massive thesis, but something which is indicative of something which could be useful for people. Jo: Just coming back on the Dan Brown is in the bestseller list. I think this is completely to do with the way that traditional publishing measures things. For many years, more than a decade, probably since the beginning of Kindle, certainly the beginning of Kindle Unlimited, there is a shadow economy, I call it, or a parallel economy. I would say that almost zero of my own personal sales are measured by any industry standards. Anyone who makes any money from Kindle Unlimited or Kickstarter or Shopify, or selling direct in any form, or selling books at conventions, none of this is measured by any traditional things. As you know, the New York Times list, for example, does not include Amazon sales in their bestseller list. So you've got indie authors in the UK who are incredibly successful who have to decide, say, someone like LJ Ross, for example, decides, “Okay, I'm going to set up a proper imprint with Gardners or whatever so that I can get in bookstores so that I can hit a Sunday Times list or something.” So I would say that seeing things like Dan Brown on a bestseller list has almost no meaning in the shadow indie economy. John: No, you're absolutely right. We're not even able to see audiobook sales. Jo: Yes, audio. Any kind of borrows, like Spotify. John: No, you're completely right. I suppose I was making a broader cultural point, that it doesn't feel like there's an enormous amount of innovation going on or risk taking within what I would call mainstream trade publishing. And there doesn't seem to be the need to be, because there will be more consolidation. Small companies will be bought by big companies, so there's growth through acquisition. There's still a hope that something will take off that is a surprise, and there's still an enormous reliance on established brands who, even through the traditional metrics of how you measure them, are probably selling less, but still at the top of the pile. I suppose that's what I was meaning. Jo: Yes, and I agree with what the industry looks at as signals. It's just, as we said, a lot of these signals are invisible. So coming onto innovation, at London Book Fair this year there were a lot of sessions on AI, and you mentioned AI briefly, and there is a chapter in Going Indie on generative AI. And of course there's a lot of negativity and drama and lawsuits and this, that and the other. But at the same time, at London Book Fair, a lot of traditional publishers talking about using it, and of course they always say, “Oh, we use AI only in marketing and business, not with the creative or editorial.” Everyone makes this distinction. What are your thoughts on what's happening and where's it going with AI? Is a lot of this stuff not happening in public and just going on behind closed doors? John: I think so. We do have a chapter in the book on AI. We've generated summaries of every chapter using AI, which we explicitly said in the book as well. We've got our Ten Commandments of what we think are useful guidelines. I think that there has to be an enormous amount being done, whether it's experimentation or speeding up for efficiency's sake, or things that slow you down, within mainstream publishing. There has to be more than just the guardrails around the creative process. And clearly when we're talking about metadata, book description, cover copy, presumably royalty calculations, presumably if you're trying to grow your newsletters. There has to be an enormous amount of activity going on. We're driven by the market, so we do not commission. Writers come to us and they either want to work with us and we want to work with them, or that doesn't happen. So we're in a sense seeing what the market is seeing, and that is a whole range of things. As I've said before, there's a lot of sweeping generalisations out there, which if you look back to that Kindle moment, we were talking a little while ago about what was going on in 2010/2011, about the enormous broad brush strokes that were being perceived as a result of Kindle. Kindle has affected some areas of publishing, it's affected some not at all. I think it will be absolutely fascinating when the sweeping generalisations stop and there becomes, I suppose, even more transparency. The thing that people are looking for, isn't it? A little bit less opaqueness as to what is really being done. Because everybody's being so careful about what they say they're doing and what they're not doing. I suppose ElevenLabs is the one where people are openly engaging on the audio side. I mean, everyone is being so careful and cautious. Jo: Me too. John: What do you think? We spoke a bit about AI within the book, and I'm interested to know what you think. Jo: Well, I've obviously been openly talking about it since 2016. I openly talk about using it, and I've got my Patreon community where we talk about how we're using it, and tips on how to use it. But then, because I have been writing and publishing since 2007, 2008, I'm very strong in my creative voice. I'm very strong in my understanding of what I consider to be my level of output, and what I publish under my own name is what I publish under my own name. John: Totally. Jo: So the problem is for people who are less confident, I think, in what they're doing creatively perhaps. I know some people feel like they're scared it will take over or something. When you're as strong-minded as me, it's not taking over anything. John: It's not going to take over anything. And the other side of the coin is how many people are finding Whitefox using ChatGPT. Jo: Mm. John: I'm thrilled that we are emerging, through very detailed briefing of AI, as something that is worth engaging with. Jo: Positive marketing. John: Yes, exactly. As you say, I think there's a lot of negativity, and I think it will settle down eventually. I think less hysteria. Jo: Yes, hopefully sooner rather than later. So as we come to an end, you've been in the publishing industry a long time and seen a lot of people who have disappeared, but also those who've lasted. I wondered if maybe you could comment on those who last, because I definitely feel like I'm in my 50s now, and I want to keep doing this. I'm pretty obsessed with— What are the hallmarks of people who have a long-term career? So reflections on that. John: Oh, that's such a good question. I think there's some common characteristics and themes. So I think authenticity, I think this idea of being continually curious. I think there are people who can't help but create, and this idea that once you've sort of expelled once, that's enough. I think there's people that just can't stop creating, whatever you do with it. But this idea that the more you do, the better you get, the more you evolve and keep an open mind. I think there's definitely entrepreneurial writers who love this idea of keeping their readers engaged, and how that conversation is something that evolves and that collaboration evolves, is fascinating. I think if you love that, and you listen, there's always an opportunity to keep building on what you do. I love the writers who we work with. I can think of a writer who we're working on his fourth novel at the moment, and he is a bundle of positivity. No matter the trials and tribulations, the things that have gone wrong, his expectations definitely not being met with his first book. He definitely has this idea that he wants to keep writing, he wants to get better, and he is getting better. It isn't a journey that has a beginning and an end. It's something that will continue for as long as he wants to write. Every single book that he has published, he has learned and gained confidence, gained a network of connections that he's utilised himself now to not make the first half a dozen mistakes he made on the first book. Who knows where it will end up? But certainly the satisfaction he's getting, and the sales he's getting, are growing as he becomes savvier and quicker to make the right choices and decisions. So I think that's my honest answer to that. I think there are definitely people who think, “Phew, I have really wanted to do this book. Now I can rest easy. I've done my book.” Then there are people who really, whatever their objective, whatever the definition of success is from the get-go, just can't help creating. I do love that and respect that. I don't think our book falls quite into that category, because I think it's a slightly different thing. I think there are people who are still making a success of what they do and redefining that as they go on, and who are really open to ideas and input from different people and are not closed off. I love working with those people. Jo: So where can people find Going Indie and everything you do online? John: Well, Going Indie is available online at all good bookshops. It's available at Amazon and anywhere you buy books online as ebook and POD. Our website is wearewhitefox.com, and you'll find information about not just our book there, but a lot of other things that we're doing on that site. Jo: Brilliant. Well, thanks so much for your time, John. That was great. John: Thank you so much, Jo. It's been a pleasure. The post Going Indie, Publishing Innovation, And The Challenges Of Book Marketing With John Bond first appeared on The Creative Penn.

Das Finale steht vor der Tür! In London fällt die Entscheidung um die Titel in der Fahrer- und Herstellerwertung der Formel-E-Weltmeisterschaft 2025/26. Luca Storms und Tobi Wirtz blicken aber natürlich nicht nur auf den Kampf um die WM, sondern geben einen vollständigen Überblick über das letzte Rennwochenende der Saison sowie das allerletzte Mal, dass die Formel E auf der Indoor-Outdoor-Rennstrecke im ExCeL antritt. Außerdem geht es um eine mögliche Verlegung des Gen4-Auftaktrennens in Jeddah sowie um zwei Sonderlackierungen sowie zwei Einträge im Guinness Buch der Rekorde. Außerdem haben wir wieder einmal eine Ausgabe unseres beliebten Formel-E-Quiz Grid Dummies für euch. Viel Spaß beim Hören!

Betty Buckley is a legendary, multi-award-winning actress/singer whose career spans theater, film, television and concert halls around the world. She is a 2012 Theatre Hall of Fame inductee and the 2017 recipient of  the Julie Harris Awards from The Actor's Fund for Artistic Achievement and received The Lifetime Achievement Award from The American Songbook Association in 2023. She won a Tony Award for her performance as Grizabella, the Glamour Cat, in Andrew Lloyd Webber's Cats and received her second Tony Award nomination for Best Actress in a musical for her performance as Hesione in Triumph of Love. She received an Olivier Award nomination for her critically acclaimed interpretation of Norma Desmond in the London production of Andrew Lloyd Webber's Sunset Boulevard, which she repeated to more rave reviews on Broadway. Ms. Buckley is featured in the film By Design, written and directed by Amanda Kramer, and it made its debut at The Sundance Film Festival in January 2025. She is also featured in the film Eternity for A24 Studios, starring Miles Teller and Elizabeth Olsen, released in November 2025. In March 2024, she co-starred in Imaginary for Blumhouse Productions and released by Lionsgate. She co-starred with James McAvoy in the M. Night Shyamalan hit film Split, one of the top international box office hits of 2017. She received a Saturn Award Nomination for Best Featured Actress for her work in the film. Her other films include her debut in Brian de Palma's screen version of Stephen King's Carrie, Bruce Beresford's Tender Mercies, Roman Polanski's Frantic, Woody Allen's Another Woman, Lawrence Kasdan's  Wyatt Earp and M. Night Shyamalan's The Happening. In 2024, The Mayfly, an animated short film written, produced and narrated by Ms. Buckley played the film festival circuit and won several awards, including Best of Festival, Best Director and Best 2D Character Based Animation at The Los Angeles Animation Festival. The film also won Best Animation at The Lady Filmmakers Festival in Los Angeles. A love letter to New York City and music, The Mayfly is a lyrical tale that was inspired by a true event at the Café Carlyle, with a score composed by seven-time GRAMMY® nominee Christian Jacob. Her other Broadway credits include 1776, Pippin, Song and Dance, The Mystery of Edwin Drood and Carrie. She headlined the first National Tour of the new Broadway production of Hello, Dolly! in 2018/2019. Off-Broadway credits include the world premiere of Horton Foote's The Old Friends, for which she received  a Drama Desk Nomination in 2014, White Lies, Lincoln Center's Elegies, the original NYSF production of The Mystery of Edwin Drood, The Eros Trilogy, Juno's Swans. Getting My Act Together and Taking It On  The Road. Regional credits include The Perfectionist, Gypsy, The Threepenny Opera, Camino Real, Buffalo  Gal, Arsenic and Old Lace, The Old Friends at Houston's Alley Theatre and Grey Gardens at the Bay Street Theatre in Sag Harbor, NY and The Ahmanson Theater in Los Angeles in 2016 for which she received an Ovation Award Nomination. In London, she starred in Promises, Promises for which she was nominated for An Evening Standard Award and in the 2013 British premiere of Dear World. On television, Buckley had a recurring role on Law & Order SVU for NBC. She co-starred in the third season  of AMC's hit series Preacher and has guest starred on the Fox/Warner Bros. TV shows: The Cleaning Lady, The CW hit Supergirl, the NBC Series Chicago Med and ABC Family's Pretty Little Liars. For HBO, she has appeared on Getting On, The Leftovers, The Pacific and for three seasons had a recurring role on OZ. She  starred as Abby Bradford in the hit series Eight is Enough. For more information, visit www.bettybuckley.com Learn more about your ad choices. Visit podcastchoices.com/adchoices

