Podcasts about MFA

Self-proclaimed “protest poet” Komal Bukhari tells Jared what this title means to her and how, in her view, speaking truth to power is not an act of bravery—it's a way of being. They also discuss Komal's process, how she approaches the heavy themes of her work with patience to avoid burnout, and how MFA deadlines complicate this process. She also tells Jared about teaching creative writing versus English composition, how the MFA taught her it takes a hundred hours to finish a poem, and what it's like moving from Pakistan to the small town of Carbondale, Illinois. Komal Bukhari is a Pakistani poet and MFA candidate in creative writing at Southern Illinois University. Her work explores theology, dissent, and the personal cost of defying patriarchal and religious boundaries. She writes about honor killing, blasphemy laws, and the politics of faith in Pakistan, often examining her own struggle to seek freedom within and beyond these systems. Her poem “Iconoclast” was featured by BBC Urdu, where she was named an emerging poet, and her poems have appeared in Pakistani anthologies. MFA Writers is hosted by Jared McCormack and produced by Jared McCormack, Hanamori Skoblow, and Brié Goumaz. New episodes are released every two weeks. You can find more MFA Writers at ⁠MFAwriters.com⁠.BE PART OF THE SHOWDonate to the show at⁠ Buy Me a Coffee⁠.Leave a rating and review on ⁠Apple Podcasts⁠.Submit an episode request. If there's a program you'd like to learn more about, contact us and we'll do our very best to find a guest who can speak to their experience.Apply to be a guest on the show by filling out ⁠our application⁠.STAY CONNECTEDTwitter: ⁠@MFAwriterspod⁠Instagram: ⁠@MFAwriterspodcast⁠Facebook: ⁠MFA Writers⁠Email: ⁠mfawriterspodcast@gmail.com

Donald receives “The Letter,” the 21st episode of season three. With special guest Lacey Rowland, they talk about art production, the USA Today, the foundations of cringe comedy, minks, the perils of growing up in 90s, and Neil Simon's Chapter Two. Lacey Rowland (they/them) is a multidisciplinary artist from the Gem State. Their writing has been published in Moss, Tahoma Literary Review, Cutbank, Pleiades, Hobart and elsewhere. They've been awarded residencies with the⁠ Mineral School⁠ and⁠ Wildacres⁠. Lacey received their MFA in Fiction from Oregon State University.Here are the texts and authors discussed in this episode:Chapter Two by Neil SimonThe Past Ten: An AnthologyCésar Aira & Percival EverettOlivia LaingCapote & Harper LeeBasquiat & Keith HaringI Think You Should Leave with Tim RobinsonGiuseppe ArcimboldoUSA TodayThe National EnquirerThe New York TimesThe Washington PostThe Idaho Statesman

Jordy Rosenberg is a professor in the MFA program at the University of Massachusetts-Amherst. He's the author of the 2018 novel, Confessions of the Fox, which was the NYT Editors' Choice selection, shortlisted for the Center for Fiction First Novel Prize and a Lambda Literary Award and a recipient of a number of other accolades. His latest, Night Night Fawn, is part novel, part autofiction, part unauthorized fictionalized memoir of a character inspired by Jordy's mother. It tackles transgenderism, homophobia, Marxism, Zionism, all through the lens of both history and this contemporary moment we're living through. He joins Marrie Stone to pick the book apart on the craft level, including writing from the POV of your own antagonist, capturing a strong and singular voice, using different textures (letters, movies, other novels, appendices, etc.) in fiction, using sex scenes and other scenes of various kinds of intimacy to show power dynamics, and so much more. For more information on Writers on Writing and to become a supporter, visit our Patreon page. For a one-time donation, visit Ko-fi. You can help out the show and indie bookstores by buying books at our bookstore on bookshop.org. It's stocked with titles by our guest authors, as well as our personal favorites. And on Spotify, you'll find an album's worth of typewriter music like what you hear on the show. It's perfect for writing. Look for the artist, Just My Type. You can find hundreds of past interviews on our website. (Recorded February 26, 2026) Host: Barbara DeMarco-Barrett Host: Marrie StoneMusic: Travis Barrett (Stream his music on Spotify, Apple Music, Etc.)

What happens when a celebrated Indian artist, Amrita Sher-Gil, known at home but hidden from the world, sparks a journey that unravels secrets across continents and within ourselves? Tune in for an inspiring conversation with bestselling author Alka Joshi as she shares how uncovering one artist's legacy led to a story of identity, art, and self-discovery. Moments with Marianne Radio Show airs in the Southern California area on KMET1490AM & 98.1 FM, an ABC Talk News Radio Affiliate!  https://www.kmet1490am.comBorn in India and raised in the U.S. since the age of nine, Alka Joshi has a BA from Stanford University and an MFA from California College of Arts. Joshi's debut novel, The Henna Artist, immediately became a NYT bestseller, a Reese Witherspoon Book Club pick, was Long-listed for the Center for Fiction First Novel Prize, and has been translated into 30 languages. The Secret Keeper of Jaipur (2021) and The Perfumist of Paris (2023) completed the Jaipur Trilogy. She is currently working on her fifth novel. In 2024, Joshi was selected for the Forbes 50 over 50 List, celebrating women who are shattering age and gender norms across all sectors of the American economy and culture. https://www.alkajoshi.comTo learn more about the show and interview opportunities contact us at: https://www.mariannepestana.com 

Larissa Pham's writing has appeared in The Nation, the New York Times Book Review, Aperture, Bookforum, Art in America, Granta, the Paris Review Daily, and elsewhere. Her essays and short fiction have been anthologized in Kink (Simon and Schuster, 2021); Wanting: Women Writing on Desire (Catapult, 2023); and Critical Hits, an anthology of writing on video games (Graywolf, 2023). She holds an MFA in fiction from Bennington. She is an Assistant Professor of Writing at the New School. Her debut novel, just published, is Discipline. Larissa joins Barbara DeMarco-Barrett to talk about plot, narrative tense, the freedom of writing without quotation marks, metafiction, revision, naming characters, themes, and much more. For more information on Writers on Writing and to become a supporter, visit our Patreon page. For a one-time donation, visit Ko-fi. You can help out the show and indie bookstores by buying books at our bookstore on bookshop.org. It's stocked with titles by our guest authors, as well as our personal favorites. And on Spotify, you'll find an album's worth of typewriter music like what you hear on the show. It's perfect for writing. Look for the artist, Just My Type. You can find hundreds of past interviews on our website. (Recorded February 6, 2026) Host: Barbara DeMarco-Barrett Host: Marrie Stone Music: Travis Barrett (Stream his music on Spotify, Apple Music, Etc.)

Lily Colman speaks about her show, She, Archivist, at the JKC Gallery and her new periodical, Frame/Sequence.She, Archivist is a project about womanhood, inheritance, and specifically how certain items and feelings are passed down between generations of women. The focus is on matrilineal inheritance through perceived rituals in Judaism, and the questioning of certain beliefs passed down.Using traditional film-based and alternative photographic processes and utilizing collage with domestic materials, Colman attempts to reconstruct her identity through her family's matrimonial history as well as her own experience with an abusive marriage and subsequent divorce.https://www.lilycolman.comhttps://www.frame-sequence.comLily was featured in the 2021 International Juried Exhibition at The Center for Contemporary Art in Bedminster, NJ, where she was awarded First Prize and a Solo Exhibition. Her solo exhibition, The Knots on the Underside of the Carpet, ran from April 22 – June 4, 2022, at the CCA.Lily graduated from the Rhode Island School of Design with her MFA in 2020, as well as a Certificate in Collegiate Teaching in Art and Design. She has always loved photography, education, and photo books, and wanted to make them accessible to everyone.Frame/Sequence is a photobook periodical that blends personal storytelling with fine art photography. We currently publish bi-anually with the aim of becoming quarterly. We invite writers and photo-based artists—especially from Philadelphia and the surrounding region—to share authentic, lived experiences. Each edition, based around a theme, curates these narratives and striking visual work.This podcast is sponsored by the Charcoal Book ClubBegin Building your dream photobook library today athttps://charcoalbookclub.com

Tony John Andrews hails from Rhode Island, which despite being the smallest U.S. state in terms of landmass, has the second greatest ratio of coastline to landmass of all 50 states. He'll take it. He is a former state champion swimmer who really wanted to surf, so he did the best he could to teach himself in the region's piddling windslop. Now in San Francisco's Outer Sunset, trying to wrangle Ocean Beach, he has developed a renewed appreciation for his swimming background. Tony holds his BA in Philosophy and Film Studies from Amherst College, and an MFA in English from the Iowa Nonfiction Writing Program. His work is particularly interested in subjects driven by obsessive passions, like surfing, that often teeter on the edge of self-destruction. He has been contributing to The Surfer's Journal since 2022, and recently wrote the definitive profile on pro surfer Dane Reynolds. His work has been nominated for Best American Essay and Best American Science and Nature Writing. He is represented by Creative Artists Agency, and is working on a hybrid book of surf memoir and reportage.If you dig this podcast, will you please leave a short review on Apple Podcasts? It takes less than 60 seconds and makes a difference when I drop to my knees and beg hard-to-get guests on the show. I read them all. You can watch this podcast on my YouTube channel and join my newsletter on Substack. It's glorious. My first book, ONE LAST QUESTION BEFORE YOU GO, is available to order today. Get full access to Kyle Thiermann at thiermann.substack.com/subscribe

Photographer and educator Curran Hatleberg returns to PhotoWork with Sasha Wolf to discuss his latest monograph, Blood Green (TBW Books). Hatleberg reflects on how the photobook emerged from images left out of his earlier publication, River's Dream, and how revisiting those omissions opened a new way of thinking about editing, continuity, and the evolving life of a body of work. He speaks about the ethics at the center of his practice, an engagement with people grounded in mutual curiosity and respect, and the role of presence, both with and without the camera. Now balancing his life as an artist, partner, and father, Hatleberg considers how time reshapes practice. The episode concludes with a meditation on art making as a form of self-portraiture, a record of who we were at a given moment. https://curranhatleberg.com https://tbwbooks.com/products/blood-green?_pos=2&_psq=curran&_ss=e&_v=1.0 Curran Hatleberg is a photographer based in Baltimore, MD. His work has been exhibited nationally and internationally, including recent exhibitions at the Philadelphia Museum of Art, the High Museum, MASS MoCA, the International Center of Photography and Higher Pictures. In 2019, Hatleberg was featured in the Biennial at the Whitney Museum of American Art. His works are held in numerous public collections, including the Whitney Museum of American Art, SF MoMA, the Philadelphia Museum of Art and the High Museum of Art among others. Hatleberg is the recipient of a 2023 Guggenheim Fellowship, a 2020 Maryland State Arts Council Grant, a 2015 Magnum Emergency Fund grant, and a 2014 Aaron Siskind Foundation Individual Photographer's Fellowship grant. He has published five books, most recently Blood Green in 2025. Lost Coast, his first monograph, was released by TBW Books in fall 2016, and his second monograph, River's Dream, was published by TBW Books in 2022. Hatleberg has taught photography at numerous institutions, including Cooper Union and Yale University where he is currently a visiting critic in photography. He holds a BA in painting from the University of Colorado, Boulder and an MFA in photography from Yale University.

