Podcasts about lieberman

SUMMARY In this engaging conversation, Colin Lieberman shares his journey in martial arts, emphasizing the importance of continuous training and the philosophy behind Jeet Kune Do. The discussion explores the evolution of martial arts apparel, the impact of Bruce Lee, and the balance between tradition and innovation in martial arts training. Colin also highlights the need for adaptability in teaching methods to meet the changing needs of students, particularly in the wake of the COVID-19 pandemic. In this conversation, the speakers delve into the intricacies of martial arts training, discussing the significance of curriculum, the importance of student engagement, and the evolution of training methods in response to modern needs. They explore the relationship between martial arts and fitness, particularly through the lens of CrossFit, and emphasize the necessity of creating a supportive learning environment for students. The discussion also highlights the role of sprints in training and the lifelong journey of martial arts practice, advocating for a smart and adaptable approach to training.   TAKEAWAYS Martial arts can be a source of empowerment and self-discovery. Merchandise can reflect the evolution of martial arts culture. Jeet Kune Do emphasizes finding one's own path in martial arts. Bruce Lee's philosophy remains relevant in modern training. Balancing tradition and innovation is crucial in martial arts. Curriculum should evolve to meet the needs of students. Adaptability in teaching methods enhances student engagement. Understanding the history of martial arts enriches the practice. Engagement in training is crucial for student retention. Modern training methods should adapt to the needs of students. CrossFit principles can enhance martial arts training. Sprints are effective for developing combat readiness. Students should be encouraged to explore beyond their rank. The value of martial arts remains high despite accessible information. Training smart is more important than training hard.   To connect with Collin Lieberman: https://www.centerlinestrong.com/   Join our EXCLUSIVE newsletter to get notified of each episode as it comes out! Subscribe — whistlekick Martial Arts Radio

Send a textIf you've spent any time around the Columbus food scene, you probably heard of BJ Lieberman.He's the chef behind Chapman's, Metsi's, Ginger Rabbit, and one of the most thoughtful people I've met when it comes to food, creativity, and building restaurants that people genuinely love.In this episode, BJ and I talk about his path into the restaurant world, what it's really like running restaurants in Columbus right now, and how becoming a dad has shifted the way he thinks about work and life.We also get into the energy of the Columbus food scene, creativity in the kitchen, and the balance between building something ambitious and building a life you actually want to live.It's a fun, honest conversation about restaurants, passion, and figuring things out as you go.

Why do we feel shame? Why does guilt hit so deeply? And why do some people seem to carry these emotions far more intensely than others?In this episode, I'm joined by Dr. Debra Lieberman — evolutionary psychologist, professor at the University of Miami, and Editor-in-Chief of Evolution and Human Behavior — to explore why humans evolved to feel shame and guilt, and what these emotions are actually trying to do.We talk about the evolutionary purpose of shame, the difference between shame and guilt, why high-functioning people can be especially prone to self-criticism, how social media hijacks our need for social value, and why learning to value yourself changes everything.This episode will help you change your life by changing how you deal with shame.Dr. Debra Lieberman is an evolutionary psychologist whose research explores how evolution shaped the social mind, including emotions like shame, guilt, disgust, morality, kinship, sexuality, and cooperation.Timestamps:(00:00) Introduction (00:23) Meet Dr Deborah Lieberman (01:05) Evolutionary Software Of Emotions (02:42) Social Value And Gratitude (05:55) Why Shame Shows Up (08:45) Shame Versus Anger Leverage (10:35) Locus Of Control Trap (15:02) Social Media Hijacks Validation (19:50) Using Social Media With Boundaries (22:51) Stoicism Purpose In Struggle (26:43) Mentorship Missing In Modern Life (29:33) Finding Your Foxhole Friends (31:58) Toxic Friendships And Loss Aversion (33:35) Tribe Size Dating Math (34:45) Why Breakups Hurt (37:03) Fear And Relationship Pressure (38:46) Needy Mindset To Self Worth (41:43) Building Self Value Skills (43:42) Shame Versus Guilt (45:57) Reimagining Human Education (50:55) Critical Thinking In AI Age (55:08) Do We Need Relationships (59:57) Life Stages And Meaning (01:01:02) Advice Happiness And Next Steps (01:04:09) Resources And Final WrapConnect with Nick:Instagram: https://instagram.com/nickbracksWebsite: http://nickbracks.comEmail: contact@nickbracks.comConnect with Debra:Website: www.deblieberman.comArticles: https://scholar.google.com/citations?user=OhbXo2kAAAAJ&hl=en Hosted on Acast. See acast.com/privacy for more information.

Kritik gehört zu jedem menschlichen Miteinander. Und doch erleben viele Menschen sie wie einen Schlag ins Gesicht. Im Folgenden geht es darum, was bei Kritik in Psyche und Gehirn tatsächlich passiert, warum manche Menschen besonders empfindlich reagieren, welche typischen Muster in Beziehungen entstehen und wie man Schritt für Schritt lernen kann, Kritik weniger als Vernichtungsurteil und mehr als Information zu begreifen, ohne alles „hinzunehmen“.Wenn du mich und den Podcast unterstützen möchtest, dann bewerte den Podcast gerne und schicke ihn an jemanden weiter, der sich auch dafür interessieren würde. Mein neues Buch hilft dir besser zu kommunizieren, deine Muster zu verändern und wieder Nähe herzustellen. Du hast Feedback oder Fragen? Dann schreib mir auf Instagram.Du möchtest eine persönliche (Online)Beratung oder Paartherapie mit mir? Dann schreib mir eine Mail an: kontakt@paartherapiebonn.com.Mehr zu mir und meiner Arbeit findest du ⁠⁠hier⁠⁠.Studien zu dem Thema:Eichholz, A., Schlegl, S., Brähler, E., & Voderholzer, U. (2020). Self‐compassion and emotion regulation difficulties in obsessive–compulsive disorder. Clinical Psychology & Psychotherapy, 27(5), 630–640.Eisenberger, N. I., Lieberman, M. D., & Williams, K. D. (2003). Does rejection hurt? An fMRI study of social exclusion. Science, 302(5643), 290–292.Chwyl, C., Chen, P., & Zaki, J. (2021). Beliefs about self-compassion: Implications for coping and self-improvement. Personality and Social Psychology Bulletin, 47(9), 1327–1342.Laurenceau, J.-P., Feldman Barrett, L., & Pietromonaco, P. R. (1998). Intimacy as an interpersonal process: The importance of self-disclosure, partner disclosure, and perceived partner responsiveness in interpersonal exchanges. Journal of Personality and Social Psychology, 74(5), 1238–1251.Leary, M. R., Tambor, E. S., Terdal, S. K., & Downs, D. L. (1995). Self-esteem as an interpersonal monitor: The sociometer hypothesis. Journal of Personality and Social Psychology, 68(3), 518–530.Miedl, S. F., Blechert, J., Klackl, J., Wiggert, N., Reichenberger, J., Derntl, B., & Wilhelm, F. H. (2016). Criticism hurts everybody, praise only some: Common and specific neural responses to approving and disapproving social-evaluative videos. NeuroImage, 132, 138–147.Neff, K. D. (2003). Self-compassion: An alternative conceptualization of a healthy attitude toward oneself. Self and Identity, 2(2), 85–101.Piotrowski, K., Bojanowska, A., & Żemojtel-Piotrowska, M. (2021). Perfectionism and community-identity integration: The mediating role of shame, guilt and self-esteem. Current Psychology, 42, 10871–10882.Tangney, J. P., & Dearing, R. L. (2002). Shame and guilt. New York: Guilford Press.Wakelin, K. E., Perman, G., & Simonds, L. M. (2022). Effectiveness of self-compassion-related interventions for reducing self-criticism: A systematic review and meta-analysis. Clinical Psychology & Psychotherapy, 29(2), 543–559.

Enfant immigré devenu figure incontournable de la politique israélienne.Une lettre adressée à Netanyahu… sept ans avant le 7 octobre.Un programme ambitieux pour 2026. Dans le 3e épisode de « Le Choix des Urnes », Yaël Bornstein dresse le portrait d’Avigdor Lieberman, chef du parti Israël Beytenou. Visionnaire ou stratège politique ?Peut-il rebattre les cartes des prochaines élections ?

When neuroscientists scanned the brains of people going along with a group, they expected to find lying. What they found instead was something far stranger. The group wasn't changing people's answers. It was changing what they actually saw. We'll get to that study in a minute. But first, I want you to remember the last time you were in a meeting, and you knew something was wrong. The numbers didn't add up. The risk was being underestimated. And someone needed to say it. Then the most senior person in the room spoke first: "I think this is exactly what we need." Heads nodded. Finance agreed. Marketing agreed. The consultant agreed. And by the time it was your turn, you heard yourself saying, "I have some minor concerns, but overall I think it's solid." You're not alone. Research shows that roughly half of employees stay silent at work rather than voice a concern. And among those who stayed quiet, 40% estimated they wasted 2 weeks or more replaying what they didn't say. Two weeks. Mentally rehearsing the point they should have made in a meeting that's already over. That silence isn't a character flaw. It's your neurology working against you. And today I'm going to show you exactly why it happens and how to stop it.  It starts with what was happening inside your head during that meeting you just remembered. Why Your Brain Surrenders to the Group Most people know about the Asch conformity experiments from the 1950s. People were asked to match line lengths, and seventy-five percent went along with answers that were obviously wrong. That result gets cited everywhere. But the more important study came fifty years later, and it revealed something the Asch experiment never could. In 2005, neuroscientist Gregory Berns at Emory University put people inside an MRI machine and ran a similar conformity task, this time with three-dimensional shape rotation. Like Asch, he planted actors who gave wrong answers. But unlike Asch, he could watch what was happening inside people's brains while the conformity was occurring. Berns expected the MRI to show activity in the prefrontal cortex, the brain's decision-making center, when people went along with wrong answers. That would mean they were knowingly lying to fit in. Just a social calculation. That's not what the scans showed. People who conformed showed no increased activity in decision-making regions. Instead, the activity showed up in the parts of the brain that handle visual and spatial perception, the occipital and parietal areas. The group wasn't changing people's answers. It was changing what they actually saw. Their brains were rewriting their experience to match the room. And the people who resisted the group? Their scans told a different story. Heightened activity in the amygdala, the brain's threat detection center. The same circuitry that fires when you encounter physical danger lit up when someone disagreed with the group. Berns put it plainly. The fear of social isolation activates the same neural machinery as the fear of genuine threats to survival. When you caved in that meeting, your neurology wasn't malfunctioning. It was doing exactly what it was designed to do. Keep you safe inside the tribe. This is why what I call mindjacking works so well. Algorithms manufacture social proof by showing you what's trending, what your friends liked, and what similar people chose. Your wiring responds the same way it does at the conference table. You're fighting your own threat-detection system every time you try to hold an independent position within a group. You can't turn off the wiring. But you can learn to catch it in the act. And that starts with one critical distinction. The First Skill: Separating Updating from Caving Sometimes the people around you know something you don't. Changing your mind in a group isn't always a surrender. Sometimes it's the smartest move in the room. The real skill is knowing which one just happened. You can test this in real time. When you feel your position shifting in a group, ask yourself three questions. First: Did someone introduce information I didn't have before? If the CFO reveals a data point that genuinely changes the calculus, updating your view isn't a weakness. It's intelligence. That's new evidence. Second: Can I articulate why I changed my mind, in specific terms? If you can say, "I shifted because of the margin data in Q3 that I hadn't seen," that's a real update. If you can only say, "I don't know, everyone seemed to think it was fine," that's capitulation. Third: Would I have reached this same conclusion alone, with the same information? This is the killer question. If the answer is no, and you only arrived at this position because others were already there, you haven't updated. You've surrendered. Getting this wrong is costly. And not just the one time. When you capitulate and call it updating, you train yourself to stop trusting your own analysis. Do it enough times, and you won't even bother preparing, because you already know you're going to defer. That's how capable people slowly become passengers in rooms where they should be driving. Capture those three questions somewhere you'll see them. They're your real-time check on whether you're being open-minded or spineless. Those questions work when you're already in the meeting and the pressure is live. But what if you could protect your thinking before the pressure even starts? The Pre-Meeting Lock-In The most important thing you can do to protect your independent thinking doesn't happen during the meeting. It happens before. I call it the Pre-Meeting Lock-In, and it takes less than two minutes. Before any meeting where a decision will be made, write down three things:  Your position  Two or three key reasons supporting it What would it take to change your mind Put it on paper. Put it in a note on your phone. Just get it out of your head and into a form you can reference. Why does this work? Because once the discussion starts, your mind is going to quietly edit your memories of what you believed. You'll start thinking, "Well, I wasn't really sure about that point anyway." Your pre-meeting notes are an anchor against that self-deception. They're a record of what you actually thought before the social pressure arrived. You want to see what happens when someone has the analysis but doesn't lock it in?  The night before the Challenger launch in January 1986, engineer Roger Boisjoly and his team at Morton Thiokol had the data. They knew the O-ring seals were dangerous in cold weather. They'd written memos. They'd run the numbers. They recommended against launching. But when NASA pushed back hard on the teleconference, Thiokol management called an off-line caucus and excluded the engineers from the room. When the call resumed, management reversed the recommendation. Boisjoly had the analysis. His managers had heard it. But under pressure from their biggest customer, the conclusion got edited in real time. Boisjoly later described it as an unethical forum driven by what he called "intense customer intimidation." He fought like hell, but the room won. That's the most extreme version of the problem. Life and death. But the mechanics are the same in every conference room. The analysis exists. The pressure arrives. And without something anchoring you to what you actually concluded, the room rewrites the story. There's a bonus effect to the Lock-In, too. When you've documented what it would take to change your mind, you've given yourself permission to be genuinely open. You're not being stubborn for the sake of it. You're saying, "Show me evidence that meets this threshold, and I'll update." That's intellectual honesty with a backbone. But you can know exactly what you think and still fail if you can't get anyone else to hear it. How to Dissent and Actually Be Heard Most dissent fails not because it's wrong, but because it's delivered badly.  Blurting out "I think this is a mistake" when the group is already aligned feels like an attack. People get defensive. Your point gets ignored, not because it lacked merit, but because your delivery threatened the group's cohesion. You triggered the same threat response in them that you've been learning to manage in yourself. Charlan Nemeth, a psychologist at UC Berkeley, has studied dissent for decades. You'd expect her research to show that dissent helps groups when the dissenter is right. When someone spots a flaw that everyone else missed. That makes intuitive sense. But that's not what she found. Nemeth discovered that when someone voices a genuine minority opinion, the entire group thinks more carefully. They consider more information, examine more alternatives, and reach better conclusions. And the group benefits even when the dissenter turns out to be wrong. Even when you're wrong, the act of dissenting makes the group smarter. Your disagreement forces everyone out of autopilot. Decades of research by Moscovici supports this. Minority voices don't just influence people in the moment. They shift perception afterward, in private, long after the meeting ends. That's the good news. The catch is in how the dissent happens. Nemeth tested what happens when dissent is assigned rather than authentic, when someone plays devil's advocate because they were told to. It doesn't produce the same effect. Groups can tell when disagreement is performative. The cognitive benefits only show up when the dissent is authentic. When someone actually believes what they're saying. That means the goal isn't just to voice disagreement. It's to voice it in a way that people can actually receive. And the hardest version of this isn't when you have a minor concern about an otherwise good plan. It's when the whole direction is wrong, and finding something to praise would be dishonest. In those moments, the move is to separate the people from the position. "I respect the work that went into this, and I know this isn't what anyone wants to hear, but I think we're solving the wrong problem." You're honoring the effort while challenging the direction. You're not attacking the tribe. You're trying to save it from a bad bet. When the stakes are lower, and you do see genuine merit, you can lead with that. "The market timing argument is strong, and I want to make sure we've stress-tested one thing before we commit." Same principle. You're working with their wiring instead of against it. Either way, your dissent has value beyond being right. Remember that. It's worth holding onto when your amygdala is screaming at you to stay quiet. Everything so far has assumed you're in a room with other people. Your amygdala can't tell the difference between a conference table and a phone screen. The Rooms You Can't See You're not just in meetings. You're in invisible rooms all day long. And most of the time, you don't even know you've walked into one. Every time you scroll past a post with ten thousand likes and think, "I guess that's the right take." Every time you read three articles with the same conclusion and stop questioning it. Every time an algorithm shows you what similar people chose, and you choose it too. Those are rooms full of nodding heads. And your amygdala responds to them the same way it responds to the conference table. Think about the last time you researched a major purchase. You probably started with some idea of what you wanted. Then you read reviews. Then you checked what was trending. Then you asked friends. By the time you decided, how much of that decision was yours? How much of it was the room? Or think about how you form opinions on topics you haven't studied deeply. You read a few articles. They mostly agree. You adopt the consensus. That feels like research. But Berns' scans tell us what's actually happening. Your brain isn't independently weighing the evidence. It's detecting a consensus and rewriting your perception to match. The same process that happens at the conference table is happening every time you open your phone. Mindjacking doesn't need to override your thinking. It just needs to make sure you never finish thinking for yourself before the crowd's answer arrives. And once it arrives, your neurology does the rest. The group doesn't just influence your answer; it shapes it. It rewrites your perception. The Lock-In works for these invisible rooms, too. Before you research a major purchase, write down what you actually want and what you're willing to pay. Before you dive into reviews and opinions, commit your criteria to paper. Before you ask friends what they think about a decision you've already analyzed, record your conclusion. Give yourself the same protection from algorithmic conformity that you'd want before walking into a boardroom. The skill isn't being contrarian. It's being first. First, to your own conclusion, before the room, any room, gets a vote. This is your challenge for the week. Think of one meeting you have coming up where a decision will be made. Before you walk in, open your notes app and type three lines. Line one: what you think. Line two: why. Line three: what would change your mind. That's it. Then sit in that meeting and watch what happens to your thinking when the room pushes back. I think you'll surprise yourself. What if the person you can't resist isn't your boss, your colleagues, or the algorithm? What if it's you? What happens when the decision you need to make threatens something deeper, when being wrong would mean something unbearable about who you are? That's where we're headed next. Closing If this episode gave you something useful, hit that subscribe button. I'm building a complete thinking toolkit here in the Thinking 101 series. If you got value today, share it with someone who could use it, especially anyone heading into a big meeting this week. Drop a comment and tell me: what's the hardest group you've ever had to disagree with? I read every comment and reply. Thanks for watching, and I'll see you in the next episode. Endnotes/References "roughly half of employees stay silent at work rather than voice a concern" / "forty percent estimated they wasted two weeks or more": VitalSmarts, Costly Conversations: Why The Way Employees Communicate Will Make or Break Your Bottom Line (Provo, UT: VitalSmarts, December 2016). In a study of 1,025 employees, 70 percent reported instances where they or others failed to speak up effectively when a peer did not pull their weight. Half wasted seven days or more avoiding crucial conversations. Forty percent estimated they wasted two weeks or more ruminating about the problem. A 2021 follow-up study by Crucial Learning (formerly VitalSmarts) of 1,100 people found the rumination figure had risen to 43 percent. The script's "roughly half" is drawn from the VitalSmarts finding that the majority of the workforce reported conversation failures, with half losing seven or more days to avoidance behaviors. Primary source: https://www.vitalsmarts.com/press/2016/12/costly-conversations-why-the-way-employees-communicate-will-make-or-break-your-bottom-line/. Follow-up study: https://cruciallearning.com/press/costly-conversations-how-lack-of-communication-is-costing-organizations-thousands-in-revenue/ "the Asch conformity experiments from the 1950s": Solomon E. Asch, "Effects of Group Pressure upon the Modification and Distortion of Judgments," in Groups, Leadership and Men, ed. Harold Guetzkow (Pittsburgh: Carnegie Press, 1951), 177–190. The expanded report was published as Solomon E. Asch, "Studies of Independence and Conformity: I. A Minority of One Against a Unanimous Majority," Psychological Monographs: General and Applied 70, no. 9 (1956): 1–70. Asch conducted the line-judgment experiments at Swarthmore College. Participants judged which of three comparison lines matched a standard line, with confederates unanimously giving incorrect answers on critical trials. Across conditions, approximately 75 percent of participants conformed at least once, and the mean conformity rate was approximately one-third of critical trials. Group sizes varied across experiments, typically with 6–8 confederates and one real participant. https://psycnet.apa.org/record/1952-00803-001 "neuroscientist Gregory Berns at Emory University put people inside an MRI machine": Gregory S. Berns, Jonathan Chappelow, Caroline F. Zink, Giuseppe Pagnoni, Megan E. Martin-Skurski, and Jim Richards, "Neurobiological Correlates of Social Conformity and Independence During Mental Rotation," Biological Psychiatry 58, no. 3 (August 1, 2005): 245–253. doi:10.1016/j.biopsych.2005.04.012. The study used functional magnetic resonance imaging with a mental rotation task. Participants (n=32, ages 19–41) judged whether three-dimensional shapes were rotated versions of each other while four confederates provided answers. Conformity was associated with functional changes in the occipital-parietal network (visual and spatial perception regions), not the prefrontal cortex. Independence was associated with heightened activity in the right amygdala and right caudate nucleus, regions linked to emotional salience and threat detection. https://pubmed.ncbi.nlm.nih.gov/15978553/ "The group wasn't changing people's answers. It was changing what they actually saw": Berns et al., "Neurobiological Correlates of Social Conformity," 245–253. The researchers isolated the specifically social element of conformity by comparing brain activation when wrong answers came from a group of people versus when they came from computers. Conformity to group-sourced wrong answers produced greater activation bilaterally in visual cortex and right intraparietal sulcus, overlapping the baseline mental rotation network. Berns interpreted this as evidence that social conformity operates at a perceptual level rather than merely at a decision-making level. Full text PDF: https://pdodds.w3.uvm.edu/files/papers/others/2005/berns2005.pdf "Heightened activity in the amygdala": Berns et al., "Neurobiological Correlates of Social Conformity," 245–253. Participants who gave independent (correct) answers when the group was wrong showed significantly increased activation in the right amygdala and right caudate nucleus. The amygdala is associated with processing emotionally salient stimuli and threats. Berns described these findings as "consistent with the assumptions of social norm theory about the behavioral saliency of standing alone." The script's characterization that "the fear of social isolation activates the same neural machinery as the fear of genuine threats to survival" is an accessible paraphrase of this finding, consistent with the broader social pain literature (e.g., Eisenberger, Lieberman, & Williams, 2003), though Berns' paper does not use that exact language. https://pubmed.ncbi.nlm.nih.gov/15978553/ "engineer Roger Boisjoly and his team at Morton Thiokol had the data": Roger M. Boisjoly, "Ethical Decisions — Morton Thiokol and the Space Shuttle Challenger Disaster" (paper presented at the American Society of Mechanical Engineers Annual Meeting, December 13–18, 1987). First presented as a talk at MIT in January 1987. Boisjoly, a specialist in O-ring seals and rocket joints at Morton Thiokol, documented how engineers recommended against the January 28, 1986 launch based on concerns about O-ring performance in cold temperatures. During the pre-launch teleconference, Thiokol management called an off-line caucus, excluded the engineers, and reversed the no-launch recommendation under pressure from NASA. Boisjoly described the forum as constituting "the unethical decision-making forum" driven by customer pressure. He was awarded the Prize for Scientific Freedom and Responsibility by the American Association for the Advancement of Science. The Online Ethics Center at the National Academy of Engineering hosts Boisjoly's full account: https://onlineethics.org/cases/ethical-decisions-morton-thiokol-and-space-shuttle-challenger-disaster-introduction. See also Russell P. Boisjoly, Ellen Foster Curtis, and Eugene Mellican, "Roger Boisjoly and the Challenger Disaster: The Ethical Dimensions," Journal of Business Ethics 8, no. 4 (April 1989): 217–230. doi:10.1007/BF00383335. https://link.springer.com/article/10.1007/BF00383335 "Nemeth discovered that when someone voices a genuine minority opinion, the entire group thinks more carefully": Charlan J. Nemeth, In Defense of Troublemakers: The Power of Dissent in Life and Business (New York: Basic Books, 2018). Nemeth's research program at UC Berkeley, spanning four decades, demonstrated that exposure to minority dissent stimulates divergent thinking, broader information search, consideration of more alternatives, and higher-quality group decisions. The finding that dissent improves group performance even when the dissenter turns out to be wrong is documented across multiple studies. See also Charlan J. Nemeth, "Minority Influence Theory," IRLE Working Paper No. 218-10 (Berkeley: Institute for Research on Labor and Employment, May 2010). https://escholarship.org/uc/item/1pz676t7 "Decades of research by Moscovici": Serge Moscovici, Elisabeth Lage, and Martine Naffrechoux, "Influence of a Consistent Minority on the Responses of a Majority in a Color Perception Task," Sociometry 32, no. 4 (December 1969): 365–380. In the original experiment, participants viewed blue slides while two confederates consistently called them green. The consistent minority condition produced a shift in approximately 8 percent of majority judgments toward the minority position, and roughly one-third of participants conformed at least once. In the inconsistent minority condition, the effect was negligible (approximately 1.25 percent). The script's claim that "minority voices don't just influence people in the moment — they shift perception afterward, in private" draws on Moscovici's subsequent conversion theory and research on the delayed and private effects of minority influence, including afterimage studies showing genuine perceptual shifts. https://www.jstor.org/stable/2786541 "Nemeth tested what happens when dissent is assigned rather than authentic": Charlan J. Nemeth, Joanie B. Connell, John D. Rogers, and Keith S. Brown, "Improving Decision Making by Means of Dissent," Journal of Applied Social Psychology 31, no. 1 (2001): 48–58. doi:10.1111/j.1559-1816.2001.tb02481.x. Groups deliberated a personal injury case under three conditions: authentic dissent (a genuine minority viewpoint), assigned devil's advocate (a member told to argue the opposing side), and no dissent. Authentic dissent was superior in stimulating consideration of opposing positions, original thought, and direct attitude change. The devil's advocate condition did not produce the same cognitive benefits, suggesting that groups detect and discount performative disagreement. https://onlinelibrary.wiley.com/doi/abs/10.1111/j.1559-1816.2001.tb02481.x. See also Charlan Nemeth, Keith Brown, and John Rogers, "Devil's Advocate versus Authentic Dissent: Stimulating Quantity and Quality," European Journal of Social Psychology 31, no. 6 (2001): 707–720. doi:10.1002/ejsp.58.

