Podcasts about New Edition

Introducing a new edition of the Book of Mormon that I've been working on that includes the Lectures on Faith as a primer. It should be available on Amazon soon and will be sold at cost with no markup. In this video, I provide some background as to how it came to be and provide a preview of how it's going to look and some of the unique features of this edition.Book of Mormon 1920 Reader's Edition Repohttps://github.com/oneclimbs/bofm-1920reLectures on Faith Revised Standard Editionhttps://github.com/oneclimbs/lof-rse

I saw the power of storytelling and the responsibility we have to share stories to educate and change lives.Dr. Terésa Dowell-Vest is an Associate Professor of Communication at Prairie View A&M University and President of the University Film and Video Association (UFVA), an organization that supports film, television, and media studies in higher education.In this conversation Terésa and I discuss:* The music of Janet Jackson, Prince, and Jimmy Jam/Terry Lewis* Teaching media in a post-truth world* What UFVA is, why it matters, and how professional associations can sharpen teaching and creative practice* What filmmaking trends she sees with her students at Prairie View A&M* The short documentary her students did in collaboration with students from USC (link here)* “The Death of Cliff Huxtable” and the process of separating art from a problematic artistThanks for reading The Creativity, Education, and Leadership Newsletter! Subscribe for free to receive new posts and support my work.Here is an AI generated transcript. Don't come for me.BEN: Hi everyone—Ben Guest here. Welcome to The Creativity, Education, and Leadership Podcast. Today my guest is Professor Terésa Dowell-Vest, an associate professor of Communication and Media at Prairie View A&M University and the President of the University Film and Video Association (UFVA).In this conversation we talk Janet Jackson, the media landscape for young people interested in production, what UFVA does, and more. Enjoy.Professor, thanks so much for joining me today.TERÉSA: Thank you. Thank you for having me. It's my pleasure to be here.BEN: I always like to start with a fun question. Senior year of high school—what music were you listening to?TERÉSA: Senior year of high school—1989. 1990 was a great year to be a Janet Jackson fan. *Rhythm Nation* was probably worn out in my car's tape deck. I was a huge fan.BEN: Did you do the choreography?TERÉSA: Oh yes. I can do the hands and all that—the “A‑5‑4.” I would do it, for real.And Janet Jackson was the big one, even though Prince's *Purple Rain* came out a few years earlier. That album was still in regular rotation for me in high school.And then in 1988 New Edition put out *Heart Break*—produced by Jimmy Jam and Terry Lewis. That was such a good time. So yeah: Janet, Prince, New Edition—Jimmy Jam and Terry Lewis were the soundtrack.BEN: '88 was when Bobby Brown's *Don't Be Cruel* came out, right?TERÉSA: Listen, lemme tell you, the eighties to be a teenager in the eighties, to be in your twenties in the nineties. What a time to be alive.BEN: Yeah. I love it. Okay, second fun question. What's your pick for best picture this year?TERÉSA: I'd say *Sinners*. There are a few this year, but funny enough I actually focused more on television—I was obsessed with *Stranger Things* and *Severance* (and one other show I'm blanking on), so I didn't get to the movies as much. But I did see *Sinners* and it really stuck with me. I should preface that by saying I'm not as familiar with the entire pool, but I'm almost confident it'll be a strong contender.BEN: So good. I saw that your MFA thesis was titled *The African American Producer Is the American Griot*. Can you talk about that—maybe even in relation to *Sinners*?TERÉSA: I've always been fascinated by the power of storytelling. My bachelor's degree and my MFA are both in theater because I love live engagement. That also shaped me as a professor—I love being in front of students and engaging in a transactional, interactive way, not just a linear one. Theater and education give me that kind of exchange with an audience.For my graduate thesis I came to know Dr. Maulana Karenga—best known for creating Kwanzaa. He was chair of the Black Studies program at California State University, Long Beach. During my years there (1994–1997), I was the only Black student in the program, and in 1997 I became the first Black person to graduate with my particular degree from that program. Even in the '90s I was thinking: why are we still talking about “firsts” and “onlys”?I wanted to bridge storytelling with the legacy of slavery and survival—my own ancestors were from Virginia, where I was born and raised. Dr. Karenga taught me the concept of the *griot*—the storyteller—and the responsibility that comes with that. In the U.S., storytelling often gets treated as frivolous—an extracurricular, “nice to have.” A lot of Black parents, especially, don't want their kids studying film, theater, or the liberal arts because it doesn't seem like a stable livelihood. I started undergrad as an accounting major and didn't tell my dad I'd switched to theater until graduation day—he found out when they called my name under the College of Arts instead of the College of Business. That's the mindset I came from: my family wanted us to succeed, and the arts read as struggle, not a viable career.But there's honor in being a storyteller. That idea changed how I saw theater.And it was the '90s—*Rent* was happening, and I was in Los Angeles, flying back and forth to the East Coast to see Broadway shows that weren't just entertaining; they were educating and changing lives. I remember *The Life*—not a massive hit, but it told the story of Black and Brown women working as call girls in New York City. You'd think, “Is that a Broadway story?” But the music was outstanding.And there were so many others—*Bring in 'da Noise, Bring in 'da Funk* with Savion Glover, looking at African American history through tap and music. During that period I really saw the power of storytelling—and the responsibility we have to tell stories that educate and change lives.BEN: That's so powerful. The responsibility of storytelling to educate and change lives.TERÉSA: Yeah.BEN: It's one of the things I've often thought as a teacher: I'm a storyteller. How do you construct a lesson so students are receptive? It's like you're telling a story over a unit, a curriculum, or even a single lesson.TERÉSA: When you engage with students and give them permission to share their stories, you're not really “teaching” in the traditional sense anymore. It becomes more like peer engagement than “I'm the teacher, I know the things, and I'm telling you the things.”Students receive it differently when they feel you're invested in who they are—not just their grade.BEN: There's a great quote, I think it's Roger Ebert films, but really stories are empathy machines.TERÉSA: Yeah.BEN: It allows us to walk in someone else's shoes for a moment. There was a reconciliation group in Mississippi whose motto was: “Enemies are people whose stories we haven't heard.”TERÉSA: Incredibly profound. When we think about fear, it's often a lack of understanding—no connection to the thing you're afraid of. Hearing stories can build that connection.BEN: Can you talk about the importance of media education? I'm a documentary filmmaker, documentary filmmaking in today's world where so much of where we are in a post-truth society.TERÉSA: There are mechanics to telling the truth, and mechanics to telling a lie. In fiction you see this a lot—shows like *The Mentalist* or *Law & Order* where someone reads body language, eye movement, and so on to figure out whether someone is lying.What matters for media education is helping students understand the “tells” in information—how to challenge and debunk claims instead of assuming, “Someone told me a thing, so it must be true.”I didn't fully appreciate how urgent that was until the pandemic, when early reporting was all over the place and a lot of it conflicted. Being able to sort honest, vetted information from dishonest or speculative claims mattered in a very concrete way—like realizing you probably shouldn't drink bleach.Coming out of that period, teaching media studies has meant teaching reporting with integrity. You can't just assume something is true—not because people are “bad,” but because people absorb information differently based on what they've experienced.I do a lecture with my senior capstone students on the difference between **knowledge** and **information**. Knowledge is shaped by culture, character, race, gender, where you grew up, what language you speak, what faith you practice—so it can carry bias. Information, on the other hand, is verifiable and can be vetted. 2 + 2 = 4 no matter who you are.Good storytelling—and good journalism—knows how to bridge knowledge and information with integrity. When I have journalism students who lean into opinion-driven news—whether it's Fox, MSNBC, whatever—I tell them: that's playing to an audience's sensibilities. It can be entertaining, but it isn't the same as straight reporting. Then there's reporting that aims to be more information-based—“Here's what happened today.” That also needs to be taught. We're in a moment where students need tools to tell the truth, recognize lies, pick them apart, and trust their internal compass about what's important to share.And Ben—my answers get long. You might have to cut me off.BEN: I'm going to cut you off when what you're saying stops being interesting—so I doubt I'm going to cut you off.You're the President of the University Film and Video Association. For listeners: what is UFVA?TERÉSA: UFVA is a nationally recognized organization of university and college educators and institutions focused on film, television, and media studies—both practice and theory. We're a collective of makers and scholars. Our members hold a range of degrees—MAs, MFAs, MS degrees, PhDs, EdDs.As an organization, we examine how film and television are used—and we keep digging into how the field is evolving through innovation and emerging technology. Each year we host a conference (typically in July) where we share classroom best practices and research, and we analyze how film sparks conversation.You asked me earlier about a front-runner for Best Picture. I think about *Sinners* as a kind of textbook in a lot of ways. One of my students gave an informative speech last semester on the history of hoodoo, and she referenced *Sinners* heavily because it's central to the film. In that moment she used a movie as a learning text.That's what UFVA does: we create space to share those opportunities through research and scholarship, and we bring it back to our students and institutions.BEN: You said “best practices,” and I want to come back to that because it's a rabbit hole I love.But first: in an interview you did with the *Journal of Film and Video*, you said you were about to start your UFVA presidency and weren't sure what to expect. Now that you've lived it—how was it?TERÉSA: One of the biggest things I've learned—maybe I've only really realized it in the last couple of months—is that joining an association as an educator keeps the fire hot. It keeps you learning.As UFVA President, I've met so many people who've inspired me. It's not that I want the presidency to end; it's more like, “I need more time to implement everything I'm learning from colleagues.” It also pushed me to partner with other organizations and communities I knew about but hadn't been deeply involved with.I joined UFVA because of the pandemic. Before that I'd never even heard of the University Film and Video Association. I was the kind of person who kept my head down and did my work in my silo, and I was fine with that. But when the pandemic hit, no one knew what to do with film production courses in quarantine.I reached out to colleagues—thinking maybe eight or ten of us would hop on Zoom and talk through hybrid and online teaching. That snowballed. People said, “Can I invite a colleague?” I said yes. I posted on Facebook: if you teach film production or media studies and want to talk about what we're doing this fall, let's meet.Jennifer Proctor replied and asked, “Have you heard of UFVA?” I hadn't. She suggested sharing the call with UFVA, and we kept casting the net. By the time we met, there were 126 professors from around the world—about 100 universities represented, including USC, Ivy League schools, and institutions in Germany and Australia.I ran the meeting as breakout rooms—nine of them—named after Black women in film and television: Shonda Rhimes, Julie Dash, and others. So even in the mechanics of the meeting, people were saying these names and being reminded of who matters in media.Two things came out of that experience. First, UFVA invited me to join the board. I said, “Let me be a member first,” but within a few months I knew: yes, this is where I want to be.Second, I saw the gaps. There was very little representation from HBCUs, and very few Black people involved. Not because UFVA was “bad,” but because people simply didn't know. So I understood my call: help bring people in, build bridges, and create collaboration without turning it into a slogan. I love that we get to do the work without making it a “thing.” That's been the value of the presidency for me.BEN: Love it. Can you talk about with your students at Prairie View, what are some trends you're seeing with what the young people are doing?TERÉSA: Oh, child. They want to be influencers.This is the social media age, and a lot of students see it as the primary industry of their generation—and I get it. If you have enough followers and a couple brands offer deals, it can be real money. I have students with tens of thousands of followers. I'm like, I can barely get my family to like a post. And they're like, “Oh, I do nails,” or “I do lashes,” or “I show my sneaker collection,” and they'll get 10,000 likes every time they post.My reaction is: we need to be teaching this. We need to teach students how to parlay that into careers. Even if I don't personally understand every part of it, that doesn't make it non-viable.It reminds me of when we were in school. The internet wasn't even a thing when I was in college (1990–1994), and then suddenly we were on the edge of being connected to the world. Professors were saying, “This will create cheaters—you'll never look things up in books again.” Sound familiar?Now students are figuring out VR, AR, AI. They're building brands, protecting brands, learning to be CEOs of themselves. That's exciting.BEN: Yeah. I think about that all the time. It's like when people first started writing letters—somebody must have said, “No one's going to talk to each other anymore. They're just going to send letters.”TERÉSA: Exactly. Every generation has a thing—“Who's using this calculator? You need to learn long division.”BEN: I graduated high school in '93, so when you're talking about Janet, my “Janet album” is literally *janet.*—“Again,” “That's the Way Love Goes,” all of that. It's funny how, year by year, the soundtrack shifts just a bit.BEN: Okay—teaching and best practices. What's something you've done in your classroom that really leveled up your teaching?TERÉSA: Oh, wow. Gosh, I think it's less something I've done and more the intention of showing the students that their success is not coming from looking up. It's from looking over. It's the concept that. When you graduate from college, it isn't some executive that's going to give you an opportunity. It's the people you're in the trenches with right now that you're gonna build with right now. So I think the thing that's leveled up my teaching is less a thing that I can show them as much as relationships that I can help them forge and the power of networking. So our program has has a pipeline relationship with the Annenberg School of Communication at the university. The University of Southern California professor Mickey Turner, who's a professor there at USC teaches the senior storytelling for Media course similar to the communication capstone course that I teach here. And so every semester, professor Turner and I collaborate. Those two classes together and we introduced those students to each other through pitches, research topic pitches for their final capstone project. And what they see is. Students at an HBCU or students at this PWI are not different at all. They just, they, live in different states. Perhaps they come from different backgrounds, but by and large, they have similar goals. And we teach them that this is who you need to forge a relationship with because when you are at the stage of making deals or going out and work, this is the person you're gonna want to call. So I think the thing that's leveled up my teaching is my understanding. And my teaching of that understanding of how the industry works and how it can best work for them. Since you no longer have to live in LA or New York to, to make movies people are making movies on their devices. You have to now find your tribe to tell your stories and it can be much more localized. And so I teach them to build their team where they are and not. Go after this aspirational. The only way I can make it if is if I put it in the hands of someone so far away from me. No, put it in the hands of the guy sitting next to you or the young lady that's sitting on this other side and shoot your film, make your short tell the story. Do your podcast. I feel like that's leveled up. The final piece to that USC story is that during the pandemic, five of our students from Prairie View and five students from USC collaborated on a short documentary about the pandemic and how it impacted students at HBCUs, at this HBCU versus how it impacted students at a private, pWI Prairie View is 45 minutes outside of the city of Houston. We're a rural community. We're in the middle of nowhere essentially, whereas USC is in the heart of Los Angeles and those students taught, told an amazing story. I'll send you the link to the film. It's on YouTube. Told an amazing story from two different vantage points. That is a great indication of how education can be collaborative. Just as film is.BEN: Yeah. Before we started recording, we were talking about travel—and it just reminds me: travel is one of the best educations people can get. The more you interact with people from around the country and the world, the more you realize how similar we are and what we want: better lives for our kids and a better world to live in.That feels like a good place to end. For people interested in your work, where can they find you?TERÉSA: A good starting point is **thedeathofcliffhuxtable.com**. That's where you'll find my fan-fiction series—and later scholarly series—about separating the art from the artist when the artist is problematic.Bill Cosby's work touched every stage of my life: as a child I watched *Fat Albert and the Cosby Kids* on Saturday mornings; as a teenager in the '80s I watched the Huxtables and wanted to be part of that world; and in college in the '90s—at James Madison University, a PWI—every Thursday night at 8:30 we gathered to watch *A Different World*, and it made us feel connected in a way.When I think about the more than 60 women who came forward, my first thought is: that many people aren't lying. Even if one person tells the truth, it changes everything.In 2015—around the time the New Yorker reporting was circulating and more women were speaking—I started writing fan fiction centered on the Huxtable family at the moment Cliff Huxtable dies. I “killed” Cliff Huxtable to push back on the idea that Bill Cosby was “America's dad.” That moniker belonged to Cliff Huxtable—a fictional character written by an artist who created something meaningful and also did something horrific.We can't see Cliff the same way because he wears Bill Cosby's face, but they are not the same person—one of them isn't even real. Writing the series helped me illustrate that tension, and it eventually became a scholarly project.During the pandemic we hosted a virtual series with 51 artists, scholars, and actors who read chapters and then joined post-show discussions on the themes. You can find all of that through the website, and it's also the easiest way to contact me.BEN: Wow. Professor, thank you for all the, for your time today, but also for all the good work you're doing in so many different spaces.TERÉSA: Thank you. Thank you. And I look forward to listening to the podcast even more. I'm sorry that I'm just now getting hip to your great work, but I tell you what, I am going to tune in and probably hit you up with some questions and excited remarks shortly thereafter.BEN: I love it.That was my conversation with Professor Dowell-Vest. If you enjoyed it, share it with a friend. Have a great day. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit benbo.substack.com