Send a textTune in for  the CRE Collaborative Inc. Roundtable as we talk through current market distraction and uncertainty amid regulation, consolidation, litigation, legislation, vendor bias in assessments, escalating cyber threats, and public/political resistance to AI/data centers.How To: Execute fundamentals; leverage predictive analytics and AI for independent grading; strengthen cyber hygiene and insurance; advocate on policy (1031, data centers, private property rights); experiment with AI ethically in targeted workflows.Why this is relevant: Deals flow to those who prepare and execute; unbiased evaluation improves decisions; cyber resilience protects wires and data; policy engagement and ethical AI use shape operating conditions and growth.“To me it's all about regulation and consolidation and litigation. And legislation.” Stated Saul Klein“Keep listing, keep selling… Do what you normally do and that you do well and it'll all work out.” Stated Saul Klein "Only people whose businesses are growing are interested in marketing… they're already self-selecting.” Stated Rebekah Carlson “This system represents… the closest thing to an independent evaluator that can look at things at such a broader scale.” stated Andreas Senie  “You are not crazy; all these things are in fact happening.” stated Darren Hayes =Practical Takeaways: Double down on foundations: announce conference attendance, book meetings in advance, and run networking cadences to convert appearances into deals.Integrate AI-driven, predictive asset grading to forecast CapEx, refine NOI, and prioritize capital deployment across resilient asset classes.Attach a cybersecurity policy to E&O; enforce MFA and dual wire verification; keep mobile OS updated and train teams on social engineering red flags.Tune in to the replay where the  CRE Collaborative Roundtable discuss all things Technology, Marketing, Brokerage, Government Policy, Capital, Construction & Cyber Security in Real Estate. How to it affects your real estate businesses, and what you can do for the next 30 days to outpace the competition.Your Roundtable Hosts:Andreas Senie, Host, Founder CRECollaborative (CRECo.ai), Technology Growth Strategist, CRETech Thought Leader, & Brokerage OwnerSaul Klein, Realtor Emeritus, Data Advocate & Futurist, Original Real Estate Internet Evangelist, Executive Editor Realty Times, IncRebekah Carlson, Founder & CEO Carlson Integrated, LLC, Past President NICAR Association, Brokerage OwnerProfessor Darren Hayes CEO Code Detectives, Professor Pace University, & Top 10 Forensic Cyber Security Specialist nationwide.Dan Wagner, Senior Vice President Government Relations at The The Inland Real Estate Group of Companies, Inc.ABOUT THE ROUNDTABLE:Your all in one comprehensive view of what is happening across the real estate industry -- straight from some of the industry's earliest technology adopters and foremost experts in Technology, Marketing, Capital, Construction & Cyber Security in Real EstateJoin us live at 6 PM EST on the 1st Thursday of each month, across all major social media channels and wherever you get your podcasts.This three-part show consists of:Part I: IntroduDon't forget to subscribe to our YouTube channel where there is a host of additional great content and to visit CRECo.ai the Commercial Real Estate Industry's all-in-one dashboard to connect, research, execute, and collaborate online CRECo.ai. Please be sure to share, rate, and review us it really does help! Learn more at : https://welcome.creco.ai/reroundtable

Welcome to Mysteries to Die For.I am TG Wolff and am here with Jack, my piano player and producer. This is a podcast where we combine storytelling with original music to put you in the heart of a mystery. All stories are structured to challenge you to beat the detective to the solution. Jack and I perform these live, front to back, no breaks, no fakes, no retakes.In the world's most dangerous working environments it can seem like everything is out to kill you. The equipment you use. The materials you work with. The very air you breathe. Stored energy is a coiled viper waiting for the right moment to lash out. Owners, manufacturers, contractors, and beyond have developed safety protocols to combat STCKY, that is, Stuff That Can Kill You. Gravity, Motion, Mechanical, Electrical, Pressure, Sound, Radiation, Biological, Chemical, Temperature. This season is all about the means of murder as authors put our STCKY detective skills to the test. This is Season 9, Stuff That Can Kill You.This is Episode 5, where gravity is our STCKY means of death. This is Flat by Robert J. BinneyHenri has real motivation to put his state certificate to use. He's accused of helping developer Austin Coleman go splat. He needs our help if he's going to avoid being sentenced to life in prison orange. Here are his suspects in the order we met them:Carl, construction site foremanDesiree Normandy, ex-wife #1Crystal Watters, almost ex-wife #2Quentin Lockwood, Commissioner and candidate for governorWesley Brownstein, one-man protesterABOUT Robert J. BinneySeattle screenwriter Robert J. Binney has chronicled Henri's adventures previously on Mysteries to Die For. His essays on being the butt of Jimmy Carter's jokes, joyriding with the Salt Lake City police, find-ing career advice in the Himalayas, and hanging with Peter Frampton have appeared in The Los Angeles Times, the Kelp Journal, and more. “Restoration Software” was recently featured in Level Best Books' The Best Private Eye Stories of 2025. He is a regular contributor to Thrill Ride magazine and the Starlite Pulp Review. A former titan of industry with movie-star good looks, he holds an MBA from Emory University and an MFA from UC Riverside.Website: www.ThirdActMedia.comFacebook: RJBinneyInstagram: RJBinneyWRAP UPThat wraps this episode of Mysteries to Die For. Support our show by subscribing, telling a mystery lover about us, and giving us a five-star review. Check out our website m2d4podcast.com for links to this season's authors.Mysteries to Die For is hosted by TG Wolff and Jack Wolff. Flat was written by Robert J. Binney. Music and production are by Jack Wolff. Episode art is by TG Wolff. Join us next week for a Toe Tag, which is the first chapter from a fresh release in the mystery, crime, or thriller genre. Then come back in two weeks for our next original story where electricity is our STCKY means of murder. It's Charbroiled by Jim Winter.

The Whitney Biennial is here. That would be the Whitney Museum's big curated show which every two years brings together dozens of artists, always closely watched by critics and public as a statement about what is important now in art. Hot on its heels, next month, MoMA PS1 is staging "Greater New York." That event happens every five years, bringing together dozens more artists to take the temperature of art in New York. Taína H. Cruz, my guest today, is featured in both these shows at once. For the Whitney, she is even, in a way, the face of the show: a work by Cruz, a green-tinged close-up painting of a grinning child, called I Saw the Future and It Smiled Back, is blown up on a billboard outside the museum in the Meatpacking District. This is a lot of attention for an artist who is relatively young, born in 1998, and just getting her MFA from the famed Yale School of Painting last year. She's worked in a variety of media, but is known now for paintings, often featuring images of Black female figures with a moody, woozy, sometimes unsettled or unsettling atmosphere. Sometimes Cruz works in suggestions of African American and Caribbean folklore, or intimations of horror and fantasy. Sometimes, she's played on the images of celebrities like Halle Berry or Tyra Banks. Sometimes she reworks her own personal photos of neighbors from New York. Since Cruz is an artist that the curators of these big shows are looking to, art critic, Ben Davis, wanted to get a sense of the influences—from art and otherwise— that are shaping her approach to art, and what she makes of all the attention.

Nick Akers started by founding a venture-capital-backed company, then moved into a more "traditional" track leading a manufacturing company before spending ~2.5–3 years doing an ETA-style search. He ultimately acquired an IT services business (STL Communications) and rebranded it to Enzo Technologies, where he focuses heavily on cybersecurity for small/legacy businesses. He sees buyers walking into messy, outdated environments (personal email accounts, weak licensing, no backups/firewalls, passwords shared everywhere) and argues IT + cybersecurity due diligence should be part of every deal. Podcast Nuggies: Legacy IT is usually a "mess" post-close Add IT/cyber due diligence before closing MFA + password manager are non-negotiable Phishing clicks can wreck you in minutes USE POSITIVE PAY to approve every expense SMBs are the biggest target for cyber attacks. Protect your business with Inzo Technologies. Check out....www.inzotechnologies.com, I-N-Z-O, or email Nick directly at nick@inzotechnologies.com. ****** Join the last cohort for a while. **How to Buy a Business Live Cohort** - April 2026 https://www.letsbuyabusiness.com/

In this panel discussion from the Inch 360 Conference, cybersecurity experts explore the intersection of compliance, insurance, and risk management. Moderated by Maria Braun (Baker Tilly), the panel features Casey Wheeler (Marsh McLennan Agency), Dan Brown (CISA), and Deb Wells (BECU).Key Topics Covered:The Compliance vs. Security MythWhy having SOC 2, ISO 27001, or PCI-DSS doesn't automatically mean you're secureHow to move beyond "check-the-box" compliance to holistic risk managementThe importance of building security in, not bolting it onCyber Insurance EssentialsTop 5 controls insurers look for: MFA, comprehensive backups, email filtering, security awareness training, and wire transfer verificationHow insurance underwriting works and what carriers assessWhy you should contact your carrier FIRST during an incidentCommon policy pitfalls: waiting periods, coverage triggers, and business interruption termsEffective Risk ManagementHow to run meaningful tabletop exercises (not just compliance theater)Why you need to include the right people: IT, legal, HR, facilities, and your insurance carrierThe importance of making cybersecurity a daily habit, not a one-time eventHow to quantify risks and prioritize using heat maps and business impactThird-Party RiskWhy outsourcing doesn't transfer all responsibilityThe growing importance of vendor risk managementHow downstream attacks can impact your operations We're thrilled to be sponsored by IXL. IXL's comprehensive teaching and learning platform for math, language arts, science, and social studies is accelerating achievement in 95 of the top 100 U.S. school districts. Loved by teachers and backed by independent research from Johns Hopkins University, IXL can help you do the following and more:Simplify and streamline technologySave teachers' timeReliably meet Tier 1 standardsImprove student performance on state assessments

In this episode of Reboot IT, host Dave Coriale, President of DelCor, sits down with Andrew Leggett, Director of Cybersecurity at DelCor, and Chris Ecker, Chief Technology Officer at DelCor, to unpack two critical cybersecurity topics every association and nonprofit should be thinking about right now: phishing‑resistant MFA and preparing your Microsoft 365 environment for Copilot. They discuss why passkeys truly improve the user experience, how oversharing in Microsoft 365 creates risk, and what steps organizations must take before deploying AI tools. This conversation is packed with practical guidance leaders can act on immediately.Themes and Topics:Why It's Time to Level Up Your MFATraditional MFA isn't enough anymore with modern phishing attacks. FIDO2 passkeys make logging in easier for your staff, not harder.Passkeys Are Way Simpler Than Passwords (Really!)A short PIN or FaceID is more secure than a long, complex password.Your device's TPM chip keeps those credentials locked down safely.How Modern Phishing Tricks Users, and What Stops ItAttackers now steal MFA approvals and ride along on active sessions. Phishing-resistant MFA shuts the door on those token-harvesting scams.Before You Turn on Copilot, Fix How Your Association Shares FilesYears of sharing files without guidelines or guardrails can create hidden risks.Copilot can surface any file users have access to, even old oversharing.Why 365 Sharing Settings Matter More Than EverUsers must run their own OneDrive reports (admins can't see it all).SharePoint tools help find where HR, finance, or executive docs may be exposed.Leadership Buy‑In Makes or Breaks These UpgradesChange management matters, especially if the C‑suite wants exceptions. Passkeys also offer a chance to simplify tools and retire extras like Duo.

