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Geof Jowett is a spiritual intuitive and medium known for offering guidance through intuitive perception and spirit communication. Jowett focuses on helping individuals gain clarity around life direction, relationships, and personal growth by blending intuitive insight with practical reflection. His work emphasizes empowerment, ethical practice, and grounded spirituality, presenting mediumship as a supportive tool for understanding patterns, strengthening awareness, and fostering emotional balance.Become a supporter of this podcast: https://www.spreaker.com/podcast/the-x-zone-radio-tv-show--1078348/support.Please note that all XZBN radio and/or television shows are Copyright © REL-MAR McConnell Meda Company, Niagara, Ontario, Canada – www.rel-mar.com. For more Episodes of this show and all shows produced, broadcasted and syndicated from REL-MAR McConell Media Company and The 'X' Zone Broadcast Network and the 'X' Zone TV Channell, visit www.xzbn.net. For programming, distribution, and syndication inquiries, email programming@xzbn.net.We are proud to announce the we have launched TWATNews.com, launched in August 2025.TWATNews.com is an independent online news platform dedicated to uncovering the truth about Donald Trump and his ongoing influence in politics, business, and society. Unlike mainstream outlets that often sanitize, soften, or ignore stories that challenge Trump and his allies, TWATNews digs deeper to deliver hard-hitting articles, investigative features, and sharp commentary that mainstream media won't touch.These are stories and articles that you will not read anywhere else.Our mission is simple: to expose corruption, lies, and authoritarian tendencies while giving voice to the perspectives and evidence that are often marginalized or buried by corporate-controlled media