2021年9月云南贵州卷听力第一节听下面5段对话。每段对话后有一个小题，从题中所给的 A、B、C 三个选项中选出最佳选项。听完每段对话后，你都有 10 秒钟的时间来回答有关小题和阅读下一小题。每段对话仅读一遍。1. Where is Alice now?A. In New York.B. In London.C. In Chicago.2.What does the woman think of the cake?A.It's not very fresh.B. It's not tasty.C. It's not expensive.3.What will the man do?A.Wait for a few minutes.B. Go to the room upstairs.C.Put off the meeting.4.How many times has the woman seen this movie?A. Twice.B.Three times.C.Four times.5.What is the woman going to do?A.Show photos.B. Goon a trip.C. Attend class.第二节听下面 5 段对话或独白。每段对话或独白后有2--4个小题，从题中所给的 A、B、C三个选项中选出最佳选项。听每段对话或独白前，你将有时间阅读各个小题，每小题5秒钟;听完后，各小题将给出5秒钟的作答时间。每段对话或独白读两遍。听第6段材料，回答第6--7小题。6. What is the danger of eating ice cream according to the man?A. Putting on weight.B. Catching a cold.C.Having a headache.7.What is the probable relationship between the speakers?A.Husband and wife.B.Teacher and student.C.Father and daughter.听第 7 段材料，回答第 8--10小题。7. Where was the boy this morning?A. In the classroom.B. In the art museum.C.At Ms. Green's house.9.How did Ms. Green feel about the boy's painting?A. It was boring.B. It was strange.C. It was pleasing.10.What is the topic of the conversation?A. An oil painting.B. A famous artist.C. An art lesson.听第 8 段材料，回答第 11--13小题。11. What does the woman say about raising a kid while working?A. It's a hard task.B. B.It requires skills.C. C.It keeps her busy.12. What does the woman's husband do at home?A. Do more housework.B.Care more about their kid.C.Spend more time reading.13.What does the woman often do with her kid?A. Do exercise.B.Take pictures.C. Go shopping.听第 9段材料，回答第14 至 17小题。13. What is Jennifer doing?A.Hosting a meeting.B.Serving a customer.C.Having an interview.15.What does Jennifer learn from her previous job?A.Sales techniques.B.Interpersonal skills.C.Language knowledge.16.What was Jennifer's worst experience at work?A.Receiving an unreasonable phone call.B.Arguing with the manager.C.Dealing with a complaint.17.What will Jennifer do next?A.Make a decision.B. Apply for the position.C. Wait for a call.听第 10段材料，回答第 18--20小题。18.What is Mary Glen?A.A lovely shop.B.A holiday place.C.A farmer's market.19.Where does the speaker suggest riding bikes?A.Along the River Dent.B. Along the Soli.C. Along the Evergreen Trail.20.Why does the speaker give the talk?A. To do promotion.B. To introduce the town of Soli.C. To discuss a sport.答案1-5BABAC 6-10 CABAC11-15BAACB 16-20 CCBCA录音材料 Text 1M:Alice! So nice to see you. I thought you went to New York. Why are you still here in London?W: It was my sister who went to New York. And she's in Chicago now. I've been here the whole time.Text 2M:Linda, have a taste of this cake and tell me what you think.W:OK. Hmm… I'm afraid it has gone bad. When did you buy it?Text 3M:Excuse me, isn't the staff meeting at 9:30? I've been waiting here for ten minutes, but nobody showed up.W:You're in the wrong room. It's one floor up.M:Oops! Thank you.Text 4M:Hey, you come to watch the movie again. Weren't you here yesterday?W:Oh, yes. I saw it last week and I saw it again yesterday. I always see my favorite movies four or five times.M:Here's your ticket. Have a nice time.Text 5W:Bob, your trip sounds wonderful, but I have to go now. My biology class starts in a few minutes.M:Oh, sorry, Caroline. I didn't mean to hold you up.Text 6W:It's hot today. I'd like to have some ice cream. Do you want some, dear?M:No, thank you. Do you know the danger you face when eating ice cream?W:Yes, gaining weight.M:No, not that. Have you heard about brain freeze?W:No, what's that?M:For many people, eating ice cream or drinking an icy drink too fast can produce a terrible headache. It usually hits in the front of the brain.People also call it “ice cream headache”.W:Okay. I see. You know what? After all these years, you sound more and more like my father.Text 7W:Mike, what lessons did you have at school this morning?M: We had art, but we didn't go to the classroom. Ms. Green took us to visit the museum in town.W:How come? What did you do there?M: We looked at paintings by famous artists.W: I wish I had been with you. Did anything attract you?M: A lot. But my favorite painting was by Picasso. It looked very strange.W:Did Ms. Green explain something about the paintings?M:Yes, and after that we made pictures for a competition. I drew a picture of Ms.Green. It looked like a Picasso painting.W:Did she like it?M:Ms. Green wasn't very pleased, and she thought it dull. So, I didn't win.Text 8M:Cindy, as a working mother, how do you balance work and family?W: It takes skills. It's an art, I should say. But raising a kid while working is not as hard as most people think.M:You mean it's not difficult?W:No, if you know how to share your responsibilities properly. My husband does more housework, and I take more care of our kid. I try to spend as much time with our kid as possible. She joins me in my daily activities.M:What do you mean?W:Working as a model, I do a lot of exercise every day to stay fit, and I encourage our kid to do it with me. It's like play to her. As a result,I'm fit, she's fit, and we spend time together.M: I see. What else do you do together?W:Things like reading picture books and going to the park.M: I really like your ideas.Text 9M:Nice to meet you, Jennifer. Can you tell us a few things about yourself?Perhaps your work experience.W:I'm a university student in my final year, and I major in English. I've had several part-time jobs, including office work and sales.M:What was your office work about?W: I worked at the reception desk and did some paperwork.M:What did you learn there?W:I received phone calls and met customers most of the time. And I supported staff from different departments at times. So, I learned to deal with various kinds of people.M:Did you apply any of the knowledge you got at university?W:Yes, I think I did use some of the language knowledge.M:What has been your worst experience at work?W:Well, once I met a customer who came to make a complaint. I tried my best,but he was just being unreasonable. I had to refer him to my manager. It was a hard day.M:Okay. Now, do you have any questions for us?W:No, not at the moment.M:Thank you, Jennifer. We have a number of people applying for this position,and we will call you with our decision within two weeks.W:Okay, thank you.Text 10W:Mary Glen, built on a working family farm, is a perfect place for holiday.Here, you'll find everything you need. We have five wooden houses with all modern facilities. Mary Glen is just three miles from the busy town of Soli, where you'll find quite a few lovely shops and great farmers' markets.The area around Mary Glen is great for riding bikes. So, do bring your bikes and try the Evergreen Trail, or you can go running along the River Dent. After a busy day, relax in our game room where there are lots of card games. Try a family holiday at Mary Glen. With prices as low as 425 pounds a week, you can't go wrong.

Mehr Fälle sexueller Gewalt gegen Kinder und Jugendliche - das ergab das Lagebild des Bundeskriminalamts, das heute vorgestellt wurde. Warum das auch eine gute Nachricht ist und was noch zu tun ist. Alkohol soll bald auf allen deutschen Bahnhöfen tabu sein, dafür gibt es viel Zuspruch, in Zügen darf aber weiter getrunken werden. In London ist das anders. Und in der Ukraine gerät nun auch der Armeechef unter Druck. Moderation: Tobi Strauß Von WDR 5.

With judging well underway for our 2026 Brewers Choice Awards and with planning in full flow for the Brewers Congress we are taking a step back to revisit one of the highlights of last year’s event. In his talk on ‘Reflections on Authenticity' at the 2025 Brewers Congress in London, Matthew Curtis posed a question. In an increasingly digital world, how do modern marketing strategies resonate with consumers who are looking for something more tangible, something genuine, something authentic?  Matthew is a writer and photographer obsessed with beer, pubs and their culture. Based in Manchester, he's the co-founder of Pellicle Magazine and the author of three books on beer and pub culture within the UK, including the award-winning Manchester's Best Beer Pubs and Bars. In London he took a deep dive into the importance of conveying authenticity in your breweries brand message, and explored how being true to yourself, your brand, your values and – most importantly – the beer you make is key to winning hearts and minds in beer's modern era. 

Alternative Insights Summit 2026: In London last week, Travers Smith's clients and friends convened to discuss the key issues of the day in the private markets.Increasing access to private market returns: One theme was the need for UK pension funds to take more advantage of the returns available, while sponsors should approach the wealth market with transparency, good governance – and without over-reliance on potentially fickle capital.Defence is a vital opportunity: With Europe on a war footing, defence offers compelling returns across technology, infrastructure and supply chains – but government must provide faster procurement, clearer contracting and stronger demand signals to mobilise private capital at scale.Links:https://www.traverssmith.com/knowledge/events-container/alternative-insights-summit-2026/

In London this week thousands of political leaders, business figures and cultural influencers and a lot of Christian leaders have gathered for the ARC Conference. Life, Culture and Current Events from a Biblical Perspective with Neil Johnson.Your support sends the gospel to every corner of Australia through broadcast, online and print media: https://vision.org.au/donateSee omnystudio.com/listener for privacy information.

Welcome to ATP Weekly, your roundup of the biggest stories from the grass-court swing as Wimbledon approaches. Frances Tiafoe claimed the biggest title of his career at the Halle Open, defeating fellow American Taylor Fritz 6-4, 6-4 in the final. Tiafoe produced a near-flawless performance, breaking early in both sets and protecting his serve throughout. He also became the first American champion in Halle since 1993, a significant milestone heading into Wimbledon. In London, Francisco Cerúndolo defeated Tommy Paul 6-7(4), 6-4, 6-3 to win the Queen's Club Championships. The Argentine battled through a marathon final lasting more than three hours, the longest championship match in the tournament's history. After dropping the opening set, Cerúndolo steadily wore down Paul and completed a memorable comeback to secure his first ATP 500 crown. The triumph makes Cerúndolo the first Argentine ever to win Queen's and further establishes him as a genuine threat on grass after previously winning Eastbourne in 2023. One of the most anticipated stories of the week is the return of British star Jack Draper. After months on the sidelines with injury problems, Draper is set to make his comeback at the Eastbourne Open. Draper has spoken positively about working with former Wimbledon champion Andy Murray, whose guidance has helped him through a difficult rehabilitation period. The Brit opens his campaign against Brandon Nakashima. Learn more about your ad choices. Visit podcastchoices.com/adchoices

In London halten alle BastiMasti plötzlich für einen Onlyfans-Star. Gleichzeitig erlebt anredo am Ballermann ein unfreiwilliges Zwangs-Outing zwischen WM-Stimmung und Biersäulen. Der Erfolgspodcast rundfunk 17 ist weiterhin On Tour und erreicht heute den Höhepunkt der großen Europa-Reise. Während BastiMasti durch London stolpert, landet er mit Internetfreund Lukas in einer Gay-Bar und plötzlich mitten in einer Geschichte, die selbst ihm niemand glauben würde. Ein Barkeeper hält ihn für einen bekannten Onlyfans-Star. Wenig später kennt die halbe Crowd seinen angeblichen Künstlernamen. Fremde sprechen ihn an, machen Komplimente und wollen wissen, warum er sein Doppelleben verschwiegen hat. Die große Frage bleibt: Wer ist dieser mysteriöse Typ eigentlich? Ex-Urlauber anredo ist zurück aus Mallorca und hat den Ballermann überlebt. Im Mega-Park kommt es allerdings plötzlich zum unfreiwilligen Zwangs-Outing vor einer toxisch-maskulinen Fußball-Truppe. Da würde sogar Manuel Neuer komisch gucken. Zwischen Biersäulen, WM-Stimmung und einem geschmacklosen Quartett gerät er im Motto-Shirt in eine Situation, die plötzlich deutlich unangenehmer wird als geplant. Außerdem geht es um Diet Coke als neue Persönlichkeitsmarke, Touri-Pläne für Amsterdam, KI-Wahnsinn bei Mark Medlock und die Frage, warum Basti aus seinem Geburtstag mittlerweile eine Organisation wie bei einem DAX-Konzern macht. Und vielleicht findet die Community am Ende sogar heraus, welcher Onlyfans Star Basti angeblich sein soll… Diese und alle anderen Episoden #rundfunk17 findet ihr unter anderem bei Apple Podcasts, Spotify, Deezer und als RSS-Feed.

It’s looking like some more excellent weather for much of the UK this weekend. And with higher temperatures and blissful sunshine, there is also an increased appetite for refreshing beautiful beverages. And while we primarily focus on the wonderful world of beer and brewing here at The Brewers Journal, it's important to take time to look at the excellent innovation taking place across the wider world of drinks. So at our Brewers Congress last Autumn, we invited the team at Botivo to share their story. Botivo, which is non-alcoholic, is an intensely refreshing aperitivo with a bittersweet backbone, herbal notes and a tang of citrus. A big-sipping drink hand-blended in small batches at Lannock Farm, the Botivo blend of five raw ingredients takes over 1 year from start to finish. And the production manager at Botivo is Francesca Nikita Corradin. In her career Francesca has brewed across Europe and joined Botivo as a production supervisor in December 2023 before being promoted to production manager earlier in 2025. In London she was joined by Sam Paget-Steavenson, co-founder of Botivo, to share their experiences and expertise in creating and building a non-alcoholic brand. In addition to talking us through the process, they explained that we live in a world of moderation and we're constantly told that less is better. So as a result, they created a drink that brings the true craft and depth of flavour we all see in the alcohol category to the non-alc category. And this meant using real ingredients, no flavourings and low intervention techniques. Image Credit: Botivo/Steven Joyce

Fühlst du dich manchmal, als müsstest du alles gleichzeitig schaffen? Kind, Beruf, Beziehung und dabei bitte noch finanziell erfolgreich sein?In diesem Coaching-Gespräch spreche ich mit Katharina über den inneren Druck, als Mutter erfolgreich sein zu wollen, finanziell, beruflich und persönlich.Zwischen Selbstständigkeit und Sicherheitsdenken entsteht ein Konflikt.Zwischen Durchhalten und Aufgeben.Doch im Gespräch zeigt sich: Vielleicht geht es gar nicht nur ums Geld.Eine ehrliche Folge über Leistungsdruck, Erwartungen und die Frage, woran wir Erfolg wirklich messen.