Guest post Martin Petrov, Chief Technology Officer, Payments Compliance at Integrity360 It is tempting to view payments compliance as the finish line, a signal that a business is secure. But in practice, compliance is just the starting point. It provides a baseline security level, not a digital fortress. Standards are designed to raise the floor and eliminate obvious vulnerabilities, but they cannot cover every emerging threat or nuance – such as a supplier getting breached or a shortcut taken by an engineer at 2 a.m. That is where organisations risk becoming complacent or overly literal in their interpretations. True security demands a harder question than: "Are we compliant"? It demands: "Would this stop an attacker today?" That demands understanding not just what control requirements state, but why they exist. Multi-factor authentication (MFA), for example, is not just a checkbox; it is a concept rooted in stopping unauthorised access. Compliance must be interpreted in context: against the weakest vendor, the most exposed system, the riskiest business process, and the evolving threat landscape. Too many breaches have exploited gaps that audits never covered because compliance became the ceiling, not the floor. Regional and cultural factors also play a part. In Northern Europe, payments compliance frameworks like PCI DSS are often seen as a baseline to exceed, with layered defences added beyond the minimum. In other regions, standards such as PCI DSS or ISO/IEC 27001 are treated more as a destination. Certification becomes the end goal – a badge to display, not a baseline to exceed. These differences matter because they determine whether compliance protects you or just protects your reputation. The supplier slip-up that could cost you everything One of the most urgent blind spots is the supply chain. You can harden and patch all of your own systems, mandate MFA, and lock down every endpoint. But a vendor's default service account, an abandoned test tenant, or an over-permissioned API can undermine everything. As integrations and dependencies grow, so does the potential blast radius. And while many organisations know who their suppliers are, far fewer know what access they have, how often they are reviewed, or whether they follow the same standards. Supplier risk must now be managed as rigorously as internal operations; tiered, tested, and tightly controlled. The three-body problem: when PCI DSS, GDPR, and the EU AI Act collide Then there is the pace of innovation, particularly in areas like artificial intelligence (AI). For European compliance officers, this creates a three-body problem: the EU AI Act, PCI DSS, and GDPR orbiting each other with overlapping – but misaligned – requirements. And unlike physics, there is no elegant equation to solve it. Meanwhile, global response remains inconsistent, and the tension between innovation and oversight is only going to grow. The organisations that succeed in this environment will not just meet standards; they will go further and question whether they are compliant on paper but vulnerable in practice. By treating compliance as a foundation, not a finish line, organisations will unlock new ways to stay secure and trusted. The question is, what does that really look like? What good is a lock if no one checks the door? One of the easiest traps for modern security teams is assuming that tools alone provide protection. But no matter how advanced the platform or how rigid the policy, it is people and processes that hold it all together – or let it fall apart. This is especially true in payments compliance, where new platforms and integrations emerge faster than policies can adapt. Organisations that treat compliance as a checklist often over-rely on technology, by trusting automated scans, secure settings, or third-party certifications to keep them safe. But without context and human judgement, these defences can create a false sense of security and leave the business exposed. In the b...

Putting your poems out into the world can feel scary, cathartic, and everything in between. Kallie, the founder of TellTell Poetry and I explore all things writing and publishing poetry in this episode of Written in the Wild.Meet Kallie FalandaysToday I'm joined by Kallie Falandays, a writer and the founder of Tell Tell Poetry and Tell Tell Copywriting. In her own words, “she believes in magic.”Kallie also received her MFA from Wichita State University. She is the author of Dovetail Down the House (Burnside Review), The Cricket and the Very Old Very Little Lady (Tell Tell Poetry), and All the Water All the Waves (Dancing Girl Press). You can find her published works on her website here.About This EpisodeWe Talk About:* The process of writing poetry and blending it with learning craft and skill* The cathartic and therapeutic process of poetry* Being a poet and a business owner in the world of poetry* Self-publishing vs. traditional publishing* Practical ways to get started if you have a collection of poems you'd like to publishOne Thing to Take with You:Publishing and writing poetry is a very personal process. There's no single route or right way to share the words you choose to write. This episode is here to help you feel empowered to discover and walk your own unique path.Connect with Kallie Falandays:* Websites: www.telltellpoetry.com / www.telltellcopywriting.com / https://kalliefalandays.com/* Where to submit: https://www.telltellpoetry.com/42-university-lit-mags-journals-why-to-submit/https://www.telltellpoetry.com/tell-tell-poetrys-where-to-submit-poetry-december-2025-january-2026-and-february-2026/* Courses: https://www.telltellpoetry.com/resource-index/* Free publishing guide: https://www.telltellpoetry.com/resources/self-publishing-guide/If This Episode Resonated with YouThank you for reading this article or listening to the podcast/poem. I greatly appreciate all of you who engage with and listen to what I share. If you'd like to support the work I do, you can leave a 5-star review on either Apple or Spotify, or head to the Uncomfortably, Beautifully Human Substack using the link below, where you'll find more poetry, meditations, and much more.what theme would you like me to share a poem or conversation about next week? Let me know in the comments or reaching out to me my email emma@emmaevelyncampbell.com This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit uncomfortablybeautifullyhuman.substack.com

If you like what you hear, please subscribe, leave us a review and tell a friend!

Dorothy Roberts joins Let's Talk Memoir for a conversation about her father's interviews beginning in the 1930s with over 500 back-white couples who crossed the color line in Chicago,  moving to memoir to explore more personal experiences and feelings, growing up in a mixed race family, shifting the lens onto herself, thinking about identity, finding answers via the writing process, staying motivated and organized while working with heaps of material, the mystery in memoir, bringing the reader into the discovery process, the adventure of not knowing, looking for evidence people can love across racial boundaries, and her new book The Mixed Marriage Project: A Memoir of Love, Race and Family.   Info/Registration for Ronit's 10-Week Memoir Class Memoir Writing:Finding Your Story https://www.pce.uw.edu/courses/memoir-writing-finding-your-story   Also in this episode: -taking breaks -working with source material -the possibility of racial harmony in America   Books mentioned in this episode: -The Color of Water by James McBride -South to America by Imani Perry -The Warmth of Other Suns by Isabel Wilkerson -The Yellow House by Sarah M. Broom   Dorothy Roberts is the George A. Weiss University Professor of Law and Sociology at the University of Pennsylvania, where she directs the Penn Program on Race, Science, and Society. The author of five books, including Killing the Black Body, a MacArthur Fellow, and member of the American Academy of Arts and Sciences, she lives in Philadelphia, Pennsylvania.   Connect with Dorothy: Website: https://www.dorothyeroberts.com/ Get the book: https://www.simonandschuster.com/books/The-Mixed-Marriage-Project/Dorothy-Roberts/9781668068380   – Ronit's writing has appeared in The Atlantic, The Rumpus, The New York Times, Poets & Writers, The Iowa Review, Hippocampus, The Washington Post, Writer's Digest, American Literary Review, and elsewhere. Her memoir WHEN SHE COMES BACK about the loss of her mother to the guru Bhagwan Shree Rajneesh and their eventual reconciliation was named Finalist in the 2021 Housatonic Awards Awards, the 2021 Indie Excellence Awards, and was a 2021 Book Riot Best True Crime Book. Her short story collection HOME IS A MADE-UP PLACE won Hidden River Arts' 2020 Eludia Award and the 2023 Page Turner Awards for Short Stories.  She earned an MFA in Nonfiction Writing at Pacific University, is Creative Nonfiction Editor at The Citron Review, and teaches memoir through the University of Washington's Online Continuum Program and also independently. She launched Let's Talk Memoir in 2022, lives in Seattle with her family of people and dogs, and is at work on her next book.   More about Ronit: https://ronitplank.com Subscribe to Ronit's Substack: https://substack.com/@ronitplank   Follow Ronit: https://www.instagram.com/ronitplank/ https://www.facebook.com/RonitPlank https://bsky.app/profile/ronitplank.bsky.social

Notes and Links to Yiming Ma's Work      Born in Shanghai, Yiming Ma spent a decade in tech and finance before writing the dystopian novel These Memories Do Not Belong to Us, named a Spotify Editors' Pick, longlisted for the Goodreads Choice Award, and featured on Best Book of 2025 lists by Electric Literature, Debutiful, PEN America,and elsewhere.    Yiming attended Stanford for his MBA, and Warren Wilson for his MFA. His stories and essays appear in the New York Times, The Guardian, The Globe and Mail, Florida Review, and elsewhere. His story “Swimmer of Yangtze” won the 2018 Guardian 4th Estate Story Prize. Buy These Memories Do Not Belong to Us   Locus Magazine Review of These Memories Don't Belong to Us     Yiming Ma's Website   Interview with Michael Zapata for Chicago Review of Books: “Mirrors, Memories, Rebellions: An Interview with Yiming Ma” At about 2:10, Yiming shares the feedback he's gotten and the ways in which These Memories Do Not Belong to Us has “resonated” with readers At about 4:20, Yiming talks about his relationship with “home” and reading as a kid At about 5:15, Ishiguro's Never Let Me Go is highlighted as a formative and transformative read for Yiming At about 8:15, Yiming expands on how his immigrant background informed his career choices, agency, and adaptive skills and outlook on capitalism-he connects these to his book's plot and themes  At about 10:25, Pete reflects on the book as science fiction/speculative fiction At about 11:25, Yiming responds to Pete's question about contemporary books that “flipped the switch” At about 12:50, Yiming reflects on the dearth of fiction read by people in his former work life, as well as ideas of empathy and the changing landscape of diversity in authorship At about 15:00, Yiming talks about AI and men reading (or not reading) fiction, and differences between his writer friends and tech friends  At about 18:00, Yiming describes the structure of the book in conjunction with seeds for the book, largely coming from the pandemic and ideas of what is remembered and not remembered and how At about 21:55, Yiming explains how his award-winning story “Swimmer of Yangtze” and the idea of “constellation writing” At about 23:00, Yiming lays out the book's opening/exposition  At about 24:40, Yiming responds to Pete's questions about early connections and memories between Jill and Hao At about 28:00, Yiming recalls the early question about seeds for the book in reflecting on the motif of watches in the novel  At about 30:15, the two discuss “Easter eggs” in the book regarding “Ri-Ben” (China in Japanese), and Pete reflects on geopolitical tragedies that frame the “constellation writing”  At about 32:10, Pete asks Yiming about the book's “Memory Epics” and ideas of art vs. commercialism and censorship in connection to today's similarities  At about 36:40, Yiming expands on the story “Chankonabe” and its connections to real-life and its fit in the novel's “constellation” At about 37:35, Yiming talks about the importance of mantras in his book as guides for his storytelling At about 40:00, Yiming talks about research on sumo wrestling and the resulting questions and reflection that brought out some profound scenes  At about 43:15, The two discuss the book's first-person accounts from the main narrator, and Yiming expands upon ideas of agency and resistance against systems  At about 45:30, Yiming reflects on connections between the Chrysanthemum Virus and the coronavirus At about 51:00, The two discuss the story “Swimmer of Yangtze” At about 52:10, Yiming tells of the beautiful homage to his grandmother in the book At about 53:10, Yiming turns the tables and asks Pete probing questions about the ever-encroaching AI At about 56:40, Yiming talks about the “incredible” students he's spoken with and reflects on a “biased sample” and the “paradigm shift” between disparate groups he speaks with regarding AI and its implementation  At about 1:01:00, Yiming reflects on the “worry” he has over critical thinking skills and employment in a future focused on AI At about 1:02:20, Pete asks about “+86 Shanghai” and its immigration stories  At about 1:03:20, The two discuss the balance between changing the system and ideas of assimilation and Yiming talks about personal connections to “mining [his] own immigration story” and changing immigration narratives At about 1:07:50, The two reflect on Kaveh Akbar's brilliant work that Yiming riffs off in the book; Pete shares a story about Kaveh's profundity in action, and Yiming talks about censorship and the timing of the release of his book      You can now subscribe to the podcast on Apple Podcasts, and leave me a five-star review. You can also ask for the podcast by name using Alexa, and find the pod on Stitcher, Spotify, and on Amazon Music. Follow Pete on IG, where he is @chillsatwillpodcast, or on Twitter, where he is @chillsatwillpo1. You can watch other episodes on YouTube-watch and subscribe to The Chills at Will Podcast Channel. Please subscribe to both the YouTube Channel and the podcast while you're checking out this episode.       Pete is very excited to have one or two podcast episodes per month featured on the website of Chicago Review of Books. The audio will be posted, along with a written interview culled from the audio. His conversation with Jeff Pearlman, a recent guest, is up at Chicago Review.     Sign up now for The Chills at Will Podcast Patreon: it can be found at patreon.com/chillsatwillpodcastpeterriehl      Check out the page that describes the benefits of a Patreon membership, including cool swag and bonus episodes. Thanks in advance for supporting Pete's one-man show, DIY podcast and extensive reading, research, editing, and promoting to keep this independent podcast pumping out high-quality content!    This month's Patreon bonus episode features an exploration of formative and transformative writing for children, as Pete surveys wonderful writers on their own influences.    Pete has added a $1 a month tier for “Well-Wishers” and Cheerleaders of the Show.     This is a passion project, a DIY operation, and Pete would love for your help in promoting what he's convinced is a unique and spirited look at an often-ignored art form.    The intro song for The Chills at Will Podcast is “Wind Down” (Instrumental Version), and the other song played on this episode was “Hoops” (Instrumental)” by Matt Weidauer, and both songs are used through ArchesAudio.com.     Please tune in for Episode 327 with Adolfo Guzman-Lopez. Adolfo Guzman-Lopez has been a reporter at LAist 89.3, the Los Angeles NPR affiliate since 2000. He reported and hosted Imperfect Paradise: The Forgotten Revolutionary, a true crime podcast looking into the death in 1994 of Chicano college activist Oscar Gomez. He has reported on L.A. politics, education, art, museums and other topics. His stories have also aired and published nationally on NPR, The Washington Post, and other media, and his poetry, especially from time with the Taco Shop Poets, has been awarded and anthologized.     The episode airs later today, March 3.      Please go to ceasefiretoday.org, and/or https://act.uscpr.org/a/letaidin to call your congresspeople and demand an end to the forced famine and destruction of Gaza and the Gazan people.       You can also donate at chuffed.org, World Central Kitchen, and so many more, and/or you can contact writer friend Ursula Villarreal-Moura directly or through Pete, as she has direct links with friends in Gaza.