This episode dives deep into the crossroads of music, culture, media, sports, and real-life economics, asking one central question: Who — and what — do we actually value anymore? The conversation opens with a sharp breakdown of music and award culture, questioning whether promiscuous lyrics and algorithm-driven hits have diluted the meaning of awards — or music itself. The hosts debate whether award shows still matter in an era ruled by streams, virality, and online moments, while spotlighting the glaring absence of recognition for legends like Keith Sweat and New Edition. That leads to a broader conversation about how Black music is historically undervalued, which artists were overlooked in their prime, and why ownership still matters — from sampling debates to Prince's refusal to let Purple Rain be touched. The segment also tackles forced genre crossovers and whether modern male R&B still centers women or prioritizes ego and image. From there, the show pivots into pop culture and media moments, reacting to Jim Jones' studio setup, Rihanna's “gone off ASAP” comment, and the ongoing disconnect between what men say they want versus what they respond to in strong women. The crew debates whether celebrities overshare as a branding strategy or sabotage themselves, and whether cancel culture is real — or simply tied to profitability. At the sports checkpoint, the NFL playoffs spark debate around surprises, disappointments, and the growing expectation that athletes must now entertain as much as they perform. Cam Newton's viral vocabulary moment opens a broader discussion on intelligence, reading culture, and whether society critiques how people speak more than how they perform. The hosts also explore why outspoken athletes face harsher backlash than underperforming ones. The episode then zooms out to economy, society, and real life, unpacking the closure of familiar DMV nightlife staples and what that signals about spending habits, economic pressure, and changing priorities. Are people actually broke — or just more selective? Why does everything feel like a subscription now? And is corporate America quietly collapsing, or simply reshaping itself behind the scenes? Closing out, the conversation turns introspective with social media and identity, examining whether podcasts have replaced blogs as today's opinion leaders, if everyone being a “brand” has killed authenticity, and whether therapy language is being overused online. The episode ends with a sobering question: Does going viral help more careers than it ruins?

Jazz, in particular, has played a central role in this lineage. From John Coltrane's “Alabama,” to Max Roach and Abbey Lincoln's We Insist! Freedom Now Suite, from Nina Simone's “Mississippi Goddamn” to Charles Mingus' “Fables of Faubus,” jazz has always spoken truth to power. That tradition continues today, ascontemporary jazz musicians compose artistic eulogies for Oscar Grant III, Trayvon Martin, Tamir Rice, Sandra Bland, and George Floyd; celebrate the nation's first Black president; and reaffirm that “Black Is Beautiful,” more than 60 years after the phrase became a unifying call within the Black PowerMovement. Jazz also chronicled the life and journey of Dr. King in real time, beginning with his emergence as a young preacher and activist in the early 1950s, and has continued to honor his legacy in the decades since his life was cut short. On thisspecial episode of Milestones, we explore the role jazz played inadvancing King's philosophy and celebrating his extraordinary impact as one of the most consequential leaders in American history with NEA Jazz Master and four-time GRAMMY-winning artist and educator Terri Lyne Carrington, GRAMMY-winning bassist and vocalist Ben Williams, and GRAMMY-nominated pianist and curator Orrin Evans. Together, with host Angélika Beener, they reflect on pieces like Herbie Hancock's 1969 “I Have a Dream,” and more, examining their cultural impact and role in the musical evolution of jazz. Hip-hop historians T.L. Cross and WBGO's own Stevan Smith also join the conversation,shedding new light on “King Holiday,” the 1986 hip-hop and R&B anthem that united an ensemble of rising stars—from New Edition and Run-DMC to Whitney Houston and Stephanie Mills. With the late Dexter Scott King at the helm, Kurtis Blow was tasked with assembling a collective to create an anthem for thenext generation – one that would honor Dr. King's legacy and serve as the soundtrack for the inaugural MLK holiday celebration, 40 years ago. The iconic scholar, author, global thought leader and visionary Dr. Angela Davis joins as a very special guest, offering remarkable insights on this milestone anniversary.  

Get ready to relax and let the soulful vibes take over! Every Sunday night at 10pm (EST), Metro Beatz brings you 'Chillmode'—the ultimate chill-out session designed to soothe your soul. This week, is a special Christmas edition the Chillmode' with Holiday tunes from H.E.R., Nat King Cole, Alexander O'Neal, Donny Hathaway x Lalah Hathaway, Mariah Carey, Brandy, New Edition, Neena Lee, Ashanti, Stevie Wonder & more! Whether you're winding down the weekend or just need a soothing escape, 'Chillmode' is your go-to soundtrack for relaxation. Let Metro Beatz guide you with a mesmerizing playlist that's pure vibes from start to finish.

