Podcasts about nardella

Michael Nardella built a successful law firm. But after years of achievement, he found himself asking a deeper question: is this it?   In this episode, Michael shares the moment external success stopped being enough, and what it took to reconnect with purpose. He opens up about the burnout, the quiet disillusionment, and the transformation that followed as he began building a culture that values people over prestige.   You'll hear: •How he balanced litigation with bankruptcy to create resilience •The identity shift that changed how he leads •Why mentoring and meaning now drive his vision •What leaders get wrong when they only optimize for success   Michael is the managing partner of Nardella & Nardella, a top Orlando-based firm. His story is a powerful invitation to rethink leadership, ambition, and what really matters when building something that lasts.

This week, it's a very special episode of Time Signatures as your host, Jim Ervin welcomes another legendary bluesman, Steve Nardella. Join Steve and Erv as they discuss his relocation to Michigan from the east coast in 1971-just to be closer to Chicago, the early Blues hangouts in Ann Arbor (Blind Pig, Mr. Flood's Party, Rick's American Cafe, etc), and his appearance in a supporting role at the 1972 Ann Arbor Blues Festival for Boogie Woogie Red, Lightnin Slim, and Johnny Shines-a recording he didn't know anything about. Steve also talked about his 1964 or ‘65 New York trip where he saw Muddy Waters, Otis Spann, and James Cotton. Great stories about jammin' with Stevie Ray Vaughan, and definitely an episode well worth your time.Spotify: https://open.spotify.com/artist/2CfHxv1Ha614CY85E8x017 Facebook: https://www.facebook.com/steve.nardella.5 YouTube: https://www.youtube.com/watch?v=Rare3P56NWo&list=PL2C46EF8DE7B9D84D _________________________Facebook: Time SignaturesYouTube: Time SignaturesFacebook: Capital Area Blues SocietyWebsite: Capital Area Blues SocietyFriends of Time Signatures _______Website: University of Mississippi Libraries Blues ArchiveWebsite: Killer Blues Headstone ProjectWebsite: Blues Society Radio NetworkWebsite: Keeping the Blues Alive Foundation

Wemby Future Joe Nardella and Play of the Day

In this episode we welcome Michelle Lokot, an esteemed researcher and practitioner, to explore the coloniality of gender and how it intersects with monitoring and evaluation (M&E) in humanitarian contexts. Michelle shares practical tools for fostering decolonial approaches to M&E, drawing on her extensive experience in feminist research, GBV, and qualitative methods. As Co-Director of the Health in Humanitarian Crises Centre at LSHTM, Michelle brings unique insights into the power hierarchies shaping gender, forced migration, and humanitarian aid. With years of frontline experience in Jordan, Nigeria, and Burundi, and collaborations with agencies like UNICEF and IRC, Michelle's expertise will challenge and inspire your perspective on humanitarian work. The link to the transcript is hereSources: Gani, J.K & Khan, R.M,  Positionality Statements as a Function of Coloniality: Interrogating Reflexive MethodologiesLokot, M., Pichon, M., Kalichman, B., Nardella, S., Falconer, J., Kyegombe, N., & Buller, A. M.,  Decolonising the field of violence against women and girls: A scoping review and recommendations for research and programming.Lokot, M., Reflecting on Race, Gender and Age in Humanitarian-Led Research: Going Beyond Institutional to Individual Positionality.Lokot, M.,  Whose Voices? Whose Knowledge? A Feminist Analysis of the Value of Key Informant Interviews.Meger, S, The Fetishization of Sexual Violence in International Security.Zreik, T., El Masri, R., Chaar, S., Ali, R., Meksassi, B., Elias, J., & Lokot, M., Collaborative Coding in Multi-National Teams: Benefits, Challenges and Experiences Promoting Equitable Research.

In questo episodio con l'Onorevole Dario Nardella diamo seguito a quello che è stato il nostro viaggio a Bruxelles al Parlamento Europeo e parliamo di politiche agricole, difficoltà odierne e prospettive future, spiegando e analizzando alcuni temi di attualità come la PAC, il Mercosur e tanto altro.

STRASBURGO (FRANCIA) (ITALPRESS) - “Al di là delle parole della presidente della Commissione europea Ursula von der Leyen o di Meloni contano i fatti, e i fatti ci dicono che il modello Albania è un fallimento”. Lo ha detto l'eurodeputato del Partitodemocratico Dario Nardella, in merito ai centri italiani per migranti in Albania.xf4/sat/gtr

STRASBURGO (FRANCIA) (ITALPRESS) - “Al di là delle parole della presidente della Commissione europea Ursula von der Leyen o di Meloni contano i fatti, e i fatti ci dicono che il modello Albania è un fallimento”. Lo ha detto l'eurodeputato del Partitodemocratico Dario Nardella, in merito ai centri italiani per migranti in Albania.xf4/sat/gtr

ROMA (ITALPRESS) - Un uomo libero è colui che riesce a raggiungere i suoi obiettivi con tenacia e costanza, che trasforma sfide e incertezze in conquiste, che mostra come il vero successo vada oltre i guadagni. Roberto Nardella, imprenditore e presidente di Confimea Imprese, ne parla in un libro, curato da Alessandra Ferro e intitolato appunto "Un uomo libero". Alla presentazione del volume di Manfredi Edizioni, alla Camera, è intervenuto tra gli altri il deputato Nicola Carè, che ha scritto la prefazione.xc3/f04/fsc/gtr

What is this non-profit that just got protection from the statehouse?

BRUXELLES (BELGIO) (ITALPRESS) - "Nel merito l'audizione di Fitto ha fornito alcune risposte che giudichiamo positivamente. Il giudizio finale però lo daremo in relazione al segnale che ci verrà dato dalla presidente Von der Leyen sull'assetto complessivo della Commissione, che per noi è troppo sbilanciato su posizioni conservative, influenzato da partiti nazionalisti e antieuropei". Lo dice l'eurodeputato del Pd Dario Nardella, in merito all'audizione di Raffaele Fitto, vicepresidente designato della Commissione Europea con delega alla Coesione e alle Riforme.xf4/sat/gsl

BRUXELLES (BELGIO) (ITALPRESS) - "Nel merito l'audizione di Fitto ha fornito alcune risposte che giudichiamo positivamente. Il giudizio finale però lo daremo in relazione al segnale che ci verrà dato dalla presidente Von der Leyen sull'assetto complessivo della Commissione, che per noi è troppo sbilanciato su posizioni conservative, influenzato da partiti nazionalisti e antieuropei". Lo dice l'eurodeputato del Pd Dario Nardella, in merito all'audizione di Raffaele Fitto, vicepresidente designato della Commissione Europea con delega alla Coesione e alle Riforme.xf4/sat/gsl

Nicholas grew up in Rhode Island, United States, where he formed his first band, The Vikings. The band performed cover versions of popular rhythm and blues hits of the time, along with songs by the Rolling Stones. In the mid-1960s, he formed the Black Cat Blues Band with Duke Robillard, Fran Christina and Steve Nardella. Around 1970, he formed the Boogie Brothers with Nardella. After attending the Ann Arbor Blues Festival in 1970, the band eventually moved on to San Francisco, California in 1972 per-request of Commander Cody and His Lost Planet Airmen. By 1974, Nicholas had moved to Chicago, Illinois and began playing with Big Walter Horton. During his time in Chicago, he would record music with Horton, Boogie Woogie Red and Robert Lockwood, Jr. In 1974, he created his own single, "Too Many Bad Habits" for Blind Pig Records. Moving to Providence, Rhode Island, he formed his own band, Johnny Nicholas and the Rhythm Rockers, which included Kaz Kazanoff on saxophone, Terry Bingham on drums, Sarah Brown on bass guitar and Ronnie Earl on electric guitar. Nicholas began his stint with Asleep at the Wheel in 1978, when the band asked him to perform with them. During his off time, he would travel to various cities for solo shows, but would often visit Louisiana to play with Link Davis and Cajun accordion player Nathan Abshire. By 1980, however, Nicholas decided to take time off from music in order to raise a family.  in 1991 Nicholas returned to recording blues music with Johnny Shines and Snooky Pryor on the album Back to the Country. After returning to music, Johnny has released one studio album and three live albums on Topcat Records while also returning to regular live shows.

