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How do you build a creative life that spans music, writing, film, and spiritual practice? Alicia Jo Rabins talks about weaving multiple creative strands into a sustainable career and why the best advice for any creator might simply be: just make the thing. In the intro, backlist promotion strategy [Written Word Media]; Successful author business [Novel Marketing Podcast]; Alliance of Independent Authors Indie Author Bookstore; Bones of the Deep – J.F. Penn This podcast is sponsored by Kobo Writing Life, which helps authors self-publish and reach readers in global markets through the Kobo eco-system. You can also subscribe to the Kobo Writing Life podcast for interviews with successful indie authors. This show is also supported by my Patrons. Join my Community at Patreon.com/thecreativepenn Alicia Jo Rabins is an award-winning writer, musician, performer, as well as a Torah teacher and ritualist. She's the creator of Girls In Trouble, a feminist indie-folk song cycle about biblical women, and the award-winning film, A Kaddish for Bernie Madoff. Her latest book is a memoir, When We Are Born We Forget Everything. You can listen above or on your favorite podcast app or read the notes and links below. Here are the highlights, and the full transcript is below. Show Notes Building a sustainable multi-disciplinary creative career through teaching, performance, grants, and donations Trusting instinct in the early generative stages of creativity and separating generation from editing Adapting and reimagining religious and cultural source material through music, writing, and performance The challenges of transitioning from poetry to long-form prose memoir, including choosing a lens for your story Making an independent film on a shoestring budget without waiting for Hollywood's permission Finding your creative voice and building confidence by leaning into vulnerability and returning to the practice of making You can find Alicia at AliciaJo.com. Transcript of the interview with Alicia Jo Rabins Joanna: Alicia Jo Rabins is an award-winning writer, musician, performer, as well as a Torah teacher and ritualist. She's the creator of Girls In Trouble, a feminist indie-folk song cycle about biblical women, and the award-winning film, A Kaddish for Bernie Madoff. Her latest book is a memoir, When We Are Born We Forget Everything. So welcome to the show, Alicia. Alicia: Thank you so much. I'm delighted to be here. Joanna: There is so much we could talk about. But first up— Tell us a bit more about you and how you've woven so many strands of creativity into your life and career. Alicia: Yes, well, I am a maximalist. What happened in terms of my early life is that I started writing on my own, just extremely young. I'm one of those people who always loved writing, always processed the world and managed my emotions and came to understand myself through writing. So from a very young age, I felt really committed to writing. Then I had the good fortune that my mother saw a talk show about the Suzuki method of learning violin—when you start really young and learn by ear, which is modelled after language learning. It's so much less intellectual and much more instinctual, learning by copying. She was like, that looks like a cool thing. I was three years old at the time and she found out that there was a little local branch of our music conservatory that had a Suzuki violin programme. So when I was three and a half, getting close to four, she took me down and I started playing an extremely tiny violin. Joanna: Oh, cute! Alicia: Yes, and because it was part of this conservatory that was downtown, and we were just starting at the suburban branch where we lived, there was this path that I was able to follow. As I got more and more interested in violin, I could continue basically up through the conservatory level during high school. So I had a really fantastic music education without any pressure, without any expectations or professional goals. I just kept taking these classes and one thing led to another. I grew up being very immersed in both creative writing and music, and I think just having the gift of those two parts of my brain trained and stimulated and delighted so young really changed my brain in some ways. I'll always see the world through this creative lens, which I think I'm also just set up to do personally. Then the last step of my multi-practice career is that in college I got very interested in Jewish spirituality. I'm Jewish, but I didn't grow up very religious. I didn't grow up in a Jewish community really. So I knew some basics, but not a ton. In college I started to study it and also informally learned from other people I met. I ended up going on a pretty intense spiritual quest, going to Jerusalem and immersing myself after college for two years in traditional Jewish study and practice. So that became the third strand of the braid that had already been started with music and writing. Torah study, spiritual study, and teaching became the third, and they all interweave. The last thing I'll say is that because I work in both words and music, and naturally performance because of music, it began to branch a little bit into plays, theatre, and film, just because that's where the intersection of words, performance, and music is. So that's really what brought me into that, as opposed to any specific desire to work in film. It all happened very organically. Joanna: I love this. This is so cool. We are going to circle back to a lot of this, but I have to ask you— What about work for money at any point? How did this turn into more than just hobbies and lifestyle? Alicia: Yes, absolutely. Well, I'm very fortunate that I did not graduate college with loans because my parents were able to pay for college. That was a big privilege that I just want to name, because in the States that's often not the case. So that allowed me to need to support myself, but not also pay loans, which was a real gift. What happened was I went straight from college to that school in Jerusalem, and there I was on loans and scholarship, so I didn't have to worry yet about supporting myself. Then when I came back to the States, I actually found on Craigslist a job teaching remedial Hebrew. It was essentially teaching kids at a Jewish elementary school who either had learning differences or had just entered the school late and needed to be in a different Hebrew class than the other kids in their grade. That was my first experience of really teaching, and I just absolutely fell in love with it. Although in the end, my passion is much more for teaching the text and rituals and the wrestling with the concepts, as opposed to teaching language. So all these years, while doing performance and writing and all these things, I have been teaching Jewish studies. That has essentially supported me, I would say, between 50 and 70 per cent. Then the rest has been paid gigs as a musician, whether as a front person leading a project or as what we call a sideman, playing in someone else's band. Sometimes doing theatre performances, sometimes teaching workshops. That's how I've cobbled it together. I have not had a full-time job all these years and I have supported myself through both earned income and also grants and donations. I've really tried to cultivate a little bit of a donor base, and I took some workshops early on about how to welcome donations. So I definitely try to always welcome that as well. Joanna: That is so interesting that you took a workshop on how to welcome donations. Way back in, I think 2013, I said on this show, I just don't know if I can accept people giving to support the show. Then someone on the podcast challenged me and said, but people want to support creatives. That's when I started Patreon in 2014. It was when The Art of Asking by Amanda Palmer came out and— It was this realisation that people do want to support people. So I love that you said that. Alicia: It's not easy. It's still not easy for me, and I have to grit my teeth every time I even put in my end-of-year newsletter. I just say, just a reminder that part of what makes this possible is your generous donations, and I'm so grateful to you. It's not easy. I think some people enjoy fundraising. I certainly don't instinctively enjoy it, but I have learned to think of it exactly the way that you're saying. I mean, I love donating to support other people's projects. Sometimes it's the highlight of my day. If I'm having a bad day and someone asks for help, either to feed a family or to complete a creative project, I just feel like, okay, at least I can give $36 or $25 and feel like I did something positive in the last hour, even if my project is going terribly and I'm in a fight with my kid or something. So I have to keep in mind that it is actually a privilege to give as well as a privilege to receive. Joanna: Absolutely. So let's get back into your various creative projects. The first thing I wanted to ask you, because you do have so many different formats and forms of your creativity—how do you know when an idea that comes to you should be a song, or something you want to do as a performance, or written, or a film? Tell us a bit about your creative process. Because a lot of your projects are also longer-term. Alicia: Yes. It's funny, I love planning and in some ways I'm an extreme planner. I really drive people in my family bonkers with planning, like family vacations a year in advance. In terms of my creativity, I'm very planful towards goals, but in that early generative state, I am actually pure instinct. I don't think I ever sit down and say, “I have this idea, which genre would it match with?” It's more like I sit on my bed and pick up my guitar, which is where I love to do songwriting, just sitting on my bed cross-legged, and I pick up my guitar and something starts coming out. Then I just work with that kernel. So it's very nebulous at first, very innate, and I just follow that creative spirit. Often I don't even know what a project is, sometimes if it's a larger project, until a year or two in. Once things emerge and take shape, then my planning brain and my strategy brain can jump on it and say, “Okay, we need three more songs to fill out the album, and we need to plan the fundraising and the scheduling.” Then I might take more of an outside-in approach. At the beginning it's just all instinct. Joanna: So if you pick up your guitar, does that mean it always starts in music and then goes into writing? Or is that you only pick up a guitar if it's going to be musical? Alicia: I think I'm responding to what's inside me. It's almost like a need, as opposed to, “I'm going to sit down and work.” I mean, obviously I sit down and work a lot, but I think in that early stage of anything, it's more like my fingers are itching to play something, and so I sit down and pick up my guitar. Sometimes nothing comes out and sometimes the kernel of a song comes out. Or I'm at a café, and I often like to write when I'm feeling a little bit discombobulated, just to go into the complexity of things or use challenging emotions as fuel. I really do use it as a—I don't know if therapeutic is the word, but I think it maybe is. I write often, as I always have, as I said before, to understand what I'm thinking. Like Joan Didion said—to process difficult emotions, to let go of stuck places. So I think I create almost more out of a sense of just what I need in the moment. Sometimes it's just for fun. Sometimes picking up a guitar, I just have a moment so I sit down and mess around. Sometimes it's to help me struggle with something. It doesn't always start in music. That was a random example. I might sit down to write because I have an hour and I think, I haven't written in a while. Or I do have an informal daily writing thing where I'll try to generate one loose draft of something a day, even if it's only ten pages. I mean, sorry, ten words. Joanna: I was going to say! Alicia: No, no. Ten words. I'm sorry. It's often poetry, so it feels like a lot when it's ten words. I'll just sit down with no pressure, no goal, no intention to make anything specific. Just open the floodgates and see what comes out. That's where every single project of mine has started. Joanna: Yes, I do love that. Obviously, I'm a discovery writer and intuitive, same as you. I think very much this idea of, especially when you said you feel discombobulated, that's when you write. I almost feel like I need that. I'm not someone who writes every day. I don't do ten lines or whatever. It's that I'll feel that sense of pressure building up into “this is going to be something.” I will really only write or journal when that spills over into— “I now need to write and figure out what this is.” Alicia: Yes. It's almost a form of hunger. It feels to me similar to when you eat a great meal and then you're good for a while. You're not really thinking of it, and then it builds up, like you said, and then there's a need—at least the first half of creativity. I really separate my generation and my editing. So my generative practice is all openness, no critique, just this maybe therapeutic, maybe