Scott Kerr sits down with Maribel Lieberman, entrepreneur, chocolatier, and founder of MarieBelle New York, one of the most recognizable luxury chocolate houses. Maribel, who moved to New York City from Honduras to pursue fashion before switching to the culinary arts, opened the MarieBelle store shortly after 9/11 and quickly becoming a welcomed fixture in the neighborhood during a period of recovery and rebuilding. She discusses why design‑driven storytelling is at the heart of the brand, navigating the rising costs of cocoa and tariffs, and younger consumers splurging on chocolate. She also talks about what she's learned from her disciplined expansion strategy into Japan and what luxury fashion boutiques can learn about fostering emotional connections with customers. Plus: How to know when to embrace new trends.Featuring: Maribel Lieberman, Founder of MarieBelle New York (mariebelle.com)Host: Scott Kerr, Founder & President of Silvertone Consulting (silvertoneconsulting.com)About: The Luxury Item is the leading podcast on the business of luxury, and an important resource for global industry decision makers who want to stay one step ahead. Listen to insightful conversations with leaders of the world's most influential luxury brands as they share the latest trends, insights, and strategies that are helping them forge a strong path forward.Stay connected: scott@silvertoneconsulting.comListen and subscribe to The Luxury Item wherever you get your podcasts. Tell a friend or a colleague!

Easton Training Center's Vice President and Director of Operations, Ian Lieberman, joins Eliot o kick off a three-part series on one of the most overlooked systems in martial arts schools: onboarding. This episode looks at what happens from the moment a lead clicks your website to the moment they set their first appointment — and why most schools get this stage completely wrong. The conversation covers the true cost of a lead, why response time matters more than world titles, how to structure a follow-up cadence that lasts months (not days), and why every school needs a CRM instead of relying on memory. If you want more students walking through your doors and fewer missed opportunities, this episode lays out the blueprint. Watch or listen to the full podcast on our blog: https://www.easton.online/blog/ Visit https://www.easton.online to sign up for our mailing list!

This week is all about how we can sometimes psych ourselves out of outr best performances without even knowing it! We chat about the science of bottling races and how it happens and how you might avoid it happening and what goes on, including our own experiences! Let us know what you think! ⁠Preloved Sports⁠ and please use code RUNNINGP20 to get 20% off purchases in the online shop! Here are links to articles we discussed; ⁠https://www.researchgate.net/publication/297695609_Nutrition_and_Athletic_Performance⁠ ⁠https://www.outsideonline.com/health/nutrition/endurance-athletes-protein-needs/⁠ ⁠McLellan, T.M., Pasiakos, S.M. & Lieberman, H.R. Effects of Protein in Combination with Carbohydrate Supplements on Acute or Repeat Endurance Exercise Performance: A Systematic Review. Sports Med 44, 535–550 (2014). https://doi.org/10.1007/s40279-013-0133-y⁠ Here is a link to support Paul's 100k x 10 challenge https://www.justgiving.com/page/paul-griffiths-5?utm_medium=FA&utm_source=CL Also why not join our Strava group for coaching tips and offers and much more! ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.strava.com/clubs/1414138/members⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ As always we go through our week of running and cover some recent race results, shout outs to listeners and some future topic suggestions. If you have any results you want us to cover or topics for future episodes, get in touch, or if you are interested in being coached by Paul (email Paul with 'podcast offer' to get a 10% coaching discount), please email us or connect on any social media. We will back every Monday with a new episode and here is how you can connect with us to help build the running partners community; email us at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠runningpartners@outlook.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Paul's running coach website⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ www.paulgriffithsrunningcoach.com ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Alis Strava⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ http://www.strava.com/athletes/2163809 ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Ali's Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ http://www.instagram.com/twenty.six.point.two/?hl=en ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Ali's Facebook⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ https://www.facebook.com/alison.griffiths.58/ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Paul's Strava⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ http://www.strava.com/athletes/10421356 ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Paul's Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ http://www.instagram.com/griffsrunning?igshid=NGVhN2U2NjQ0Yg== ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Paul's Facebook⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ https://www.facebook.com/paul.griffiths.77312 ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Our YouTube channel⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ https://www.youtube.com/channel/UCwc3oBawuCiG-5ldXWfN-PQ Learn more about your ad choices. Visit podcastchoices.com/adchoices

This week Paul was due to talk about his 100k challenge, but this is delayed following an unfortunate football incident! The protein chat from last week has generated some feedback, so we delve into this in a bit more detail and other general training talk! Here are some links; Preloved Sports and please use code RUNNINGP20 to get 20% off purchases in the online shop! Here are links to articles we discussed; https://www.researchgate.net/publication/297695609_Nutrition_and_Athletic_Performance https://www.outsideonline.com/health/nutrition/endurance-athletes-protein-needs/ McLellan, T.M., Pasiakos, S.M. & Lieberman, H.R. Effects of Protein in Combination with Carbohydrate Supplements on Acute or Repeat Endurance Exercise Performance: A Systematic Review. Sports Med 44, 535–550 (2014). https://doi.org/10.1007/s40279-013-0133-y Here is a link to support Paul's 100k x 10 challenge https://www.justgiving.com/page/paul-griffiths-5?utm_medium=FA&utm_source=CL Also why not join our Strava group for coaching tips and offers and much more! ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.strava.com/clubs/1414138/members⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ As always we go through our week of running and cover some recent race results, shout outs to listeners and some future topic suggestions. If you have any results you want us to cover or topics for future episodes, get in touch, or if you are interested in being coached by Paul (email Paul with 'podcast offer' to get a 10% coaching discount), please email us or connect on any social media. We will back every Monday with a new episode and here is how you can connect with us to help build the running partners community; email us at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠runningpartners@outlook.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Paul's running coach website⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ www.paulgriffithsrunningcoach.com ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Alis Strava⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ http://www.strava.com/athletes/2163809 ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Ali's Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ http://www.instagram.com/twenty.six.point.two/?hl=en ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Ali's Facebook⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ https://www.facebook.com/alison.griffiths.58/ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Paul's Strava⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ http://www.strava.com/athletes/10421356 ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Paul's Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ http://www.instagram.com/griffsrunning?igshid=NGVhN2U2NjQ0Yg== ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Paul's Facebook⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ https://www.facebook.com/paul.griffiths.77312 ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Our YouTube channel⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ https://www.youtube.com/channel/UCwc3oBawuCiG-5ldXWfN-PQ Learn more about your ad choices. Visit podcastchoices.com/adchoices

Want to raise a good writer?Helene Lieberman from BlackBack Writing joins me this week to discuss how to raise good writers. We discuss early habits, creating good habits and how to get little hands ready to write. Helene is a MS, OTR/L and has been a pediatric Occupational Therapist for 36 years. She has participated in researching the effect of sensory integration treatment in preschool and the use of BlackBack Writing in preschool. Helene is the creator of BlackBack Writing to teach shapes, letters and numbers and Write Bright cards and paper to teach the proper alignment of letters. Learn more about BlackBack Writing Programs at www.blackbackwriting.com⁠Want to learn more about the 4 C's of Collaborative Discipline?⁠⁠⁠⁠⁠⁠Grab your free download and embrace connection before correction! Get it ⁠⁠⁠⁠⁠⁠here.⁠⁠⁠⁠⁠January 29, 2026Episode 306Raising Good Writers with Pediatric Occupational Therapist Helene Lieberman About Your Host: Cara Tyrrell, M.Ed. is a mom or three, early childhood author, parent educator, and founder of ⁠⁠⁠Core4Parenting⁠⁠⁠. A former preschool and kindergarten teacher with degrees in ASL, Linguistics, and Education, she created the Collaborative Parenting Methodology™ to help parents, caregivers, and educators understand the power of intentional language in shaping a child's identity, confidence, and future success.As host of the top-ranking podcast Transforming the Toddler Years, Cara blends science and soul to show adults how to “talk to kids before they can talk back,” turning tantrums into teachable moments and everyday challenges into opportunities for connection. She is also the author of the forthcoming book Talk to Them Early and Often, a guide for raising emotionally intelligent kids who thrive in school and life.⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Interested in being a guest on the podcast? We'd love to hear from you! Complete the ⁠⁠⁠⁠⁠Guest Application form⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠here⁠⁠⁠⁠⁠⁠⁠⁠.⁠⁠⁠

We sit down with Viridiana Lieberman, an award-winning editor and director behind some of the most acclaimed nonfiction films and series of the past decade. Her work includes The Sentence, Call Center Blues, and most recently The Perfect Neighbor—Oscar nominee for Best Documentary Feature Film, as well as winner of the US Documentary Directing Award at Sundance 2025 and the Critics Choice Documentary Award for Best Editing. With a style marked by precision, restraint, and emotional clarity, Lieberman's projects consistently push the boundaries of what a documentary can be.In this conversation, Viridiana shares how she approaches the craft of editing not just as a technician, but as a storyteller and partner in the filmmaking process. She reflects on her years-long creative collaboration with director Geeta Gandbhir, the unique editorial challenges behind The Perfect Neighbor, and why she believes documentaries can feel as cinematic as narrative film. We also talk about the editorial mindset she brings to directing her own work, including her debut feature Born to Play, and how that perspective shapes how she receives footage from other teams.Throughout the episode, Lieberman opens up about how nonfiction editors help define structure, tone, and trust—on both sides of the screen. For anyone working in documentary or nonfiction production, this is a conversation rich with insight on the power of restraint, the value of long-term collaboration, and what it takes to build stories that last.ABOUT WRAPBOOKWrapbook is the AI platform for production finance.Built for today's fast-moving production landscape, Wrapbook brings payroll, spend, and accounting into one AI-powered system—giving production teams the tools they need to do more, faster.Built for features, TV, or commercials—Wrapbook helps the industry's biggest production companies stay compliant, track every dollar in real time, and eliminate the paper-chasing that slows everything down. AI handles the busywork—reading invoices, flagging issues, syncing data—so your team can focus on the work that really matters.But software is only half the story. Wrapbook pairs powerful automation with concierge support from industry experts who've worked on set and know what's at stake. It's how the best production teams scale smarter, protect their budgets, and keep their crews happy.See how Wrapbook is a force multiplier for production finance teams at www.wrapbook.com.