On this episode of "The Pulse", Bill Anderson is joined by the legend Wayne Newton.  Wayne talks all about his now 60 year career that started when he was just 15 years old.  Wayne is sharing never before told stories about his time on and off stage. “The Pulse” has welcomed names like Marlon and Tito Jackson, Michael Rapaport, Scott Wolf, Kevin Bacon, Kathy Griffin, Hank Azaria, Sarah Silverman, Sheryl Lee Ralph, Joey McIntyre, Lewis Black, Ruben Studdard, Clay Aiken, Jeff Ross, New Edition, Macy Gray, DJ Jazzy Jeff, Donnell Rawlings, Vivica A. Fox, Bill Bellamy, Michael Blackson, Gavin Rossdale, Sheila E., Jay Mohr, Jerry O'Connell, Star Jones, Mo'Nique, Craig Ferguson, Darryl McDaniels, Kenny Lattimore, Tommy Davidson and more. In addition to the Podcast The Pulse airs on TV in Philadelphia every Tuesday night at 7pm on FOX 29 and FOX Local.

'The View' co-hosts share their unusual holiday traditions! Then, the co-hosts share their favorite gifts of the 2025 season. Actor and comedian Kumail Nanjiani discusses earning his first Golden Globe nomination for his comedy special 'Night Thoughts,' his holiday traditions and grappling with aging pets.  R&B legends New Edition discuss their upcoming tour and ring in the holiday spirit with 'All I Want for Christmas is My Girl' and 'Candy Girl.' Learn more about your ad choices. Visit podcastchoices.com/adchoices

Lisa Bonet et Lenny Kravitz se rencontrent en 1985, dans les backstages d'un concert de New Edition, en Californie. A l'époque, Lisa est connue pour son rôle dans la sitcom « The Cosby Show ». Lenny Kravitz en est lui aux prémices de sa carrière musicale. Ils sont tous les deux très jeunes, très beaux, et ils ont beaucoup en commun : tous deux métis, à moitié juifs. Ils ont des looks similaires, un peu bohème, avec leurs dreadlocks et leur air nonchalant. Ils sont assortis : ils ont l'air fusionnels, profondément amoureux. Un podcast Bababam Originals Ecriture et voix : Alice Deroide Learn more about your ad choices. Visit megaphone.fm/adchoices

Get ready to relax and let the soulful vibes take over! Every Sunday night at 10pm (EST), Metro Beatz brings you 'Chillmode'—the ultimate chill-out session designed to soothe your soul. This week, we're serving up the smoothest R&B and slow jam tunes from New Edition, Kehlani, Tank, Ray Parker Jr, Force MDs, Donny Hathaway, Tiwa Savage, Odeal & more! Whether you're winding down the weekend or just need a soothing escape, 'Chillmode' is your go-to soundtrack for relaxation. Let Metro Beatz guide you with a mesmerizing playlist that's pure vibes from start to finish.

The critically acclaimed author Brad Kessler and award-winning photographer Dona Ann McAdams join us this morning to discuss their book, “The Woodcutter's Christmas.” The new, deluxe edition of book is the premier publication from the just launched Galpón Press.

 Discover the unexpected connections behind the greatest wedding anthems. In this episode, we trace the musical lineage of Whitney Houston's iconic wedding hits, moving through a chain of collaborations and relationships that links her directly to Aretha Franklin, Bobby Brown, New Edition, Johnny Gill, and Bell Biv DeVoe - all in just six degrees of separation! Get ready for a deep dive into the tracks that define wedding dance floors. 

Join us for an exciting episode of Showtime with Coop featuring Lakers legend Michael Cooper, as he dives into the Los Angeles Lakers' recent results and their upcoming games, including a matchup with their fierce rivals, the Boston Celtics. In this candid discussion, Cooper reflects on the team's seven-game losing streak and emphasizes the critical need for defensive improvements and reduced turnovers. With entertaining anecdotes from his playing days, he shares the electric atmosphere of Lakers-Celtics matchups and engages in a fun segment called "Start, Bench, Cut," evaluating the NBA talent of yesteryear. Don't miss Cooper's insights and humor as he navigates the challenges ahead for the Lakers and hints at future guests and topics. Tune in for a deep dive into basketball that connects fans with the heart of the game! Learn more about your ad choices. Visit megaphone.fm/adchoices

MUSICApple Music released its year-end data, and 2025 was good to Kendrick Lamar. He and SZA had the top song of the year in the U.S., with "Luther". Morgan Wallen had a good year, too. We discuss the the Top 10:On the Global chart, the #1 song was "APT." by ROSE and Bruno Mars. "Luther" came in second. Even though Kendrick had a great year, he did NOT accomplish his main goal, which was to END DRAKE. He was Apple's most-streamed artist GLOBALLY in 2025. Willie Nelson is tired of the internet trying to kill him off . . . and he finally said so in the most Willie way possible. https://www.whiskeyriff.com/2025/12/01/willie-nelson-sounds-off-on-the-endless-amount-of-ai-slop-about-him-if-you-believe-those-death-stories-one-more-time/ Think you can dodge Wham! this holiday season? Think again. Whamageddon is the ultimate holiday survival game. The challenge? Make it till Christmas Eve without hearing Wham!'s “Last Christmas.” Sounds easy, right? Nope. This song is everywhere, from here on the radio to shops to the dentist's office. The rules are simple: if you hear the original 1984 version of the song, you're out and have to post your fail to #Whamageddon. But covers and remixes? Totally safe. The song is hard to escape … So, be careful out there. And good luck! https://www.aol.com/articles/think-beat-whamageddon-dodge-one-205519330.html?guccounter=1&guce_referrer=aHR0cHM6Ly9zdGF0aWNzLnRlYW1zLmNkbi5vZmZpY2UubmV0Lw&guce_referrer_sig=AQAAAE4LKFNU0obfYftLM3HS0I3IXT_4AMPdBHCN-dMHo1M-dws6Qq0VHTcF4fc2qyJdxXb02DCE_XrcWpU8FOGBgHrgBwDq-gfmY3loC0GtJOf9JCAIbMJrXuLpwLMz2lUYMDjtFC5REf3ACTxe5qsAYFGl2jfiv__btgFG-1mFXoNi TVThe Rockefeller Center Christmas Tree Lighting: The famous tree will be lit tonight during Christmas in Rockefeller Center, a two-hour special airing live from New York City on NBC and simulcast on Peacock. Reba McEntire is hosting the event, which includes performances by Marc Anthony, Halle Bailey, Michael Bublé, Kristin Chenoweth, Laufey, New Edition, Brad Paisley, Carly Pearce, Gwen Stefani, and the Radio City Rockettes. The tree will remain on display until mid-January 2026. "Full House" star Dave Coulier is going through another health battle. He beat Stage 3 Non-Hodgkin lymphoma seven months ago, and in October, doctors found TONGUE cancer during a routine scan. Dave shared the news on "Today" yesterday. Quote, "It turned out that I have P16 squamous carcinoma at the base of my tongue. I said to the doctors, 'Well, did this happen because of the lymphoma?' And they said, 'Totally unrelated.'" https://www.today.com/health/news/dave-coulier-tongue-cancer-rcna245598 "Stranger Things 5" had the second-biggest premiere of any Netflix original series. https://www.hollywoodreporter.com/tv/tv-news/stranger-things-5-premiere-week-ratings-netflix-1236438569/ David Letterman will interview Michael B. Jordan, Mr. Beast, and Jason Bateman on the new season of "My Next Guest Needs No Introduction". https://www.hollywoodreporter.com/tv/tv-news/letterman-netflix-guests-michael-b-jordan-mrbeast-jason-bateman-1236439487/ MOVING ON INTO MOVIE NEWS: If you keep up with Quentin Tarantino, you probably already know his deep love for "Toy Story 3". So it'll come as no surprise to see it on his list of the Top 20 Movies of the 21st Century. Tarantino set only one rule for himself: Only one film per director. Chuck Norris, at 85 years old, is still focused on fitness and recently posted a workout update on Instagram. https://www.cinemablend.com/television/chuck-norris-at-85-workout-update-didnt-know-i-needed AND FINALLYHate her or love her, you can't deny that Kim Kardashian knows a thing or two about business. That's why she has her own MasterClass launching tomorrow. https://www.tmz.com/2025/12/02/kim-kardashian-masterclass-business-ten-kimmandments/There's a sneak peek online that includes what she calls her Ten Kimmandments to building your brand and business.AND THAT IS YOUR CRAP ON CELEBRITIES!See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

What's up, dudes? There's nothing like a Christmas jazz house song to kick off a party. I've got Steve Beech of Uplifting House Sessions with me to dive into the opening track of Winter Warnerland! Yes, we're talking Jeff Lorber “God Rest the House!”Jeff Lorber is an American keyboardist and composer specializing in jazz and fusion. After attending the Berklee College of Music, he played with Michael Brecker and John Scofield. Eventually he started Jeff Lorber Fusion and released his first album in 1977. He frequently played on Rhodes, Minimoog, and Prophet 5 keyboards. He subsequently went solo and had several singles on Billboard Dance charts.As the Winter Warnerland liner notes state:“He's the guy who first brought you Karen White with their smash hit, The Facts of Love. Kenny G, his former sax player and right now is one of the hottest session cats out there. You can hear his magic touch on current hits from U2, Pebbles, New Edition, Giant Steps, New Shoes, The California Raisins, Sheena Easton and Jeffrey Osborne. Those are just the ones he's played on this month. And you know he's saving up the good stuff for his next WB LP due sometime in 89. Even though he's a busy guy, he managed to crank out a hot house mix version of God Rest Ye Merry, Gentlemen for us. Turn it up!”Driving bass line? Check. Syncopated version of the melody? Got it. Minor pentatonics, blues scale embellishments, and occasional chromatic triplets? Definitely! So grab your Yamaha GS-1, and jam out to this episode on Jeff Lorber “God Rest the House!”Uplifting House SessionsYouTube: @UpliftinghouseSessionsIG: @upliftinghousesessionsGive us a buzz! Send a text, dudes!Check us out on Facebook, Twitter, Instagram, Totally Rad Christmas Mall & Arcade, Teepublic.com, or TotallyRadChristmas.com! Later, dudes!