curious, wandering and seeing what happens. Then once I have a draft, my incisive editing mind is welcome back in, which has been shut out from that early process. So that's a really different experience. Those early stages of creativity are almost out of need more than obligation. Joanna: Well, just staying with that generative practice. Obviously you've mentioned your study of and practice of Jewish tradition and Jewish spirituality. Steven Pressfield in his books has talked about his prayer to the muse, and I've got on my wall here—I don't talk about this very often, actually — I have a muse picture, a painting of what I think of as a muse spirit in some form. So do you have any spiritual practices around your generative practice and that phase of coming up with ideas? Alicia: I love that question, and I wish I had a beautiful, intentional answer. My answer is no. I think I experience creativity as its own spiritual practice itself. I do love individual prayer and meditation and things like that, but for me those are more to address my specifically spiritual health and happiness and connectedness. I'm just a dive-in kind of person. As a musician, I have friends who have elaborate backstage rituals. I have to do certain things to take care of my voice, but even that, it's mostly vocal rest as opposed to actively doing things. There's a bit of an on/off switch for me. Joanna: That's interesting. Well, I do want to ask you about one of your projects, this collaboration with a high school on a musical performance, I Was a Desert: Songs of the Matriarchs, and also your Girls in Trouble songs about women in the Torah. On your website, I had a look at the school, the high school, and the musical performance. It was extraordinary. I was watching you in the school there and it's just such extraordinary work. It very much inspired me—not to do it myself, but it was just so wonderful. I do urge people to go to your website and just watch a few minutes of it. I'm inspired by elements of religion, Christian and Jewish, but I wondered if you've come up against any issues with adaptation—respecting your heritage but also reinventing it. How has this gone for you. Any advice for people who want to incorporate aspects of religion they love but are worried about responses? Alicia: Well, I have to say, coming from the Jewish tradition, that is a core practice of Judaism—reinterpreting our texts and traditions, wrestling with them, arguing with them, reimagining them. I don't know if you're familiar with Midrash, but just in case some of your listeners aren't sure I'll explain it. There's essentially an ancient form of fanfic called Midrash, which was the ancient rabbis, and we still do it today, taking a biblical story that seems to have some kind of gap or inconsistency or question in it and writing a story to fill that gap or recast the story in an interestingly different light. So we have this whole body of literature over thousands of years that are these alternate or added-on adventures, side quests of the biblical characters. What I'm doing from a Jewish perspective is very much in line with a traditional way of interacting with text. I've certainly never gotten any pushback, especially as I work in progressive Jewish communities. I think if I were in an extremely fundamentalist community, there would be a lot of different issues around gender and things like that. The interpretive process, even in those communities, is part of how we show respect for the text. When I was working with the high school—and I just want to call out the choir director, Ethan Chen, who has an incredible project where he brings in a different artist every two years to work with the choir, and they tend to have a different cultural focus each time. He invited me specifically to integrate my songwriting about biblical women with his amazing high school choir. I was really worried at first because most of them are not Jewish—very few of them, if any. I wanted to respect their spiritual paths and their religious heritages and not impose mine on them. So I spent a lot of time at the beginning saying, this project has religious source material, but essentially it is a creative reinterpretive project. I am not coming to you to bring the religious material to you. I'm coming to take the shared Hebrew Bible myths and then reinterpret those myths through a lens of how they might reflect our own personal struggles, because that's always my approach to these ancient stories. I wanted to really make that clear to the students. It was such a joy to work with them. Joanna: It's such an interesting project. Also, I find with musicians in general this idea of performance. You've written this thing—or this thing specifically with the school—and it doesn't exist again, right? You're not selling CDs of that, I presume. Whereas compared to a book, when we write a book, we can sell it forever. It doesn't exist as a performance generally for an author of a memoir or a novel. It carries on existing. So how does that feel, the performance idea versus the longer-lasting thing? I mean, I guess the video's there, but the performance itself happened. Alicia: I do know what you mean. Absolutely. We did, for that reason, record it professionally. We had the sound person record it and mix it, so it is available to stream. I'm not selling CDs, but it's out there on all the streaming services, if people want to listen. I do also have the scores, so if a choir wanted to sing it. The main point that you're making is so true. I think there's actually something very sacred about live performance—that we're all in the moment together and then the moment is over. I love the artefacts of the writing life. I love writing books. I love buying and reading books and having them around, and there's piles of them everywhere in this room I'm standing in. I feel like being on stage, or even teaching, is a very spiritual practice for me, because it's in some ways the most in-the-moment I ever am. The only thing that matters is what's happening right then in that room. It's fleeting as it goes. I'm working with the energy in the room while we're there. It's different every time because I'm different, the atmosphere is different, the people are different. There's no way to plan it. The kind of micro precision that we all try to bring to our editing—you can't do that. You can practice all you want and you should, but in the moment, who knows? A string breaks or there's loud sound coming from the other room. It is just one of those things. I love being reminded over and over again of the truth that we really don't control what happens. The best that we can do is ride it, surf it, be in it, appreciate it, and then let it go. Joanna: I think maybe I get a glimpse of that when I speak professionally, but I'm far more in control in that situation than I guess you were with—I don't know how many—was it a hundred kids in that choir? It looked pretty big. Alicia: It was amazing. It was 130 kids. Yes. Joanna: 130 kids! I mean, it was magic listening to it. And yes, of course, showing my age there with buying a CD, aren't I? Alicia: Well, I do still sell some CDs of Girls in Trouble on tour, because I have a bunch of them and people still buy them. I'm always so grateful because it was an easier life for touring musicians when we could just bring CDs. Now we have to be very creative about our merch. Joanna: Yes, that's a good point because people are like, “Oh yes, I'll scan your QR code and stream it,” but you might not get the money for that for ages, and it might just be five cents or whatever. Alicia: Streaming is terrible for live musicians. I mean, I don't know if you know the site Bandcamp, but it's essentially self-publishing for musicians. Bandcamp is a great way around that, and a lot of independent musicians use it because that's a place you can upload your music and people can pay $8 for an album. They can stream it on there if they want, or they can download it and have it. But, yes, it's hard out there for touring musicians. Joanna: Yes, for sure. Well, let's come to the book then. Your memoir, When We Are Born We Forget Everything. Tell us about some of the challenges of a book as opposed to these other types of performances. Alicia: Well, I come out of poetry, so that was my first love. That's what I majored in in college. That's what my MFA is in. Poetry is famously short, and I'm not one of those long-form poets. I have been trained for many years to think in terms of a one-page arc, if at all. Arc isn't even really a word that we use in poetry. So to write a full-length prose book was really an incredible education. Writing it basically took ten years from writing to publication, so probably seven years of writing and editing. I felt like there was an MFA-equivalent process in the number of classes I took, books I read, and work that went into it. So that was one of my main joys and challenges, really learning on the job to write long-form prose coming out of poetry. How to keep the engine going, how to think about ending one chapter in a way that leaves you with some torque or momentum so that you want to go into the next chapter. How many characters is too many? Who gets names and who doesn't? Some of these things that are probably pretty basic for fiction writers were all very new to me. That was a big part of my process. Then, of course, poets don't usually have agents. So once it was done, I began to query agents. It was the normal sort of 39 rejections and then one agent who really understood what I was trying to do. She's incredible, and she was able to sell the book. The longevity of just working on something for that long—I have a lot of joy in that longevity—but it does sometimes feel like, is this ever going to happen, or am I on a fool's errand? Joanna: I guess, again, the difference with performance is you have a date for the performance and it's done then. I suppose once you get a contract, then for sure it has to be done. But memoir in particular, you do have to set boundaries, because of course your life continues, doesn't it? So what were the challenges in curating what went into the book? Because many people listening know memoir is very challenging in terms of how personal it can be. Alicia: Yes, and one thing I think is so fascinating about memoir is choosing which lens to put on your story, on your own story. I heard early on that the difference between autobiography and memoir is that autobiography tries to give a really comprehensive view of a life, and memoir is choosing one lens and telling the story of a life through that lens, which is such a beautiful creative concept. I knew early on that I wanted this to be primarily a spiritual memoir, and also somewhat of an artistic memoir, because my creativity and my spirituality are so intertwined. It started off being spiritual, and also about my musical life, and also about my writing life. In the end, I edited out the part about my writing life, because writing about writing was just too navel-gazing. So there's nothing in there about me coming of age as a writer, which used to be in there, but that whole thing got taken out. Now it's spiritual and musical. For me, it really helped to start with those focuses, because I knew there may be things that were hugely important in my life, absolutely foundational, that were not really going to be either mentioned or gone deeply into in the book. For example, my husband teases me a lot about how few pages and words he gets. He's very important in my life, but I actually met him when I was 29, and this book really mainly takes place in the years leading up to that. There's a little bit of winding down in the first few years of my thirties, but this is not a book about my life with him. He is mentioned in it. That story is in there. Having those kinds of limitations around the canvas—there's a quote, I forget if it was Miranda July, but somebody said something like, basically when you put a limitation on your project, that's when it starts to be a work of art. Whatever it is, if you say, “I'm taking this canvas and I'm using these colours,” that's when it really begins, that initial limitation. That was very helpful. Joanna: It's also the beauty of memoir, because of course you can write different memoirs at different times. You can write something about your writing life. You can write something else about your marriage and your family later on. That doesn't all have to be in one book. I think that's actually something I found interesting. And I would also say in my memoir, Pilgrimage, my husband is barely mentioned either. Alicia: Does he tease you too? Joanna: No, I think he's grateful. He is grateful for the privacy. Alicia: That's why I keep saying, you should be grateful! Joanna: Yes. You really should. Like, maybe stop talking now. Alicia: Yes, exactly. I know. Marriage, memoir—those words should strike fear into his heart. Joanna: They definitely should. But let's just come back. When I look at your career— You just seem such an independent creative, and so I wondered why you decided to work with a traditional publisher instead of