The hosts preview an upcoming Patreon episode about self-hosted, locally run AI for clients who want AI-powered editing without sending sensitive content to cloud services like ChatGPT, Gemini, or Claude. Jerry describes setting up a local AI system for a client to refresh medically based academic writings while keeping privacy, noting most of the solution was free aside from the computer, and contrasts this with internet-connected autonomous AI bots that require credentials and could be influenced by other bots online. The conversation broadens into Patreon topics about business operations, client attrition and return, and discussing sensitive client situations more freely.   They discuss hardware and product preferences, including choosing iPhone models (with repeated recommendations for an iPhone Pro), interest in a MacBook with built-in cellular to avoid carrier hotspot throttling, and debates about MacBook Pro battery life versus MacBook Air. Sam explains he switched work email to Outlook on Mac and iPhone due to Apple Mail reliability issues and to better separate work from personal notifications, while others compare Apple Mail smart mailboxes to Outlook's saved searches and discuss organizing workflows with smart folders and flags.   Sam recounts testing whether an iPad could serve as a second travel workstation for a client who relies on an on-prem Mac server (SMB file sharing and FileMaker Server). They run into clunky SMB workflows in iPad Files/Word, inability to favorite deep SMB paths, OneDrive-first behavior in Word, and a FileMaker version mismatch where an older iPad (limited to iOS 16) can't connect to the newer FileMaker server. They consider shortcuts like web clips but conclude a second MacBook would be simpler.   The episode also covers a bug on iOS/macOS 26 where Microsoft 365 accounts in Apple's native Internet Accounts setup appear authenticated but don't actually work, leading them to use Outlook as a workaround and consider resetting MFA/credentials. They close with a story about extending the usability of a 10-year-old MacBook Pro by installing Firefox ESR, and discuss typical Mac lifespan expectations and guidance for clients on replacement timelines.   00:00 Self‑Hosted AI Teaser: Keeping Client Content Private 02:20 Wild West AI Agents: Credentials, Bot Networks & Security Risks 03:34 On‑Prem vs Cloud (and Why VPN Matters) 05:19 Patreon Plug: Business Ops, Client Attrition & "Juicy Stories" 08:16 iPhone Upgrade Debate: Pro vs Air, Foldables & Pro Cameras 09:04 Dream MacBook Features: Built‑In Cellular, OLED & Battery Life 15:42 Switching Mail Clients: Outlook for Work, Sanity on iPhone 18:28 Email Overload & Smart Mailboxes: Apple Mail vs Outlook Searches 26:56 iPad as a Work Device? Real‑World Client Scenarios 29:02 Why the On‑Prem Mac Server Can't Be Easily Replaced (SMB, Screen Sharing, FileMaker) 29:52 iPad + SMB Shares: VPN Access Works, But Favorites and Navigation Don't 31:38 Editing Word Docs from a Server: Share Sheet Confusion & Save Behavior 32:25 OneDrive Defaults, Hazel Watch-Folder Ideas, and the "Just Use a MacBook Air" Moment 34:21 Shortcut Hack: Using Web Clips to Jump Straight to Deep Server Folders 36:13 The Dealbreaker: Old iPadOS vs New FileMaker Server Compatibility 37:43 Remote Setup via MDM + VPN Profile (and the Keyboard/Mouse Reality Check) 39:11 Multitasking Limits on iPadOS 16: Split View vs Modern Windowed Apps 41:32 Microsoft 365 Login Bug on iOS/macOS 26: No Password Prompt, Account Weirdness 46:04 Workarounds and Client Perception: "Just Use Outlook" (and Why That Stings) 47:53 Wrapping Up: Keeping Old Macs Alive (Firefox ESR) and How Long Apple Silicon Will Last 52:50 Final Thoughts & Sign-Off

Larissa Pham's writing has appeared in The Nation, the New York Times Book Review, Aperture, Bookforum, Art in America, Granta, the Paris Review Daily, and elsewhere. Her essays and short fiction have been anthologized in Kink (Simon and Schuster, 2021); Wanting: Women Writing on Desire (Catapult, 2023); and Critical Hits, an anthology of writing on video games (Graywolf, 2023). She holds an MFA in fiction from Bennington. She is an Assistant Professor of Writing at the New School. Her debut novel, just published, is Discipline. Larissa joins Barbara DeMarco-Barrett to talk about plot, narrative tense, the freedom of writing without quotation marks, metafiction, revision, naming characters, themes, and much more. For more information on Writers on Writing and to become a supporter, visit our Patreon page. For a one-time donation, visit Ko-fi. You can help out the show and indie bookstores by buying books at our bookstore on bookshop.org. It's stocked with titles by our guest authors, as well as our personal favorites. And on Spotify, you'll find an album's worth of typewriter music like what you hear on the show. It's perfect for writing. Look for the artist, Just My Type. You can find hundreds of past interviews on our website. (Recorded February 6, 2026) Host: Barbara DeMarco-Barrett Host: Marrie StoneMusic: Travis Barrett (Stream his music on Spotify, Apple Music, Etc.)

JJ Nelson is a Michigan native who, as a kid, made schlocky home movies with his best friend. He then built his comedic chops as an editor of his high school newspaper, writing irreverent Onion-inspired articles mocking the establishment. Somehow, he got away with all of it, diploma in hand. JJ honed his writing skills as an undergrad at the University of Michigan before earning an MFA in Screenwriting from UCLA's renowned School of Theater, Film, and TV, where he also received the prestigious Samuel Goldwyn Award for screenwriting. He interned at Will Ferrell and Adam McKay's Gary Sanchez Productions, where he met a number of comedy titans he's since gone on to work with.JJ has had projects either set up or in development with Sony Pictures, Paramount Insurge, Di Boneventura Pictures, Broken Road, Green Hat, Virgin, and Jake Paul's Team 10. Ultimately none of them got made, which is, truth be told, exactly like 99% of every other screen project in Hollywood.But one of them did! The film, Bad Man, an action/comedy starring Seann William Scott, Johnny Simmons, Rob Riggle, Lovi Poe, and Chance Perdomo in his final screen performance, was released in the fall of 2025, earning JJ his first produced feature film writing credit.I've seen Bad Man and can tell you it's an offbeat, dark, action-comedy with heart and a clever twist at the end.For the record, JJ and I have known one another for more than 15 years as we attended the UCLA MFA in Screenwriting Program at the same time.

Inspiration doesn't always find authors at their desk, and it doesn't give a darn about deadlines. Where does a creative go when the muse is silent? Nick Petrie's back at the Writing Table. He shares his secrets to writing adventure-filled thrillers and provides accessible tactics everyone can use to to refill their creative well. *Plus* a peek at what goes into his Peter Ash novels. This is a fun episode, y'all. Nick Petrie received his MFA in fiction from the University of Washington and won a Hopwood Award for short fiction while an undergraduate at the University of Michigan. His story “At the Laundromat” won the 2006 Short Story Contest in The Seattle Review, and his  first novel, The Drifter, won the ITW Thriller and Barry Awards. It was also nominated for Edgar, Anthony, and Hammett Awards. He won the 2016 Literary Award from the Wisconsin Library Association and was named one of Apple's 10 Writers to Read in 2017. Light It Up was named the Best Thriller of 2018 by Apple Books. Light it Up, The Wild One and The Price You Pay were shortlisted for the Barry Award. A husband and father, he has worked as a carpenter, remodeling contractor, and building inspector.  He lives in Milwaukee, where he is hard at work on the next Peter Ash novel. His latest novel is THE DARK TIME. Learn more at nickpetrie.com Special thanks to NetGalley for early previews. Intro reel, Writing Table Podcast 2024 Outro RecordingFollow the Writing Table: @writingtablepodcastEmail questions or tell us who you'd like us to invite to the Writing Table: writingtablepodcast@gmail.com.