Get ready to take a trip down memory lane! This week, Metro Beatz is bringing the heat with the 'MOC Old Skool Mix Party', spinning classic bangers from Al B Sure, Sade, Basic Black, Prince, Sybil, Notorious BIG x 2Pac, New Edition, Guy and more! Whether you're a fan of 90s R&B, old school hip-hop, or classic soul, this mix is packed with timeless hits that'll have you groovin' all night long. Don't miss out—tune in live every Saturday at 6pm (EST) on mocradio.com and let the nostalgia take over!

In this episode of “The Pulse”, Actor, Comedian, and Singer Jane Lynch joins Bill Anderson to talk all about her career.  How does she know what to do next?  Jane joins Bill to talk about it all.  “The Pulse” has welcomed names like Marlon and Tito Jackson, Michael Rapaport, Scott Wolf, Jane Lynch, Kevin Bacon, Kathy Griffin, Hank Azaria, Sarah Silverman, Sheryl Lee Ralph, Joey McIntyre, Lewis Black, Ruben Studdard, Clay Aiken, Jeff Ross, New Edition, Macy Gray, DJ Jazzy Jeff, Donnell Rawlings, Vivica A. Fox, Bill Bellamy, Michael Blackson, Gavin Rossdale, Sheila E., Jay Mohr, Jerry O'Connell, Star Jones, Mo'Nique, Craig Ferguson, Darryl McDaniels, Kenny Lattimore, Tommy Davidson and more. In addition to the Podcast The Pulse airs on TV in Philadelphia every Tuesday Night at 7pm on FOX 29 

In this 'very special' episode, Blaine kept the subject a secret from Todd until we recorded it. New Edition and all of the tentacles of their related bands (Bobby Brown, New Kids on the Block, and even Whitney Houston) is a supremely interesting story, and we're sure you'll agree. This one's by request.RELATED LINKS:New Edition, on SpotifyBobby Brown, on SpotifyBell Biv DeVoe, on SpotifyNew Kids on the Block, on SpotifyWhitney Houston, on SpotifyWhitney documentary, at IMDBThe New Edition Story, at IMDB

Welcome to the New Edition of my Japanese listening series for beginners!This video is a refreshed and expanded version of my earlier Episode #37 “わたしの まち《My Town》” (N5 Level).In this New Edition, I introduce my town in Fukuoka using simple Japanese (JLPT N5 level).|This video is perfect for:・Japanese beginners (JLPT N5–N4)・Learners who enjoy simple stories with clear narration・Anyone who wants to improve listening comprehension naturally|Through this story, you'll learn everyday Japanese vocabulary and expressions used to describe places, festivals, food, and daily life.|

This week on New Rory & Mal, Mal says New Edition is better than Boyz II Men and the Jackson 5, Demaris is feelin' Summer Walker's new project "Finally Over It", Wale claims he's never trusting a rapper again after J. Cole released :False Prophets after a conversation they had, and Rory, Mal, and Demaris figure out when it's appropriate for women to shoot their shot. #volumeSee omnystudio.com/listener for privacy information.

On this episode SDP Topics includeGNX anniversary Donald glover healthChildish Gambino vs DrakeWale first week salesSteph Curry Nike DealKlay Thompson vs Ja MorantCP3 retirement tourKevin McCall reality tour Sinners originsHot CheetosKevin SpaceyAmanda Seales cancelling orders Leon Thomas concert jokes New Edition the greatest R&B group?PowerBook Force

In this episode of The Pulse, Chef and TV Personality Kardea Brown joins Bill Anderson. Kardea talks about her journey to the Food Network and her new book "Make Do With What You Have" The Pulse” has welcomed names like Marlon and Tito Jackson, Michael Rapaport, Scott Wolf, Kevin Bacon, Kathy Griffin, Hank Azaria, Sarah Silverman, Sheryl Lee Ralph, Joey McIntyre, Lewis Black, Ruben Studdard, Clay Aiken, Jeff Ross, New Edition, Macy Gray, DJ Jazzy Jeff, Donnell Rawlings, Vivica A. Fox, Bill Bellamy, Michael Blackson, Gavin Rossdale, Sheila E., Jay Mohr, Jerry O'Connell, Star Jones, Mo'Nique, Craig Ferguson, Darryl McDaniels, Kenny Lattimore, Tommy Davidson and more. 

Get ready to take a trip down memory lane! This week, Metro Beatz is bringing the heat with the 'MOC Old Skool Mix Party', spinning classic bangers from Angie Stone, New Edition, Mario, Ralph Tresvant, Chaka Khan, Buckshot, Levert, Koffee Brown, D'Angelo, Buckshot and more! Whether you're a fan of 90s R&B, old school hip-hop, or classic soul, this mix is packed with timeless hits that'll have you groovin' all night long. Don't miss out—tune in live every Saturday at 6pm (EST) on mocradio.com and let the nostalgia take over!

Usually we got a guest for y'all on Thursdays, but this week we're flipping the schedule. Seasonal depression is real, but we got you with a new episode earlier in the week than usual. Usher suing Bryan-Michael Cox has Rory interrogating Mal about DVSN's "If I Get Caught" music video and where the funds came from. There is no reason why anybody should be throwing down at a Leon Thomas concert. Mal translates for Wale 'cause he wasn't standing ten toes down during his Breakfast Club interview. Plus, Mal thinks New Edition might be the greatest music group of all-time, but can they win a Verzuz against the Jackson 5? #volume All lines provided by hardrock.betSee omnystudio.com/listener for privacy information.

In this episode of Moolala: Money Made Simple, Bruce dedicates a full hour to personal finance legend David Chilton, author of The Wealthy Barber. Nearly four decades and millions of copies later, Chilton has fully updated his Canadian classic for a new generation facing soaring housing costs, ubiquitous credit and constant social-media-fueled temptation. He shares the story behind the original book, why he chose a barbershop narrative, how he self-published before it was cool, and what really happened when Canada Trust and Costco helped turn The Wealthy Barber into a phenomenon. Bruce and David also talk about family, travel, homeschooling, and what it was like for his kids to grow up with “the Wealthy Barber guy” as their dad. Then, they dig into the money lessons that still matter most: paying yourself first, crushing high-interest debt, using spending summaries to spot the leaks, and why car costs are quietly wrecking so many budgets. David explains how small daily changes can add up to fully funding a TFSA, why side hustles can be a game-changer, and how high-fee products still undermine long-term returns. He also looks ahead to the future of money, from AI and employment to open banking, and shares the one change he wishes every Canadian would see: practical, engaging financial education for teens that actually sticks. Find out more check out thewealthybarber.com and connect on Instagram, Facebook, YouTube, TikTok, LinkedIn, and X/Twitter. Bruce Sellery is a personal finance expert and best-selling author. As the founder of Moolala and the CEO of Credit Canada, Bruce is on a mission to help you get a better handle on your money so you can live the life you want. High energy & low B.S., this is Moolala: Money Made Simple. Find Bruce Sellery at Moolala.ca | Twitter | Facebook | LinkedIn

It's comprehensive and includes birds of Hawaii now, but is too big to carry in the field, and the font is much too small to be readable for me.

Eagles grab road win in Green Bay 10-7 in defensive battle, Gianst fire HC Brian Daboll, Magic top Portland 115-112 with Bane buzzer-beater, Heat draw up awesome play to grab win at the buzzer in OT vs Cleveland, Brian Kelly is suing LSU, more in today's Sports Page with Mike Bianchi

In this episode of “The Pulse”, Gillie and Wallo join Bill Anderson.  They talk about everything including their new Gaming Team, their long road to success, and what is next. “The Pulse” has welcomed names like Marlon and Tito Jackson, Michael Rapaport, Scott Wolf, Kevin Bacon, Kathy Griffin, Hank Azaria, Sarah Silverman, Sheryl Lee Ralph, Joey McIntyre, Lewis Black, Ruben Studdard, Clay Aiken, Jeff Ross, Gillie, Wallo, New Edition, Macy Gray, DJ Jazzy Jeff, Donnell Rawlings, Vivica A. Fox, Bill Bellamy, Michael Blackson, Gavin Rossdale, Sheila E., Jay Mohr, Jerry O'Connell, Star Jones, Mo'Nique, Craig Ferguson, Darryl McDaniels, Kenny Lattimore, Tommy Davidson and more. In addition to the Podcast The Pulse airs on TV in Philadelphia every Tuesday night at 7pm on FOX 29 as well as airing anywhere on FOX Local.

Author Catherine Weetman unpacks the new edition of A Circular Economy Handbook: How to Build a More Resilient, Competitive and Sustainable Business, giving you a preview of the big changes and new insights. The new, 3rd edition was published by Kogan Page in paperback and e-book format on 3 November 2025, and the print edition for the US and Canada is out on the 25th of November. The book aims to help people get clearer on how successful companies are finding ways to do better with less – in other words, creating value without pumping yet more resources through ever-growing systems of production and consumption. Use the discount code in the shownotes to get 25% off, with free worldwide shipping.

Today in Lighting is sponsored by Lightovation, 1 million square feet of lighting solutions at Dallas Market Center. Learn more. Highlights include: formalighting Earns EcoVadis Platinum Medal with a 95/100 Sustainability Score Getting Connected: The DALI Alliance and IALD Collaborate Zhaga Expands Smart Lighting Standard with New Edition of Book 18 Finalists for the Light Middle East Awards 2026

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In this episode of "The Pulse" Comedian Chris Kattan joins Bill Anderson.  Chris talks to Bill about his career, working through a broken neck, his time on SNL and much more.  “The Pulse” has welcomed names like Marlon and Tito Jackson, Michael Rapaport, Scott Wolf, Kevin Bacon, Kathy Griffin, Hank Azaria, Sarah Silverman, Sheryl Lee Ralph, Joey McIntyre, Lewis Black, Ruben Studdard, Clay Aiken, Jeff Ross, New Edition, Macy Gray, DJ Jazzy Jeff, Donnell Rawlings, Vivica A. Fox, Bill Bellamy, Michael Blackson, Gavin Rossdale, Sheila E., Jay Mohr, Jerry O'Connell, Star Jones, Mo'Nique, Craig Ferguson, Darryl McDaniels, Kenny Lattimore, Tommy Davidson and more. In addition to the Podcast The Pulse airs on TV in Philadelphia every Monday night at 6:30pm on FOX 29 as well as airing every Friday on FOX Soul.