being an independent. How are you finding it as someone who's not in charge of everything? Alicia: It's a great question. The origin story for this memoir is that I was actually reading poetry at a writing conference called Bread Loaf in the States. This was 16 years ago or something. I was giving a poetry reading and afterwards an agent, not my agent, came up to me and said, you know, you have a voice. You should try writing nonfiction because you could probably sell it. Back to your question about how I support myself, I am always really hustling to make a living. It's not like I have some separate well-paying job and the writing has no pressure on it. So my ears kind of perked up. I thought, wait, getting paid for writing? Because poetry is literally not in the world. It's just not a concept for poets. That's not why we write and it's not a possibility. So a little light turned on in my brain. I thought, wow, that could be a really interesting element to add to my income stream, and it would be flexible and it would be meaningful. For a few years I thought, what nonfiction could I write? And I came up with the idea of writing a book about biblical women from a more scholarly perspective, because I teach that material and I've studied it. I went to speak to another agent and she said, well, you could do that, but if you actually want to sell a book, it's going to have to be more of a trade book. So if you don't want an academic press, which wouldn't pay very much, you would have to have some kind of memoir-like stories in there to just sweeten it so it doesn't feel academic. So then I began writing a little bit of spiritual memoir. I thought, okay, well, I'll write about a few moments. Then once I started writing, I couldn't stop. The floodgates really opened. That's how it ended up being a spiritual memoir with interwoven stories of biblical women. It became a hybrid in that sense. I knew from the beginning that this project—for all my saying earlier that I never plan anything and only work on instinct, I was thinking as I said that, that cannot be true. This time, I actually thought, what if, instead of coming from this pure, heart-focused place of poetry, I began writing with the intention of potentially selling a book? The way my fiction writer friends talked about selling their books. So that was always in my mind. I knew I would continue writing poetry, continue publishing with small presses, continue putting my own music out there independently, but this was a bit of an experiment. What if I try to interface with the publishing world, in part for financial sustainability? And because I had a full draft before I queried, I never felt like anyone was telling me what to write. I can't imagine personally selling a book on proposal, because I do need that full capacity to just swerve, change directions, be responsive to what the project is teaching me. I can't imagine promising that I'll write something, because I never know what I'll write. But writing at least a very solid draft first, I'm always delighted to get notes and make polish and rewrite and make things better. I took care of that freedom in the first seven years of writing and then I interfaced with the agent and publisher. Joanna: I was going to say, given that it's taken you seven to ten years to do this and I can't imagine that you're suddenly a multimillionaire from this book. It probably hasn't fulfilled the hourly rate that perhaps you were thinking of in terms of being paid for your work. I think some people think that everyone's going to end up with the massive book deal that pays for the rest of their life. I guess this book does just fit into the rest of your portfolio career. Alicia: Yes. One of the benefits of these long arcs that I like to work on is, one of them—and probably the primary one—is that the project gets to unfold on its own time. I don't think I could have rushed it if I wanted. The other is that it never really stopped me from doing any of my other work. Joanna: Mm-hmm. Alicia: So it's not like, oh, I gave up months of my life and all I got was this advance or something. It's like, I was living my life and then when I had a little bit of writing time—and I will say, it impacted my poetry. I haven't written as much poetry because I was working on this. So it wasn't like I just added it on top of everything I was already doing, but it was a pleasure to just switch to prose for a while. It was just woven into my life. I appreciated having this side project where no one was waiting for it. There were no deadlines, there was no stress around it, because I always have performances to promote and due dates for all kinds of work. It was just this really lovely arena of slow growth and play. When I wanted a reader, I could do a swap with a writer friend, but no one was ever waiting for it on deadline. So there's actually a lot of pleasure in that. Then I will say, I think I've made more from selling this than my poetry. Probably close to ten times more than I've ever made from any of my poetry. So on a poetry scale, it's certainly not going to pay for my life, but it actually does make a true financial difference in a way that much of my other work is a little more bit by bit by bit. It's actually a different scale. Joanna: Well, that's really good. I'm glad to hear that. I also want to ask you, because you've done so many things, and— I'm fascinated by your independent film, A Kaddish for Bernie Madoff. I have only watched the trailer. You are in it, you wrote it, directed it, and it's also obviously got other people in, and it's fascinating. It's about this particular point in history. I've written quite a lot of screenplay adaptations of my novels, and I've had some various amounts of interest, but the whole film industry to me is just a complete nightmare, far bigger nightmare than the book industry. So I wonder if you could maybe talk about this, because it just seems like you made a film, which is so cool. Alicia: Oh yes, thank you. Joanna: And it won awards, yes, we should say. Alicia: Did we win awards? Yes. It really, for an extremely low-budget indie film, went far further than my team and I could ever have imagined. I will say I never intended to make a film. Like most of the best things in my life, it really happened by accident. When I was living in New York— I lived there for many years—the 2008 financial collapse happened and I happened to have an arts grant that gave a bunch of artists workspace, studio space, in essentially an abandoned building in the financial district. It was an empty floor of a building. The floor had been left by the previous tenant, and there's a nonprofit that takes unused real estate in the financial district and lets artists work in it for a while. So I was on Wall Street, which was very rare for me, but for this year I was working on Wall Street. Even though I was working on poems, the financial collapse happened around me, and I did get inspired by that to create a one-woman show, which was more of a theatre show. That was already a huge leap for me because I had no real theatre experience, but it was experimental and growing out of my poetry practice and my music. It was a musical one-woman show about the financial collapse from a spiritual perspective, apparently. So I performed that. I documented it, and then a friend who lives in Portland, Oregon, where I now live, said, “I'm a theatre producer, I'd like to produce it here.” So then I rewrote it and did a run here in Portland of that show. Essentially, I started to tour it a little bit, but I got tired of it. It was too much work and it never really paid very much, and I thought, this is impacting my life negatively. I just want to do a really good documentation of the show. So I wanted to hire a theatre documentarian to just document the show so that it didn't disappear, like you were saying before about live performance. But one of the people I talked to actually ended up being an artistic filmmaker, as opposed to a documentarian. She watched the archival footage, just a single camera of the show, and said, “I don't think you should do this again and film it with three cameras. I think you should make it into a feature film. And in fact, I think maybe I should direct it, because there's all this music in it and I also direct music videos.” We had this kind of mind meld. Joanna: Mm. Alicia: I never intended to make a film, but she is a visionary director and I had this piece of IP essentially, and all the music and the writing. We adapted it together. We did it here in Portland. We did all the fundraising ourselves. We did not interface with Hollywood really. I think that would be, I just can't imagine. I love Hollywood, but I'm not really connected, and I can't imagine waiting for someone to give us permission or a green light to make this. It was experimental and indie, so we just really did it on the cheap. We had an amazing producer who helped us figure out how to do it with the budget that we had. We worked really hard fundraising, crowdfunding, asking for donations, having parties to raise money, and then we just did it and put it out there. I think my main advice—and I hear this a lot on screenwriting podcasts—is just make the thing. Make something, as opposed to trying to get permission to make something. Because unless you're already in that system, it's going to be really hard to get permission to make it. Once you make something, that leads to something else, which leads to something else. So even if it's a very short thing, or even if it's filmed on your phone, just actually make the thing. That turned out to be the right thing for us. Joanna: Yes, I mean, I feel like that is what underpins us as independent creatives in general. As an independent author, I feel the same way. I'm never asking permission to put a book in the world. No, thank you. Alicia: Exactly. We have a vision and we do it. It's harder in some ways, but that liberation of being able to really fully create our vision without having to compromise it or wait for permission, I think it's such a beautiful thing. Joanna: Well, we're almost out of time, but I do want to ask you about creative confidence. Alicia: Hmm. Joanna: I feel I'm getting a lot of sense about this at the moment, with all the AI stuff that's happening. When you've been creating a long time, like you and I have, we know our voice and we can lean into our voice. We are creatively confident. We'll fail a lot, but we'll just push on and try things and see what happens. Newer creators are struggling with this kind of confidence. How do I know what is my voice? How do I know what I like? How do I lean into this? So give us some thoughts about how to find your voice and how to find that creative confidence if you don't feel you have it. Alicia: I love that. One thing I will say is that I always think whatever is arising is powerful material to create from. So if a lack of confidence is arising, that's a really powerful feeling to directly explore and not just try to ignore. Although sometimes one has to just ignore those feelings. But to actually explore that feeling, because AI can't have that, right? AI can't really feel a crisis of confidence, and humans can. So that's a gift that we have, those kinds of sensitivities. I think to go really deep into whatever is arising, including the sense that we don't have the right to be creating, or we're not good enough, or whatever it is. Then I always do come back to a quote. I think it might have been John Berryman, but I'm forgetting which poet said it. A younger poet said, “How will I ever know if I'm any good?” And this famous poet said something like—I'm paraphrasing—”You'll never know if you're any good. If you have to know, don't write.” That has been really liberating to me, actually. It sounds a little harsh, but it's been really liberating to just let go of a sense of “good enough.” There is no good enough. The great writers never know if they're good enough. Coming back to this idea of just making without permission—the practice of doing the thing is being a writer. Caring and trying to improve our craft, that's the best that we can have. There's never going to be a moment where we're like, yes, I've nailed this. I am truly a hundred per cent a writer and I have found my voice. Everything's always changing anyway. I would say, either go into those feelings or let those feelings be there. Give them a little tea. Tell them, okay, you're welcome to be here, but you don't get to drive the boat. And then return to the practice of making. Joanna: Absolutely. Great. So where can people find you and your books and everything you do online? Alicia: Everything is on my website, which is AliciaJo.com, and also on Instagram at @ohaliciajo. I'd love to say hello to anyone who's interested in similar topics. Joanna: Brilliant. Well, thanks so much for your time, Alicia. That was great. Alicia: Thank you. I love your podcast. I'm so grateful for all that you've given the writing world, Jo.The post Creative Confidence, Portfolio Careers, And Making Without Permission with Alicia Jo Rabins first appeared on The Creative Penn.