"I can't think about cybersecurity this week; I'm thinking about 1099s."You're not alone. Many SMBs see the NIST Cybersecurity Framework (CSF) as an overwhelming manual for government contractors, not a local shop or startup. Jen Stone sits down with Daniel Eliot, NIST's lead for small business engagement. We break down the new NIST CSF 2.0 Small Business Quick Start Guide —a "small-chunk" resource designed for under-resourced organizations to move from chaos to a structured program. In this episode:Why having "everyone" responsible means "nobody" is.How to build a "reasonable" security program while managing payroll and daily operations.Why taking security seriously helps you win bigger contracts and scale safely.The exact steps (MFA, patching, backups, and more) that even large orgs get wrong.NIST ResourcesNIST (National Institute of Standards and Technology): https://www.nist.gov/Small Business Cybersecurity Corner: https://www.nist.gov/itl/smallbusinesscyberNIST CSF 2.0 (Cybersecurity Framework): https://www.nist.gov/cyberframeworkSmall Business Quick Start Guide: https://www.nist.gov/publications/nist-cybersecurity-framework-20-small-business-quick-start-guideContact Daniel and his team: smallbizsecurity@nist.govKey Term DefinitionsThe 6 Functions: Govern, Identify, Protect, Detect, Respond, and RecoverMFA: Multi-Factor Authentication—essential for account access. Patching: Updating software to fix security "holes." MSP/MSSP: Local experts you can hire to manage IT security. Timestamps00:00 – Many hats of small business owners00:26 – Daniel Eliot and NIST's Mission02:25 – Exploring the Small Business Cybersecurity Corner03:20 – What is the NIST CSF?04:26 – The Small Business Quick Start Guide for CSF 2.006:52 – How to Identify Your Most Critical Assets09:56 – When to Seek Help: Engaging MSPs and Local Resources10:52 – Defining a "Successful" Cybersecurity Program13:21 – Essential Fundamentals: MFA, Patching, and Backups15:35 – How to Engage Directly with NIST Jen Stone (MCIS, CISSP, CISA, QSA) is a Principal Security Analyst at SecurityMetrics. With 25+ years in IT and 100+ high-level assessments, Jen specializes in making complex compliance actionable for businesses of all sizes. Outside of security, she is an aerial arts enthusiast and motorcycle rider. Request a Quote for a PCI Audit ► https://www.securitymetrics.com/pci-audit Request a Quote for a Penetration Test ► https://www.securitymetrics.com/penetration-testing Get the Guide to PCI DSS compliance ► https://www.securitymetrics.com/lp/pci/pci-guide Get FREE security and compliance training ► https://academy.securitymetrics.com/ Get in touch with SecurityMetrics' Sales Team ► https://www.securitymetrics.com/contact/lets-get-you-to-the-right-place

​jason b. crawford (He/They) born in Washington DC and raised in Lansing, Michigan, is the author of Year of the Unicorn Kidz. Their second collection, YEET! is the winner of the Omnidawn 1st/2nd Book Prize and was published Fall 2025. They have been published in Poetry Magazine, Academy of American Poets, Cincinnati Review, Beloit Poetry Journal, RHINO Poetry, among others. They are a 2023 Emerging Writers Fellow for Lambda Literary and hold their MFA in Poetry from The New School. Find more info here: https://www.jasonbcrawford.com/ As always, we'll also include the live Prompt Lines for responses to our weekly prompt. Submit your poems through Submittable by midnight Sunday for a chance to be invited: https://rattle.submittable.com/submit/269309/rattlecast-prompt-poems-online For links to all the past episodes, visit: https://www.rattle.com/page/rattlecast/ This Week's Prompt: Write a poem that begins precisely where you currently are in life, but lands somewhere else entirely. Next Week's Prompt: Write a poem which confesses something that's secretly seasonal to you, but not so much to others. The Rattlecast livestreams on YouTube, Facebook, and Twitter, then becomes an audio podcast. Find it on iTunes, Spotify, or anywhere else you get your podcasts.

This week's chapel speaker was Dr. NadyaWilliams. Nadya is Interim Director of the MFA in Creative Writing at AshlandUniversity and Books Editor at Mere Orthodoxy, where she also hosts theChristians Reading Classics podcast. She is the author of three books, mostrecently Christians Reading Classics which was published in 2025.

Hello, Protagonists!Welcome to another episode of the Creative, Inspired, ALIVE podcast—where we go behind the scenes with the storytellers shaping our culture.Our next guest, Cynthia D'Aprix Sweeney, is the author of the instant New York Times bestselling novels The Nest (named a best book of the year by People, the Washington Post, and NPR) and Good Company (a Read with Jenna selection). Her work has been translated into more than 28 languages, and The Nest is in development as a limited series with AMC Studios. Sweeney holds an MFA from the Bennington Writing Seminars.Today, we talk about:* writing distinct and integrated POVs,* finding the right pace of writing for yourself,* how we sometimes scare ourselves out of taking risks in writing,* the truth of having work developed into a TV series,* and so much more!xo,Joanna & Evelyn

This week's Security Squawk episode isn't about phishing. It's about structural weakness. Three separate incidents. Three different industries. One uncomfortable pattern: the systems organizations trust most are expanding risk quietly — and in some cases, architecturally. First, a lawsuit that should make every board member pay attention. Marquis Software Solutions, a fintech serving 74 U.S. banks, is suing SonicWall. The allegation centers on SonicWall's cloud backup system, where firewall configuration backups were allegedly accessible and contained credentials — including MFA scratch codes. Those backups were reportedly used to compromise Marquis, leading to a ransomware incident and downstream exposure. What began as a scoped 5% customer exposure was later reported as potentially impacting all customers. This is not a misconfigured endpoint. This is a control-plane failure. For CEOs, this reframes vendor risk. It's no longer a questionnaire exercise. It's a litigation vector. If a security provider's design exposes authentication artifacts, your internal diligence may not matter. The liability chain now includes vendors and MSPs in a very direct way. For IT Directors, the operational question is simple: what exactly is inside your firewall backups? Are reusable authentication artifacts stored? Who can access vendor-hosted exports? If attackers obtain your configuration backups, can they replay your defenses? For MSPs, the exposure is real. If you manage firewall exports or MFA deployments, you are part of the architecture. And potentially part of the courtroom. Then we shift to UFP Technologies, a medical device manufacturer. Intrusion detected. Billing and shipping label systems disrupted. Data stolen or destroyed. Insurance expected to offset financial impact. But this isn't primarily a data story. Attackers disrupted order-to-cash and fulfillment velocity. In healthcare supply chains, slowing billing and labeling can create immediate executive escalation without touching the factory floor. Modern ransomware groups increasingly target business process choke points — ERP, labeling, scheduling — because leverage doesn't require full encryption anymore. For CEOs, “no material impact expected” is accounting language. Customers measure impact in delayed shipments. For IT leaders, the question becomes operational: can billing, labeling, and fulfillment functions recover independently? Are those systems segmented? Tested? Immutable? For risk managers and insurers, this represents a shift in underwriting focus — from endpoints to process resilience. Finally, the University of Hawaiʻi Cancer Center ransomware incident. Roughly 87,000 study participants directly impacted. But historical datasets, including Social Security numbers collected from driver's license and voter registration data dating back to 1998, expanded potential exposure to nearly 1.2 million individuals. They engaged the threat actors. They received a decryptor. They received “assurances” that data was destroyed. That's not verification. That's negotiation. The uncomfortable truth: legacy identity data becomes modern ransom currency. Research environments often have weaker governance than clinical systems, yet they can contain decades of sensitive identifiers. For boards, the issue isn't just security posture. It's data retention discipline. What obsolete identity data are you still holding? Why? For how long? And who owns the risk? Across these stories, three themes emerge: Control-plane trust is fragile. Operational choke points are the new leverage strategy. Data retention is compounded liability. Cybersecurity is no longer just about stopping intrusion. It's about architectural accountability and governance maturity. If you value independent, executive-level analysis without vendor spin, support the show at: buymeacoffee.com/securitysquawk The real question is this: Are your greatest cyber risks coming from external attackers — or from design decisions you haven't revisited in years?

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.

Jeff and Jim sit down with David Llorens, principal at RSM, to break down the RSM 2026 Attack Vectors Report. Drawing from real-world offensive security engagements, David explains why identity continues to be the primary attack surface, how AI chatbots are creating new vulnerabilities through prompt injection, and what separates organizations that get breached from those that don't. The conversation covers MFA gaps, the explosion of non-human identities, why PAM is the top investment priority for 2026, and how CISOs can align security spending with business objectives. Plus, the episode wraps up with soccer stories and some quality trash talk.Connect with David: https://www.linkedin.com/in/david-llorens-009a3310/Review RSM's 2026 Attack Vectors Report: https://rsmus.com/insights/services/risk-fraud-cybersecurity/rsm-attack-vector-report.htmlConnect with us on LinkedIn:Jim McDonald: https://www.linkedin.com/in/jimmcdonaldpmp/Jeff Steadman: https://www.linkedin.com/in/jeffsteadman/Visit the show on the web at http://idacpodcast.comTIMESTAMPS0:00 - Intro and Jim's big personal news4:51 - Main topic intro: RSM 2026 Attack Vectors Report5:55 - David's origin story and how he got into cybersecurity9:53 - What a principal is at RSM and David's current role11:16 - What the Attack Vectors Report is and how it is created14:40 - Why identity security is a dominant theme in this year's report17:19 - What separates organizations that get breached from those that don't18:18 - MFA as the first line of defense18:45 - Privileged access management as a growing priority19:40 - Detecting lateral movement through identity anomalies21:00 - Credential rotation as an advanced defensive technique22:26 - Non-human identities and service account risks24:37 - Middle market challenges and budget constraints25:17 - Is it the size of the budget or how you spend it?28:29 - Using internal audit and cross-department collaboration for security wins30:15 - Cybersecurity as a business enabler, not a deterrent32:45 - Non-human identities and agentic AI creating new attack surfaces35:51 - Prompt injection attacks and AI chatbot vulnerabilities39:42 - Actionable recommendations for practitioners42:41 - MFA implementation gaps and session hijacking45:02 - The case for FIDO2 and layered conditional access46:35 - Is identity security a board-level issue?49:47 - Three things CISOs should focus on through 202650:52 - PAM as the top investment priority51:28 - Removing unnecessary privileges from users56:11 - Redefining what privilege means in your organization57:43 - Social media accounts as privileged access58:42 - Credentials stored in SharePoint and OneDrive59:38 - Wrap up and where to find the report59:58 - Lighter topic: David's soccer background and playing semi-pro1:05:06 - Best trash talk stories1:07:03 - Jim's trash talk philosophy: scoreboard1:08:00 - Jeff's basketball trash talk and calling his shots1:10:00 - Final thoughts and sign offKEYWORDSIDAC, Identity at the Center, Jeff Steadman, Jim McDonald, David Llorens, RSM, attack vectors report, offensive security, penetration testing, identity security, MFA, multifactor authentication, privileged access management, PAM, non-human identities, service accounts, agentic AI, AI security, prompt injection, lateral movement, credential rotation, FIDO2, conditional access, session hijacking, middle market, CISO, board-level security, certificate-based authentication, active directory, configuration management, shadow AI

This post contains affiliate links, which means I may earn a small commission at no extra cost to you.What happens when influencer culture, megachurch ambition, and algorithm-driven community collide?This week, I'm joined by longtime friend and fellow early-podcaster Alli Hoff Kosik to talk about her debut novel, Too Blessed to Stress — a sharp, nuanced story about faith, friendship, ambition, and the very online world we're all living in.We talk about how her MFA journey led her here, why religion in fiction felt like a “risky” topic just a few years ago, and how influencer culture (hello Mormon wives and MomTok