Edward IV marries in secret, then springs the news like a trap.  England's new Queen, Elizabeth Woodville, arrives with two sons, a Lancastrian past, and a family ready to take their chance. When the newly-married couple introduces themselves at Reading Abbey, nobles gape. But Elizabeth takes her newfound royal status with aplomb. She stages a dazzling churching, forcing courtiers to kneel for hours.  Elsewhere, England's pitiable former king Henry VI is found wandering and locked quietly in the Tower. Elizabeth's siblings are married into great royal houses at speed, tightening their grip, much to the dismay of England's noble class.  In London, her brother Anthony fights the Grand Bastard of Burgundy before a roaring crowd. All the while, a wounded Earl of Warwick watches on. The kingmaker's been left humiliated and restless by this union, and the balance of power in between Warwick and Edward won't stay cordial for long. – As always, Dan's royal favourites can chime in anytime on the royal court on Patreon at patreon.com/thisishistory. And don't forget to listen to this season's accompanying bonus episodes for this miniseries, where Dan and Producer Al discuss the basics of marriage in the medieval world… and how they bend and warp when the groom is a king. Plus, get the inside scoop on 1464's HOTTEST scandal: Edward IV's secret wedding to Elizabeth Woodville — the low-born widow who nobody saw being England's next Queen.  – A Sony Music Entertainment production.  Find more great podcasts from Sony Music Entertainment at sonymusic.com/podcasts  To bring your brand to life in this podcast, email podcastadsales@sonymusic.com  Learn more about your ad choices.  Visit megaphone.fm/adchoices  –– Presented by Dan Jones  Producer - Alan Weedon Senior Producer - Dominic Tyerman Executive Producer - Louisa Field  Executive Producer - Dan Jones Production Manager - Jen Mistri  Production Coordinator - Eric Ryan  Head of Content - Chris Skinner Learn more about your ad choices. Visit podcastchoices.com/adchoices

I'm Bryan Kam. I endeavour daily to make philosophy accessible and relevant. To that end I write this newsletter and host a podcast called Clerestory. I'm also writing a book called Neither/Nor and I'm a founding member of Liminal Learning. In London, I host a book club, a writing group, and other events. My work looks at how conceptual abstraction relates to embodied life, and how to use this understanding to transform experience.I was thrilled recently to speak with a hero of mine, Brook Ziporyn, who is Mircea Eliade Professor of Chinese Religion, Philosophy, and Comparative Thought at the University of Chicago.In this podcast we cover Ziporyn's intellectual history, from his grandfather's Spinozism to the ontological ambiguities of Tiantai Buddhism. We spoke about how values undermine themselves when made explicit, how grammar shapes metaphysics, and what happens when one follows anti-realism all the way through to its surprisingly positive consequences.Professor Ziporyn traced a philosophical thread that runs from the Daodejing's second chapter—”when all in the world recognizes the good as good, there is the bad”—through Buddhist emptiness to Spinoza's critique of teleology. This “value paradox” suggests that explicit embrace of values contains an immanent reversal, a self-undermining which challenges the Western philosophical tradition's foundation in purpose, natural kinds, and the Good.We look at related insights across traditions, for example:Chinese Buddhism's claim that samsara is nirvana,in Schopenhauer's blind will that has no internal divisions nor any ultimate goal,in Nietzsche's affirmation of life including its suffering,and in the Daoist sage who acts through wu-wei (spontaneous action or non-action) rather than purposeful striving.A central exploration concerns how language inclines thought, though it doesn't limit it. Classical Chinese lacks tense, gender, singular/plural distinctions, definite articles, and even clear differentiation between parts of speech—the same word can be beauty, beautiful, or to beautify depending on context. This grammatical openness means that certain metaphysical questions of “Being” simply do not naturally arise. Other philosophical questions, whose appeal is difficult to render into English, do, of course, arise in Chinese — like the paradox “a white horse is not a horse”.By contrast, Indo-European languages with their subject-predicate structure seem to demand an agent behind every action (Nietzsche's example: “it rains”—what is the “it” that does the raining?). The law of excluded middle, natural kinds, and teleological thinking may be, as Ziporyn puts it, “downhill” moves in Western languages—statistically more likely to develop because they're grammatically easier to express. But they are “uphill” for Chinese, meaning that they can be expressed with difficulty. Likewise, Chinese insights into “non-purposive action” can be expressed easily in Classical Chinese, but only with difficulty in Western languages, like Spinoza's Latin or Schopenhauer's German.Ziporyn has written on “ontological ambiguity” in Tiantai Buddhism. Rather than ambiguity being merely epistemological (we don't know what something is), Tiantai suggests ambiguity is inherent to existence and distinctions. To be determinate requires relations to what something is not—and those relations make any finite thing necessarily ambiguous, appearing differently in different contexts without changing.This leads to the Buddhist notion of the “emptiness of emptiness.” Rather than a straight line to pure experience beyond concepts, Chinese Buddhist readings suggest the negation of negation brings us back to provisional reality—but transformed. As Ziporyn notes, once you say everything including nirvana is an illusion, the contrast between illusion and reality disappears. “Illusion” no longer functions as a put-down but [...]Read more at https://www.bryankam.com/p/samsara-is-nirvana-with-brook-ziporyn

In London, Gabby gets approval to attack, and in Italy Alexei discovers what his daughter has done. Get a spy novel on audiobook for your journey: Gabby Lane Spy Book 5 Kill or Be Killed. https://www.amazon.co.uk/gp/product/B0FNY1P37Q

Boston and London aren't just marathons. They're full-body logistics puzzles, city-wide celebrations, and emotional pressure cookers that reveal what your training is really made of. We sit down with runners who lined up at two of the biggest stages in the sport and tell the story from the inside, from expo wins and wallet pain to the moments when the course turns and your plan has to change.Before we get to the World Marathon Majors recap, we share something closer to home: Bob reflects on losing Lily and the unexpected way she helped him find running again after an Achilles injury. From there, we shift into the here-and-now work that supports every big finish line, including staying consistent in the “training valley,” managing summer heat and humidity, and building a recovery routine that actually keeps you healthy. We talk steps, treadmills, dew point, hydration, pacing expectations, protein, electrolytes, and the small choices that add up when training ramps back up for runDisney season.Then we go deep on Boston Marathon and London Marathon experiences. You'll hear how runners get into Boston through charity fundraising and sponsor pathways, what race morning really feels like in Hopkinton, and how the hills and the finish on Boylston land when it's your first major or your sixth star. In London, we break down travel and jet lag tactics, an impressively engineered multi-start system, on-site bib printing, iconic landmarks like Tower Bridge, and crowds so loud you can't hear your own headphones.If you enjoyed these stories and tips, subscribe, share the episode with a running friend, and leave a quick review so more runners can find the Rise and Run community.Rise and Run LinksRise and Run Podcast Facebook PageRise and Run Podcast InstagramRise and Run Podcast Website and ShopRise and Run PatreonRunningwithalysha Alysha's Run Coaching (Mention Rise And Run and get $10 off) Send us Fan MailSupport the showRise and Run Podcast is supported by our audience. When you make a purchase through one of our affiliate links, we may earn a commission. As an Amazon Associate we earn from qualifying purchases.Sponsor LinksMagic Bound Travel    Stoked Metabolic CoachingRise and Run Podcast Cruise Interest Form with Magic Bound Travel Affiliate LinksThe Start Line Co.Fluffy FizziesMona Moon Naturals Rise and Run Amazon Affiliate Web Page Kawaiian Pizza ApparelGoGuarded  

In London, the Tube and iconic red double-decker buses are deeply woven into the city's fabric. When these ageing vehicles retire, some are given a surprising second life and transformed into unique dining experiences. From underground carriages turned into restaurants to vintage buses serving afternoon tea, these repurposed icons offer a nostalgic journey through the British capital's history and culture. Our France 2 colleagues report, with FRANCE 24's Guillaume Gougeon.

Shell überrascht mit starkem Gewinnwachstum, trotz der Belastungen durch den Irankrieg. Profitieren Ölkonzerne von der Krise? Und was bedeutet das für Preise, Risiken und Konsumentinnen und Konsumenten? Weitere Themen: · Russland feiert immer am 9. Mai die Befreiung von Nazideutschland, doch diesmal ohne schweres Gerät. Der Kreml fürchtet offenbar ukrainische Angriffe und ruft sogar eine kurze Waffenruhe aus. Wie gross ist die Unsicherheit – und was bedeutet das für Putins Auftreten? · In London geraten traditionelle Labour-Hochburgen ins Wanken: Die Grünen gewinnen in angesagten Vierteln wie Camden und Hackney an Boden. Droht Premier Keir Starmer ausgerechnet vor der eigenen Haustür ein politischer Rückschlag?

Salt can be found in almost every kitchen in the world. But how did this seemingly simple ingredient become the world's favourite flavour enhancer? This week, Crowdscience sets out to uncover why these tiny crystals have such a powerful effect on us. We explore the magic behind this tiny mineral that has shaped our tongues, our culture, and our cravings. Our investigation begins with CrowdScience listener George, who heard from a friend that if he added a few grains of salt to his morning coffee, he could make it taste less bitter. Following some light investigation at his local coffee chain, he began wondering why salt make things taste more delicious. To try and find an answer, presenter Anand Jagatia heads to a salt mine in Austria with Daniel Bradner, an archaeologist from the Natural History Museum of Vienna. The mine is 200 kilometres from the sea, so where does all the salt come from? In London, UK, we meet Adriana Cavita, a chef who helps us explore how salt transforms what we eat:  sharpening aromas, softening harsh flavours, and boosting sweetness. We explore the receptors inside our mouth with taste expert Courtney Wilson from the University of Colorado School of Medicine in the US, to find out how we detect whether there's too much or too little salt in our food.    And we meet Joel Geerling, Associate Professor of Neurology at the University of Iowa, US, who's been looking inside the brain to try and work out why we crave salt. He's discovered an incredible system that's highly engineered to give us an appetite for salt. Could it be the answer to George's question? Presenter: Anand Jagatia Producer: Robbie Wojciechowski Editor: Ben Motley(Photo: Measuring Teaspoon of Sea Salt with Vibrant Colors - stock photo JannHuizenga via Getty Images)

What happens when the person who has edited nearly 100 episodes of this podcast finally puts all those travel tips to the test on his own UK trip? In this episode, our editor Ryan Fairweather from New Zealand shares highlights from his two-month visit to the UK with his partner Tilly, and reveals how almost every experience on his list came directly from editing the show.Ryan covers his favourite moments in York and London: the wonderful Old York Tea House, the immersive Jorvik Viking Centre, the theatrical York Ghost Bus Tour, and a self-guided mystery adventure through Stratford-upon-Avon with a Mystery Guide. In London, the V&A, Westminster Abbey, and Churchill War Rooms all exceeded expectations, while an evening at Mr Fogg's Society of Exploration in Covent Garden turned into one of the trip's unexpected highlights.We also get into food and drink: Sunday roasts, cream teas, the great scone debate, the cheese conveyor belt at Pick and Cheese, Irn-Bru, supermarket meal deals, and the baffling brilliance of frozen mashed potato. Ryan also shares his top practical tip for any international visitor, and talks honestly about what he would do differently next time.Whether you're planning your first trip to the UK or your fifteenth, this episode is packed with recommendations, real talk and plenty of laughs.You can find links to all the places and experiences Ryan mentioned, plus some photos from the trip, in the show notes at uktravelplanning.com/episode-196.

Warum tut Misserfolg so weh? Und warum zweifelst du plötzlich an dir, nur weil etwas nicht geklappt hat?In dieser Folge erfährst du, warum wir unseren Selbstwert unbewusst an Erfolg und Leistung knüpfen und weshalb genau das zu Perfektionismus, Overperforming oder Resignation führen kann. Anna erklärt den neurobiologischen Hintergrund hinter Dopamin, Stress und unserem Belohnungssystem und zeigt dir, warum Erfolg dich kurzfristig pusht, aber langfristig nicht erfüllt.Du lernst, wie du Selbstwert und Erfolg entkoppelst und aufhörst, deinen Wert von Ergebnissen abhängig zu machen.Am Ende erwartet dich eine konkrete Coaching-Übung, mit der du deinen Selbstwert stärkst, unabhängig von Erfolg oder Misserfolg.Du bist nicht dein Erfolg. Und kein Ergebnis dieser Welt entscheidet über deinen Wert als Mensch.Wenn du aufhören willst, es dir selbst schwer zu machen, dann sei bei der Coaching-Masterclass dabei.Hier lernst du, wie du innere Überzeugungen erkennst, veränderst und neue, stärkende Bedingungen für deinen Erfolg schaffst.Teile die Folge mit Menschen, die ihren Wert noch an Leistung knüpfen.

Beyond the official story, the myth, of the Second World War — its maps and medals, courage and sacrifice — there is another hidden narrative. Written in rare memoirs, or in letters and diaries never meant to be read by us, it tells of a kind of underground culture that was secret, transgressive, forbidden With millions of young men and women on military service, the transitory nature of life under threat of sudden and violent death created a charged atmosphere in which conventional boundaries loosened. In London the darkness of the blackout became both cover and catalyst. Writer and cultural critic Luke Turner, is the author of the beautiful book  Men at War, Loving, Lusting, Fighting, Remembering 1939-1945, a book that excavates the sexual undercurrents of wartime Britain, how the social upheaval of wartime had a profound effect on the sex lives of British men in particular— in the city, in barracks, in prison of war camps.  This is a story that feels less like military history and more like testimonies from an underground scene — improvised, poignant usually invisible - and later to be deliberately repressed.. IMAGE: Cecil Beaton /Imperial War Museum #sex #war #military #queerhistory #londonhistory #blitz #transgressive #  

In today's episode of Trending Middle East, we look at US President Donald Trump's suggestion that Washington is close to achieving its core objectives. While he pointed to a possible end to operations, questions remain over how the conflict will conclude and what comes next. We also look at the UAE's response, as officials reject reports suggesting the country could take part in efforts to reopen the Strait of Hormuz by force. In London, UK Prime Minister Keir Starmer has called an international meeting to address the crisis, warning that even if the war ends, risks to global shipping will persist. Elsewhere, Unesco, the UN's cultural organisation, has granted enhanced protection to dozens of cultural sites across Lebanon amid the conflict, while Nasa has launched Artemis II, the first crewed Moon mission in more than half a century. Trending Middle East is AI-assisted, using original reporting published in The National and curated by humans.

