Podcast appearances and mentions of jackson williams

Jackson Williams of Counselor Top 40 distributor American Solutions for Business (asi/120075) discusses the power of learning, holding a full-time job in college and what it's like to work with his twin brother.

In this heartfelt episode of the Feel Free Again podcast, host Cole James sits down with Jocelyn Jackson Williams, a certified grief recovery specialist and close friend of over a decade. Jocelyn shares her profound personal journey, navigating loss, heartbreak, and the complexities of becoming a caretaker for her aging father. With candor and wisdom, she reflects on how the Grief Recovery Method has shaped her life, equipping her to heal from the past while building a hopeful and resilient future.   Jocelyn reveals the transformative power of addressing unresolved grief, not just for loss but for navigating life's transitions—like finding love later in life and facing the emotional challenges of helping a parent in need. From her early experiences as a grief recovery trainer to her remarkable personal growth, Jocelyn's story offers invaluable insights into how grief recovery can empower individuals to release emotional burdens and embrace a new sense of freedom and joy.   Whether you're seeking tools to heal your own heart, improve relationships, or support a loved one, this episode is full of practical advice and inspiring lessons. Jocelyn's story is a testament to the healing potential of grief recovery and the courage it takes to show up fully for life's challenges and opportunities. Tune in for an enriching conversation that will leave you feeling hopeful and uplifted.

Brian kicks off our last hour to cover his game of New Albany vs. Evansville Central with New Albany getting the win. The score of that game was 76-68. Jackson Williams joins the show from Greenwood Christian Academy and their win over Covenant Christian. This would end up being a very close game but they were just able to survive that game with some big shots from key players. Brendan King gives us the close out for the Indiana college playoff game tonight and who was able to win. Brendan King also reconciles some college memories being “King of the Dog Pound” and his role for their legendary Butler basketball game. David Deaton comes in to talk about a Coridan Central team who gave it their all and ultimately got rewarded. He praised their play on both sides which drove them to win tonight and most likely some success down the road this season. Len Clark jumps back in to talk his closing thoughts from an in person perspective for the Notre Dame win and what it was like being at the game.See omnystudio.com/listener for privacy information.

Dr. Jackson Williams, University of Louisville Department of Pediatrics shares his two-decade long journey and experience in global health, tracing back to his volunteer work in rural Kentucky and his transformative service trips to Calcutta, India, and Liberia, Africa. This episode is part of a series dedicated to global health, marking a significant discussion point as the podcast explores this topic for the first time in its 115 episodes. Dr. Williams recounts his hands-on experiences in various countries, including a pivotal sabbatical year in Liberia where he contributed to the development of academic pediatrics amid post-civil war recovery. Listeners will gain insights into the evolving nature of global health engagements, the importance of humility and self-reflection in these settings, and the critical evaluation of short-term medical missions. Dr. Williams emphasizes the need for partnerships with local health systems and long-term impact over quick fixes. Discover the challenges and rewards of global health work, the significance of bilateral exchanges, and how future healthcare professionals can thoughtfully and effectively engage in global health initiatives. Dr. Williams also discusses the influential book "Mountains Beyond Mountains" by Dr. Paul Farmer, which encapsulates the spirit of relentless perseverance in the face of ongoing global health challenges.   Tune in to this episode to be inspired by Dr. Williams' dedication and to learn how you can make a meaningful impact in the world of global health. Do you have comments or questions about Faculty Feed? Contact us at FacFeed@louisville.edu. We look forward to hearing from you. --- Send in a voice message: https://podcasters.spotify.com/pod/show/hscfacdev/message

North Dakota State's 2024 offensive gameplans took a hit last week when standout receiver Eli Green entered the transfer portal.   Green emerged as a downfield threat over the final six games of 2023, making several acrobatic catches and scoring three touchdowns, two of them in the playoffs.   With Green's departure, that leaves NDSU without its top two receivers from a year ago after Zach Mathis graduated.   Sixth-year senior Braylon Henderson and fifth-year senior Raja Nelson return for the Bison. Nelson emerged as both a deep threat and a running back over the final few games of 2023, while Henderson had his best year as a Bison. Between the two of them, they have a combined 119 receptions.   After that, though, it's a big dropoff in the wide receiver room. Senior Tyler Terhark has the most receptions with four, with Chris Harris, Mehki Collins and Bryce Lance each with just one catch. Collins and Lance earned rave reviews during the spring and each had solid performances during the Green and Gold Showcase.   Redshirt sophomore Carson Hegerle had his spring football end early with a broken ankle and his return is up in the air for fall camp. Cedric Wall has grabbed the coaches attention during practice, but has yet to see the field yet.   NDSU has an incoming freshman in Omaha native Jackson Williams, but there are questions entering the 2024 season.   WDAY's Dom Izzo and The Forum's Mike McFeely discuss the wide receivers and what's ahead for this year.

Tyrel Jackson Williams is in two of the best comedies of the last handful of years, Brockmire and Party Down, but waaaaay before those shows, Tyrel got his start as a child actor, playing a younger version of his brother on Everybody Hates Chris, playing one of Shirley's kids on Community, and tons of other things including the Disney show Lab Rats. We talk all about the how being a child actor psychologically screws with you, how wHite Hollywood makes you question who you are, being too queer for some black spaces and too black for some queer spaces, and how Tyrel began to figure some of this stuff out through therapy. PLUS, obvi, we answer YOUR advice questions! If you'd like to ask your own advice questions, call 323-524-7839 and leave a VM or just DM us on IG or Twitter!Get tix to Naomi's Netflix is a Joke Festival show (masks required!)! Support the show on Patreon (two extra exclusive episodes a month!) or get yourself a t-shirt or a discounted Quarantine Crew shirt! And why not leave a 5-star review on Apple Podcasts? Or Spotify? It takes less than a minute! Follow the show on Instagram! Check out CT clips on YouTube!Plus some other stuff! Watch Naomi's Netflix half hour or Mythic Quest! Check out Andy's old casiopop band's lost album or his other podcast Beginnings!Theme song by the great Sammus! Hosted on Acast. See acast.com/privacy for more information.

After a scoreboard update from Corbin Lingenfelter, Matt Luce joins the show. Luce is the head coach of Wapahani, who defeated Tipton 65-41 to advance to semi-state. Next, Head Coach Garrett Winegar of Fishers calls in after the Tigers defeated Flory Bidunga and Kokomo to advance another week. After that, its Head Coach Rich Schelsky of Parke Heritage, who joins following a 51-37 win over Northeastern. Mark Foerster of WMUN follows with a conversation about Delaware County basketball at the Lapel Regional. Next, its Head Coach Jackson Williams of Greenwood Christian Academy, who defeated Oldenburg Academy 49-42 to advance to the semi-state. After that, Dr. Len Clark of Irish 101 joins to talk about Notre Dame's 82-76 road loss to Virginia Tech. John Herrick of the ISC Sports Network joins next to talk about the pair of games at the Greenfield-Central Regional. Finally, Greg Rakestraw closes out the show with Coach Lovell talking about the Southport regional and all things Indiana sports. See omnystudio.com/listener for privacy information.