Ian & Martyn follow up on updates from the new edition (recorded before ALL the leaks!)The Lads recap Day 1 of Eurobowl and Europen

When does “just friends” really mean just friends? This week on A Pod Named Kickback, Nu' and Jacquie (yeah, that's J-A-C-Q-U-I-E!) dive into the messy truth about the friend zone — why most people waiting there aren't real friends, and why being “the nice guy” doesn't entitle you to anything.From there, the crew flips into a packed Kickback: celebrating SNAP benefits staying intact (and saying fuck Trump for trying to starve the people), breaking down new music from rising artist Chino, and sharing Nu's Halloween movie review of X — the wild horror flick about a killer old lady with a thirst for sex.Nu' also opens up about his love for romance stories with Ruth & Boaz, the upcoming New Edition x Boyz II Men x Toni Braxton tour (and his real-life connection to every one of them), and how October turned out to be his best month yet — in sales, in streaming, and in spirit.Now he's claiming “Nu'-vember” as the next level. Manifestation in motion. No brakes, no limits. ★ Support this podcast on Patreon ★

Big news for 90's R&B fans! New Edition, Boyz II Men, and Toni Braxton are hitting the road together on tour and it's shaping up to be an unforgettable experience for anyone who loves classic 90's vibes. Kelly and Sharon break down what fans can expect from this powerhouse lineup, plus they show love to Brandy & Monica for how they treated their fans in Chicago. With Halloween around the corner, we're sharing our favorite 90's Halloween movies and getting you ready for Scream 7 coming to theatres in the new year! Need a laugh? We've got you covered with comedian Leanne Morgan's new Netflix special, which gives a hilarious nod to one of Kelly's favorite soap operas! And of course, we've got Kelly's Trivia and Sharon's 90's Rewind taking you back to 1996! Join the nostalgia every week as Kelly and Sharon relive the best of 90's music, movies, and pop culture all with a modern twist! Tell us in the comments: What's YOUR favorite 90's Halloween movie? Don't forget to LIKE, SUBSCRIBE, and hit the

A new Isla Vista Magazine shares women's untold experiences. KCSB's Mavis Holley speaks with the co-creators and graphic designer of Muse magazine. Plus, learn more about IV's newest park - and what's brewing in Anisqoyo Park this Halloween weekend.

10-28 Dirty Work Hour 4: The boys sit down with John Dickinson to talk Dubs hot start & they also bring you a brand new edition of the Sound SoireeSee omnystudio.com/listener for privacy information.

10-28 Dirty Work Hour 4: The boys sit down with John Dickinson to talk Dubs hot start & they also bring you a brand new edition of the Sound SoireeSee omnystudio.com/listener for privacy information.

The Pastors share a word from New Edition.Steve Harvey Morning Show Online: http://www.steveharveyfm.com/See omnystudio.com/listener for privacy information.

The JBP kicks the latest episode off by reacting to the FBI indicting over 30 people, including Portland Trail Blazers head coach Chauncey Billups and Miami Heat guard Terry Rozier, for their connections to Mafia-led gambling operations (30:50) before Joe recaps his run in with Ed Sheeran at the Knicks game (1:02:19). Later, New Edition announces a tour with Boyz II Men and Toni Braxton (1:21:05), plus the latest in new music - Leon Thomas' ‘PHOLKS' (1:25:25), Kehlani's ‘Folded Homage Pack' (1:32:47), Dave East's ‘Karma 4' (1:44:01), Hit-Boy and The Alchemist's ‘GOLDFISH' (1:46:11), and more. The crew also discusses Kevin McCall's most recent comments about Chris Brown (1:57:22), news that Al Sharpton was a confidential informant (2:07:16), the latest New York City mayoral debate (2:31:42), how close they can be with fake people (2:41:44), and much more!  Become a Patron of The Joe Budden Podcast for additional bonus episodes and visual content for all things JBP! Join our Patreon here: www.patreon.com/joebudden 