Wir besprechen in dieser Podcastfolge 5 typische Gründe, warum Gefühle verschwinden, welche Mechanismen dahinterstehen, welche Fehlannahmen viele Betroffene blockieren und welche Schritte helfen können, um emotional wieder erreichbar zu werden.Ebook "Gehen oder Bleiben"Date Night EbookMehr zu meinem Beratungsangebot (Paar-und Einzeltherapie)Kartenset für tiefe GesprächeStudienAron, A., Fisher, H., Mashek, D. J., Strong, G., & Brown, L. L. (2005). Reward, motivation, and emotion systems associated with early‐stage intense romantic love. Journal of Neurophysiology, 94(1), 327–337.Eisenberger, N. I., & Lieberman, M. D. (2004). Why rejection hurts: A common neural alarm system for physical and social pain. Trends in Cognitive Sciences, 8(7), 294–300.Gottman, J. M., & Levenson, R. W. (1999). What predicts change in marital interaction over time? Journal of Marriage and the Family, 61(4), 934–947.Lehmann, V., Denissen, J. J., Neumann, L., & van Zalk, M. H. (2016). Interpersonal behavior and relationship satisfaction. Journal of Social and Personal Relationships, 33(7), 1050–1071.McCullough, M. E., Root, L. M., & Cohen, A. D. (2010). Forgiveness and health. Social and Personality Psychology Compass, 3(6), 791–810.Mikulincer, M., & Shaver, P. R. (2016). Attachment in adulthood: Structure, dynamics, and change. Guilford Press.Peterson, C., & Seligman, M. E. (1984). Causal explanations as a risk factor for depression. Psychological Review, 91(3), 347–374.Reis, H. T., & Gable, S. L. (2015). Responsiveness. Current Opinion in Psychology, 1, 67–71.

3x Emmy Award Winner ~ How can we become a more positively peaceful being in a 24/7 Pop Culture-Social Media World? My Guest this week has some solutions.Dr. Carole Lieberman's multi-dimensional career as an internationally renowned "Media Psychiatrist" is always leading edge! Dr.Carole is "the doctor who helps you stay sane in an insane world!" On TV, Radio, the Internet, in Film, Print, as a Speaker and as the first Shrink on Board airline in-flight entertainment, Dr. Carole's insights help people seize the moment to live happier, more fulfilling lives. Today, called upon more than ever to help people cope with terrorism and other 21st century challenges… the doctor is in!Maintaining a star-studded practice in Beverly Hills, Dr. Lieberman is also well known as a psychiatric expert witness who testifies in high profile trials, and analyzes trials in the media Dr. Lieberman has testified before Congress on several occasions, as well, notably regarding the harmful impact of media violence.A three-time Honoree by The National Academy of Television Arts and Sciences & The Academy of Television Arts and Sciences Daytime Emmy Awards, Dr. Carole Lieberman analyzes the psychological impact of world events, as a guest and/or host on all major media outlets. Her passionate commentary is far more than entertaining and exciting -- it dauntlessly cuts to the heart of the issue! Perhaps that explains why everyone from Oprah to Larry King, Katie Couric and countless others, think of Dr. Carole when they need a 'house call'. Viewers will recognize her from frequent appearances on  CNN, BBC, "The Today Show", "Good Morning America", Court TV, "Entertainment Tonight" and many more.All Rights Reserved © 2026 Building Abundant Success!!Join Me on ~ iHeart Media @ https://tinyurl.com/iHeartBASSpot Me on Spotify: https://tinyurl.com/yxuy23baAmazon Music ~ https://tinyurl.com/AmzBASAudacy:  https://tinyurl.com/BASAud 

What happened to Pharaoh's free will when God hardened his heart? And isn't it unfair for God to punish Pharaoh for something he really didn't have a choice in? These are great questions. And there are several ways we might think about the Rambam's answer. Take a few minutes to explore what the Rambam thought and what it means for us. Sources: Eight Chapters, chapter 8, with commentary by Rabbi Yitzchak Sheilat (pp. 318-322), Guide 2:24, 48 with commentary from Goodman and Lieberman, Rabbi Sacks Free Will: Use it or Lose it.

Spike and the guys discuss everything from holiday travel adventures, dream cars, and automotive news. Highlights include Zuckerman's Mexico BMW trip, Spike and Lieberman's passionate Bentley Bentayga review, and a fascinating deep dive into the Lamborghini Diablo's controversial design history. ______________________________________________

Dr. Debra Lieberman is an evolutionary psychologist, professor, and researcher. Why don't we feel sexual attraction toward our siblings or close family? Evolution seems to have hard-wired the brain to prevent inbreeding, a pattern shared with many other animals. So how does this mechanism work, and what are the moral or ethical arguments surrounding incest? Expect to learn why evolution has designed you to not want sex with your sister, how animals actually detect who their relatives are, what the high level explanation is for why humans don't want sex with their kin, the moral argument if it is okay if two adult siblings had consensual sex, how big the actual genetic risk is for first cousins, what crying adn tears actually communicate from an evolutionary perspective and much more… Sponsors: See discounts for all the products I use and recommend: ⁠https://chriswillx.com/deals⁠ New pricing since recording: Function is now just $365, plus get $25 off at https://functionhealth.com/modernwisdom Get 35% off your first subscription on the best supplements from Momentous at https://livemomentous.com/modernwisdom Get a free bottle of D3K2, an AG1 Welcome Kit, and more when you first subscribe at https://ag1.info/modernwisdom Get a Free Sample Pack of LMNT's most popular flavours with your first purchase at https://drinklmnt.com/modernwisdom Extra Stuff: Get my free reading list of 100 books to read before you die: ⁠https://chriswillx.com/books⁠ Try my productivity energy drink Neutonic: ⁠https://neutonic.com/modernwisdom⁠ Episodes You Might Enjoy: #577 - David Goggins - This Is How To Master Your Life: ⁠https://tinyurl.com/43hv6y59⁠ #712 - Dr Jordan Peterson - How To Destroy Your Negative Beliefs: ⁠https://tinyurl.com/2rtz7avf⁠ #700 - Dr Andrew Huberman - The Secret Tools To Hack Your Brain: ⁠https://tinyurl.com/3ccn5vkp⁠ - Get In Touch: Instagram: ⁠https://www.instagram.com/chriswillx⁠ Twitter: ⁠https://www.twitter.com/chriswillx⁠ YouTube: ⁠https://www.youtube.com/modernwisdompodcast⁠ Email: ⁠https://chriswillx.com/contact⁠ - Learn more about your ad choices. Visit megaphone.fm/adchoices

Mossad rejects Lieberman claim of Qatar media talks. Israel tells mediators Islamic Jihad knows location of last remaining deceased hostage in Gaza. In Christmas message, Pope Leo decries conditions for Palestinians in Gaza See omnystudio.com/listener for privacy information.

In this episode of Seekers of Meaning, Rabbi Address talks with Rabbis Laura Geller and Beth Lieberman about their book, "Moments That Matter". They discuss themes like elderhood, the role of rituals, the concept of "Renewment," and addressing loneliness in older adults, emphasizing community and spiritual meaning in aging. [Read more...] The post Embracing Elderhood: Insights from ‘Moments That Matter’ – Rabbis Laura Geller and Beth Lieberman – Seekers of Meaning 12/19/2025 appeared first on Jewish Sacred Aging.

Starbucks Global Chief Brand Officer Tressie Lieberman learned early in her career that building a brand requires balancing two timelines: "brand over time and sales overnight." It's a philosophy she's carried through leadership roles at Pizza Hut, Taco Bell, and Chipotle, and now applies to one of the most watched brand transformations in business. Tressie joined Starbucks a year ago as part of CEO Brian Niccol's turnaround team, overseeing everything from menu innovation and digital experience to the company's ready-to-drink beverages. Her mission: reignite the soul of Starbucks and bring the brand back to its coffeehouse roots. Today on Building Better CMOs, she and Marketing + Media Alliance CEO Greg Stuart talk about what causes iconic brands to lose their way, how to harness customer-generated trends like the viral glass “bearista,” and why curiosity is the number one trait she hires for. They also discuss embracing change as a career imperative, the entrepreneurial mindset she brings to big companies, and why marketers must treat customers as co-creators rather than passive audiences. ⁠⁠Full transcript⁠⁠ This episode was produced and edited by Eric Johnson from ⁠⁠LightningPod⁠⁠⁠⁠⁠ ⁠Follow Building Better CMOs in your podcast app⁠⁠⁠⁠⁠⁠⁠⁠ ⁠Rate and review the podcast⁠ ⁠ ⁠⁠⁠⁠Tressie's LinkedIn⁠⁠⁠⁠⁠ ⁠Greg's LinkedIn

What does it mean to give something freely, without expecting anything in return? In this talk, Marcia Lieberman introduces us to the Japanese word kubari—a term for paying attention to others, as well as a twig used in flower arranging. Drawing from both cultural insight and Buddhist teachings, she shares how kubari expresses a kind of mindful generosity that is not transactional, but attuned and spontaneous. Through personal reflections and references to traditional stories, Marcia invites listeners to reconsider the depth behind acts of giving, suggesting that true generosity arises from awareness, not obligation.Marcia discusses how kubari is rooted in presence and observation. One must first see what is needed in order to respond with kindness. She contrasts this with the Western notion of giving that often involves expectations, agendas, or a sense of scarcity. Key ideas she explores include:Kubari as a practice of attention: noticing the world around you and recognizing opportunities to give.Giving without attachment: letting go of the need for recognition or reciprocity.Everyday generosity: how small, thoughtful acts—like offering an umbrella or a warm meal—can become meaningful expressions of care.Cultural nuance: how Japanese values and aesthetics shape the concept of giving differently from Western frameworks.Her message is a gentle reminder that generosity is not about quantity—it's about heart, timing, and connection.______________ Marcia Lieberman is a long-term Buddhist practitioner who has been affiliated with San Francisco Zen Center since 1989, having resided at all three practice centers. She was Shuso (Head Student) at Green Gulch Farm for the Spring 2017 Practice Period. As an artist, her affinity for beauty and form in ceremony has been a guiding part of her practice. Marcia taught in the photography departments at UC Berkeley and California College of the Arts. In her editorial work she was noted for photographing famous and noteworthy women. Having graduate degrees both in Fine Arts and Buddhist studies, Marcia is able to draw from both of these backgrounds in her work. She recently published her third photographic book, Clean Slate—Images from Dogen's Garden, with commentaries by Dogen scholars. ______________ To support our efforts to share these talks with LGBTQIA audiences worldwide, please visit https://gaybuddhist.org/There you can: Donate Learn how to participate live Find our schedule of upcoming speakers Join our mailing list or discussion forum Enjoy many hundreds of these recorded talks dating back to 1996 CREDITSAudio Engineer: George HubbardProducer: Tom BrueinMusic/Logo/Artwork: Derek Lassiter

Tim Conway Jr. broadcasts live from the massive Grand Opening of Cadillac of Pasadena, and the show is packed with heavy hitters. Tim kicks things off on-site before being joined by Elana Scherr, Senior Features Editor at Car & Driver, for a deep dive into Cadillac’s Blackwing performance lineup and a sneak peek at Car & Driver’s upcoming “10 Best.”From there, the guest list explodes: Dustin King, COO of US Auto Trust, stops by to talk community and Cadillac’s next chapter. Jay Leno calls in to say he’s on the way, then arrives to join Tim for classic storytelling, car culture talk, and crowd-shaking laughter. Pasadena Mayor Victor Gordo drops in to welcome Cadillac officially to the city.Automotive powerhouse Jonny Lieberman brings his signature honesty and humor, while Brian Smith, GM’s Director of Advanced Design, reveals the future of Cadillac’s EV styling and design direction. Rising motorsports phenomenon Liam “The Race Kid” Nachawati shares what it’s like being the youngest talent in racing.Plus—Conway energy, live crowd moments, legendary guests, and a whole lot of horsepower highlight this special event episode from the all-new Cadillac Pasadena showroom.See omnystudio.com/listener for privacy information.

Join Erin Doppelt as she welcomes her best friend, Michal Lieberman, to the Wise Woman podcast. In this episode, Michal shares her journey of unlocking her inner artist and the power of intuition. From her artistic beginnings in Jerusalem to her current life in Copenhagen, Michal discusses the importance of following one's intuition and the liberating effect it has on oneself and others. Discover how art serves as a form of medicine and learn how to connect with your own creative spirit. Tune in for an inspiring conversation about creativity, intuition, personal growth and liberation. Takeaways from the episode: Follow your intuition to unlock creativity. Art serves as a form of personal medicine. Trust the creative process without overthinking. Intuition can lead to personal liberation. Creative growth often involves stepping into the unknown. Artistic expression is a journey, not a destination. Connecting with your inner artist can be transformative. Embrace the love of learning and exploration. Intuition is about listening to your inner voice. Creative collaboration can enhance personal growth. Michal Lieberman (b. 1988, Tel Aviv, Israel) lives and creates in Copenhagen, Denmark. She holds a BFA from the Bezalel Academy of Art and Design, Jerusalem, and is also a graduate of the Hatachana School of Figurative Drawing and Painting, Tel Aviv. Lieberman has presented a solo exhibition and has participated in numerous group exhibitions in museums and galleries across Israel. Her works are held in public collections as well as in many private collections worldwide. Michallieberman.com https://www.instagram.com/michallieberman Message Erin on Social Media to join Soul Pods: a 12-week group experience for women who are ready to collapse timelines and step into their highest expression now, not someday. Soul Pods is for the woman who: Knows she's meant for more Is done staying small or dimming her magic Feels ready to jump timelines and embody her 2026 self today Wants to rewire her subconscious, elevate her energy, and take aligned action Craves sisterhood with women on the same path Over our 10 calls, we'll explore: • Kriya + energetic purification • Reprogramming the subconscious mind • Active meditation for everyday integration • Kabbalah + spiritual technology • Positive psychology • Deep manifestation work • Physical aligned action • Identity shifting + future-self embodiment This is where you get to rise. Where you become the woman you keep seeing in your vision. Where you step fully into your leadership, intuition, wholeness, and power.