To start off this hour, Coach Bob Lovell previews IU's Sunday game against Maryland with John Herrick of the IU Radio Network. Then, head coach Tim Adams of Park Tudor called to talk about his team's 60-56 win over University. After that, Andrew Smith joined to talk about New Palestine's 60-48 win over Greenfield-Central. Next, David Eha of the Ball State Radio Network called in to talk about the Cardinal's heartbreaking loss at the overtime buzzer to Western Michigan 78-76. Dave Sakel of Southern Indiana Sports Productions stops by to talk about Scottsburg's 64-59 win over Silvercreek. Jackson Williams, the head coach at Greenwood Christian Academy joins to talk about a big time 2-point win over Lutheran. After that, David Deaton of WKLO joins to talk about the incredible 5 OT game between Loogootee and Barr-Reeve.See omnystudio.com/listener for privacy information.

After a scoreboard update from Brad Huber, Coach Bob Lovell brings on Cliff Hawkins, the head coach at Tipton high school. The Blue Devils defeated Delta tonight at the Muncie Fieldhouse. Next, Tanner Camp of the Regional Radio Sports Network joins to talk about Michigan City's 70-34 win over Hammond Central. Then, Jackson Williams, the head coach at Greenwood Christian calls in to talk about his 55-47 win over Lutheran. After that, Kris Norton of WITZ joins to talk about a Northeast Dubois 48-33 win over Tel City. Next, Kurt Darling of the ISC Sports Network (and Radio One's WIBC News) calls in to talk about the Forum Tipoff Classic at Southport High School tonight. After that, Coach Lovell brings on Mark Minner to talk about Butler's 97-90 overtime win over Cal at Hinkle Fieldhouse. Minner is the play-by-play voice of the Bulldogs. Finally, David Deaton of WKLO joins with a recap of an Orleans girls' basketball 54-51 win over Trinity Lutheran. See omnystudio.com/listener for privacy information.

It's the start of hour number two here on Network Indiana's Indiana Sports Talk, Coach Bob Lovell and Nathaniel Finch are joined by David Eha from Ball State Radio. The Cardinals had a big 67-58 win over Bellarmine today in Men's basketball. Head Coach Barak Coolman from Bishop Luers High School joins the show to talk the Knights win over Mishawaka Marian. John Herrick from the ISC Sports Network calls into the show to talk the Sneakers for Santa basketball tournament today. Herrick had the call of Brownsburg 49-44 win over Warren Central. Herrick also talks his call of Ben Davis 71-57 win over Fort Wayne Wayne. Jackson Williams from Greenwood Christian Academy joins the show to talk their win over University High School. Len Clark from Notre Dame played in the NCAA Soccer Tournament today and the Irish won and will advance to the College Cup. Greg Rakestraw joins the show to talk with Coach about his calls of Lawrence North 72-47 win over Brownstown Central and Crispus Attucks 53-46 win over Center Grove.See omnystudio.com/listener for privacy information.

Guests include Best of Weekend, Jeff Kolpack- Forum of Fargo-Moorhead, Jackson Williams- Millard North wide receiver, NDSU commit, Tyler Wrice- Omaha Westside WR coach, former NDSU WR Watch Hot Mic with Dom Izzo weekday mornings from 9 to 11 on WDAY XTRA and streaming live at Inforum.com. Follow Hot Mic on Twitter: @HotMicWDAY

Today's podcast topic: finding your freedom! We speak with JoceIyn Jackson Williams, a grief recovery specialist and blogger, about how her blogging about life and loss have helped her navigate her grief. #outofgriefcomesart #blogger #griefrecoveryspecialist #grief #lovedones #lossandlove #griefjourney #podcast #podcasters About Jocelyn Jackson Williams, AKA @mobettajo: Jocelyn is passionate about the world of recovery. She has been helping grievers overcome the pain and heartbreak as a result of a loss in their life.  She is also a Certification Trainer for the Grief Recovery Institute. In a nutshell, she loves to help people become the best version of themselves. Connect with Jocelyn online: https://www.instagram.com/mobettajo       LinkedIn: https://www.linkedin.com/in/jocelyn-williams-mobettajo/ https://twitter.com/mobettajo    https://www.facebook.com/mobettajo

In this episode Grace VanderWaal, Elijah Richardson, and Tyrel Jackson Williams from Disney's Hollywood Stargirl join us to talk about bonding on set of their new movie, and then take on The Insider 5. Hollywood Stargirl is now streaming on Disney+.  About Disney Movie Insiders Presents: Disney Movie Insiders Presents brings fans closer to the movies they love with interviews, interactive trivia, and more! We're lifting the curtain to give you a behind-the-scenes look at new releases and classics from The Walt Disney Studios. About Disney Movie Insiders: Disney Movie Insiders celebrates and rewards Disney movie fans - just for being fans. Members can earn points, redeem rewards and discover perks. Membership required. Visit DisneyMovieInsiders.com for Terms & Conditions.

In this episode of the Life and Football Podcast our special guest was Jay Jackson-Williams. Jay Jackson-Williams is currently a Professional Football player as an Offensive Lineman. The former Power 5 transfer ruled the Rattlers' offensive line as an All-SWAC performer for Coach Willie Simmons. Jackson-Williams stands 6-5 and 305 pounds, with an 85-inch wingspan - prototypical NFL offensive left tackle measurements. His playing days include stops at San Diego State, Grossmont College (JUCO), Florida State and Florida A&M. The introduction of Jackson-Williams biography began in his hometown of Moreno Valley, Calif. Here's what Jackson-Williams share with us about why the NFL should draft him: "36 6/8 inch arms, versatility. An understanding of leverage points, angles to the second level. Consistent and great footwork. Climb to the second level very well and engage blockers. I only played one season at the D1 level as a starter. I started 12 games last season and achieved all conference. I'm new to the position after playing defensive end at San Diego state, Grossmont college and offensive line from 2018-current. I actually started out as a wide receiver in high school. I'm an ascending offensive lineman that has only gotten better with experience at the position and far from my ceiling." He makes it clear that his family's legacy will live on as he continues to strive for excellence. The Life and Football Podcast is available on the following platforms Apple Podcasts, Google Podcasts, Anchor, Spotify, Breaker, Overcast Pocketcasts, Radio Public, Stitcher, Player FM, & YouTube!

Florida A&M football's Jay Jackson-Williams joins The NightStand HBCU NXT ahead of the 2022 NFL Draft,. He talks his preparation and his journey from a walk-on at San Diego State to JUCO to Florida State to FAMU. Watch for a true story of perseverance.