Ten years, 50,000+ copies, four languages, and about a million stories later… the second edition of Mastering Portrait Photography is here. Sarah flips the mic and grills me about why we did a new edition, what changed (spoiler: basically everything but one image), how mirrorless and AI have shifted the craft, and why a tiny chapter on staying creative might be the most important two pages I've ever written. There's a Westie called Dodi, a cover star called Dory, and a street scene in La Boca that still makes me grin. Enjoy! Links: Signed Copy of Mastering Portrait Photography, New Edition - https://masteringportraitphotography.com/resource/signed-copy-mastering-portrait-photography-new-edition/   Transcript: Sarah: So welcome back to the Mastering Portrait Photography podcast and today's a special one. Hi, I'm Sarah, and I'm the business partner of Paul at Paulwilkinsonphotography.co.uk and also his wife too. Now, you might already know him as the voice behind this podcast, but today I'm gonna get the rare pleasure of turning the microphone around and asking him the questions. So Paul, it's been 10 years since the first edition of mastering portrait photography hit the shelves, and with selling over 50,000 copies, multiple reprints and translation into four languages, it's safe to say it's had a bit of an impact, but as we all know, photography doesn't stand still and neither do you. So today we're diving into the brand new second edition. So Hello Paul. Paul: Hello. It feels weird saying hello to my wife in a way that makes it sound like we've only just met. Sarah: Mm. Maybe, maybe. Paul: The ships that pass in the night. Sarah: Yes. So I thought we'd start with talking about the, the first version. You know, how did it come about? A bit of the origin story about it. Um, and I'll leave that with you. Paul: Well, of course Confusingly, it's co-authored with another Sarah, um, another photographer. And the photographer and brilliant writer called Sarah Plater, and she approached us actually, it wasn't my instigation, it was Sarah's, and she had written another book with another photographer on the Foundations of Photography. Very popular book. But she wanted to progress and had been approached by the publisher to create Mastering Portrait Photography. This thing that we now have become used to didn't exist 10 years ago, and when she approached us, it was because she needed someone who could demonstrate photographic techniques that would live up to the title, mastering portrait photography. And we were lucky enough to be that photographer. And so that first book was really a, a sort of trial and error process of Sarah sitting and interviewing me over and over and over and over and over, and talking about the techniques that photographers use in portraiture. Some of it very sort of over the sort of cursory look, some of it in depth, deep dives, but all of it focusing on how to get the very best out of your camera, your techniques, and the people in front of you. And that's how it came about. I mean, little did I know 10 years ago we'd be sitting here where we are with Mastering Portrait Photography as a brand in and of itself.This is the Mastering Portrait Photography Podcast Yes, because the book sold so well. Sarah: And did you expect it to do as well as it Paul : Oh, I'm a typical photographer, so, no, of course I didn't, you know, I kind of shrugged and thought it'd be all right. Um, and, and in some ways, because you have to boil it down into, I think there's a 176 pictures or there, there were in the first book or somewhere around there, a couple of hundred pages. There's this sense that there's no way you can describe everything you do in that short amount of space. And so instead of, and I think this is true of all creatives, instead of looking what we achieve. We look at the things we haven't done. And I talk about this on the podcast regularly, the insecurity, you know, how to, how to think like a scientist. That's something that will come up later when we talk about the new version of the book. But no, I, I thought it would be reasonably well accepted. I thought it was a beautiful book. I thought Sarah's words were brilliant. I thought she'd captured the, the processes that I was talking about in a way that clarified them because I'm not known for my clarity of thought. You know, you know, I am who I am, I'm a creative, um, and actually what happened was the minute it was launched, the feedback we got has been amazing. And of course then it's gone on to be translated into Italian. A couple of different Italian versions for National Geographic. It's been translated into Korean, it's been translated into German, it's been translated into Chinese. Um, and of course, technically it's been translated into American English. And, and one of the reviews that made me laugh, we've got amazing reviews on Amazon, but there is one that kind of made me laugh, but also upset me slightly, is that both Sarah and myself are British authors. Using English uk, UK English, but for the international market right from the get go the book was using American spellings, Sarah: right? Paul : We didn't know that was what was gonna happen. We provided everything in UK English and of course it went out in with American English as its base language. Its originating language. Um, and that's one of the biggest criticisms we Sarah: got. Paul - Studio Rode Broadcaster V4 (new AI): And when that's the criticism you're getting that people are a bit fed up that it's in American English and apologies to my US friends, of which I have many. Um, it was the only one that really. I don't like that. So I thought, well, it must be all right. And so for 10 years it's been selling really well. book. I never knew it'd be in different languages. Um, it was in the original contract that if the publisher wanted to do that, they could. And really, I only found out it was an Italian when I started getting messages in Italian from people who'd bought the book in Italy. And then of course, we found out. So it's been a remarkable journey and. I don't think I've been as proud of something we've done as I have of the book. I mean, me and you spent hours pouring over pictures and talking about stories. Sarah had to then listen to me. Sarah: Yes. Paul: Mono, sort of giving these sort of diatribes on techniques and things we do. Um, you know, and I think, I think it's a remark. I, well, I still think it's a remarkable achievement. I'm really proud of it. Sarah: Yes. Did, did you think the second edition would, would happen or, um, or how did it come about? Paul: No, not really. Because if you remember, we did a sort of interim update, which was just off the ISBN, so the same ISBN, same book number, but we'd been asked if there was anything that needed tweaking minor word changes, those kinds of things. And I assumed not really being, you know, that time experienced with this stuff is that was. Was a second edition, it was basically a reprint. So I sort of assumed that was the end of it. And then, um, we were contacted the end of last year, um, to say that with the success of the book over the past decade, would we consider, uh, refreshing it properly refreshing it, a new updated edition because of course there's lots of things that change over time. Um. And it's, it was worth having another look at it. So no, I didn't expect it, but it was an absolute joy when the email came in It must have been. It's, it's one of those things that's so lovely when other people appreciate it and know that, um, it would be really good to have a, have another go at it and, uh, see what's changed. Sarah: So it kind of brings me onto what, what have you changed in it? What's, what are the new, the new bits that are in the second edition? Or was it even that from the first edition? You, you knew that there were things you'd love to include? Paul: Well, in a decade, so much changes. I. The equipment is the most obvious. You know, there's a chapter at the beginning on Kit, so you know, one of these dilemmas with books. I think again, we took advice from the publisher as to what do you include in a book? And the publisher were really keen and have stayed really keen that there's a chapter on the kit at the beginning. Um, and apparently that just helps a very particular part of the market sell. So that's fair enough. No problem with that. It's quite fun talking about technology. I don't mind it. Um, but of course that technology's evolved, so we had to update all of that to reflect the fact that 10 years ago we were just beginning to talk about the advent of mirrorless cameras, but they were nowhere near the quality of a digital SLR, for instance. Well, now mirrorless is the professional choice. Everything has gone mirrorless because it's got fewer moving parts. The sensors have increased in, um, sensitivity to focusing, you know, there's a million reasons why that's happened. So of course we've updated all of the technology. I think more importantly, certainly from my point of view is in those 10 intervening years, I've changed every picture. Our clients, the techniques, the. Post-production, the thought processes, um, even down to the fact that with mirrorless cameras, you can actually shoot in a slightly different way. I mean, I'm a traditionalist in many ways. I grew up with a film camera. Yes. So, you know, metering either using a meter or very careful control. Because your dynamic range is pretty limited. Um, maybe the fact that you would focus on a point and then wait for whatever it is that's moving through it, to move through it and take your, take your picture. Um, these were the kind of techniques, you know, lock your focus repose when I started, even even A-D-S-L-R, you know, I'll give you a really good example on how the technology has helped, though. It's not actually part of this book, but it's a, it's a really good illustrative point. Um, technology isn't the be all and end all of photography. What goes on in your head is what matters, but the technology is the enabler. And I work with the hearing dogs every week. We photograph running dogs all the time and with the DSLRs I was using, it would just take four goes, maybe five goes to get that perfect moment where the dog is spot perfect in focus. It's airborne, its paws are off the floor. Everything about it is absolutely right. Four or five goes, you know, because I'm shooting at maybe 10 frames a second. The focusing is more or less keeping up because of course, every time you take a picture, the mirror slaps up and the focusing then has to predict where the dog might have ended up. It's not doing, it's not tracking it at that point, and then you move to mirrorless. Um, and the Z9 that I use now, the Nikon is an unbelievable piece of kit. It locks onto the dog. I can shoot at 20 frames a second. Um, and one of those shots is invariably the shot I'm looking for. And, and that sounds like I'm cheating in some ways, but when you are a professional photographer, your job is to do the very best for your client. And so instead of spending an inordinate, inordinate amount, it's not easy for me to say a very long time. Um. You know, trying to get the right shot. Now I can do it very quickly and move on to another shot so we can provide a wider variety to our clients. And that's true with running children too. Yes. So the technology has changed and the techniques have changed with it. Um, now you're seeing on the back of your camera or through the viewfinder exactly the image. Not a facsimile of it, not a mirror. Prism view of it, you're seeing precisely what you're gonna capture. Um, and that gives you a huge amount of confidence in the shot and a huge amount of control too. You can really fine tune exactly how you want the exposure to be. For instance, you know, you don't have to worry about, is that right? Let's must check the histogram afterwards. You can check the histogram, live in the viewfinder and all these little bits, just make your job different. They, you connect with the shot in a different way. You connect with a client in a different way, and that's the tech side. But I've also, you know, I, in 10 years, I'm 10 years older. You know, in some ways I'm 10 years faster. In other ways, I'm 10 years slower. You know, the cameras are quicker, my shots are quicker, my knees are slower. Um, and it's a different perspective on life. I also teach a lot. The podcast, the book itself, the first edition of the book, led us to the podcast and the website where we run workshops and everything else. So all of this cumulative knowledge, when you look back at the old book, and while I'm still massively proud of it, the new edition was a wonderful opportunity to sit down and say, what would I like, how would I like to be represented this time? Yes, and it's a much more grown up approach, I think. I mean, I, I wasn't a kid back then, but this time around because the book was successful, instead of providing 10 pictures for every slot, I provided the picture I want, in that slot. Right? And so the book is much closer to how I would like it to be as a photographer. Every picture. Now, I could tell you a story about every single picture, every single client, and having the luxury of success on the first version gave me the luxury of being able to do more of what I wanted in this version. This is much more reflective, I think. Of me personally. Yes. And so I've, I've loved it. It's absolutely, it's such a, a lovely process to go through. Sarah: So how many pictures have been changed between the two versions? Paul: All bar one. Sarah: bar one. How intriguing. So will you tell us what the one is, or is that Paul: can, you can go and find that out for yourself. Yeah, so there's one single image that hasn't been changed. There's single image that hasn't been but every other image has has changed from the first edition. Uh, just a caveat to that, of course, some of the kit pictures, uh, 'cause they were generic, they've stayed the same. But every portrait, Wow. every single portrait except for one, has been changed. Sarah: And how did you go about choosing those pictures? 'cause I can imagine, you know, if you're starting effectively with a blank canvas for where the images have gotta go, uh, how on earth did you do that Paul: Um, slowly the publisher will tell you, uh. The thing to you have to remember though, is that this is an updated edition. Yes. And that was the contract. It was not a complete start again. So, although I had the opportunity to change every picture, every picture had to fit into an almost identical space because they weren't gonna redesign it. Right. It's updated edition and we have to be clear about that. So part of the puzzle was not just, which pictures do I want to illustrate, which point. It was, which pictures in the same shape previous do I want to illustrate? I mean, there's some wiggle room in there, but the designers did not want to do a full redesign. That was not what we were contracted for. Um, obviously the words were being updated too. And both Sarah and myself, um, I mean, since the first book I now write for magazines and online articles and things all the time, I write for all sorts of photography stuff. Um, and so actually both Sarah and myself wrote words this time round. Um, but nonetheless, we couldn't change too much. We could bring it up to date, but there, there were still bits that, you know, if I was being truly honest, there are things that I think in the past 10 years have become less relevant. And things, it would've been nice to have put some different stuff in, but that again, this is an updated edition, um, not a complete from the ground up rewrite. So actually I sat down and I looked at all of the, um, chapters and the words that we'd written in the first edition and thought about what we were trying to illustrate and went back to sort of basics really, and where I already had pictures in the portfolio. Um, we used pictures of great clients, interesting light, interesting locations, interesting techniques where there are certain things where, I'm not sure, the first time round, um, the illustrations of them were as good as I, as strong as I would've liked. I shot them again here in the studio, so things like the lighting pattern. You know, I have, I've talked about them for 10 years, these lighting patterns. So it was a really nice chance to sit Katie, who works for us in the studio, uh, to sit Katie in front of the camera and say, right, this is what we're gonna do. And I worked every lighting pattern and redrew every diagram to make that absolutely on point, which I think the first time round, while they are very, very good. They're not what I would've liked them to be this time round. So there was that side of it too. And then of course, and I'm sure you're gonna come onto it, there's a couple of, well, there's a new chapter in there which did give us a chance to explore something a little bit different. Um, so yeah, it was just a long process of finding pictures that if I'm gonna put my name to it, are the ones that I would like. Yes. And it's not always the best picture. It's not always the competition winners. they're in there. They are in there. Of course they're in there. Um, but I think this time round, um, I really enjoyed reminiscing. I think some of the pictures in there, they're all beautiful pictures, don't get me wrong. But some of the people I picked to be in them are people because actually that was a moment that I will remember for the rest of my life for all sorts of reasons. And I think the, the strongest example of that is our cover shot is Dory now. The story of Dory. That sounds really weird. The story of Dory? photo. Dory. Story of photograph. Oh yeah, my you met Dory? Or should we go with I dunno if the story of Dory that's like, sounds like a children's book. That'd be a great chance to write a children's book. So Sarah and I were having dinner. Dory was working in the restaurant that, uh, we are having dinner in. Um, I laughed to Sarah and said, I think, um, Dory would photograph beautifully. Sarah said, we'll, go and ask her. And I asked her and she said, no. She absolutely said no, categorically. And I said, okay. Then I wrote our email address, sorry, I wrote our web address. Uh, on the back of a, of a napkin and handed it to her. I said, look, you know, if you're not interested, that's fine, but have a look at my work. Um, and this was after the first edition of mastering portrait photography, and my idea was for Dorie to come to the studio and we'd film some stuff where we photographed her and use it for information, stuff for people who read the book and maybe create some YouTube videos and things. Um, anyway, at four o'clock in the morning, got an email back from Dory saying, actually, I've just looked at your work. Yes, please. And Dory has gone on to be someone we've worked with fairly regularly. Um, mostly, um, because she's just the nicest person in the world, but also she's supremely photogenic and you bring those two things together and they're the kind of people I love to work with. I love to celebrate. Photography with, so her picture, one of those pictures I shot in that session is the cover shot in the book and she features later on as well. 