In this NBN episode, host Hollay Ghadery speaks with acclaimed author Lindsay Wong about her novel, Villain Hitting for Vicious Little Nobodies (Penguin Random House Canada, 2026). A woman signs her life away in the ancient Chinese tradition of corpse marriage in this wickedly hilarious novel about class, ambition, and the burden of being an impoverished model minority.Poor, vicious Locinda Lo is a nobody with a powerful witch for a grandmother and an undead corpse-kid-sister as her only friend. A broke MFA dropout living in Vancouver with six roommates and zero job prospects, she's buried so deep in debt she might as well be six feet under—and her family is in danger of being buried along with her.Desperate to escape her financial woes and save her grandmother and sister, Locinda signs a contract with a nefarious company, Joyful Coffin & Co. Matchmaking Services, to be auctioned off as a corpse bride to the highest bidder. Next thing she knows, she's being smuggled underground into the damp caves where her training coffin awaits.As Locinda prepares for a rich, dying dearly beloved to claim her as his bride-to-be in the Afterlife, her past becomes twisted with that of her grandmother, Baozhai. A feared and revered Villain Hitter, or witchy curse-monger, Baozhai's legacy stretches from 1920s China to the Battle of Hong Kong in the 40s to New York City thereafter. Across the generational divide, one thing becomes achingly clear to them both: you can't outrun your ghosts.Villain Hitting for Vicious Little Nobodies is a daring, genre-bending meditation on life, death, and the murderous cost of living in between. It lays bare the societal and cultural expectations placed on Chinese women and the devastating price of enduring them. This chilling masterclass in fiction cements Lindsay Wong as one of the most provocative Canadian horror writers of our time. Lindsay Wong is the author of the critically acclaimed, award-winning, and bestselling memoir The Woo-Woo, which was a finalist for Canada Reads 2019. She has written a YA novel entitled My Summer of Love and Misfortune. Wong holds a BFA in creative writing from the University of British Columbia and an MFA in literary nonfiction from Columbia University. She currently teaches creative writing at the University of Winnipeg. Follow her on Twitter @LindsayMWong, Instagram @Lindsaywong.M, or visit www.lindsaywongwriter.com. 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 this NBN episode, host Hollay Ghadery speaks with acclaimed author Lindsay Wong about her novel, Villain Hitting for Vicious Little Nobodies (Penguin Random House Canada, 2026). A woman signs her life away in the ancient Chinese tradition of corpse marriage in this wickedly hilarious novel about class, ambition, and the burden of being an impoverished model minority.Poor, vicious Locinda Lo is a nobody with a powerful witch for a grandmother and an undead corpse-kid-sister as her only friend. A broke MFA dropout living in Vancouver with six roommates and zero job prospects, she's buried so deep in debt she might as well be six feet under—and her family is in danger of being buried along with her.Desperate to escape her financial woes and save her grandmother and sister, Locinda signs a contract with a nefarious company, Joyful Coffin & Co. Matchmaking Services, to be auctioned off as a corpse bride to the highest bidder. Next thing she knows, she's being smuggled underground into the damp caves where her training coffin awaits.As Locinda prepares for a rich, dying dearly beloved to claim her as his bride-to-be in the Afterlife, her past becomes twisted with that of her grandmother, Baozhai. A feared and revered Villain Hitter, or witchy curse-monger, Baozhai's legacy stretches from 1920s China to the Battle of Hong Kong in the 40s to New York City thereafter. Across the generational divide, one thing becomes achingly clear to them both: you can't outrun your ghosts.Villain Hitting for Vicious Little Nobodies is a daring, genre-bending meditation on life, death, and the murderous cost of living in between. It lays bare the societal and cultural expectations placed on Chinese women and the devastating price of enduring them. This chilling masterclass in fiction cements Lindsay Wong as one of the most provocative Canadian horror writers of our time. Lindsay Wong is the author of the critically acclaimed, award-winning, and bestselling memoir The Woo-Woo, which was a finalist for Canada Reads 2019. She has written a YA novel entitled My Summer of Love and Misfortune. Wong holds a BFA in creative writing from the University of British Columbia and an MFA in literary nonfiction from Columbia University. She currently teaches creative writing at the University of Winnipeg. Follow her on Twitter @LindsayMWong, Instagram @Lindsaywong.M, or visit www.lindsaywongwriter.com. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literature

Episode Topic: A Conversation with Adela NajarroEmbark on an evocative journey through “split geographies” with poet Adela Najarro in an oral history interview with director of Letras Latinas Francisco Aragón '03 MFA. From the boarding houses of mid-century San Francisco to the classrooms of Los Angeles, experience how deep ties to family history transform into precise, body-centered poetry. Discover a narrative of motherly and grandmotherly resilience that bridges Nicaraguan heritage with the American literary landscape. Featured Speakers:Adela Najarro, poetRead this episode's recap over on the University of Notre Dame's open online learning community platform, ThinkND: https://go.nd.edu/42e18a.This podcast is a part of the ThinkND Series titled Letras Latinas. Thanks for listening! The ThinkND Podcast is brought to you by ThinkND, the University of Notre Dame's online learning community. We connect you with videos, podcasts, articles, courses, and other resources to inspire minds and spark conversations on topics that matter to you — everything from faith and politics, to science, technology, and your career. Learn more about ThinkND and register for upcoming live events at think.nd.edu. Join our LinkedIn community for updates, episode clips, and more.

Vol. 6 of Story Time, a new series on the program featuring an author reading aloud from her work. In this episode, Emily Nemens reads aloud from her sophomore novel, Clutch, available from Tin House / Zando. Nemens's debut novel, The Cactus League, was a New York Times Book ReviewEditors' Choice and named one of NPR's and Lit Hub's favorite books of 2020. Her stories have appeared in BOMB, The Gettysburg Review, n+1, and elsewhere; her illustrations have appeared in The New Yorker and in collaboration with Harvey Pekar. Emily spent over a decade editing literary quarterlies, including leading The Paris Review and serving as co-editor and prose editor of The Southern Review. She held the 2022-23 Picador Professorship (University of Leipzig) and teaches in the MFA program at Bennington College. She lives in central New Jersey with her husband and dog. *** ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Otherppl with Brad Listi⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ is a weekly podcast featuring in-depth interviews with today's leading writers. This episode is sponsored by Ulysses. Go to ⁠⁠⁠⁠ulys.app/writeabook⁠⁠⁠⁠ to download Ulysses, and use the code OTHERPPL at checkout to get 25% off the first year of your yearly subscription." Available where podcasts are available: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Apple Podcasts⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Spotify⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠YouTube⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, etc. Get ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠How to Write a Novel,⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ the debut audio course from DeepDive. 50+ hours of never-before-heard insight, inspiration, and instruction from dozens of today's most celebrated contemporary authors. Subscribe to ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Brad's email newsletter⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Support the show on Patreon⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Merch⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠  ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠TikTok⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Bluesky⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Email the show: letters [at] otherppl [dot] com The podcast is a ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠proud affiliate partner of Bookshop⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, working to support local, independent bookstores. Learn more about your ad choices. Visit megaphone.fm/adchoices

This month, Mary got to spend time with Heather Bentz, a nationally rejowned artist and all around cool person. Heather was raised by artists, and by the natural world she adventured into throughout her childhood. She holds a BFA in Printmaking from Pennsylvania State University, and an MFA in Painting from Montana State University.Following her rapt attention to play and adventure in nature as a child, Heather whimsically engages with a variety of materials in her art practice of collage, drawing and painting. In her career, she also supported the education of artists even as she continued creating. She served as Assistant Dean of the college of Arts and Architecture at Montana State University, and later as Assistant Dean of the College of Visual and Performing Arts at the University of Massachusetts, Dartmouth.These days, her pieces hold found and recycled materials and often reference the plants around her and those she observed as a child.As Heather puts it, "My art is a physical record of how I process the world around me, organizing and layering its frenetic bits to create surfaces that have history and hold the energy that went into their making. The imagery is reminiscent of something familiar. They're places in which I like to let my mind play and poke around." Enjoy listening to this episode of HILFH, when Heather and Mary poke around to learn more about how nature and humans dance with each other to create art.You can learn more about Heather Bintz by visiting her website. You can also follow her on Instagram @heather_bentz where she posts her bobcat sightings and shares her art.Heather's art is also featured in two current shows in Tucson, AZ - Small Works at the Untitled Gallery and Beneath the Surface, showing at Steinfeld Warehouse. She has standing exhibitions at ten Space Gallery in Denver and at the Art3 Gallery in Manchester, NH - both of these galleries serving to represent her work.In our conversation, Heather mentioned the artist, Clyde Aspevig - a creator worth checking out. And now, as you move into your next days and weeks, take Heather's advice to do what you can to support climate repair - and make sure to pay renewed (and renewing) attention to the light.MUSICPiano Background Music. Music by Dmitrii Kolesnikov from PixabayBackground Piano. Music by Nikita Kondrashev from PixabayRelaxing Piano Ambient. Music by Mircea Iancu from PixabayOriginal theme music composed and performed by Gary Ferguson.

Ruth Irupé Sanabria's delicious and dexterous “Carne” begins with these lines: “I've eaten pork from / pernil to chuletas to chitterlings.” And just in case you were wondering — and even if you're not — the speaker goes on to list much more of the seafood, poultry, and animal parts that have been consumed and how they were cooked. Lest you think this poem is simply a meat-eater's manifesto, savor its final turn towards what else the speaker is really hungry for.  We invite you to subscribe to Pádraig's weekly Poetry Unbound Substack, read the Poetry Unbound books and his newest work, Kitchen Hymns, or listen to all our Poetry Unbound episodes.   Ruth Irupé Sanabria's first collection of poetry, The Strange House Testifies, was published by Bilingual Review Press. Her second collection, Beasts Behave in Foreign Land, received the Letras Latinas/Red Hen Press Prize. She is a Dodge Poet, a CantoMundo Fellow, and holds an MFA in poetry from NYU. She works as a high school English teacher in New Jersey.  Find the transcript for this show at onbeing.org. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Recently, Nadine Saylor has been creating a series of gas and oil cans featuring imagery of her local surroundings. These more "masculine" objects remind her of the things her grandfather had in his shed. In thinking about gender and how it relates to the objects with which we surround ourselves, she investigates what role gender plays in our world writ large. Assistant Professor of Glass and Sculpture at University of Nebraska, Kearney, Saylor is originally from Hershey, Pennsylvania. She received her BFA in Photography from the University of the Arts in Philadelphia and her MFA in Glass from Alfred University in upstate New York. Since then, she has taught at Bowling Green State University in Ohio, Harrisburg Area Community College in Pennsylvania, and at Southern Illinois University in Carbondale. In addition to teaching at the collegiate level, she has taught many workshops internationally including The Studio at the Corning Museum of Glass and Penland School of Craft in North Carolina. She has also given demonstrations nationally and lectured internationally. Saylor has exhibited in many exhibitions across the country including the Cafesjian Art Trust, in Shoreview, MN, Toyama's International Glass Exhibition 2024 in Japan and has shown at SOFA Chicago. She recently completed a commission of two works Carrie Oilcan and Copper Kettle Nebraska for the Federal Reserve Board Gallery to be on display in Washington, DC, and to compliment her works commemorating American industry that were purchased in 2024. Derivative of her childhood, Saylor's works are instilled with love of Americana and history along with an interest in the stories behind the objects, the places, and the lives they have touched.  For example, Saylor's series of pincushions began with the familiar Tomato and Strawberry forms. In researching the history of these objects, the artist learned the pincushion was placed on the mantle to ward off evil spirits. When tomatoes were out of season, women made them out of fabric and used them as voodoo dolls. "I enjoy these kinds of historical narratives and use them as a vantage point in my work," she says. Imagery tells a story on the surface of many Saylor works. For example, Foggy Morning in the Black Swamp is a replica of an antique coffee pot she found in an antique store. The imagery on the surface is inspired by the artist's bike rides on the old railroad trail bike path through the Black Swamp.  She states: "My surroundings continue to affect the imagery on my glass as I lived on a farm in Southern Illinois with an array of chickens, goats and horses. This nostalgic life took me back to traveling to my grandmother's house in the countryside of rural Pennsylvania. Not only does my current rural life in Nebraska play a part in my glasswork, but I am also interested in the memories sparked by certain objects and what roles they play in our lives."   