3. Following the 1783 peace treaty, the family moved to Europe, where "John Carter" reclaimed his true identity as John Barker Church. A high-stakes businessman with a high risk tolerance, he settled the family in London's elite Mayfair district. Despite her English surroundings, Angelica remained a vocal American patriot, often acting as a cultural mediator between Dutch, English, and French societies. She hosted prestigious figures like Abigail Adams, Thomas Jefferson, and the Marquis de Lafayette. In London, she engaged with the "Blue Stocking" movement, surrounding herself with other highly educated, influential, and sophisticated women. (3)1789 NEW YORK

President Donald Trump suggests the US held "very good" talks with Iran about ending the war, but is Iran on the same page? A collision between a fire truck and a plane has left 2 people dead and dozens injured. Meanwhile, ICE agents have been deployed to US airports, but will they help alleviate the long TSA lines? In London, counter terrorism police are investigating an antisemitic attack targeting the city's largest Jewish community. And New York City's first lady is under fire for her art. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Johnny Mac presents five stories: Tom's Eiffel Tower proposal to Taylor is nearly ruined when a woman with a selfie stick blocks their hidden phone, but the stranger's own video captures the couple hugging, kissing and showing the ring. In London, Rose alleges a neighbor ripped out her fence, cut into her decking and hot tub enclosure, and moved a new fence over a meter into her garden; police called it civil, but a boundary survey says her original fence was correct and she's working with the land registry. In Southern Arizona, an endangered jaguar is spotted at a watering hole, the fifth in 15 years. In Utah, archaeologists find an intact ~150-year-old bottle of alcohol and experts say it appears to be a low-alcohol beer they hope to recreate. In Wilmington, North Carolina, Zeke Smash donates 5% of profits to childhood cancer charities.John also hosts Daily Comedy NewsUnlock an ad-free podcast experience with Caloroga Shark Media!  For Apple users, hit the banner which says Uninterrupted Listening on your Apple podcasts app. Subscribe now for exclusive shows like 'Palace Intrigue,' and get bonus content from Deep Crown (our exclusive Palace Insider!) Or get 'Daily Comedy News,' and '5 Good News Stories' with no commercials! Plans start at $4.99 per month, or save 20% with a yearly plan at $49.99. Join today and help support the show!Get more info from Caloroga Shark Media and if you have any comments, suggestions, or just want to get in touch our email is info@caloroga.com

My enemies are not in Iran. My enemies are in Washington and Tel Aviv. In London and Canberra. My enemies are the western oligarchs and empire managers who are poisoning my society and making everything awful while slaughtering human beings with the help of my tax dollars. Reading by Tim Foley.

Jeremy Kyle reacts as The Prime Minister Sir Keir Starmer resists President Trump's request to send a warship to Hormuz. In London, Bobby Vylan leads Al Quds protesters chanting ‘Death to the IDF', sparking outrage. Our reporter Samara will bring us a full report as the ‘Islamic Human Rights Commission' tries to suppress her interview.Allies resist Trump's ‘team effort' as oil prices rise and Starmer unveils £50m emergency help. Ed Miliband faces criticism for opposing more North Sea drilling, insisting the crisis proves clean power urgency. Meanwhile in other news,The RSPCA has said rats, pigeons and seagulls should feature on banknotes instead of Sir Winston Churchill. Hosted on Acast. See acast.com/privacy for more information.

This week's show features stories from France 24, Radio Havana Cuba, and NHK Japan. http://youthspeaksout.net/swr260313.mp3 (29:00) From FRANCE- First two days of press reviews on the US/Israeli war on Iran- first from last Friday and then Monday. Greenpeace says they have evidence of illegal deep-sea mining exploration by US company TMC or The Metals Company. An interview with Rouzbeh Parsi, a professor in Sweden about US and Iranian strategies in the ongoing war. From CUBA- On International Womens Day in an Amazonian town in Ecuador, indigenous tribes asked that nature be preserved. The US and Ecuador announced plans to bomb alleged drug traffickers near the Colombian border. The US killed another 6 alleged drug carriers on a boat in the Eastern Pacific Ocean. Trump met with the right-wing leaders of 12 Latin American countries forming a military coalition called "Shield of the Americas." Nearly 700,000 Lebanese have been forced to flee their homes from Israeli bombs- Israeli attacks in Gaza continue. In London more than 50,000 protestors marched on the US embassy. From JAPAN- It is the 15th anniversary of the Fukushima nuclear disaster, and decommissioning will not be achieved until 2051. In Nepal the youth have succeeded in electing a 35 year old rapper, Balendra Shah, to be the new Prime Minister. Indonesia is joining many other countries in banning social media for children under 16. Available in 3 forms- (new) HIGHEST QUALITY (160kb)(33MB), broadcast quality (13MB), and quickdownload or streaming form (6MB) (28:59) Links at outfarpress.com/shortwave.shtml PODCAST!!!- https://feed.podbean.com/outFarpress/feed.xml (160kb Highest Quality) Website Page- < http://www.outfarpress.com/shortwave.shtml ¡FurthuR! Dan Roberts "You actually cannot sell the idea of freedom, democracy, diversity, as if it were a brand attribute and not reality - not at the same time as you're bombing people, you can't." --Naomi Klein Dan Roberts Shortwave Report- www.outfarpress.com YouthSpeaksOut!- www.youthspeaksout.net

In a new season of Brief Histories, True Spies producer Joe Foley is your guide to the shadowy side of the world's Espionage capitals. In London, we'll delve into early-modern counter-terrorism, an influence campaign at the birth of a new nation, elite associations and dirty money. From SPYSCAPE, the home of secrets and skills. A Cup And Nuzzle production. Series producer: Joe Foley. Learn more about your ad choices. Visit megaphone.fm/adchoices

When you visit a new city, one of your first stops might be a museum. It turns out that public art galleries are largely an 18th-century invention. In London in 1789, publisher John Boydell helped shape that new cultural experience with an ambitious project in Pall Mall: a gallery devoted entirely to scenes from Shakespeare. Boydell commissioned leading British artists to paint pivotal moments from the plays, then sold engraved reproductions for museum-goers to take home with them. The gallery quickly became a sensation and was visited by everyone who was anyone, from Jane Austen to the Prince of Wales. It also played a powerful role in transforming William Shakespeare from a popular playwright into a national icon. The venture ultimately failed due to the economic turmoil of the Napoleonic Wars, and the many life-size paintings were cut into smaller canvases and all sold at auction. Yet its influence endured, shaping exhibition culture, influencing a British school of art, and inspiring the visual mythology of The Joining us to explore the rise and fall of the Boydell Shakespeare Gallery are Rosie Dias, Professor of Art History at the University of Warwick, and Michael Dobson, Director of the Shakespeare Institute at the University of Birmingham. From the Shakespeare Unlimited podcast. Published February 23, 2026. © Folger Shakespeare Library. All rights reserved. This episode was produced by Matt Frassica. Garland Scott is the executive producer. It was edited by Gail Kern Paster. We had technical help from Mike Rucinski of Boutique Recording in Great Malvern, and Voice Trax West in Studio City, California. Our web producer is Paola García Acuña. Leonor Fernandez edits our transcripts. Final mixing services were provided by Clean Cuts at Three Seas, Inc.

In London haben sich inzwischen Dutzende Kinder infiziert, jedes fünfte muss im Krankenhaus behandelt werden – alle waren ungeimpft. Die Stadt fürchtet, dass der Ausbruch sich schnell weiter ausbreiten könnte. Christoph König im Gespräch mit Franziska Hoppen, ARD-London

Adam Steiner discusses with Ivan six things which should be better known. Adam Steiner is a swim-teacher, freelance journalist and author. When not saving lives he sits dreaming about all the books he will never write.  He has written several books of music criticism: Into The Never: Nine Inch Nails And The Creation Of The Downward Spiral, Silhouettes And Shadows: The Secret History of David Bowie's Scary Monsters (And Super Creeps) and Darker With The Dawn: Nick Cave's Songs Of Love And Death. He runs the Disappear Here poetry film project – 27 x collaborative poetry-films about Coventry Ringroad – and now curates the Living With Buildings poetry film series, screening experimental films about people, poetry and place. For more information, go to https://adamsteiner.uk/. Being There, Jerzy Kozinski: movie and book – so this is a great example of late/last great art - Peter Sellers was very attached to the story and was determined to make the movie, so he had do more pink panthers for the studio to back him. Lifeguards / Swim Teachers - under-appreciated, under-sexed, underpaid its one of the hardest jobs out there - sitting in a chair dreaming, not doing anything, but people always take it for granted. 40 - So we're always told that 40 is the new 30 etc - but it's a dangerous, difficult age. When Biographies Become Biopics: Will Self said writers reading biographies of other writers is basically lit-porn – so we get caught up in a life narrative that often informs the work but steers us away from the original. Real Dictators podcast - This is my go to 'easy' listening podcast, particularly when really ill I can just leave it on in the background and absorb. Charity shops... the ultimate form of social progression. In London charity shops are a mecca for the undiscerning buyer. This podcast is powered by ZenCast.fm