'cause she's come back with her husband and her kids and it's just a delight. And then there, you know, there are people from all over the world. Um, and so there's a lot of memories in there for both me and for you I Yes, Um, and it was, uh, just a pleasure to go through it. Oh, and the other thing is every single shot is shot since we published the first edition. So I did limit us to the past 10 everything is limited to what, what you've captured in the last 10 years? Yeah. Yes. Because figured that, um, if you're gonna do an updated edition, then, although there were pictures in the first version of the book, I would've loved to have had in there that never made it. Why don't we start from that point and move forwards? Other than the one Other than other than the one other than, one Sarah: so you've, you've talked a little bit about how you've changed and that's been reflected in the book. You've talked a little bit about how the technology has changed, but probably one of the biggest changes has been post-production, um, the introduction of, of ai. So is that reflected in the book, Paul: Yeah, of course it is. Um, the post-production chapter, um, I mean, the thing with post-production is that's a volume of books in and of itself. Uh, we put it into the book Sarah and myself, because I think it was important to note that an image isn't generally finished in camera. It's finished when it's finished. And this is true for film, by the way. This is not news, you know? Um, and it's for as long as film has been shot, transparency's and negatives. People have been doing a certain amount of post-production on them afterwards in their development tanks. Um, or whether they're doing hand toning or something is', this isn't new for me. I think you're about halfway there. Now, the second half might be a very short half, but it's almost certainly gonna evolve, at the very least, um, brightening controlling your tones and cropping. Okay. Maybe a bit of sharpening if that's your thing. So we put that chapter in just to make the point that there is a finishing stage. That was 10 years ago. In those 10 years, everything has changed. Yes. Yes. You know, even if I just kept it to the Photoshopping that we had in the first edition, all of that is different. I. And of course AI has now arrived. Um, I mean, it's a precocious child of a technology at the moment, but it's growing up really very fast and it's gonna affect us in every single element of us as creatives of, of us as business owners. There's, there's no part of our work. Even. Even the people that say I don't believe in AI are using cameras that have AI in them. You know, there's no way of escaping it. It's here with us and you can fight it if you want. And there are bits of it that I'm not that comfortable with. Certainly some of the training, the way they did it on images, without any acknowledgement of copywriting things, it's problematic. But in the end, it's here, it's now, and if you don't embrace it, the people who are in your market as a professional competing with you. Are embracing it so there's no getting around it. So yeah, there's a part of our post-production now talks about specifically EVOTO.AI, which is the app that we use. There's others as well re Bloom and a few others that do a very similar thing. Um, and we've put it in there. Again, not as this is what AI does, but for make, to make people aware that AI is now part of the puzzle. Use it, don't use it. And that's completely your choice. The same as it is with Photoshop. But it's a good place to just remind people. That this is the direction of travel for a good chunk of the industry. So yeah, we've changed that quite a lot. Sarah: And a section at the end. Is it Paul: my favorite section? Yes. this Sarah: a, this was a request from you to add this in. Paul: Yes, yes. Um, there's a, one of the things with doing this as a job, and it's not just a risk, it really does happen, is you find yourself. Sort of burnt out isn't the right word for it, really, or the right phrase for it. But you find yourself same old, same old, same old. You get good at stuff, you get known for stuff. People ask you to do that stuff. You do more of it. You, you're still good at it, but eventually you start to find yourself just a little bit flat. Um, and it happens all the time. And so I put a chapter and I asked the publishers if we could wiggle some stuff around and make some space to put one specific chapter in. It's not a long chapter, but to me it might be the most important chapter in there. It's about staying creative. It's just little techniques, little ideas for staying on top of your game, thinking of new things, being a creative. And, and being a creative is something you have to work at. You can't just, you don't just invent ideas. You have to be open to seeing things and thinking things and trying things, experimenting, working with different people, having mentoring. These are all the facets that I wanted to just in a very short chapter, 'cause we could only squeeze in a couple of pages. But it's the chapter that I think I am the most proud of Sarah: Yes. And knowing you as well as I do, you know, it's part of my challenge in the business is making sure that you keep motivated and keep being creative. So I, I know how important it's, and how we have to put shoots in the diary and, and do things that are just for you, for no other reason. Just than just to let you play. So I, I can see how important that is. Paul: Yeah. I'm, I'm aware of just how much cotton wool you wrap me in and I can feel it building as well. I always know when I'm not firing on all cylinders, because you start to sort of wrap cotton wool around me and start to think about putting it in other things that we need to do, or just a break to get away for a week. You know, there's those things. It's really hard. It's hard being a creative, as in it's hard to be a creative a hundred percent of the time, and b, creative a hundred percent of the time. The, the, you know, being called a creative is one thing, but actually being creative is a process of invention and experimenting and doing things that you haven't done before. That's the point of being creative. Um, and so, yeah, I'm always aware when I'm clearly starting to feel a bit frazzled because I can feel you starting to. Talk about doing other things. Sarah: So what I didn't realize is what you said earlier, that the, all the images have all been taken since the last book. Um, and they're from clients we've had all around the world as well. So I wondered if it would be. Nice to pull out a couple of our favorite images. Um, I sort of going on from your comments about staying creative. One that jumps out to me is when, um, Vivian and Dody came to the studio and, you know, this was a, a lady who came in with her West Highland tert. So Westy Westy, it's a white west. Highland, ter. And, um, we did some beautiful shots indoors, outdoors, um, having lots of fun. And then you built this, uh, amazing scene, um, which is including in the, included in the posing chapter. Do you wanna just explain and tell me a little bit about that one? Yeah. Um. Paul: Um, you know, Dodie, sorry. Vivian had emailed Dodie didn't email, obviously Doty's Do's dog, Vivian Vivian emailed to say she wanted a shoot with her dog. And I kind of, I say I distinctly remember the email. I remember what she said in the email, which is that she couldn't find another photographer who photographed the owner with their dog. Now, I dunno how hard Vivian looked. I'm not, I'm sure there's a lot of photographers listening to this that photograph dogs with their owners and I judge a lot now as a, as a judge and as a coach. So I know it to. Out there. But anyway, she landed on us and I'm thrilled that she did Vivian and, uh, Dodie turned at the studio. And Vivian is just beautiful. She's elegant. She has a real sort of gentle way about her, uh, and this beautiful little West Highland ter, which was for the first 10 minutes, I have to be honest in now. Backstory, my Nan had repeatedly West Highland Terriers. My Nan repeatedly did not train her. Westie, my Nan's dogs repeatedly bit us all of us as kids, as teenagers, as adults. Even my dad would like shut the door and run because this dog would go for him. And so when she turned up with this little Westie, I must admit I backed away. However, Dodi, just like Vivian, was gentle and calm and just followed her around and, and he would sit. In the studio just looking at her while we worked, if it was shots for her on her own. And then when she scooped him up or we tried to do something with him, he was so patient and so well behaved. So I've got this incredible client who wants to do these shots, and at the end of the shoot sometimes the greatest privilege you get is to say to someone, how long have you got? And if they've got a little bit more time. What you can do is say, would you mind just trying a few bits with us? So we cleaned the studio out. It's a white, the, the dog was a white dog. Vivian had a light colored outfit and this kind of fair, and she was just, it. It struck me that we could do something interesting with the white walls of the studio, the white floor of the studio, the white posing blocks that I've had probably for 20 years here. And so I did a couple of things and we, we shot some different combinations and then in the post-production STA stage, I built a model of our studio in 3D in blender, it with blocks exactly the same. And then I can create almost any scene I wanted around this shot that's right in the middle of Dodi looking up at Vivian. Um, and it was one of those shoots that, I mean, every shoot in here, there's a story similar to this where I could tell you it's a shoot I'll remember forever. Um, and it was, and it was just a, a real luxury and, and just, you know, I dunno if Vivian listens to the podcast, but hello. Um, and Vivian's also very kindly sourced books from China for us. Yeah. yes. It's hard to get hold of some of these things when you are not in country. So we're still in touch with her very much. He's a lovely client. Another one that, um, oh, actually there's quite a few in the book from where we work as master photographers with Crystal cruises and so, um. Sarah: We've got this lovely line where we talk about the book, where is it From Venice to Vietnam and Haddenham to Hawaii. Yeah. But, uh, one of my favorite shoots that's included is Christine, when we were in Brena Aires, and actually this is from this year when we were in South America and there's quite a few people that we borrowed on the ship to get some pictures. And also what a lovely opportunity. I think it's in locations. Um. Where there is it and where was it? It was in Le Bocca. Wasn't Itca Le Bocca with Christine? Do you Well, a little bit about that one? What's Paul: It has been a, a real luxury for us in the intervening 10 years. So a lot happened in 20 14, 20 15. And one of the things that happened around the time of the book was they were asked to work with Crystal Cruises, a company that provided the photography to them. Interviewed myself and Sarah. Sorry, us too. It's weird talking, made a third person and giving it right here. Um, interviewed us as a team and ever since then we've been traveling the world with them grading high-end portraits for these beautiful international clients. Um, and this time round the deadline. Not the instigation, but the deadline for the book came up while we were working for about seven weeks around South America on the cruise. So I already had earmarked images from previous cruises, previous visits to different places. But when I was on the ship, there were a couple of people, um, that really leapt out just. Ship. And one of the great luxuries when you have something like a book or you like you've become well known as a photographer, is you can say to people, would you mind stepping in to allow us to take some photographs? So there's a couple of people from the crew where you have to get permission to work with the crew. Um, there's, um. Uh, Barbara is one of the team on there. Uh, say Hi is one of the people on there, um, who were crew members that we just loved the way they were with us. They made our lives wonderful. And so we photographed them specifically to put them in the book. Um, and then there's a client of ours, which is the one you've alluded to, which is Christine Now. We met Christine at the end of another shoot, and this is. Um, I mean, remember this is still the Mastering Portrait Photography podcast, and so it's always worth remembering some of the things that you can do as photographers. This is not just an interview about me in a book, but here's some ideas for you that work. So on the ship, we had just done a shoot, an amazing shoot, and a lady who was in that shoot was showing her images round the bar to all of her friends on our iPad. Now we were drinking, we were sat and we were sat next to this lovely lady who was very quiet and we'd said hello and had a quick chitchat, but not majorly a long conversation. When our client handed us back the iPad, Christine, who was the lady who was sitting with us, said, do you mind if I have a look? And I said, yeah, of course. It'd be my pleasure. You know? So she had a look and she said, would you be willing to do that for me? And I said, well, of course we would, you know, this is what we're here for. Um, and so we arranged to do a couple of different bits. A couple of it is actually two different shoots, but we did a site visit to Le Baca, this area in Buenos Aires. Is that right? Yes. Bueno Aires. Was it? No. Yes. Yes, it was. Bueno Argentina. Yeah. Thank you. Are confused. So we, we did a couple of visits to this place in, uh, bueno Aires Laca to go and check it out for different locations. Uh, myself and you and Keith, who's our client, strictly speaking, who runs the, the photo. Um, company found all these locations and went the following day with Christine to go and explore this really beautiful, touristy area of leer. It's very characterful, it's very hot. Um, very intense actually. There's a lot going on and you do have to have your head on a swivel. Yes. it's quite notorious for pickpockets and thefts and so you do have to be careful. So, Sarah, I mean you, sorry, this is really weird. So I'm used those to talking on my own. So you and me, we were working as a team with Keith. Christine was not. Christine was stealing sausages from barbecue places and running them down alleyways that probably she shouldn't have been. Christine everywhere, but really where we wanted her to be, which was safe and in our site. Um, and if you remember, we kind of, um, we went round a corner. In fact, we were just heading back to the car. We, so Christina had arranged the driver and we'd gone round the corner, haven't we? And we were in this little street. And I just, I looked over the top of the cars to the street shops, the shop fronts on the other side of the road and thought that would make a great picture because the color of Christine's dress, the color of these shops, the whole scene would just be something interesting. But I'm shooting across the road through cars. Um, we've got Keith on the other side of the road with her. You are on the side of the road with me. Both of us trying to keep eyes everywhere 'cause we've now stepped out of the touristy bit. We are now in an area where, strictly speaking, you shouldn't be hanging around with a 10,000 pound camera. Yes. Um, so I dragged the shutter. I got, I got everything else. I wanted it and dragged the shutter in a gap between the cars as somebody walked past. And I have this shot of Christine killing herself, laughing, looking at the camera. Um. With somebody walking past and it has this real vibe of a street shot, a candid shot. It's not, it's been staged, but it's one of my favorite shots in the book because it's, to me, every time I look at it, and this is true of your clients too, and when you're listening, the photographers are listening to this. Remember this every picture, if you've created an experience around it, that picture. We'll hold memories for that client of yours. And it's true for me too. This experience was amazing. We're still in touch with Christine. She's desperate for us to go out and visit her in Texas. Um, but it was such a privilege, such a pleasure. So much laughter and that every time I open that page in the book, that's what it takes me it. I I'm with I love the colors, I love everything about it. And it's nice that it's such a lovely story too. crazy story. Sarah: So who do you think the book is for? Who do you think we'd pick it up and find useful? Paul: Well, I'm hoping another 50,000 people will be. I've, I don't, I don't have total control over that. Um. It's really this, I think there's something for almost any portrait interested photographer in there. Um, if you are already a pro, you're probably not gonna pay a lot of attention to the kit chapter at the beginning. That won't be your shtick. Um, but there will be stuff on posing and interactions and some of the post-production might be of interest. Um, if you are ready. You know, a supremely experienced photographer, you might like it simply 'cause the pictures are really beautiful. I still buy photo books because I will pick them up, look at the pictures and think, do you know what? I'm gonna use that idea. I'm gonna meld that into something else I'm doing because I like, I love seeing. Great photographs. If you are truly a beginner, there's enough in there to get you going. And some of the techniques are a little bit further out there, but mostly it builds on this idea that you have a camera, you have a client, you have your subject, and you're gonna create an experience. And then from that experience, great pictures. So I think it's broader than possibly the mastering portrait photography title gives it. Um, but it covers a little bit of all bases. And it certainly has enough in there to say, actually there's, there's stuff in there that if you do this, it really is quite, um, sophisticated. Yes. Do you, we don't know at this stage in terms of whether it'll be translated into other languages that that usually comes a year after, doesn't it? After the, you last time, say. It was only when I started getting emails in Italian. Yes. Um, that I noticed what happened. And we didn't know if you remember that it was in Chinese and Korean no. we started to put the marketing together for this book. Yes. And we asked the publisher AB, in absolute terms, how many copies have you sold? Yes. And they back with different language versions that we never knew about. Yeah. So, you know. Been been a, a journey of discovery, a journey. a journey. Yes. So, yeah, who knows? I, I really hope they do, uh, create some, uh, different language versions of it. 'cause there's nothing quite like seeing your work in Italian, Yes. So, And, and Chinese, I think that's the one I find the, the most intriguing. Sarah: So the book is officially launched next Tuesday, I believe. Is the 28th. The 28th. Um, so what, what's on the horizon next is what, what are you gonna be doing with the book and knows? Um, I mean, obviously the first thing we've gotta do is get through the launch of the book. Yes. Um, which is exciting. And obviously us two have been walking the studio trying to figure out how to tidy the whole place up. 'cause we haven't done a full on party probably since the last book. No. Or thereabouts. So we've we're inviting. Everybody who's featured in the book Yeah. Um, to a, a launch at the weekend. Yeah. Um, and we are refreshing all of the pictures in the studio, uh, to reflect the pictures that are in the book as well. And it's just, it'll be such a lovely thing to do and it's, I can't wait to see everything when it's up. Yeah. So that's, but next week's gonna be a bit fraught It's 'cause in the middle of all that, I think I've got five shoots to work my way through. Right. I don't sleep much. I a challenge. Yeah. I'm not, I'm I'm not being super, thankfully. Um, so there's that. And then, you know, once that gets rolling, of course I go back to our regular job. I'm judging for the British Institute. Professional photographers print competition straight after. So we've got. A big bash on the Saturday night. Yeah. Uh, for all of our, all the people in the book on the Sunday, we're inviting anybody's around to come and a studio open day, studio open day in the afternoon. And then at some point in that afternoon, I have to go all the way up to Preston Salubrious, uh, Preston, to go and begin the process of judging the print competition for the 2025 print masters. So a lot going on. And you're gonna be busy signing books as well. yeah, It's been a while since I've had to sit and do a big a book signing, but there's a load of that going on. Yeah. Uh, it's just lovely. exciting. It really is. Well, I think that just about brings us to the end of everything. So I've enjoyed being on the other side of everything. Sarah: So I'd just like to say, Paul, thank you ever so much for letting me do that and sitting on the other side of the mic today, um. We have got a limited number of copies here at the studio that Paul can sign, but they will be available at all. Good bookshops, um, with water zones. I think there's some competitions going where they will be with Graphistudio and with. Um. A professional photo. Yeah. Yep. So there's, there's lots of ways for you to get your hands on it and uh, we'd love to know what you think of it and um, especially if you've got the first version and seeing the second version, we'd love some feedback 'cause we are so proud of it. And especially with the pictures in there, and if you can tell us what's that, what's the picture in there that, that haven't been changed? That will be even better. There's no prize. So, no, thank you. Thank you very much. Well, it's a pleasure. And you know what you've gotta say now, don't you? What's that? If you've enjoyed this podcast, is it? No. If you've enjoyed this podcast, please head over to mastering portrait photography.com, which is full of articles. And as it happens, I'm doing all of the behind the scenes diagrams and stories for the images that are in this book. It'll probably take me 10 years to get there, but there's a couple of hundred of those. Uh, and of course, whatever else you do. be kind to yourself. Take care guys.  