On this episode of The Bluebloods, Zach McKinnell is joined by Florida A&M Offensive Lineman, Jay Jackson-Williams. Williams talks his journey from Florida State to Florida A&M, Florida A&M's run to the FCS Playoffs in the 2021 season, what makes HC Willie Simmons such a special coach, what he will bring to an NFL Franchise in the future, the struggles of JUCO Football in California, & the biggest differences between the high school recruiting process and the transfer portal. All this and more right here on The Bluebloods!​ --- Support this podcast: https://anchor.fm/the-bluebloods/support

In this episode, we discuss Vanessa North's M/M romance, Out of Sync: “Jacks Williams is Ritchie Ford's one great love. Their life as the rhythm section of the band Vertical Smile is perfect—only upstaged by the one they share as lovers. Until one night Jacks locks himself in the bathroom and slices his arms open, shattering everything Ritchie knows. Ten years earlier, Jackson Williams, III appeared to lead a charmed life. In reality, it was hell. Trapped in an abusive home, Jacks acted out small rebellions and dreamed of freedom. Until Ritchie Ford rescued him like a puppy, and everything changed. He would be perfect for Ritchie—it was the least he could do. Months after Jacks attempted suicide, the two men struggle to navigate their formerly perfect relationship. After ten years of loving their idealized versions of each other, can they make a life together out of the truth?” This heartfelt and emotional book led to some great chatting about codependent relationships, the countless benefits of therapy, and the beauty of chosen families. We also ramble about our love for tattoos and bisexual rep in romance, the pitfalls of compulsive heterosexuality, and so much more! Oh, and this is the tea we talk about at the beginning of the episode: Menstrual Melody Tea by Euphoric Herbals. Follow us on social media to stay updated on upcoming episodes, and send your questions and comments to: Twitter: https://twitter.com/SexyBooksPod Instagram: https://www.instagram.com/sexybookspodcast_/ Gmail: SexyBooksPodcast@gmail.com

Coach Lovell opens the show talking with Brendan King about Indiana college basketball. Jackson Williams talks about Greenwood Christian Academy's conference win tonight. Greg Rakestraw joins the show briefly to conclude the hour. See omnystudio.com/listener for privacy information.

Stockdale Elementary School is proud to present the “Brahma Buddies,” who were selected by their teachers for their outstanding leadership skills and a winning Brahma attitude! Brahma Buddies for the week of Sept. 3 include Brystal Tally, Kyndal Jones, Amelia Johnson, Berkeley Burrows, Ashton Lewis, Jackson Williams, Mateo Maldonado, Bryce Burrows, Drew Soto, Ethan Skinner, Valeria Mercado, Jaxon Brantley, Justine Mosier, Gracelynne Gonzales, Kylie Fuller, Addison “Mimi” Gomez, Addysyn Janysek, Weston Montgomery, Jordin Lopes, and Francis Rowell. Charlie Baker was also named to the Brahma Buddies.Article Link

On this episode of Cover 4, new hosts Jackson Williams and Joseph Bonanno discuss the NFL preseason (through the second week) and take a glance into what is to come for the upcoming NFL season including predictions, awards, and more! Recorded 8/30/21

Actor Tyrel Jackson Williams (Brockmire) joins Andrew and Tawny to discuss not being allowed to celebrate Halloween growing up, if white kids can dress up as Black Panther, skeleton decorations with blackface, and much more. As always, leave us a message about anything you think is racist at (323) 389-RACE.