January Gill O'Neil reads and discusses Lucille Clifton's "Won't You Celebrate with Me" and also poems from January's newest book, Glitter Road.January Gill O'Neil is a poet whose work explores the afterlives of history in American landscapes and intimate lives. Her poems trace how place, memory, and moral inheritance shape identity across generations, joining lyric precision with documentary attention and restraint.She is the author of four poetry collections published by CavanKerry Press: Glitter Road (2024), Rewilding (2018), Misery Islands (2014), and Underlife (2009). Glitter Road received the 2024 Poetry by the Sea Best Book Award and the Julia Ward Howe Prize and was a finalist for several honors, including the Massachusetts Book Award. Her work has appeared in The New York Times Magazine, Poetry, The Nation, American Poetry Review, and the Academy of American Poets' Poem-a-Day series.A Cave Canem fellow, O'Neil is a professor at Salem State University and teaches graduate poetry writing in the summer program at Middlebury College's Bread Loaf School of English. She served as executive director of the Massachusetts Poetry Festival from 2012 to 2018 and was the 2019–2020 John and Renée Grisham Writer-in-Residence at the University of Mississippi. She is a former chair of the AWP Board of Directors and its longest-serving current board member. She earned her B.A. at Old Dominion University and her MFA. at New York University.

What if the world you see every day is only a thin layer over a far more expansive reality? In this conversation with visionary artists Alex Grey and Allyson Grey, your perception of consciousness, identity, and the unseen dimensions of existence will be stretched beyond the familiar... We explore interdimensional beings, psychedelics, reincarnation, and the possibility that we choose to forget our connection to source. Alex and Allyson share their transformative experience of infinite love energy, reflect on their awakening, and examine art as a channel for the divine imagination, compassion, and human evolution. EPISODE #583 IS SPONSORED BY: Get 15% off at Kaizen (clean electrolytes): https://LiveKaizen.com/align Go to https://ax3.life/align and use the promo code ALIGN for a 20% discount Go to https://huel.com/align15 and get 15% off ========== OUR GUEST ========== Alex Grey is an American visual artist, author, teacher, and Vajrayana practitioner. He is best known for his paintings which portray multiple dimensions of reality, interweaving biological anatomy with psychic and spiritual energies. Grey's visual meditation on the nature of life and consciousness, the subject of his art, is contained in five books. Allyson Grey is a painter and social sculptor. With an MFA from Tufts University, Grey has long been an art educator, arts organizer and muse to artists worldwide. The Grey's co-founded the Chapel of Sacred Mirrors, (CoSM; cosm.org), a spiritual retreat center for artists outside of New York City. Together, Allyson and Alex have painted on stage in dozens of cities before thousands of dancing young people at festivals and arenas across five continents including Broadway theaters in New York City. ========== ALEX GREY ==========

Eleanor Keisman is an American writer living in Vienna, Austria. She holds a BA from The New School and an MFA in creative writing from Drexel University. Her short stories, poetry, and essays have appeared in Litro Magazine, The Bangalore Review, Tough Crime, Last Stanza Poetry Journal, and The Wild Umbrella, as well as adapted for "The Other Stories" podcast. New Animal is her first novella.Eleanor described her path to writing, the influences that guided her in writing New Animal, and the overall themes that present themselves within the novella. Eleanor Keisman WebsitePurchase New Animal from Broken Tribe Press@e_keisman@thewolfconnectionpod

Award-winning filmmaker Quinnolyn Benson-Yates made her first feature documentary before film school—and its seven-year journey from short film concept to PBS distribution holds lessons every indie filmmaker needs to hear.Epic Bill follows an endurance athlete who lost everything when his video rental empire collapsed (thanks, Netflix). Bill's mantra—“show up and suffer”—became Quinn's filmmaking philosophy as she navigated polar vortexes, battery failures in -50° weather, and the brutal realities of distribution. In this episode, she shares how she cut a 93-minute film down to 56 minutes for PBS, why credibility matters more than connections, and the uncomfortable truth about what distribution actually solves.DocuView Déjà Vu:Free Solo, 2018, 100 mins, Watch on on Disney + Package / Hulu, IMDB Link: Free Solo (2018) ⭐ 8.1 | Documentary, Adventure, SportMeru, 2015, 90 mins, Watch on Prime Video, IMDB Link: Meru (2015) ⭐ 7.7 | Documentary, SportCrip Camp: A Disability Revolution, 2020, 106 mins, Watch on Netflix, IMDB Link: Crip Camp (2020) ⭐ 7.7 | Documentary, HistoryWhat You'll Learn:Why “fail early, fail often” should include “fail sustainably”How archival footage transformed a short film into a featureThe PBS application process (NETA) and what it requiresWhat intermediaries like Bitmax do for Apple TV/Amazon distributionWhy distribution doesn't make your career—you doAbout Quinnolyn Benson-YatesQuinnolyn Benson-Yates is an award-winning filmmaker with an MFA from USC School of Cinematic Arts. Her feature documentary Epic Bill gained nationwide PBS distribution with promotions on CNN and SiriusXM, and is now available on Amazon and Apple TV. She's a two-time winner of Santa Barbara International Film Festival's 10-10-10 competition, and her short film Miss River screened at Palm Springs LGBTQ Film Festival. Her most recent short, a Western comedy called Man, premiered at Austin Film Festival. She's currently developing her first narrative feature about a middle school girl starting a punk band with her dad—inspired by her own childhood as an eight-year-old punk rock singer.Website: QBY | Film: Epic Bill - The Film | Instagram: @‌quinnolynIf you're enjoying the show, please subscribe and leave a review!Sponsor: Virgil Films http://www.virgilfilms.com/Support us by buying merch or watching our films: https://documentaryfirst.com/Follow our Substack Blog: https://documentaryfirst.substack.com/Join our newsletter (bottom of page): https://thegirlwhoworefreedom.com/Donate to help us tell more stories: https://givebutter.com/LivingStoriesLtdSupport us on Patreon00:00 Introduction04:27 Quinn's journey: punk rocker to USC film grad06:44 Current projects: narrative feature development08:02 Epic Bill origin: short film becomes seven-year feature10:08 Why documentaries take so long13:22 Bill's philosophy: “Show up and suffer”17:35 Applying endurance athlete lessons to filmmaking21:59 Filming in extreme conditions as a new filmmaker25:26 Fail early, fail often—fail sustainably27:01 Hardest scenes: -50° battery failures and emotional breakthroughs30:44 Bill's financial story: millionaire to bankruptcy33:57 What beliefs needed to die for Bill to succeed38:52 Leslie Murphy: the stakes character (Free Solo comparison)43:36 The PBS path: NETA application and cutting from 93 to 56 minutes46:33 Bitmax and Apple TV/Amazon distribution51:02 Deliverables that surprised her54:13 CNN and SiriusXM promotion: cold emails and pitch packets56:45 Industry Stress Test: Plan A, B, C when nobody's buying1:00:04 Uncomfortable truth: distribution doesn't make your career1:01:01 Practical tool: scene-by-scene film study method1:03:49 DocuView Déjà Vu: Free Solo, Meru, Crip Camp

In this episode, Danielle is interviewed about her new release, Pinky Swear, by her agent and fellow author Danya Kukafka.Danielle Girard is the USA Today bestselling author of several novels, including the Annabelle Schwartzman Series and Pinky Swear. Her books have won the Barry Award, the Romantic Times Reviewers' Choice Award, and White Out was in the top 100 bestselling e-books of 2020.A graduate of Cornell University, Danielle received her MFA in Creative Writing at Queens University of Charlotte, North Carolina. When she's not traveling, Danielle lives in the mountains of Montana.Danya Kukafka is the author of the national bestseller, Notes on an Execution, which won the Edgar Award for Best Novel in 2023 and was named The New York Times Best Crime Novel of the Year. Notes on an Execution was an Indie Next Pick, a finalist for the Goodreads Choice Awards for fiction, and received a cover review in the New York Times Book Review. Her debut novel, Girl in Snow was also a national bestseller, an Indie Next Pick, and a B&N Discover pick. Both novels have been optioned for film and television, and her work has been published in more than a dozen languages worldwide. She works as a literary agent with Trellis Literary Management.Killer Women podcast is copyrighted by Authors on the Air Global Radio Network#podcast #author #interview #authors #KillerWomen #KillerWomenPodcast #authorsontheair #podcast #podcaster #killerwomen #killerwomenpodcast #authors #authorsofig #authorsofinstagram #authorinterview #writingcommunity #authorsontheair #suspensebooks #authorssupportingauthors #thrillerbooks #suspense #wip #writers #writersinspiration #books #bookrecommendations #bookaddict #bookaddicted #bookaddiction #bibliophile #read #amreading #lovetoread #daniellegirard #daniellegirardbooks #danyakukafka #pinkyswear #emilybestlerbooks #atriabooks

Emily Nemens is the author of the novel Clutch, available from Tin House. Nemens's debut novel, The Cactus League, was a New York Times Book ReviewEditors' Choice and named one of NPR's and Lit Hub's favorite books of 2020. Her stories have appeared in BOMB, The Gettysburg Review, n+1, and elsewhere; her illustrations have appeared in The New Yorker and in collaboration with Harvey Pekar. Emily spent over a decade editing literary quarterlies, including leading The Paris Review and serving as co-editor and prose editor of The Southern Review. She held the 2022-23 Picador Professorship (University of Leipzig) and teaches in the MFA program at Bennington College. She lives in central New Jersey with her husband and dog. *** ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Otherppl with Brad Listi⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ is a weekly podcast featuring in-depth interviews with today's leading writers. This episode is sponsored by Ulysses. Go to ⁠⁠⁠⁠⁠ulys.app/writeabook⁠⁠⁠⁠⁠ to download Ulysses, and use the code OTHERPPL at checkout to get 25% off the first year of your yearly subscription. Available where podcasts are available: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Apple Podcasts⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Spotify⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠YouTube⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, etc. Get ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠How to Write a Novel,⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ the debut audio course from DeepDive. 50+ hours of never-before-heard insight, inspiration, and instruction from dozens of today's most celebrated contemporary authors. Subscribe to ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Brad's email newsletter⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Support the show on Patreon⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Merch⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠  ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠TikTok⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Bluesky⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Email the show: letters [at] otherppl [dot] com The podcast is a ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠proud affiliate partner of Bookshop⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, working to support local, independent bookstores. Learn more about your ad choices. Visit megaphone.fm/adchoices