Hermione Lee is the renowned biographer of Virginia Woolf, Edith Wharton, Penelope Fitzgerald, and, most recently, Tom Stoppard. Stoppard died at the end of last year, so Hermione and I talked about the influence of Shaw and Eliot and Coward on his work, the recent production of The Invention of Love, the role of ideas in Stoppard's writing, his writing process, rehearsals, revivals, movies. We also talked about John Carey, Brian Moore, Virginia Woolf as a critic. Hermione is Emeritus Professor of English Literature at the University of Oxford. Her life of Anita Brookner will be released in September.TranscriptHenry Oliver: Today I have the great pleasure of talking to Professor Dame Hermione Lee. Hermione was the first woman to be appointed Goldsmiths' Professor of English Literature at the University of Oxford, and she is the most renowned and admired living English biographer. She wrote a seminal life of Virginia Woolf. She's written splendid books about people like Willa Cather, Edith Wharton, and my own favorite, Penelope Fitzgerald. And most recently she has been the biographer of Tom Stoppard, and I believe this year she has a new book coming out about Anita Brookner. Hermione, welcome.Hermione Lee: Thank you very much.Oliver: We're mostly going to talk about Tom Stoppard because he, sadly, just died. But I might have a few questions about your broader career at the end. So tell me first how Shavian is Stoppard's work?Lee: He would reply “very close Shavian,” when asked that question. I think there are similarities. There are obviously similarities in the delighting forceful intellectual play, and you see that very much in Jumpers where after all the central character is a philosopher, a bit of a bonkers philosopher, but still a very rational one.And you see it in someone like Henry, the playwright in The Real Thing, who always has an answer to every argument. He may be quite wrong, but he is full of the sort of zest of argument, the passion for argument. And I think that kind of delight in making things intellectually clear and the pleasure in argument is very Shavian.Where I think they differ and where I think is really more like Chekov, or more like Beckett or more in his early work, the dialogues in T. S. Elliot, and less like Shaw is in a kind of underlying strangeness or melancholy or sense of fate or sense of mortality that rings through almost all the plays, even the very, very funny ones. And I don't think I find that in Shaw. My prime reading time for Shaw was between 15 and 19, when I thought that Shaw was the most brilliant grownup that one could possibly be listening to, and I think now I feel less impressed by him and a bit more impatient with him.And I also think that Shaw is much more in the business of resolving moral dilemmas. So in something like Arms and the Man or Man and Superman, you will get a kind of resolution, you will get a sort of sense of this is what we're meant to be agreeing with.Whereas I think quite often one of the fascinating things about Stoppard is the way that he will give all sides of the question; he will embody all sides of the question. And I think his alter ego there is not Shaw, but the character of Turgenev in The Coast of Utopia, who is constantly being nagged by his radical political friends to make his mind up and to have a point of view and come down on one side or the other. And Turgenev says, I take every point of view.Oliver: I must confess, I find The Coast of Utopia a little dull compared to Stoppard's other work.Lee: It's long. Yes. I don't find it dull. But I think it may be a play to read possibly more than a play to see now. And you're never going to get it put on again anyway because the cast is too big. And who's going to put on a nine-hour free play, 50 people cast about 19th-century Russian revolutionaries? Nobody, I would think.But I find it very absorbing actually. And partly because I'm so interested in Isaiah Berlin, who is a very strong presence in the anti-utopianism of those plays. But that's a matter of opinion.Oliver: No. I like Berlin. One thing about Stoppard that's un-Shavian is that he says his plays begin as a noise or an image or a scene, and then we think of him as this very thinking writer. But is he really more of an intuitive writer?Lee: I think it's a terribly good question. I think it gets right at the heart of the matter, and I think it's both. Sorry, I sound like Turgenev, not making my mind up. But yes, there is an image or there is an idea, or there are often two ideas, as it were, the birth of quantum physics and 18th-century landscape gardening. Who else but Stoppard would put those two things in one play, Arcadia, and have you think about both at once.But the image and the play may well have been a dance between two periods of time together in one room. So I think he never knew what the next play was going to be until it would come at him, as it were. He often resisted the idea that if he chose a topic and then researched it, a play would come out of it. That wasn't what happened. Something would come at him and then he would start doing a great deal of research usually for every play.Oliver: What sort of influence did T. S. Elliot have on him? Did it change the dialogue or, was it something else?Lee: When I was working with him on my biography, he gave me a number of things. I had extraordinary access, and we can perhaps come back to that interesting fact. And most of these things were loans he gave them to me to work on. Then I gave them back to him.But he gave me as a present one thing, which was a black notebook that he had been keeping at the time he was writing Rosencrantz and Guildenstern, and also his first and only novel Lord Malquist and Mr. Moon, which is little known, which he thought was going to make his career. The book was published in the same week that Rosencrantz came up. He thought the novel was going to make his career and the play was going to sink without trace. Not so. In the notebook there are many quotations from T. S. Elliot, and particularly from Prufrock and the Wasteland, and you can see him working them into the novel and into the play.“I am not Prince Hamlet nor was meant to be.” And that sense of being a disconsolate outsider. Ill at ease with and neurotic about the world that is charging along almost without you, and you are having to hang on to the edge of the world. The person who feels themself to be in internal exile, not at one with the universe. I think that point of view recurs over and over again, right through the work, but also a kind of epigrammatical, slightly mysterious crypticness that Elliot has, certainly in Prufrock and in the Wasteland and in the early poems. He loved that tone.Oliver: Yes. When I read your paper about that I thought about Rosencrantz and Guildenstern quite differently. I've always disliked the idea that it's a sort of Beckett imitation play. It seems very Elliotic having read what you described.Lee: There is Beckett in there. You can't get away from it.Oliver: Surface level.Lee: Beckett's there, but I think the sense of people waiting around—Stoppard's favorite description of Rosencrantz was: “It's two journalists on a story that doesn't add up, which is very clever and funny.”Yes. And that sense of, Vladimir going, “What are we supposed to be doing and how are we going to pass the time?” That's profoundly influential on Stoppard. So I don't think it's just a superficial resemblance myself, but I agree that Elliot just fills the tone of that play and other things too.Oliver: In the article you wrote about Stoppard and Elliot, the title is about biographical questing, and you also described Arcadia as a quest. How important is the idea of the quest to the way you work and also to the way you read Stoppard?Lee: I took as the epigraph for my biography of Stoppard a line from Arcadia: “It's wanting to know that makes us matter, otherwise we're going out the way we came in.” So I think that's right at the heart of Stoppard's work, and it's right at the heart of any biographical work, whether or not it's mine or someone else's. If you can't know, in the sense of knowing the person, knowing what the person is like, and also knowing as much as possible about them from different kinds of sources, then you might as well give up.You can't do it through impressions. You've got to do it through knowledge. Of course, a certain amount of intuition may also come into play, though I'm not the kind of biographer that feels you can make things up. Working on a living person, this is the only time I've done that.It was, of course, a very different thing from working on a safely dead author. And I knew Penelope Fitzgerald a little bit, but I had no idea I was going to write her biography when I had conversations with her and she wouldn't have told me anything anyway. She was so wicked and evasive. But it was a set up thing; he asked me to do it. And we had a proper contract and we worked together over several years, during which time he became a friend, which was a wonderful piece of luck for me.I was doing four things, really. One was reading all the material that he produced, everything, and getting to know it as well as I could. And that's obviously the basic task. One was talking to him and listening to him talk about his life. And he was very generous with those interviews. I'm sure there were things he didn't tell me, but that's fine. One was talking to other people about him, which is a very interesting process. And with someone like him who knew everyone in the literary, theatrical, cultural world, you have to draw a halt at some point. You can't talk to a thousand people, or I'd have still been doing it, so you talk to particularly fellow playwrights, directors, actors who've worked with him often, as well as family and friends. And then you start pitting the versions against each other and seeing what stands up and what keeps being said.Repetition's very important in that process because when several people say the same thing to you, then you know that's right. And that quest also involves some actual footsteps, as Richard Holmes would say. Footsteps. Traveling to places he'd lived in and going to Darjeeling where he had been to school before he came to England, that kind of travel.And then the fourth, and to me, in a way, almost the most exciting, was the opportunity to watch him at work in rehearsal. So with the director's permissions, I was allowed to sit in on two or three processes like that, the 50th anniversary production of Rosencrantz and Guildenstern at the Old Vic with David Lavoie. And Patrick Marber's wonderful production of Leopoldstadt and Nick Hytner's production of The Hard Problem at the National. So I was able to witness the very interesting negotiations going on between Tom and the director and the cast.And also the extraordinary fact that even with a play like Rosencrantz, which is on every school syllabus and has been for 50—however many years—he was still changing things in rehearsal. I can't get over that. And in his view, as he often said, theater is an event and not a text, and so one could see that actual process of things changing before one's very eyes, and that for a biographer, it's a pretty amazing privilege.Oliver: How much of the plays were written during rehearsal do you think?Lee: Oh, 99% of the plays were written with much labor, much precision, much correction alone at his desk. The text is there, the text is written, and everything changes when you go into the rehearsal room because you suddenly find that there isn't enough time with that speech for the person to get from the bed to the door. It's physics; you have to put another line in so that someone can make an entrance or an exit, that kind of thing.Or the actors will say quite often, because they were a bit in awe—by the time he became well known—the actors initially would be a bit in awe of the braininess and the brilliance. And quite often the actors will be saying, “I'm sorry, I don't understand. I don't understand this.” You'd often get, “I don't really understand.”And then he would never be dismissive. He would either say, “No, I think you've got to make it work.” I'm putting words into his mouth here. Or he would say, “Okay, let's put another sentence or something like that.”Oliver: Between what he wrote at his desk and the book that's available for purchase now, how much changed? Is it 10%, 50? You know what I mean?Lee: Yes. You should be talking to his editor at Faber, Dinah Wood. So Faber would print a relatively small number for the first edition before the rehearsal process and the final production. And then they would do a second edition, which would have some changes in it. So 2%. Okay. But crucial sometimes.Oliver: No, sure. Very important.Lee: And also some plays like Jumpers went through different additions with different endings, different solutions to plot problems. Travesties, he had a lot of trouble with the Lenins in Travesties because it's the play in which you've got Joyce and you've got Tristan Tzara and you've got the Lenins, and they're all these real people and he makes him talk.But he was a little bit nervous about the Lenin. So what he gave him to say were things that they had really said, that Lenin had really said. As opposed to the Tzara-Joyce stuff, which is all wonderfully made up. The bloody Lenins became a bit of a problem for him. And so that gets changed in later editions you'll find.Oliver: How closely do you think The Real Thing is based on Present Laughter by Noël Coward?Lee: Oh, I think there's a little bit of Coward in there. Yes, sure. I think he liked Coward, he liked Wilde, obviously. He likes brilliant, witty, playful entertainers. He wants to be an entertainer. But I think The Real Thing, he was proud of the fact that The Real Thing was one of the few examples of his plays at that time, which weren't based on something else. They weren't based on Hamlet. They weren't based on The Importance of Being Earnest. It's not based on a real person like Housman. I think The Real Thing came out of himself much more than out of literary models.Oliver: You don't think that Henry is a bit like the actor character in Present Laughter and it's all set in his flat and the couples moving around and the slight element of farce?The cricket bat speech is quite similar to when Gary Essendine—do you remember that very funny young man comes up on the train from Epping or somewhere and lectures him about the social value of art. And Gary Essendine says, “Get a job in a theater rep and write 20 plays. And if you can get one of them put on in a pub, you'll be damn lucky.” It's like a model for him, a loose model.Lee: Yes. Henry, I think you should write an article comparing these two plays.Oliver: Okay. Very good. What does Stoppardian mean?Lee: It means witty. It means brilliant with words. It means fizzing with verbal energy. It means intellectually dazzling. The word dazzling is the one that tends to get used. My own version of Stoppardian is a little bit different from, as it were, those standard received and perfectly acceptable accounts of Stoppardian.My own sense of Stoppardian has more to do with grief and mortality and a sense of not belonging and of puzzlement and bewilderment, within all that I said before, within the dazzling, playful astonishing zest and brio of language and the precision about language.Oliver: Because it's a funny word. It's hard to include Leopoldstadt under the typical use of Stoppardian, because it's an untypical Stoppard.Lee: One of the things about Leopoldstadt that I think is—let's get rid of that trope about Stoppardian—characteristic of him is the remarkable way it deals with time. Here's a play like Arcadia, all set in the same place, all set in the same room, in the same house, and it goes from a big hustling room, late 19th-century family play, just like the beginning of The Coast of Utopia, where you begin with a big family in Russia and then it moves through the '20s and then into the terrible appalling period of the Anschluss and the Holocaust.And then it ends up after the war with an empty room. This room, is like a different kind of theater, an empty room. Three characters, none of whom you know very well, speaking in three different kinds of English, reaching across vast spaces of incomprehension, and you've had these jumps through time.And then at the very end, the original family, all of whom have been destroyed, the original family reappears on the stage. I'm sorry to tell this for anyone who hasn't seen Leopoldstadt. Because when it happens on the stage, it's an absolutely astonishing moment. As if the time has gone round and as if the play, which I think it was for him, was an act of restitution to all those people.Oliver: How often did he use his charm to get his way with actors?Lee: A lot. And not just actors. People he worked with, film people, friends, companions. Charm is such an interesting thing, isn't it? Because we shouldn't deviate, but there's always a slightly sinister aspect to the word charm as in, a magic charm. And one tends to be a bit suspicious of charm. And he knew he had charm and he was physically very magnetic and good looking and very funny and very attentive to people.But I think the charm, in his case, he did use it to get the right results, and he did use it, as he would say, “to look after my plays.” He was always, “I want to look after my plays.” And that's why he went back to rehearsal when there were revivals and so on. But he wasn't always charming. Patrick Marber, who's a friend of his and who directed Leopoldstadt, is very good on how irritable Stoppard could be sometimes in rehearsal. And I've heard that from other directors too—Jack O'Brien, who did the American productions of things like The Invention of Love.If Stoppard felt it wasn't right, he could get quite cross. So this wasn't a sort of oleaginous character at all. It's not smooth, it's not a smooth charm at all. But yes, he knew his power and he used it, and I think in a good way. I think he was a benign character actually. And one of the things that was very fascinating to me, not only when he died and there was this great outpouring of tributes, very heartfelt tributes, I thought. But also when I was working on the biography, I was going around the world trying to find people to say bad things about him, because what I didn't want to do was write a hagiography. You don't want to do that; there would be no point. And it was genuinely quite hard.And I don't know the theater world; it's not my world. I got to know it a little bit then. But I have never necessarily thought of the theater world as being utterly loving and generous about everybody else. I'm sure there are lots of rivalries and spitefulness, as there is in academic life, all the rest of it. But it was very hard to find anyone with a bad word to say about him, even people who'd come up against the steeliness that there is in him.I had an interview with Steven Spielberg about him, with whom he worked a lot, and with whom he did Empire of the Sun. And I would ask my interviewees if they could come up with two or three adjectives or an adjective that would sum him up, that would sum Stoppard up to them. And when I asked Spielberg this question, he had a little think and then he said, intransigent. I thought, great. He must be the only person who ever stood up to him.Oliver: What was his best film script? Did he write a really great film.Lee: That one. I think partly the novel, I don't know if you know the Ballard novel, the Empire of the Sun, it's a marvelous novel. And Ballard was just a magical and amazing writer, a great hero of mine. But I think what Stoppard did with that was really clever and brilliant.I know people like Brazil, the Terry Gilliam sort of surrealist way. And there's some interesting early work. Most of his film work was not one script; it was little bits that he helped with. So there's famously the Indiana Jones and the Last Crusade, he did most of the dialogue for Harrison Ford.But there are others like the One Hundred and One Dalmatians, where I think there's one line, anonymously Stoppardian in there. One of the things about the obituaries that slightly narked me was that there, I felt there was a bit too much about the films. Truly, I don't think the film work was—he wanted it to be right and he wanted to get it right—but it wasn't as close to his heart as the theater work. And indeed the work for radio, which I thought was generally underwritten about when he died. There was some terrific work there.Oliver: Yes. And there aren't that many canonical writers who've been great on the radio.Lee: Absolutely. He did everything. He did film, he did radio. He wrote some opera librettos. He really did everything. And on top of that, there was the great work for the public good, which I think is a very important part of his legacy, his history.Oliver: How much crossover influence is there between the different bits of his career? Does the screenwriting influence the theater writing and the radio and so on? Or is he just compartmentalized and able to do a lot of different things?Lee: That's such an interesting question. I don't think I've thought about it enough. I think there are very cinematic aspects to some of the plays, like Night and Day, for instance, the play about journalism. That could easily have been a film.And perhaps Hapgood as well, although it could be a kind of John le Carré type film thriller, though it's such a set of complicated interlocking boxes that I don't know that it would work as a film. It's not one of my favorite players, I must say. I struggle a little bit with Hapgood. But, yes, I'm sure that they fed into each other. Because he was so busy, he was often doing several things at once. So he was keeping things in boxes and opening the lid of that box. But mentally things must have overlapped, I'm sure.Oliver: He once joked that rather than having read Wittgenstein from cover to cover, he had only read the covers. How true is that? Because I know some people who would say he's very clever in everything, but he's not as clever as he looks. It's obviously not true that he only read the covers.Lee: I think there was a phase, wasn't there, after the early plays when people felt that he was—it's that English phrase, isn't it—too clever by half. Which you would never hear anyone in France saying of someone that they were too clever by half. So he was this kind of jazzy intellectual who put all his ideas out there, and he was this sort of self-educated savant who hadn't been to Oxford.There was quite a lot of that about in the earlier years, I think. And a sense that he was getting away with it, to which I would countermand with the story of the writing of The Invention of Love. So what attracted him to the figure of Housman initially was not the painful, suppressed homosexual love story, but the fact that here was this person who was divided into a very pernickety, savagely critical classical editor of Latin and a romantic lyric poet. In order to work out how to turn this into a play, he probably spent about six years taking Latin lessons, reading everything he could read on the history of classical literature. Obviously reading about Housman, engaging in conversation with classical scholars about Housman's, finer points of editorial precision about certain phrases. And what he used from that was the tip of the iceberg. But the iceberg was real.He really did that work and he often used to say that it was his favorite play because he'd so much enjoyed the work that went into it. I think he took what he needed from someone like Wittgenstein. I know you don't like The Coast of Utopia very much, but if you read his background to Coast of Utopia, what went into it, and if you compare what's in the plays, those three plays, with what's in the writing about those revolutionaries, he read everything. He may have magpied it, but he's certainly knows what he's talking about. So I defend him a bit against that, I think.Oliver: Good, good. Did you see the recent production at the Hamstead Theatre of The Invention of Love?Lee: I did, yes.Oliver: What did you think?Lee: I liked it. I thought it was rather beautifully done. I liked those boats rowing around that clicked together. I thought Simon Russell Beale was extremely good, particularly very moving. And very good in Housman's vindictiveness as a critic. He is not a nice person in that sense. And his scornfulness about the women students in his class, that kind of thing. And so there was a wonderful vitriol and scorn in Russell Beale's performance.I think when you see it now, some of the Oxford context is a little bit clunky, those scenes with Jowett and Pater and so on, it's like a bit of a caricature of the context of cultural life at the time, intellectual life at the time. But I think that the trope of the old and the young Housman meeting each other and talking to each other, which I still think is very moving. I thought it worked tremendously well.Oliver: What are Tom Stoppard's poems like?Lee: You see them in Indian Ink where he invents a poet, Flora Crewe, who is a poet who was died young, turn of the century, bold feminist associated with Bloomsbury and gets picked up much later as a kind of Sylvia Plath-type, HD type heroine. And when you look at Stoppard's manuscripts in the Harry Ransom Center in the University of Austin, in Texas, there is more ink spent on writing and rewriting those poems of Flora Crewe than anything else I saw in the manuscript. He wrote them and rewrote them.Early on he wrote some Elliot—they're very like Elliot—little poems for himself. I think there are probably quite a lot of love poems out there, which I never saw because they belong to the people for whom he wrote them. So I wouldn't know about those.Oliver: How consistently did Stoppard hold to a kind of liberal individualism in his politics?Lee: He was accused of being very right wing in the 1980s really, 1970s, 1980s, when the preponderant tendency for British drama was radicalism, Royal Court, left wing, all of that. And Stoppard seemed an outlier then, because he approved of Thatcher. He was a friend of Thatcher. He didn't like the print union. It was particularly about newspapers because he'd been a newspaper man in his youth. That was his alternative university education, working in Bristol on the newspapers. He had a romance heroic feeling about the value of the journalist to uphold democracy, and he hated the pressure of the print unions to what he thought at the time was stifling that.He changed his mind. I think a lot about that. He had been very idealistic and in love with English liberal values. And I think towards the end of his life he felt that those were being eroded. He voted lots of different ways. He voted conservative, voted green. He voted lib dem. I don't if he ever voted Labour.Oliver: But even though his personal politics shifted and the way he voted shifted, there is something quite continuous from the early plays through to Rock ‘n' Roll. Is there a sort of basic foundation that doesn't change, even though the response to events and the idea about the times changes?Lee: Yes, I think that's right, and I think it can be summed up in what Henry says in The Real Thing about politics, which is a version of what's often said in his plays, which is public postures have the configuration of private derangement. So that there's a deep suspicion of political rhetoric, especially when it tends towards the final solution type, the utopian type, the sense that individual lives can be sacrificed in the interest of an ultimate rationalized greater good.And then, he's worked in the '70s for the victims of Soviet communism. His work alongside in support of Havel and Charter 77. And he wrote on those themes such as Every Good Boy Deserves Favour and Professional Foul. Those are absolutely at the heart of what he felt. And they come back again when he's very modest about this and kept it quiet. But he did an enormous amount of work for the Belarus exile, Belarus Free Theater collective, people in support of those trying to work against the regime in Belarus.And then the profound, heartfelt, intense feeling of horror about what happened to people in Leopoldstadt. That's all part of the same thing. I think he's a believer in individual freedom and in democracy and has a suspicion of political rhetoric.Oliver: How much were some of his great parts written for specific actors? Because I sometimes have a feeling when I watch one of his plays now, if I'd been here when Felicity Kendal was doing this, I would be getting the whole thing, but I'm getting most of it.Lee: I'm sure that's right. And he built up a team around him: Peter Wood, the director and John Wood who's such an extraordinary Henry Carr in in in Travesties. And Michael Hordern as George the philosopher in Jumpers. And he wrote a lot for Kendal, in the process of becoming life companions.But he'd obviously been writing and thinking of her very much, for instance, in Arcadia. And also I think very much, it's very touching now to see the production of Indian Ink that's running at Hampstead Theatre in which Felicity Kendal is playing the older woman, the surviving older sister of the poet Flora Crewe, where of course the part of Flora Crewe was written for her. And there's something very touching about seeing that now. And, in fact, the first night of that production was the day of Stoppard's funeral. And Kendal couldn't be at the funeral, of course, because she was in the first night of his play. That's a very touching thing.Oliver: Why did he think the revivals came too soon?Lee: I don't really know the answer to that. I think he thought a play had to hook up a lot of oxygen and attract a lot of attention. If you were lucky while it was on, people would remember the casting and the direction of that version of it, and it would have a kind of memory. You had to be there.But people who were there would remember it and talk about it. And if you had another production very soon after that, then maybe it would diminish or take away that effect. I think he had a sort of loyalty to first productions often. What do you think about that? I'm not quite sure of the answer to that.Oliver: I don't know. To me it seems to conflict a bit with his idea that it's a living thing and he's always rewriting it in the rehearsal room. But I think probably what you say is right, and he will have got it right in a certain way through all that rehearsing. You then need to wait for a new generation of people to make it fresh again, if you like.Lee: Or not a generation even, but give it five years.Oliver: Everyone new and this theater's working differently now. We can rework it in our own way. Can we have a few questions about your broader career before we finish?Lee: Depends what they are.Oliver: Your former colleague John Carey died at a similar time to Stoppard. What do you think was his best work?Lee: John Carey's best work? Oh. I thought the biography of Golding was pretty good. And I thought he wrote a very good book on Thackery. And I thought his work on Milton was good. I wasn't so keen on The Intellectuals and the Masses. He and I used to have vociferous arguments about that because he had cast Virginia Woolf with all the modernist fascists, as it were. He'd put her in a pile with Wyndham Lewis and Ezra Pound and so on. And actually, Virginia Woolf was a socialist feminist. And this didn't seem to have struck him because he was so keen to expose her frightful snobbery, which is what people in England reading Woolf, especially middle class blokes, were horrified by.And she is a snob, there's no doubt about it. But she knew that and she lacerated herself for it too. And I think he ignored all the other aspects of her. So I was angry about that. But he was the kind of person you could have a really good argument with. That was one of the really great things about John.Oliver: He seems to be someone else who was amenable and charming, but also very steely.Lee: Yes, I think he probably was I think he probably was. You can see that in his memoir, I think.Oliver: What was Carmen Callil like?Lee: Oh. She was a very important person in my life. It was she who got me involved in writing pieces for Virago. And it was she who asked me to write the life of Virginia Woolf for Chatto. And she was an enormous, inspiring encourager as she was to very many people. And I loved her.But I was also, as many people were, quite daunted by her. She was temperamental, she was angry. She was passionate. She was often quite difficult. Not a word I like to use about women because there's that trope of difficult women, but she could be. And she lost her temper in a very un-English way, which was quite a sight to behold. But I think of her as one of the most creative and influential publishers of the 20th century.Oliver: Will there be a biography of her?Lee: I don't know. Yes, it's a really interesting question, and I've been asking her executors whether they have any thoughts about that. Somebody said to me, oh, who wants a biography of a publisher? But, actually, publishers are really important people often, so I hope there would be. Yes. And it would need to be someone who understood the politics of feminism and who understood about coming from Australia and who understood about the Catholic background and who understood about her passion for France. And there are a whole lot of aspects to that life. It's a rich and complex life. Yes, I hope there will be someday.Oliver: Her papers are sitting there in the British Library.Lee: They are. And in fact—you kindly mentioned this to start with—I've just finished a biography of the art historian and novelist, Anita Brookner, who won the Booker prize in 1984 for a novel called Hotel du Lac.And Carmen and Anita were great buddies, surprisingly actually, because they were very different kinds of characters. And the year before she died, Carmen, who knew I was working on Anita, showed me all her diary entries and all the letters she'd kept from Anita. And that's the kind of generous person that she was.That material is now sitting in the British Library, along with huge reams of correspondence between Carmen and many other people. And it's an exciting archive.Oliver: She seems to have had a capacity to be friends with almost anyone.Lee: Yes, I think there were people she would not have wanted to be friends with. She was very disapproving of a lot of political figures and particularly right-wing figures, and there were people she would've simply spat at if she was in the room with them. But, yes, she an enormous range of friends, and she was, as I said, she was fantastically encouraging to younger women writers.And, also, another aspect of Carmen's life, which I greatly admired and was fascinated by: In Virago she would often be resuscitating the careers of elderly women writers who had been forgotten or neglected, including Antonia White and including Rosamund Lehmann. And part of Carmen's job at Virago, as she felt, was not just to republish these people, some of whom hadn't had a book published for decades, but also to look after them. And they were all quite elderly and often quite eccentric and often quite needy. And Carmen would be there, bringing them out and looking after them and going around to see them. And really marvelous, I think.Oliver: Yes, it is. Tell me about Brian Moore.Lee: Breean, as he called himself.Oliver: Oh, I'm sorry.Lee: No, it's all right. I think Brian became a friend because in the 1980s I had a book program on Channel 4, which was called Book Four. It had a very small audience, but had a wonderful time over several years interviewing lots and lots of writers who had new books out. We didn't have a budget; it was a table and two chairs and not the kind of book program you see on the television anymore. And I got to know Brian through that and through reviewing him a bit and doing interviews with him, and my husband and I would go out and visit him and his wife Jean.And I loved the work. I thought the work was such a brilliant mixture of popular cultural forms, like the thriller and historical novel and so on. And fascinating ideas about authority and religion and how to be free, how to break free of the bonds of what he'd grown up with in Ireland, in Northern Ireland, the bombs of religious autocracy, as it were. And very surreal in some ways as well. And he was also a very charming, funny, gregarious person who could be quite wicked about other writers.And, he was a wonderfully wicked and funny companion. What breaks my heart about Brian Moore is that while he was alive, he was writing a novel maybe every other year or every three years, and people would review them and they were talked about, and I don't think they were on academic syllabuses but they were really popular. And when he died and there were no more books, it just went. You can think of other writers like that who were tremendously well known in their time. And then when there weren't any more books, just went away. You ask people, now you go out and ask people, say, “What about The Temptation of Eileen Hughes or The Doctor's Wife or Black Robe? And they'll go, “Sorry?”Oliver: If anyone listening to this wants to try one of his novels, where do you say they should start?Lee: I think I would start with The Doctor's Wife and The Temptation of Eileen Hughes. And then if one liked those, one would get a taste for him. But there's plenty to choose from.Oliver: What about Catholics?Lee: Yes. Catholics is a wonderful book. Yes. Wonderful book. Bit like Muriel Spark's The Abbess of Crewe, I think.Oliver: How important is religion to Penelope Fitzgerald's work?Lee: She would say that she felt guilty about not having put her religious beliefs more explicitly into her fiction. I'm very glad that she didn't because I think it is deeply important and she believes in miracles and saints and angels and manifestations and providence, but she doesn't spell it out.And so when at the end of The Gate of Angels, for instance, there is a kind of miracle on the last page but it's much better not to have it spelt out as a miracle, in my view. And in The Blue Flower, which is not my favorite of her books, but it's the book of the greatest genius possibly. And I think she was a genius. There is a deep interest in Novalis's romantic philosophical ideas about a spiritual life, beyond the physical life, no more doctrinally than that. And she, of course, believes in that. I think she believed, in an almost Platonic way, that this life was a kind of cave of shadows and that there was something beyond that. And there are some very mysterious moments in her books, which, if they had been explained as religious experiences, I think would've been much less forceful and much less intense.Oliver: What is your favorite of her books?Lee: Oh, The Beginning of Spring. The Beginning of Spring is set in Moscow just before the revolution. And its concerns an Englishman who runs a print and publishing works. And it's based quite a lot on some factual narratives about people in Moscow at the time. And it's about the feeling of that place and that time, but it's also about being in love with two people at the same time.And, yes, and it's about cultural clashes and cultural misunderstanding, and it is an astonishingly evocative book. And when asked about this book, interviewers would say to Penelope, oh, she must have lived in Moscow for ages to know so much about it. And sometimes she would say, “Yes, I lived there for years.” And sometimes she would say, “No, I've never been there in my life.” And the fact was she'd had a week's book tour in Moscow with her daughter. And that was the only time she ever went to Russia, but she read. So it was a wonderful example of how she would be so wicked; she would lie.Oliver: Yes.Lee: Because she couldn't be bothered to tell the truth.Oliver: But wasn't she poking fun at their silly questions?Lee: Yes. It's not such a silly question. I would've asked her that question. It is an astonishing evocation of a place.Oliver: No, I would've asked it too, but I do feel like she had this sense of it's silly to be asked questions at all. It's silly to be interviewed.Lee: I interviewed her about three times—and it was fascinating. And she would deflect. She would deflect, deflect. When you asked her about her own work, she would deflect onto someone else's work or she would tell you a story. But she also got quite irritable.So for instance, there's a poltergeist in a novel called The Bookshop. And the poltergeist is a very frightening apparition and very strong chapter in the book. And I said to her in interview, “Look, lots of people think this is just superstition. There aren't poltergeists.” And she looked at me very crossly and said they just haven't been there. They don't know what they're talking about. Absolutely factual and matter of fact about the reality of a poltergeist.Oliver: What makes Virginia Woolf's literary criticism so good?Lee: Oh, I think it's a kind of empathy actually. That she has an extraordinary ability to try and inhabit the person that she's writing about. So she doesn't write from the point of view of, as it were, a dry, historical appreciation.She's got the facts and she's read the books, but she's trying to intimately evoke what it felt like to be that writer. I don't mean by dressing it up with personal anecdotes, but just she has an extraordinary way of describing what that person's writing is like, often in images by using images and metaphors, which makes you feel you are inside the story somehow.And she loves anecdotes. She's very good at telling anecdotes, I think. And also she's not soft, but she's not harshly judgmental. I think she will try and get the juice out of anything she's writing about. Most of these literary criticism pieces were written for money and against the clock and whilst doing other things.So if you read her on Dorothy Wordsworth or Mary Wollstonecraft or Henry James, there's a wonderful sense of, you feel your knowledge has been expanded. Knowledge in the sense of knowing the person; I don't mean in the sense of hard facts.Oliver: Sure. You've finished your Anita Brookner biography and that's coming this year.Lee: September the 10th this year, here and in the States.Oliver: What will you do next?Lee: Yes. That's a very good question, though a little soon, I feel.Oliver: Is there someone whose life you always wanted to write, but didn't?Lee: No. No, there isn't. Not at the moment. Who knows?Oliver: You are open to it. You are open.Lee: Who knows what will come up.Oliver: Yes. Hermione Lee, this was a real pleasure. Thank you very much.Lee: Thank you very much. It was a treat. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.commonreader.co.uk