Jackson Bliss is an assistant professor of creative writing at BGSU. His genre-bending fiction focuses on being mixed-race in a global world. This episode features a conversation about exploring identity through writing and a reading from his forthcoming novel, The Amnesia of June Bugs.   Transcript: Intro: This podcast features instances of explicit language. If you are listening with children, you may want to save this conversation for later. Intro: From Bowling Green State University and the Institute for the Study of Culture and Society, this is BG Ideas. Musical Intro: I'm going to show you this. It's a wonderful experiment. Jolie Sheffer: Welcome to the Big Ideas Podcast, brought to you by the Institute for the Study of Culture and Society and the School of Media and Communication at Bowling Green State University. I'm Dr. Jolie Sheffer, associate professor of English and American culture studies and the director of ICS. Jolie Sheffer: Today I'm joined by Dr. Jackson Kanahashi Bliss. Bliss is an assistant professor in the creative writing program here at BGSU. He's published in The New York Times, The Boston Review, Ploughshares, Tin House, and many other publications. He earned his MFA from the University of Notre Dame and his PhD in literature and creative writing from the University of Southern California. Today we have the pleasure of hearing him read from his new work, Amnesia of Junebugs. Thanks for joining me today, Jackson. Jackson  Bliss: Happy to be here. Jolie Sheffer: You are both a creative writer and a literary scholar. How do you think of your creative writing as being shaped by scholarship on Asian American literature? Are there other ways in which you see your work as interdisciplinary? Jackson  Bliss: Yeah, it's a funny marriage, actually, and I think it's an accidental one, because, in the beginning, I wrote most experimentally, and then when I started studying Asian American studies, I realized there was a sort of strong bent towards experimentalism and activism and how it connects to ethnic nationalism, ethnic studies, academic studies, and academic centers and universities. So this was completely accidental. I didn't intentionally sort of imitate the preferred genre of activist-minded APIA literature. It just sort of happened that way. But the more I studied Asian American studies, particularly works like Immigrant Acts by Lisa ... What's her last name? Jolie Sheffer: Lowe. Jackson  Bliss: Lisa Lowe. Yeah. It sort of made me realize there's a strong sort of push against the stylistics of the empire, which tends to be connected to linear narratives and coming-of-age stories. That made me want to write that story, particularly because I found it a little bit both historically informed, but also generically arbitrary that a particular sub-genre of fiction would supposedly work so well, right, in something that we are actively trying to deconstruct. Jackson  Bliss: I feel like writers like Viet Thanh Nguyen are perfect examples of people who said, "No, you can have a narrative arc and do a lot of important work instead of deconstructing standardized, sort of imposed European models of narrative." Jackson  Bliss: So I think all of those things appealed to me a lot. So it became much more conscious the more I wrote fiction, I think. Yeah. But in the beginning, it was totally accidental and organic. Jolie Sheffer: Your peace Dukkha, My Love is an experimental hypertext novella, created for the web. Can you describe our audience, what that term means? What is an electronic novella, and what can people expect when encountering a text like that? What were you hoping to explore, both formally and thematically? Jackson  Bliss: I think part of it is that there is a very tiny archive of electronic writing, just in general. If you go to the standard places that catalog experimental writing, for example, they're really small. They're highly limited. A lot of writers that write experimentally or create online hypertext don't even publish through them. They just publish on their website. So it's highly decentralized in a way that can be really frustrating for, for example, scholars in new media, because there is no clearinghouse for someone to find all the works. Jackson  Bliss: I think the thing that new readers of hypertext, which is online experimental writing, have to sort of keep in mind is a lot of it is about the ability to create your own narrative, sort of on your own terms. This is sort of the burden, but the beauty of reading. In Dukkha, My Love, essentially, readers click on hypertext, not knowing where it takes them. So they have control, but they're doing it blindly, right? So there's a lot of that going on. It's highly immersive, but it's also indeterminate in terms of where your freedom and control as a reader will take you. Jackson  Bliss: Eventually, as readers start reading more and more, they sort of participate in the cyclicity of the three intersecting narratives, which is absolutely part of the point of reading it, which is the ways in which there is a historical cycle that would repeat, the ways in which we repeat sort of certain cultural modalities of xenophobia and fear against the other, the ways in which our own understanding of reality sort of goes in these continuous cycles of knowledge and awareness and denial, and the proof of this as well is on the first page, when readers click on one of the destinations, where you can basically pick where you want the story to go. It'll even say, "My life is a circle," right, sort of reinscribing this idea in the reader that they are participating in it, but they are not necessarily aware of where they're going, which I think is kind of a fitting cultural analogy of sort of our own conceptualization of history, right? So we sort of have an idea of where it's going, but we're sort of blind as to where exactly it lands. Jackson  Bliss: So yeah, it took me about probably four years of doing research and writing the excerpts and about four months of teaching myself how to code enough to learn how to strip audio files off of YouTube videos and then basically take my own music and sort of record it and then time it and cut it in such a way where it worked with the videos, which I basically ripped off from the Learning Channel and someone else. God bless all of you. Thank you for your fine work. Jackson  Bliss: Yeah. But I was learning as I was creating. That particular genre was something I had never done before, and that's why I wanted to contribute to the discourse, because I felt like it's pretty emaciated, in terms of a genre, right, but also highly accessible. Those two things really appealed to me. Jolie Sheffer: That project in particular, you set yourself a set of hurdles that were challenges you had to then work within, right? So you make something that is, by nature, through coding, deeply linear and kind of limit certain pathways. It is not an endlessly, right? You have to create a set of possibilities, which means foreclosing others, and yet your work itself and the things that interest you are all about the chaotic, the unpredictable, the messy. So how did you kind of respond to the challenge that you set for yourself? Did you feel like you'd handcuffed yourself, or was it liberating, in some sense, to have to work within these limitations? Jackson  Bliss: To be honest, I thought the limitations were there to keep me sane, because I think I would have lost my (beep) mind if I had literally created a work of infinity, because, originally, the idea was I was going to create [inaudible 00:06:50] Book of Sand, right? You could almost make that argument, but if you read Dukkha, My Love enough, you will eventually hit the same narrative strand. So you do sort of touch on finitude at some point. It's impossible to avoid that textual finitude. Jackson  Bliss: But the constraints ended up being lifesavers for me, because this project otherwise could have gone on forever. Let me give you an example. When I was trying to keep track of all the three separate narrative strands and then create a separate stub for each one on my website, this required a level of organization that, frankly, I don't like to have in my art. That goes against my entire ethos as a multimodal, mixed-race, experimentalist-leaning, voice-driven, stylized writer. Yet here we were, where I basically had to control my choices, one, so that I could finish this product before the next semester started and, two, to sort of create a bottleneck, I guess, a narrative bottleneck, where, at some point, everything does have to go through certain sort of narrative choices. Jackson  Bliss: That's both because of the limitation in my coding skills, frankly, but also because there are certain sort of narrative strands I want readers to go through, and I don't want them to necessarily be negotiable. So, for that reason, the index page is, in and of itself, a sort of delimitation of the narrative choices, right? Readers only have basically 10 to 15 places to choose, and then they only have 4 to 10 actionable links on that page. So it sort of starts and ends with finitude. Jackson  Bliss: There is, believe it or not, those of you that have read this, a goodbye page, an acknowledgement page, but, as it turns out, it's incredibly (beep) difficult to find. I mean, I can't even find it, and there's other details that I put that I think were just a little too [inaudible 00:08:41] for themselves. There was an asterisk next to certain narrative strands, letting readers know, "Hey, this is it. This is about to take you to the final page," and I hope that readers would note that this was connected to the theme of the star colonies. That's why the asterisk's there. But you have to scroll down, and if you don't scroll down, you don't see it, and then it doesn't take you to the final page. Jackson  Bliss: But I'm not upset about this. I don't hate myself. I have accepted that there are limitations to reading, and you really can't predict, unless you're into analytics, what your readers are going to do. To me, that's the beauty of it, is that it gives readers, essentially, some blind power to decide how the story is told, which, frankly, isn't done very often in speculative fiction. So that's why it appealed to me. Jolie Sheffer: Much of your work deals with being hapa, or mixed race. How do you see your identity playing a role in your creative work, or, conversely, how has your fiction played a role in your understanding of your own identity? Jackson  Bliss: It's interesting you ask me that, because, in the beginning, when I look back to my earliest fiction, all my characters were white, and this is for a couple of reasons. One, because, at that point, I was definitely passing as white. Two, it's just simply easier for me and my mom, who's hapa as well, my brother, who's also hapa, to just not push the mixed-race button. I was born in Northern Michigan. I didn't live in a community where we celebrated, right, sort of any sort of multicultural, multiracial identity. Jackson  Bliss: There was a lot of survival going on. I mean, even my obachan would not speak to me in Japanese unless I begged her. This was partially because she had a sort of assimilationist paradigm, when it came to living in America. So she thought she was helping me by just making me only speak English. Jackson  Bliss: So, ironically, as I got older and started realizing I have two very different racial and cultural modalities, I mean, I'm literally the son of Japanese immigrants on my mom's side, and that's how close that side of the genealogy is. It's insane I'm never writing about that. It's bizarre that I don't talk about that. I think part of it's because I didn't know how to. There's a lot of things I love about growing up in the Midwest, but it's culturally not the most progressive place to examine your racial hybridity, and I think if I had grown up in SF or New York City, a place where there are strong multicultural identities as the centering of the urban ethos, I probably would have found myself a lot earlier. So it took me a long time. Jackson  Bliss: So I realized at one point that my racial hybridity, in a lot of ways, sort of mimicked my generic hybridity, right, where I like to write in a lot of different genres. I sort of pick and choose. I don't feel like I should be pigeonholed. I sort of embrace this idea that I can almost pick the concept of the neutral, in terms of what it means and [inaudible 00:11:35]'s notion of you don't have to pick one side or other. You can choose to not pick between two options, especially when they're highly binary and deeply delimiting, existentially. Jackson  Bliss: So these things sort of coincided. My desire to sort of subvert genre conventions and just find whatever's the right genre and voice for me coincided with my realization that I had a lot I wanted to understand and investigate about my own mixed-race identity, as someone who's French, British, and Japanese. So it's really my PhD years where I really started fully embracing this and really interrogating it. Jolie Sheffer: What kinds of research do you do for your creative work? You alluded to some of that. What scholars or authors have shaped your work and worldview? Jackson  Bliss: The first people to influence my voice, Junot Diaz and then JD Salinger, and the third one is Zadie Smith. These three writers really informed my whole conception of voice and textual and racial hybridity. So the thing I liked about JD Salinger as a teenage boy was the authenticity of someone questioning authenticity, right? That sort of self blindness, I found really compelling, right? Jolie Sheffer: All his talk of phoneys, right? Jackson  Bliss: Yeah, phoneys. Right. Jolie Sheffer: Yeah. Jackson  Bliss: In many ways, he's [Salinger] the phoniest of all. But, on the other hand, there's a tender side to him that often gets ignored, where he's deeply concerned about preventing trauma to people, because he himself appears to be traumatized, in a way that Holden Caulfield was incapable of sort of working out. So that was powerful to me, and the stylization of the voice was really powerful. Jackson  Bliss: But then when I read White Teeth by Zadie Smith and then Drown by Junot Diaz, I suddenly realized that there was space for my voice, this sort of multicultural urban realism combining with almost sort of Creole sort of language, patois, right, in English. I didn't know that you could do that. I didn't know we were allowed to put the language of our other identity into English. It sounds really crazy when I hear it, but yeah, it was sort of a revelation to me that we could have a stylized voice that sort of embraced and sort of interrogated and was a product of a multicultural identity. Jackson  Bliss: With White Teeth, I think I was just so invested in the ways in which she sort of did these portraitures of different racial and historical and cultural communities and gave each of them a sort of majesty and humanity and an interrogation that I found really amazing and actually rare and then combine it with a sort of these moments of maximization, where the language just explodes off the page, right? Jackson  Bliss: I realized these writers were doing a lot of important work that I myself wanted to do, that I needed to understand better and also, at the same time, that they were giving me permission to sort of figure out my own narrative modality, my own stylized voice, because it's easy to feel like you have to basically come off as neutral, which is code for sounding white. A lot of writers of color I'm friends with feel the same way. They feel this invisible constraint all the time to write in a way where Ivy League-educated, East Coast white readers will understand and connect with. Jackson  Bliss: The problem is there's things that that demographic cannot connect with, and if we write for this imagined, embodied, universal voice, we can give up a lot of the most vital parts of our own sort of unique lyricism and our own techniques for storytelling. So that was a huge revelation for me. Jolie Sheffer: You recently published an essay in TriQuarterly called The Cult of Likability, or Why You Should Kill Your Literary Friendships. In it, you talk about how readers frequently criticize characters for their likeability, or lack thereof. Do you see this as a racialized or gendered criticism, and what qualities do you think are important to make characters compelling? Jackson  Bliss: I do think it's heavily racialized, and I think it's heavily gendered. I think it works in a really sort of sinister, unconscious way for a lot of people. There's still this notion of universal literary merit. When something's amazing, it has this broad appeal. But universality in literature, at least in the 21st century, is mostly code for literature that appeals to a massive white readership. What I've noticed in my workshops, but also in a lot of book reviews, is that works that are written with characters of color or by authors of color or both, especially when they're women, are much more heavily criticized than when they are, for example, white narrators or white female narrators, right? Jolie Sheffer: Yeah. You don't hear people complaining that Humbert Humbert wasn't likable enough in Lolita. Jackson  Bliss: Right. Exactly. Yeah. Jolie Sheffer: That's not the criticism, or that Rabbit Angstrom isn't likable. Jackson  Bliss: Right. That's right. So one of the arguments I made in this essay is, first of all, some of the most important works that I think have shaped, in a positive way, a sort of expanding sort of foundational text canon in America comes from books that weren't necessarily fun to read, with characters who we didn't necessarily like at all, who are important. I mean, Native Son has Bigger Thomas, I think his name is, and that's a crucial character, right? To say, "I don't like this, because I didn't get him" or "I didn't like him" or "He didn't appeal to me" is so essentially irrelevant to the importance, both culturally and historically and racially, that that voice sort of incarnates. Jackson  Bliss: I'm noticing a tendency now where liter agents and now MFA students and a lot of readers are using love and infatuation as this sort of literary metric