Bob Goodson was the first employee at Yelp, founder of social media analytics company Quid, co-inventor of the Like button, and co-author of the new book Like: The Button That Changed the World. On Oct 1, 2025, Bob spent a day with our MBA students at the University of Kansas, and he shared so much great content that I asked him if we could put together some of the highlights as a podcast, which I've now put together in three chapters: First is Careers, second is Building Companies, and third is AI and Social Media. As a reminder, any views and perspectives expressed on the podcast are solely those of the individual, and not those of the organizations they represent. Hope you enjoy the episode. - [Transcript] Nate:  My name is Nate Meikle. You're listening to Meikles and Dimes, where every episode is dedicated to the simple, practical, and under-appreciated. Bob Goodson was the first employee at Yelp, founder of social media analytics company Quid, co-inventor of the like button, and co-author of the new book Like: The Button That Changed the World. On Oct 1, 2025, Bob spent a day with our MBA students at the University of Kansas, and he shared so much great content that I asked him if we could put together some of the highlights as a podcast, which I've now put together in three chapters: First is Careers, second is Building Companies, and third is AI and Social Media. As a reminder, any views and perspectives expressed on the podcast are solely those of the individual and not those of the organizations they represent. Hope you enjoy the episode. Let's jump into Chapter 1 on Careers. For the first question, a student asked Bob who he has become and how his experiences have shaped him as a person and leader.   Bob:  Oh, thanks, Darrell. That's a thoughtful question. It's thoughtful because it's often not asked, and it's generally not discussed. But I will say, and hopefully you'll feel like this about your work if you don't already, that you will over time, which is I'm 45 now, so I have some sort of vantage point to look back over. Like, I mean, I started working when I was about 9 or 10 years old, so I have been working for money for about 35 years. So I'm like a bit further into my career than perhaps I look. I've been starting companies and things since I was about 10. So, in terms of like my professional career, which I guess started, you know, just over 20 years ago, 20 years into that kind of work, the thing I'm most grateful for is what it's allowed me to learn and how it's evolved me as a person. And I'm also most grateful on the business front for how the businesses that I've helped create and the projects and client deployments and whatever have helped evolve the people that have worked on them. Like I genuinely feel that is the most lasting thing that anything in business does is evolve people. It's so gratifying when you have a team member that joins and three years later you see them, just their confidence has developed or their personality has developed in some way. And it's the test of the work that has evolved them as people. I mean, I actually just on Monday night, I caught up for the first time in 10 years with an intern we had 10 years ago called Max Hofer. You can look him up. He was an intern at Quid. He was from Europe, was studying in London, came to do an internship with us in San Francisco for the summer. And, he was probably like 18, 19 years old. And a few weeks ago, he launched his AI company, Parsewise, with funding from Y Combinator. And, he cites his experience at Quid as being fundamental in choosing his career path, in choosing what field he worked in and so on. So that was, yeah, that was, when you see these things happening, right, 10 years on, we caught up at an event we did in London on Monday. And it's just it's really rewarding. So I suppose, yeah, like I suppose it's it's brought me a lot of perspective, brought me a lot of inner peace, actually, you know, the and and when you're when I was in the thick of it at times, I had no sense of that whatsoever. Right. Like in tough years. And there were some - there have been some very tough years in my working career that you don't feel like it's developing you in any way. It just feels brutal. I liken starting a company, sometimes it's like someone's put you in a room with a massive monster and the monster pins you down and just bats you across the face, right, for like a while. And you're like just trying to get away from the monster and you're like, finally you get the monster off your back and then like the monster's just on you again. And it just, it's just like you get a little bit of space and freedom and then the monster's back and it's just like pummeling you. And it's just honestly some years, like for those of you, some of you are running companies now, right? And starting your own companies as well. And I suppose it's not just starting companies. There are just phases in your career and work where it's like you look back and you're like, man, that year was just like, that was brutal. You just get up and fight every day, and you just get knocked down every day. So I think, I don't wish that on anybody, but it does build resilience that then transfers into other aspects of your life.    Nate:  Next, a student made a reference to the first podcast episode I recorded with Bob and asked him if he felt like he was still working on the most important problem in his field.    Bob:  Yeah, thank you. Thanks for listening to the podcast, as this gives us… thanks for the chance to plug the podcast. So the way I met Nate is that he interviewed me for his podcast. And for those of you who haven't listened to it, it's a 30 minute interview. And he asked this question about what advice would you share with others? And we honed in on this question of like, what is the most important problem in your field? And are you working on it? Which I love as a guide to like choosing what to work on. And so we had a great conversation. I enjoyed it so much and really enjoyed meeting Nate. So we sort of said, hey, let's do more fun stuff together in the future. So that's what brought us to this conversation. And thanks to Nate for, you know, bringing us all together today. I'm always working on what I think is the most important problem in front of me. And I always will be. I can't help it. I don't have to think about it. I just can't think about anything else. So yes, I do feel like right now I'm working on the most important problem in my field. And I feel like I've been doing that for about 20 years. And it's not for everybody, I suppose. But I just think, like, let's talk about that idea a little bit. And then I'll say what I think is the most important problem in my field that I'm working on. Like, just to translate it for each of you. Systems are always evolving. The systems we live in are evolving. We all know that. People talk about the pace of change and like life's changing, technology's changing and so on. Well, it is, right? Like humans developed agriculture 5,000 years ago. That wasn't very long ago. Agriculture, right? Just the idea that you could grow crops in one area and live in that area without walking around, without moving around settlements and different living in different places. And that concept is only 5,000 years old, right? I mean, people debate exactly how old, like 7, 8,000. But anyway, it's not that long ago, considering Homo sapiens have been walking around for in one form or another for several hundred thousand years and humans in general for a couple million years. So 5,000 years is not long. Look at what's happened in 5,000 years, right? Like houses, the first settlements where you would actually just live at sleep in the same place every night is only 5,000 years old. And now we've got on a - you can access all the world's knowledge - on your phone for free through ChatGPT and ask it sophisticated questions and all right answers. Or you can get on a plane and fly all over the world. You have, you know, sophisticated digital currency systems. We have sophisticated laws. And like, we've got to be aware, I think, that we are living in a time of great change. And that has been true for 5,000 years, right? That's not new. So I think about this concept of the forefront. I imagine, human development is, you can just simply imagine it like a sphere or balloon that someone's like blowing up, right? And so every time they breathe into it, like something shifts and it just gets bigger. And so there's stuff happening on the forefront where it's occupying more space, different space, right? There's stuff in the middle that's like a bit more stable and a bit more, less prone to rapid change, right? The education system, some parts of the healthcare system, like certain professions, certain things that are like a bit more stable, but there's stuff happening all the time on the periphery, right? Like on the boundary. And that stuff is affecting every field in one way or another. And I just think if you get a chance to work on that stuff, that's a really interesting place to live and a really interesting place to work. And I feel like you can make a contribution to that, right, if you put yourself on the edge. And it's true for every field. So whatever field you're in, we had people here today, you know, in everything from, yeah, like the military to fitness to, you know, your product, product design and management and, you know, lots of different, you know, people, different backgrounds. But if you ask yourself, what is the most important thing happening in my area of work today, and then try to find some way to work on it, then I think that sort of is a nice sort of North Star and keeps things interesting. Because the sort of breakthroughs and discoveries and important contributions are actually not complicated once you put yourself in that position. They're obvious once you put yourself in that position, right? It's just that there aren't many people there hanging out in that place. If you're one of them, if you put yourself there, not everyone's there, suddenly you're kind of in a room where like lots of cool stuff can happen, but there aren't many people around to compete with you. So you're more likely to find those breakthroughs, whether it's for your company or for, you know, the people you work with or, you know, maybe it's inventions and, but it just, anyway, so I really like doing that. And in my space right now, I call it the concept of being the bridge. And this could apply to all of you too. It's a simple idea that the world's value, right, is locked up in companies, essentially. Companies create value. We can debate all the other vehicles that do it, but basically most of the world's value is tied up in companies and their processes. And that's been true for a long time. There's a new ball of power in the world, which is been created by large language models. And I think of that just like a new ball of power. So you've got a ball of value and a ball of power. And the funny thing about this new ball of power is this actually has no value. That's a funny thing to say, right? The large language models have no value. They don't. They don't have any value and they don't create value. Think about it. It's just a massive bag of words. That has no value, right? I can send you a poem now in the chat. Does that have any value? You might like it, you might not, but it's just a set of words, right? So you've got this massive bag of words that with like a trillion connections, no value whatsoever. That is different from previous tech trends like e-commerce, for example, which had inherent value because it was a new way to reach consumers. So some tech trends do have inherent value because they're new processes, but large language models don't. They're just a new technology. They're very powerful. So I call it a ball of power. but they don't have any value. So why is there a multi-trillion dollar opportunity in front of all of us right now in terms of value creation? It's being the bridge. It's how to make use of this ball of power to improve businesses. And businesses only have two ways you improve them. You save money or you grow revenue. That's it. So being the bridge, like taking this new ball of power and finding ways to save money, be more efficient, taking this new ball of power and finding ways to access new consumers, create new offerings and so on, right? Solve new problems. That is where all the value is. So while you may think that the new value, this multi-trillion dollar opportunity with AI is really for the people that work on the AI companies, sure, there's a lot of, you know, there's some money to be made there. And if you can go work for OpenAI, you probably should. Everyone should be knocking the door down. Everyone should be applying for positions because it's the most important company, you know, in our generation. But if you're not in OpenAI or Meta or Microsoft or whoever, you know, three or four companies in the US that are doing this, for everybody else, it's about being the bridge, finding ways that in your organizations, you can unlock the power of AI by bringing it into the organizations and finding ways to either save money or grow the business. And that's fascinating to me because anybody can be the bridge. You don't have to be good with large language models. You have to understand business processes and you have to be creative and willing to even think like this. And suddenly you can be on the forefront of like creating massive value at your companies because you were the, you know, you're the one that brings brings in the new tools. And I think that skill set, there are certain skills involved in being the bridge, but that skill set of being the bridge is going to be so valuable in the next 5 to 10 years. So I encourage people, and that's what I'm doing. Like, I see my role - I serve clients at Quid. I love working with clients. You know, I'm not someone that really like thrives for management and like day-to-day operations and administration of a business. I learned that about myself. And so I just spend my time serving clients. I have done for several years now. And I love just meeting clients and figuring out how they can use Quid's AI, Quid's data, and any other form of AI that we want to bring to the table to improve their businesses. And that's just what I do with my time full-time. And I'll probably be doing that for at least the next 5 or 10 years. I think the outlook for that area of work is really huge.    Nate:  Building on the podcast episode where Bob talked about working on the most important problem in his field, I asked if he could give us some more details on how he took that advice and ended up at Yelp.    Bob:  So I was in grad school in the UK studying, well, I was actually on a program for medieval literature and philosophy, but looking into like language theory. So it was not the most commercial course that one could be doing. But I was a hobbyist programmer, played around with the web when it first came up and was making, you know, various new types of websites for students. while in my free time. I didn't think of that as commercial at all. I didn't see any commercial potential in that. But I did meet the founders of PayPal that way, who would come to give a talk. And I guess they saw the potential in me as a product manager. You know, there's lots of new apps they wanted to build. This is in 2003. And so they invited me to the US to work for them. And I joined the incubator when there were just five people in it. Max Levchin was one of them, the PayPal co-founder. Yelp, Jeremy Stoppelman and Russel Simmons were in those first five people. They turned out to be the Yelp co-founders. And Yelp came out of the incubator. So we were actually prototyping 4 companies each in a different industry. There was a chat application that we called Chatango that was five years before Twitter or something, but it was a way of helping people to chat online more easily. There were, which is still around today, but didn't make it as a hit. There was an ad network called AdRoll, which ended up getting renamed and is still around today. That wasn't a huge hit, but it's still around. Then there was Slide, which is photo sharing application, photo and video sharing, which was Max's company. That was acquired by Google. And that did reasonably well. I think it was acquired for about $150 million. And then there was Yelp, which you'll probably know if you're in the US and went public on the New York Stock Exchange and now has a billion dollars in revenue. So those are the four things that we were trying to prototype, each very different, as you can see. But I suppose that's the like tactical story, right? Like the steps that took me there. But there was an idea that took me there that started this journey of working on the most, the most important problems that are happening in the time. So if I rewind, when I was studying medieval literature, I got to the point where I was studying the invention of the print press. And I'd been studying manuscript culture and seeing what happened when the print press was invented and how it changed education, politics, society. You know, when you took this technology that made it cheaper to print, to make books, books were so expensive in the Middle Ages. They were the domain of only the wealthiest people. And only 5% of people could read before the print process was invented, right? So 95% of people couldn't read anything or write anything. And that was because the books themselves were just so expensive, they had to be handwritten, right? And so when the print press made the cost of a book drop dramatically, the literacy rates in Europe shot up and it completely transformed society. So I was studying that period and at the same time, like dabbling with websites in the early internet and sort of going, oh, like there was this moment where I was like, the web is our equivalent of the print press. And it's happening right now. I'm talking like maybe 2002, or so when I had this realization. It's happening right now. It's going to change everything during our lifetimes. And I just had a fork in my life where it's like I could be a professor in medieval history, which was the path I was on professionally. I had a scholarship. There were only 5 scholarships in my year, in the whole UK. I was on a scholarship track to be a professor and study things like the emergence of the print press, or I could contribute to the print press of our era, which is the internet, and find some way to contribute, some way, right? It didn't matter to me if it was big or small, it was irrelevant. It was just be in the mix with people that are pushing the boundaries. Whatever I did, I'd take the most junior role available, no problem, but like just be in the mix with the people that are doing that. So yeah, that was the decision, right? Like, and that's what led me down to sort of leave my course, leave my scholarship. And, my salary was $40,000 when I moved to the US. All right. And that's pretty much all I earned for a while. I'd spent everything I had starting a group called Oxford Entrepreneurs. So I had absolutely no money. The last few months actually living in Oxford, I had one meal a day because I didn't have enough money to buy three meals a day. And then I packed up my stuff in a suitcase - one bag - wasn't even a suitcase, it was a rucksack and moved to the US and, you know, and landed there basically on a student visa and friends and family was just thought I was, you know, not making a good decision, right? Like, I'm not earning much money. It's with a bunch of people in a like a dorm room style incubator, right? Where the tables and chairs we pulled off the street because we didn't want to spend money on tables and chairs. And where I get to work seven days a week, 12 hours a day. And I've just walked away from a scholarship and a PhD track at Oxford to go into that. And it didn't look like a good decision. But to me, the chance to work on the forefront of what's happening in our era is just too important and too interesting to not make those decisions. So I've done that a number of times, even when it's gone against commercial interest or career interest. I haven't made the best career decisions, you know, not from a commercial standpoint, but from a like getting to work on the new stuff. Like that's what I've prioritized.    Nate:  Next, I asked Bob about his first meeting with the PayPal founders and how he made an impression on them.    Bob:  Good question, because I think... So I have a high level thought on that, like a rubric to use. And then I have the details. I'll start with the details. So I had started the entrepreneurship club at Oxford. And believe it or not, in 800 years of the University's history, there was no entrepreneurship club. And they know that because when you want to start a new society, you go to university and they go through the archive, which is kept underground in the library, and someone goes down to the library archives and they go through all these pages for 800 years and look for the society that's called that. And if there is one, they pull it out and then they have the charter and you have to continue the charter. Even if it was started 300 years ago, they pull out the charter and they're like, no, you have to modify that one. You can't start with a new charter. So anyway, it's because it's technically a part of the university, right? So they have a way of administrating it. So they went through the records and were like, there's never been a club for entrepreneurs at the university. So we started the first, I was one of the co-founders of this club. And, again, there's absolutely no pay. It was just a charity as part of the university. But I love the idea of getting students who were scientists together with students that were business minded, and kind of bringing technical and creative people together. That was the theme of the club. So we'd host drinks, events and talks and all sorts. And I love building communities, at least at that stage of my life. I loved building communities. I'd been doing it. I started several charities and clubs, you know, throughout my life. So it came quite naturally to me. But what I didn't, I mean, I kind of thought this could happen, but it really changed my life as it put me at the center of this super interesting community that we've built. And I think that when you're in a university environment, like starting clubs, running clubs, even if they're small, like, we, I ran another club that we called BEAR. It was an acronym. And it was just a weekly meetup in a pub where we talked about politics and society and stuff. And like, it didn't go anywhere. It fizzled out after a year or two, but it was really like an interesting thing to work on. So I think when you're in a university environment, even if you guys are virtual, finding ways to get together, it's so powerful. It's like, it's who you're meeting in courses like this that is so powerful. So I put myself in the middle of this community, and I was running it, I was president of it. So when these people came to speak at the business school, I was asked to bring the students along, and I was given 200 slots in the lecture theatre. So I filled them, I got 200 students along. We had 3,000 members, by the way, after like 2 years running this club. It became the biggest club at the university, and the biggest entrepreneurship student community in Europe. It got written up in The Economist actually as like, because it was so popular. But yeah, it meant that I was in the middle of it. And when the business school said, you can come to the dinner with the speakers afterwards, that was my ticket to sit down next to the founder of PayPal, you know. And so, then I sat down at dinner with him, and I had my portfolio with me, which back then I used to carry around in a little folder, like a black paper folder. And every project I'd worked on, every, because I used to do graphic design for money as a student. So I had my graphic design projects. I had my yoga publishing business and projects in there. I had printouts about the websites I'd created. So when I sat down next to him, and he's like, what do you work on? I just put this thing on the table over dinner and was like, he picked it up and he started going through it. And he was like, what's this? What's this? And I think just having my projects readily available allowed him to sort of get interested in what I was working on. Nowadays, you can have a website, right? Like I didn't have a website for a long time. Now I have one. It's at bobgoodson.com where I put my projects on there. You can check it out if you like. But I think I've always had a portfolio in one way or another. And I think carrying around the stuff that you've done in an interactive way is a really good way to connect with people. But one more thing I'll say on this concept, because it connects more broadly to like life in general, is that I think that I have this theory that in your lifetime, you get around five opportunities put in front of you that you didn't yet fully deserve, right? Someone believes in you, someone opens a door, someone's like, hey, Nate, how about you do this? Or like, we think you might be capable of this. And it doesn't happen very often, but those moments do happen. And when they happen, a massive differentiator for your life is do you notice that it's happening and do you grab it with both hands? And in that moment, do everything you can to make it work, right? Like they don't come along very often. And to me, those moments have been so precious. I knew I wouldn't get many of them. And so every time they happened, I've just been all in. I don't care what's going on in my life at that time. When the door opens, I drop everything, and I do everything I can to make it work. And you're stretched in those situations. So it's not easy, right? Like someone's given you an opportunity to do something you're not ready for, essentially. So you're literally not ready for it. Like you're not good enough, you don't know enough, you don't have the knowledge, you don't have the skills. So you only have to do the job, but you have to cultivate your own skills and develop your skills. And that's a lot of work. You know, when I landed in, I mean, working for Max was one of those opportunities where I did not, I'd not done enough to earn that opportunity when I got that opportunity. I landed with five people who had all done PayPal. They were all like incredible experts in their fields, right? Like Russ Simmons, the Yelp co-founder, had been the chief architect of PayPal. He architected PayPal, right? Like I was with very skilled technical people. I was the only Brit. They were all Americans. So I stood out culturally. Most of them couldn't understand what I was saying when I arrived. I've since changed how I speak. So you can understand me, the Americans in the room. But I just mumbled. I wasn't very articulate. So it was really hard to get my ideas across. And I had programmed as a hobbyist, but I didn't know enough to be able to program production code alongside people that had worked at PayPal. I mean, their security levels and their accuracy and everything was just off the, I was in another league, right? So there I was, I felt totally out of my depth, and I had to fight to stay in that job for a year. Like I fought every day for a year to like not get kicked out of that job and essentially out of the country. Because without their sponsorship, I couldn't have stayed in the country. I was on a student visa with them, right? And I worked seven days a week for 365 days in a row. I basically almost lived in the office. I got an apartment a few blocks from the office and I had to. No one else was working those kind of hours, but I had to do the job, and I had to learn 3 new programming languages and all this technical stuff, how to write specs, how to write product specs like I had to research the history of various websites in parts of the internet. So I'm just, I guess I'm just giving some color to like when these doors open in your career and in your life, sometimes they're relationship doors that open, right? You meet somebody who's going to change your life, and it's like, are you going to fight to make that work? And, you know, like, so not all, it's not always career events, but when they happen, I think like trusting your instinct that this is one of those moments and knowing this is one of the, you can't do this throughout your whole life. You burn out and you die young. Like you're just not sustainable. But when they happen, are you going to put the burners on and be like, I'm in. And sometimes it only takes a few weeks. Like the most it's ever taken for me is a year to walk through a door. But like, anyway, like just saying that in case anyone here has one of these moments and like maybe this will resonate with one of you, and you'll be like, that's one of the moments I need to walk through the door.    Nate:  That concludes chapter one. In chapter 2, Bob talks about building companies. First, I asked Bob if he gained much leadership experience at Yelp.    