FIRENZE (ITALPRESS) - "Questo impianto è un gioiello di tecnologia. Il più importante biodigestore dell'Italia centrale, l'esempio di come si possono realizzare impianti per produrre energia pulita". A dirlo il sindaco di Firenze, Dario Nardella, in occasione dell'inaugurazione del digestore anaerobico di Montespertoli, realizzato da Alia Multiutilityfsc/gtr(Fonte video: Alia Multiutility)

FIRENZE (ITALPRESS) - "Questo impianto è un gioiello di tecnologia. Il più importante biodigestore dell'Italia centrale, l'esempio di come si possono realizzare impianti per produrre energia pulita". A dirlo il sindaco di Firenze, Dario Nardella, in occasione dell'inaugurazione del digestore anaerobico di Montespertoli, realizzato da Alia Multiutilityfsc/gtr(Fonte video: Alia Multiutility)

Addio a Roberto Cavalli. Lo stilista fiorentino è morto ad 83 anni dopo una lunga malattia.

FIRENZE (ITALPRESS) - "Con l'abbattimento delle ciminiere entra nel vivo la riqualificazione di questo impianto che diventerà un fiore all'occhiello a Firenze, ma anche in Italia per il recupero di rifiuti elettrici ed elettronici". Lo dice il sindaco di Firenze Dario Nardella, a margine dell'avvio dei lavori dell'abbattimento delle torri dell'ex inceneritore di Campi Bisenzio, dove sarà realizzato un impianto per il riciclo di materiale elettrico ed elettronico.sat/gtr(Fonte video: Alia Multiutility)

FIRENZE (ITALPRESS) - "Con l'abbattimento delle ciminiere entra nel vivo la riqualificazione di questo impianto che diventerà un fiore all'occhiello a Firenze, ma anche in Italia per il recupero di rifiuti elettrici ed elettronici". Lo dice il sindaco di Firenze Dario Nardella, a margine dell'avvio dei lavori dell'abbattimento delle torri dell'ex inceneritore di Campi Bisenzio, dove sarà realizzato un impianto per il riciclo di materiale elettrico ed elettronico.sat/gtr(Fonte video: Alia Multiutility)

Diventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.Carlo Nardella"Religioni dappertutto"Simboli, immagini, sconfinamentiCarocci Editorewww.carocci.itDai comizi politici alle manifestazioni di piazza, dai cartelloni pubblicitari alle sfilate di moda e all'avvento di nuove tecnologie, l'uso di riferimenti religiosi ha acquistato negli ultimi anni visibilità sulla scena pubblica facendo scalpore e accendendo talvolta anche vivaci polemiche. Le ragioni di questa rinnovata visibilità sono da cercare anzitutto nel riconoscimento dell'importanza della dimensione simbolica nella costruzione della realtà. Ciò porta una molteplicità di attori sociali, collettivi e individuali, a fare pubblicamente uso di segni e immagini attinenti al mondo delle religioni al di fuori dei loro contesti originari. Il volume, in cui si intrecciano analisi condotte a livello internazionale, documenta questa tesi generale attribuendo ai mezzi di comunicazione un ruolo propulsore di tali processi. Senza dimenticare che anche le religioni tentano dal canto loro di percorrere, con qualche rischio, vie finora inedite.Carlo NardellaÈ professore associato di Sociologia dei processi culturali nel Dipartimento di Scienze sociali e politiche dell'Università degli Studi di Milano, dove insegna Sociologia e Sociologia dei consumi. Ha condotto ricerche sul mutamento culturale focalizzandosi sulla relazione tra religione e marketing, sulle trasformazioni nell'uso dei simboli religiosi e sul rapporto media-Chiesa cattolica. È autore, tra gli altri, di La migrazione dei simboli (Guerini, 2015) e I simboli contesi (con M. Toscano e L. P. Vanoni; UTET, 2023), e ha curato i numeri monografici Religion and Marketing (“Sociologica”, 2014), Papa Francesco e i media (“Problemi dell'informazione”, 2019) e The Valorization of Religion by Media (“Religions”, 2024).IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.it

E' stato trovato il corpo del quinto operaio morto nel crollo di un cantiere a Firenze. Sono stati i vigili del fuoco, che da venerdì sono impegnati nelle operazioni di soccorso a individuare ed estrarre il corpo dalle macerie.

The latest on the shooting at the Kansas City Chiefs Super Bowl parade and reaction to the deadly incident. We're looking back on the Chiefs' overtime win in Super Bowl LVIII. Did Patrick Mahomes teach everyone who bet/picked against him a lesson this season? Plus, Joseph Girard III is named ACC Player of the Week for his performances in Clemson's road victories over North Carolina and Syracuse. Albany FireWolves' Joe Nardella and Adirondack Thunder head coach Pete MacArthur both join the show ahead of home games this weekend for the NLL and ECHL squads. And, reports of the Warriors making a play for LeBron James at the trade deadline has us wondering what could have been with the King and Curry.

FIRENZE (ITALPRESS) - "Stiamo pensando di ricordare Kurt Hamrin come merita, nei prossimi giorni promuoveremo un progetto importante per dedicare una parte della città alla sua memoria. Ha dedicato tutta la sua vita a Firenze e noi dobbiamo essergli grati". Con queste parole il sindaco Nardella, a margine della cerimonia funebre, ha ricordato l'ex attaccante svedese.xb8/ari/gtr

On the heels of Kevin Brown's Inside Lacrosse story on Friday that coaches at the IMLCA Convention discussed shortening the shot clock after a face-off win and outlawing the clamp, IL's Terry Foy talks to former Albany/Yale/Denver face-off specialist and former Rutgers face-off specialist Joe Nardella about the prospective changes, how big a deal outlawing the camp would be, what problem the coaches are trying to solve, whether FOGOs feel picked on and much more.

Nei giorni scorsi il Sindaco di Firenze Dario Nardella ha illustrato in consiglio comunale una delibera per fermare nel centro storico patrimonio UNESCO l'avvio di nuove attività finalizzate alla locazione a breve termine. La delibera è stata approvata dalla maggioranza e di fatto permetterà di utilizzare per un affitto turistico breve solo gli alloggi situati fuori dal centro storico; previste delle agevolazioni per i proprietari come l'azzeramento dell'Imu seconda casa per tre anni a quanti ne ripenseranno l'utilizzo, convertendolo da affitto breve a lungo. Non sono tardate ad arrivare le opposizioni a questa misura decisamente radicale rispetto all'attuale ordine delle cose nei maggiori centri storici. Di seguito riportiamo integralmente, al fine di chiarire ogni punto di vista su un tema oramai di attualità e scottante, una nota stampa diffusa da AIGAB - Associazione Italiana Gestori Affitti Brevi

Their backgrounds and experiences are diverse...Tony is an attorney, Pat a newspaper and magazine specialist, and Darin trains athletes to go pro. Yet, they have formed a deep bond and passion for spreading the Gospel in other countries. They make a visit to the Shepherd Studio to talk missions, ministry and growing in God.