Trusting the process is a really important way to free yourself, and the film, to discover what it is.Viridiana Lieberman is an award-winning documentary filmmaker. She recently edited the Netflix sensation The Perfect Neighbor.In this interview we talk:* Viri's love of the film Contact* Immersion as the core goal in her filmmaking* Her editing tools and workflow* Film school reflections* The philosophy and process behind The Perfect Neighbor — crafting a fully immersive, evidence-only narrative and syncing all audio to its original image.* Her thoughts on notes and collaboration* Techniques for seeing a cut with fresh eyesYou can see all of Viri's credits on her IMD page here.Thanks for reading The Creativity, Education, and Leadership Newsletter! Subscribe for free to receive new posts and support my work.Here is an AI-generated transcript of our conversation. Don't come for me.BEN: Viri, thank you so much for joining us today.VIRI: Oh, thank you for having me. I'm excited to be here.BEN: And I always like to start with a fun question. So senior year of high school, what music were you listening to?VIRI: Oh my goodness. Well, I'm class of 2000, so I mean. I don't even know how to answer this question because I listen to everything.I'm like one of those people I was raving, so I had techno in my system. I have a lot of like, um. The, like, everything from Baby Ann to Tsta. Like, there was like, there was a lot, um, Oak and like Paul Oak and Full, there was like techno. Okay. Then there was folk music because I loved, so Ani DeFranco was the soundtrack of my life, you know, and I was listening to Tori Amos and all that.Okay. And then there's like weird things that slip in, like fuel, you know, like whatever. Who was staying? I don't remember when they came out. But the point is there was like all these intersections, whether I was raving or I was at Warp Tour or I was like at Lili Fair, all of those things were happening in my music taste and whenever I get to hear those songs and like that, that back late nineties, um, rolling into the Ox.Yeah.BEN: I love the Venn diagram of techno and folk music.VIRI: Yeah.BEN: Yeah. What, are you a fan of the film inside Lou and Davis?VIRI: Uh, yes. Yes. I need to watch it again. I watched it once and now you're saying it, and I'm like writing it on my to-dos,BEN: but yes, it, it, the first time I saw it. I saw in the East Village, actually in the theater, and I just, I'm a Cohen Brothers fan, but I didn't love it.Mm-hmm. But it, it stayed on my mind and yeah. Now I probably rewatch it once a year. It might, yeah. In my, in my, on my list, it might be their best film. It's so good. Oh,VIRI: now I'm gonna, I'm putting it on my, I'm literally writing it on my, um, post-it to watch it.BEN: I'mVIRI: always looking for things to watch in the evening.BEN: What, what are some of the docs that kind of lit your flame, that really turned you on?VIRI: Uh, this is one of those questions that I, full transparency, get very embarrassed about because I actually did not have a path of documentary set for me from my film Loving Passion. I mean, when I graduated film school, the one thing I knew I didn't wanna do was documentary, which is hilarious now.Hilarious. My parents laugh about it regularly. Um. Because I had not had a good documentary education. I mean, no one had shown me docs that felt immersive and cinematic. I mean, I had seen docs that were smart, you know, that, but, but they felt, for me, they didn't feel as emotional. They felt sterile. Like there were just, I had seen the most cliched, basic, ignorant read of doc.And so I, you know, I dreamed of making space epics and giant studio films. Contact was my favorite movie. I so like there was everything that about, you know, when I was in film school, you know, I was going to see those movies and I was just chasing that high, that sensory high, that cinematic experience.And I didn't realize that documentaries could be. So it's not, you know, ever since then have I seen docs that I think are incredible. Sure. But when I think about my origin tale, I think I was always chasing a pretty. Not classic, but you know, familiar cinematic lens of the time that I was raised in. But it was fiction.It was fiction movies. And I think when I found Docs, you know, when I was, the very long story short of that is I was looking for a job and had a friend who made docs and I was like, put me in coach, you know, as an editor. And she was like, you've never cut a documentary before. I love you. Uh, but not today.But no, she hired me as an archival producer and then I worked my way up and I said, no, okay, blah, blah, blah. So that path showed me, like I started working on documentaries, seeing more documentaries, and then I was always chasing that cinema high, which by the way, documentaries do incredibly, you know, and have for many decades.But I hadn't met them yet. And I think that really informs. What I love to do in Docs, you know, I mean, I think like I, there's a lot that I like to, but one thing that is very important to me is creating that journey, creating this, you know, following the emotion, creating big moments, you know, that can really consume us.And it's not just about, I mean, not that there are films that are important to me, just about arguments and unpacking and education. At the same time, we have the opportunity to do so much more as storytellers and docs and we are doing it anyway. So that's, that's, you know, when, it's funny, when light my fire, I immediately think of all the fiction films I love and not docs, which I feel ashamed about.‘cause now I know, you know, I know so many incredible documentary filmmakers that light my fire. Um, but my, my impulse is still in the fiction world.BEN: Used a word that it's such an important word, which is immersion. And I, I first saw you speak, um, a week or two ago at the doc NYC Pro panel for editors, documentary editors about the perfect neighbor, which I wanna talk about in a bit because talk about a completely immersive experience.But thank you first, uh, contact, what, what is it about contact that you responded to?VIRI: Oh my goodness. I, well, I watched it growing up. I mean, with my dad, we're both sci-fi people. Like he got me into that. I mean, we're both, I mean he, you know, I was raised by him so clearly it stuck around contact for me. I think even to this day is still my favorite movie.And it, even though I'm kind of a style nut now, and it's, and it feels classic in its approach, but. There's something about all the layers at play in that film. Like there is this crazy big journey, but it's also engaging in a really smart conversation, right? Between science and faith and some of the greatest lines from that film.Are lines that you can say to yourself on the daily basis to remind yourself of like, where we are, what we're doing, why we're doing it, even down to the most basic, you know, funny, I thought the world was what we make it, you know, it's like all of these lines from contact that stick with me when he says, you know, um, did you love your father?Prove it. You know, it's like, what? What is proof? You know? So there were so many. Moments in that film. And for me, you know, climbing into that vessel and traveling through space and when she's floating and she sees the galaxy and she says they should have sent a poet, you know, and you're thinking about like the layers of this experience and how the aliens spoilers, um, you know, show up and talk to her in that conversation herself.Anyways, it's one of those. For me, kind of love letters to the human race and earth and what makes us tick and the complexity of identity all in this incredible journey that feels so. Big yet is boiled down to Jody Foster's very personal narrative, right? Like, it's like all, it just checks so many boxes and still feels like a spectacle.And so the balance, uh, you know, I, I do feel my instincts normally are to zoom in and feel incredibly personal. And I love kind of small stories that represent so much and that film in so many ways does that, and all the other things too. So I'm like, how did we get there? But I really, I can't, I don't know what it is.I can't shake that film. It's not, you know, there's a lot of films that have informed, you know, things I love and take me out to the fringe and take me to the mainstream and, you know, on my candy and, you know, all those things. And yet that, that film checks all the boxes for me.BEN: I remember seeing it in the theaters and you know everything you said.Plus you have a master filmmaker at the absolute top Oh god. Of his class. Oh my,VIRI: yes,BEN: yes. I mean, that mirror shot. Know, know, I mean, my jaw was on the ground because this is like, right, right. As CGI is started. Yes. So, I mean, I'm sure you've seen the behind the scenes of how theyVIRI: Yeah.BEN: Incredible.VIRI: Years.Years. We would be sitting around talking about how no one could figure out how he did it for years. Anybody I met who saw contact would be like, but how did they do the mirror shot? Like I nobody had kind of, yeah. Anyways, it was incredible. And you know, it's, and I,BEN: I saw, I saw it just with some civilians, right?Like the mirror shot. They're like, what are you talking about? The what? Huh?VIRI: Oh, it's so funny you bring that up because right now, you know, I went a friend, I have a friend who's a super fan of Wicked. We went for Wicked for Good, and there is a sequence in that film where they do the mirror jot over and over and over.It's like the, it's like the. Special device of that. It feels that way. That it's like the special scene with Glenda and her song. And someone next to me was sitting there and I heard him under his breath go,wow.Like he was really having a cinematic. And I wanted to lean over and be like, watch contact, like, like the first time.I saw it was there and now it's like people have, you know, unlocked it and are utilizing it. But it was, so, I mean, also, let's talk about the opening sequence of contact for a second. Phenomenal. Because I, I don't think I design, I've ever seen anything in cinema in my life like that. I if for anybody who's listening to this, even if you don't wanna watch the entire movie, which of course I'm obviously pitching you to do.Watch the opening. Like it, it's an incredible experience and it holds up and it's like when, yeah. Talk about attention to detail and the love of sound design and the visuals, but the patience. You wanna talk about trusting an audience, sitting in a theater and that silence Ah, yeah. Heaven film heaven.BEN: I mean, that's.That's one of the beautiful things that cinema does in, in the theater. Right. It just, you're in, you're immersed in this case, you know, pulling away from earth through outer space at however many, you know, hundreds of millions of miles an hour. You can't get that anywhere else. Yeah. That feeling,VIRI: that film is like all the greatest hits reel of.Storytelling gems. It's like the adventure, the love, the, you know, the, the complicated kind of smart dialogue that we can all understand what it's saying, but it's, but it's doing it through the experience of the story, you know, and then someone kind of knocks it outta the park without one quote where you gasp and it's really a phenomenal.Thing. Yeah. I, I've never, I haven't talked about contact as much in ages. Thank you for this.BEN: It's a great movie. It's there, and there were, there were two other moments in that movie, again when I saw it, where it's just like, this is a, a master storyteller. One is, yeah. When they're first like trying to decode the image.Mm-hmm. And you see a swastika.VIRI: Yeah. Oh yeah. And you're like,BEN: what the, what the f**k? That was like a total left turn. Right. But it's, it's, and I think it's, it's from the book, but it's like the movie is, it's, it's, you know, it's asking these questions and then you're like totally locked in, not expecting.You know, anything from World War II to be a part of this. And of course in the movie the, go ahead.VIRI: Yeah, no, I was gonna say, but the seed of thatBEN: is in the first shot,VIRI: scientifically educating. Oh yes. Well, the sensory experience, I mean, you're like, your heart stops and you get full Bo chills and then you're scared and you know, you're thinking a lot of things.And then when you realize the science of it, like the first thing that was broadcast, like that type of understanding the stakes of our history in a space narrative. And, you know, it, it just, there's so much. You know, unfurling in your mind. Yeah. In that moment that is both baked in from your lived experiences and what you know about the world, and also unlocking, so what's possible and what stakes have already been outside of this fiction, right?Mm-hmm. Outside of the book, outside of the telling of this, the reality of what has already happened in the facts of it. Yeah. It's really amazing.BEN: And the other moment we're just, and now, you know, being a filmmaker, you look back and I'm sure this is, it falls neatly and at the end of the second act. But when Tom scars, you know, getting ready to go up on the thing and then there's that terrorist incident or whatever, and the whole thing just collapses, the whole, um, sphere collapses and you just like, wait, what?Is that what's gonna happen now?VIRI: Yeah, like a hundred million dollars in it. It does too. It just like clink pun. Yeah. Everything.BEN: Yeah.VIRI: Think they'll never build it again. I mean, you just can't see what's coming after that and how it went down, who it happened to. I mean, that's the magic of that film, like in the best films.Are the ones where every scene, every character, it has so much going into it. Like if somebody paused the film there and said, wait, what's happening? And you had to explain it to them, it would take the entire movie to do it, you know, which you're like, that's, we're in it. Yeah. Anyway, so that's a great moment too, where I didn't, and I remember when they reveal spoilers again, uh, that there's another one, but when he is zooming in, you know, and you're like, oh, you know, it just, it's, yeah.Love it. It's wonderful. Now, I'm gonna watch that tonight too. IBEN: know, I, I haven't probably, I probably haven't watched that movie in 10 years, but now I gotta watch it again.VIRI: Yeah.BEN: Um, okay, so let's talk doc editing. Yes. What, um, I always like to, I heard a quote once that something about when, when critics get together, they talk meaning, and when artists get together, they talk paint.So let's talk paint for a second. What do you edit on?VIRI: I cut mainly on Avid and Premier. I, I do think of myself as more of an avid lady, but there's been a lot of probably the films that have done the most. I cut on Premier, and by that I mean like, it's interesting that I always assume Avid is my standard yet that most of the things that I love most, I cut on Premiere right now.I, I toggle between them both multiple projects on both, on both, um, programs and they're great. I love them equal for different reasons. I'm aBEN: big fan of Avid. I think it gets kind of a, a bad rap. Um, what, what are the benefits of AVID versus pr? I've never used Premier, but I was a big final cut seven person.So everybody has said that. Premier kind of emulates Final cut. Seven.VIRI: I never made a past seven. It's funny, I recently heard people are cutting on Final Cut Pro again, which A adds off. But I really, because I thought that ship had sailed when they went away from seven. So with, I will say like the top line things for me, you know, AVID forces you to control every single thing you're doing, which I actually think it can feel hindering and intimidating to some folks, but actually is highly liberating once you learn how to use it, which is great.It's also wonderful for. Networks. I mean, you can send a bin as a couple kilobyte. Like the idea that the shared workflow, when I've been on series or features with folks, it's unbeatable. Uh, you know, it can be cumbersome in like getting everything in there and stuff like that and all, and, but, but it kind of forces you to set up yourself for success, for online, for getting everything out.So, and there's a lot of good things. So then on conversely Premier. It's amazing ‘cause you can hit the ground running. You just drag everything in and you go. The challenge of course is like getting it out. Sometimes that's when you kind of hit the snaps. But I am impressed when I'm working with multiple frame rates, frame sizes, archival for many decades that I can just bring it into Premier and go and just start cutting.And you know, also it has a lot of intuitive nature with other Adobe Pro, you know, uh, applications and all of this, which is great. There's a lot of shortcuts. I mean, they're getting real. Slick with a lot of their new features, which I have barely met. I'm like an archival, I'm like a ancient picture editor lady from the past, like people always teach me things.They're just like, you know, you could just, and I'm like, what? But I, so I guess I, you know, I don't have all the tech guru inside talk on that, but I think that when I'm doing short form, it does feel like it's always premier long form. Always seems to avid. Team stuff feels avid, you know, feature, low budge features where they're just trying to like make ends meet.Feel Premier, and I think there's an enormous accessibility with Premier in that regard. But I still feel like Avid is a studios, I mean, a, a studio, well, who knows? I'm cut in the studios. But an industry standard in a lot of ways it still feels that way.BEN: Yeah, for sure. How did you get into editing?VIRI: I went to film school and while I was there, I really like, we did everything.You know, we learned how to shoot, we learned everything. Something about editing was really thrilling to me. I, I loved the puzzle of it, you know, I loved putting pieces together. We did these little funny exercises where we would take a movie and cut our own trailer and, you know, or they'd give us all the same footage and we cut our scene from it and.Itwas really incredible to see how different all those scenes were, and I loved finding ways to multipurpose footage, make an entire tone feel differently. You know, like if we're cutting a scene about a bank robbery, like how do you all of a sudden make it feel, you know, like romantic, you know, or whatever.It's like how do we kind of play with genre and tone and how much you can reinvent stuff, but it was really structure and shifting things anyways, it really, I was drawn to it and I had fun editing my things and helping other people edit it. I did always dream of directing, which I am doing now and I'm excited about, but I realized that my way in with editing was like learning how to do a story in that way, and it will always be my language.I think even as I direct or write or anything, I'm really imagining it as if I'm cutting it, and that could change every day, but like when I'm out shooting. I always feel like it's my superpower because when I'm filming it's like I know what I have and how I'll use it and I can change that every hour.But the idea of kind of knowing when you've got it or what it could be and having that reinvented is really incredible. So got into edit. So left film school. And then thought and loved editing, but wasn't like, I'm gonna be an editor. I was still very much on a very over, you know what? I guess I would say like, oh, I was gonna say Overhead, broad bird's eye.I was like, no, I'm gonna go make movies and then I'll direct ‘em and onward, but work, you know, worked in post houses, overnights, all that stuff and PA and try made my own crappy movies and you know, did a lot of that stuff and. It kept coming back to edit. I mean, I kept coming back to like assistant jobs and cutting, cutting, cutting, cutting, and it just felt like something that I had a skill for, but I didn't know what my voice was in that.Like I didn't, it took me a long time to realize I could have a voice as an editor, which was so dumb, and I think I wasted so much time thinking that like I was only search, you know, like that. I didn't have that to bring. That editing was just about. Taking someone else's vision. You know, I'm not a set of hands like I'm an artist as well.I think we all are as editors and I was very grateful that not, not too long into, you know, when I found the doc path and I went, okay, I think this is where I, I can rock this and I'm pretty excited about it. I ended up working with a small collection of directors who all. Respected that collaboration.Like they were excited for what I do and what I bring to it and felt, it made me feel like we were peers working together, which was my fantasy with how film works. And I feel like isn't always the constant, but I've been spoiled and now it's what I expect and what I want to create for others. And you know, I hope there's more of us out there.So it's interesting because my path to editing. Was like such a, a practical one and an emotional one, and an ego one, and a, you know, it's like, it's like all these things that have led me to where I am and the perfect neighbor is such a culmination of all of that. For sure.BEN: Yeah. And, and I want to get into it, uh, first the eternal question.Yeah. Film school worth it or not worth it?VIRI: I mean, listen, I. We'll share this. I think I've shared this before, but relevant to the fact I'll share it because I think we can all learn from each other's stories. I did not want to go to college. Okay? I wanted to go straight to la. I was like, I'm going to Hollywood.I wanted to make movies ever since I was a kid. This is what I'm gonna do, period. I come from a family of teachers. All of my parents are teachers. My parents divorced. I have my stepparent is teacher, like everybody's a teacher. And they were like, no. And not just a teacher. My mom and my dad are college professors, so they were like college, college, college.I sabotaged my SATs. I did not take them. I did not want to go to college. I was like, I am going to Los Angeles. Anyways, uh, my parents applied for me. To an accredited arts college that, and they were like, it's a three year try semester. You'll shoot on film, you can do your, you know, and they submitted my work from high school when I was in TV production or whatever.Anyways, they got me into this little college, and when I look back, I know that that experience was really incredible. I mean, while I was there, I was counting the days to leave, but I know that it gave me not only the foundation of. You know, learning, like, I mean, we were learning film at the time. I don't know what it's like now, but like we, you know, I learned all the different mediums, which was great on a vocational level, you know, but on top of that, they're just throwing cans of film at us and we're making all the mistakes we need to make to get where we need to get.And the other thing that's happening is there's also like the liberal arts, this is really, sounds like a teacher's kid, what I'm about to say. But like, there's also just the level of education To be smarter and learn more about the world, to inform your work doesn't mean that you can't. You can't skip college and just go out there and find your, and learn what you wanna learn in the stories that you journey out to tell.So I feel really torn on this answer because half of me is like. No, you don't need college. Like just go out and make stuff and learn what you wanna learn. And then the other half of me have to acknowledge that, like, I think there was a foundation built in that experience, in that transitional time of like semi-structure, semi independence, you know, like all the things that come with college.It's worth it, but it's expensive as heck. And I certainly, by the time I graduated, film wasn't even a thing and I had to learn digital out in the world. And. I think you can work on a film set and learn a hell of a lot more than you'll ever learn in a classroom. And at the same time, I really love learning.So, you know, my, I think I, my parents were right, they know it ‘cause I went back to grad school, so that was a shock for them. But I think, but yeah, so I, I get, what I would say is, it really is case, this is such a cop out of an answer, case by case basis. Ask yourself, you know, if you need that time and if you, if you aren't gonna go.You need to put in the work. You have to really like go out, go on those sets, work your tail off, seek out the books, read the stuff, you know, and no one's gonna hand you anything. And my stories are a hell of a lot, I think smarter and eloquent because of the education I had. Yeah.BEN: So you shuttle on, what was the school, by the way?VIRI: Well, it was called the, it was called the International Fine Arts College. It no longer exists because Art Institute bought it. It's now called the Miami International University of Art and Design, and they bought it the year I graduated. So I went to this tiny little arts college, uh, but graduated from this AI university, which my parents were like, okay.Um, but we were, it was a tiny little college owned by this man who would invite all of us over to his mansion for brunch every year. I mean, it was very strange, but cool. And it was mainly known for, I think fashion design and interior design. So the film kids, we all kind of had, it was an urban campus in Miami and we were all like kind of in a wado building on the side, and it was just kind of a really funky, misfit feeling thing that I thought was, now when I look back, I think was like super cool.I mean, they threw cans of film at us from the very first semester. There was no like, okay, be here for two years and earn your opportunity. We were making stuff right away and all of our teachers. All of our professors were people who were working in the field, like they were ones who were, you know, writing.They had written films and fun fact of the day, my, my cinematography professor was Sam Beam from Iron and Wine. If anybody knows Iron and Wine, like there's like, there's like we, we had crazy teachers that we now realize were people who were just probably trying to pay their bills while they were on their journey, and then they broke out and did their thing after we were done.BEN: Okay, so shooting on film. Yeah. What, um, was it 16 or 35? 