for determining the value of something. "I didn't love it. I didn't love the voice. I didn't love the character," as if we are now given permission to not consider the literary value of the work, the importance of the marginalized voice, for example, because we realize we don't like the character. Jackson  Bliss: I think it's connected, partially, to cancel culture. But I also think it's partially connected to reality TV, because, with reality television, when we saw a character we didn't like, we would vote them off. So, essentially, likability had consequences, right? Jackson  Bliss: What I think is happening now is people are reading texts that decenter them or ask them to do work or research. Suddenly, they will just decide, "I don't like this character," and that's the end of it. Jolie Sheffer: It also seems to me, though, related to what you were talking about before, which is that if you don't recognize, if you're encountering a new voice, a new perspective, that is not one that you have been taught to recognize because of literature and because of established kind of genres of reading, that first impulse might be, "I don't like this person," and it takes time to actually get used to new voices. Jackson  Bliss: That's right. Yeah, and I think that sort of discomfort maybe at being de-centered is a completely understandable, very normal one. Everyone feels that way. The problem is communities of color and marginalized communities have felt this their entire lives. They go into any room, they go into any white space, and they are always de-centered, all the time. I think this is something that, in general, white readers are a lot less capable and patient and willing to deal with, in part because they've never had to, right? Jackson  Bliss: So for this to happen in the sort of sacred American pastime of reading I think rubs people the wrong way, but I feel there is a silver lining, which is these readers can sit in that lack of comfort and know, at the end of the day, that it's going to be okay and that they will work it out and they will start to slowly understand these characters and potentially empathize with them. But that takes time, and if we don't learn to learn about people and sort of enter into their space, we will never get there. Jackson  Bliss: That's actually one of the arguments I make in this essay, which is not only would we erase some of the greatest literature written by writers of color if we decide we don't like the characters, but, more importantly, we lose our critical thinking skills and our empathetic ones, because this requires us to learn from the other, whoever the other is for us. Jackson  Bliss: I think that's my issue with likability, is it's become this eroticized literary metric, as if infatuation is actually a legitimate metric to analyze the literary value of a work. Frankly, I don't give a (beep) whether someone loves a book of mine or not. What I care about is if they can enter into it, if they can learn from it, if they can go someplace new, from the end of the book to when they started. To me, that's, in some ways, almost more important. Jackson  Bliss: Whether I'm friends with a character, whether we're besties or not is ... I could give two (beep) about that. But it's becoming a sort of standard comment to make in workshop, and I do my best to sort of interrogate that a little bit. But I feel like we have now reached a point in our culture where not liking something, in our eyes, gives us permission to essentially dismiss it. Jolie Sheffer: We're going to take a quick break. Thanks for listening to the Big Ideas Podcast. Intro: If you are passionate about big ideas, consider sponsoring this program. To have your name or organization mentioned here, please contact us at ics@bgsu.edu. Jolie Sheffer: Hello, and welcome back to the Big Ideas Podcast. Today I'm talking to Dr. Jackson Bliss about fiction, form, and mixed-race identity. You prepared a reading for us called The Amnesia of Junebugs. Can you tell us a bit about the piece you're going to read and where it fits into the work as a whole? Jackson  Bliss: Sure. So this is a tiny excerpt from one of four principal characters. This character's name is Winnie Yu, and he's essentially a culture jammer. So he creates political graffiti, and/or he takes ads from companies and essentially turns the ads against themselves by adding different color, texture to essentially make the ad self-indict itself. It's a very sort of critical novel, as a whole, on capitalism and sort of begs for the role that public art plays in a sort of taking back of streets that are essentially corporatized, in a lot of ways. Jackson  Bliss: So this tiny part here is just a tiny sort of backstory of Winnie describing the first time he realized he did not live in Asia, but that he actually lived in New York City, a tiny secret he didn't realize at the time because he had never taken a train to another borough. So that's sort of like the context for this work. Jackson  Bliss: Winnie had lived off of the Bowery his whole life. Didn't even know that New York was in America until he was six. His parents spoke Cantonese, Taiwanese. Everyone in his fam did. The market signs on Grand Street, where his mom bought her groceries, were written in simplified Chinese characters. His neighbors watched Cantonese soap operas in the afternoon. Old men hung out at Mr. Chang's corner store at night, playing dominoes and drinking ginseng tea and Viper Whiskey, cracking jokes in Wu. His super was Fujian, the cheapest mother (beep) he'd ever seen, who tried to fix everything with duct tape, tinfoil, and DAP. Jackson  Bliss: For the longest time, Winnie believed he lived in Asia. He thought white people were the tourists. But in one day, Mama changed the rules of his storytelling. By taking the subway together for the first time to Brooklyn, she thought it would be cool for them to go over the Manhattan Bridge, and it kind of was. He'd never ridden over a bridge before, didn't understand that New York City had islands or that they were connected together by bridges, the vertebrae of the urban body. It took him a long time to see that subway lines are veins; the major subways, arteries; the streets, capillaries. Jackson  Bliss: Until that fateful and transformative day, Winnie didn't know he lived in a fractal world, in a city of billboards, insects, damaged vascular systems and wandering spirits. He didn't know that New York is an ethnographic sponge, silently absorbing the screenplay of immigration. He didn't know that New York is a megapolis, its streets, highways, and bridges resembling the human nervous system. NYC is an urban hive imploding with refugee stories, diasporic longing, bustling multiculturalism, and inherited fortune, a collapsing urban space where culture dances between neighborhoods and history intersects ethnicity, creating abstract forms that interact, but don't touch each other, like a kaleidoscope. Jackson  Bliss: Until that day, Winnie thought New York was only ten blocks, from Mr. Chang's bodega all the way to Good Times Dry Cleaners. He thought New York was the unofficial capital of Taiwan, a nation and an island and a freaky global village. He was half right, actually. Jackson  Bliss: The straight (beep) is that the day they took the train over the Manhattan Bridge, Mama was showing him the way to St. Ursula's School, were Asian, Latino, and black kids wore unforgiving white polo shirts with stiff colors that dug into their necks like plow yokes and old man pants with creases running down their legs like highway meetings that resisted wrinkles and clumps and refused to be rolled up at the ankles at a school were Asian, Latino, and black girls were forced to wear skimpy plaid skirts, even in the spring, where poor students of color pretended they were rich, rich white students pretended they were gangsta, and all the teachers spoke Midtown English. It was an academy of impersonations and a theater of the restless mind. Jackson  Bliss: The day Mama enrolled Winnie in Catholic school and filled out the paperwork for a St. Martin de Porres Scholarship for Immigrant Students, a detail and a reference he wouldn't even understand until he was in high school, when he realized his mom had accidentally taken away his fixed identity and shoved him into a chrysalis of his own making. As they passed over the Manhattan Bridge again, he didn't understand how the whole world he'd seen that day could all be one city, didn't understand why all the Asian people disappeared, or so it seemed, why no one spoke his family's languages anymore. Jackson  Bliss: Even now, as a 30 something, he still couldn't figure out how his parents had managed to sequester him from the class struggle, the racial conflict, and the spatial tension of inner-city life for as long as they did. What he did know is that after Mama had enrolled him for classes, smoothed his hair back for a school ID, bribed him with feng li su cakes from a Taiwanese Baker he'd never seen before to celebrate his enrollment, and then led his (beep) back to their apartment, pineapple paste caramelized in his teeth, Winnie realized that he didn't know (beep) about his American life anymore, except he wasn't living in Asia, and he certainly wasn't Catholic. Jackson  Bliss: As far as birthdays went, turning six (beep) sucked, the worst thing to happen to him, at least until explosive acne in 10th grade, at least until his Ba peaced out of his life for good too soon. Jolie Sheffer: You really set the scene of this world within a world, where a child could grow up in New York's Chinatown without realizing they were even in the US. You've lived in the Midwest, on the West Coast, in Japan, Argentina, and Burkina Faso. How do you approach the idea of setting a sense of place, in this story in particular and generally in your work? Jackson  Bliss: One thing is that I think places are characters. I have felt this way pretty much ever since, I think, I watched my first Bertolucci film. It's something I learned very early on, and I feel, as a writer who considers himself to be a sort of stylized urban maximalist, it's impossible for me to define or construct characters without understanding the sort of cultural context in which they grew up and evolve, because that's true for me, and that tends to be true for them. So, for me, setting and place are interconnected with voice and identity. Jolie Sheffer: What kind of research did you do for that piece? Jackson  Bliss: Mostly just walked around Chinatown a million times. I wrote a lot of this novel when I had an editorial internship at Hachette Books in New York City. I also visited in the fall of 2006. So I spent a lot of time just walking around New York City, taking the subway, looking for sort of famous graffiti that people were talking about. I spent a lot of time eating vegan dim sum in Chinatown. I feel like sometimes the best way to do research for cities is simply live in the city and see how it breathes. So a lot of it, yeah, was simply walking around, observing, taking notes, talking to my New York friends, asking them questions, asking my Chinese American friends questions. But most of it was just walking, breathing, living, eating in those places. Jolie Sheffer: Your characters always have very distinctive voices. You were just talking about character, but in the characters in your stories, how do you think about approaching developing their particular patterns of speech? Jackson  Bliss: I feel like, a lot of times, the verbal tics, they take time, because who I think a character is in the beginning when I write them is almost never who they are at the end, and then it's sort of up to me to go back and sort of reconcile the voice, so to speak, because there's this implicit rule in fiction where a character's voice has to actually be more consistent than people's voices in real life, right? Because in real life, we, for example, especially people I know who work in different sort of social, professional, racial, and cultural spheres, they code switch all the time, and this can seem inauthentic to people, but it's very normal. But in fiction, you actually have to have a more sort of reconciled voice that readers won't see as too contradictory. Otherwise, they won't think it's the same person. Jackson  Bliss: So this is one of those sort of secret constraints that most fiction writers I know struggle with. How do I keep a voice? How do I construct it, and then how do I maintain it? So I think a lot of times, I will read my dialogue out loud, and I'll just basically understand the character through their orality first, right? How do they sound? How do they feel? Jackson  Bliss: Then, I think, from there, I make modifications, especially when these characters make important sort of plot decisions that might alter their voice or their modulation in some way. For example, I once wrote a character, and then I realized halfway through, "Oh, this character isn't going to be Portuguese-Japanese. They're going to be" ... I don't know. I don't know what I decided, French-Japanese or something, and that changed some of the vocabulary, right? That changed some of the sort of place names and cultural references. Jackson  Bliss: I have another novella that's actually interconnected with this novel, and, for the longest time, it was written from a Senegalese American point of view, because I had spent a decent amount of time in West Africa. Then I realized I was interested to see what would happen if I changed the character and made him mixed-race and made him Japanese Senegalese American. I did that, and it suddenly transformed his voice. There were certain beats that didn't work anymore, right? There's certain slang that doesn't make sense anymore, and there are other things that had to sort of have a presence. Otherwise, it was just a whitewashed mixed-race character. Jackson  Bliss: I think that's the general process, but it always begins and, I think, ends with me simply speaking, because I need to literally hear the voice to understand it on the page. Jolie Sheffer: Lots of creative writers read their work in public, right? That is a kind of professional part of the job. You have a very particular kind of performative approach. How do you think about preparing what you're going to read, how you read, and how do you think that shapes your readers' or listeners' perception of the work? Jackson  Bliss: Yeah, I'll confess right now I'm a speech and debate geek, so in high school and even college, I was a debater, and I was one of those extemporaneous speakers. So I have a long history of sort of seeing the value that public speaking makes. Jackson  Bliss: But I also think that most of my important characters, the ones I'm really invested in emotionally, almost always have some level of identification with their language. So that's where the voice will end up being so sort of important and sort of fleshed out, and I've noticed in the past couple of years that when I give readings, I tend to read either the character or passages from a longer work that allows me to sort of take a very performative, language-driven sort of role in my reading. Jackson  Bliss: For that reason, if I've written a really difficult extemporaneous-feeling work that's actually highly edited and revised, that is really prolix, I guess, and heavily language-driven, I may not read it, especially if, for example, I can't find space to breathe. I have certain work that was pretty much meant to be read, even though I didn't realize it. Jackson  Bliss: So, for me, I think a lot about reading as performance, I think a lot about performance as text, and I think one of my big complaints with a lot of readings I go to is they tend to fall in a couple camps, which is, one, either they just read in this really monotone voice and they have this kind of arrogant idea that work should speak for itself. But the problem with that is what if you suck? What if you're awful? What if everyone's falling asleep? In that case, shouldn't they just stay home and read the book? Why did they waste their time to go out to this reading, where you became the greatest American sleep aid? But on the flip side, I've also seen people who sort of take it really far, and they act like they're basically unpaid beatniks. Jackson  Bliss: So I feel like every writer who ends up becoming a sort of social public figure on some level, which is inevitable once you start publishing, they have to negotiate the sort of reading ethos. For me, it's always been really important. I want readers and listeners to hear the rhythm, because musicality informs a lot of my writing, and that's from my music days. But I also want them to be transported, on some level, by my reading. I want them to feel the language and the cadence and the emotion. Jackson  Bliss: I used to get shamed when I was younger for my performances. People would be like, "Yeah, that was really something." Then you would go to their reading, and half the people were on their iPhones, fiddling away. So, for me, I see my readings as a performance, and I think that to ignore the audience is to be incredibly deceitful and to be delusional. You aren't reading to yourself. You're not reading to your partner. You're not reading to your little Shitzu. You're reading to people, and their experience should be something you think about, because that process is dialectical. It's not just about you, and it's not just about them, but there's an interplay that I honor and that I love. Jackson  Bliss: So yeah, I think a lot about how to read, when to read, and I always practice my readings because of that. Jolie Sheffer: Thank you so much, Jackson, for joining me today and sharing your work. Jackson  Bliss: Oh, it was my pleasure. Jolie Sheffer: You can find Dukkha, My Love and more of Jackson's work at his website, jacksonbliss.com. Jolie Sheffer: Our producers for this podcast are Chris Cavera and Marco Mendoza, with sound engineering by Jackson Williams. Research assistance for this podcast was provided by ICS intern Taylor Stagner, with editing by Stevie Scheurich. This conversation was recorded in the Stanton Audio Recording Studio in the Michael and Sara Kuhlin Center at Bowling Green State University.  