Será que o amor é um sentimento inerente a gente? Você já se perguntou quais são os instrumentos disponíveis em nossa sociedade para que a gente consiga construir um amor ao próximo? Ou, então, será que nós mesmos, individualmente, somos capazes de experimentar esse tipo de amor? Neste episódio, Flávia Virginia, padre Julio Lancellotti e lama Padma Samten conversam com o professor Pietro Nardella-Dellova sobre a nossa capacidade de amar o próximo.

I due uomini che invidio di piùFonti: intervento del Presidente Mattarella alla cerimonia commemorativa del 78° anniversario della Liberazione al Teatro Toselli del 25 aprile 2023, pubblicato sul canale Youtube Presidenza della Repubblica Italiana Quirinale; estratto della puntata di Viva Rai 2 del 3 magio 2023, programma condotto da Fiorello e trasmesso da Rai 2, pubblicato sul canale Youtube di Matteo Renzi; presentazione del libro "Ecco a voi. Una storia italiana" di Pippo Baudo, evento promosso da BPER Banca in collaborazione con Ubik e pubblicato sul canale Youtube di Gian Marco Morselli il 4 marzo 2019; video "Sanremo 2023 - Fiorello e la gag con Amadeus" pubblicato sul canale Youtube di Rai il 9 febbraio 2023; video "Sanremo 2020 - Fiorello, la Trap e le nuove generazioni" pubblicato sul canale Youtube di Rai il 9 febbraio 2020; estratto del messaggio di fine anno del Presidente della Repubblica Sergio Mattarella pubblicato sul canale Youtube Presidenza della Repubblica Italiana Quirinale il 31 dicembre 2022; video del sindaco Nardella in autostop col travel blogger pubblicato su open.online.it l'1 maggio 2023; video del Vicepresidente del Senato Maurizio Gasparri pubblicato sul profilo Twitter @EsercitoCrucian il 2 maggio 2023; video pubblicato sul profilo Facebook di Giorgia Meloni l'1 maggio 2023; estratto dello spettacolo "Incantesimi" di Beppe Grillo; video "Quando la regina Elisabetta richiamò Berlusconi per aver urlato «Mr Obama» durante il G20" pubblicato sul canale Youtube del Corriere della Sera il 9 settembre 2022; video "Berlusconi - Il marocchino napoletano Mohammed Esposito" pubblicato sul canale Youtube di Pupia News il 14 maggio 2011; dichiarazione dell'ex Premier Mario Draghi in conferenza stampa dopo il Cdm, pubblicate sul canale Youtube di Corriere della Sera il 7 aprile 2022.

Firenze, perquisite case degli autori del blitz a Palazzo Vecchio

17/03/2023 - 23/03/2023. In questa puntata: "cazzo" a go-go (da Lucia Annunziata a Dario Nardella coi superpoteri), la maternità surrogata è peggio della pedofilia (lo dice il maestro Mollicone), Meloni al congresso CGIL e Montanari al concerto Maneskin, il derby di In Prima Gli Italiani alla ricerca della nuova promessa della Lazio (Hitlerson 88), la prima persona al mondo cui non piace la pizza lavora a Libero e tanto, tantissimo altro.

La morte del rider di Firenze ha riaperto il dibattito sulle condizioni di lavoro di questa categoria in costante crescita, poco protetta e spesso pagata a cottimo. "Zero tutele e ritmi insostenibili per 600 euro, è abominevole" ha dichiarato il sindaco del capoluogo fiorentino Nardella l'indomani dell'incidente. Parliamo di questa realtà insieme a un avvocato che segue moltissime cause intentate dai rider per farsi riconoscere il lavoro subordinato e maggiori garanzie. Prima però ci occupiamo del caro bollette per cercare di capire chi sta davvero speculando, con relativo guadagno, sul prezzo dell'energia

PLL Whipsnakes face-off man Joe Nardella is one of the best draw men in the world. A true face-off athlete, he's well known for his ability to play offense and defense after the draw. Going into his fourth season in the PLL, Nardella joins us to talk about his philosophy of lacrosse.

Pour cette nouvelle émission en partenariat avec le Comité européen des régions, nous recevons Dario Nardella, le maire de Florence depuis 2014, président du réseau Eurocities depuis 2020 et, depuis 2022, représentant au Comité européen des régions sous l'étiquette du Parti Socialiste Européen.

Pour cette nouvelle émission en partenariat avec le Comité européen des régions, nous recevons Dario Nardella, le maire de Florence depuis 2014, président du réseau Eurocities depuis 2020 et, depuis 2022, représentant au Comité européen des régions sous l'étiquette du Parti Socialiste Européen.

We had the opportunity to sit down with Brian Nardella, owner of Loyalty Barber Shop in Archbald. This is an exciting and relatable story about how an undecided future and the literal flip of a coin granted Brian the business of his dreams. You won't want to miss hearing about his journey through moving across the East Coast, changing career paths, and ultimately what motivated him to create his shop. From being a police offer to learning graphic design, his life experiences helped formulate the unique brand that stands today. Find out how you can win a $25 gift card to Loyalty Barber Shop in Archbald. If you or someone you know wants to be featured in our next podcast, message us on Facebook! Until next time, keep Eatin', Drinkin', and Shoppin' Local.To learn more about Loyalty Barber Shop, visit their Facebook and website. 

This month's edition of the Oil & Gas Measurement Podcast features Dan Nardella of Quorum Software discussing how to stack the deck in your favor for a successful measurement software system implementation. In this episode, you will learn about what goes into successful planning for a software implementation project, specifically when planning should start, who needs to be involved, and how to set expectations for the project. Weldon and Dan also discuss the importance of clearly defined success criteria, thorough test planning, and team involvement/buy-in throughout the organization. - Access the show notes and full episode transcript at PipelinePodcastNetwork.com.

On this episode I break down and preview the faceoff men of the NEC Conference with special guest Joe Nardella of the PLL Whipsnakes. Joe has worked out and trained exclusively for years with the Bryant duo (Nathan Laliberte and Jacob Alexander) and we talk at length about both of their breakthrough freshman seasons last spring. We also talk Zach Cole of St. Joes University and the rest of the NEC Conference. I also talk to Joe about this upcoming weekends slate of college games and what matchups he's most looking forward to watching. Check it out and give a listen! Time Stamps (2:04) - Bryant Breakdown with Joe Nardella (18:44) - St. Joes University breakdown (27:17) - Long Island University Preview (33:30) - Mount St. Mary's Preview (36:10) - Hobart Preview (41:12) - Wagner Preview (43:46) - Merrimack Preview (47:28) - Sacred Heart (49:43) - Nardella and I talk Opening Weekends and games we are excited about

Antonio Nardella joins the Monaco Podcast to to speak about what his position within the IOTA Foundation includes and how he is helping to push the community to new highs. Lots of exiting information for you, to get a better image of what is happening within IOTA.

Joe is one of the best to ever do it at a position that most of us still no little about. Listen to the most dominant Face Off Specialist in the world in 2020 talk the intricacies of the position that tilts the field, allows runs and is still incredibly under coached. 