Secret Tomb of the Patriarchs and Matriarchs or Gateway to Eden? PODCAST INFO:Podcast website: https://yishaifleisher.com/podcastYouTube: https://www.youtube.com/c/YishaiFleisherTVSUPPORT & CONNECT:Buy Me a Coffee: https://buymeacoffee.com/yishaiFight4Israel: https://fight4israel.givecloud.coTwitter: https://twitter.com/YishaiFleisherLinkedIn: https://www.linkedin.com/in/yishaifleisherFacebook: https://www.facebook.com/YishaiFleisher Support the show
What if your best days haven't even happened yet? In this episode of Ask Kati Anything, I'm joined by the incredible Amy Edwards—CEO, author, and host of The Amy Edwards Show. At 53, Amy is the happiest she's ever been, but getting here required walking through some of life's darkest valleys. We dive deep into the messy, complicated, and ultimately beautiful process of transformation. Amy opens up about the stigma of being twice-divorced, the "blackout" period of losing her voice during a legal battle, and her unconventional journey through psychedelic healing and sobriety. Whether you are struggling with a "failed" relationship, feeling stuck in a cycle of rumination, or wondering if it's too late to start over, this conversation is a reminder that you don't need anything outside of yourself to access hope. Shopping with our sponsors helps support Ask Kati Anything. Please check out this week's special offer: Feel like your best self again, visit https://www.forhers.com/KATI to get a personalized, affordable plan that gets you! Chapters 00:00 – Meet Amy Edwards 03:04 – Becoming the "Matriarchs" after losing parents 04:29 – Religious differences and choosing love over judgment 09:35 – The reality of divorce at 25 vs. later in life 13:57 – A perfect storm: Pregnancy, losing a mother, and a broken leg 17:46 – The "Rebound Marriage" and learning to stand up for yourself 21:14 – Why "Staying for the Kids" can be the real failure 26:42 – Modeling resilience: Showing children that women can do anything 30:12 – Mental health tools: The "Don't Drink the Drano Today" logic 36:32 – Psychedelics and Ego Death: Rewiring the brain 40:32 – Ketamine therapy and clearing the "ruminating sand" 43:10 – The road to sobriety and finding a growth-mindset partner 54:19 – The "Table" Metaphor: Breaking the cycle of transactional love 01:03:16 – Losing your voice: When the body forces you to slow down 01:07:37 – Radical Self-Love: doing mirror work 01:15:45 – Your best days haven't happened yet MORE AMY https://www.youtube.com/@TheAmyEdwardsShow The Trouble with Becoming a Witch: A Novel by Amy Edwards https://amzn.to/4ahkoFU https://www.instagram.com/realamyedwards/ MY BOOKS Why Do I Keep Doing This? https://geni.us/XoyLSQ Traumatized https://geni.us/Bfak0j Are u ok? https://geni.us/sva4iUY ONLINE THERAPY (enjoy 10% off your first month) While I do not currently offer online therapy, BetterHelp can connect you with a licensed, online therapist: https://betterhelp.com/kati PARTNERSHIPS Nick Freeman | nick@biglittlemedia.co DISCLAIMER The information provided in this video is for educational and informational purposes only and is not intended as medical or mental health advice. It should not be used to diagnose or treat any health problem or disease. Always consult with a qualified healthcare professional for diagnosis and treatment. Viewing this content does not establish a therapist-client relationship. Ask Kati Anything ep. 300 | Your mental health podcast, with Kati Morton, LMFT Learn more about your ad choices. Visit megaphone.fm/adchoices
The Jews: 5,000 Years and Counting (Wicked Son, 2025) is packed with Jew-facts, Jew-figures, and the original, never-before-seen documents from those who lived through Jewish history. Read the transcript of the Biblical Patriarchs' and Matriarchs' Group Therapy Session! Sneak a peek at Moses' Secret Diary, or check out the awkward “I'm dumping you” text chain from Spain to the Jews in 1492! Collect and trade Rabbi Action Cards!Covering every major moment in Jewish history from the literal “Beginning” to Tuesday's rerun of Seinfeld, this book will make you laugh. It might inadvertently make you learn. If you're Jewish, it will unquestionably give you something to kvetch about. Paul Lerner is Chair of the History Department at the University of Southern California where he directs the Max Kade Institute for Austrian-German-Swiss Studies. Website here. Link to my book here Email me at plerner@usc.edu Connect at @plerner.bsky.social Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network
In Ask Away #29 of the Everyday Judaism podcast, Rabbi Aryeh Wolbe answers a wide range of live and emailed questions on practical halacha, Jewish identity, and intentional living:Seven-grain bread — Still hamotzi (bread) because it is made from the five grains + water with bread-like consistency, texture, and taste—even with added grains/flavors.Pretzel bagels/pretzel buns — Treated as bread (hamotzi) due to consistency; the pretzel topping/flavor doesn't change the halachic status.Matzah — Hamotzi (considered bread, just unleavened); crackers generally fall into mezonot (pas haba b'kisnin/snack category).Matriarchs & grandchildren — No specific tradition explains why Sarah, Rivka, and Rachel never saw grandchildren (Isaac married after Sarah's death; Rivka died before grandchildren returned; Rachel died en route to Bethlehem). Leah likely saw at least Asenat (Dina's daughter). Rabbi emphasizes the privilege of seeing grandchildren/great-grandchildren today and grandparents' responsibility to influence positively without overstepping (e.g., no interference in naming).Naming customs — Parents alone decide children's names (no parental/grandparental veto); alleged Midrash says parents receive prophetic guidance at birth/bris. Adding a second name (e.g., after a deceased relative) is common when appropriate.God/Hashem in English — Many poskim consider “God” (G-O-D) equivalent to writing/saying Hashem's name in English—avoid casual use (“oh my God”); say “Hashem,” “Almighty,” or “Creator” instead. In blessings (e.g., Amidah in English), use “Hashem” with same kavana (focus/intent) as Ado-nai.Public Hamotzi & children — Educational (teaches brachot), but ideally includes hand-washing and actual bread-eating; without these, it's not proper netilat yadayim/hamotzi.Gluten-free bread — If made from five grains + water and bread-like, hamotzi; pure potato starch “bread” is not hamotzi (mezonot or shehakol depending on form).The rabbi stresses halachic precision (e.g., bread vs. snack distinctions), gratitude for seeing grandchildren, and avoiding casual use of God's name in English.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. #86) 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 January 11, 2026, in Houston, Texas.Released as Podcast on February 4, 2026_____________Connect with Us:Subscribe to the Everyday Judaism PodcastApple Podcasts: https://podcasts.apple.com/us/podcast/everyday-judaism-rabbi-aryeh-wolbe/id1600622789Spotify: https://open.spotify.com/show/3AXCNcyKSVsaOLsLQsCN1CShare 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!! Hey Rabbi! Podcast: https://heyrabbi.transistor.fm/episodesPrayer 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, #Jewish, #Halacha, #Hamotzi, #Bread, #Blessings, #Matzah, #Pretzel, #Bagel, #NamingChildren, #God ★ Support this podcast ★
The Jews: 5,000 Years and Counting (Wicked Son, 2025) is packed with Jew-facts, Jew-figures, and the original, never-before-seen documents from those who lived through Jewish history. Read the transcript of the Biblical Patriarchs' and Matriarchs' Group Therapy Session! Sneak a peek at Moses' Secret Diary, or check out the awkward “I'm dumping you” text chain from Spain to the Jews in 1492! Collect and trade Rabbi Action Cards!Covering every major moment in Jewish history from the literal “Beginning” to Tuesday's rerun of Seinfeld, this book will make you laugh. It might inadvertently make you learn. If you're Jewish, it will unquestionably give you something to kvetch about. Paul Lerner is Chair of the History Department at the University of Southern California where he directs the Max Kade Institute for Austrian-German-Swiss Studies. Website here. Link to my book here Email me at plerner@usc.edu Connect at @plerner.bsky.social Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/jewish-studies
In Ask Away #29 of the Everyday Judaism podcast, Rabbi Aryeh Wolbe answers a wide range of live and emailed questions on practical halacha, Jewish identity, and intentional living:Seven-grain bread — Still hamotzi (bread) because it is made from the five grains + water with bread-like consistency, texture, and taste—even with added grains/flavors.Pretzel bagels/pretzel buns — Treated as bread (hamotzi) due to consistency; the pretzel topping/flavor doesn't change the halachic status.Matzah — Hamotzi (considered bread, just unleavened); crackers generally fall into mezonot (pas haba b'kisnin/snack category).Matriarchs & grandchildren — No specific tradition explains why Sarah, Rivka, and Rachel never saw grandchildren (Isaac married after Sarah's death; Rivka died before grandchildren returned; Rachel died en route to Bethlehem). Leah likely saw at least Asenat (Dina's daughter). Rabbi emphasizes the privilege of seeing grandchildren/great-grandchildren today and grandparents' responsibility to influence positively without overstepping (e.g., no interference in naming).Naming customs — Parents alone decide children's names (no parental/grandparental veto); alleged Midrash says parents receive prophetic guidance at birth/bris. Adding a second name (e.g., after a deceased relative) is common when appropriate.God/Hashem in English — Many poskim consider “God” (G-O-D) equivalent to writing/saying Hashem's name in English—avoid casual use (“oh my God”); say “Hashem,” “Almighty,” or “Creator” instead. In blessings (e.g., Amidah in English), use “Hashem” with same kavana (focus/intent) as Ado-nai.Public Hamotzi & children — Educational (teaches brachot), but ideally includes hand-washing and actual bread-eating; without these, it's not proper netilat yadayim/hamotzi.Gluten-free bread — If made from five grains + water and bread-like, hamotzi; pure potato starch “bread” is not hamotzi (mezonot or shehakol depending on form).The rabbi stresses halachic precision (e.g., bread vs. snack distinctions), gratitude for seeing grandchildren, and avoiding casual use of God's name in English.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. #86) 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 January 11, 2026, in Houston, Texas.Released as Podcast on February 4, 2026_____________Connect with Us:Subscribe to the Everyday Judaism PodcastApple Podcasts: https://podcasts.apple.com/us/podcast/everyday-judaism-rabbi-aryeh-wolbe/id1600622789Spotify: https://open.spotify.com/show/3AXCNcyKSVsaOLsLQsCN1CShare 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!! Hey Rabbi! Podcast: https://heyrabbi.transistor.fm/episodesPrayer 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, #Jewish, #Halacha, #Hamotzi, #Bread, #Blessings, #Matzah, #Pretzel, #Bagel, #NamingChildren, #God ★ Support this podcast ★
Brisbane teacher and author, Sita Walker on the strong matriarchs who have helped her weather the storm of family tragedy, divorce and the beauty of a new love.Sita grew up in Toowoomba in Queensland, descended from five powerful women — three aunts, her grandmother and her mum.They were Baha'i women who came to Australia via Iran and India.Tragedy struck the family when Sita was a child, and her matriarchs descended on the home — to cook, clean, and comfort.Sita always saw herself as good Baha'i girl, and she went on to marry a good Baha'i boy and start a family. When things started to unravel, Sita found herself drifting away from her nightly prayers and accounting for her deeds, and it took a divorce and a new love for her to admit to herself, and her parents, how things had changed.This episode was produced by Alice Moldovan. The Executive Producer was Nicola Harrison.It explores faith, grief, religion, Baha'i, grandmothering, losing a sibling, evil eye, Queenslander, youth camp, marrying young, nightly prayers, falling in love, leaving religion, girl dinner, To binge even more great episodes of the Conversations podcast with Richard Fidler and Sarah Kanowski go the ABC listen app (Australia) or wherever you get your podcasts. There you'll find hundreds of the best thought-provoking interviews with authors, writers, artists, politicians, psychologists, musicians, and celebrities.
Erna Walraven was one of the first female zookeepers to work at Sydney's Taronga Zoo in the 1980s. Despite practical jokes from her male colleagues, like animal dung in her gumboots, Erna kept her nerve.She was born in The Netherlands, to parents who were involved in the Dutch resistance during World War II.Erna's love of languages took her to Spain, where she lived for many years with her widowed sister and young nephew.It was there she met a penniless Australian backpacker and fell in love, starting Erna on the path to the rest of her life.Erna's memoir Hear Me Roar is published by Affirm Press.This episode was produced by Alice Moldovan. The executive producer of Conversations is Nicola HarrisonIt covers mothers, animals, sex, mating behaviours, feminism, animal kingdom, Dutch resistance, world war 2, Taronga Zoo, Spain, sisters, family, memoir, writing, The Netherlands, grief, zoology, animal behaviour, offspring, nature, zoosTo binge even more great episodes of the Conversations podcast with Richard Fidler and Sarah Kanowski go the ABC listen app (Australia) or wherever you get your podcasts. There you'll find hundreds of the best thought-provoking interviews with authors, writers, artists, politicians, psychologists, musicians, and celebrities.