Bob:  I gained some. I suppose my first year or two in the US was in a technical role. So I didn't have anyone reporting to me. I was just working on the user interface and front end stuff. So really no leadership there. But then, there was a day when we still had five people. Jeremy started to go pitch investors for our second round because we had really good traffic growth, right? In San Francisco, we had really nice charts showing traffic growth. We'd started to get traction in New York and started to get traction in LA. So we've had the start of a nice story, right? Like this works in other cities. We've got a model we can get traffic. And Jeremy went to his first VC pitch for the second round. And the VC said, you need to show that you can monetize the traffic before you raise this round. The growth story is fine, but you also need to say, we've signed 3 customers and they're paying this much, right, monthly. So Jeremy came back from that pitch, and I remember very clearly, he sat down, kind of slumped in his chair and he's like, oh man, we're going to have to do some sales before we can raise this next round. Like we need someone on the team to go close a few new clients. And it's so funny because it's like, me and four people and everyone went like this and faced me at the same time. And I was like, why are you looking at me? Like, I'm not, I didn't know how to start selling to local businesses. And they're like, they all looked at each other and went, no, we think you're probably the best for this, Bob. And they were all engineers, like all four of them were like, background in engineering. Even the CEO was VP engineering at PayPal before he did Yelp. So basically, we were all geeks. And for some reason, they thought I would be the best choice to sell to businesses. And I didn't really have a choice in it, honestly. I didn't want to do it. They were just like, you're like, that's what needs to happen next. And you're the most suitable candidate for it. So I I just started picking up the phone and calling dentists, chiropractors, restaurants. We didn't know if Yelp would resonate with bars or restaurants or healthcare. We thought healthcare was going to be big, which is reasonably big for Yelp now, but it's not the focus. But anyway, I just started calling these random businesses with great reviews. I just started with the best reviewed businesses. And the funny thing is some of those people, my first ever calls are still friends today, right? Like my chiropractor that I called is the second person I ever called and he signed up, ended up being my chiropractor for like 15 years living in San Francisco. And now we're still in touch, and we're great friends. So it's funny, like I dreaded those first calls, but they actually turned out to be really interesting people that I met. But yeah, we didn't have a model. We didn't know what to charge for. So we started out charging for calls. We changed the business's phone number. So if you're, you had a 415 number and you're a chiropractor on Yelp, we would change your number to like a number that Yelp owned, but it went straight through to their phone. So it was a transfer, but it meant our system could track that they got the call through Yelp, right? Yeah. And then we tracked the duration of the call. We couldn't hear the call, but we tracked the duration of the call. And then we could report back to them at the end of the month. You got 10 calls from Yelp this month and we're going to charge you $50 a call or whatever. So I sold that to 5 or 10 customers and people hated it. They hated that model because they're like, they'd get a call, it'd be like a wrong number or they just wanted to ask, they're already a current customer and they're asking about parking or something, right? So then we'd get back to and be like, you got a call and we charged you 50 bucks. So like, no, I can't pay you for that. Like, that was one of my current customers. So now the reality is they were getting loads of advertising and that was really driving the growth for their business, but they didn't want to pay for the call. So then I was like, that's not working. We have to do something else. Then we paid pay for click, which was we put ads on your page and when someone clicks it, they see you. And then people hated that too, because they're like, my mum just told me she's been like clicking on the link, right? Because she's like looking at my business. And my mum probably just cost me 5 bucks because she said she clicked it 10 times. And like, can you take that off my bill? So people hated the clicks. And then one day we just brought in a head of operations, Geoff Donaker. And by this point, by the way, I had like 2 salespeople working for me that I'd hired. And so it was me and two other people. We were calling these companies, signing these contracts. And one day I just had this epiphany. I was like, we should just pay for the ads that are viewed, not the ads that are clicked. In other words, pay for impressions to the ads. So if I tell you, I've put your ad in front of 500 people when they were looking for sushi this month, right? That you don't mind paying for because there's no action involved, but you're like, whoa, it's a big number. You put me in front of 500 people. I'll pay you 200 bucks for that. No problem. Essentially impression-based advertising. And I went to our COO and I was like, I think we should try this. He was like, if you want to give it a go. And I wrote up a contract and started selling it that day. And that is that format, that model now has a billion dollars revenue running through Yelp. So basically they took that model, like I switched it to impression-based advertising. And that was what was right for local. And our metrics were amazing. We're actually able to charge a lot more than we could in the previous two models. And I built out the sales team to about 20 people. Through that process, I got hooked, basically. Like I realized I love selling during that role. I would never have walked into sales, I think, unless everyone had gone, you have to do it. And I dreaded it, but I got really hooked on it. I love the adrenaline of it. I love hunting down these deals and I love like what you can learn from customers when you're selling. You can learn what they need and you can evolve your business model. So I love that flywheel and that's kind of what I've been doing ever since. But I built out a team of 20 people, so I got to learn management, essentially by just doing it at Yelp and building out that team.    Nate:  Next, I asked Bob how he developed his theory of leadership.    Bob:  I actually developed it really early on. You know, I mentioned earlier I'd been starting things since I was about 10 years old. And what's fascinated me between the age of like 10 and maybe, you know, my early 20s, I love the idea of creating stuff with people where no one gets paid. And here's why. These are charities and nonprofits and stuff, right? But I realized really early, if I can lead and motivate in a way where people want to contribute, even though they're not getting paid, and we can create stuff together, if I can learn that aspect, like management in that sense, then if I'm one day paying people, I'm going to get like, I'm going to, we're all going to be so much more effective, essentially, right? Like the organization is going to be so much more effective. And that is a concept I still work with today. Yes, we pay everyone quite well at Quid who works at Quid, right? Like we pay at or above market rate. But I never think about that. I never, ever ask for anything or work with people in a way that I feel they need to do it because that's their job ever. I just erased that from my mindset. I've never had that in my mindset. I always work with people with like, with gratitude and and in a way where I'm like, well, I'll try and make it fun and like help them see the meaning in the work, right? Like help them understand why it's an exciting thing to work on or a, why it's right for them, how it connects to their goals and their interests and why it's, you know, fun to contribute, whether it's to a client or to an area of technology or whatever we're working on. It's like, so yeah, I haven't really, I haven't, I mean, you guys might have read books on this, but I haven't really seen that idea articulated in quite the way that I think about it. And because I didn't read it in a book, I just kind of like stumbled across it as a kid. But that's, but I learned because I practiced it for 10 years before I even ended up in the US, when I started managing teams at Yelp, I found that I was very effective as a manager and a leader because I didn't take for granted that, you know, people had to do it because it was their job. I thought of ways to make the environment fun and make the connections between the different team members fun and teach them things and have there be like a culture of success and winning and sharing in the results of the wins together. And I suppose this did play out a little bit financially in my career because, although we pay people well at Yelp, we're kind of a somewhat mature business now. But in the early days of Yelp and in the early days of Quid, I never competed on pay. You know, when you're starting a company, it's a really bad idea to try and compete on pay. You have to, I went into every hiring conversation all the way through my early days at Yelp, as well as through the early days at Quid, like probably the first nearly 10 years at Quid. And every time I interviewed people, I would say early on, this isn't going to be where you earn the most money. I'm not going to be able to pay you market rate. You're going to earn less here than you could elsewhere. However, this is what I can offer you, right? Like whether then I make a culture that's about like helping learning. Like we always had a book like quota at Quid. If you want to buy books to read in your free time, I don't care what the title is, we'll give you money to buy books. And the reality is a book's like 10 bucks or 20 bucks, right? No one spends much on books, but that was one of the perks. I put together these perks so that we were paying often like half of what you could get in the market for the same role, but you're printing like reasons to be there that aren't about the money. Now, it doesn't work for everybody, you know, that's as in every company doesn't, but that's just what played out. And that's really important in the early days. You've got to be so efficient. And then once you start bringing in the money, then you can start moving up your rates and obviously pay people market rate. But early on, you've got to find ways to be really, really, really efficient and really lean. And you can't pay people market rate in the early days. I mean, people kind of expect that going into early stage companies, but I was particularly aggressive on that front. But that was just because I suppose it was in my DNA that like, I will try and give you other reasons to work here, but it's not going to be, it's not going to be for the money.    Nate:  Next, I asked Bob how he got from Yelp to Quid and how he knew it was time to launch his own company.    Bob:  Yeah, like looking back, if I'd made sort of the smart decision from a financial standpoint and from a, you know, career standpoint, I suppose you'd say, I would have just stayed put. if you're in a rocket ship and it's growing and you've got a senior role and you get to, you've got, you've earned the license to work on whatever you want. Like Yelp wanted me to move to Phoenix and create their first remote sales team. They wanted, I was running customer success at the time and I'd set up all those systems. Like there was so much to do. Yelp was only like three or four years old at the time, and it was clearly a rocket ship. And you know, I could have learned a lot more like from Yelp in that, like I could have seen it all the way through to IPO and, setting up remote teams and hiring hundreds of people, thousands of people eventually. So I, but I made the choice to leave relatively early and start my own thing. Just coming back to this idea we talked about in the session earlier today, I I always want to work on the forefront of whatever's going on, like the most important thing happening in our time. And I felt I knew what was next. I could kind of see what was next, which was applying AI to analyze the world's text, which was clear to me by about 2008, like that was going to be as big as the internet. That's kind of how I felt about it. And I told people that, and I put that in articles, and I put it in talks that are online that you can go watch. You know, there's one on my website from 10 years ago where I'd already been in the space for five or six years. You can go watch it and see what I was saying in 2015. So fortunately, I documented this because it sounds a bit, you know, unbelievable given what's just happened with large language models and open AI. But it was clear to me where things were going around 2008. And I just wanted to work on what was next, basically. I wanted to apply neural networks and natural language processing to massive text sets like all the world's media, all the world's social media. And yeah, I suppose whenever I've seen what's going to happen next, like with social network, going to Yelp, like seeing what was going to happen with social networking, going to building Yelp, and then seeing this observation about AI and going and doing Quid, it's not, it doesn't feel like a choice to me. It's felt like, well, just what I have to do. And regardless of whether that's going to be more work, harder work, less money, et cetera, it's just how I'm wired, I guess. And I'm kind of, I see it now. Like I see what's next now. And I'll probably just keep doing this. But I was really too early or very, very early, as you can probably see, to be trying to do that at like 2008, 2009, seven or eight years before OpenAI was founded, I was just banging my head against the wall for nearly a decade with no one that would listen. So even the best companies in the world and the biggest investors in the world, again, I won't name them, But it was so hard to raise money. It was so hard to get anyone to watch it that, after a time, I actually started to think I was wrong. Like after doing it for like 10 years and it hadn't taken off, I just started to think like, I was so wrong. I spent a year or two before ChatGPT took off. I'd got to a point where I'd spent like a year or two just thinking, how could my instinct be so wrong about what was going to play out here? How could we not have unlocked the world's written information at this point? And I started to think maybe it'll never happen, you know, and like I was simply wrong, which of course you could be wrong on these things. And then, you know, ChatGPT and OpenAI like totally blew up, and it's been bigger than even I imagined. And I couldn't have told you exactly which technical breakthrough was going to result in it. Like no one knew that large language models were going to be the unlock. But I played with everything available to try and unlock that value. And as soon as large language models became promising in 2016, we were on it, like literally the month that the Google BERT paper came out, because we were like knocking on that door for many years beforehand. And we were one of the teams that were like, trying to unlock that value. That's why many of the early Quid people are very senior at OpenAI and went on to take what they learned from Quid and then apply it in an OpenAI environment, which I'm very proud of. I'm very proud of those people, and it's amazing to see what they've done.    Nate:  That concludes Chapter 2. In Chapter 3, we discuss AI and social media. The first question was about anxiety and AI.    Bob:  Maybe I'll just focus on the anxiety and the issues first of all. A lot's been said on it. I suppose what would be my headlines? I think that one big area of concern is how it changes the job market. And I think the practical thing on that is if you can learn to be the bridge, then you're putting yourself in a really valuable position, right? Because if you can bridge this technology into businesses in a way that makes change and improvements, then you are moving yourself to a skill set that's going to continue to be really valuable. So that's just a practical matter. One of the executives I work with in a major US company likes to say will doctors become redundant because of AI? And he says, no, doctors won't be redundant, but doctors that don't use AI will be redundant. And that's kind of where we are, right? It's like, we're still going to need a person, but if you refuse, if you're not using it, you're going to fall behind and like that is going to put you at risk. So I think there is some truth to that little kind of illustrative story. There will be massive numbers of jobs that are no longer necessary. And the history of technology is full of these examples. Coming back to like 5,000 years ago, think of all the times that people invented stuff that made the prior roles redundant, right? In London, before electricity was discovered and harnessed, one of the biggest areas of employment was for the people that walked the streets at night, lighting the candles and gas lights that lit London. That was a huge breakthrough, right? You could put fire in the street, you put gas in the street and you lit London. Without that, you couldn't go out at night in London and like it would have been an absolute nightmare. The city wouldn't be what it is. But that meant there were like thousands of people whose job it was to light those candles and then go round in the morning when the sun came up and blow them out. So when the light bulb was invented, can you imagine the uproar in London where all these jobs were going to be lost, thousands of jobs were going to be lost. by people that no longer are needed to put out these lights. There were riots, right? There was massive social upheaval. The light bulb threatened and wiped out those jobs. How many people in London now work lighting gas lamps and lighting candles to light the streets, right? Nobody. That was unthinkable. How could you possibly take away those jobs? You know, people actually smashed these light bulbs when the first electric light bulbs were put into streets. People just went and smashed them because they're like, we are not going to let this technology take our jobs. And I can give you 20 more examples like that throughout history, right? Like you could probably think of loads yourselves. Even the motor car, you know, so many people were employed to look after horses, right? Think of all the people that were employed in major cities around the world, looking after horses and caring for them and building the carts and everything. And suddenly you don't need horses anymore. Like that wiped out an entire industry. But what did it do? It created the automobile industry, which has been employing massive numbers of people ever since. And the same is true for, you know, like what have light bulbs done for the quality of our lives? You know, we don't look at them now and think that's an evil technology that wiped out loads of jobs. We go, thank goodness we've got light bulbs. So the nature of technology is that it wipes out roles, and it creates roles. And I just don't see AI being any different. Humans have no limit to like, seem to have no limit to the comfort they want to live with and the things that we want in our lives. And those things are still really expensive and we don't, we're nowhere near satisfied. So like, we're going to keep driving forward. We're going to go, oh, now we can do that. Great. I can use AI, I can make movies and I can, you know, I don't know, like there's just loads of stuff that people are going to want to do with AI. Like, I mean, using the internet, how much time do we spend on these damn web forms, just clicking links and buttons and stuff? Is that fun? Do we even want to do that? No. Like we're just wasting hours of our lives every week, like clicking buttons. Like if we have agents, they can do that for us. So we have, I think we're a long way from like an optimal state where work is optional and we can just do the things that humans want to do with their time. And so, but that's the journey that I see us all along, you know. So anyway, that's just my take on AI and employment, both practically, what can you do about it? Be the bridge, embrace it, learn it, jump in. And also just like in a long arc, I'm not saying in the short term, there won't be riots and there won't be lots of people out of work. And I mean, there will be. But when we look back again, like I often think about what time period are we talking about? Right? People often like, well, what will it do to jobs? Next year, like there'll certain categories that will become redundant. But are we thinking about this in a one year period or 100 year period? Like it's worth asking yourself, what timeframe am I talking about? Right? And I always try and come back to the 100 year view at a minimum when talking about technology change. If it's better for humanity in 100 years, then we should probably work on it and make it happen, right? If we didn't do that, we wouldn't have any light bulbs in our house. Still be lighting candles?    Nate:  Next was a question about social media, fragmented attention, and how it drives isolation.    Bob:  Well, it's obviously been very problematic, particularly in the last five or six years. So TikTok gained success in the United States and around the world around five or six years ago with a completely new model for how to put content in front of people. And what powered it? AI. So TikTok is really an AI company. And the first touch point that most of us had with AI was actually through TikTok. It got so good at knowing the network of all possible content and knowing if you watch this, is the next thing we should show you to keep you engaged. And they didn't care if you were friends with someone or not. Your network didn't matter. Think about Facebook. Like for those of you that were using Facebook, maybe say 2010, right? Like 15 years ago. What did social media look like? You had a profile page, you uploaded photos of yourself and photos of your friends, you linked between them. And when you logged into Facebook, you basically just browsing people's profiles and seeing what they got up to at the weekend. That was social media 15 years ago. Now imagine, now think what you do when you're on Instagram and you're swiping, right? Or you go to TikTok and you're swiping. First of all, let's move to videos, which is a lot more compelling, short videos. And most of the content has nothing to do with your friends. So there was a massive evolution in social media that happened five or six years ago, driven by TikTok. And all the other companies had to basically adopt the same approach or they would have fallen too far behind. So it forced Meta to evolve Instagram and Facebook to be more about attention. Like there's always about attention, that's the nature of media. But these like AI powered ways to keep you there, regardless of what they're showing you. And that turned out to be a bit of a nightmare because it unleashed loads of content without any sense of like what's good for the people who are watching it, right? That's not the game they're playing. They're playing attention and then they're not making decisions about what might be good for you or not. So we went through like a real dip, I think, in social media, went through a real dip and we're still kind of in it, right, trying to find ways out of it. So regulation will ultimately be the savior, which it is in any new field of tech. Regulation is necessary to keep tech to have positive impact for the people that it's meant to be serving. And that's taken a long time to successfully put in place for social media, but we are getting there. I mean, Australia just banned social media for everyone under 16. You may have seen that. Happened, I think, earlier this year. France is putting controls around it. The UK is starting to put more controls around it. So, you know, gradually countries are voters are making it a requirement to put regulation around social media use. In terms of just practical things for you all, as you think about your own social media use, I think it's very healthy to think about how long you spend on it and find ways to just make it a little harder to access, right? Like none of us feel good when we spend a lot of time on our screens. None of us feel good when we spend a lot of time on social media. It feels good at the time because it's given us those quick dopamine hits. But then afterwards, we're like, man, I spent an hour, and I just like, I lost an hour down like the Instagram wormhole. And then we don't feel good afterwards. It affects us sleep negatively. And yeah, come to the question that was, posted, can create a sense of isolation or negative feelings of self due to comparison to centrally like models and actors and all these people that are like putting out content, right? Kind of super humans. So I think just finding ways to limit it and asking yourself what's right for you and then just sticking to that. And if that means coming off it for a month or coming off it for a couple of months, then, give that a try. Personally, I don't use it much at all. I'll use it mostly because friends will share like a funny meme or something and you just still want to watch it because it's like it's sent to you by a friend. It's a way of interacting. Like my dad sends me funny stuff from the internet, and I want to watch it because it's a way of connecting with him. But then I set a timer. I like to use this timer. It's like just a little physical device. I know we've all got one on our phones, but I like to have one on my desk. And so if I'm going into something, whether it's like I'm going to do an hour on my inbox, my e-mail inbox, or I'm going to, you know, open up Instagram and just swipe for a bit, I'll just set a timer, you know, and just keep me honest, like, okay, I'm going to give myself 8 minutes. I'm not going to give myself any more time on there. So there's limited it. And then I put all these apps in a folder on the second screen of my phone. So I can't easily access them. I don't even see them because they're on the second screen of my phone in a folder called social. So to access any of the apps, I have to swipe, open the folder, and then open the app. And just moving them to a place where I can't see them has been really helpful. I only put the healthy apps on my front page of my phone.    Nate:  Next was a question about where Bob expects AI to be in 20 years and whether there are new levels to be unlocked.    Bob:  No one knows. Right? Like what happens when you take a large language model from a trillion nodes to like 5 trillion nodes? No one knows. It's, this is where the question comes in around like consciousness, for example. Will it be, will it get to a point where we have to consider this entity conscious? Fiercely debated, not obvious at all. Will it become, it's already smarter than, well, it already knows more than any human on the planet. So in terms of its knowledge access, it knows more. In terms of most capabilities, most, you know, cognitive capabilities, it's already more capable than any single human on the planet. But there are certain aspects of consciousness, well, certain cognitive functions that humans currently are capable of that AI is not currently capable of, but we might expect some of those to be eaten into as these large language models get better. And it might be that these large language models have cognitive capabilities that humans don't have and never could have, right? Like levels of strategic thinking, for example, that we just can't possibly mirror. And that's one of the things that's kind of, you know, a concern to nations and to people is that, you know, we could end up with something on the planet that is a lot smarter than any one of us or even all of us combined. So in general, when something becomes more intelligent, it seeks to dominate everything else. That is a pattern. You can see that throughout all life. Nothing's ever got smarter and not sought to dominate. And so that's concerning, especially because it's trained on everything we've ever said and done. So I don't know why that pattern would be different. So that, you know, that's interesting. And and I think in terms of, so the part of that question, which is whole new areas of capability to be unlocked, really fascinating area to look at is not so much the text now, because everything I've written is already in these models, right? So the only way they can get more information is by the fact that like, loads of social networks are creating more information and so on. It's probably pretty duplicitous at this point. That's why Elon bought Twitter, for example, because he wanted the data in Twitter, and he wants that constant access to that data. But how much smarter can they get when they've already got everything ever written? However, large language models, of course, don't just apply to text. They apply to any information, genetics, photography, film, every form of information can be harnessed by these large language models and are being harnessed. And one area that's super interesting is robotics. So the robot is going to be as nimble and as capable as the training data that goes into it. And there isn't much robotic training data yet. But companies are now collecting robotic training data. So in the coming years, robots are going to get way more capable, thanks to large language models, but only as this data gets collected. So in other words, like language is kind of reaching its limits in terms of new capabilities, but think of all the other sensor types that could feed into large language models and you can start to see all kinds of future capabilities, which is why everyone suddenly got so interested in personal transportation vehicles and personal robotics, which is why like Tesla share price is up for example, right? Because Elon's committed now to kind of moving more into robotics with Tesla as a company. And there are going to be loads of amazing robotics companies that come out over the next like 10 or 20 years.    Nate:  And that brings us to the end of this episode with Bob Goodson. Like I mentioned in the intro, there were so many great nuggets from Bob. Such great insight on managing our careers, building companies, and the evolving impact of AI and social media. In summary, try to be at the intersection of new power and real problems. Seek to inspire rather than just transact, and be thoughtful about how to use social media and AI. All simple ideas, please, take them seriously.   