FOLLOW AMELIA:Follow @theameliafortesBecome a patron: patreon.com/theameliafortesLearn about Amelia’s services: ameliafortes.com/servicesMORE ABOUT THE GUEST:Jocelyn Jackson Williams is a certified Advanced Grief Recovery Method Specialist and a Trainer for the Grief Recovery Institute; she helps people recover a sense of happiness in their life.Jocelyn is a published author and a blogger whose writings are guided by the question, “How do I go about living my best life?” Her writings have covered every season of life from being single to dating to marriage.Follow Jocelyn: WebsiteFB, Instagram, Twitter, Pinterest: @mobettajoLinked In: Jocelyn Jackson WilliamsRESOURCES / BOOKS MENTIONED IN THIS EPISODE:- The Grief Recovery Handbook (link to purchase on Amazon)- Grief Recovery Institute (for classes, trainings, & workshops)MUSIC:Domo - I’m Doin Me (available on iTunes).SEND ANY QUESTIONS & COMMENTS TO YOUR HOST:Email Amelia at ameliafortes.com/contact.WANT MORE?For bonus minisodes, become a patron for as little as $2 per month at patreon.com/theameliafortes.ABOUT THE HOST:Amelia Fortes is a professional speaker, host, hypnotherapist, and intuitive self love coach. She founded Self Love Story™ to empower women and create the profound experience of self love world wide. Each year, she speaks in front of thousands all over the United States empowering them to make better life decisions and see the world. MORE SELF-LOVE RESOURCES FOR YOU:Become a Patron: http://www.patreon.com/TheAmeliaFortesJoin the Facebook group: http://www.facebook.com/groups/SelfLovestoryTake the self-love quiz: ameliafortes.com/whats-your-sparkle-archetypePurchase the Self-Love Oracle deck: ameliafortes.com/shopRegister for the weekly, online healing circles: https://zoom.us/meeting/register/9c9ad8328cafe3d58c34be5db4a05ad8Follow Amelia on Instagram: http://www.instagram.com/TheAmeliaFortesSchedule a call with Amelia: ameliafortes.com/book

On today's episode, John Fox speaks to Jackson Williams of Family Resource Home Care about helping seniors live well their way. He shared about their goal of everything they do is to provide people with reliable care and companionship, so that they can continue to live at home in safety and comfort. He was born in Calcutta, India and adopted at birth by a loving family here in Washington State. He am proud to have called the Inland Northwest "home" for over 25 years. Jackson has graduated from Whitworth University (Go Bucs!) with a BA in Sociology. He had the honor of working in the nonprofit sector for over 10 years, primarily doing fundraising and community outreach, and he's excited to now be a part of the Family Home Care Team. Jackson also said that he value community engagement and currently serve on the board of the Senior Action Network of Eastern Washington and Southside Community Center. Additionally, he serve on event/fundraising committees benefiting Greater Spokane County Meals on Wheels, Hospice of Spokane, One More Time Northwest and The Village at Orchard Ridge. In his spare time, he enjoys exploring the beautiful outdoors afforded to them by living in the Inland Northwest, gourmet cooking and entertaining, fine dining, going to concerts, listening to music and NPR, traveling (especially to warmer destinations!), watching "JEOPARDY!" and woodworking. Jackson also shared that regardless of what services their clients need, from a few hours a week to around the clock live-in care, they can be confident that their clients and their loved ones will receive friendly, one-on-one home care from a trained and fully qualified caregiver who has passed a rigorous background check. More of Family Resource Home Care here, https://www.familyresourcehomecare.com Learn more about your ad choices. Visit megaphone.fm/adchoices