This week, Coleman-Mach has announced a new variable-speed RV air conditioner, Suburban and AquaHot have new RV heaters, Ford recalls hundreds of thousands of Super Duty trucks and becomes the recall leader, and new special edition packages from  @Leisurevans  and  @CoachmenRVs    Get 25% Off RV Life Pro here: https://my.rvlife.com/bill/signup/3?s=rvtw&coupon=QE7KAHVF3E Get free shipping on orders over $99 at Etrailer: https://www.etrailer.com/vehicle-finder.aspx?etam=p0001 Get your first month of Mile Marker Membership FREE at https://rvmiles.memberful.com/checkout?plan=96363 with code RVMILES.  Subscribe to the RV Miles Podcast Channel: https://www.youtube.com/RVMilesPodcast.  ****************************** Connect with RV Miles:  RV Miles Facebook Group: https://www.facebook.com/groups/rvmiles Shop the RV Miles Amazon Store: https://www.amazon.com/shop/rvmiles RV Miles Mailing List: https://rvmiles.com/mailinglist Mile Marker Membership: https://rvmiles.com/milemarkers

Speculating on the next Warhammer 40k edition! When will 11th Ed. drop in 2025 and what new rules or factions will it bring? Costs of running a game store https://spikeybits.com/game-store-fails-hidden-cost-of-gaming-tables/ Bourbon & Bolters Retreat: LVO Tickets On Sale Now! Monument Hobbies has some of the best paints in the business: Get yours here Get your hobbies for less from Fabricators Forge   J15 Games Has Your Game Aids, Tokens and Templates! Get them here:  Join our Discord Heretic Swag Essential Hobby Products & Tools List  Buy Wyatt's Miniature:  Table of Contents 00:00 Opening 03:38 News 71:26 11th Edition Welcome to , a new place for bringing the hobby back to wargaming! A podcast hosted by Rob Baer, Kenny Boucher & Wyatt Turk. Become a Veteran of the Long War! http://thelongwar.net/

This week on The Music in Me, I keep the soulful vibes going with a storytelling journey through the world of male R&B groups! Following last week's celebration of girl groups, this episode shines the spotlight on the smooth harmonies, heartfelt lyrics, and unforgettable style of the men who helped shape R&B history. From the timeless classics of The Temptations and The Four Tops to the 90s powerhouses like Boyz II Men and Jodeci, I dive into how these groups changed the sound of music forever — and how their influence still lives on in artists today. Plus, don't miss a fun and entertaining Fun Fact Segment packed with stories and surprises about your favorite R&B legends! MALE R&B GROUP AND SONGS MENTIONED...The Drifters - "Under the Boardwalk" and "Save the Last Dance for Me"The Platters - "Only You" and "The Great Pretender"The CoastersThe Four Tops - "Reach Out I'll Be There"Smokey Robinson and The Miracles The Temptations - "My Girl"New Edition - "Candy Girl", "Cool It Now", and "Can You Stand the Rain"Guy TroopTony! Toni! Tone!Boyz II Men - "End of the Road" and "I'll Make Love to You"Jodeci - "Forever My Lady" and "Come and Talk to Me"Blackstreet - "No Diggity"Dru Hill - "In My Bed" and "How Deep is Your Love"112 - "Peaches and Cream" and "Cupid"Jagged Edge - "Let's Get Married" and "Where the Party At"Next - "Too Close" B2K - "Bump, Bump, Bump"Pretty Ricky - "Grind With Me" and "Your Body"Day26 - "Since You've Been Gone"R&B Girl Groups – Queens of Harmony and Soul Ep. 90What did you think of this episode? Support the showKeep listening, keep grooving, and let the music in you continue to shine. Thank you, and see you soon!CONTACT TERI:Instagram: https://www.instagram.com/terirosborg/Facebook: https://www.facebook.com/teri.rosborgYouTube: The Music in MeTikTok: https://www.tiktok.com/@terirosborgPodcast Facebook Page: The Music in Me Podcast Facebook pageTHEME SONG BY: Hayley GremardINTRODUCTION BY: Gavin Bruno

What's the ultimate goal of yoga? According to Patanjali—it's liberation. In this episode, I dive deep into Kaivalya Pada, the final and most mystical book of the Yoga Sutras, to explore how we disentangle from the mind's illusions and return to our true nature as pure consciousness (Purusha). We unpack the mechanics of karma, the role of Dhyana in neutralizing mental patterns, and how to finally recognize yourself as the witness, not the mind. You'll learn:

Maryland head coach Mike Locksley joined the IMS Radio to reflect on the Terps' 4–0 start and first-ever win at Wisconsin. Locksley praised his team's growth and resilience of his young roster and credited true freshmen Malik Washington, Zahir Mathis and Sidney Stewart. Locksley explained how Maryland has leaned more on high school recruiting than the transfer portal, likening the approach to NFL teams building through the draft. He also described collaboration across the staff and roster management. With new athletic director Jim Smith on board, Locksley sees fresh opportunities to leverage the Baltimore/Washington markets and corporate support to push the program forward. The coach acknowledged that last season he spread himself too thin and "lost the locker room," but said the addition of new assistants and his time investment in building relationships with players has freed him to reconnect with players. That, he believes, has helped restore strong vibes inside the program. He also praised veteran receiver Shaleak "Punch" Knotts for his patience and breakout performance, highlighted special teams as a new strength, and noted the program's expanded life-skills training to help players manage NIL money. Also: -- Locksley reveals his favorite win of all-time and his favorite Maryland uniforms, New Edition song and go-to crab spot. -- Maryland loses out on a top basketball recruit. -- What did Buzz Williams get in his latest commitment? -- Will Maryland beat Wisconsin and what's the updated prediction on the rest of the season? To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

What if the final stages of yoga aren't about flexibility—but inner mastery? In this episode, I dive deep into Book 3 of the Yoga Sutras, where Patanjali explores the advanced limbs of yoga—Dharana, Dhyana, and Samadhi—and how their fusion, called Samyama, unlocks not just insight, but mystical abilities (siddhis). We explore: