Podcasts about Oak

For the final episode of 2025, Zoë and Brendan share their own year-end reflections, summits, snacks, and slogs,  including Zoë's experience hitchhiking to the start line of a 78-mile race in Italy, arriving 90 seconds before the gun went off to stand between Kilian Jornet and Jim Walmsley in a downpour that would last 15 hours. Then they pull their favorite moments from this year's interviews. You'll hear coach Mario Fraoli explain why the marathon is where racing ends and insanity begins. Steve Magness on why running might be the healthiest cult you can join. Alex Hutchinson on the effort paradox, why we value things because they're hard, not in spite of it. Sabrina Little on running as a laboratory for virtue. And Dan Lieberman, who co-authored the original "Born to Run" research, telling Zoë and Brendan to their faces that ultra running is absolutely, completely, and totally bizarre. Thanks for spending 2025 with The Trailhead. See you on the trails in 2026. Featuring: Mario Fraoli, Steve Magness, Alex Hutchinson, Sabrina Little, and Dan Lieberman This episode is brought to you by Victory Insoles. Get carbon fiber energy return without changing your stride. Try them risk-free for 90 days and get 25% off with code TH25 at checkout. Featured Race: SoCal Ultra Trail at Tejon Ranch — Run 270,000 acres of California's largest private land, normally closed to the public. Oak-filled canyons, the legendary Grapevine climb, and distances from 11K to 100K. February 28, 2026.

In this episode, we examine the significance of Christmas with Reverend Chris Wickland, who shares his journey from witchcraft to Christ. We discuss the anticipation surrounding Jesus' birth, the humble circumstances of His arrival, and how God revealed His plans to the marginalized.   Connect with Rev Chris Wickland . . .

In this episode of "Hearts of Oak," co-hosts Peter and Lee Harris review key news stories, focusing on the accountability of London's Mayor Sadiq Khan regarding grooming gang controversies and critiquing media narratives, particularly a recent BBC claim about the first Black Briton. They discuss controversial pro-Palestinian demonstrations linked to anti-Semitism, the Labour Party's negligence towards farmers under Keir Starmer, and the impacts of inheritance tax. The episode ends on a positive note about Dan Wootton's transition to an independent media platform, highlighting the rise of independent voices in the media landscape.   Connect with Lee Harris

Dr. Sebastian Gorka discusses U.S. politics and international relations, emphasizing President Trump's achievements in counter-terrorism and economic policies during his first term. He highlights the impact of tariffs, attracting nearly $4.7 trillion in investments, and addresses the U.S. relationship with the Muslim Brotherhood, advocating for state-level actions against perceived threats.  Connect with Seb... LINKTREE            linktr.ee/sebgorka SUBSTACK          substack.com/@sebastiangorka

⦿⦿ElectriX Podcast⦿⦿ Hey friends and listeners, I hope you guys are doing all really well. This is the last show of the year and "CAMILA (AR)" from Argentinia prepared a great progressive house mix. She mixed in some really nice tunes from great artists as well as her own tracks. A really nice set indeed and I had a great time listening to it. Just check her out in general. She has such good music out there and good artists deserve support. At the end I want to wish you all a merry christmas and a happy new year. I hope 2026 has wonderful experiences in store for you. Like the Mix? Click the [Repost]

Back in 2018, when this podcast was in its first year, I traveled to Burlington, NC, to interview the Charlotte by way of Elkin, NC band Time Sawyer. Since then, my path has intersected with Sam Tayloe and his band Time Sawyer many times, ranging from seeing them perform more shows and festivals, to emceeing for the Reevestock Festival in Sam's hometown of Elkin. Time never stands still, even for (especially?) the band Time Sawyer. Reevestock took a final bow in 2024; the band changed out guitarists and said goodbye to their banjo player and founding member; the city of Elkin went forward with Sam's help to expand the concept and footprint of Reevestock with this year's inaugural Milltown Get Down festival. There was a lot of ground to cover since I last spoke with him, so I took a sojourn to Charlotte to catch up with Sam Tayloe at his home. We had an in-depth conversation about producing festivals, his passion for community and building bridges, the evolution of Time Sawyer, and more, including music from the band's new live album. This episode stands out for all that and for the fact that it is hosted and produced by Molly Mattox, a student at Isothermal Community College in Spindale, NC. Molly took my class on media performance, which includes a podcast assignment. She chose this interview for her podcast, and did a great job. It is not easy to produce an episode of this podcast, even for me, but she grasped the concept, spirit, and tone of the series in — pardon the pun — no time. Photos by Daniel Coston Photography Songs heard in this episode:"Julie” by Time Sawyer, from Plumb Live at the Cock and Bull“The Boxer” by Time Sawyer, from Plumb Live at the Cock and Bull, excerpt“210 (It's Over)” by Time Sawyer, from Plumb Live at the Cock and Bull, excerpt“Noah Got Nothing” by Time Sawyer, from Plumb Live at the Cock and Bull, excerpt“Oak and Pine” by Time Sawyer, from Plumb Live at the Cock and Bull We are glad you are here! Could you can help spread awareness of what we are doing? It is as easy as telling a friend and following this podcast on your platform of choice. You can find us on Apple here, Spotify here and YouTube here — hundreds more episodes await, filled with artists you may know by name, or musicians and bands that are ready to become your next favorites.You can follow us on social media: @southstories on Instagram, at Southern Songs and Stories on Facebook, and now on Substack here, where you can read the scripts of these podcasts, and get updates on what we are doing and planning in our quest to explore and celebrate the unfolding history and culture of music rooted in the American South, and going beyond to the styles and artists that it inspired and informed. - Joe Kendrick

Luke Brunner, Detroit arborist and business developer in Detroit, talks about what it takes to care for trees during the wintertime, including snow and ice protection, pruning, mulching and general planting tips. In this episode we cover: Should I leave the snow and ice on my tree? (0:58)Should I treat young trees and mature trees differently in winter? (2:26)Growing trees meant for different climates (3:06)Oak and elm damage and pruning (7:02)Maple and pine damage and pruning (11:00)Do arborists work in severely cold weather? (12:36)What Luke does as a business developer at Davey (13:45)Volcano mulching (14:57)Mulching trees in winter (17:17)Luke's green giant arborvitaes (18:32)Why this job is right for Luke (21:11)Shoutout for Detroit (21:50)To find your local Davey office, check out our find a local office page to search by zip code.To learn more about winter tree care, read our blogs, Tree Care: Winter Tree Protection for Roots, Trunks and Branches, Don't Skip a Winter Tree Inspection: Why Cold Weather Reveals Hidden Tree Risks, Seasonal Tree Care Checklist: How to Keep Trees Healthy This Winter and Protecting Newly Planted Trees from Frost & Cold Winter Weather. Connect with Davey Tree on social media:Twitter: @DaveyTreeFacebook: @DaveyTreeInstagram: @daveytreeYouTube: The Davey Tree Expert CompanyLinkedIn: The Davey Tree Expert Company Connect with Doug Oster at www.dougoster.com. Have topics you'd like us to cover on the podcast? Email us at podcasts@davey.com. We want to hear from you!Click here to send Talking Trees Fan Mail!

As an insurance journalist, sometimes I think we in our profession must be a leading indicator for the industry. When we are breaking news it certainly feels that way. But at other times it often feels like we are a lagging indicator. Today's podcast is a case in point. From about 6 years ago the insurance media picked up on a long-term trend and told its story. The story was that transacting reinsurance within the Lloyd's market was something that was on the wane. Somehow Lloyd's had lost its attractiveness and its market share was in major decline, indeed perhaps terminal decline. But no sooner had that narrative become commonplace did events make us look somewhat foolish. Today's guest is a prominent leader of a resurgence of the use of Lloyd's as a platform for building a reinsurance business. Cathal Carr is CEO of Oak Global, a new business underwriting global reinsurance and retro from within the Lloyd's platform. Before founding Oak, Cathal had a stellar career with RenaissanceRe spanning two decades, so his reinsurance pedigree is impeccable. In this podcast we get into the heart of what Oak is all about, but as we do we quickly uncover some long-term reinsurance demand trends that Cathal believes will drive his business and the reinsurance sector long into the future. Cathal is highly regarded among his peers and is representative of a new generation of insurance leadership now breaking through and setting up their own businesses. As such our discussions around how to design and attempt to future proof a new reinsurer in the age of cloud computing and nascent AI are fascinating and highly recommended listening. So listen on for an exceptionally well-rounded interview with the founder one of the market's newest and most exciting young business. LINKS: We thank our naming sponsor AdvantageGo: https://www.advantagego.com

In this episode, we engage with Bishop Cairn Dewar to explore the New Testament's foundational narratives surrounding the birth of Christ. Building on our previous discussion of the 400 years of silence, we examine the angelic announcements to Zechariah and Mary, uncovering the significance of divine intervention and the anticipation for the Messiah.   onnect with Bishop Cei Dewar X/TWITTER  Bishop Ceirion H. Dewar FSHC (@BishopDewar) / X SOCIALS LINKTREE        bishopdewar | Twitter, Instagram, Facebook, TikTok | Linktree Connect with Hearts of Oak. . .

This Episodes Questions: Brians Questions: Just a question to ponder about the future of our favorite material. As old buildings get torn down there seems to a great supply of reclaimed lumber for our current generation. But as we know this is a finite resource. So with that said will the next generation be turning to our generation's slab furniture for their reclaimed lumber? Doug Hey! Sorry if this has already been addressed in a previous episode. I'm in upstate NY,  and I have a full wood shop detached from my house. The woodshop is insulated, but the temperature changes outside are pretty much the max, 100 degrees in the summer, and it will live at 20 degrees in the winter. In the winter, should I keep materials I'm working on in my house, bring them out to the shop when I'm cutting, and then bring them back in? It seems excessive, but it's really huge temperature changes. I'm mostly dealing with walnut. Is the temperature the bigger issue, or is it really humidity? I could maybe install a heat pump, just yah know it's a lot of energy. If I went that route, do you have a recommendation for a temp I should keep materials at? Thanks again for making such a great show -Mohamed Guys Questions: Hello and thank you for the wonderful podcast. I was hoping for some insights on builds for high moisture environments.  My fiancé and I  just moved into our first house and need to update the bathroom vanity.  Rather than spend hundreds of dollars on a a shoddy big-box-store model, I would like to take a crack at building one myself. I have enough experience with woodworking and building cabinets that I feel confident with the actual construction, but am concerned about the high moisture environment.  I plan on making a carcass out of prefinished plywood with face frames and drawer fronts out of a yet-to-be-determined species (likely red oak).  What advice and considerations do you all have for these high moisture environments? Do I need to use special finishes or some sort of sealant for the hardwood components? Do I need to worry about sealing or finishing the edges of the plywood even though the faces are prefinished? Do I need any special considerations for moisture or even mold build up between the face frame and plywood carcass? Any and all advice on this is greatly appreciated Thanks as always! Andrew Hey Guys, I love your show. Hearing 3 sets of opinions with different levels of experience really helps me learn. I've heard so many different approaches to sanding that I'm coming to the experts for guidance. To what grit do you sand to for Oak, Walnut, Maple, and cherry. Do you think a planned or card scraped surface is better than a sanded surface? Does it take the finish just as well? Thanks for all you do! Ezra Huys Questions: Another question... I recently had a small tornado that took the roof off of my shop. As a result, all of my tools got wet and the power tools - table saw, jointer, band saw, drill press etc - all got wet and rusted. They've been in storage since March of this year. I have new shop being built and hope to have it done by the end of this month. What suggestions do y'all have in terms of getting the rust off of the tools and checking for any other possible water damage? Thanks. Ron Brewer I'm making a walnut bench that I want to route headboard sides (legs) on and I'm not sure how to go about it. I'm not sure if a straight edge/track with a router and at pointed round over bit would be the best route or if I should do it on the router table. I plan on using a 3/8” or 1/2” radius point cutting round over bit for the beading. The end two end panels are 16”x18” and 1.5” thick. I have a festool 1400 router and an Incra router table as possible options. Also, once I get these panels made what's the best way to sand the beads since they come down to a tight point in the middle. Sanding seems like it would be a huge pain and not sure if the router bit would leave a good enough finish to apply finish without prep work. Thanks, Chayse

In this episode, I reconnect with Peter from Hearts of Oak to discuss recent developments in Advance UK, including our smooth registration with the Electoral Commission and the vital role of local councillors in grassroots campaigning. I critique the current political landscape, focusing on our empowering college structure and the impact of ECHR on immigration control. We address taxation policies, systemic failures regarding grooming gangs, and the importance of accountability. I also express my enthusiasm for an upcoming interview with Ayaan Hirsi Ali, highlighting her insights on national identity. This conversation embodies Advance UK's commitment to clear principles and invites others to join our movement for change.   Connect with Ben Habib WEBSITE       Home - Great British PAC Advance UK  Advance UK

“Hearts of Oak must pay Hamza Issah without delay. He is owed, and it must be settled.” - Kobby Stone

Sister Carol Costley continues to show how the Family Proclamation isn't a blueprint for the perfect family but a lifeline for real ones, where God works through rebellious children, humbled parents, and a covenant community that refuses to give up on each other.SHOW NOTES/TRANSCRIPTS English: https://tinyurl.com/podcastDC251EN French: https://tinyurl.com/podcastDC251FR German: https://tinyurl.com/podcastDC251DE Portuguese: https://tinyurl.com/podcastDC251PT Spanish: https://tinyurl.com/podcastDC251ESYOUTUBE: https://youtu.be/zPrCOcga_goALL EPISODES/SHOW NOTESfollowHIM website: https://www.followHIM.coNOW AVAILABLE INFrench  ⁨@followHIMFrançais⁩Spanish  ⁨@followHIMespañol⁩Portuguese  ⁨@followHIMPortuguês⁩  2021 Episode The Family: A Proclamation to the Worldhttps://youtu.be/f5sbMDT96jcFREE PDF DOWNLOADS OF followHIM QUOTE BOOKSNew Testament: https://tinyurl.com/PodcastNTBookOld Testament: https://tinyurl.com/PodcastOTBookBook of Mormon: https://tinyurl.com/PodcastBMBook  WEEKLY NEWSLETTER https://tinyurl.com/followHIMnewsletter  SOCIAL MEDIA Instagram: https://www.instagram.com/followHIMpodcast Facebook: https://www.facebook.com/followhimpodcastTIMECODE:00:00 Part 2 - Sister Carol Costley02:54 Family is the source of healing04:36 Gospel Library – Supporting Others06:12 Adoption, raising daughters, and a new calling10:34 Our stories are not totally written yet14:26 How family changes the world16:35 Elder Eyring's story about a difficult grandchild18:25 Alma the Younger was listening to family scripture study21:37 God asks for a willing heart22:57 Parental obligation27:16 Prayers and ward families30:12 Don't overlook repentance34:14 Peacemakers needed36:20 The value of work41:00 The plan is that we wouldn't be in ideal situations46:55 President Oak's story about his father's death48:14 Could President Oaks be the “dumbest boy in the room?”50:24 The Y Religion Podcast on the Proclamation51:01 Sister Carol Costley bears her testimony of Jesus Christ55:39 Testimony of tithing and the Restoration1:01:53  End of Part 2 - Sister Carol CostleyThanks to the followHIM team:Steve & Shannon Sorensen: Cofounder, Executive Producer, SponsorDavid & Verla Sorensen: SponsorsDr. Hank Smith: Co-hostJohn Bytheway: Co-hostDavid Perry: ProducerKyle Nelson: Marketing, SponsorLisa Spice: Client Relations, Editor, Show NotesWill Stoughton: Video EditorKrystal Roberts: Translation Team, English & French Transcripts, WebsiteAriel Cuadra: Spanish TranscriptsAmelia Kabwika: Portuguese TranscriptsHeather Barlow: Communications DirectorSydney Smith: Social Media, Graphic Design "Let Zion in Her Beauty Rise" by Marshall McDonaldhttps://www.marshallmcdonaldmusic.com