Im Ausstellungsbetrieb und bei Auktionen rangieren sie immer noch hinter den männlichen Kollegen. Warum ist das so? Dresden und Bremen feiern jetzt die Expressionistin Paula Modersohn-Becker zum 150. Geburtstag. In London und New York gibt es dieses Jahr große Frida-Kahlo-Schauen. Sind Künstlerinnen dennoch ein Sonderfall? Ändern Gegenbeispiele nichts? Was macht Künstlerinnen wertvoll? Michael Köhler diskutiert mit Rita Kersting – Co-Direktorin Museum Ludwig Köln; Prof. Dr. Rainer Stamm – Direktor Osthaus Museum Hagen; Dr. Kia Vahland –Publizistin und Kunstkritikerin, Süddeutsche Zeitung

Royal favourites, we want your voice notes in our new miniseries on historical failures. Look out for Producer Al's callout post on patreon.com/thisishistory   England's grip on France is collapsing. After more than a century of brutal conflict, English forces across the Channel are exhausted, bankrupt, and beaten down. In London, hopes rest on King Henry VI — now an adult and expected to rescue his father's dying empire. But Henry is no warrior king, and the French are dismantling England's hard‑won gains with shocking ease. Then, a new force enters the fray: Margaret of Anjou. Young, formidable, and newly crowned Queen of England, she becomes a lightning rod for ambition, fear, and bitter factional rivalries. Some believe she can save England's fortunes in France; others fear she is about to upend the entire balance of power at court. As defeat looms and alliances fracture, this episode traces how Margaret of Anjou steps into a failing war — and begins reshaping the fate of the Hundred Years' War, the English crown, and the violent political battles still to come. – And don't forget, you can now WATCH every This Is History episode on YouTube. Subscribe at youtube.com/@thisishistorypod  – A Sony Music Entertainment production.  Find more great podcasts from Sony Music Entertainment at sonymusic.com/podcasts  To bring your brand to life in this podcast, email podcastadsales@sonymusic.com  Learn more about your ad choices.  Visit megaphone.fm/adchoices  – Written and presented by Dan Jones Producer - Alan Weedon Senior Producer - Dominic Tyerman Executive Producer - Simon Poole  Production Manager - Jen Mistri  Production coordinator - Eric Ryan  Mixing - Amber Devereux Head of content - Chris Skinner Learn more about your ad choices. Visit podcastchoices.com/adchoices

Summary :このエピソードでは、Norikoとやすよさんが2025年の旅行を振り返っています。やすよさんは、直感に従って南フランス、ロンドン、ニューオリンズなどを旅しました。南フランスでは、冒険する気持ちでレンタカーを借り、芸術や風景を楽しみました。ロンドンでは、若いバイオリニストの演奏を聴き、昔の思い出がよみがえる体験をしました。また、仕事で参加したニューオリンズのカンファレンスでは、新しい出会いもありました。この旅を通して、自分から動くこと、直感を信じること、人と会うことの大切さを強く感じたという話です。 In this episode, Noriko talks with Yasuyo from Mori Mori Japanese Lessons about Yasuyo's travels in 2025.Yasuyo followed her intuition and visited places such as South France, London, and New Orleans. In South France, she enjoyed an adventurous road trip and explored art and local scenery.In London, she attended a concert by a young violinist, which brought back strong memories from her past.She also joined a teaching conference in New Orleans, where she made new connections.Through these experiences, she realized the importance of taking action, trusting intuition, and meeting people in person. 直感（ちょっかん）intuition冒険（ぼうけん）adventure旅（たび）journey / travelハイライトhighlight再会（さいかい）reunion / meeting again縁（えん）connection / fate / bond心が動く（こころがうごく）to be emotionally movedコンフォートゾーンcomfort zone経験（けいけん）experience出会い（であい）encounter / meeting someone newロンドン（ろんどん）London, UKリバプール（りばぷーる）Liverpool, UK南フランス（みなみふらんす）South of Franceコート・ダジュールCôte d'Azur, FranceプロヴァンスProvence, FranceアルルArles, Franceエクス・アン・プロヴァンスAix-en-Provence, FranceニューヨークNew York, USAニューオーリンズNew Orleans, USAシカゴChicago, USA

Chatham House Director Bronwen Maddox joins the Independent Thinking podcast from the World Economic Forum in Davos. In London are guest host David Lubin, a Senior Research Fellow in Chatham House's Global Economy and Finance Programme; and Grégoire Roos, Director of the Europe and Russia and Eurasia Programmes.  They examine the implications of President Trump's speech for Greenland, NATO, Europe, China and others after Trump pulled back from using force in Greenland, but left allies with a loss of trust in US intentions. Our analysts also discuss the impact of the address by Canadian Prime Minister Mark Carney, a former President of Chatham House, who laid out his alternative vision for middle powers to cooperate when faced with what he called 'a rupture' in the world order.  Read our latest: Trump's Davos speech backed off escalation in Greenland. That will not prevent an EU rush for strategic autonomy Trump, Diego Garcia and the 'Donroe Doctrine' in the Indian Ocean Trump's Greenland tariffs show the UK must prepare for a new era of economic coercion A roadmap for security and governance reform in Haiti Presented by Bronwen Maddox. Produced by Stephen Farrell. Read the Winter issue of The World Today  Listen to The Climate Briefing podcast 

Newly released court documents exposed private texts between Blake Lively and Taylor Swift, hinting at a shift in their friendship amid Lively’s legal fight with Justin Baldoni. Meanwhile, Queer Eye was thrown into turmoil after a hot-mic moment sparked a feud between Karamo Brown and three co-stars. In London, an emotional Prince Harry told the High Court that relentless media scrutiny has made Meghan Markle’s life an “absolute misery.” Rob’s latest exclusives and insider reporting can be found at robshuter.substack.com His forthcoming novel, It Started With A Whisper, is now available for pre-orderSee omnystudio.com/listener for privacy information.

Johnny Mack shares five Christmas-themed good news stories. An English hotel features a unique Christmas tree made from 100,000 balloons, designed by artist Naomi to raise money for charity. In London, an AI-generated Christmas mural baffles viewers with its distorted figures. Dr. Claire, a music psychologist, curates the world's happiest Christmas car playlist, naming Brenda Lee's 'Rocking Around the Christmas Tree' as the top song. Buffalo, NY, is crowned the Christmas Capital of America, boasting numerous holiday events and significant snowfall. Lastly, a Phoenix couple wins ABC's 'The Great Christmas Light Fight' with their extravagant holiday decorations.Unlock an ad-free podcast experience with Caloroga Shark Media! Get all our shows on any player you love, hassle free! For Apple users, hit the banner on your Apple podcasts app. For Spotify or other players, visit caloroga.com/plus. No plug-ins needed!Subscribe now for exclusive shows like 'Palace Intrigue,' and get bonus content from Deep Crown (our exclusive Palace Insider!) Or get 'Daily Comedy News,' and '5 Good News Stories' with no commercials! Plans start at $4.99 per month, or save 20% with a yearly plan at $49.99. Join today and help support the show!We now have Merch!  FREE SHIPPING! Check out all the products like T-shirts, mugs, bags, jackets and more with logos and slogans from your favorite shows! Did we mention there's free shipping? Get 10% off with code NewMerch10 Go to Caloroga.comGet more info from Caloroga Shark Media and if you have any comments, suggestions, or just want to get in touch our email is info@caloroga.com

In London, located on the north bank of the River Thames, stands a tower that the mere mention of the name inspires feelings of dread and the macabre and that is because this structure's thousand-year-old history is full of imprisonment, torture and execution. Many famous names in history met their final demise at the Tower of London. The Great Tower was not always a prison. It served as a royal residence for a time and is officially known as His Majesty's Royal Palace and Fortress of the Tower of London. Control of this piece of property usually signified control of the country. Because so much mystery, intrigue and death is associated with the structure, it is reputed to be quite haunted. Our infamous Lady in White is only one of the many spooks people claim to have seen or felt. Join us as we explore the history and haunting of the Tower of London.  Check out the website: http://historygoesbump.com Music used in this episode: Main Theme: Lurking in the Dark by Muse Music with Groove Studios Outro Music: Happy Fun Punk by Muse Music with Groove Studios Other music in this episode: "SCP-x2x (Unseen Presence)" Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 4.0 License http://creativecommons.org/licenses/by/4.0/

The United States and Russia have written up a plan to try and end the bloody fighting in Ukraine. High ranking officials from the Pentagon met with President Zelenskyy and shared the Trump administration's reported new 28-point plan to end the war. The plan is said to have been in the works for a month, receiving input from both sides but there is some initial negative reaction from Ukrainian officials who say it heavily favors Russia. FOX's John Saucier speaks with Greg Palkot, Senior Foreign Affairs Correspondent for FOX News Channel (FNC) based In London, who breaks down what we know about the possible peace plan, the possibility of it being accepted by both sides and the latest on the fighting. Click Here⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ To Follow 'The FOX News Rundown: Evening Edition' Learn more about your ad choices. Visit podcastchoices.com/adchoices

Whatever has got in to Joanne this week, is making her brain question things that most of us accept as fact. Is it genius? Possibly... In London, Vogue is reviewing the I'm A Celeb line up and cursing herself for not cloning Winnie. If you'd like to get in touch, you can send an email to hello@MTGMpod.comPlease review Global's Privacy Policy: https://global.com/legal/privacy-policy/For merch, tour dates and more visit: www.mytherapistghostedme.comJoanne's comedy gigs: www.joannemcnally.comThis episode contains explicit language and adult themes that may not be suitable for all listeners.

Nigerian modern art is having a moment. In London, the Tate has opened a critically acclaimed exhibition, called “Nigerian Modernism,” featuring more than 50 artists who experimented with vibrant new styles in the mid 20th century in the giant and influential West African nation. More generally, the artists of this era have become more recognized outside of their home country in recent decades, from early figures who laid the groundwork like Aina Onabolu to a towering figure of the 1950s like Ben Enwonwu to younger innovators of the 1950s and 1960s such as Uche Okeke and Demas Nwoko, with many more important names to know and bodies of work to discover. This was an earth-shaking time in Nigerian history, when a near-century of British colonial domination was shed and the many problems of a fragile new independent nation had to be faced. These artists were part of figuring out how to express that new sense of identity in images. But their art was not always so celebrated, sometimes dismissed as derivative of European art. The scholar and curator Chika Okeke-Agulu has been important to the recent re-estimation of Nigeria's art history. He teaches at Princeton, and is the author of, among many other things, of Postcolonial Modernism: Art and Decolonization in Twentieth-Century Nigeria, a book that personally excited me very much when I first found it. With the Tate show drawing a fresh wave of interest, art critic Ben Davis thought Okeke-Agulu would be an excellent guide to what this art was, what it meant, and why it still demands attention today.

In 1941, as the world plunged deeper into war, a small contingent of U.S. Marines found themselves far from the Pacific jungles, engaging in missions that would not capture headlines but were no less critical. Deployed far from the Pacific, they prepared the groundwork for larger Allied operations. In London, amidst the Blitz, they protected the American Embassy and took on tasks that extended far beyond their original mission. Across the Atlantic, in the rugged terrain of Scotland, Marines were pushed to their physical limits, learning unconventional warfare tactics from British Royal Marines, skills that would later define the elite Marine Raiders. Though often unsung, these Marines quietly helped lay the foundation for major victories to come. Their early, discreet efforts were crucial in shaping the success of later, larger campaigns and establishing the Marine Corps as a force capable of adapting to the ever-changing demands of global conflict. ************* Visit HistoryoftheMarineCorps.com to subscribe to our newsletter, explore episode notes and images, and see our references. Follow us on social media for updates and bonus content: Facebook and Twitter (@marinehistory) and Instagram (@historyofthemarines). Visit AudibleTrial.com/marinehistory for a free audiobook and a 30-day trial.

In London's decadent underbelly, our investigators pursue a painter whose disturbing works may be more than art.Keeper: Matthew DawkinsGuest players: Eddy Webb and Bridgett JeffriesMusic by: Halgrath and Ager Sonus. We have also used the Lovecraftian Compilations by Cryo Chamber. Used with permission by Cryo Chamber.Our Champions of the Red Moon: Martin Heuschober, Simon Cooper, Julia, Camilla, Bob de Lange, Cameron, Graham Barey, Doug Thomson, Lily, Maciej, Black Templar, Dennis Sadecki and Leonhardt.Web: https://www.redmoonroleplaying.comiTunes: http://apple.co/2wTNqHxAndroid: https://www.subscribeonandroid.com/feeds.simplecast.com/oYuoCFr6Youtube: https://www.youtube.com/RedMoonRoleplayingSpotify: https://spoti.fi/30iFmznRSS: http://www.redmoonroleplaying.com/podcast?format=rssPatreon: https://www.patreon.com/RedMoonRoleplaying

As word spreads of Queen Jane and the English people turn to Princess Mary instead, Dudley's coup plot rapidly unravels. The English Navy, forced ashore by storms, learns the situation and the sailors side with Mary, taking personnel and materiel to join her cause against Dudley. In London, efforts to secure the city from invasion collapse as the population rejects the new regime. Things are bleak for the nobles who orchestrated the new queen, and most rush to Mary to make whatever amends they can. As Mary takes her rightful place on the English throne, the Tower of London gets a passel of new residents. Most, including Jane herself, will eventually be executed, particularly after Wyatt's Rebellion sharpens the sense of danger to the Queen and her counselors. It's a bleak story for fans of Jane Grey, whose personal ambitions do not appear to have included becoming Queen of England, and who was poorly used by powerful men pursuing their own agendas. Listen ad-free at patreon.com/trashyroyalspodcast. To advertise on this podcast, reach out to info@amplitudemediapartners.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

As word spreads of Queen Jane and the English people turn to Princess Mary instead, Dudley's coup plot rapidly unravels. The English Navy, forced ashore by storms, learns the situation and the sailors side with Mary, taking personnel and materiel to join her cause against Dudley. In London, efforts to secure the city from invasion collapse as the population rejects the new regime. Things are bleak for the nobles who orchestrated the new queen, and most rush to Mary to make whatever amends they can. As Mary takes her rightful place on the English throne, the Tower of London gets a passel of new residents. Most, including Jane herself, will eventually be executed, particularly after Wyatt's Rebellion sharpens the sense of danger to the Queen and her counselors. It's a bleak story for fans of Jane Grey, whose personal ambitions do not appear to have included becoming Queen of England, and who was poorly used by powerful men pursuing their own agendas. Listen ad-free at patreon.com/trashyroyalspodcast. To advertise on this podcast, reach out to info@amplitudemediapartners.com. Learn more about your ad choices. Visit megaphone.fm/adchoicesSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Sean and Kyle reconnect after travel, skipping a planned live stream to actually experience London. Kyle opens with the saga of curb-damage to his new accessible van—weeks of repairs, inspections, and isolation—before the relief of finally getting back on the road. From there, the conversation pivots to travel takeaways: how attitude—not just laws—shapes access. In London (and across the Netherlands and Paris), they encountered a “whatever it takes” mindset: bartenders hauling out awkward ramps with a smile, black cabs universally equipped and drivers eager to problem-solve for two chairs, and even a teenager from Portugal who wordlessly pushed Sean up a long riverside incline. Small gestures, big impact.They contrast that spirit with common U.S. experiences, arguing that readiness plus genuine welcome is the real accessibility flex. Highlights include a boat ride on the Thames, a not-quite-ramp-friendly pub called Walkers, an accessible-on-request Starbucks, and Kyle's tiered advice for visiting Paris (bring someone—you'll enjoy it more). Shout-outs close the show: Kyle thanks multilingual community connector Miriam in Belgium; Sean tips his cap to United Airlines for careful wheelchair handling. Listeners chime in from Hawaii to Pennsylvania, and the dudes wrap with a call to subscribe and join the next live session—birthday episode included.