Hay tres cosas que me apasionan: las rarezas, las buenas historias y, sobre todo, retaros. Hoy no os voy a hablar de los coches de siempre. Hoy vamos a recorrer una línea temporal desde la posguerra hasta la era pop de los 60 para rescatar del olvido a 10 marcas que intentaron cambiar la historia del automóvil y se quedaron en el camino. Desde las ruinas de 1946 hasta el auge económico, estas son las historias de ingenieros soñadores, conspiraciones industriales y revoluciones técnicas. 1. 1946: CISITALIA y la belleza salvadora En una Turín de posguerra, Piero Dusio decidió apostar por la estética. Contrató a Battista "Pinin" Farina (quien luego cambiaría legalmente su apellido a Pininfarina por decreto presidencial) para crear el 202 GT. Este coche inauguró la línea "pontón", integrando aletas y faros en una forma fluida. Fue tan impactante que el MoMA de Nueva York lo etiquetó como "escultura rodante". 2. 1947: JOWETT, la ingeniería inglesa adelantada Mientras otros hacían "ladrillos" con ruedas, Jowett lanzó el Javelin: aerodinámico y con motor bóxer de aluminio, décadas antes que Subaru. Un coche brillante condenado por un error de gestión: su proveedor de carrocerías fue comprado por Ford, dejándoles sin piel de un día para otro. 3. 1947: BRISTOL, de bombarderos a coches de lujo Tras la guerra, la Bristol Aeroplane Company necesitaba recolocar a sus ingenieros. Usaron planos de BMW traídos como reparación de guerra para hacer coches de lujo. La marca sobrevivió décadas gracias a Tony Crook, un dueño excéntrico que se negaba a vender coches a quien consideraba "vulgar". 4. 1947: OSCA, los verdaderos Maserati Cuando los hermanos Maserati terminaron su contrato con los nuevos dueños de su propia marca, se marcharon para fundar OSCA. Querían hacer carreras puras. Su gran hazaña fue vencer en las 12 Horas de Sebring de 1954 con un pequeño motor de 1.5 litros, derrotando a los gigantescos Ferrari y Lancia. David contra Goliat. 5. 1954: PANHARD y la obsesión por el aluminio Una de las marcas más antiguas del mundo apostó todo a la eficiencia con el Dyna Z, una berlina de seis plazas hecha enteramente de aluminio y con motor bicilíndrico. Un error de cálculo financiero en los costes del material hizo que el coche fuera insostenible, acabando la marca absorbida por Citroën. 6. 1954: BORGWARD, ¿conspiración o quiebra? Eran el segundo fabricante de Alemania y su modelo Isabella era un icono. Pero en 1961 sufrieron una quiebra repentina rodeada de misterio y rumores de presión por parte de sus rivales. Lo irónico es que, al liquidar la empresa, sobró dinero. ¿Se mató a una marca solvente por miedo a su potencial? 7. 1958: ALVIS, el caballero discreto Alvis fabricaba coches como trajes a medida. Con una ingeniería robusta heredada de vehículos militares, sus coches como el TD21 eran elegantes y capaces de cruzar continentes. No quebraron estrepitosamente, simplemente se desvanecieron al ser absorbidos por Rover. 8. 1958: STANGUELLINI, la magia de la Fórmula Junior Desde Módena, Vittorio Stanguellini creó máquinas ganadoras basadas en Fiat y fue clave en la Fórmula Junior. Sin embargo, su insistencia en mantener el motor delantero cuando los ingleses (Lotus, Cooper) pasaron al motor trasero, les dejó obsoletos en apenas dos años. 9. 1963: ATS, la revuelta contra Ferrari Tras la famosa "Revolución de Palacio" donde Enzo Ferrari despidió a su cúpula técnica, los ingenieros fundaron ATS por pura venganza. Crearon el ATS 2500 GT, un deportivo de motor central V8 técnicamente superior, pero el proyecto fracasó por falta de dinero y peleas internas. 10. 1964: GLAS, del microcoche al V8 Hans Glas pasó del pequeño Goggomobil a querer hacer los mejores coches del mundo con el Glas 2600 V8, apodado el "Glaserati". BMW vio la oportunidad y compró la marca, no por sus coches, sino para quedarse con sus patentes y su fábrica de Dingolfing, vital para la expansión de BMW. Estas marcas cayeron por arrogancia, conspiraciones o pureza técnica, pero todas merecen ser recordadas. ¡Espero que disfrutéis de estas historias tanto como yo!

5-Day Evidence-Based Pole Reset starts January 12th! Ready to fall back in love with pole dance? Join us for five days to relight your pole spark (with science!

In this episode of Fintech Chatter, host Dexter Cousins speaks with Dan Jowett, CEO of OpenMarkets Group, about the rapid convergence of Tradfi and DeFiAbout OpenMarkets GroupPower your Fintech, Advisory, or Trading business with an end-to-end Wealth Management and Trading solutions. Openmarkets empowers financial institutions and advisers to deliver a seamless investment experience to their clients. They provide a comprehensive suite of trading, clearing and settlement, custody, and technology solutions that enable businesses to efficiently manage portfolios, scale their business, and support investors in achieving their financial objectives.About This EpisodeTune in as Dan and Dexter discuss how OpenMarkets has transformed from a traditional stockbroker to a technology-focused fintech, the regulatory hurdles facing the crypto industry, and the future of equities trading in a rapidly changing environment.Chapters00:00 Introduction to OpenMarkets and Fintech Landscape02:26 Evolution of OpenMarkets: From Stockbroker to Tech Innovator06:08 Navigating the Future: DeFi and Traditional Finance11:45 Regulatory Challenges and Opportunities in Digital Assets15:37 Building a Strong Culture at OpenMarkets18:47 Navigating Market Changes in Fintech21:07 Lessons from Leadership During Challenging Times23:22 The Importance of Networking and Global Perspectives24:26 The Future of DeFi and Regulatory Challenges27:24 Cultivating a Positive Workplace Culture30:59 Finding the Right Fit in a Dynamic EnvironmentFind Out More - https://openmarkets.com.au/Send us a textSubscribe Newsletter: https://www.linkedin.com/newsletters/fintech-leaders-7092732051488980992/Connect on Linkedin: https://bit.ly/3DsCJBp

In this episode of 'Science of Slink,' Dr. Rosy Boa revisits a previously aired discussion focused on the negative impacts of perfectionism, particularly in dance and movement. Dr. Boa highlights her personal journey of recognizing exhaustion and avoiding burnout, using it as a teaching moment for her audience. The episode delves into the definition and harmful effects of perfectionism, drawing from psychological research and personal anecdotes. Listeners are encouraged to be aware of perfectionistic tendencies and seek professional help if necessary. Tips for finding enjoyment in movement and restructuring goals to foster a healthier mindset are also provided. The episode stresses the importance of mental health and self-compassion in achieving sustainable, lifelong movement.Are you a pole nerd interested in trying out online pole classes with Slink Through Strength? We'd love to have you! Use the code “podcast” for 10% off the Intro Pack and try out all of our unique online pole classes: https://app.acuityscheduling.com/catalog/25a67bd1/?productId=1828315&clearCart=true Chapters:00:00 Introduction and Episode Context01:27 Thanking the Members02:13 Perfectionism: An Overview03:30 The Psychological Impact of Perfectionism05:28 Perfectionism in Dance and Movement18:22 Strategies to Combat Perfectionism27:31 Conclusion and Final ThoughtsSources: -Frost, R. O., Marten, P., Lahart, C., & Rosenblate, R. (1990). The dimensions of perfectionism. Cognitive therapy and research, 14, 449-468.-Further reading: https://www.psychologytoday.com/us/ba...-"Canadian prima ballerina Karen Kain acknowledged that perfectionism meant that she enjoyed a very small percentage of her more than 10,000 professional performances" Flett et al 2014-Hill, A. P., Mallinson-Howard, S. H., & Jowett, G. E. (2018). Multidimensional perfectionism in sport: A meta-analytical review. Sport, Exercise, and Performance Psychology, 7(3), 235.-Hall, H. K., & Hill, A. P. (2012). Perfectionism, dysfunctional achievement striving and burnout in aspiring athletes: The motivational implications for performing artists. Theatre, Dance and Performance Training, 3(2), 216-228.-Flett, G. L., & Hewitt, P. L. (2014). The perils of perfectionism in sports” revisited: Toward a broader understanding of the pressure to be perfect and its impact on athletes and dancers. International Journal of Sport Psychology, 45(4), 395-407.Learn more about my memberships!Essentials of Slink: https://www.slinkthroughstrength.com/essentials-of-slink-home-pole-membershipScience of Slink: https://www.slinkthroughstrength.com/science-of-slink-home-pole-membershipNot sure if you'd be a good fit? Take this quiz! https://www.slinkthroughstrength.com/online-pole-membership

What happens when the UK's toughest ultra chews you up and spits you out?Tim Jowett knows — he DNF'd the 440km Montane Spine Race last year. But this year, he's back. And he's not just chasing a finish… he's chasing closure.In this raw and revealing episode, we talk training, redemption, mindset, and why on earth anyone would return to the most brutal race on the Pennine Way.

https://littleboxofquotes.com/ — Each day's quote is available as a podcast and by email from my Little Box of Quotes. A long time ago I began collecting inspirational quotes and aphorisms. I kept them on the first version of my web site, where they were displayed randomly. But as time went on, I realized I wanted them where I would see them. Eventually I copied the fledgeling collection onto 3×5 cards and put them in a small box. As I find new ones, I add cards. Today, there are more than 1,500 quotes and the collection continues to grow. Hello

**Thank you for supporting this ministry, I lovingly refer to as "The Little Green Pasture." Click here: PayPal: http://paypal.me/JoanStahl **Please prayerfully consider becoming a ministry partner: Patreon: https://www.patreon.com/joaniestahl **Contact Email: jsfieldnotes@gmail.com **Subscribe to me on Rumble: https://rumble.com/c/c-534183There is no doubt that the words of many saints from ancient history have echoed throughout eternity to this present day. Words are a powerful force and can profoundly affect individuals lives for the good or for the worse. The words that are most remembered are from those spoken at the end of their lives. Last words, by their very nature, carry a sense of finality. They are the last message a person imparts to the world, often containing reflections on their life, regrets, hopes, or warnings. Because they are spoken at a critical juncture, these words are often perceived as more significant and meaningful than pronouncements made during everyday life. The words of the dying are more remembered than the living because of their inherent finality. They are the final stamp of what their life was like on earth and of whom they served faithfully until the end. I have been often carried throughout life borne about by words of those saints that gave me strength and stamina, comfort and hope by those who lived hundreds and even thousands of years ago. Your own words will also echo from eternity in the lives you've spoken to while you lived in the earth. They will make all the difference in their rough journeys Home to heaven land."By them we, being dead still speak, and we speak in subtle forces which aid or hinder other pilgrims who are fighting their way to God and heaven." - J. H. Jowett

Professor Sophia Jowett's has conducted a lot of research into understanding the interpersonal dynamics between coaches and athletes and is instrumental in raising awareness and changing attitudes around the reciprocity of the relationship and the importance of relational qualities including mutual trust, respect, appreciation, commitment, loyalty, co-operation and collaboration. In today's episode, part 4 of David's investigation into ChatGPT's and its response to the question “What Can I Expect When Working With A Sport Psychologist” he goes on to discuss supporting a coach who receives negative feedback from athletes or players.  The aim is to aid your understanding of applying psychological skills training (PST) techniques such as self- talk, relaxation and visualisation to improve the quality of the coach-athlete relationship, and in turn, positively impact both coaches' and athletes' performance and wellbeing.  There are connections between the points discussed and Jowett's work.  Enjoy tuning in! Key Learning Points: Coaches can benefit from being supported by Sport Psychologists too, not just athletes. As a coach understanding your own emotions and why they occur can benefit your relationships with athletes or players. When you experience negative emotions as a coach does your self-talk become judgemental? Instructional self-talk can benefit coaches to manage situations better. Allowing your self some space to breathe as a coach is useful and can help your behaviour management, as can improving your visualisation skills. Connect with David Charlton Sign Up to The Mental Edge Join David @ The Sports Psychology Hub Instagram, Facebook, Twitter and LinkedIN To Listen to Related Podcasts To Help You Improve Your Understanding of Sports Psychology Ep161: Paul Phillips – How to Create a Culture of High Performance in Professional Rugby Union Ep166: Mark Bennett MBE – How To Help Athletes and Coaches Reflect On Their Performances Ep180: David Charlton – How To Work With Team Units To Improve Culture In Teams Ep209: Felix Lehmann – How To Create Better Decision Makers On The Football Pitch Ep249: Dr Edward Hall - Understanding Workplace Collaboration In Coaching In Team Sports Relevant Blogs And Resources To Help You Improve Coach Athlete Relationships Online Course for Sports Coaches developed by Professor Sophia Jowett – Empowering the athlete: The coach-athlete partnership The Mental Edge - Enhancing Coach-Athlete Relations Blog: Why You Should Recognise The Power of Your Words Blog: How to Stay Calm as a Coach in Big Matches Blog: Helping Confident Coaches Progress

Trigger Warning: Mention of Eating Disorders and mental Illness Welcome back pole dancers to this episode of Science of Slink! This week we are touching on how perfection harms people's movement, progress, and mental states. To wrap up the video I'm including recommendations for how to avoid perfectionism influences and how to rework patterns of our internal perfectionism.  Let's start by defining perfectionism, perfectionism is "excessively high personal standards of performance accompanied by tendencies for overly critical evaluations of one's behavior" (Frost, R. 14) perfectionism is different from conscientiousness which exhibits characteristics such as being responsible, organized, hard-working, goal-directed, and adhering to norms and rules.  So why is perfectionism so bad? Perfectionism has been correlated with being a source of chronic stress, it's associated with a much higher risk of a large range of negative mental health outcomes. One of the big reasons these correlations have been found is because perfectionism steals your ability to enjoy your accomplishments and the things you enjoy.  I recommend reframing perfectionism mindsets and here are some ways I recommend reframing your mindset. First, be honest about whether perfectionism is negatively affecting you. Do you enjoy activities less because of it? Are you under more stress than necessary? Working with a mental health professional can be a huge step in the right direction to help us notice where perfectionism is impacting our lives. One really important thing when looking for a place to practice, try to find spaces where failure is treated as a normal part of life--because it is! Lastly, but most importantly, work on reframing in your pole practice:  Have goals around the amount of time spent training a skill or number of attempts as opposed to "nailing it" At the end of each training session, write down one thing that felt really good (no qualifiers!) Change up your social media feed: mute (temporarily as needed) professional performers and seek out dancers at a similar level and with a similar body type as you (and even then, remember: it's a highlight reel!) Take live group classes Sources:  Frost, R. O., Marten, P., Lahart, C., & Rosenblate, R. (1990). The dimensions of perfectionism. Cognitive therapy and research, 14, 449-468. Further reading: https://www.psychologytoday.com/us/basics/conscientiousness "Canadian prima ballerina Karen Kain acknowledged that perfectionism meant that she enjoyed a very small percentage of her more than 10,000 professional performances" Flett et al 2014 Hill, A. P., Mallinson-Howard, S. H., & Jowett, G. E. (2018). Multidimensional perfectionism in sport: A meta-analytical review. Sport, Exercise, and Performance Psychology, 7(3), 235. Hall, H. K., & Hill, A. P. (2012). Perfectionism, dysfunctional achievement striving and burnout in aspiring athletes: The motivational implications for performing artists. Theatre, Dance and Performance Training, 3(2), 216-228. Flett, G. L., & Hewitt, P. L. (2014). The perils of perfectionism in sports” revisited: Toward a broader understanding of the pressure to be perfect and its impact on athletes and dancers. International Journal of Sport Psychology, 45(4), 395-407. Slink Through Strength Email Sign Up:  ⁠http://eepurl.com/iimjnX⁠ Join pole instructor & personal trainer Rosy Boa as she chats with experts about the evidence-based practices you can introduce to your pole journey to improve your pole journey and feel better. The Evidence-Based Pole Podcast aims to help pole dancers feel better on and off the pole by talking with experts and diving into relevant scientific research to find evidence-based insights we can apply to our pole journeys. It's a production of Slink Through Strength, the inclusive, evidence-based online pole studio, which can be found online at slinkthroughstrength.com. Edited by: Simone Rossette  Simone.rossette77@gmail.com

John Henry Jowett was once so popular that at his church in New York and later in London, thousands got turned away at the door. Listen to one of his sermons brought to life. Big thanks to Patrick Studebaker for reading today's message! Make sure to check out his show, "Cave To The Cross," which is a podcast that teaches apologetics. Support this podcast at — https://redcircle.com/revived-thoughts6762/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Claim FREE Access to our 4C Million Dollar Content Course - https://charlieslivetraining.com/4cmain Book your FREE Consultation Call Now: https://www.7fss.com/optin1717690583626?el=dominateonlinecoaching&htrafficsource=HowtoMake$40000amonthasanOnlineCoachwithNickJowett Connect With Me On Other Platforms: Instagram: @charliejohnsonfitnesshttps://www.instagram.com/charliejohnsonfitness/ Instagram: @sevenfigurescalingsystemshttps://www.instagram.com/sevenfigurescalingsystems/ YouTube: Charlie Johnson Scaling Systemshttps://youtube.com/@charliejohnsonscalingsystems?si=hbhf1RTfc6voRvQr LinkedIn : Charlie Johnsonhttps://www.linkedin.com/in/charlie-johnson-fitness/ Hosted on Acast. See acast.com/privacy for more information.

Sport PR Manager, Dan Trussell, is joined by Professor of Psychology Sophia Jowett to break down coach-athlete relationships and their benefits in athletes having the edge on the biggest stage, seen in the relationship between Mel Marshall and Adam Peaty.

Tim Jowett and Steve Pheby amongst them completed the entire 268 mile long Pennine way in England. Here is a recap of their experience and thoughts about Britiains most brutal race with questions from the director of Hong Kong's most brutal race, HK4TUC www.trahk.org

Protagoras by Plato audiobook. Jowett, in his always informative introduction, sees this dialogue as transitional between the early and middle dialogues. Socrates meets with Protagoras and other sophists and pursues his inquiry into virtue. The dialectic brings the thinkers to a surprising ending. Socrates narrates this dialogue. Learn more about your ad choices. Visit megaphone.fm/adchoices

Gorgias by Plato audiobook. This dialogue brings Socrates face to face with the famous sophist Gorgias and his followers. It is a work likely completed around the time of 'Republic' and illuminates many of the spiritual ideas of Plato. The spirituality, as Jowett points out in his wonderful introduction, has many ideas akin to Christianity, but is more generous as it reserves damnation only for the tyrants of the world. Some of the truths of Socrates, as presented by Plato, shine forth in this wonderful work on sophistry and other forms of persuasion or cookery. Learn more about your ad choices. Visit megaphone.fm/adchoices

Not only is this episode yet another monster for Heracles to hit really hard with his club, it's an opportunity to sneak some maths into the podcast! Sources for this episode: Bianconi, E., Piovesan, A., Facchin, F., Beraudi, A., Casadei, R., Frabetti, F., Vitale, L., Pelleri, M. C., Tassani, S., Piva, F., Perez-Amodio, S., Strippoli, P. and Canaider, S. (2013), An estimation of the number of cells in the human body. Annals of Human Biology 40(6): 463-471. Campbell, N. A., Urry, L. A., Cain, M. L., Wasserman, S. A., Minorsky, P. V. and Reece, J. B. (2018), Biology: a global approach, 11th edition (Global Edition), Harlow, Pearson Education Limited.Clennett, C., Locke, J. and Jackson, T. (editorial consultants) (2023), How Biology Works. LonondM Darling Kindersley Ltd. The Editors, Encyclopedia Britannica (2016), Iolaus (online) (Accessed 05/05/2024). Evelyn-White, H. G. (1943), Hesiod: The Homeric Hymns and Homerica. London: William Heinemann Ltd. Frazer, J. G. (1921), Apollodorus: The Library (Volume I). London: William Heinemann. Guerber, H. A. (1929), The Myths of Greece & Rome: Their Stories Signification and Origin. London: George G. Harrap & Company Ltd. Hine, R. S. (2019), Oxford Dictionary of Biology (8th edition). Oxford: Oxford University Press. Jain, N., Kourampi, I., Umar, T. P., Almansoor, Z. R., Anand, A., Rehman, M. E. U., Jain, S. and Reinis, A. (2023), Global population surpasses eight billion: Are we ready for the next billion? AIMS Public Health 10(4): 849-866. Jowett, B. (1892), The Dialogues of Plato, translated into English with Analyses and Introductions (Vol. I) (3rd edition). Oxford: Clarendon Press. Khoklov, A. N. (2014), On the Immortal Hydra. Again. Moscow University Biological Sciences Bulletin 69(4): 153-157. Oldfather, C. H. (1993), Diodorus of Sicily: the Library of History. Books IV.59- VIII. London and Cambridge, Massachusetts: Harvard University Press. Author unknown, European Space Agency (date unknown), How many stars are there in the Universe? (online) (Accessed 22/04/2024). Author unknown, World Population Clock (date unknown), World Population Clock: 8.1 Billion People (LIVE, 2024) (online) (Accessed 05/05/2024).

The world's first game show (involving a spiral shell), a Greek mythology spa treatment and ant-related hijinks all lie in store for us in the conclusion of our minotaur trilogy... Sources for this episode: Alvarez, L. W., Anderson, J. A., El Bedwei, F., Burkhard, J., Fakhry, A., Girgis, A., Goneid, A., Hassan, F., Iverson, D., Lynch, G., Miligy, Z., Moussa, A. H., Sharkawi, M. and Yazolino, L. (1970), Search for Hidden Chambers in the Pyramids. Science 167(3919): 832-839. Cary, H. (1904), The Histories of Herodotus. New York: D. Appleton and Company. Frazer, J. G. (1921), Apollodorus: The Library (Volume II). London: William Heinemann. Jones, W. H. S. (1918), Pausanias Description of Greece. In Six Volumes. Volume I: Books I and II. London and New York: William Heinemann and G. P. Putnam's Sons. Jowett, B. (1892), The Dialogues of Plato, translated into English with Analyses and Introductions (Vol II.) (3rd edition). Oxford: Clarendon Press. Norton, C. E. (1892), The Divine Comedy of Dante Alighieri. Volume I: Hell. Boston and New York: Houghton, Mifflin and Company. Oldfather, C. H. (1989), Diodorus of Sicily in Twelve Volumes. Volume I: Books I and II, 1-34. Cambridge, Massachusetts and London, UK: Harvard University Press. Oldfather, C. H. (1993), Diodorus of Sicily: the Library of History. Books IV.59- VIII. London and Cambridge, Massachusetts: Harvard University Press. Peris, M. (1978), The Tunnel-Maker and the Labyrinth Builder. Chapter in: van Lohuizen-de Leeuw, J. E., Prematilleke, L. and Indrapala, K. (eds.), Senarat Paranavitana Commemoration Volume: 145-165. Sambuelli, L., Comina, C., Catanzariti, G., Barsuglia, F., Morelli, G. and Porcelli, F. (2019), The third KV62 radar scan: Searching for hidden chambers adjacent to Tutankhamun's tomb. Journal of Cultural Heritage 39: 288-296. Wheelwright, C. A. (1844), Pindar. New York: Harper & Brothers. Author unknown, Wikipedia (date unknown), Daedalus (online) (Accessed 13/03/2024). Author unknown, Wikipedia (date unknown), Minos (online) (Accessed 13/03/2024).

Brooke Jowett is a Kic trainer and an Australian Survivor All Star. Six months ago she and her partner Chris welcomed their first bub, Parker, into the world and it's safe to say they're obsessed. As a trainer, "the Kic HIIT girl", and a keen runner, Brooke ran until she was 26 weeks pregnant when it stopped feeling right for her body. Now she's back running, taking it one run at a time. Brooke joins Steph to share about her birth story, her bladder prolapse, her gradual return to running, running with a pessary, and the joy that Parker has brought into her life. They also get into the TMI: what was your first poo like after giving birth? Can you feel your pessary when you have sex? Your waters broke where!? FOLLOW US KICPOD @kicpod on InstagramBrooke Jowett @brookejowett on InstagramSteph Claire Smith @stephclairesmith on Instagram, @steph_claire_smith on TikTokJoin our virtual mothers' group in the the KICBUMP Facebook group. Search 'KICBUMP Community'Kic @kic.app on Instagram, @kic on TikTok and kicapp.com P.S the sleep trainer night light Steph mentioned is this one https://www.zazu-kids.com/sam-the-lamb/ See omnystudio.com/listener for privacy information.

Opening Exercise: The audio will lead you through a series of moves from the beginning of a game. At a certain point, one player will make a mistake and it'll be your job to find the move to punish it. To learn more about Don't Move Until You See It and get the free 5-day Conceptualizing Chess Series, head over to https://dontmoveuntilyousee.it/conceptualization PGN for today's exercise: 1. e4 e5 2. Nf3 Nc6 3. Nc3 Nf6 4. Bb5 Nd4 5. Bc4 Nxe4 6. Bxf7+ Kxf7 7. Nxe4 Nxf3+ 8. Qxf3+ Kg8 * And the answer is... Ng5 { a stunning quiet move, and there's nothing good left for Black! }

Lee is one part of Knowledgeablee Instructor Training, who with Mick Knowles, is a partner with this award winning training company. You can find out more about their training options at https://www.adikit.co.uk/

Would you like to receive a daily, random quote by email from my Little Box of Quotes? https://constantine.name/lboq A long long time ago I began collecting inspirational quotes and aphorisms. I kept them on the first version of my web site, where they were displayed randomly. But as time went on, I realized I wanted them where I would see them. Eventually I copied the fledgeling collection onto 3×5 cards and put them in a small box. As I find new ones, I add cards. Today, there are more than 1,000 quotes and the collection continues to grow. Hello, I'm Craig Constantine

Podcast Episode 183 of the Make Each Click Count Podcast features Brendan Jowett, the owner of Inflate AI Agency.Brendan Jowett discusses the topic of AI tools for growing your e-commerce business. Brendan shares insights into the potential of AI, its applications, and its impact on businesses. From using AI for content generation to building chatbots and digital assistants, Brendan sheds light on the power of embracing AI technology. Tune in to learn about the challenges and successes of integrating AI into business processes, as well as the possibilities it offers for accelerating sales and profits. Whether you're a skeptic or a keen adopter of AI, this episode will give you a fresh perspective on the future of e-commerce.Episode Action Items: To find more information about Brendan:LinkedInABOUT THE HOST:Andy Splichal is the World's Foremost Expert on Ecommerce Growth Strategies. He is the acclaimed author of the Make Each Click Count Book Series, the Founder & Managing Partner of True Online Presence, and the Founder of Make Each Click Count University. Andy was named to The Best of Los Angeles Award's Most Fascinating 100 List in both 2020 and 2021.New episodes of the Make Each Click Count Podcast, are released each Friday and can be found on Apple Podcast, iHeart Radio, iTunes, Spotify, Stitcher, Amazon Music, Google Podcasts and www.makeeachclickcount.com.

Sophia Jowett is a Professor of Psychology at Loughborough University whose research work mainly revolves around interpersonal relationships in sports, with an emphasis on coaching relationships. Expect to learn; the 3+1C model of athlete-coach relationships, how athletes and coaches should like each other to work well, whether culture can play a role in athlete-coach relationship, why coaches shouldn't have biases over their players, how to potentially move away from an athlete only centred approach, and much more. Follow Sophia on Twitter Get 20% of MindStrong Sport subscriptions ⁠⁠⁠mindstrongsport.com/checkout⁠⁠⁠ (Use code raisingyourgame) Get your Free 4-Minute Self-Confidence Course by clicking ⁠⁠⁠⁠⁠⁠here⁠⁠⁠⁠⁠⁠ Connect: ⁠⁠Instagram: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@lewishatchett⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠ TikTok: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@lewis_hatchett⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠  To sponsor or contact the show visit: ⁠⁠⁠⁠⁠⁠⁠podcast.lewishatchett.com⁠

In a holdover from when the gods divided the world, we're going to explore a story supposedly set in the 9600s BCE or earlier, with Poseidon's descendants ruling over the mythical island of Atlantis! A story made all the more intriguing by the fact that some people believe it to be true, despite Plato's imagining it for his Dialogues... Slight correction- we mention Spence's work as published in 1827, but it's 1927- slip of the tongue! The 'missing' reference we allude to is Lord Arundell's 1885 work referenced below. Also, vote on our poll! Either on our YouTube community tab or a Spotify poll open until January 24th, 2024. Sources for this episode: Lord Arundell of Wardour (1885), The Secret of Plato's Atlantis. London: Burns and Oates. Babcock, W. H. (1919), The Island of the Seven Cities. Geographical Review 7(2): 98-106. Babcock, W. H. (1920), Antillia and the Antilles. Geographical Review 9(2): 109-124. Crone, G. R. (1938), The Origin of the Name Antillia. The Geographical Journal 91(3): 260-262. Donnelly, I. (1882), Atlantis: The Antediluvian World. New York: Harper & Brothers. The Editors, Encyclopedia Britannica (2020), Hanno (online) (Accessed 17/11/2023). The Editors, Encyclopedia Britannica (2023), Atlantis (online) (Accessed 17/11/2023). The Editors, Encyclopedia Britannica (2023), continental drift (online) (Accessed 17/11/2023). Jowett, B. (1892), The Dialogues of Plato, translated into English with Analyses and Introductions (Vol III.) (3rd edition). Oxford: Clarendon Press. Merrill, E. D. (1936), Scuttling Atlantis and Mu. Spring 5(2): 142-148. Sowada, K., Newman, R., Albarede, F., Davis, G., Derrick, M. R., Murphy, T. D. and Gore, D. B. (2023), Analyses of queen Hetepheres' bracelets from her celebrated tomb in Giza reveals new information on silver, metallurgy and trade in Old Kingdom Egypt, c. 2600 BC. Journal of Archaeological Science: Reports 49: 103978. Spence, L. (date unknown), The History of Atlantis. London: Rider & Co. Vitalino, D. B. (1971), Atlantis: A Review Essay. Journal of the Folklore Institute 8(1): 66-76. Wang, M., Hu, C., Barnes, B. B., Mitchum, G., Lapointe, B. and Montoya, J. P. (2019), The great Atlantic Sargassum belt. Science 365(6448): 83-87. Author unknown, Wikipedia (date unknown), Antillia (online) (Accessed 17/11/2023). Author unknown, Wikipedia (date unknown), Azilian (online) (Accessed 17/11/2023). Author unknown, Wikipedia (date unknown), Lemuria (online) (Accessed 17/11/2023). Author unknown, Wikipedia (date unknown), Lewis Spence (online) (Accessed 17/11/2023).

Please take the time to fill in our survey about performance staff skills https://www.supportingchampions.co.uk/skills/   In today's episode we're exploring a topic that sits at the very heart of performance, yet is often overlooked: the coach-athlete relationship. And I couldn't think of anyone better to discuss this with than our guest, Sophia Jowett.  Sophia is a leading expert in the field, known for her extensive research and innovative models that explore the dynamics between coaches and athletes. She's got a knack for breaking down complex ideas into memorable acronyms and alliterations, making the science not just accessible but also unforgettable. We'll be delving into how the landscape of coaching has evolved over the years, the psychological underpinnings of a successful coach-athlete relationship, and even the challenges and conflicts that can arise. We'll also touch on the broader implications of her work, including parallels in the business world and the evolving role of coaches. This is essential listening for anyone working with coaches and athletes!   Follow Sophia on Twitter https://twitter.com/JowettSophia   Hi, I'm Steve Ingham Sports and Performance Scientist co-founder at Supporting Champions. I have the privilege of supporting over 1000 athletes of which over 200 have gone on to win World or Olympic medals. For the last 25 years I've been fascinated by, researched and applied innovative ideas to help people succeed  and now I want to share those performance strategies with you.  I help aspiring and professional Performance Science and Support Staff improve their skills, experience and mindset for working with sports performers through a range of online courses and an exclusive community hub https://www.supportingchampions.co.uk/onlinecourse If you're working in sports performance or business and want to get support to develop your team and systems - take a look at what I offer here - https://www.supportingchampions.co.uk/speaking/ Listen to the podcast https://www.supportingchampions.co.uk/category/podcast/ Links Twitter at https://twitter.com/ingham_steve https://www.tiktok.com/@supportingchampions Supporting Champions on Twitter www.twitter.com/support_champs Supporting Champions on Linkedin, www.linkedin.com/company/supporting-champions https://www.instagram.com/supportingchampions/

Become A Benefactor  #Nightlight #RTTBROS J.H Jowett THE BENEFITTED AS BENEFACTORS “Who comforteth us ... that we may be able to comfort.” —2Corinthians 1:3-7 AND how does the Lord comfort us? He has a thousand different ways, and no one can ever tell by what way the comfort will come to his soul. Sometimes it comes by the door of memory, and sometimes by the door of hope. Sometimes it is borne to us through the ministry of nature, and at other times through the ministry of human speech and kindness. But always, I think, it brings us the sense of a Presence, as though we had a great Friend in the room, and the troubled heart gains quietness and peace. The mist clears a little, and we have a restful assurance of our God. Now comforted souls are to be comforters. They who have received benefits of grace are to be benefactors. They who have heard the sweet music of God's abiding love are to sing it again to others. They who have seen the glory are to become evangelists. We must not seek to hoard spiritual treasure. As soon as we lock it up we begin to lose it. A mysterious moth and rust take it away. If we do not comfort others, our own comfort will turn again to bitterness; the clouds will lower and we shall be imprisoned in the old woe. But the comfort which makes a comforter grows deeper and richer every day. 4 Who comforteth us in all our tribulation, that we may be able to comfort them which are in any trouble, by the comfort wherewith we ourselves are comforted of God. 2 Cor 1:4 KJV Our Podcast, Blog and YouTube Links https://linktr.ee/rttbros Be sure to Like, Share, Follow and subscribe it helps get the word out. RSS feed https://anchor.fm/s/127be410/podcast/rss https://linktr.ee/rttbros

Not only does Plato's Symposium hype up love between men as quite literally godlike, but it also provides us with the absolutely wild idea of Aristophanean soulmates... Help keep LTAMB going by subscribing to Liv's Patreon for bonus content! CW/TW: far too many Greek myths involve assault. Given it's fiction, and typically involves gods and/or monsters, I'm not as deferential as I would be were I referencing the real thing. Sources: Plato's Symposium, Penguin edition translated by Christopher Gill; public domain translation for long passages, translated by B. Jowett; "Erastes-Eromenos Relationships in Two Ancient Epics" by Morgan van Kesteren. Attributions and licensing information for music used in the podcast can be found here: mythsbaby.com/sources-attributions.See omnystudio.com/listener for privacy information.

Not only does Plato's Symposium hype up love between men as quite literally godlike, but it also provides us with the absolutely wild idea of Aristophanean soulmates... Help keep LTAMB going by subscribing to Liv's Patreon for bonus content! CW/TW: far too many Greek myths involve assault. Given it's fiction, and typically involves gods and/or monsters, I'm not as deferential as I would be were I referencing the real thing. Sources: Plato's Symposium, Penguin edition translated by Christopher Gill; public domain translation for long passages, translated by B. Jowett; "Erastes-Eromenos Relationships in Two Ancient Epics" by Morgan van Kesteren. Attributions and licensing information for music used in the podcast can be found here: mythsbaby.com/sources-attributions.See omnystudio.com/listener for privacy information.

Ultimately, I think the fundamental question we tumble into, like rolling down a mountain of sharp, rocky points, bloodied and bruised at the bottom of the Mountain of Life time and time again, is, “What are we supposed to do with this life?” The philosophers phrase this question in many ways: What is good? What is God? What is truth? What is kindness? Why do we gather together? What are the best ways to gather together? Why do we rule and consent to be ruled, and what are the ways to do that?  On and on and on.  But, really, isn't the question also about work, action, energy, initiative, direction, drive, desire, purpose? “What do I do next?”  My thinking about activity and work as paramount might be because I've got it on the brain because I'm reading Work by James Suzman. But, if not work, then play? And if not play, then charitable helping? And if not charitable helping, then family or friends?  We are alive. We are doing things.  In that vein, this rambling (and, yes, I'm the one who gets lost during the conversation and is always trying to get found) chat between me and my favorite Greek mirrors the wandering ways of our first conversation. We've talked before—last time about Thucydides.  We were going to talk about Plato's Protagoras. But we hint at another dialogue that focuses, like Protagoras, on sophists, guys who get paid to teach other people how to sway people in conversation or debate. That's Gorgias. But then we were going to talk about Aristotle.  My favorite part, by far, of this conversation is the end: Georgios' analogy of “Society as a Board Game.” Don't miss it. And Socrates' answer? Well … that's the last few seconds of the podcast …   So, all that to say, if you get lost, go read a translation of either of those dialogues. Here are two:  I read Jowett's translation of Protagoras, and I suspect Georgios did, too. Here ya go.  And Jowett's Gorgias? Tada.  The picture? That's supposed to be Protagoras. But my buddy told me last time I stuck in a bust of an ancient, I got it wrong. So ... I think this is Protagoras.

The World's Great Sermons, Volume 10 Drummond to Jowett, and General Index

Geof Jowett is an intuitive spiritual medium, author, and educator. He has a comprehensive science education and, for many years, pursued an academic career in the natural sciences. His intuition works well with his analytical mind to bring through messages from spirit and help recipients interpret what is often deep symbolism. He received certification from the Morris Pratt Institute in Mediumship and became an ordained minister through the New Thought Spiritual Center of Palm Springs. Through his work with spirit, Geof feels privileged to support healing and a greater sense of contentment, joy, and peace. Website www.geofjowett.comTo listen to all our XZBN shows, with our compliments go to: www.spreaker.com/user/xzoneradiotv.The current edition of The 'X' Chronicles Newspaper is available at www.xchronicles.net.This episode of The ‘X' Zone with Rob McConnell is brought to you by BEAUTIFUL MIND COFFEE - For the coffee that your brain will love, visit Beautiful Mind Coffee, www.beautifulmindcoffee.ca. It's Brainalicious!

Rob dives deep into the very beginning of dumbbells, their evolution, and then compares them to what we have today. (0:14) Shapes of dumbbells (0:40) Who invented the dumbbell? (1:28) Types of weights during ancient times (2:44) The 1700s "dumbbell" (4:45) Modern dumbbells (5:35) Circus dumbbell lifters (7:30) Why did globe dumbbells go away? (9:24) Modern dumbbell variations (15:38) A few oddities Follow Visit vintageweightspgh.com for additional information on vintage weights. Follow Rob on Instagram and YouTube Subscribe to Garage Gym Radio Stay in the loop with all things home gym by subscribing to Knurled News Sources Special thanks to Dr. Jan Todd and The Stark Center! “2 for 1 York Dumbbells are also Swingbells!” Muscular Development, Volume 5, Number 1, Strength & Health Publishing Company, January 1968 “Dumbbell.” Wikipedia, Wikipedia, https://en.wikipedia.org/wiki/Dumbbell “Havak Quick Triad.” Havak, Havak, https://havak.net/ Jowett, George F. “Dumb-Bell.” Patent US1672944A, Google Patent, 12 June 1928, https://patents.google.com/patent/US1672944A/en “Mutt Dumbbells.” Rogue, Rogue Fitness, https://www.roguefitness.com/mutt-dumbbells “Our Story.” PowerBlock, PowerBlock, 2022, https://powerblock.com/about-powerblock/ “Rogue Thompson Fatbells.” Rogue, Rogue Fitness, https://www.roguefitness.com/rogue-thompson-fatbells “The Sandow Ringing Dumbbell.” Barbells and Bios, The H.J. Lutcher Stark Center for Physical Culture and Sports, 19 August 2020, https://starkcenter.org/2020/08/the-sandow-ringing-dumb-bell/ “Solid Iron Dumbbells.” Muscular Development, Volume 5, Number 1, Strength & Health Publishing Company, January 1968 Todd, Jan. “From Milo to Milo: A History of Barbells, Dumbbells, and Indian Clubs.” Iron Game History, Volume 3, Issue 6, The H.J. Lutcher Stark Center for Physical Culture and Sports, April 1995, https://starkcenter.org/igh_article/igh0306c/ Todd, Jan. “The Strength Builders: A History of Barbells, Dumbbells, and Indian Clubs.” The International Journal of the History of Sport, March 2003, https://www.researchgate.net/publication/249030520_The_Strength_Builders_A_History_of_Barbells_Dumbbells_and_Indian_Clubs Wood, Robert. "Olympics Weightlifting All Around Dumbbell Contest." Topend Sports Website, July 2010, https://www.topendsports.com/events/discontinued/weights-allround-dumbbell.html “York Aristocrat Dumbbell Set.” Muscular Development, Volume 5, Number 1, Strength & Health Publishing Company, January 1968

The ability to reach into the pantry of your parents, and grandparents has allowed many chefs to tell a unique tale on the plate. For some, like Jowett Yu (Merivale) his unique heritage, coupled with a myriad of travelling and life experiences has given him a truly unique context on the plate, and it's hardly surprising that he leaves an indelible mark whether he cooks. https://www.instagram.com/thejowski/?hl=en Follow The Crackling https://www.instagram.com/thecracklingpodcast/ Follow Huck https://www.instagram.com/huckstergram/ Follow Rob Locke (Executive Producer) https://www.instagram.com/foodwinedine/ Follow PorkStar https://www.instagram.com/porkstars/?hl=en https://www.porkstar.com.au LISTEN TO OUR OTHER FOOD PODCASTS https://linktr.ee/DeepintheWeedsNetwork

Random Acts of Content w/ Cassandra Jowett (Throwback) Part of the "Is This A Good Time?" series hosted by Brandon Barton.

Alcibiades 1 by Plato audiobook. As Jowett relates in his brilliant introduction, 95% of Plato's writing is certain and his reputation rests soundly on this foundation. The Alcibiades 1 appears to be a short work by Plato with only two characters: Socrates and Alcibiades. This dialogue has little dramatic verisimilitude but centres on the question of what knowledge one needs for political life. Like the early dialogues, the question is on whether the virtues needed by a statesman can be taught, on the importance of self-knowledge as a starting point for any leader. While this may be only partially the work of Plato, or even not his at all, Jowett favoured the work with his magisterial translation and appears to favour its inclusion in the canon of true works.

Welcome to the Gymnastics Growth Show podcast, brought to you by Nick Ruddock, a performance Gymnastics Coach and consultant to international gymnastics teams and professional sports clubs. In this podcast, Nick and his special guests share the strategies and tactics used to optimise athlete and coach performance from grass roots to gold standard. Tackling all things gymnastics and performance sport, from physical preparation and psychology, to nutrition and lifestyle, this podcast is a must for any gymnastics coach serious about improving results and furthering their expertise.

Join us as we talk to Mark's 8th Grade teacher Jennifer Jowett also known as Jennifer Guyor Jowett. She is still teaching, currently at the 7th grade level in Lansing Michigan and is an accomplished author now. Her Self Published book titled "Into The Shadows" follows the journey of a Jugoslavijan girl named Vesna and her family during World War II. We chat about the book, her teaching career and other important issues in today's world. You don't want to miss this episode. As always make sure to subscribe, share, comment, follow us on social media, you name it. We love your feedback and appreciate all of our wonderful listeners and guests.Make sure to pick up a copy of Jennifer's book Into The Shadows as it is a such a great read. Not only will young adults love this book but readers of all ages. Here is the link to order a copy of the book. https://www.amazon.com/Into-Shadows-Jennifer-Guyor-Jowett/dp/B09PHBT96HIf you haven't done so already check out some of our latest podcast episodes and stay on the Mark 2.0 Train we've only scratched the surface.

In this episode of My Beauty Habits I'm speaking to Cosmo's Beauty Director, the lovely Victoria Jowett.We chat about how the magazine has changed since we were both young, why she adores working as part of a beauty team and of course chat about the many beauty products and rituals that she adores.

Julia Jowett, PA-C, MSHS joined the La Jolla Cosmetic Surgery Centre & Medical Spa team in 2019. Whether you're about to meet her for the first time or have been a patient for years, listen in to hear Julia's philosophy of treating patients, why she believes being a good listener is the key to getting great aesthetic results, and how her surprising adventurous spirit led her to take bold risks which ultimately brought her to La Jolla Cosmetic. Follow Julia on Instagram @sandiegoinjector (https://www.instagram.com/sandiegoinjector/) Read more about Julia (https://www.ljcsc.com/our-providers/julia-jowett-bio/) Read Julia's patient reviews (https://www.ljcsc.com/our-providers/julia-jowett-reviews/) Take a screenshot of this podcast episode with your phone and show it at your consultation or appointment, or mention the promo code PODCAST to receive $25 off any service or product of $50 or more at La Jolla Cosmetic. La Jolla Cosmetic is located just off the I-5 San Diego Freeway at 9850 Genesee Ave, Suite 130 in the Ximed building on the Scripps Memorial Hospital campus. To learn more, go to ljcsc.com (https://www.ljcsc.com/) or follow the team on Instagram at @ljcsc (https://www.instagram.com/ljcsc/) The La Jolla Cosmetic Podcast is a production of The Axis. (http://www.theaxis.io/) Special Guest: Julia Jowett, PA-C.

Andrew Jowett, the former, and longtime, director of one of the greatest concert halls in the world recounts the hurdles jumped and the deals made to make Symphony Hall in Birmingham a reality and, the joys that came for so many with the countless world-class artists that graced its stage!

We live in a world of unbridled technological and argumentative advancement. A.I. has learned to debate Thanksgiving-table politics against humans. People may soon be using “argument checks” as well as “grammar checks” on their smartphones. Cats and dogs have finally put aside their differences and learned to live in peace by forming a coalition against postal workers. Welcome to the future.Whether this sounds like an irenic utopian ideal or an Orwellian dystopia to you, it is the subject of today's episode! In the first installment of our newest re:joinder series, Disciplining Disciplinary Boundaries, we take aim at an article that feels designed to make humanists pull their hair out: Benjamin Wallace-Wells's “The Limits of Political Debate,” published in The New Yorker. This article tells the story of Project Debater, an artificial intelligence designed to compete in political debate competitions against humans using mountains of empirical evidence and “fifty to seventy” prefabricated argument structures. As we read through the dramatic tale of P.D.'s inception to it's first high-profile defeat in public debate by Harish Natarajan in 2019, we discuss the way that science journalists (and scientists themselves) make strange and fascinating assumptions about the humanities.We also frame our reading of the article with two critical pieces of rhetoric scholarship that help illuminate its various rhetorical pitfalls and spurious assumptions. Jeanne Fahnestock's 1986 classic “Accommodating Science” lays the groundwork for studying science journalism by taxonomizing some typical rhetorical appeals and information transformations journalists use to make hard science more appealing for public audiences (e.g. sacrificing technical details at the expense of telling a dramatic narrative of “discovery”). Finally, we end with Carolyn Miller's 2007 article “What can automation teach us about agency,” and reflect upon the ways that A.I. can only have rhetorical agency if an audience attributes it. This article helps us better understand why Project Debater suffered defeat at the hands of a human, and why this article tells us more about the limits of artificial intelligence rather than “rhetorical persuasion.”Works & Concepts Cited in this Episode:Fahnestock, J. (1986). Accommodating science: The rhetorical life of scientific facts. Written communication, 3(3), 330-350.Miller, C. R. (2007). What can automation tell us about agency?. Rhetoric Society Quarterly, 37(2), 137-157.Plato. (2008). Gorgias (B. Jowett, Trans.). Project Gutenberg. (Original published c. 380 BCE). Retrieved from: https://www.gutenberg.org/files/1672/1672-h/1672-h.htmSlonim, N., Bilu, Y., Alzate, C., Bar-Haim, R., Bogin, B., Bonin, F., ... & Aharonov, R. (2021). An autonomous debating system. Nature, 591(7850), 379-384.Wallace-Wells, B. (2021, Apr. 11). The limits of political debate. The New Yorker. Retrieved from: https://www.newyorker.com/news/annals-of-populism/the-limits-of-political-debate

Episode 4 - Building an Online Coaching or Fitness Business Part Time with Lisa Jowett Fan page - https://www.facebook.com/BusyBods.com.auFacebook community page - https://www.facebook.com/groups/734870020545107 Insta handle - @busybods ,Contact- lisa@busybods.info

Cassandra Jowett is the Senior Director of Marketing at PathFactory, an intelligent content platform for B2B marketers. Cassandra is a “multi-disciplinary marketing swiss army knife” with more than a decade of experience, so she truly understands the challenges of marketing to marketers and the improvements to be made with content consumption.0:00 Intro 1:15 Conversation begins 2:50 Swiss Army knife 5:20 Hiring team member 9:44 PathFactory 11:20 Marketing to marketers 14:30 Content consumption in B2B 20:00 Forms, engagement-based forms 26:38 Conversations with companies 32:04 Website of the Future 32:42 Outro Get our newsletter and sign up to be on our waitlist!Cassandra: |Twitter | LinkedIn | Path Factory Follow Fathom:| Website | Blog | Twitter | LinkedIn

Agile World with our hosts Sabrina C E Bruce and Karl Smith they discuss, the Fiesta Forever Event with the CFO Brandon Hill-Jowett talking the Fiesta Forever event on the 28th of February and what are our personal motivations for involvement the Agile20Reflect Festival. Agile World magazine show with Sabrina C E Bruce and Karl Smith on YouTube. Agile World is a spin off from the The Agile20Reflect Festival https://agile20reflect.org/ now called Access Agile https://access-agile.org/ and affirms its commitment to a Global Agile Community. #Agile_World #AgileWorld #Agile #AgileTalkShow #AgileManifiesto #AgileCoach #ScrumMaster #Agile20ReflectFestival #Agile20ReflectEvent #Agile20Reflect Online Website https://agile-world.news/ LinkedIn https://www.linkedin.com/company/agile-world-news/ Facebook https://www.facebook.com/agileworldnews Twitter https://twitter.com/AgileWorldNews Tumblr https://www.tumblr.com/blog/view/agile-world Podcast Spotify https://open.spotify.com/show/1aMY1R5ct7EqrehR4aZUat Apple Podcasts https://podcasts.apple.com/gb/podcast/agile-world/id1553727032 Google Podcasts https://www.google.com/podcasts?feed=aHR0cHM6Ly9hbmNob3IuZm0vcy80Y2FmNDhmYy9wb2RjYXN0L3Jzcw== Pocket Casts https://pca.st/vbyfqprr Anchor https://anchor.fm/agile-world Breaker https://www.breaker.audio/agile-world Radio Public https://radiopublic.com/agile-world-WPNL9j Co Hosts Sabrina C E Bruce https://www.linkedin.com/in/sabrinabruce/ Karl Smith https://www.linkedin.com/in/karlsmith2/ Agile World © 2021 Karl Smith and Sabrina C E Bruce --- Send in a voice message: https://anchor.fm/agile-world/message

In the inaugural episode of "TravelZoom" we are going to Hong Kong.The host, Aga Skoczypiec,  interviews Pete Spurrier, the author of an exceptional series of guidebooks to Hong Kong. Pete takes us on a tour through Hong Kong's colonial past, and tells us how the city has changed since he moved to Hong Kong in the early 90s.She also talks to  Jowett Yu, the Executive Chef of Ho Lee Fook - a popular contemporary Chinese restaurant in Hong Kong. Jowett shares his thoughts on Cantonese cuisine and the gastronomic scene in the city. Finally, a trip to Hong Kong would not be complete without experiencing its many islands - over 250 to be exact.  We visit the vibrant island of Cheung Chau to hear how an unexpected discovery led to Hong Kong's first and last Olympic gold medal.You can find more episodes on: https://www.travelzoompodcast.com/ and you can find Aga on https://www.linkedin.com/in/3agnieszkaskoczypiec/· Follow us on Instagram: @travelzoom_podcast · Subscribe to TravelZoom and leave a review on Apple Podcasts, Spotify or wherever you listen Interested in collaborating with us? Email: aga@travelzoompodcast.com

It's makeover time. In this live show, CEO and Co-founder of Directive, Garrett Mehrguth, and a SaaS marketing leader work together to build a strategy for a recognizable SaaS brand - as quickly as possible. The company will be randomly selected by spinning a wheel at the beginning of the show, and together, the two will craft a strategy for SaaS marketing leaders everywhere. Today's guest...PathFactory's Senior Director, Marketing, Cassandra Jowett!

Last year, Refinitiv built a nine-person ABM team dedicated to supporting their account team with 1:1, 1:few and 1:many marketing.  One of their most important initiatives included launching a 1:1 destination for key customer accounts to ensure Refinitiv increased its revenue, reputation and relationships with each customer through truly meaningful personalization. In this episode of The ABM Podcast, Jessica Krieger, ABM manager at Refinitiv, and Cassandra Jowett, senior director of marketing at PathFactory, share how Refinitiv is using ABM to strengthen relationships with key customer accounts. Christine, Jessica, and Cassandra discuss: How Refinitive aligned its ABM team toward a new product Defining success metrics when using ABM in customer marketing Personalization vs. scalability Words of advice for B2B marketers facing challenging times The ABM Podcast is co-hosted by Christine Farrier and Brandon Redlinger of the ABM Leadership Alliance. Never miss an episode by subscribing to the show on Apple Podcasts, Spotify, or wherever you listen to podcasts.

(Announcement) The Health Mind F*ck Patreon Blog is now LIVE. If you want the workshops behind the podcast and some of my best strategies in a concise and easy to follow formate head over to the Patreon Blog and get started today!!! Today I am honored and terrified to introduce my biggest fan and greatest motivator, Julie Jowett-Lee aka my Mom. This woman raised one really great kid and my brother. She shows true strength and today we go deep into the strategy behind vulnerability and healing trauma. Julie has over 30 years in practice as a therapist and has helped hundreds heal old wounds from their lives and rediscover their true potential. In this show you'll discover: -What it means to heal. - How trauma is stored in our bodies. - The power of vulnerability. - 2 easy actions you can take today to down-regulate stress and allow yourself to feel. --- Support this podcast: https://anchor.fm/thehealthymindfck/support