Rebecca N. Thompson, MD joins Let's Talk Memoir for a conversation about life-threatening pregnancy losses and  weaving her own story of navigating a challenging path to parenting with the stories of others, her decade-long collaboration with a remarkable group of women, how healing others helps us heal, imperfect love, not feeling heard, advocating for our own care, humanism in medicine, the cumulative impact of small actions, accepting help to get better, transcribing and processing interviews and forming a narrative, processing as we craft, making stories accessible to a wide audience, the moments that change everything when we least expect it, and her new memoir HELD TOGETHER: A SHARED MEMOIR OF MOTHERHOOD, MEDICINE, AND IMPERFECT LOVE.   Info/Registration for Ronit's 10-Week Memoir Class Memoir Writing: Finding Your Story https://www.pce.uw.edu/courses/memoir-writing-finding-your-story   Also in this episode: -accepting help to get better -portraying others in a positive light -Getting consent from book contributors   Books mentioned in this episode: How to Tell a Story from The Moth  Before and After the Book Deal by Courtney Maum If You Want to See a Whale by Julie Fogliano   Rebecca N. Thompson, MD, is a family medicine and public health physician from Portland, Oregon, who specializes in women's and children's health—and the author of HELD TOGETHER: A SHARED MEMOIR OF MOTHERHOOD, MEDICINE, AND IMPERFECT LOVE, published with HarperCollins in Spring 2025. In this innovative book, Dr. Thompson intertwines her personal story of life-threatening pregnancy complications with the stories of twenty-one of her patients, friends, and medical colleagues.   Through profoundly honest first-person narratives created primarily from spoken interviews, Held Together offers a space for connection, bringing comfort and solidarity to anyone touched by challenges in building or sustaining families. At its heart, this collaborative project celebrates the extraordinary moments in the lives of ordinary women, as they navigate the complexities of motherhood, family dynamics, and health and healing across generations.   Connect with Rebecca: www.rebeccanthompson.com – Ronit's writing has appeared in The Atlantic, The Rumpus, The New York Times, Poets & Writers, The Iowa Review, Hippocampus, The Washington Post, Writer's Digest, American Literary Review, and elsewhere. Her memoir WHEN SHE COMES BACK about the loss of her mother to the guru Bhagwan Shree Rajneesh and their eventual reconciliation was named Finalist in the 2021 Housatonic Awards Awards, the 2021 Indie Excellence Awards, and was a 2021 Book Riot Best True Crime Book. Her short story collection HOME IS A MADE-UP PLACE won Hidden River Arts' 2020 Eludia Award and the 2023 Page Turner Awards for Short Stories.  She earned an MFA in Nonfiction Writing at Pacific University, is Creative Nonfiction Editor at The Citron Review, and teaches memoir through the University of Washington's Online Continuum Program and also independently. She launched Let's Talk Memoir in 2022, lives in Seattle with her family of people and dogs, and is at work on her next book. More about Ronit: https://ronitplank.com Subscribe to Ronit's Substack: https://substack.com/@ronitplank Follow Ronit: https://www.instagram.com/ronitplank/ https://www.facebook.com/RonitPlank https://bsky.app/profile/ronitplank.bsky.social

Award-winning cinematographer Michael Fitzer joins Jared to talk about his work in the film industry and how it compares to writing about their own experience in the US military. Michael shares what it's like to build a creative career in Louisville, Kentucky's growing film scene. He also reflects on how the magic of the Spalding Low-Residency MFA transformed his writing path, offering guidance and validation he hadn't previously found. Plus, Michael discusses his mission to help other artists recognize that a life in creative work is not only possible, but within reach.Michael is a recent graduate of Spalding University's low-residency MFA in Writing program after spending more than 25 years in the film industry. He's an Emmy Award-winning DP, Director, Producer, and Editor whose work has been seen on networks like Discovery, History, A&E, The Documentary Channel, iTunes, and Netflix, and represented at major film markets like Cannes, Berlin, and Toronto. Most recently, he assisted in the development of the Netflix hit show WRESTLERS, where he served as production supervisor. He is also a decorated combat veteran of the United States Army. MFA Writers is hosted by Jared McCormack and produced by Jared McCormack, Hanamori Skoblow, and Brié Goumaz. New episodes are released every two weeks. You can find more MFA Writers at ⁠MFAwriters.com⁠.BE PART OF THE SHOW— Donate to the show at⁠ Buy Me a Coffee⁠.— Leave a rating and review on ⁠Apple Podcasts⁠.— Submit an episode request. If there's a program you'd like to learn more about, contact us and we'll do our very best to find a guest who can speak to their experience.— Apply to be a guest on the show by filling out ⁠our application⁠.STAY CONNECTEDTwitter: ⁠@MFAwriterspod⁠Instagram: ⁠@MFAwriterspodcast⁠Facebook: ⁠MFA Writers⁠Email: ⁠mfawriterspodcast@gmail.com

Japanese-Language Phishing Emails https://isc.sans.edu/diary/Japanese-Language%20Phishing%20Emails/32734 'God-Like' Attack Machines: AI Agents Ignore Security Policies https://www.darkreading.com/application-security/ai-agents-ignore-security-policies Starkiller: New Phishing Framework Proxies Real Login Pages to Bypass MFA https://abnormal.ai/blog/starkiller-phishing-kit

  What happens when you feel outside pressure to make work that doesn't feel like you? In this episode, Kat sits down with Philadelphia-based artist and curator Jessica Libor for a deeply honest conversation about identity, persistence, and building a creative life on your own terms. Jessica shares the story of applying to the Pennsylvania Academy of the Fine Arts several times before getting in, navigating the tension between her love of fairy tales and beautiful imagery and an academic environment heavily influenced by postmodern aesthetics. She opens up about making dark, tortured paintings to fit in - and how she eventually found her way back to the work she was always meant to make. They also dig into how Jessica launched Era Contemporary, her own gallery and curatorial project, and why creating your own opportunities is sometimes the most powerful move an artist can make. You'll also hear about the mindset tools Jessica swears by - from attending high-end exhibitions and imagining yourself in the room as an exhibiting artist, to journaling and scripting her ideal creative life. She also shares the manifestation story behind getting into Spring Break Art Fair, one of New York's most exciting independent art events. This episode is full of honest reflection on imposter syndrome, developing a personal aesthetic under pressure, and what it really means to stay connected to your North Star as an artist. ABOUT JESSICA LIBOR Jessica Libor is a Philadelphia-based artist whose work explores feminine identity, storytelling, and personal mythology through a lens deeply rooted in global fairy tales and folklore. She holds an MFA from the Pennsylvania Academy of the Fine Arts and has pursued classical training at the Grand Central Atelier and the Florence Academy of Art. Her work has been exhibited internationally, including solo shows in Paris and Philadelphia, and she was selected for the prestigious SPRING/BREAK Art Show in New York in 2025. Her paintings are held in private collections worldwide and have been featured in American Art Collector, Beautiful Bizarre Magazine, and on WHYY/PBS. She is also the host of The Creative Heroine Podcast. Follow her work at jessicalibor.com and on Instagram at @jessicaliborstudio. ENJOYING THE SHOW? Leave a review on iTunes and share with a fellow artist or art lover. Subscribe so you never miss an episode, and visit www.createmagazine.co/call-for-art to submit your work to our latest open call in partnership with Square One Gallery. Join our weekly newsletter: https://createmagazine.myflodesk.com/newsletter

Robotic surgery has moved from novelty to norm, and in this episode of Behind the Knife, Drs. James Jung and Joey Lew sit down with urologic pioneer and Medtronic CMO Dr. Jim Porter to dissect how we got here, what the data really say about “the death of laparoscopy,” and where competing robotic platforms like Hugo may take the field next. From ergonomics and education to economics and global access, they tackle both the hype and the hard questions around robotics as the future of minimally invasive surgery.Hosts: ·      James Jung, MD, PhD, Assistant Professor of Surgery, Duke University·      Joey Lew, MD, MFA, Surgical resident PGY-3, Duke University, @lew__actuallyLearning Goals: By the end of this episode, listeners will be able to:·      Describe key clinical, ergonomic, and educational drivers behind the rapid adoption of robotic surgery in the United States and globally.·      Summarize current evidence comparing robotic and laparoscopic approaches for common procedures, including where outcomes are equivalent, inferior, or clearly superior.·      Explain how surgeon ergonomics, trainee experience, and video-based learning influence practice patterns and learning curves in minimally invasive surgery.·      Discuss the role of cost, reimbursement structures, and market competition (e.g., Medtronic Hugo vs da Vinci) in shaping robotic adoption across different health systems.·      Anticipate how next-generation, task- or organ-specific robotic platforms may further change standards of care in minimally invasive surgery.References:·      Violante T, Ferrari D, Novelli M, Larson DW. The Death of Laparoscopy - Volume 2: A Revised Prognosis. A retrospective study. Ann Surg. 2025 Jun 16. doi: 10.1097/SLA.0000000000006792. Epub ahead of print. PMID: 40518997. https://pubmed.ncbi.nlm.nih.gov/40518997/·      Yu Yoshida, Yoshiro Itatani, Takehito Yamamoto, Ryosuke Okamura, Koya Hida, Kazutaka Obama, Single-incision plus one robot-assisted surgery (SIPORS) using the Hugo robotic-assisted surgery (RAS) system for rectal cancer, Annals of Coloproctology, 10.3393/ac.2025.00787.0112, 41, 6, (586-591), (2025). https://pubmed.ncbi.nlm.nih.gov/41486916/Please visit https://behindtheknife.org to access other high-yield surgical education podcasts, videos and more.  If you liked this episode, check out our recent episodes here: https://behindtheknife.org/listenBehind the Knife Premium:General Surgery Oral Board Review Course: https://behindtheknife.org/premium/general-surgery-oral-board-reviewTrauma Surgery Video Atlas: https://behindtheknife.org/premium/trauma-surgery-video-atlasDominate Surgery: A High-Yield Guide to Your Surgery Clerkship: https://behindtheknife.org/premium/dominate-surgery-a-high-yield-guide-to-your-surgery-clerkshipDominate Surgery for APPs: A High-Yield Guide to Your Surgery Rotation: https://behindtheknife.org/premium/dominate-surgery-for-apps-a-high-yield-guide-to-your-surgery-rotationVascular Surgery Oral Board Review Course: https://behindtheknife.org/premium/vascular-surgery-oral-board-audio-reviewColorectal Surgery Oral Board Review Course: https://behindtheknife.org/premium/colorectal-surgery-oral-board-audio-reviewSurgical Oncology Oral Board Review Course: https://behindtheknife.org/premium/surgical-oncology-oral-board-audio-reviewCardiothoracic Oral Board Review Course: https://behindtheknife.org/premium/cardiothoracic-surgery-oral-board-audio-reviewDownload our App:Apple App Store: https://apps.apple.com/us/app/behind-the-knife/id1672420049Android/Google Play: https://play.google.com/store/apps/details?id=com.btk.app&hl=en_US