Billy Collins '63 was U.S. Poet Laureate in 2002 when Congress gave him what seemed like an impossible assignment: commemorate the nearly 3,000 victims of 9/11 in a poem. In the inaugural episode of the Holy Cross Magazine Podcast, Collins talks about why he balked at first and why he changed his mind, and details how he wrote the historic piece, "The Names." More on Collins and "The Names" Collins profile: “The Making of an American Poet" Holy Cross Magazine, Summer 2020 Collins' website Collins' Facebook page, home of his live broadcasts Collins' "The Names" notebooks and drafts The Paris Review Interview with George Plimpton, Fall 2001 Podcast interview with Cheryl Strayed, May 2020 Holy Cross Remembers Lost Alumni on Anniversary of Sept. 11, September 2016 Transcript of this episode: Melissa Shaw: Hello and welcome to the Holy Cross Magazine Podcast. I'm your host Melissa Shaw, Editor of Holy Cross Magazine. This podcast takes a deeper dive into stories covered in our latest quarterly issue or examines a timely topic in between publication. In this episode, we'll be focusing on the latter with the man the New York Times has called the most popular poet in America, Billy Collins, class of 1963. Collins was serving as Poet Laureate of the United States on September 11th, 2001, and was later asked by the Library of Congress to write a poem to commemorate the victims of the attacks. Melissa Shaw: He read the resulting poem, The Names, at a special joint session of Congress in September 2002. It was a work the best-selling writing doesn't discuss much. But today, in light of the 20th anniversary of the September 11th attacks, Collins reflects on the assignment and the poem with writer Marybeth Reilly-McGreen, class of 1989, who profiled the native New Yorker and former New York Poet Laureate in the summer 2020 issue of Holy Cross Magazine. Here are Billy Collins and Marybeth Reilly-McGreen. Marybeth Reilly-McGreen: Thank you, Billy Collins, for being here today. And we are anticipating the 20th anniversary of 9/11, the attacks on America. At the time of the attacks you were U.S. Poet Laureate. Billy Collins: Correct. Marybeth Reilly-McGreen: You were asked to write a poem, The Names, which you then presented to a joint session of Congress on September 6th, 2002. If you would, we would love it if you would read it for us now. Billy Collins: Right. I'd be happy to read it then we can... and even happier to talk about it. The poem is called The Names and there is a parenthetical epigram below the title, and it reads, for the victims of September 11th and they're survivors. Yesterday, I lay awake in the palm of the night. A fine rain stole in, unhelped by any breeze. And when I saw the silver glaze on the windows, I started with A, with Ackerman, as it happened. Then Baxter and Calabro, Davis and Eberling, names falling into place as droplets fell through the dark. Names printed on the ceiling of the night. Names slipping around a watery bend. Twenty-six willows on the banks of a stream. Billy Collins: In the morning, I walked out barefoot among thousands of flowers heavy with dew like the eyes of tears, and each had a name. Fiori inscribed on a yellow petal. Then Gonzalez and Han, Ishikawa and Jenkins. Names written in the air and stitched into the cloth of the day. A name under a photograph taped to a mailbox. Monogram on a torn shirt, I see you spelled out on storefront windows and on the bright unfurled awnings of this city. I say the syllables as I turn a corner, Kelly and Lee, Medina, Nardella, and O'Connor. When I peer into the woods, I see a thick tangle where letters are hidden as in a puzzle concocted for children. Billy Collins: Parker and Quigley in the twigs of an ash. Rizzo, Schubert, Torres, and Upton, secrets in the boughs of an ancient maple. Names written in the pale sky. Names rising in the updraft amid buildings. Names silent in stone or cried out behind a door. Names blown over the earth and out to sea. In the evening, weakening light, the last swallows, a boy on a lake lifts his oars. A woman by a window puts a match to a candle, and the names are outlined on the rose clouds, Vanacore and Wallace, let X stand, if it can, for the ones unfound. Then Young and Ziminsky, the final jolt of Z. Billy Collins: Names etched on the head of a pin. One name spanning a bridge, another undergoing a tunnel. A blue name needled into the skin. Names of citizens, workers, mothers and fathers, the bright-eyed daughter, the quick son. Alphabet of names in green rose in a field. Names in the small tracks of birds. Names lifted from a hat Or balanced on the tip of the tongue. Names wheeled into the dim warehouse of memory. So many names, there is barely room on the walls of the heart. Billy Collins: To talk about the poem a little bit, I was asked by Congress, well, not everyone at once, in Congress, but I was, I received a phone call I was appointed Poet Laureate in June of 2001. And, of course, that was not too far away from September. And so being the Poet Laureate then, Congress, it wasn't Congress, it was really a group of people who were organizing this event, which was a congressional event. Congress was meeting outside of New York City, extremely rare in the history of the country. I think, maybe the second or third time that it happened. One of them occasion by the British, when the British burned down the capital. That's something we might not think of when we're buying Burberry raincoats and stuff. Billy Collins: But anyway, so they asked me if I'd write a poem to read to Congress and I balked. I mean I was sort of, "A homina, homina homina." I didn't know what to say. I wanted to say, "No, I don't think so." Because my poems are about such small things, such small matters, leading to larger matters. But this was just facing a larger matter head on, instead of telling it slant, instead of finding a way into a topic. This was facing the topic head on. And that's sort of the nature of an occasional poem, a poem that's on a certain subject, a certain event, really. Billy Collins: So I said, I did say, "No." I didn't say wouldn't show up, because you really can't say that to Congress. But I said, "I don't think I could write a poem like that." I kind of bargained my way out of it, but it took a while. I said, "I'm honored to attend and I will read something. I will find something appropriate to read and powerful." And I thought, "Walt Whitman will somehow come to my aid." But then they continued, I thought that would be the end of the conversation. They being at least three people on this conference call. Billy Collins: One of them said, "Well, if you did, just saying, if you did right upon, please include the heroism of the first responders." Another person said, "Well, yeah, if you happen to change your mind, please mention something positive about the future of our country." I mean, it's on and on like that. So the more they kind of jumped on me with all these parts that I should, the more I thought I couldn't write that poem. But one morning, like a week or so later, I woke up, startlingly, about five in the morning, it was still dark. And I thought I really should get off the bench here. I mean, this was the duty of all poets laureate in the past. Billy Collins: The reason to have a poet laureate, and is a British condition and invention, which is about 370 years old at this point. The whole idea of having a poet laureate was to preserve in writing, in rhyme and meter, which were the preservatives of ice and salt, that Yeates calls rhyme and meter, preserving sentiment and preserving national events. We didn't have videotape cameras, recorders, any of that. So the poet was to store in the national memory some event rendered in poetry. So that sort of, thinking of that at five in the morning, got my attention. That I would join this sort of noble tradition of poets laureate who wrote occasional poems. Billy Collins: But then I figured out, and this is sort of more interesting for people who write poetry than not, I figured out a way to do it. I figured out a strategy, because I was writing on demand and I figured out two things. I figured out I could write an elegy, so that's a specific genre and English literature and literature. And if you're an English major, if you get to graduate school anyway, you'll know by heart the probably six or seven great elegies in the English language. By choosing the elegy, that meant I could circumscribe the fields of my endeavor or play. It's a poem for the dead. That's what an elegy is. Billy Collins: That's why the little epigram, for the survivors, that's there, because it declares that the poem is an elegy. So I could stay within these elegy boundaries without dealing with geopolitics, the uncertainty. I mean, by then we were at war. I mean, war was declared, I think, nine or 10 days after September 11th. It was a pretty hair trigger response. And who knows where that war was going to go? Well, we know something about that now. The other thing, the other device I used was I could use, going through the dead, I could use one letter of the alphabet to stand for, to symbolize, to represent all the people, all the victims, the 3,000-and-something victims of 9/11 by the letter of their surname. Billy Collins: So there, I had two things to hold on to, the enclosure of the elegy, where I'm writing a poem for the dead and then the alphabet, and then this whole sense of the tolling of the bell of the names. I haven't counted it up, but the word names must appear 30 times in that poem. It's kind of names doing this, names doing that. That kind of repetition, as it turned out, created this rhythm in the poem. Marybeth Reilly-McGreen: Talking about the repetition of the names, I remember, in watching C-SPAN, watching you give the poem to America really. But in watching you read it, Senator Moynihan looks spellbound. He looks absolutely enraptured. His mouth is a little bit ajar and he just looked so, so attentive. Billy Collins: Yeah. Well, he's crying. Marybeth Reilly-McGreen: Mm-hmm (affirmative). So there was that- Billy Collins: His eyes were watering up. Marybeth Reilly-McGreen: And Jack Reed and John McCain are sitting next to one another. You could see, there was something happening in that room. It was magical. Billy Collins: For some. Marybeth Reilly-McGreen: For some. Billy Collins: I mean, it was a very strange occasion. I'm kind of poetry reading hardened, or a veteran, I've done hundreds of poetry readings. But this is before everyone in Congress, and so you see, and you stand among, of these people that usually just see on television. And what happened was there were a number of speakers, of course, and they were senators and they were giving serious speeches, of course, to fit the occasion. They were speeches about, they mentioned, there was a kind of recycled vocabulary. Billy Collins: I mean, the words, tragedy, and national interest, and protecting our, et cetera. And when I got up to read, it was very formal. And, "Blah, blah, blah, Poet Laureate of the United States," or something, and I got up and started. As you've just heard, the poem starts with, "It's nighttime and it's raining." And, "What's this? We're supposed to be talking about 9/11 and this guy's talking about how he's lying awake at night and it's raining." Well, that's poetry. It starts with imagery. Billy Collins: It starts with, at least my poems, tend to start with a place and even weather and a time of day, some kind of locator from which to begin. And at that point, as I've said before, many of the people in Congress were cocking their heads as sort of like a border collie hearing a whistle or something. They just couldn't place it, they were... And then it became clear that it's a poem. And then at that point, the audience kind of divided into two sections. Those who were actually interested in hearing a poem and those that kind of checked out and deployed their anti-poetry shields that have been installed in high school, or at some point. Billy Collins: It made a very strong point in my mind about the difference between political and poetic language. And you're right, whenever I had some doubts, I would always look over to Senator Moynihan. On a scale of one to paying attention, he was paying a lot of attention. Marybeth Reilly-McGreen: He was. He was. Cheryl Strayed drew you out on her podcast talking about this poem, and you said that it was nerve racking. You can't see that on the C-SPAN tape, that there's any, your delivery is classic you, very controlled. I'm just wondering, was that an unusual experience for you to be keyed up and nervous? Because I've never seen you, and I've seen you live many times, I've never seen you look nervous. Billy Collins: You haven't seen me get on a roller coaster. A lot of things make me nervous. But no, my heart was racing. I was holding it together. I think I pulled it off. I mean, I've looked at the tape and I seem to be in control. I believed in the poem, I think. I revised the poem a lot, I read it out loud a few times, and I believed in the correctness of the poem. And I believed in the, if I can say this modestly, the strength of the poem. And so I had that in front of me. It wasn't like I was trying... I didn't have to make anything up on the spot. The poem was there and it was solid. And that kept me going, but I was glad when I was over. Marybeth Reilly-McGreen: Did this one take longer from conception to finished form? Billy Collins: It was done pretty quickly, actually. I didn't have the list of the dead before me, and I made up names as I went along, just as they occurred to me. I was trying to aim for some diversity. But later, it was odd, when I got the list of the names, which was available on the internet, I had picked some common ones that were represented there. Once I had the elegy and the alphabet, it really didn't take that long. I think I wrote the poem in a number of hours that morning. But I went back and meticulously went through every line, and mainly for say ability, and rhythm, and sound ability. Billy Collins: Like even in the beginning when I say the glaze on the windows. I'm awake, and then blaze and rain. And then I started with A and Ackerman, and happened, and then Baxter and Calabro, right, how it's all that A, A, A. So I was going for trying to make it sound and rhythm made sense there. But yeah, it was nerve wracking. It was a pretty tough audience. Marybeth Reilly-McGreen: Well, yes. And so I went to the Ransom Center to look at your notebooks, and saw the pages, and the asterisks by certain names. Billy Collins: Right. Marybeth Reilly-McGreen: One of which was Quigley, which is, I believe, the name of Beth Quigley who was a Holy Cross graduate. Billy Collins: Oh, I didn't know that. Marybeth Reilly-McGreen: Yeah. What I'm wondering is it, after you read this, and it had its circulation on the internet, did you hear from any families or- Billy Collins: I heard from two families. And frankly, it was long time ago, I forget the names. But I should remember, but they're probably in with my other papers. But I did hear from them and they were very happy to be included. Marybeth Reilly-McGreen: You also [crosstalk 00:18:52]- Oh, sorry. Billy Collins: That seemed to be something they did at Ground Zero, was the all the names were read to a tolling bell. In many instances, it's not a very difficult thing to come up with. I mean, what else are you going to do with it besides say their names. If you have over 3,000 people that need mourning, they can't be named individually. And even here, I only mentioned 26 names actually or 25 actually, because the X, there was no one whose name began with X. So I said, "Let X stand, if it can, for those un-found." And as we know, 20 years later, there are still people whose remains are being uncovered just on last night's news. Billy Collins: Then that's another odd thing about... or thinking about 9/11 now, which we are, because it's the 20th anniversary. But now, we see that we've had the, well, the embarrassment of this shabby ending to the war, which is so reminiscent of the helicopter leaving the rooftop of the hotel in Saigon. We've spent I think $2 trillion. $2 trillion is 2,000 billion dollars. Trillion is a little beyond our reach I think of our imagination, but 2,000 billion. We've suffered losses. I mean, 1,000s of people will have been lost in the war. I think something like they estimate 47,000 Afghan citizens, and the Taliban are back, and have reclaimed the entire country in a way that they didn't even have that kind of power before. Billy Collins: Well, I guess for my sake, I'm saying... I'm thinking, I'm not