16. And then how are you doing sound? No, notVIRI: 35, 16. Yeah. I mean, we had sound on Dax, you know, like we were recording all the mm-hmm. Oh, when we did the film. Yeah, yeah. Separate. Yeah, yeah, yeah. We did the Yeah. Syncs soundBEN: into a We did a,VIRI: yeah, we did, we did one.We shot on a Bolex, I think, if I remember it right. It did like a tiny, that probably was eight, you know? But the point is we did that on. The flatbed. After that, we would digitize and we would cut on media 100, which was like this. It was, I think it was called the, I'm pretty sure it was called Media 100.It was like this before avid, you know. A more archaic editing digital program that, so we did the one, the one cut and splice version of our, our tiny little films. And then we weren't on kind of beautiful steam backs or anything. It was like, you know, it was much, yeah, smaller. But we had, but you know, we raced in the changing tents and we did, you know, we did a lot of film, love and fun.And I will tell you for your own amusement that we were on set once with somebody making their short. The girl at the AC just grabbed, grabbed the film, what's, oh my God, I can't even believe I'm forgetting the name of it. But, um, whatever the top of the camera grabbed it and thought she had unlocked it, like unhinged it and just pulled it out after all the film just come spooling out on set.And we were like, everybody just froze and we were just standing there. It was like a bad sketch comedy, like we're all just standing there in silence with like, just like rolling out of the camera. I, I'll never forget it.BEN: Nightmare. Nightmare. I, you know, you said something earlier about when you're shooting your own stuff.Being an editor is a little bit of a superpower because you know, oh, I'm gonna need this, I'm gonna need that. And, and for me it's similar. It's especially similar. Like, oh, we didn't get this. I need to get an insert of this ‘cause I know I'm probably gonna want that. I also feel like, you know, I came up, um, to instill photography, 35 millimeter photography, and then when I got into filmmaking it was, um, digital, uh, mini DV tape.So, but I feel like the, um, the structure of having this, you know, you only have 36 shots in a still camera, so you've gotta be sure that that carried over even to my shooting on digital, of being meticulous about setting up the shot, knowing what I need. Whereas, you know, younger people who have just been shooting digital their whole lives that just shoot everything and we'll figure it out later.Yeah. Do do you, do you feel you had that Advant an advantage? Yes. Or sitting on film gave you some advantages?VIRI: I totally, yes. I also am a firm believer and lover of intention. Like I don't this whole, like we could just snap a shot and then punch in and we'll, whatever. Like it was my worst nightmare when people started talking about.We'll shoot scenes and something, it was like eight K, so we can navigate the frame. And I was like, wait, you're not gonna move the camera again. Like, it just, it was terrifying. So, and we passed that, but now the AI stuff is getting dicey, but the, I think that you. I, I am pretty romantic about the hands-on, I like books with paper, you know, like, I like the can, the cinematographer to capture, even if it's digital.And those benefits of the digital for me is like, yes, letting it roll, but it's not about cheating frames, you know, like it's about, it's about the accessibility of being able to capture things longer, or the technology to move smoother. These are good things. But it's not about, you know, simplifying the frame in something that we need to, that is still an art form.Like that's a craft. That's a craft. And you could argue that what we choose, you know, photographers, the choice they make in Photoshop is the new version of that is very different. Like my friends who are dps, you know, there's always like glasses the game, right? The lenses are the game. It's like, it's not about filters In posts, that was always our nightmare, right?The old fix it and post everybody's got their version of their comic strip that says Fix it and post with everything exploding. It's like, no, that's not what this is about. And so, I mean, I, I think I'll always be. Trying to, in my brain fight the good fight for the craftiness of it all because I'm so in love with everything.I miss film. I'm sad. I miss that time. I mean, I think I, it still exists and hopefully someday I'll have the opportunity that somebody will fund something that I'm a part of that is film. And at the same time there's somewhere in between that still feels like it's honoring that freshness. And, and then now there's like the, yeah, the new generation.It's, you know, my kids don't understand that I have like. Hand them a disposable camera. We'll get them sometimes for fun and they will also like click away. I mean, the good thing you have to wind it so they can't, they can't ruin it right away, but they'll kind of can't fathom that idea. And um, and I love that, where you're like, we only get 24 shots.Yeah, it's veryBEN: cool. So you said you felt the perfect neighbor, kind of, that was the culmination of all your different skills in the craft of editing. Can you talk a little bit about that?VIRI: Yes. I think that I spent, I think all the films, it's like every film that I've had the privilege of being a part of, I have taken something like, there's like some tool that was added to the tool belt.Maybe it had to do with like structure or style or a specific build to a quote or, or a device or a mechanism in the film, whatever it is. It was the why of why that felt right. That would kind of be the tool in the tool belt. It wouldn't just be like, oh, I learned how to use this new toy. It was like, no, no.There's some kind of storytelling, experience, technique, emotion that I felt that Now I'm like, okay, how do I add that in to everything I do? And I want every film to feel specific and serve what it's doing. But I think a lot of that sent me in a direction of really always approaching a project. Trying to meet it for like the, the work that only it can do.You know, it's like, it's not about comps. It's not about saying like, oh, we're making a film that's like, fill in the blank. I'm like, how do we plug and play the elements we have into that? It's like, no, what are the elements we have and how do we work with them? And that's something I fought for a lot on all the films I've been a part of.Um, and by that I mean fight for it. I just mean reminding everybody always in the room that we can trust the audience, you know, that we can. That, that we should follow the materials what, and work with what we have first, and then figure out what could be missing and not kind of IME immediately project what we think it needs to be, or it should be.It's like, no, let's discover what it is and then that way we will we'll appreciate. Not only what we're doing in the process, but ultimately we don't even realize what it can do for what it is if we've never seen it before, which is thrilling. And a lot of those have been a part of, there have been pockets of being able to do that.And then usually near the end there's a little bit of math thing that happens. You know, folks come in the room and they're trying to, you know, but what if, and then, but other people did. Okay, so all you get these notes and you kind of reel it in a little bit and you find a delicate balance with the perfect neighbor.When Gita came to me and we realized, you know, we made that in a vacuum like that was we, we made that film independently. Very little money, like tiny, tiny little family of the crew. It was just me and her, you know, like when we were kind of cutting it together and then, and then there's obviously producers to kind of help and build that platform and, and give great feedback along the way.But it allowed us to take huge creative risks in a really exciting way. And I hate that I even have to use the word risks because it sounds like, but, but I do, because I think that the industry is pushing against, you know, sometimes the spec specificity of things, uh, in fear of. Not knowing how it will be received.And I fantasize about all of us being able to just watch something and seeing how we feel about it and not kind of needing to know what it is before we see it. So, okay, here comes the perfect neighbor. GTA says to me early on, like, I think. I think it can be told through all these materials, and I was like, it will be told through like I was determined and I held us very strict to it.I mean, as we kind of developed the story and hit some challenges, it was like, this is the fun. Let's problem solve this. Let's figure out what it means. But that also came within the container of all this to kind of trust the audience stuff that I've been trying to repeat to myself as a mantra so I don't fall into the trappings that I'm watching so much work do.With this one, we knew it was gonna be this raw approach and by composing it completely of the evidence, it would ideally be this kind of undeniable way to tell the story, which I realized was only possible because of the wealth of material we had for this tracked so much time that, you know, took the journey.It did, but at the same time, honoring that that's all we needed to make it happen. So all those tools, I think it was like. A mixed bag of things that I found that were effective, things that I've been frustrated by in my process. Things that I felt radical about with, you know, that I've been like trying to scream in, into the void and nobody's listening.You know, it's like all of that because I, you know, I think I've said this many times. The perfect neighbor was not my full-time job. I was on another film that couldn't have been more different. So I think in a, in a real deep seated, subconscious way, it was in conversation with that. Me trying to go as far away from that as possible and in understanding what could be possible, um, with this film.So yeah, it's, it's interesting. It's like all the tools from the films, but it was also like where I was in my life, what had happened to me, you know, and all of those. And by that I mean in a process level, you know, working in film, uh, and that and yes, and the values and ethics that I honor and wanna stick to and protect in the.Personal lens and all of that. So I think, I think it, it, it was a culmination of many things, but in that approach that people feel that has resonated that I'm most proud of, you know, and what I brought to the film, I think that that is definitely, like, I don't think I could have cut this film the way I did at any other time before, you know, I think I needed all of those experiences to get here.BEN: Oh, there's so much there and, and there's something kind of the. The first part of what you were saying, I've had this experience, I'm curious if you've had this experience. I sort of try to prepare filmmakers to be open to this, that when you're working with something, especially Doc, I think Yeah. More so Doc, at a certain point the project is gonna start telling you what it wants to be if you, if you're open to it.Yes. Um, but it's such a. Sometimes I call it the spooky process. Like it's such a ephemeral thing to say, right? Like, ‘cause you know, the other half of editing is just very technical. Um, but this is like, there's, there's this thing that's gonna happen where it's gonna start talking to you. Do you have that experience?VIRI: Yes. Oh, yes. I've also been a part of films that, you know, they set it out to make it about one person. And once we watched all the footage, it is about somebody else. I mean, there's, you know, those things where you kind of have to meet the spooky part, you know, in, in kind of honoring that concept that you're bringing up is really that when a film is done, I can't remember cutting it.Like, I don't, I mean, I remember it and I remember if you ask me why I did something, I'll tell you. I mean, I'm very, I am super. Precious to a fault about an obsessive. So like you could pause any film I've been a part of and I'll tell you exactly why I used that shot and what, you know, I can do that. But the instinct to like just grab and go when I'm just cutting and I'm flowing.Yeah, that's from something else. I don't know what that is. I mean, I don't. People tell me that I'm very fast, which is, I don't know if that's a good or a bad thing, but I think it really comes from knowing that the job is to make choices and you can always go back and try different things, but this choose your own adventure novel is like just going, and I kind of always laugh about when I look back and I'm like, whoa, have that happen.Like, you know, like I don't even. And I have my own versions of imposter syndrome where I refill mens and I'm like, oh, got away with that one. Um, or every time a new project begins, I'm like, do I have any magic left in the tank? Um, but, but trusting the process, you know, to what you're socking about is a really important way to free yourself and the film to.Discover what it is. I think nowadays because of the algorithm and the, you know, I mean, it's changing right now, so we'll see where, how it recalibrates. But for a, for a while, over these past years, the expectations have, it's like shifted where they come before the film is like, it's like you create your decks and your sizzles and you write out your movie and you, and there is no time for discovery.And when it happens. It's like undeniable that you needed to break it because it's like you keep hitting the same impasse and you can't solve it and then you're like, oh, that's because we have to step outta the map. But I fear that many works have suffered, you know, that they have like followed the map and missed an opportunity.And so, you know, and for me as an editor, it's always kinda a red flag when someone's like, and here's the written edit. I'm like, what? Now let's watch the footage. I wanna know where There's always intention when you set up, but as people always say, the edit is kind of the last. The last step of the storytelling process.‘cause so much can change there. So there is, you know, there it will reveal itself. I do get nerdy about that. I think a film knows what it is. I remember when I was shooting my first film called Born to Play, that film, we were. At the championship, you know, the team was not, thought that they were gonna win the whole thing.We're at the championship and someone leaned over to me and they said, you know, it's funny when a story knows it's being filmed. And I was like, ah. I think about that all the time because now I think about that in the edit bay. I'm like, okay, you tell me, you know, what do you wanna do? And then you kind of like, you match frame back to something and all of a sudden you've opened a portal and you're in like a whole new theme.It's very cool. You put, you know, you put down a different. A different music temp, music track, and all of a sudden you're making a new movie. I mean, it's incredible. It's like, it really is real world magic. It's so much fun. Yeah,BEN: it is. It's a blast. The, so, uh, I saw you at the panel at Doc NYC and then I went that night or the next night and watched Perfect Neighbor blew me away, and you said something on the panel that then blew me away again when I thought about it, which is.I think, correct me if I'm wrong, all of the audio is syncedVIRI: Yeah. To the footage.BEN: That, to me is the big, huge, courageous decision you made.VIRI: I feel like I haven't said that enough. I don't know if folks understand, and it's mainly for the edit of that night, like the, I mean, it's all, it's, it's all that, but it was important.That the, that the sound would be synced to the shock that you're seeing. So when you're hearing a cop, you know, a police officer say, medics, we need medics. If we're in a dashboard cam, that's when it was, you know, echoing from the dashboard. Like that's what, so anything you're hearing is synced. When you hear something coming off from the per when they're walking by and you hear someone yelling something, you know, it's like all of that.I mean, that was me getting really strict about the idea that we were presenting this footage for what it was, you know, that it was the evidence that you are watching, as you know, for lack of a better term, unbiased, objectively as possible. You know, we're presenting this for what it is. I, of course, I have to cut down these calls.I am making choices like that. That is happening. We are, we are. Composing a narrative, you know, there, uh, that stuff is happening. But to create, but to know that what you're hearing, I'm not applying a different value to the frame on, on a very practical syn sound way. You know, it's like I'm not gonna reappropriate frames.Of course, in the grand scheme of the narrative flow with the emotions, you know, the genre play of this horror type film, and there's a lot happening, but anything you were hearing, you know, came from that frame. Yeah.BEN: That's amazing. How did you organize the footage and the files initially?VIRI: Well, Gita always likes to laugh ‘cause she is, she calls herself my first ae, which is true.I had no a, you know, I had, she was, she had gotten all that material, you know, she didn't get that material to make a film. They had originally, this is a family friend who died and when this all happened, they went down and gathered this material to make a case, to make sure that Susan didn't get out. To make sure this was not forgotten.You know, to be able to utilize. Protect the family. And so there was, at first it was kind of just gathering that. And then once she got it, she realized that it spanned two years, you know, I mean, she, she popped, she was an editor for many, many years, an incredible editor. She popped it into a system, strung it all out, sunk up a lot of it to see what was there, and realized like, there's something here.And that's when she called me. So she had organized it, you know, by date, you know, and that, that originally. Strung out a lot of it. And then, so when I came in, it was just kind of like this giant collection of stuff, like folders with the nine one calls. How long was the strung out? Well, I didn't know this.Well, I mean, we have about 30 hours of content. It wasn't one string out, you know, it was like there were the call, all the calls, and then the 9 1 1 calls, the dash cams. The ring cams. Okay. Excuse me. The canvassing interviews, audio only content. So many, many. Was about 30 hours of content, which honestly, as most of us editors know, is not actually a lot I've cut.You know, it's usually, we have tons more than that. I mean, I, I've cut decades worth of material and thousands of hours, you know, but 30 hours of this type of material is very specific, you know, that's a, that's its own challenge. So, so yeah. So the first, so it was organized. It was just organized by call.Interview, you know, some naming conventions in there. Some things we had to sync up. You know, the 9 1 1 calls would overlap. You could hear it in the nine one one call center. You would hear someone, one person who called in, and then you'd hear in the background, like the conversation of another call. It's in the film.There's one moment where you can hear they're going as fast as they can, like from over, from a different. So there was so much overlap. So there was some syncing that we kind of had to do by ear, by signals, by, you know, and there's some time coding on the, on the cameras, but that would go off, which was strange.They weren't always perfect. So, but that, that challenge unto itself would help us kind of really screen the footage to a finite detail, right. To like, have, to really understand where everybody is and what they're doing when,BEN: yeah. You talked about kind of at the end, you know, different people come in, there's, you know, maybe you need to reach a certain length or so on and so forth.How do you, um, handle notes? What's your advice to young filmmakers as far as navigating that process? Great question.VIRI: I am someone who, when I was a kid, I had trouble with authority. I wasn't like a total rebel. I think I was like a really goody goody too. She was borderline. I mean, I had my moments, but growing up in, in a journey, an artistic journey that requires you to kind of fall in love with getting critiques and honing things and working in teams.And I had some growing pains for a long time with notes. I mean, my impulse was always, no. A note would come and I'd go, no, excuse me. Go to bed, wake up. And then I would find my way in and that would be great. That bed marinating time has now gone away, thank goodness. And I have realized that. Not all notes, but some notes have really changed the trajectory of a project in the most powerful waves.And it doesn't always the, to me, what I always like to tell folks is it's, the notes aren't really the issues. It's what? It's the solutions people offer. You know? It's like you can bring up what you're having an issue with. It's when people kind of are like, you know what I would do? Or you know what you think you should do, or you could do this.You're like, you don't have to listen to that stuff. I mean, you can. You can if you have the power to filter it. Some of us do, some of us don't. I've worked with people who. Take all the notes. Notes and I have to, we have to, I kind of have to help filter and then I've worked with people who can very quickly go need that, don't need that need, that, don't need that.Hear that, don't know how to deal with that yet. You know, like if, like, we can kind of go through it. So one piece of advice I would say is number one, you don't have to take all the notes and that's, that's, that's an honoring my little veary. Wants to stand by the vision, you know, and and fight for instincts.Okay. But the second thing is the old classic. It's the note behind the note. It's really trying to understand where that note's coming from. Who gave it what they're looking for? You know, like is that, is it a preference note or is it a fact? You know, like is it something that's really structurally a problem?Is it something that's really about that moment in the film? Or is it because of all the events that led to that moment that it's not doing the work you think it should? You know, the, the value is a complete piece. So what I really love about notes now is I get excited for the feedback and then I get really excited about trying to decipher.What they mean, not just taking them as like my to-do list. That's not, you know, that's not the best way to approach it. It's really to get excited about getting to actually hear feedback from an audience member. Now, don't get me wrong, an audience member is usually. A producer in the beginning, and they have, they may have their own agenda, and that's something to know too.And maybe their agenda can influence the film in an important direction for the work that they and we all wanted to do. Or it can help at least discern where their notes are coming from. And then we can find our own emotional or higher level way to get into solving that note. But, you know, there's still, I still get notes that make me mad.I still get notes where I get sad that I don't think anybody was really. Watching it or understanding it, you know, there's always a thought, you know, that happens too. And to be able to read those notes and still find that like one kernel in there, or be able to read them and say, no kernels. But, but, but by doing that, you're now creating the conviction of what you're doing, right?Like what to do and what not to do. Carrie, equal value, you know, so you can read all these notes and go, oh, okay, so I am doing this niche thing, but I believe in it and. And I'm gonna stand by it. Or like, this one person got it and these five didn't. And I know that the rules should be like majority rules, but that one person, I wanna figure out why they got it so that I can try to get these, you know, you get what I'm saying?So I, I've grown, it took a long time for me to get where I am and I still have moments where I'm bracing, you know, where I like to scroll to see how many notes there are before I even read them. You know, like dumb things that I feel like such a kid about. But we're human. You know, we're so vulnerable.Doing this work is you're so naked and you're trying and you get so excited. And I fall in love with everything. I edit so furiously and at every stage of the process, like my first cut, I'm like, this is the movie. Like I love this so much. And then, you know, by the 10th root polling experience. I'm like, this is the movie.I love it so much. You know, so it's, it's painful, but at the same time it's like highly liberating and I've gotten a lot more flowy with it, which was needed. I would, I would encourage everybody to learn how to really enjoy being malleable with it, because that's when you find the sweet spot. It's actually not like knowing everything right away, exactly what it's supposed to be.It's like being able to know what the heart of it is. And then get really excited about how collaborative what we do is. And, and then you do things you would've never imagined. You would've never imagined, um, or you couldn't have done alone, you know, which is really cool. ‘cause then you get to learn a lot more about yourself.BEN: Yeah. And I think what you said of sort of being able to separate the idea of, okay, something maybe isn't clicking there, versus whatever solution this person's offering. Nine times outta 10 is not gonna be helpful, but, but the first part is very helpful that maybe I'm missing something or maybe what I want to connect is not connecting.VIRI: And don't take it personally. Yeah. Don't ever take it personally. I, I think that's something that like, we're all here to try to make the best movie we can.BEN: Exactly.VIRI: You know? Yeah. And I'm not gonna pretend there aren't a couple sticklers out there, like there's a couple little wrenches in the engine, but, but we will, we all know who they are when we're on the project, and we will bind together to protect from that.But at the same time, yeah, it's, yeah. You get it, you get it. Yeah. But it's really, it's an important part of our process and I, it took me a while to learn that.BEN: Last question. So you talked about kind of getting to this cut and this cut and this cut. One of the most important parts of editing, I think is especially when, when you've been working on a project for a long time, is being able to try and see it with fresh eyes.And of course the, one of the ways to do that is to just leave it alone for three weeks or a month or however long and then come back to it. But sometimes we don't have that luxury. I remember Walter Merch reading in his book that sometimes he would run the film upside down just to, mm-hmm. You know, re re redo it the way his brain is watching it.Do you have any tips and tricks for seeing a cut with fresh eyes? OhVIRI: yeah. I mean, I mean, other than stepping away from it, of course we all, you know, with this film in particular, I was able to do that because I was doing other films too. But I, one good one I always love is take all the music out. Just watch the film without music.It's really a fascinating thing. I also really like quiet films, so like I tend to all of a sudden realize like, what is absolutely necessary with the music, but, but it, it really, people get reliant on it, um, to do the work. And you'd be pleasantly surprised that it can inform and reinvent a scene to kind of watch it without, and you can, it's not about taking it out forever, it's just the exercise of watching what the film is actually doing in its raw form, which is great.Switching that out. I mean, I can, you know, there's other, washing it upside down, I feel like. Yeah, I mean like there's a lot of tricks we can trick our trick, our brain. You can do, you could also, I. I think, I mean, I've had times where I've watched things out of order, I guess. Like where I kind of like go and I watch the end and then I click to the middle and then I go back to the top, you know?And I'm seeing, like, I'm trying to see if they're all connecting, like, because I'm really obsessed with how things begin and how they end. I think the middle is highly important, but it really, s**t tells you, what are we doing here? Like what are we set up and where are we ending? And then like, what is the most effective.Journey to get there. And so there is a way of also kind of trying to pinpoint the pillars of the film and just watching those moments and not kind, and then kind of reverse engineering the whole piece back out. Yeah, those are a couple of tricks, but more than anything, it's sometimes just to go watch something else.If you can't step away from the project for a couple of weeks, maybe watch something, you could, I mean, you can watch something comparable in a way. That tonally or thematically feels in conversation with it to just kind of then come back and feel like there's a conversation happening between your piece and that piece.The other thing you could do is watch something so. Far different, right? Like, even if you like, don't like, I don't know what I'm suggesting, you'd have to, it would bend on the project, but there's another world where like you're like, all right, I'm gonna go off and watch some kind of crazy thrill ride and then come back to my slow burn portrait, you know, and, and just, just to fresh the pal a little bit, you know?I was like that. It's like fueling the tanks. We should be watching a lot of stuff anyways, but. That can happen too, so you don't, you also get to click off for a second because I think we can get, sometimes it's really good to stay in it at all times, but sometimes you can lose the force for the, you can't see it anymore.You're in the weeds. You're too close to it. So how do we kind of shake it loose? Feedback sessions, by the way, are a part, is a part of that because I think that when you sit in the back of the room and you watch other people watch the film, you're forced to watch it as another person. It's like the whole thing.So, and I, I tend to watch people's body language more than, I'm not watching the film. I'm like watching for when people shift. Yeah, yeah. I'm watching when people are like coughing or, you know, or when they, yeah. Whatever. You get it. Yeah. Yeah. That, that, soBEN: that is the most helpful part for me is at a certain point I'll bring in a couple friends and I'll just say, just want you to watch this, and I'm gonna ask you a couple questions afterwards.But 95% of what I need is just sitting there. Watching them and you said exactly. Watching their body language.VIRI: Yeah. Oh man. I mean, this was shoulder, shoulder shooks. There's, and you can tell the difference, you can tell the difference between someone's in an uncomfortable chair and someone's like, it's like whenever you can sense it if you're ever in a theater and you can start to sense, like when they, when they reset the day, like whenever we can all, we all kind of as a community are like, oh, this is my moment.To like get comfortable and go get a bite of popcorn. It's like there's tells, so some of those are intentional and then some are not. Right? I mean, if this is, it goes deeper than the, will they laugh at this or will they be scared at this moment? It really is about captivating them and feeling like when you've, when you've lost it,BEN: for sure.Yeah. Very. This has been fantastic. Oh my God, how fun.VIRI: I talked about things here with you that I've haven't talked, I mean, contact so deeply, but even film school, I feel like I don't know if that's out there anywhere. So that was fun. Thank you.BEN: Love it. Love it. That, that that's, you know, that's what I hope for these interviews that we get to things that, that haven't been talked about in other places.And I always love to just go in, you know, wherever the trail leads in this case. Yeah. With, uh, with Jody Foster and Math McConaughey and, uh, I mean, go see it. Everybody met this. Yeah. Uh, and for people who are interested in your work, where can they find you?VIRI: I mean, I don't update my website enough. I just go to IMDB.Look me up on IMDB. All my work is there. I think, you know, in a list, I've worked on a lot of films that are on HBO and I've worked on a lot of films and now, you know, obviously the perfect neighbor's on Netflix right now, it's having an incredible moment where I think the world is engaging with it. In powerful ways beyond our dreams.So if you watch it now, I bet everybody can kind of have really fascinating conversations, but my work is all out, you know, the sports stuff born to play. I think it's on peacock right now. I mean, I feel like, yeah, I love the scope that I've had the privilege of working on, and I hope it keeps growing. Who knows.Maybe I'll make my space movie someday. We'll see. But in the meantime, yeah, head over and see this, the list of credits and anything that anybody watches, I love to engage about. So they're all, I feel that they're all doing veryBEN: different work. I love it. Thank you so much.VIRI: Thank you. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit benbo.substack.com

This content has been developed for healthcare professionals only. Patients who seek health information should consult with their physician or relevant patient advocacy groups.For the full presentation, downloadable Practice Aids, slides, and complete CME/AAPA information, and to apply for credit, please visit us at PeerView.com/QBS865. CME/AAPA credit will be available until November 9, 2026.Building Clinical Confidence in the Diagnosis and Multidisciplinary Management of Rett Syndrome In support of improving patient care, PVI, PeerView Institute for Medical Education, is jointly accredited by the Accreditation Council for Continuing Medical Education (ACCME), the Accreditation Council for Pharmacy Education (ACPE), and the American Nurses Credentialing Center (ANCC), to provide continuing education for the healthcare team.SupportThis activity is supported by an educational grant from ACADIA Pharmaceuticals Inc.Disclosure information is available at the beginning of the video presentation.

This content has been developed for healthcare professionals only. Patients who seek health information should consult with their physician or relevant patient advocacy groups.For the full presentation, downloadable Practice Aids, slides, and complete CME/AAPA information, and to apply for credit, please visit us at PeerView.com/QBS865. CME/AAPA credit will be available until November 9, 2026.Building Clinical Confidence in the Diagnosis and Multidisciplinary Management of Rett Syndrome In support of improving patient care, PVI, PeerView Institute for Medical Education, is jointly accredited by the Accreditation Council for Continuing Medical Education (ACCME), the Accreditation Council for Pharmacy Education (ACPE), and the American Nurses Credentialing Center (ANCC), to provide continuing education for the healthcare team.SupportThis activity is supported by an educational grant from ACADIA Pharmaceuticals Inc.Disclosure information is available at the beginning of the video presentation.

This content has been developed for healthcare professionals only. Patients who seek health information should consult with their physician or relevant patient advocacy groups.For the full presentation, downloadable Practice Aids, slides, and complete CME/AAPA information, and to apply for credit, please visit us at PeerView.com/QBS865. CME/AAPA credit will be available until November 9, 2026.Building Clinical Confidence in the Diagnosis and Multidisciplinary Management of Rett Syndrome In support of improving patient care, PVI, PeerView Institute for Medical Education, is jointly accredited by the Accreditation Council for Continuing Medical Education (ACCME), the Accreditation Council for Pharmacy Education (ACPE), and the American Nurses Credentialing Center (ANCC), to provide continuing education for the healthcare team.SupportThis activity is supported by an educational grant from ACADIA Pharmaceuticals Inc.Disclosure information is available at the beginning of the video presentation.

This content has been developed for healthcare professionals only. Patients who seek health information should consult with their physician or relevant patient advocacy groups.For the full presentation, downloadable Practice Aids, slides, and complete CME/AAPA information, and to apply for credit, please visit us at PeerView.com/QBS865. CME/AAPA credit will be available until November 9, 2026.Building Clinical Confidence in the Diagnosis and Multidisciplinary Management of Rett Syndrome In support of improving patient care, PVI, PeerView Institute for Medical Education, is jointly accredited by the Accreditation Council for Continuing Medical Education (ACCME), the Accreditation Council for Pharmacy Education (ACPE), and the American Nurses Credentialing Center (ANCC), to provide continuing education for the healthcare team.SupportThis activity is supported by an educational grant from ACADIA Pharmaceuticals Inc.Disclosure information is available at the beginning of the video presentation.

This content has been developed for healthcare professionals only. Patients who seek health information should consult with their physician or relevant patient advocacy groups.For the full presentation, downloadable Practice Aids, slides, and complete CME/AAPA information, and to apply for credit, please visit us at PeerView.com/QBS865. CME/AAPA credit will be available until November 9, 2026.Building Clinical Confidence in the Diagnosis and Multidisciplinary Management of Rett Syndrome In support of improving patient care, PVI, PeerView Institute for Medical Education, is jointly accredited by the Accreditation Council for Continuing Medical Education (ACCME), the Accreditation Council for Pharmacy Education (ACPE), and the American Nurses Credentialing Center (ANCC), to provide continuing education for the healthcare team.SupportThis activity is supported by an educational grant from ACADIA Pharmaceuticals Inc.Disclosure information is available at the beginning of the video presentation.

This content has been developed for healthcare professionals only. Patients who seek health information should consult with their physician or relevant patient advocacy groups.For the full presentation, downloadable Practice Aids, slides, and complete CME/AAPA information, and to apply for credit, please visit us at PeerView.com/QBS865. CME/AAPA credit will be available until November 9, 2026.Building Clinical Confidence in the Diagnosis and Multidisciplinary Management of Rett Syndrome In support of improving patient care, PVI, PeerView Institute for Medical Education, is jointly accredited by the Accreditation Council for Continuing Medical Education (ACCME), the Accreditation Council for Pharmacy Education (ACPE), and the American Nurses Credentialing Center (ANCC), to provide continuing education for the healthcare team.SupportThis activity is supported by an educational grant from ACADIA Pharmaceuticals Inc.Disclosure information is available at the beginning of the video presentation.

This content has been developed for healthcare professionals only. Patients who seek health information should consult with their physician or relevant patient advocacy groups.For the full presentation, downloadable Practice Aids, slides, and complete CME/AAPA information, and to apply for credit, please visit us at PeerView.com/QBS865. CME/AAPA credit will be available until November 9, 2026.Building Clinical Confidence in the Diagnosis and Multidisciplinary Management of Rett Syndrome In support of improving patient care, PVI, PeerView Institute for Medical Education, is jointly accredited by the Accreditation Council for Continuing Medical Education (ACCME), the Accreditation Council for Pharmacy Education (ACPE), and the American Nurses Credentialing Center (ANCC), to provide continuing education for the healthcare team.SupportThis activity is supported by an educational grant from ACADIA Pharmaceuticals Inc.Disclosure information is available at the beginning of the video presentation.

This content has been developed for healthcare professionals only. Patients who seek health information should consult with their physician or relevant patient advocacy groups.For the full presentation, downloadable Practice Aids, slides, and complete CME/AAPA information, and to apply for credit, please visit us at PeerView.com/QBS865. CME/AAPA credit will be available until November 9, 2026.Building Clinical Confidence in the Diagnosis and Multidisciplinary Management of Rett Syndrome In support of improving patient care, PVI, PeerView Institute for Medical Education, is jointly accredited by the Accreditation Council for Continuing Medical Education (ACCME), the Accreditation Council for Pharmacy Education (ACPE), and the American Nurses Credentialing Center (ANCC), to provide continuing education for the healthcare team.SupportThis activity is supported by an educational grant from ACADIA Pharmaceuticals Inc.Disclosure information is available at the beginning of the video presentation.

In this powerful episode, we dive into the historic transition from the ICA to the IFCO and what it means for the future of Principled Chiropractic. Joined by special guests Dr. Eddie Martinez, Dr. Brian Lieberman, and Dr. Edwin Cordero, we explore how this shift marks the beginning of a new era, one rooted in clarity, certainty, and unwavering commitment to serving humanity. Get ready for insight, vision, and the spark that's driving the chiropractic world forward. Learn more at WakeUpHumans.org and check out Steve Judson's books and gear.

Pocas veces solemos caer en la cuenta de lo importante que es el clima en el curso de los acontecimientos históricos. Quizá a corto plazo no nos lo pueda parecer ya que en el curso de una vida humana rara vez cambian de forma drástica las condiciones climáticas. Pero en el largo plazo el impacto del clima sobre el curso de la historia se ha demostrado fundamental. Desde la prehistoria se han producido varios cambios climáticos de distinta envergadura y todos, sin excepción, han afectado a las comunidades humanas. Unas veces para bien, otras para mal. Los neandertales, por ejemplo, no pudieron aguantar un enfriamiento más o menos repentino del planeta y eso, junto a la irrupción del homo sapiens, les condenó a la extinción hace unos 40.000 años. Ya en tiempos históricos otro enfriamiento provocó la caída del imperio antiguo en Egipto, el mismo que había levantado las grandes pirámides de Guiza. Ese mismo fenómeno provocó que el norte de África, que en aquel entonces era verde, húmedo y se encontraba poblado, se transformase en el desierto del Sahara, el mayor del planeta. Dos mil años más tarde otro evento climático fue el causante del colapso del imperio hitita, de las migraciones indoeuropeas hacia el oeste y de la llegada de los llamados “pueblos del mar” al oriente mediterráneo, tres acontecimientos concatenados que reconfiguraron por completo el mundo antiguo. A los periodos cálidos y húmedos en los que las civilizaciones prosperaban le han seguido siempre otros de carácter frío y seco. Esos inviernos prolongados acompañados de magras cosechas y seguidos por epidemias derribaron imperios, facilitaron invasiones y cambiaron el rumbo de la historia. Ese fue el caso, por ejemplo, de la peste de Justiniano a mediados del siglo VI, provocada por la erupción casi simultánea de tres grandes volcanes en distintas partes del mundo, que tendieron un velo de cenizas en la atmósfera haciendo descender la temperatura en todo el mundo. A las erupciones le siguió la crisis agrícola y, a esta, la irrupción de la peste negra que acabó con la vida de una cuarta parte de los habitantes del imperio bizantino en unos pocos años. La influencia del clima en la historia es un campo de estudio relativamente nuevo. Hasta hace sólo unos años no se solía tener en cuenta ya que nuestros ancestros no tenían el modo de medir con precisión los parámetros climáticos del tiempo que les tocó vivir. Algo de información documental nos ha llegado, pero no es demasiada y, además, está muy fragmentada. A cambio, gracias a los avances en paleoclimatología, se está reconstruyendo de forma muy completa el clima que hubo en la Tierra en tiempos pasados, desde la prehistoria hasta que se empezaron a medir y anotar registros climáticos de forma sistemática y concienzuda ya en el siglo XIX. Hoy en La ContraHistoria tenemos a un historiador, José Soto Chica, bien conocido por los seguidores de este programa, y a un paleoclimatólogo, Francisco Jiménez Espejo, investigador del Consejo Superior de Investigaciones Científicas. Entre ambos han alumbrado un libro excepcional, “El dios incomprendido. El desafío del clima en la historia de la humanidad” que publica la editorial Desperta Ferro y sobre el que hablaremos larga y pausadamente a lo largo de la próxima hora. Bibliografía: “El dios incomprendido” de José Soto Chica y Francisco J. Jiménez Espejo - https://amzn.to/4qW3Paf “El águila y los cuervos. La caída del imperio romano” de José Soto Chica - https://amzn.to/47ZjT2k “Imperios y bárbaros” de José Soto Chica - https://amzn.to/3WWZIwO “El siglo maldito” de Geoffrey Parker - https://amzn.to/49hVYNS “El mundo que forjó la peste” de James Belich - https://amzn.to/48dlFy0 “El cambio climático en la historia de la humanidad” de benjamín Lieberman - https://amzn.to/49AflSz · Canal de Telegram: https://t.me/lacontracronica · “Contra el pesimismo”… https://amzn.to/4m1RX2R · “Hispanos. Breve historia de los pueblos de habla hispana”… https://amzn.to/428js1G · “La ContraHistoria del comunismo”… https://amzn.to/39QP2KE · “La ContraHistoria de España. Auge, caída y vuelta a empezar de un país en 28 episodios”… https://amzn.to/3kXcZ6i · “Contra la Revolución Francesa”… https://amzn.to/4aF0LpZ · “Lutero, Calvino y Trento, la Reforma que no fue”… https://amzn.to/3shKOlK Apoya La Contra en: · Patreon... https://www.patreon.com/diazvillanueva · iVoox... https://www.ivoox.com/podcast-contracronica_sq_f1267769_1.html · Paypal... https://www.paypal.me/diazvillanueva Sígueme en: · Web... https://diazvillanueva.com · Twitter... https://twitter.com/diazvillanueva · Facebook... https://www.facebook.com/fernandodiazvillanueva1/ · Instagram... https://www.instagram.com/diazvillanueva · Linkedin… https://www.linkedin.com/in/fernando-d%C3%ADaz-villanueva-7303865/ · Flickr... https://www.flickr.com/photos/147276463@N05/?/ · Pinterest... https://www.pinterest.com/fernandodiazvillanueva Encuentra mis libros en: · Amazon... https://www.amazon.es/Fernando-Diaz-Villanueva/e/B00J2ASBXM #FernandoDiazVillanueva #clima #paleoclimatologia Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

Have a question, comment, idea or suggestion? Send us a text.What if the political consulting industry isn't the competitive free market everyone assumes it is? Jordan Lieberman, CEO of Powers Interactive, analyzed over 54 million federal campaign transactions to reveal the hidden architecture of political consulting. In this episode, Jordan shares eye-opening findings about vendor survival rates, the power of alumni networks, and why 93% of consultants don't make it a decade in the business. We discuss how institutions like the Leadership Institute and party committees create lasting professional networks, why digital shops churn while printers endure, and what Jordan calls the "hollowing out of the middle class" in political consulting. Plus, Jordan offers counterintuitive career advice: why losing campaigns might actually lead to more success than winning them. If you want to understand how campaign money really flows and what it takes to build a lasting career in politics, this conversation is essential listening. Visit our website: CampaignTrend.com

In this episode of the Real Estate Pros Podcast, host Erika speaks with Brent Lieberman of Level and Partners about his journey in the real estate industry, focusing on the industrial sector. They discuss the importance of networking, sourcing deals, navigating market trends, and maintaining high standards in tenant management. Brett shares valuable insights for aspiring real estate professionals and outlines his vision for growth at Levelan Partners.   Professional Real Estate Investors - How we can help you: Investor Fuel Mastermind:  Learn more about the Investor Fuel Mastermind, including 100% deal financing, massive discounts from vendors and sponsors you're already using, our world class community of over 150 members, and SO much more here: http://www.investorfuel.com/apply   Investor Machine Marketing Partnership:  Are you looking for consistent, high quality lead generation? Investor Machine is America's #1 lead generation service professional investors. Investor Machine provides true 'white glove' support to help you build the perfect marketing plan, then we'll execute it for you…talking and working together on an ongoing basis to help you hit YOUR goals! Learn more here: http://www.investormachine.com   Coaching with Mike Hambright:  Interested in 1 on 1 coaching with Mike Hambright? Mike coaches entrepreneurs looking to level up, build coaching or service based businesses (Mike runs multiple 7 and 8 figure a year businesses), building a coaching program and more. Learn more here: https://investorfuel.com/coachingwithmike   Attend a Vacation/Mastermind Retreat with Mike Hambright: Interested in joining a "mini-mastermind" with Mike and his private clients on an upcoming "Retreat", either at locations like Cabo San Lucas, Napa, Park City ski trip, Yellowstone, or even at Mike's East Texas "Big H Ranch"? Learn more here: http://www.investorfuel.com/retreat   Property Insurance: Join the largest and most investor friendly property insurance provider in 2 minutes. Free to join, and insure all your flips and rentals within minutes! There is NO easier insurance provider on the planet (turn insurance on or off in 1 minute without talking to anyone!), and there's no 15-30% agent mark up through this platform!  Register here: https://myinvestorinsurance.com/   New Real Estate Investors - How we can work together: Investor Fuel Club (Coaching and Deal Partner Community): Looking to kickstart your real estate investing career? Join our one of a kind Coaching Community, Investor Fuel Club, where you'll get trained by some of the best real estate investors in America, and partner with them on deals! You don't need $ for deals…we'll partner with you and hold your hand along the way! Learn More here: http://www.investorfuel.com/club   —--------------------

Episode 21 of the Ask Away series addresses diverse questions on kosher laws, Jewish practices, and spiritual growth, emphasizing practical application and Torah sourcing. Recorded post-Sukkot, the session encourages questioning to deepen understanding. Key themes include:Kosher Laws: Blood is forbidden (Leviticus 17:11), requiring precise kashering (soaking, salting, rinsing). Glass vessels' non-absorptive nature will be clarified later. Pre-kashered meat doesn't need re-kashering when cut, and chicken hearts require special preparation (cutting, rinsing, salting). Contaminated water undermines kashering, necessitating clean water (0:42–25:27).Animal Welfare: Hunting is not Jewish; kosher animals are confined for painless slaughter (shechita). Esau's hunting skill (aided by Adam's garments) was exceptional but not normative, as Jews avoid tza'ar ba'alei chaim (5:31–9:42).Health and Hygiene: Sick animals are non-kosher due to defects (e.g., cancer), requiring post-slaughter inspection. Cockroaches can be removed on Shabbat without killing, and hand-washing reflects halachic hygiene awareness (13:24–24:29).Happiness and Gratitude: Marriage fosters selflessness, per Yevamot 62b, paralleling God's giving. Reciting 100 daily blessings cultivates gratitude, preventing entitlement. Ungrateful children given everything become miserable, unlike those earning rewards (27:06–33:14).Teshuva and Past: Embracing one's past, even with trauma, fuels teshuva and growth. Gratitude prevents “stealing” from oneself the chance to connect with Hashem (35:42–38:31).Marriage and Responsibility: Constant love and selflessness in marriage mirror God's giving. Stories of Rav Scherer and Senator Lieberman highlight prioritizing home duties, reinforcing marriage's role in personal growth (39:17–46:38).Please submit your questions at askaway@torchweb.org_____________The Everyday Judaism Podcast is dedicated to learning, understanding and appreciating the greatness of Jewish heritage and the Torah through the simplified, concise study of Halacha, Jewish Law, thereby enhancing our understanding of how Hashem wants us to live our daily lives in a Jewish way._____________This Podcast Series is Generously Underwritten by Marshall & Doreen LernerDownload & Print the Everyday Judaism Halacha Notes:https://drive.google.com/drive/folders/1RL-PideM42B_LFn6pbrk8MMU5-zqlLG5This episode (Ep. #71) of the Everyday Judaism Podcast by Rabbi Aryeh Wolbe of TORCH is dedicated to my dearest friends, Marshall & Doreen Lerner! May Hashem bless you and always lovingly accept your prayer for good health, success and true happiness!!!Recorded in the TORCH Centre - Levin Family Studio (B) to a live audience on October 19, 2025, in Houston, Texas.Released as Podcast on November 5, 2025_____________Connect with Us:Subscribe to the Everyday Judaism Podcast on Apple Podcasts (https://podcasts.apple.com/us/podcast/everyday-judaism-rabbi-aryeh-wolbe/id1600622789) or Spotify (https://open.spotify.com/show/3AXCNcyKSVsaOLsLQsCN1C) to stay inspired! Share your questions at askaway@torchweb.org or visit torchweb.org for more Torah content.  _____________About the Host:Rabbi Aryeh Wolbe, Director of TORCH in Houston, brings decades of Torah scholarship to guide listeners in applying Jewish wisdom to daily life.  To directly send your questions, comments, and feedback: awolbe@torchweb.org_____________Support Our Mission:Help us share Jewish wisdom globally by sponsoring an episode at torchweb.org. Your support makes a difference!_____________Subscribe and Listen to other podcasts by Rabbi Aryeh Wolbe: NEW!! Prayer Podcast: https://prayerpodcast.transistor.fm/episodesJewish Inspiration Podcast: https://inspiration.transistor.fm/episodesParsha Review Podcast: https://parsha.transistor.fm/episodesLiving Jewishly Podcast: https://jewishly.transistor.fm/episodesThinking Talmudist Podcast: https://talmud.transistor.fm/episodesUnboxing Judaism Podcast: https://unboxing.transistor.fm/episodesRabbi Aryeh Wolbe Podcast Collection: https://collection.transistor.fm/episodesFor a full listing of podcasts available by TORCH at http://podcast.torchweb.org_____________Keywords:#AskAway, #Torah, #Halacha, #Q&A, #Kosher, #Blood, #Hunting, #Poultry, #Marriage, #Gratitude, #Happiness, #Relationships, #TorahLaw ★ Support this podcast ★

Dr. Carole Lieberman is a psychiatrist and expert on the mental effects of terrorism and how to cope with it. Dr. Lieberman can also be found on Renegade Talk Radio or at her website TerroristTherapist.com.  Join us for War Locker LIVE — formerly Locker Room Live! Stream (almost) every Wednesday at 8:30 PM PST on YouTube, where we dive deep into current events, culture, and the real conversations shaping modern society. Remember: If we release a War Locker Interview, we will be LIVE the same day! Support War Locker and War Locker LIVE by leaving a review and sharing the show! Visit www.warstoriesofficial.com to listen to past episodes, grab exclusive merchandise, become a patron, and follow us on Instagram and Facebook for updates, behind-the-scenes content, and community discussions.

Episode 21 of the Ask Away series addresses diverse questions on kosher laws, Jewish practices, and spiritual growth, emphasizing practical application and Torah sourcing. Recorded post-Sukkot, the session encourages questioning to deepen understanding. Key themes include:Kosher Laws: Blood is forbidden (Leviticus 17:11), requiring precise kashering (soaking, salting, rinsing). Glass vessels' non-absorptive nature will be clarified later. Pre-kashered meat doesn't need re-kashering when cut, and chicken hearts require special preparation (cutting, rinsing, salting). Contaminated water undermines kashering, necessitating clean water (0:42–25:27).Animal Welfare: Hunting is not Jewish; kosher animals are confined for painless slaughter (shechita). Esau's hunting skill (aided by Adam's garments) was exceptional but not normative, as Jews avoid tza'ar ba'alei chaim (5:31–9:42).Health and Hygiene: Sick animals are non-kosher due to defects (e.g., cancer), requiring post-slaughter inspection. Cockroaches can be removed on Shabbat without killing, and hand-washing reflects halachic hygiene awareness (13:24–24:29).Happiness and Gratitude: Marriage fosters selflessness, per Yevamot 62b, paralleling God's giving. Reciting 100 daily blessings cultivates gratitude, preventing entitlement. Ungrateful children given everything become miserable, unlike those earning rewards (27:06–33:14).Teshuva and Past: Embracing one's past, even with trauma, fuels teshuva and growth. Gratitude prevents “stealing” from oneself the chance to connect with Hashem (35:42–38:31).Marriage and Responsibility: Constant love and selflessness in marriage mirror God's giving. Stories of Rav Scherer and Senator Lieberman highlight prioritizing home duties, reinforcing marriage's role in personal growth (39:17–46:38).Please submit your questions at askaway@torchweb.org_____________The Everyday Judaism Podcast is dedicated to learning, understanding and appreciating the greatness of Jewish heritage and the Torah through the simplified, concise study of Halacha, Jewish Law, thereby enhancing our understanding of how Hashem wants us to live our daily lives in a Jewish way._____________This Podcast Series is Generously Underwritten by Marshall & Doreen LernerDownload & Print the Everyday Judaism Halacha Notes:https://drive.google.com/drive/folders/1RL-PideM42B_LFn6pbrk8MMU5-zqlLG5This episode (Ep. #71) of the Everyday Judaism Podcast by Rabbi Aryeh Wolbe of TORCH is dedicated to my dearest friends, Marshall & Doreen Lerner! May Hashem bless you and always lovingly accept your prayer for good health, success and true happiness!!!Recorded in the TORCH Centre - Levin Family Studio (B) to a live audience on October 19, 2025, in Houston, Texas.Released as Podcast on November 5, 2025_____________Connect with Us:Subscribe to the Everyday Judaism Podcast on Apple Podcasts (https://podcasts.apple.com/us/podcast/everyday-judaism-rabbi-aryeh-wolbe/id1600622789) or Spotify (https://open.spotify.com/show/3AXCNcyKSVsaOLsLQsCN1C) to stay inspired! Share your questions at askaway@torchweb.org or visit torchweb.org for more Torah content.  _____________About the Host:Rabbi Aryeh Wolbe, Director of TORCH in Houston, brings decades of Torah scholarship to guide listeners in applying Jewish wisdom to daily life.  To directly send your questions, comments, and feedback: awolbe@torchweb.org_____________Support Our Mission:Help us share Jewish wisdom globally by sponsoring an episode at torchweb.org. Your support makes a difference!_____________Subscribe and Listen to other podcasts by Rabbi Aryeh Wolbe: NEW!! Prayer Podcast: https://prayerpodcast.transistor.fm/episodesJewish Inspiration Podcast: https://inspiration.transistor.fm/episodesParsha Review Podcast: https://parsha.transistor.fm/episodesLiving Jewishly Podcast: https://jewishly.transistor.fm/episodesThinking Talmudist Podcast: https://talmud.transistor.fm/episodesUnboxing Judaism Podcast: https://unboxing.transistor.fm/episodesRabbi Aryeh Wolbe Podcast Collection: https://collection.transistor.fm/episodesFor a full listing of podcasts available by TORCH at http://podcast.torchweb.org_____________Keywords:#AskAway, #Torah, #Halacha, #Q&A, #Kosher, #Blood, #Hunting, #Poultry, #Marriage, #Gratitude, #Happiness, #Relationships, #TorahLaw ★ Support this podcast ★

Join Jim and Greg for the Tuesday edition of the 3 Martini Lunch as they reflect on the legacy of the late former Vice President Dick Cheney, slam former Attorney General Eric Holder for trying to undermine the Supreme Court, and highlight more deranged behavior from the left, this time targeting Montana Sen. Tim Sheehy.First, they examine the long and influential career of Dick Cheney, from his early days in the Ford administration to serving as Defense Secretary during the Gulf War and later as one of the most consequential vice presidents in U.S. history. There will be considerable debate on the right over his legacy in the Iraq War and his endorsement of Kamala Harris in 2024. Jim also tells us about a special dinner he had with the Cheneys shortly after the 2004 election.Next, they slam former Attorney General Eric Holder for his latest comments clearly aimed at delegitimizing the U.S. Supreme Court, all because he's frustrated by the right-leaning decisions coming from the court. Holder is also among the people urging Democrats to gerrymander their congressional even more heading into the 2026 midtermsFinally, they recoil at the vile voicemail left for Sen. Sheehy by a woman who is running for local office in Montana. In the message, she hopes Sheehy contracts pancreatic cancer and dies quickly because he supported the GOP's One Big Beautiful Bill. Jim says after Charlie Kirk's murder, the Jay Jones scandal, and now this, there are a lot of people becoming detached from reality over politics.Please visit our great sponsors:Give your liver the support it deserves with Dose Daily.  Save 35% on your first month when you subscribe at https://DoseDaily.co/3ML or enter code 3ML at checkout. Get 20% off your first purchase of classic menswear. Visit https://MizzenAndMain.com with promo code 3ML20—shop online or visit a Mizzen and Main store in select states.Sponsored by Quo, formerly known as Open Phone: Get started free and save 20% on your first 6 months and keep your existing numbers at no extra charge—no missed calls, no missed customers. Visit https://Quo.com/3ML

To start the show this morning, Chaz and AJ put out a warning about the uptick of deer accidents since the clocks changed. The Tribe called in to share some of their stories involving accidents with deer, and to share tips on how to properly hit them (if needed.) (0:00)  The news of Dick Cheney's passing was announced while the show was on live, and Chaz and AJ immediately remembered interviewing him through a DC visit to Senator Lieberman's office. Plus, the story of AJ's vehicle being impounded for not having a parking sticker. (9:17)  Comedian Vince Berry was out in Milford this morning, visiting the polls to gauge voter interest at the beginning of Election Day. (23:36)  Chaz and Scot in the Box will be happening next week, and the song that will plays on a continuous 24-hour loop still needs to be decided. The Tribe called to share the songs they think will irritate Chaz the most. (27:11)  Photo credit: Getty Images 

Blue Sunshine, LSD, Brotherhood of Eternal Love, Timothy Leary, William Mellon Hitchcock, Ronald Hadley Stark, orange sunshine acid, flashbacks, the mythology around orange sunshine, Jerry Brown, Jeff Lieberman, Sonny Liston, Lieberman as noided, cult casting, Zalman King, exploitation films, 1970s nihilism, shopping malls and American consumer culture, noided political thrillers, punk counterculture, how the punks saw Blue Sunshine, 1950s sci-fi as an influence on Blue Sunshine, Stanford, MK-ULTRA, The GloveMusic by: Keith Allen Dennishttps://keithallendennis.bandcamp.com/ Hosted on Acast. See acast.com/privacy for more information.

In this episode, No Film School's GG Hawkins and guests Geeta Gandbhir and Viridiana Lieberman dive into the making of the breakout documentary The Perfect Neighbor, which uses police body‑cam, Ring‑cam and dash‑cam footage to tell a harrowing story of a neighborhood dispute and a fatal shooting in Florida under the “stand your ground” law. The conversation focuses on how editor Lieberman navigated massive technical and emotional challenges, how director Gandbhir shaped the vision and collaboration, and what it takes to make nonfiction storytelling that feels fresh, urgent and cinematic. In this episode, No Film School's GG Hawkins and guests Viridiana Lieberman and Geeta Gandbhir discuss: How Viridiana  Lieberman approached editing “The Perfect Neighbor”, choosing what to show when and from which vantage to preserve both clarity and emotional resonance. The origin of the project: how Geeta Gandbhir came to this story, the community she wanted to honor, and why she opted to build the film almost entirely out of institutional footage rather than recourse to expert interviews or narration. The technical and ethical challenges of juggling footage from very different sources (body cam, dash cam, Ring camera, 911 calls) in the edit room — and how Viridiana organised the workflow. The importance of tone, pacing and audience trust in documentary editing: trusting the audience, staying rooted with community, giving them room to observe rather than prescribing meaning. Collaboration between director and editor: the shorthand Lieberman and Gandbhir had built, the trust that was required, and how they shaped the structure together. Self‑care and emotional resilience when working on stories that deal with trauma, racial violence, and community grief — how Viridiana and the team held space for the neighborhood and for themselves. Advice for aspiring editors and filmmakers: start making stuff, vocalise what you want, collaborate with people you trust, don't wait for permission. Memorable Quotes: “I said, wow, the film created that space.” “There's moments of incredible insight and joy of this community … I always say surprising that people … do feel all of that.” “What I love is that Gita can direct me like I'm an actor … what are we trying to say here?” “The hardest part of this edit was more creative and technical because all of the … footage … is what it is.” Guests: Geeta Gandbhir Viridiana Lieberman Resources: Watch The  Perfect Neighbor on Netflix Find No Film School everywhere: On the Web: No Film School (https://nofilmschool.com/) Facebook: No Film School on Facebook (https://www.facebook.com/nofilmschool) Twitter: No Film School on Twitter (https://twitter.com/nofilmschool) YouTube: No Film School on YouTube (https://www.youtube.com/user/nofilmschool) Instagram: No Film School on Instagram (https://www.instagram.com/nofilmschool)  

In this episode, Dr. Steve Judson, and Drew Henderson are joined by Dr. Eddie Martinez and Dr. Brian Lieberman to dive into the pure chiropractic message and the power of going to DE. They share how staying grounded in chiropractic principles, and surrounding yourself with purpose-driven doctors, can reignite your passion, sharpen your focus, and transform the way you serve. Learn more at WakeUpHumans.org and check out Steve Judson's books and gear.

In this mind-expanding conversation, psychiatrist and author Daniel Lieberman unpacks the role of dopamine — the brain's molecule of motivation — and how it shapes nearly every aspect of our lives, from love and ambition to addiction and impulsive behavior. Drawing from his bestselling book *The Molecule of More*, Lieberman explains why we're wired to crave what's out of reach and why that craving often leads to restlessness, dissatisfaction, or destructive decisions. He contrasts dopamine's future-focused drive with the chemistry of the present moment, exploring how we mistake infatuation for love, sabotage long-term happiness, and continually chase “more” even when we have enough. Packed with science, stories, and sobering insights, this episode offers a framework for understanding your own behavior and building a more balanced relationship with desire itself. Hosted on Acast. See acast.com/privacy for more information.

The assassination of Charlie Kirk is the new 9//11: a shocking life-changing event that is giving birth to a new breed of domesticterrorists, who are playing whack-a-mole with Republican leaders.Your host, Carole Lieberman, M.D., a psychiatrist known as TheTerrorist Therapist®, starts off by talking about the significance of his assassination taking place the day before 9/11. She lists reasons why we are more vulnerable to Radical Islamist terroriststoday than on September 11, 2001, and adds the divisiveness, that caused Charlie Kirk to be assassinated, as a new reason.  Next, Dr. Lieberman psychoanalyzes the shooter, Tyler Robinson, and explores why he murdered Charlie Kirk - whom she knew from his being a guest on her podcast. You will hear about his motives, what his gender identity has to do with it, the messages on the bullets, the significance of his flunking out of college on scholarship and more. You will also hear about his ‘roommate'/lover, Lance Twiggs, and how he plays into this scenario. Finally, you'll hear about the aftermath of the assassination: the investigation, charges against Tyler Robinson, what his social media trail reveals, the consequences for people celebrating his death and so much more. 

Chelek 29, Chai Elul - Mrs. Sara Lieberman

Welcome to the Social-Engineer Podcast: The Doctor Is In Series – where we will discuss understandings and developments in the field of psychology.   In today's episode, Chris and Abbie delve into the fascinating world of intuition and gut feelings. They explore whether these instincts are rooted in biology or shaped by past experiences and discuss the science behind how our brains process environmental cues to make quick decisions. [Sept 1, 2025]   00:00 - Intro 00:44 - Dr. Abbie Maroño Intro 01:02 - Intro Links -          Social-Engineer.com - http://www.social-engineer.com/ -          Managed Voice Phishing - https://www.social-engineer.com/services/vishing-service/ -          Managed Email Phishing - https://www.social-engineer.com/services/se-phishing-service/ -          Adversarial Simulations - https://www.social-engineer.com/services/social-engineering-penetration-test/ -          Social-Engineer channel on SLACK - https://social-engineering-hq.slack.com/ssb -          CLUTCH - http://www.pro-rock.com/ -          innocentlivesfoundation.org - http://www.innocentlivesfoundation.org/                                 02:23 - New Book Announcement -          Lilly the Brave Lion - Dr. Abbie Maroño 03:34 - The Topic of the Day: All About Intuition 06:04 - Is Intuition Always Right? 10:39 - Training Over Instinct 13:56 - Teaching Autonomy 16:39 - Facing Hard Truths 20:19 - Lack of Self Trust 24:06 - Intuition or Trauma Response? 26:16 - Wrap Up & Outro -          www.social-engineer.com -          www.innocentlivesfoundation.org   Find us online: -          LinkedIn: linkedin.com/in/dr-abbie-maroño-phd -          Instagram: @DoctorAbbieofficial -          LinkedIn: linkedin.com/in/christopherhadnagy     References: American Psychological Association. (n.d.). Intuition. In APA Dictionary of Psychology. Retrieved March 29, 2025, from https://dictionary.apa.org/intuition   Bechara, A., Damasio, H., Tranel, D., & Damasio, A. R. (1997). Deciding advantageously before knowing the advantageous strategy. Science, 275(5304), 1293–1295. https://doi.org/10.1126/science.275.5304.1293   Dane, E., & Pratt, M. G. (2007). Exploring intuition and its role in managerial decision making. Academy of Management Review, 32(1), 33–54. https://doi.org/10.5465/amr.2007.23463682   Gigerenzer, G. (2007). Gut feelings: The intelligence of the unconscious. Viking.   Hodgkinson, G. P., Langan-Fox, J., & Sadler-Smith, E. (2008). Intuition: A fundamental bridging construct in the behavioral sciences. British Journal of Psychology, 99(1), 1–27. https://doi.org/10.1348/000712607X216666   Kahneman, D. (2011). Thinking, fast and slow. Farrar, Straus and Giroux.   Lieberman, M. D. (2000). Intuition: A social cognitive neuroscience approach. Psychological Bulletin, 126(1), 109–137. https://doi.org/10.1037/0033-2909.126.1.109   Sadler-Smith, E., & Shefy, E. (2004). The intuitive executive: Understanding and applying 'gut feel' in decision-making. Academy of Management Executive, 18(4), 76–91. https://doi.org/10.5465/ame.2004.15268692

FOLLOW RICHARD Website: https://www.strangeplanet.ca YouTube: @strangeplanetradio  Instagram: @richardsyrettstrangeplanet  SUPPORT OUR SPONSORS!!! HIMS - Making Healthy and Happy Easy to Achieve Sexual Health, Hair Loss, Mental Health, Weight Management START YOUR FREE ONLINE VISIT TODAY - HIMS dot com slash STRANGE https://www.HIMS.com/strange   ⁠⁠RingBoost⁠⁠ The largest provider of custom phone numbers since 2003 ⁠⁠https://www.ringboost.com⁠⁠ If you're ready to sound like the business people want to call, head over to ⁠⁠https://www.ringboost.com⁠⁠ and use promo code STRANGE for an exclusive discount.   QUINCE BEDDING Cool, Relaxed Bedding. Woven from 100% European flax linen. Visit www.quince.com/RSSP to get free shipping on your order and 365-day returns.    BECOME A PREMIUM SUBSCRIBER!!!  https://strangeplanet.supportingcast.fm  Three monthly subscriptions to choose from.  Commercial Free Listening, Bonus  Episodes and a Subscription to my monthly newsletter, InnerSanctum.  Visit https://strangeplanet.supportingcast.fm Use the discount code "Planet" to receive one month off the first subscription.  We and our partners use cookies to personalize your experience, to show you ads based on your interests, and for measurement and analytics purposes. By using our website and services, you agree to our use of cookies as described in our Cookie Policy. Learn more about your ad choices. Visit megaphone.fm/adchoices EP. # 1212 Diddy on Trial, but is His Mother the Mastermind? What drives a music icon to depravity? In this riveting episode of Strange Planet, forensic psychiatrist Dr. Carole Lieberman dissects the explosive sex-trafficking trial of Sean “Diddy” Combs. From his traumatic childhood to the intoxicating allure of fame, she uncovers the psychological forces fueling his alleged double life. With A-list names like Cassie Ventura and Britney Spears entangled, and whispers of political ties, this case could expose Hollywood's underbelly. Tune in as Dr. Lieberman reveals how trauma, power, and a culture of silence collide—and what it means for the elite. GUEST:  Dr. Carole Lieberman, aka, “America's Psychiatrist” is a Beverly Hills-based, board-certified forensic psychiatrist and bestselling author. With decades as an expert witness in high-profile cases, she's analyzed the minds of notorious figures. Hosting Dr. Carole's Couch and The Terrorist Therapist® Podcast, she offers incisive psychological insights. A frequent commentator on CNN, Fox News, and Court TV, Dr. Lieberman fearlessly tackles celebrity scandals and global crises. Today, she unpacks the psychological roots of Sean “Diddy” Combs' alleged crimes, exploring how trauma, fame, and power shape behavior. WEBSITE: http://www.drcarole.com   BOOKS: Bad Girls: Why Men Love Them & How Good Girls Can Learn Their Bad Boys: How We Love Them, How to Live with Them, When to Leave Them Coping with Terrorism Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://strangeplanet.supportingcast.fm/

Products often tell you exactly how they're intended to be used. But why leave it at that? As a culture, we have long had a knack for finding ingenious, off-label uses for things. In this episode, we take a close look at a few examples of products that are ostensibly meant for one thing, but are better known for something else entirely. We explore Q-tips, which we are explicitly told not to put into our ears; the Hitachi Magic Wand, the iconic sex toy marketed as a body massager; the musical washboard; and the children's electrolyte solution Pedialyte that many adults swear by as a hangover cure. You'll hear from Hallie Lieberman, author of Buzz: A Stimulating History of the Sex Toy; Jacqui Barnett of the Columbus Washboard Company; Christopher Wilson, curator and chair of the Division of Home and Community Life at the Smithsonian; musician and educator Súle Greg Wilson; zydeco musicians C.J. Chenier and Steve Nash; Shaughnessy Bishop-Stall, author of Hungover: The Morning After and One Man's Quest for the Cure; as well as writers Roberto Ferdman, Dan Brooks, and Kaitlyn Tiffany. Decoder Ring is produced by Willa Paskin, Max Freedman, Katie Shepherd, and Evan Chung, Decoder Ring's supervising producer. We had additional production from Sofie Kodner. Merritt Jacob is Senior Technical Director. Special thanks to Kate Sloan, Dr. Carol Queen, Bryony Cole, Amber Singer, Molly Born, Laura Selikson, and Nell McShane Wulfhart. If you have any cultural mysteries you want us to decode, please email us at DecoderRing@slate.com, or leave a message on our hotline at 347-460-7281. Sources for This Episode Bishop-Stall, Shaughnessy. Hungover: The Morning After and One Man's Quest for the Cure, Penguin, 2018. Brooks, Dan. “Letter of Recommendation: Pedialyte,” New York Times Magazine, Jan. 26, 2017. Comella, Lynn. Vibrator Nation: How Feminist Sex-Toy Stores Changed the Business of Pleasure, Duke University Press, 2017. Dodson, Betty. “Having Sex with Machines: The Return of the Electric Vibrator,” Dodson and Ross, June 9, 2010. Feran, Tim. “Pedialyte Is Not Just For Kids,” Columbus Dispatch, July 19, 2015. Ferdman, Roberto A. “The strange life of Q-tips, the most bizarre thing people buy,” Washington Post, Jan. 20, 2016. Kushner, David. “Inside Orgasmatron,” Village Voice, March 26, 1999. Lieberman, Hallie. Buzz: A Stimulating History of the Sex Toy, Pegasus Books, 2017. Lieberman, Hallie. “Selling Sex Toys: Marketing and the Meaning of Vibrators in Early Twentieth-Century America,” Enterprise & Society, June 2016. Russel, Ruth. “Hangover Remedies? I'll Drink to That!,” Idaho Statesman, Jan. 1, 1978. Sloan, Kate. Making Magic, 2024. Tiffany, Kaitlyn. “How Pedialyte got Pedialit,” Vox, Sep. 10, 2018. Williams, Dell. “The Roots of the Garden,” Journal of Sex Research, August 1990. Wulfhart, Nell McShane. “The Best Hangover Cure,” Slate, Aug. 29, 2013. Want more Decoder Ring? Subscribe to Slate Plus to unlock exclusive bonus episodes. Plus, you'll access ad-free listening across all your favorite Slate podcasts. Subscribe now on Apple Podcasts by clicking “Try Free” at the top of the Decoder Ring show page. Or, visit slate.com/decoderplus to get access wherever you listen. Learn more about your ad choices. Visit megaphone.fm/adchoices