Matthew 1:1-6, 2 Samuel 11:1-5Bulletin PDFWatch Online
Can women hold priesthood in LeBaron Mormon fundamentalism? Jacob Vidrine from Church of the Firstborn surprised me with his answer about women & priesthood! We also finish our conversation about the race ban in Brigham Young & Joseph Smith’s time. Check out our conversation, but it is only available to newsletter subscribers. Sign up at https://gospeltangents.com/newsletter! https://youtu.be/Xg9nt_4xu9M Don't miss our other conversations with Jacob: https://gospeltangents.com/people/jacob-vidrine Copyright © 2025 Gospel Tangents All Rights Reserved Nuance in the Priesthood Ban The discussion explores the often-simplified views of Brigham Young’s stance on race and slavery. While Brigham Young did articulate strong, lineage-based priesthood restrictions and opposed interracial marriage, he did not support slavery in the Utah Territory. Historically, it is argued that Young wanted to enact a form of gradual emancipation, aligning with Joseph Smith’s earlier ideas about compensating slave owners by selling public lands. For fundamentalists, this nuanced view helps frame Young’s motivations for restricting the priesthood not as personal hatred or bigotry, but as a form of “benevolent racism,” rooted in a belief in lineage-based restrictions. The conversation addresses the theological challenge presented by the Second Article of Faith (“men will be punished for their own sins, and not for Adam’s transgression”) when discussing generational restrictions like Cain’s curse. This is often reconciled by fundamentalists who argue that the denial of priesthood is tied to actions in the pre-existence (citing Alma 13), or by noting that the Bible and Doctrine and Covenants contain references to both generational blessings and cursings (D&C 121). Ultimately, they view priesthood primarily as a responsibility conferred by God, rather than a right or privilege earned solely in mortality. Matriarchs, Eldresses, Women & Priesthood Perhaps the most unexpected element of LeBaronite theology is the authority granted to women. Contrary to many fundamentalist groups, the Church of the Firstborn tradition believes that women hold priesthood authority. This authority stems from Nauvoo temple rituals, where Joseph Smith was seen as bringing women into the priesthood, often leading to the belief that the Relief Society was intended to be a parallel priesthood organization. Ross LeBaron ordained women as matriarchs, granting them temple authority similar to kings and priests (queens and priestesses). Fred Collier advanced this idea, believing women could be ordained to lower priesthood offices. For instance, Jacob Vidrine's wife was ordained an eldress at age 16. While men typically bless and pass the sacrament, women are authorized to bless by the laying on of hands (blessings of faith), a practice continued from early Mormonism. Furthermore, if circumstances require it (such as the death of a husband), a wife could administer the sacrament to her family. This entire structure emphasizes the patriarchal order as a family organization, requiring the full, active participation of both men and women. Copyright © 2025 Gospel Tangents All Rights Reserved
Matthew 1:1-5, Ruth 2:1-13, 3:1-13, 4:13-17Bulletin PDFWatch Online
Matthew 1:1-5a, Joshua 2Bulletin PDFWatch Online
Matthew 1:1-3, Genesis 38:6-26Bulletin PDFWatch Online
In the news today- No. 1 MSU hockey prepares for series against No. 7 Wisconsin, MSU Young Americans for Freedom hosts Elisha Krauss for "Lies of the Left" event, A music feature- Matriarchs of Music | Joan Jett, No. 9 Michigan State Set for Second Round Matchup Against Wake Forest.
Actor Raúl Castillo joins us at the kitchen table. Literally. He goes to Latino USA host Maria Hinojosa’s home to share chips and homemade guacamole. Since his last visit on the show five years ago, a lot has changed for Raúl. He’s gotten married, filmed one of the darkest scenes of his career on HBO’s Task, and will soon join the cast of The Walking Dead. But there are things that remain the same: Raúl’s respect for matriarchs, his rootedness in community and his moral compass. Latino USA is the longest-running news and culture radio program in the U.S., centering Latino stories and hosted by Pulitzer Prize-winning journalist Maria Hinojosa. Follow the show to get every episode. Want to support our independent journalism? Join Futuro+ for exclusive episodes, sneak peeks and behind-the-scenes chisme on Latino USA and all our podcasts. Follow us on TikTok and YouTube. Subscribe to our newsletter. See omnystudio.com/listener for privacy information.
Sarah lived a relatively long life. She passed away at the age of 127 after learning about the Binding of Isaac. Our Parsha begins with her passing, eulogy, and burial in the Cave of the Patriarchs. Just as when the sun sets in one area, it automatically rises in some other place, with the passing […]
Sarah lived a relatively long life. She passed away at the age of 127 after learning about the Binding of Isaac. Our Parsha begins with her passing, eulogy, and burial in the Cave of the Patriarchs. Just as when the sun sets in one area, it automatically rises in some other place, with the passing of Sarah came the rise of a comparably bright light: Rebecca. In this edition of the Parsha podcast, we explore the legacy of Sarah, the age of Rebecca at her marriage, and examine the founding families of our people.– – – – – – – – – – – – – – – – – – – – – –This Parsha Podcast is dedicated in loving memory and leilui nishmas David Gedaliah ben Efraim, the unforgettable David Genecov, of blessed memory, whose third yartzeit was today. May his soul be elevated in Heaven. – – – – – – – – – – – – – – – – – – – – – –DONATE: Please consider supporting the podcasts by making a donation to help fund our Jewish outreach and educational efforts at https://www.torchweb.org/support.php. Thank you!– – – – – – – – – – – – – – – – – – – – – –Email me with questions, comments, and feedback: rabbiwolbe@gmail.com– – – – – – – – – – – – – – – – – – – – – –SUBSCRIBE to my Newsletterrabbiwolbe.com/newsletter– – – – – – – – – – – – – – – – – – – – – –SUBSCRIBE to Rabbi Yaakov Wolbe's PodcastsThe Parsha PodcastThe Jewish History PodcastThe Mitzvah Podcast This Jewish LifeThe Ethics PodcastTORAH 101 ★ Support this podcast ★
It takes a village run by Matriarchs , Vicky and Mausi who I interview here, to create a well integrated , Permaculture Coffee farm with 4 bio digestors fueling kitchens and fertilizing the farm, 2 micro-hydro generators powering their refrigeration, solar thermal hot water for all showers and sinks, micro-dairy heritage breeds for making their own European cheeses, grass fed beef, worm compost, pigs for their own sausages. This 700 employee , 7 generations family farm, on 900 hectares in the mountains of Nicaragua with it's own bio preserve for the peak and upper slopes a large lake with an Eco resort adjacent and 600 acres of Coffee with avocado, macadamia, citrus and cocoa, with it's own clinic, school and internationally known Eco resort and restaurant with homemade chocolate desserts to die for! All made from on site cocoa and vanilla. Sign up today to reserve your space in our Permaculture class in this amazing setting and culinary experience.- Register here-https://www.permaculturenewyork.com/
Summary: Episode 2 explores our understandings of Creation accounts within the Bible and in historical traditions, including theories for Eden's location and the impact Renaissance art on Western images of Adam and Eve, the serpent, and cherubim.Episode links:“The cave of Machpelah (Part one),” The Zohar, Kabbalah Centre International, https://www.zohar.com/zohar/Chayei%20Sarah/chapters/14The Tomb of the Patriarchs and Matriarchs: https://www.israelhayom.com/2021/11/02/the-secrets-of-the-cave-of-the-patriarchs/Titian (Tiziano Vecellio), Adam and Eve, Ca. 1550. Oil on canvas. https://www.museodelprado.es/en/the-collection/art-work/adam-and-eve/e0ca4331-fb89-47a7-9ba0-be0ece23426b.The destruction of the temple at Ain Dara: https://www.bbc.com/news/world-middle-east-42858265Red-Haired Archaeologist® links:First Friday Freebie: https://redhairedarchaeologist.myflodesk.com/firstfridayfreebieWebsite: https://redhairedarchaeologist.com/ Facebook: https://www.facebook.com/AmandaHopeHaley/ Instagram: https://www.instagram.com/amandahopehaley/ Book: https://stonesstillspeak.comLearn more about my fabulous video editor, Tanya Yaremkiv, by visiting her website at https://tanyaremkiv.com and listening to her podcast, Through the Bible podcast with Tanya Yaremkiv. You can also follow her on Facebook and Instagram @tanyaremkiv.
When we think of the Habsburgs, the spotlight usually falls on emperors, kings, and archdukes—powerful men who dominated Europe. But behind the scenes, across five generations, an extraordinary line of Habsburg women quietly wielded immense influence in the Netherlands. Their names are often overlooked, yet their impact was profound.In this third episode of our special series on the Habsburg dynasty, Professor Suzannah Lipscomb and historian Natalie Donnell explore the lives of these remarkable women who governed with skill, diplomacy, and resilience in a world rarely welcoming to female power. From Mary of Burgundy, who defied French aggression, to Margaret of Austria, the formidable regent who raised Charles V, to Mary of Hungary, who steered the Netherlands through decades of turmoil, these women shaped the dynasty's fate.MORE:Habsburg Inbreeding with Dr. Adam Rutherford >When Women Ruled the Low Countries >Presented by Professor Suzannah Lipscomb. The researcher is Max Wintle, audio editor is Amy Haddow and the producer is Rob Weinberg. The senior producer is Anne-Marie Luff.All music courtesy of Epidemic Sounds.Not Just the Tudors is a History Hit podcastSign up to History Hit for hundreds of hours of original documentaries, with a new release every week and ad-free podcasts. Sign up at https://www.historyhit.com/subscribe. You can take part in our listener survey here: https://insights.historyhit.com/history-hit-podcast-always-on Hosted on Acast. See acast.com/privacy for more information.