On today's episode, John talks to Jackson Williams of Family Resource Home Care about how dedicated he is to providing the day-to-day support that seniors need. He shares how he and his team are proud to serve many communities through out the Pacific Northwest and how commited they are to enhancing their neighbors quality of life. Jackson William was born in Calcutta, India and adopted at birth by a loving family here in Washington State. He is proud to have called the Inland Northwest "home" for over 25 years. He graduated from Whitworth University (Go Bucs!) with a BA in Sociology and had the honor of working in the nonprofit sector for over 10 years, he's primarily doing fundraising and community outreach, and shared how excited he is to now be a part of the Family Home Care Team. You'll learn how he values community engagement and how he currently serve on the board of the Senior Action Network of Eastern Washington and Southside Community Center. Additionally, He serves on event/fundraising committees benefiting Greater Spokane County Meals on Wheels, Hospice of Spokane, One More Time Northwest and The Village at Orchard Ridge. Learn more about Family Resource and home care services Here: https://www.familyresourcehomecare.com/ Learn more about your ad choices. Visit megaphone.fm/adchoices

In this week's episode, Jackson Williams sits down to discuss the first round of the NBA playoffs, and give his unfiltered thoughts and predictions throughout the entire playoffs. He then briefly talks about the Cleveland Browns, the San Francisco 49ers, and the unfortunate Reuben Foster situation. He ends the episode by looking at the hottest teams in baseball during the first 15 games of the season. 

Jackson Williams sits down to discuss the last seven Warriors games, and their injury struggles. He then discusses how other contenders in the Western Conference stack up against the Warriors. He then briefly touches on the beginning of NFL free agency, and the 49ers recent moves.

In this week's episode, Jackson Williams sits down to break down the recent Warriors' action, then talks about the Houston Rockets. He feels like people are underestimating the Warriors in terms of competitiveness in the playoffs, and wants to set the record straight. He then talks about the other playoff teams in the West, and discusses how Russell Westbrook has hurt his team and their shot at the playoffs. He wraps up the episode talking briefly about the NFL Scouting Combine and the free agency of Kirk Cousins. 

In this episode of the Podcast, Jackson Williams sits down and discusses the results of Super Bowl LII, where the Philadelphia Eagles beat the New England Patriots 41-33. He then talked about the recent Warriors action against the Kings, Nuggets, and Thunder. Then discusses some action around the NBA and rants about the Cleveland Cavaliers. He finishes the episode talking about the SF Giants and the potential reunion with Tim Lincecum. 

Jackson Williams sits down and discusses the San Francisco Giants' recent signing of Gregor Blanco, and briefly touches on the Hall of Fame class of 2018. He then breaks down his Super Bowl pick, as well as the first trade of the NFL offseason, Alex Smith to the Washington Redskins. He rounds out the show talking about recent Golden State Warriors action, the Blake Griffin trade, and some other NBA craziness.

In this week's episode of the podcast, Jackson Williams sits down to discuss a variety of topics. He starts off talking about the most recent San Francisco Giants free agent acquisition, Austin Jackson. He then shifts gears to the NBA, where he recaps this week's Golden State Warriors games, talks about some NBA drama with the Cleveland Cavaliers and Milwaukee Bucks, and then discusses some potential trades. He wraps up the show talking about the recent NFL action, breaking down the Patriots and Eagles wins to advance to the Super Bowl. 

Jackson Williams sits down and starts the episode talking about the San Francisco Giants trading for Andrew McCutchen and Evan Longoria, and the effect it will have on the team's ability to compete for a playoff spot. He then talks about the current state of affairs in the NBA. He starts the NBA portion talking about the Golden State Warriors v. the Cleveland Cavaliers, and how the rivalry is changing, and how the Cavaliers are struggling. He then moves to talk about the incident between the Los Angeles Clippers and Houston Rockets, and all the crazy action that took place after the game ended. He finishes off the podcast recapping last weekend's NFL playoff action, and gives his early predictions for the upcoming conference championship games.

AFTERBUZZ TV - AfterBuzz TV's Spotlight On edition, is a long form interview series featuring actors discussing their roles and shows as well as their thoughts, passions and journeys. In this episode host Chae Jones interviews Tyrel Jackson Williams. ABOUT TYREL JACKSON WILLIAMS: Tyrel Jackson Williams is an American actor. He starred as Leo Dooley in the Disney XD series Lab Rats. Williams also costarred in the 2014 Disney XD television film Pants on Fire. RSS Feed: http://afterbuzztv.com/aftershows/afterbuzz-tvs-spotlight-on/feed/ Follow us on http://www.Twitter.com/AfterBuzzTV "Like" Us on http://www.Facebook.com/AfterBuzzTV Buy Merch at http://shop.spreadshirt.com/AfterbuzzTV/ --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

BHL: Next – In this episode, our Black Hollywood Live host Rheina Ale welcomes Tyrel Jackson Williams to discuss his career, casting news and more on BHL's Next!

    On this episode of The Popcorn Snazzcast errr Podcast, Chad and Piper welcome Tyrel Jackson Williams (Leo Dooley) from Lab Rats to the show.  It’s time to bring your kids close to the speakers or pass them the headphones.  Tyrel talks about his time on Lab Rats, answers fan questions, shares what video games, tv shows and movies he is watching and excited about and much more.  Of course Chad steers that conversation into snazzy territory… find out if Tyrel is a fan of snazzy or just gives Chad sideways looks like Piper and Izola usually do.  The The post Ep 45: Tyrel Jackson Williams from Lab Rats! appeared first on The Popcorn Channel.

BHL: Next – In this episode Black Hollywood Live hosts Megan Thomas and Courtney Tezeno discuss the biggest casting news for the week of August 7th. Also joining the conversation is the special guest Tyrel Jackson Williams. Megan starts with “Icebreaker” where she and the panel do Super Hero Trivia. . Courtney then brings up the "Fresh Beatz" for this week with Robin Thicke’s new song “Back Together” featuring Nicki Minaj. Megan continues with "New Casting" where she discusses newcomer actress, Shanice Williams. She has been cast as Dorothy in NBC’s The Wiz Live. Courtney then brings up the "The Next Big Tip” for this week with THE NEXT BIG TIP (TBD). They wrap things up with an interview with special guest Tyrel Jackson Williams. All this and more on BHL's Next!