saying, but I will say it now, that choosing [inaudible 00:21:03] was a very smart play, because I did not get into politics, didn't want to get into too, "Let's get back, serve any note of revenge," which really was the emotion that drove us into Iraq. Getting back at the terrorists. I don't see... Where did that get us? Well, there's arguments that we get into with friends. Billy Collins: We got Osama bin Laden, et cetera. Now, we're closing [inaudible 00:21:35] and we're also getting out of Afghanistan. Afghanistan, as we know, always had the reputation of the I think it's called the burial ground of empires, because no one gets it. No one wins in there. We had the Russians as an immediate example just prior to us, and they didn't get anything, it's where are you go to lose a war. But that's something we didn't know then and that just kind of puts all of this into a greater perspective. Marybeth Reilly-McGreen: One of the things I remember in a very early conversation that we had is you told me you don't read the names that often. Billy Collins: Well, no, I don't, I don't make a habit of it. I was reading out of a book... I think since the poem was written, I published maybe three books of poems, maybe even four, probably three. I didn't put it in any of those books and I didn't read it. I was at a school on I guess maybe it was the third anniversary of September 11th. I read it then. I've read it a couple of times, but I didn't... I finally thought, well, this book was published in 2013. It's called Aimless Love and I waited over 10 years to publish it, because as I say, I didn't want to make just another poem in my reading. I would have felt that I'm kind of disrespecting the dead and making it part of my poetry show. It was a very special poem for me and it seemed completely and inextricably tied to that occasion. I still don't read it. Marybeth Reilly-McGreen: It holds a place of honor in “Aimless Love.” It is the very last poem. Billy Collins: Yes, that was really intentional, that it's not trying to make it not part of the other poems, but having that special place. Marybeth Reilly-McGreen: When you received this request, this was only I think you told me the second or third commissioned poem you had ever... Billy Collins: Yeah, there was one poem on the 300th anniversary of a school in New York, the Trinity School. I can't think of another one that I've... I've rarely written on demand. I think anyone who ends up being a poet or chooses to be a poet does so because you will never be asked to write. It's the opposite of on demand, there are no deadlines, no one's waiting for your next poem. It's a very... It changes... I mean, the main thing about writing on demand is you have to stick to the topic. That's something we learn as students in writing compositions, the five paragraph composition, introduction and conclusion, three something's in the middle, three points. Billy Collins: You have to stick to the topic. With an occasional poem, it's the same thing. If it's a poem about the death of the Queen Mother in England, you can't just drift off in the middle of that and talk about how your dog has fleas or something, whereas you can do that in a poem that's not on demand. It's fun to always drift away from the topic in poetry, for me at least, and to discover a topic in the process of writing. That's the imaginative freedom that poetry graces us with or allows you. You don't have that in writing an occasional poem or a poem on demand. However, once I found the word names, and the analogy, and all that, I did have enough imaginative freedom so that I could talk about seeing a name on a monogram on a torn shirt, or seeing a blue name needled into the skin, going into tattoos. Billy Collins: Names silent in stone, like on a gravestone, or the opposite of silent in stone, or cried out behind a door. I kind of charged myself with coming up with one good image after the other. The only one I regret is I think going out of the morning. Also, the poem has a diurnal organization, you might call it. It begins at night, and then this morning, and then in the evening. It kind of goes through an imaginary day, but that line about the flowers heavy with dew like the eyes of tears, I'd like to get rid of that. Marybeth Reilly-McGreen: Really? Billy Collins: Yeah. Well, there's just too much there. Eyes, tears, and dew, there's too much going on. Marybeth Reilly-McGreen: It's funny that you should bring up that line, because when I read the names, and still, I think of I wandered lonely as a cloud, and I know that you're an expert in words worth, and there are... I have always wondered and never asked you if you thought about the poet laureate of 1842 as you thought about writing this poem. Billy Collins: No, I don't think so. I don't think I was thinking of anybody in particular. I was born in New York, and I was a New Yorker then, and I was thinking of the imagery of New York. I have bridges, and tunnels, I have storefront windows, and the awnings, the unfurled awnings of the city. That was names rising in the updraft among buildings. So there's quite a bit of kind of urban imagery. Billy Collins: Now, I just have, in the evening, weakening like the last swallows, a boy on a lake lifts his oars. That has nothing to do with it. I can't just say the names in every line, so let this boy lift his oars in the evening. There's a moment of thoughtfulness there. It was actually pleasurable to write in that once I had the grid and the alphabet, it was, I don't want to say fill in the blanks, but indeed, there was a grid I was filling in with lines, and that made it very readable. Whereas when I got the phone call from Congress, it seemed like a totally impossible task. Marybeth Reilly-McGreen: I can't even imagine being in that situation and my response would have been, "No, I don't..." I wouldn't have known how I could approach such a... It's an impossible ask. Billy Collins: Well, that was why I said I couldn't do it, but I figured out... But once the poem was underway, and once I'd figured out these constraints, then it rolled, because once it got moving, it rolled right to the end just about. I got to the final jolt of z, I could've ended it there, but I had more. I wanted names etched on the head of a pin, just an image of that. Then citizens, workers, mothers, names in the small tracts of birds goes back to that kind of Chinese myth I think about writing being invented by a man who watched the tracks of birds in the snow, or in the dirt, and saw those forums as a way of writing. Names lifted from a hat gets at the kind of randomness of who was killed there. Billy Collins: It's like a lottery. Some people I know, a friend of a friend, had to have... Her watch was broken, and she stopped in a jewelry shop to have her watch fixed, and it took a little while. Otherwise, she would have been on the 92nd floor of the World Trade Center. It was very much who was sick that day? Who was late for work? Where the plane happened to strike. It's still horrifying. I mean, we watched just the other night this Day in America, I think it's called. It's a long documentary, many part documentary, that's solely about 9/11. It does take you back to the shock of it. But remember that if you teach high school or even college, most of your students, and almost all of your students in high school, weren't born then. Billy Collins: Even many of your college students were toddlers. For a lot of us, it's really in the fabric of our unforgettable parts of our lives. We all remember being overwhelmed by it with fear and uncertainty. For me, it was the two towers had been hit, but then there was... they cut to Washington, and there was a correspondent with a microphone. Well in the background, because he didn't want to get near it, was the Pentagon on fire. That was really a mind blower, because now, it's not new... It was sort of a New York thing, if you will, but now it's the nation that's under attack. The last plan that was forced down, heroically, they still don't know if that was going for the Capitol or the White House, but it could have gone right into the Capitol of the White House. Marybeth Reilly-McGreen: Were you in the city that day? Billy Collins: No, I was at home in Westchester County to the north, walking the dog. Usually drove the dog for her walk around this lake. So I was back in the car with the dog going back home, just a few miles, and NPR was on, and there was a fire in one of the Twin Towers, just a fire. That's all I knew. I have a really antiquated idea of what an office is. I thought somebody threw a match into a wastebasket, I don't know why I had that image, and that started a fire in some of the offices. When I got home, I didn't think anymore of it. Then, somebody, I forget who, called me and said, as your mother said, "Turn on the television." That's all they said, they just hung up. Marybeth Reilly-McGreen: I don't know when exactly it was published, but you had just given George Plimpton a long interview. I have it in front of me, of course, where you talked about commemorative poetry and about the roots of commemorative poetry. Then you find yourself. That, to me, is a stunning coincidence that you should be actually having a conversation with George Plimpton. It was issue 159, came out in the fall of 2001, and then- Billy Collins: I'll look it up, I forgot that coincidence. I never realized that was a coincidence. The other coincidence was that the night before 9/11, September 10th, there was I'd say a pretty big book party for me at George Plimpton's house. My book, Sailing Alone Around the Room, had just come out. Paul McCartney was there and all sorts of interesting people. There was a terrible thunder and lightning storm that night and Plimpton's apartment was right on the East River, on 72nd Street. Billy Collins: The storm was so violent that the party actually kind of quieted down. Many people went over to the windows, and were watching this strobing lightning, and the glass and the windows actually trembling. That storm clear things out so that the next day was crystal clear, beautiful fall, autumn day in New York. For a while, it was called terrorist weather. I think pilots have a word for it. It's like super clear or ideal flying conditions, I guess. Then, many of my friends, I called them during the day of September 11th. They said, "That's the last party people are going to go to for a while." And it was. Marybeth Reilly-McGreen: Returning to the poem just for a moment. I just want to read this line again, "Let X stand, if it can, for the ones unfound." And just a couple of other lines, "The bright eyed daughter, the quick sun, names wheeled into the dim warehouse of memory, so many names, there's barely room on the walls of the heart." Those lines, they make me choke up. And I'm I'm wondering in the writing, do you have moments where a line stops you? Billy Collins: Yeah. I mean, it does and I don't know where parley is, I don't know where the line comes from exactly. Once a poem is really underway, I think, personally, I feel my mind is on in a way that's it's not on, it's not fully on, and just walking around the house. And that on-ness of the mind really... things do come to you. I just thought sons and daughters, those are the big losses I think, and bright eyed and quick, just wanted to give a sense of what the vitality of a living person, quick, quick on his quick thinker. Athletically quick, but also like the quick in the dead. Quick means alive. And bright eyed is the same thing, a sign of life and also a sign of, well, vitality. I'm not thinking of any of that, the line just... it rolled out. I don't think... It's not exactly like thinking for us. What are some good images of vitality? They just rolled out and later you see what they mean. Marybeth Reilly-McGreen: You also said to that you were very careful in the language that you chose for this poem or maybe in what you didn't choose. Billy Collins: I was walking a thin line. I mean, I'm using very basic imagery of named stitched into the cloth of the day. What else? Names outlined on the clouds. I'm avoiding political language, I'm avoiding words like terrorism or freedom. I'm avoiding the big language of politics and the big language of the big Latinate words of public language. I'm sticking with what poets know, which is green rows and fields, small tracts of birds, a hat, the tongue, the warehouse of memory, needles, pins. Notice that the word needle is two lines away from the word pin. Tunnel and bridge. So I'm using concrete language. I chose them carefully, but it's the natural language of poetry. I mean, James Wright I think said big words like constitution and independence, they just scare him. He finds them scary because they're so vague and can be used so loosely. Marybeth Reilly-McGreen: You said to her, "It was picture languages, Emerson calls it. It was the language of the world, of rain, and windows, and reality." Billy Collins: Right. Well, that's good. Marybeth Reilly-McGreen: That is good. It sounds good. Billy Collins: Who said that? Yeah, it's picture language. Children like picture language. It's the language that... It's that part of your growing up when you don't understand concepts. You understand train, plain, sun, toy, oatmeal. For me, poetry, I like to read poetry that returns to that simple language of childhood now that we are adults that understand more difficult things. Paradoxically, the best way to access those difficult, complex human thoughts, if you will, is really through the language of nature, the language of ordinary things. Billy Collins: The shovel, the toaster, the bookend, the glass of water. Yeah, the one thing you don't want to do is, in a poem like this, or maybe any poem, is to make the language emotional, because that's why the line about the tears I think is a little too emotional. You want the language to be very, very calm, very assured of itself. You don't want to get emotional, you want to make the reader emotional, but you can't do that by being emotional yourself. That actually creates a distance between you and the reader. You can just lure the reader in with more images, more pictures, one picture after the other. Marybeth Reilly-McGreen: You say you follow a poem to its end, as opposed to if you come at a poem as, "I'm going to I have an idea and I'm going to write about it in a poem," you should just write an email. Billy Collins: Right. Marybeth Reilly-McGreen: Right. Billy Collins: And don't send it to anybody. Marybeth Reilly-McGreen: No, I would not do that. But did the ending surprise you? Billy Collins: Well, it's got to end somewhere. Names lifted from a hat, balance on the tip of the tongue, I could've kept going from there or not, maybe I'm running out of imagery at that point too, where you're just writing on rims, you've run out of rubber. But something summative had to be said at the end, I thought. You don't want to say in conclusion, but I thought names, plural, and now they're being stored away. They're no longer at play. In my imagination, they are being wheeled into this dim warehouse. Billy Collins: We're seeing them kind of get packaged and stored. Then, it's just so many names. Now, I mentioned 25 names, 25 letters. Well, I don't know how many names I mentioned. Yeah, I mentioned one for each letter, so exactly 25 names. But there are nearly 3,000 who lost their lives. I wanted to make sure that was said, there's so many names that have not been mentioned in this poem. So many it seems. The pro's way to put that would be to say so many names, it's emotionally overwhelming. The poetic way to say it is so many names, there's barely room on the walls of the heart. Marybeth Reilly-McGreen: That's a beautiful way to end, unless you have other parting thoughts? Billy Collins: No, I thank you for giving me this opportunity to reflect on the poem, and to think a little bit about the 20 years that have passed since then, and how much has changed, and how much has not changed, really. So I'm very happy to talk about it, especially to a Holy Cross audience or people with Holy Cross interests. Marybeth Reilly-McGreen: Well, it's my honor, and we look forward to your next book, and to watching you on the on the on the broadcast. Billy Collins: Great. Oh, thank you very much. It's been a pleasure. Melissa Shaw: Thank you, Billy, and thank you, Marybeth. In the show notes for this episode, you will find links to Collins's notebooks and notes he used while writing The Names, the 2020 Holy Cross magazine profile of Collins, his website, and his popular Facebook page. Thank you for joining us today. I'm Melissa Shaw.

We start off recapping last weekend's slate including Daily Fantasy standings, Fraud Watch and #FadeMolloy picks. We have our usual ACC cloutfest right into B1G slander, but somehow manage to hop on the Rutgers bandwagon. We distribute some “get out of jail free” cards in Clout Police, and then finish with some ACC Rookie of the Year thoughts. Joe Nardella sits down with us to talk about his time at Rutgers, both on the field and off, including the tailgate scene, the best locker room guys, and some of the best food around campus. Getting into some PLL discussion, Joe sheds light on his chirp game, the Whipsnake team dynamic and (respectfully) predicts a Whips 3-peat. Follow Joe Nardella on Instagram and Twitter: @jnardss This episode is presented by Sideline Swap. Visit Sideline Swap and be on the lookout for some new gear in our locker soon. This episode was also presented by Red Truck Beef Jerky. Visit https://redtruckbeefjerky.com/ and apply the code POSTGAME15 at checkout to receive 15% off your order.

Lisa and Emma recap the 2020 Championship Game between the Whipsnakes and Chaos (0:07-9:06). The girls then sit down with Whipsnakes' Joe Nardella, Michael Ehrhardt and assistant coach Mike Murphy immediately after their championship win to discuss how it feels to win another championship (9:07-10:05), Nards' domination at the faceoff x during the fourth quarter (10:06-10:53) and welcoming their new additions to the Whipsnakes family (10:54-11:39). Zed Williams flipping a switch in the fourth quarter (11:40-12:35), who is the most fun to celebrate a championship with (12:36-13:48) and how it feels to go back to back (13:49-14:52). Having not lost a game in over a year (14:53-16:20) and how they stayed level-headed throughout the entire series (16:21-18:06).  Let us know your favorite bits from the episode by tagging us at @TheInsideFeed, @lisaredmond29 and @emmadamz on Instagram and Twitter. You can also follow @jnardss, @airheart12 and @laxcoachmuprh.  Enjoy the show!

In this week's episode of The Stripe, Greg takes a closer look at all 7 faceoff units and breaks down the team's first four games through Group Play. Whipsnakes powerhouse, Joe Nardella has absolutely blown Greg away, as well as the competition, in this Championship Series. Greg states that Joe is without a doubt the MVP through the first four games. Nardella's dominance at the stripe has been off the charts and he's got the stats to prove it. Meanwhile, the biggest surprise that we've seen so far is the lack of production from lone Chaos faceoff guy, Tommy Kelly. Kelly was expected to have a standout year not just because he has the fastest hands in the league, but also after putting in the work this offseason and dropping nearly 30 lbs. As we look ahead to the elimination round, Greg talks through adjustments that should be made and gives his predictions as we head into Tuesday night's showdown.  Greg Gurenlian, widely considered the greatest faceoff man of all time, has traded in his pads for a mic this summer. Leveraging his experience on the field, coaching expertise and media savvy, Gurenlian will bring a new era of coverage to the position that he's helped pioneer. In The Stripe, Greg will chat with the top faceoff athletes in the sport, breakdown matchups, and analyze game performances.  Please rate and review and leave a question you'd like us to ask an athlete on future shows. Let us know your favorite bits from the episode by tagging Greg at @GregBeast32. Enjoy the show!

Good afternoon lacrosse fans! I hope you're doing well and thank you for reading the Utah Lax Report. We are now on Instagram! Go follow us there if IG is your thing. Interview w/ Danny LarkinMy interview on the podcast this week is with Danny Larkin. Danny and his twin brother Ricky, played high school lacrosse at Olympus before playing at DeSales (NCAA D-III) in Pennsylvania. The twins then came back to join Westminster en route to a MCLA D-II title in 2008. Danny spoke about his time at these three schools as well as Wasatch LC and more. You can subscribe to the podcast on Apple Podcasts and Spotify or listen above. I'll also point out that Wasatch LC is starting a girls team this fall. Tryouts for both the boys and girls teams will be on August 15 & 22. More info can be found here.Lacrosse in Utah News/NotesA couple locals got national attention this week. At the Adrenaline Black Card event, Berkley Horoba (Alta) made the 2023/2024 all-star team while Bodi Sutherland (Corner Canyon) made the 2021/2022 all-star team. Trae Ika (Corner Canyon) and Blake Franckowiak (Corner Canyon) played for West Coast Starz at the Adrenaline Platinum Cup. True Utah went 1-2 at the Adrenaline Platinum Cup in Delaware over the weekend. Jon King (Corner Canyon) and Thomas Vandenberg (Park City) played at the Crab Feast with the Mad Dog 22' National Team.Dylan Bauer (Park City) was awarded the Jeremy Huber 19 Award. Huber unexpectedly passed away in 2015 while a player at Johns Hopkins. Huber was from Las Vegas and was a standout player. In other local action, Tribal West successfully hosted the Salt City Classic last weekend with several teams participating. The Ski Town Shootout begins this weekend. Find out more info here.PLL UpdateIt was a big week for the league as it finished up pool play. Here's how things shook out:Whipsnakes 4-0, +24Chrome 3-1, + 5Archers 3-1, -2Redwoods 2-2, -3Waterdogs 1-3, -3Atlas 1-3, -10Chaos 0-4, -11The Whipsnakes are maybe the least talked about team but obviously the best. Their closest game was their first, a 13-9 win over Redwoods. They dismantled Archers yesterday in the second half en route to a 17-11 win. They didn't dominate last year en route to their championship, so what is the difference this year? There are a couple: 1) Zed Williams and 2) the bubble format. Zed Williams - Last year, Rambo led the team with 49 points while Mike Chanenchuk had 34, Ryan Drenner had 21 followed by Ben Reeves with 16. Basically, Rambo had to carry the team (which he did, winning the MVP). This year is different. In 12 games last season, Rambo averaged 4.08 points per game with the next highest being Chanenchuk with 2.83. While Rambo is averaging more points per game this year (5.25, including a 10 point game over the Archers) Williams is helping to carry the load with 4.25 points per game. John Haus in the midfield is also helping Chanenchuk who both have 10 points. Simply put, there is more point sharing with the Whipsnakes which makes them even scarier. The big question for the offseason is do you break up the Maryland pro team? What would be the justification? The Bubble - Also known as PLL Island, being isolated and playing a short schedule plays into hot teams. Lacrosse games are known to have scoring runs, but so do seasons. Over the course of a normal season where you are traveling all across the country, your team is bound to have better weeks than others. In the bubble, the hot team will reign and that hot team is the Whipsnakes. As good as the Archers are (and as good as we want them to be) they entered the final game with an OT win over Chrome, a two goal win over Waterdogs and a one goal win over Atlas. So the Whipsnakes enter the bubble with the MVP, the gold badge on their jersey and became the hottest team, including the hottest goalie (Bernlohr) and face-off specialist (Nardella). Dethroning the champs will be difficult. Grant Ament has been a standout (if you listened to the podcast with Adam Ghitleman, you would know this already) but this clip is awesome! US Lacrosse Magazine broke down the group play round. Play resumes on Tuesday with Chrome taking on Chaos (3:30 pm, NBC Sports Gold), Redwoods v. Waterdogs (6:00 pm, NBC Sports Gold) and Atlas v. Archers (8:30 pm, NBC Sports Network). These literally popped up when I was about to press send. Please watch. The PLL coverage has done wonders for the state of Utah and lacrosse. Some words of advise from Dom Starsia. There was also an update from World Lacrosse regarding the Iroquois playing in the 2020 World Games.That's it for this week. Don't forget to stay hydrated and wear a mask. It's working!— Tim Haslam This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.utahlaxreport.com

In this week's episode, the Whipsnakes lone faceoff specialist, Joe Nardella joins Greg at The Stripe. Greg kicks off the episode by singing Joe's praises calling him the disrupter of the league, crediting his athleticism and gritty, blue collar play in making him a force on the field. Not only did Joe's talent at the Stripe help lead his team to become the first ever PLL champions, but he also led the league in faceoff points as well. Joe's extensive knowledge of the faceoff position is put on display in this episode as he breaks down his opponents play while discussing his best and worst match-ups from the 2019 season. As Greg notes, Nardella's best games were when he faced off with two of the most athletic guys in the league in Brendan Fowler and Tommy Kelly. The two also talk about the upcoming Championship Series and what the Whipsnakes will do as a backup in the event that Joe needs a fill in. Nardella also gives great advice to young athletes who might be facing adversity when discussing coming back from a past knee injury. Ultimately Nardella is a player who thrives under pressure (he was 4-4 in OT last season) and can't wait to get on the field in Utah to chase a repeat in the Championship Series.  Greg Gurenlian, widely considered the greatest faceoff man of all time, has traded in his pads for a mic this summer. Leveraging his experience on the field, coaching expertise and media savvy, Gurenlian will bring a new era of coverage to the position that he's helped pioneer. In The Stripe, Greg will chat with the top faceoff athletes in the sport, breakdown matchups, and analyze game performances.  Please rate and review and leave a question you'd like us to ask an athlete on future shows. Let us know your favorite bits from the episode by tagging Greg at @GregBeast32. Enjoy the show!

On today's episode of Behind the Back, Ryan Hulsebos (@ryanhulsebos_) and Ty Cunnington (@TCunnington_Lax) are joined by Whipsnakes faceoff specialist Joe Nardella (@JNardss) to reflect on the 2019 season, look ahead to the 2020 PLL Championship Series, and review the proposed NCAA faceoff rule changes. Joe also shares with us how he's had to adapt this offseason with his training and how he operates his business, the Faceoff Factory, due to the COVID-19 pandemic and quarantine/social distancing. Behind the Back and Top Shelf Lax is dedicated to bringing you full recaps of every PLL game, providing analysis on the teams and players, and offering opinions to all the latest news and updates that pertain to the world of professional lacrosse. Give us a listen on Apple Podcast, Spotify, Google Podcast, or Anchor, follow us on Instagram and Twitter @TopShelfLax_, and check out the website, topshelflaxmedia.com. --- Support this podcast: https://podcasters.spotify.com/pod/show/ryan-hulsebos/support

Jena Nardella co-founded Blood:Water, a nonprofit focused on equipping African organizations to overcome the HIV/AIDS and water crises. In this episode we talk about Jena'a incredible journey with Blood:Water and what she learned along the way. You'll hear one of the best “how I met my spouse” stories and how being a mother has changed ... more »