Host Shayla Oulette Stonechild welcomes mental health and wellness advocate Chasity Delorme to discuss generational healing, community leadership and truth and reconciliation in action. Chasity shares her journey becoming an educational psychologist, emphasizing the importance of acknowledging the roots of trauma. She discusses the impact of intergenerational trauma, and the significance of traditional healing practices as the antidote in reversing the effects. Chasity also discusses the role of matriarchs in Indigenous communities, the need for genuine reconciliation, and the power of language and cultural revitalization in healing. More about Chasity: Chasity Delorme is from the Cowessess First Nation; she is a mother of two daughters, and one culturally adopted son. Chasity is a graduate from First Nations University of Canada graduating with two certificates: in Intercultural Leadership and in Health Studies, also graduating with bachelor's degree in Health Studies with a concentration in Indigenous Health. Most recently she completed a master's certificate in Sustainable Community Development out of Royal Roads University in British Columbia. She continues her studies enrolled in the Master of Education Psychology program at the University of Regina; with this advanced education, it is her vision to provide alternative mental health therapy to indigenous youth. Her educational accomplishments have allowed her to be a part of the development of health programs that encompass Holistic, and Indigenous Ways of Knowing as part of healing and also promoting actionable movements of Truth & Reconciliation in the City of Regina. Between parenting, studies, and work she has volunteered for many community groups in Regina. In 2016 she was a recipient of CBC's future 40 under 40 award, most recently she was awarded the “Queen Elizabeth II Jubilee Award” for her many years of committee work and advocacy in Saskatchewan. She is an alumni to the Board of Directors in Regina, for YWCA Regina and the Community Engagement Research Unit at the University of Regina. https://www.facebook.com/chasity.delorme https://www.instagram.com/chazzydanielle https://www.linkedin.com/in/chasity-delorme-bhs-227114a5/ https://redbearlodge.ca/ Thanks for checking out this episode of the Matriarch Movement podcast! If you enjoyed the conversation, please leave a comment and thumbs-up on YouTube, or leave a five star review on your favourite podcast app! Find Shayla Oulette Stonechild on Instagram: https://www.instagram.com/shayla0h/ Find more about Matriarch Movement at https://matriarchmovement.ca/ This podcast is produced by Women in Media Network https://www.womeninmedia.network/show/matriarch-movement/ (00:00) Introduction to Chasity Delorme (02:15) Growing Up in Cowessess First Nation (06:30) The Journey into Wellness (11:45) Defining Indigenous Healing (17:20) Acknowledging Trauma as the First Step (22:10) The Role of Matriarchs in Community (27:50) Language and Healing (32:40) Intergenerational Trauma and Healing (35:15) The Importance of Spirituality Learn more about your ad choices. Visit megaphone.fm/adchoices
First up on the podcast, Contributing Correspondent Andrew Curry joins host Sarah Crespi to discuss a pair of Science papers on kinship and culture in Neolithic Anatolia. The researchers used ancient DNA and isotopes from 8000 to 9000 years ago to show how maternal lines were important in Çatalhöyük culture. ● E. Yüncü et al., Female lineages and changing kinship patterns in Neolithic Çatalhöyük, 2025 ● D. Koptekin et al., Out-of-Anatolia: Cultural and genetic interactions during the Neolithic expansion in the Aegean, 2025 Next on the show, researchers were able to make a synthetic material that changes color in the same way squids do. Georgii Bogdanov, a postdoctoral researcher in the Department of Chemical and Biomolecular Engineering at the University of California, Irvine, talks about how his lab was able to discover the subcellular arrangement of proteins in the squid cells and mimic this structure synthetically using titanium dioxide deposition. Finally, the latest book in our series on science and death. Books host Angela Saini talks with Tamara Kneese about her book Death Glitch: How Techno-Solutionism Fails Us in This Life and Beyond and whether our families can turn us into chatbots after we die. This week's episode was produced with help from Podigy. About the Science Podcast Authors: Sarah Crespi; Andrew Curry; Angela Saini Learn more about your ad choices. Visit megaphone.fm/adchoices
First up on the podcast, Contributing Correspondent Andrew Curry joins host Sarah Crespi to discuss a pair of Science papers on kinship and culture in Neolithic Anatolia. The researchers used ancient DNA and isotopes from 8000 to 9000 years ago to show how maternal lines were important in Çatalhöyük culture. ● E. Yüncü et al., Female lineages and changing kinship patterns in Neolithic Çatalhöyük, 2025 ● D. Koptekin et al., Out-of-Anatolia: Cultural and genetic interactions during the Neolithic expansion in the Aegean, 2025 Next on the show, researchers were able to make a synthetic material that changes color in the same way squids do. Georgii Bogdanov, a postdoctoral researcher in the Department of Chemical and Biomolecular Engineering at the University of California, Irvine, talks about how his lab was able to discover the subcellular arrangement of proteins in the squid cells and mimic this structure synthetically using titanium dioxide deposition. Finally, the latest book in our series on science and death. Books host Angela Saini talks with Tamara Kneese about her book Death Glitch: How Techno-Solutionism Fails Us in This Life and Beyond and whether our families can turn us into chatbots after we die. This week's episode was produced with help from Podigy. About the Science Podcast Authors: Sarah Crespi; Andrew Curry; Angela Saini Learn more about your ad choices. Visit megaphone.fm/adchoices
Rabbi Yishai Fleisher is the International Spokesperson for the Jewish Community of Hebron - a Middle East hotspot, King David's first capital, and home of the Mearat Hamachpela - the Tomb of the Biblical Patriarchs and Matriarchs. He is also an elected Councilman in one of the largest Jewish community in Judea - Efrat - and an advisor for international affairs to Minister of National Security Itamar Ben Gvir. Rabbi Yishai is a popular English-language podcaster and YouTuber on the topics of Israel, Judaism, and the Middle East and has appeared in major media outlets including CNN, Piers Morgan, and more. Yishai is a rabbi, a graduate of Cardozo Law School in NYC, a former paratrooper, and continues to serve in the IDF reserves.
Rabbi Yishai Fleisher is the International Spokesperson for the Jewish Community of Hebron - a Middle East hotspot, King David's first capital, and home of the Mearat Hamachpela - the Tomb of the Biblical Patriarchs and Matriarchs. He is also an elected Councilman in one of the largest Jewish community in Judea - Efrat - and an advisor for international affairs to Minister of National Security Itamar Ben Gvir. Rabbi Yishai is a popular English-language podcaster and YouTuber on the topics of Israel, Judaism, and the Middle East and has appeared in major media outlets including CNN, Piers Morgan, and more. Yishai is a rabbi, a graduate of Cardozo Law School in NYC, a former paratrooper, and continues to serve in the IDF reserves.
On this special episode of Vibe Check, Zach chats one-on-one with Tina Knowles about her family, her legacy, and her journey of self-discovery while writing her new memoir, MATRIARCH. You can find everything Vibe Check related at our official website, www.vibecheckpod.comWe want to hear from you! Email us at vibecheck@stitcher.com, and keep in touch with us on Instagram @vibecheck_pod.Get your Vibe Check merch at www.podswag.com/vibecheck.Subscribe to SiriusXM Podcasts+ to listen to new episodes of Vibe Check ad-free.Start a free trial now on Apple Podcasts or by visiting siriusxm.com/podcastsplus.
Indigenous women are reshaping the film industry one story at a time. We sit down with filmmaker Jules Koostachin to talk about her new documentary Niimisak: Sisters in Film, a celebration of the women who paved the way and those continuing to break new ground. From cinematic legends to emerging voices, Jules highlights the talent, resilience and creative force of Indigenous women behind the camera. We explore what meaningful representation looks like, the systemic barriers that still exist, and how we can build lasting opportunities for Indigenous women in film.
In this episode of Casual Cattle Conversations, host Shaye Wanner sits down with Dave Specht, a leading voice on generational ranching and family business continuity. Together, they dive into the complexities of ranch succession planning, emphasizing the importance of long-term goals, financial transparency, and the often-overlooked influence of matriarchs in agriculture. Listeners will gain insights into: Aligning generational expectations Building stronger family relationships Encouraging rising generations to find their fit Using family history to shape future business decisions Whether you're planning a ranch transition or strengthening your family's communication, this episode is packed with valuable advice on securing the future of your family operation. Chapters: 00:00 – Introduction to Generational Ranching Dynamics 03:06 – Understanding Long-Term Goals in Family Ranching 05:54 – The Importance of Family Relationships 09:13 – Financial Transparency Across Generations 11:50 – Aligning Goals: Growth vs. Lifestyle 14:47 – The Role of Family History in Decision Making 18:06 – Generational Differences in Lifestyle Expectations 20:58 – Identifying Fit for the Family Business 24:03 – The Role of Matriarchs in Family Business Continuity 26:46 – Final Thoughts on Family Relationships and Business Success Resources Try Ambrook for FREE: ambrook.com/casualcattle https://www.casualcattleconversations.com/
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Our Mother's Day Special! Get FREE access to our homeschool course when you purchase the Get It All Done Club from now until Mother's Day. Learn more about the club here: https://www.nowthatwereafamily.com/get-it-all-done-club Be A Part Voetberg Music Academy's Six Songs Of Summer Challenge and earn cash and badges for playing music! Sign up here: https://www.voetbergmusicacademy.com/ Join Our Weekly Newsletter Here: https://www.nowthatwereafamily.com/top-5-tuesday-newletter
Black folks have been on the front line of every protest since the beginning of this country or at least since we landed 1619. We gave you a viable candidate, a former state attorney from California, former Vice President of the last term, and y'all still voted for a crooked weave lying felon. We've taken our licks. We're getting it together to do battle on our own terms and just because you boo-hoo Sochitl and Karen crying on social media is not gonna get us here faster. We basically looking at you like you crazy and we going to get more crab legs at the brunch in Decatur. Nah, we're good. Ms. Tina Part 1…Badass Tenie B to Ms. Tina Knowles to the World “A fascinating memoir of Tina Knowles's journey to become the global figure she is today. We learn how the strength and wisdom of the women who came before her fueled Tina's passion to achieve and gave her the ability to nurture her own daughters into the incredible women they are today.”—Oprah Winfrey “Both her great-grandmother and grandmother fought to keep their children from being sold away or otherwise separated in slavery. How remains a mystery. Matriarchs, Knowles writes, ‘are filled with the most enduring and ferocious love.'”—The New York Times “As a fan of the Knowles family music empire, I was not expecting to uncover information I did not already know, but [Tina] Knowles proved wrong. She delves deeper into her own backstory than ever before.”—The Washington Post Born Celestine Ann Beyoncé in Galveston, Texas, to a longshoreman father and seamstress mother, she learned dressmaking at an early age. In 1986, she opened Headliners, a groundbreaking hair salon that became a multimillion-dollar phenomenon in Houston. Shannon Sharpe Aren't you tired, bro? Why are you voluntarily fucking up your bag? I don't get it. I just don't get it. When are you going to figure out for yourself this ain't it and alter? Your bank acct not a shield for sexual misconduct. 30 yr Hx of wildin. Unless you have personal video of ish being removed and returned from the Black-sonian, I'm going to need you to have a seat and shut up. #RHOA T-Angela Oakley nee' Reed knows about Scandal. Get Real Brittny Eady, Drew Sidora, and P-Willie Contact Us on: https://linktr.ee/tnfroisreading Blue Sky: @tvfoodwinegirl.bsky.social Threads: www.threads.net/@tnfroisreading Instagram: @tnfroisreading Facebook: TNFroIsReading Bookclub You know your girl is on her hustle, support the show by navigating to: Dale's Angel's Store...For Merch Promo Code: tnfro Writer's Block Coffee Ship A Bag of Dicks Promo Code: tnfrogotjokes Don't forget to drop me a line at tnfroisreading@gmail.com, comments on the show, or suggestions for Far From Beale St additions.
As part of our semi-regular club spotlight series, we head to Conshohoken, Pennsylvania to get to know Whitemarsh Boat Club. Celebrating its 20th anniversary in 2025, we check in with Linda Chisholm and Jane Voss – two of the club's Founding Mothers – about the early days of getting the club off the ground in 2005, the growth it's seen in the years since, and what makes this multi-generational club a stand-out. QUICK LOOK 00:00 - Hosts Tara and Rachel banter about pipe dreams and logistics of starting a club 07:02 - Rowing week on a scale of 1-10: planning for a 10 next week! 08:10 - The Huddle: A quick get to know you with Linda and Jane 11:04 - The Hot Seat Q&A 13:53 - Linda and Jane's rowing origin stories: Rowing moms unite! 18:17 - Why start a club in Conshohocken? Why not join a club on Boathouse Row? 21:54 - Early days of borrowed boats and fund raising 22:28 - About Whitemarsh Boat Club and its place on the Schuylkill River 25:56 - Development of Whitemarsh Boat Club programs 30:47 - Not so secret secrets to building club culture 36:13 - 20 years of Whitemarsh Boat Club 39:07 - Linda and Jane's advice for starting a club 42:32 - Steady State Network news and notes . To see photos of Jane Voss, Linda Chisolm, and Whitemarsh Boat Club, and get links to the people, clubs, and events mentioned in this episode, check out the show notes on our website. . This episode was made possible in part by Breakwater Realty, RowSource, and our Patrons. . Steady State Podcast is written, produced, hosted, and edited by Rachel Freedman and Tara Morgan. Tara provides additional audio engineering and is our sponsor and donor coordinator. Rachel manages the website, social media, and e-newsletter. Our theme music is by Jonas Hipper. . SHOP SSN GEAR: www.steadystatenetwork.com/shop SIGN UP FOR THE SSN NEWSLETTER: www.steadystatenetwork.com/newsletter MAKE A DIFFERENCE: www.steadystatenetwork.com/support Check out more Steady State Network here: FB - /SteadyStateNetwork IG - @SteadyStateNetwork FB - /AllieswithOars IG - @AllieswithOars BLUESKY - steadystatenetwork.bsky.social Connect on FB and IG with the hosts: Rachel Freedman - @RowSource Tara Morgan - @CmonBarber
Erna Walraven was one of the first female zookeepers to work at Sydney's Taronga Zoo in the 1980s. Despite practical jokes from her male colleagues, like animal dung in her gumboots, Erna kept her nerve.She was born in The Netherlands, to parents who were involved in the Dutch resistance during World War II.Erna's love of languages took her to Spain, where she lived for many years with her widowed sister and young nephew.It was there she met a penniless Australian backpacker and fell in love, starting Erna on the path to the rest of her life.Erna's memoir Hear Me Roar is published by Affirm Press.This episode was produced by Alice Moldovan. The executive producer of Conversations is Nicola Harrison. This interview was presented by Sarah Kanowski.
Stephanie Trenchard's multi-disciplinary creative process includes painting and poetry along with cast glass. With a focus on biographical stories of how women artists have navigated careers and partnerships, motherhood and making a living while still focusing on their creative practice, the work also discusses the price the art has to pay in this grand juggling act. The artist prioritizes the actual experience of the work, making and seeing it, over the classification of genre or ownership of an idea. Says Trenchard: “I create my own visual vocabulary in storytelling. Using these totems, I tell stories about the artistic experience and the ensuing personal relationships usually based on true stories of artists from history. The subject of these narratives is often revealed in the title of the piece, but it is not necessary that the viewer be familiar with the subject in order to understand the concept because the metaphors are universal to the human condition.” Her work also involves using art as a way to communicate local activism as seen in her project About Sturgeon Bay. Born in Champaign, Illinois, in 1962, Trenchard earned her BFA in painting from Illinois State University in 1984. Subsequently, she and glass artist husband Jeremy Popelka relocated to San Francisco, California, where Trenchard designed textile patterns, licensed and sold under a private label. Upon returning to Sturgeon Bay Wisconsin in 1997, the couple built a hot shop and gallery that they share to this day. They assist each other with work as well as teaching projects, such as their recent classes in Thailand. As she assisted Popelka, Trenchard began to see glass casting as a means of translating textile patterns and other imagery to glass. The discovery of Paradise Paints allowed her to combine painting skills with glass art in the development of her award-winning body of work. Trenchard has developed a unique method of creating art using glass combined with paint. She first creates fully realized figures or objects in clear glass, which are then painted with high-fire enamels that are mixed and blended just as with oil or acrylic paints. Next, these three-dimensional objects or figures are submerged into molten glass encased in cubes and rectangles of clear sand cast glass. Each cube or rectangle is created so that they can be fitted tightly next to one another or on top, making a totem like structure. Coldworking is required to achieve the perfect fit. She states: “I have been following my own interests and curiosities concerning how these women have navigated their careers and artistic practices. I represent these ideas in glass through the details that speak to me, particularly the ephemera of material culture, furniture and clothing that encapsulate their era and class. I also rely on posture and facial expression to reveal the nature of the subject as I intuit it.” In addition to teaching in her studio, Trenchard has taught workshops at Pratt Fine Art Center, University of Wisconsin, The Studio at the Corning Museum of Glass, The Bergstrom Mahler Museum of Glass and others. She was a lecturer at the Glass Art Society Conference, Murano, Italy, and established the first hot glass school in Southeast Asia, at Bangkok Glass, Thailand. Recent exhibitions include: Beyond Giving, Inspiring Change, Singapore Art Week, Singapore; Matriarchs of Mastery, Habatat Gallery, Detroit, Michigan; A Creative Place, Trout Museum, Wisconsin; and Beyond the Ceiling – Women of Studio Glass, Sarasota, Florida, Habatat Invitational, Michigan. Awards include Trenchard's 2025 Featured Poet award, presented by After Hours Journal, Chicago; 2023, 2024 Prize Winner at Habatat International Exhibition; and the 2020 AACG Wisconsin Artist Series at Bergstrom-Mahler Museum of Glass. Says Trenchard: “Telling stories is what cultures do to understand the history and identities of the people. The small details in my work open up a conversation about the personal experiences of women in the arts as interpreted through history.”
In this episode, we sit down with Jessie Fischbein, author of 'Infertility in the Bible: How the Matriarchs Changed Their Fate; How You Can Too.' Jessie's book stands out for its informal, accessible style and its ability to resonate with readers beyond just Jewish or theistic audiences. We discuss what inspired her to write it and how readers struggling with infertility have responded. We also dive into her rational approach to prayer, addressing a common struggle—why pray if God is unchanging? Jessie clarifies what prayer truly is and how it differs from common misconceptions. Exploring biblical narratives, we examine how emotions played a critical role in fertility, from Leah and Rachel's sibling rivalry to Hannah's prayers. Jessie shares insights on the connection between emotions, prayer, and transformation, offering lessons that couples facing infertility can apply in their own lives. Finally, we discuss divine intervention and personal agency. Jessie unpacks the Torah's view on providence and how individuals can actively work on themselves to reshape their path. Don't miss this thought-provoking conversation!---• Bio: Whenever Jessie Fischbein visits a new community, she hopes she will get the privilege to learn Torah with them. Jessie taught high school for over twenty years in yeshiva day schools, and she homeschools her children, giving her a unique perspective on Jewish education and learning disabilities. She is the author of the book Infertility in the Bible, about how our Matriarchs handled their challenges and what that means for us, and the book Scandals in the Bible, about some of the most challenging and difficult to understand stories in Tanach. Jessie believes that the Torah's wisdom is eternally relevant and fun to learn and strives to share that wherever she goes.---• Welcome to JUDAISM DEMYSTIFIED: A PODCAST FOR THE PERPLEXED | Co-hosted by Benjy & Benzi | Thank you to...Super Patron: Jordan Karmily, Platinum Patron: Craig Gordon, Rod Ilian, Gold Patrons: Dovidchai Abramchayev, Lazer Cohen, Travis Krueger, Vasili Volkoff, Vasya, Silver Patrons: Ellen Fleischer, Daniel Maksumov, Rabbi Pinny Rosenthal, Fred & Antonio, Jeffrey Wasserman, and Jacob Winston! Please SUBSCRIBE to this YouTube Channel and hit the BELL so you can get alerted whenever new clips get posted, thank you for your support!
March 2, 2025 Pastor Chris Wachter http://www.hiawathachurch.com
Branding Self Identity & AuthenticityToday's guest is absolute Fire, Fuego, an eternal light to empower women to live authentically and unapologetically and she has the business to make it happen. No, she's not a life coach but by the end of this episode you will see possibility like never before. Mariery Young, Panamanian with Chinese heritage, or Chino Latina as she lovingly defines herself, is founder of Mezclao Studio, branding identity, illustration, and surface design for brands and entrepreneurs , with clients like Nike, Facebook, Instagram and Sephora in her authentic style of bold colors and patterns.Empowering women's authenticity is the core of Mariery's branding design, based on generations of Matriarchs in her family. It's all about embracing messiness of identity, cultura, life, relationships, all of it because therein lies your authenticity. Takeaways:Embracing messiness, the beautiful "mixes of identity" empowers Latino culture.AHA moments can come from unexpected places and people.Embracing authenticity and cultural heritage is crucial for personal and professional growth.Matriarchs play a crucial role in her creativity, artistic development with colors and patternsEmpowering women through personal branding amplifies diversity, visually connecting with cultural identity.Openness to diversity is essential for growth within the community.Community support is more important than competition.Reach out to Mariery on Instagram: Mariery Young and Mezclao StudioLean into the book, 'The Woman Who Ran With Wolves' , by Clarissa Pinkola Estés, as heard on this episode.
SUPPORT OHR SOMAYACHS ONLINE CAMPAIGN! https://cmatch.me/podcastsrb Dedication opportunities are available for shiurim & podcast episodes/series at https://ohr.edu/donate/qa Questions? Comments? podcasts@ohr.edu Yeshivat Ohr Somayach located in the heart of Jerusalem, is an educational institution for young Jewish English-speaking men. We have a range of classes and programs designed for the intellectually curious and academically inclined - for those with no background in Jewish learning to those who are proficient in Gemara and other original source material. To find the perfect program for you, please visit our website https://ohr.edu/study_in_israel whatsapp us at https://bit.ly/OSREGISTER or call our placement specialist at 1-254-981-0133 today! Subscribe to the Rabbi Breitowitz Q&A Podcast at https://plnk.to/rbq&a Submit questions for the Q&A with Rabbi Breitowitz https://forms.gle/VCZSK3wQJJ4fSd3Q7 Subscribe to our YouTube Channel at https://www.youtube.com/c/OhrSomayach/videos 00:00 - Why do people value certain mitzvos more than others? 03:55 - Some people say that they do not engage with the state since it was founded by anti-religious people. Could they not accept that we have precedent that things of lowly origin can be elevated, for example, Dovid HaMelech? 13:45 - Could it be that the Sanhedrin was disbanded by Hashem in order that Halacha not become too cumbersome? 19:05 - Are there some foods that are less treif than others? 23:25 - Could someone who believes in the truth of Judaism believe in the elements of truth within other religions? 31:10 - Could we re-institute the Sanhedrin? 36:15 - Is someone believed to say they are Jewish? 39:14 - Is it better to struggle to keep almost all of Shabbat or keep all of Shabbat with ease? Does it make a difference that the former individual is violating Shabbat in order to visit his family? 44:35 - What is the best thing for one to learn who only has a short amount of time each day? 46:55 - How can one support the idea that wicked ideologies have an element of truth if the wicked ideologies themselves didn't practically have a positive impact? 50:30 - What is the process that determines whether decrees remain or are absolved? 53:33 - How did wearing a Kippah or davening Maariv become accepted by Klal Yisrael? 55:15 - Does someone get reward for doing good things without belief in G-d? 01:01:14 - What is the reward for someone who neglects just one of Rambam's 13 principles of faith? 01:03:55 - How does it work to say a bracha for an ascent of someone's neshama? (L'Ilui Nishmas) 01:07:05 - What is the isur to pasken against Shulchan Aruch? 01:13:55 - How can a bachur balance learning and chesed? 01:15:55 - It says in the Chovos Levavos that someone who believes in chance is treated as such. Why is this so? Would it also apply to belief in a cruel G-d? 01:19:30 - The Imahot and other women in Tanach are described as beautiful. How should we understand this? 01:23:15 - What is the religious significance of the state of the world right now? 01:26:06 - How can we educate other people's children in shul? 01:27:40 - It says the soul of Tamar's first husband was to come down to the children of the second marriage. Did this actually take place? 01:30:05 - Does someone get reward for doing mitzvos for honour or money? 01:31:55 - How can we depict Hashem as loving and yet also punishing and exacting? Furthermore, how could He ‘desire' to eradicate the entire Jewish people after the Sin of the Golden Calf? 01:34:50 - How can Hashem be a giver if He is infinite? You can listen to this and many other Ohr Somayach programs by downloading our app, on Apple and Google Play, ohr.edu and all major podcast platforms. Visit us @ https://ohr.edu PRODUCED BY: CEDAR MEDIA STUDIOS
Parshas Vayeitzei: Our Matriarchs and Patriarchs Chose Life. So Should We. https://jewishprolifefoundation.org/pro-life-blog/parshas-vayeitzei-our-matriarchs-and-patriarchs-chose-life-so-should-we At the Jewish Pro-Life Foundation, we're making the original pro-life religion pro-life again! News, education, enlightenment and spiritual renewal. Saving Jewish Lives & Healing Jewish Hearts by providing the Jewish community with Pro-Life Education, Pregnancy Care and Adoption Referrals, and Healing After Abortion. To learn more visit https://jewishprolifefoundation.org/ Follow us on Facebook: https://www.facebook.com/JewishProLifeFoundation/ Follow us on Twitter: https://twitter.com/JewishProLife Follow us on YouTube: https://www.youtube.com/channel/UCk8B3l4KxJX4T9l8F5l-wkQ Follow us on MeWe: https://mewe.com/i/cecilyroutman Follow us on Gab: https://gab.com/JewishProLife Clouthub: https://app.clouthub.com/forum#/users/u/ProLifeCecily Follow us on LinkedIn: https://www.linkedin.com/in/cecily-routman-3085ab140/ Follow us on Instagram https://www.instagram.com/cecilyroutman/ Follow us on Gettr: https://gettr.com/user/prolifececily Follow us on Brighteon Social: https://brighteon.social/@ProLifeCecily Follow us on Rumble: https://rumble.com/c/JewishProLifeFoundation Follow us on TruthSocial:https://truthsocial.com/@prolifececily Follow us on Telegram: https://t.me/JewishProLife Follow us on Podcasts: https://jewishprolife.libsyn.com/ Donate: https://jewishprolifefoundation.org/donate In Israel: https://jewishprolifefoundation.co.il The Jewish Pro-Life Foundation is an IRS approved 501(c)3 non-profit educational public charity. We are committed to Torah and Jewish Tradition. We are not affiliated with any political organization or any other religious organization or movement.
If any season is movie-watching season, it's now. When we knew we wanted to make a Christmas movie-focused episode, 2008's A Christmas Tale and 2005's The Family Stone sprang to mind right away: These are matriarch-centric Christmas movies that take the whole mom-at-Christmastime thing to the Nth degree. Each in their own way, they put the intense time we spend gathered together with our families of origin at the holidays under a microscope. So, what do The Family Stone and A Christmas Tale have in common? Just about everything, except that one is American and has Dermot Mulroney at his hottest(?) and the other is extremely French and involves a LOT of people smoking cigarettes non-stop. We get dig under the surface of these two films — both of which are centered around big families gathered at the holidays around powerful, complicated matriarchs — with our (new) friends Andie and Sabrina of the Pop Culture Moms podcast.Links: * A Christmas Tale* The Family Stone* Pop Culture Moms on Apple Podcasts, Instagram, and Spotify This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit motherofitall.substack.com/subscribe
Hebron is one of the most significant cities in Israel, Biblically, in the recent modern history of Israel, and today. Abraham purchased a cave there in which to bury Sarah, which became the family burial plot for the Patriarchs and Matriarchs. In many ways, the history of Hebron foreshadows events in Israel's present, and it's future is uniquely tied into the future of Israel on the whole. Yishai Fleisher is the International Spokesman for Hebron, one of Israel's leading critical thinkers, and Hebron expert.PLEASE DONATE TO THE GENESIS 123 FOUNDATION ISRAEL EMERGENCY FUND AT WWW.LOVE.GENESIS123.CO Follow Yishai Fleisher on YouTube at https://www.youtube.com/@yishaifleishertv and at Hebronfund.org.Connect with the Genesis 123 Foundation at www.Genesis123.co FB - www.facebook.com/Genesis123Foundation Twitter - @Genesis123FIG - Genesis_123_FoundationFind out how you can be part of Run for Zion and bless Israel with every step at www.RunforZion.com
Darren Croft studies one of the ocean's most charismatic and spectacular animals – the killer whale. Orca are probably best known for their predatory behaviour: ganging up to catch hapless seals or attack other whales. But for the last fifteen years, Darren Croft's focus has been on a gentler aspect of killer whale existence: their family and reproductive lives . Killer whales live in multi-generational family groups. Each family is led by an old matriarch, often well into her 80s. The rest of the group are her daughters and sons, and grand-children. Especially intriguing to Darren is that female orca go through something like the menopause - an extremely rare phenomenon in the animal kingdom, only documented in just five species of toothed whales and of course in humans. Halting female reproduction in midlife is an evolutionary mystery, but it is one which Darren Croft argues can be explained by studying killer whales. Darren is Professor of Animal Behaviour at the University of Exeter. He talks to Jim Al-Kalili about his research on killer whales, his previous work revealing sophisticated social behaviour in fish, his life on the farm, and the downsides and upsides of being dyslexic.Presented by Jim Al-Khalili Produced by Andrew Luck-Baker
Traditionally women often take on much of the responsibility for practical and emotional support for a family as well as passing on family knowledge and traditions. But is the role still relevant? Datshiane Navanayagam talks to women from Canada and the UK about being a modern matriarch.All her life, Helen Knott has looked to the strong women in her indigenous community for guidance, absorbed their stories and admired their independence. When her mother and grandmother died she tried to step into the roles they'd held in community. Her book Becoming a Matriarch is a love letter to the eldest daughters of families who often carry invisible responsibilities.Tanika Gupta is an award-winning playwright British playwright whose work celebrates her Bengali culture and often challenges gender and race stereotypes. She has worked across theatre, television, radio and film. Her latest play A Tupperware Of Ashes is about a restaurateur with dementia and the impact on her three children of looking after her. Tanika wrote the play after her own mother died from cancer. It will be screened internationally by the National Theatre later this year. Produced by Jane Thurlow(Image: (L) Tanika Gupta credit Oscar May. (R) Helen Knott courtesy Duckworth Books.)
Today's poem is We Never Stop Talking About Our Mothers by Diannely Antigua. The Slowdown is your daily poetry ritual. In this episode, Major writes… “I treasure the elder women in my life for their conscious, yet easy-going transference of soul-nourishing values. Matriarchs mediated conflicts among family members. They put into play care and cohesion. They lovingly told stories, recalled important family members, and carried on cultural traditions, passed down like charms.” Celebrate the power of poems with a gift to The Slowdown today. Every donation makes a difference: https://tinyurl.com/rjm4synp
Barbara Campbell Thomas had a long-established painting practice when, about a decade ago, her mother bought her a sewing machine. Little did she know, but that gift provided her the perfect missing piece to her creative practice.What draws me to Barbara's work is the balance between tautness and texture. Her stretched and pieced canvas quilt works pushes back an “all or nothing” perspective on genre. Her work is naturally generative and generous, creating expanses for so much.In this SEAMSIDE conversation, Barbara and I explore ① the value of a regular sketchbook practice (even if you don't draw) ② what even is abstraction ③ how you can detect your matriarchs at work→ Get your free trial to the QUILTY NOOK → Claim your free copy of 10 THINGS I WISH I KNEW BEFORE I STARTED QUILTING → See images and more at the EPISODE WEBSITE → Nominate a GUEST for SEAMSIDE → Follow Zak on INSTAGRAM
Years ago, Karla Tatiana Vasquez tried to search up a recipe for one of her favorite Salvadoran dishes, Salpicón Salvadoreño. The scarce results not only disappointed Vasquez, but created a new mission: to collect and preserve the recipes of the Salvadoran diaspora along with the stories of the women who've been passing them down for generations. In today's episode, NPR's A Martinez visits Vasquez's kitchen to discuss The SalviSoul Cookbook and the relationship between food, migration and trauma.To listen to Book of the Day sponsor-free and support NPR's book coverage, sign up for Book of the Day+ at plus.npr.org/bookofthedayLearn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy
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