Send us a textArvada's Utility Business Manager, Chris Gray, talks through 2026 annual water, wastewater, and stormwater rate changes and how the City prioritizes projects that keep these services reliable 24/7, 365. In this episode: 2026 rates and fees for water, sewer, stormwater servicesWhat a typical household can expect in 2026, and how Arvada rates compare to our neighborsUnderstanding funding sources, and the enterprise model, not taxes, that fund the operational and capital costs for services Billing upgrades coming in 2026: online bills and autopaySee past presentations to City Council and more information about planning for and funding water, wastewater, and stormwater services on the Utilities Transparency webpage. News & Events:W. 72nd Avenue widening project from Kipling to Oak beginning in early 2026, see the project website for more informationCold weather shelter network information and resourcesChristmas tree recycling at Stenger Sports Complex, 6:30am to 5:30pm, 7 days a week, Dec. 26 to Jan. 19Visit us at arvadaco.gov/podcast or email us at podcast@arvada.org.

Episode 103 is the third and final part of our three-part Flower Essence Series. In this episode, Justin and I explore the remedies that support us through the heavier passages of the inner life, the flowers for despair, exhaustion, guilt, trauma, and the deep burdens that come with caring for others. We look at how remedies like Larch, Pine, Elm, Sweet Chestnut, Star of Bethlehem, Willow, Oak, and Crab Apple help restore confidence, soften resentment, bring comfort after shock, and guide us through moments when we feel we have reached our limit.We also explore the remedies for overcare, the states where love becomes pressure or control and where dedication turns into strain. Chicory, Vervain, Vine, Beech, Rock Water help us return to balance, offering care that honors both self and other, and leadership that flows from humility and joy rather than tension.This closing chapter ties together the full arc of the series, inviting a deeper understanding of how these remedies support emotional integration, spiritual renewal, and a more compassionate way of moving through the world.You can book a flower essence consultation at astralmeadow.com IG @astralmeadowsSources & Recommended ReadingBach Flower Remedies: Form and Function by Julian Barnard (Flower Essence Society, 2002)Bach Flower Therapy: Theory and Practice by Mechthild Scheffer (Healing Arts Press, 1988)

In this episode, I chat with Reverend Canon Father Phil Harris about the significance of Christmas and the 400 silent years after Malachi's prophecy. We explore the longing for the Messiah during this period and discuss the deuterocanonical books' relevance. Phil highlights key prophetic references in Isaiah and Micah, emphasizing the cultural context and the importance of Bethlehem.    Connect with Revd Canon Fr Phil Harris

Hearts of Oak hasn't paid its player for nearly three months, and I can personally confirm this. - Bismark Owusu Bempah-Ayala, Sports Journalist.

Welcome back! So different format. I start with the Ray interview, @RayBentleyi on IG and Ray Bentley on Youtube also check Caffeine Overdose on there! So basically Ray and I just get to know each other and talk about comedy, favorite jokes, favorite and least favorite sets, the Austin trip and what we did and didnt like, comedy when I started vs when he started, and even a little scenario like he likes to do on his pod! It was a lot of fun. Then I do the update, 30 minutes or less! I ended with Poke My Jokes from 82 Oak. I hope you all enjoy it! Rate, Review and share please! I'll see you next week God Willing! IA!

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

In this episode, we speak with Bernice Bufferth about the crisis in UK politics, focusing on Labour's declining poll ratings and controversial policies that alienate their support base. Bernice questions whether Labour's approach stems from idealism or a strategic acceptance of unpopularity. We discuss the implications of their international commitments on civil liberties, critique the media's inconsistent coverage of figures like Nigel Farage, and address the growing welfare dependency that discourages work. The conversation also highlights Enoch Burke's free speech case and critiques live facial recognition technology in the UK, raising urgent concerns about privacy and governmental oversight. Bernice offers a compelling analysis of the political landscape and its impact on individual freedoms.   Connect with Bernie

JB White returns from Thanksgiving energized and full of stories, kicking off the December 1 RattlerGator Report with celebrations over the Gators' big win and the Jaguars' renewed momentum. He breaks down the quarterback drama, the rise of Jaden Ball, and his relief at Florida hiring John Sumrall instead of Lane Kiffin, diving into what true program culture requires in the NIL era. From there, JB shifts into broader reflection, sharing his “Back At Ya” theory, his ongoing conversations with Oak, and why he believes recent global developments are confirming the strength of what he calls the “Trump Doctrine.” Reviewing emerging commentary on Ukraine peace negotiations, global financial realignments, and America's shift toward Bitcoin-backed sovereignty, he argues that Trump's tariff strategy, decentralization, and crypto-friendly policy posture represent a second American Revolution aimed at dismantling parasitic global systems. After sponsor reads and lively chat interaction, JB closes with thoughts on Venezuela, Cuba, geopolitics, and the stakes of the battles ahead—ending the show with his trademark humor, bluntness, and patriotic conviction.

This week in the news: Paradox accepts blame for the Bloodlines 2 failure (and it totally should). Steam makes a call on banning a game that GoG has decided to sell anyway. The CEO of Roblox is totally fine with all the predators on his platform preying on children so long as it pumps up his game numbers. Yeah, he's a pretty vile dude, tbh. And what will likely be the topic of the decade (or at least the next few years): AI in gaming. Is it cool or not? Let's discuss. Oak's back and he's played the entirety of Dispatch so now he's on to a Spiderman game! Grif is so heated about how a friend cost them the round of Devour that she can't even tell the story correctly. Thankfully, Chicken can elaborate! All this and much more on this week's Infinite Respawn Podcast! Discord: https://discord.gg/d7cEJqT Chicken's Twitch: https://www.twitch.tv/elitechicken313 Oak's Twitch: https://www.twitch.tv/MDBOAKTREE Grif's YouTube: https://www.youtube.com/@grifslynam  

In this episode, we engage with Alec Lace, creator and host of the podcast First Class Fatherhood. Alec shares his journey of launching the podcast in 2018 to reshape the narrative surrounding fatherhood, especially for young men who often see it as intimidating. With insights drawn from over 600 interviews with prominent figures across various fields, he highlights the joy and fulfillment of being a father, countering the prevalent misconceptions around parenting. Connect with Alec... Linktree:   First Class Fatherhood | Instagram, Facebook | Linktree     Connect with Hearts of Oak...

There's not all that much to say about the Ukraine peace negotiations as delegations head to the USA and Russia, but I cover a few issues, from Trump's 'businessified' approach to geopolitics to the departures of both Andrii Yermak and Dmitri Kozak.In the second half, I use Russian folklore, and the arrays of terrifying threats in the deep woods and the potentially terrifying spirits of hearth and home as a parable for Russian strategic culture. Honestly.The forthcoming book I mention is Sophie Pinkham's The Oak and the LarchThe podcast's corporate partner and sponsor is Conducttr, which provides software for innovative and immersive crisis exercises in hybrid warfare, counter-terrorism, civil affairs and similar situations.You can also follow my blog, In Moscow's Shadows, and become one of the podcast's supporting Patrons and gain question-asking rights and access to exclusive extra materials including the (almost-) weekly Govorit Moskva news briefing right here. Support the show

In this episode, Lewis Brackpool, head of Restore Britain's investigation unit, shares updates on uncovering corruption in public and private sectors, highlighting a concerning case of over 53,000 missing illegal migrants following deportation orders. He critiques Piers Morgan's views on cultural identity versus culinary diversity and remembers the late Peter Whittle for his impact on cultural dialogue. Additionally, Lewis opposes Justice Secretary David Lammy's proposal to limit jury trials as a threat to democracy and addresses the rising attacks on Christian churches in the UK, advocating for greater transparency and accountability. This conversation explores key legal and societal challenges facing the UK today.   Connect with Lewis... journalist / Director of investigations @RestoreBritain_ X/TWITTER        x.com/Lewis_Brackpool  SUBSTACK        lewisbrackpool.substack.com/   Connect with Hearts of Oak...

Some places are haunted… and some trees are haunted all on their ownIn this week's episode, Yvette Fielding explores seven of the most mysterious and terrifying haunted trees from around the world, each one steeped in legend, tragedy, and inexplicable paranormal activity.From the chilling mystery of “Who put Bella in the Wych Elm?” in Worcestershire, to the ancient might of Sherwood Forest's Major Oak, to the cursed Devil's Tree in New Jersey… what is it about certain trees that draws in spirits, traps energy, and refuses to let go?Yvette explores:

Dr. John Campbell discusses his extensive career in nursing and education, highlighting changes in psychiatric care and mental health support. He critiques the politicization of healthcare and the reliance on pharmaceuticals, advocating for a more holistic approach. The conversation touches on the Turin Shroud, exploring its historical significance and the intersection of faith and science. Campbell emphasizes the importance of curiosity in medicine, sharing personal anecdotes about the effectiveness of natural remedies. He encourages innovation in healthcare practices and hints at future discussions on ethical issues like assisted dying, urging listeners to consider the relationship between science, faith, and health.   Connect with Dr John Campbell

GREYSTONE CANYON are back!   Greystone Canyon pay tribute to the legendary Thin Lizzy with their new single “Suicide” Recorded live together in one room, the track captures the raw energy, warmth, and honesty of real rock'n'roll - no tricks, no clicks, just pure tone and feel.  Stream “Suicide” on all digital platforms! https://lnk.to/S1C1D3  Music video:  https://youtu.be/VLNaHClXKc0?si=0-oU8X7h-vIfzSMS  Social media reels:    https://f.io/XyQSIDhY   https://f.io/c3dlsvcQ  Their new album “Something Borrowed…Something New” will be released worldwide on December 5th, 2025 via Rockshots Records!   Following the acclaimed Iron & Oak (2024) the Australian rockers return with their most authentic and energetic record yet.   Recorded 100% live in the studio, "Something Borrowed… Something New" blends brand-new Greystone Canyon originals with reimagined classics from Led Zeppelin, UFO, ZZ Top, Neil Young, and Thin Lizzy - a celebration of rock in its purest, rawest form.  Click Here to Subscribe to The Adventures of Pipeman for PERKS, BONUS Content & FREE GIVEWAYS!   Take some zany and serious journeys with The Pipeman aka Dean K. Piper, CST on The Adventures of Pipeman also known as Pipeman Radio syndicated globally “Where Who Knows And Anything Goes.”   Positively Pipeman hosted by Dean K. Piper, CST features other international authors, speakers, trainers, advisors, coaches and other experts here to help you in business & personal life including Self-Help, Motivation, Business, Marketing, Empowerment, Spiritual, Inspiration, Health & Wellness, Relationships, Goal Setting, Belief Systems, Mindset, Sales, and so much more on your journey to Success, Freedom, and Happiness!  Would you like to be a sponsor of the show?Would you like to have your business, products, services, merch, programs, books, music or any other professional or artistic endeavors promoted on the show?Would you like interviewed as a professional or music guest on The Adventures of Pipeman, Positively Pipeman and/or Pipeman in the Pit?Would you like to host your own Radio Show, Streaming TV Show, or Podcast?    PipemanRadio Podcasts are heard on Pipeman Radio, Talk 4 Media, iHeartRadio, Pandora, Amazon Music, Audible, Spotify, Apple Podcasts, and over 100 other podcast outlets where you listen to Podcasts.  The following are the different podcasts to Follow, Listen, Download, Subscribe:•The Adventures of Pipeman•Pipeman Radio•Pipeman in the Pit – Music Interviews & Festivals•Positively Pipeman – Empowerment, Inspiration, Motivation, Self-Help, Business, Spiritual & Health & Wellness.Click Here to Subscribe for PERKS, BONUS Content & FREE GIVEWAYS!Follow @pipemanradio on all socials & Pipeman Radio Requests & Info at www.linktr.ee/pipemanradioStream The Adventures of Pipeman daily & live Mondays, Tuesdays, Wednesdays at 1PM ET on W4CY Radio & Talk 4 TV. Download, Rate & Review the Podcast at The Adventures of Pipeman, Pipeman Radio, Talk 4 Media, iHeartRadio, Apple Podcasts, YouTube & All Podcast Apps.

Lieutenant Colonel Oakland McCulloch shares powerful insights from his 23 years in the U.S. Army and beyond — from servant leadership and humility to building trust, character, and purpose. Discover how true leadership transcends titles, transforms people, and leaves a lasting legacy.00:36- About LTC (R) Oakland McCullochRetired Lieutenant Colonel Oakland McCulloch is the author of the 2021 release, Your Leadership Legacy: Becoming the Leader You Were Meant to Be.Oak is also an internationally recognized speaker who gives talks on leadership and success.

The City of Jacksonville's ACPS holds a memorial a month after abandoned Great Dane puppy Oak was found on the side of the road by Perrin Todd.

In today's episode, Sarah empties her email inbox (and some other life inboxes) in real time! Find out how much time it took her to get from ~140 messages (half a week's worth of accumulation) in her primary gmail inbox to 0, what she did with all of those little pieces of information, and some takeaways for you if you struggle with task management or collecting all of your inputs. She then takes listeners through other digital inboxes, including WhatsApp and her texts.Then, she shares her review of Hemlock & Oak's new 70gsm daily / weekly / monthly planner offering!Link to the H&O planner she discusses is here: https://www.hemlockandoak.com/products/2026-weekly-daily-12-month-cloth-flex Episode Sponsors: Green Chef: Make this fall your healthiest yet with Green Chef. Visit ⁠⁠⁠⁠⁠⁠⁠greenchef.com/50bestlaid ⁠⁠⁠⁠⁠⁠⁠and use code 50BESTLAID to get fifty percent off your first month, then twenty percent off for two months with free shipping. Mint Mobile: Ready to save on your wireless? Make the switch at ⁠⁠⁠⁠⁠⁠⁠mintmobile.com/BLP⁠⁠⁠⁠⁠⁠⁠. PrepDish: Meal plans ready to go, in your inbox each week. You can try 2 weeks free at ⁠⁠⁠⁠⁠⁠⁠prepdish.com/plans⁠⁠⁠⁠⁠⁠⁠! Organize 365: Visit ⁠organize365.com/sunday-basket⁠ to check out the Sunday Basket® today Learn more about your ad choices. Visit megaphone.fm/adchoices

(And Why It Still Matters)Welcome to the Holistic Healing Hour, hosted by Grandpa Bill!

Send us comments, suggestions and ideas here! In this week's show we wrap up our second half of Rusted Throat's tour of cemetery symbolism that you are bound to encounter at your local graveyard. We begin this episode by focusing on the controversial and culturally rich meaning behind the Edelweiss flower, the rose (it's place in the pagan and Christian mysteries) before discussing the various things a floral crown might symbolize and why the devil loves guitar. In the extended show we discuss the ancient Egyptian tambourine, the Catholic symbolism used as a bulwark against sin, the secrets of the obelisk and how to identify the graves sponsored by America's most secret and un-secret societies. Thank you and enjoy the show! In this week's episode we discuss:EdelweissAlpine RoseThe Rose of Venus and ChristEvery Rose Has Its ThornLaurel, Oak, Cypress Crowns The Lyre and the HarpGuitar and the Devil?In the extended episode available at www.patreon.com/TheWholeRabbit we go further down the grave hole to discuss:The SistrumMaple Hill CemeteryCatholic Grave SymbolismSunflowersThe Obelisk, ancient and modernFraternal OrganizationsThis episode was written by RustedThroat with some collaboration with Luke Madrid, Heka Astra and Mari Sama who (unless quoting others) were responsible for writing and sourcing the materials they spoke.Where to find The Whole Rabbit:Spotify: https://open.spotify.com/show/0AnJZhmPzaby04afmEWOAVInstagram: https://www.instagram.com/the_whole_rabbitTwitter: https://twitter.com/1WholeRabbitOrder Stickers: https://www.stickermule.com/thewholerabbitOther Merchandise: https://thewholerabbit.myspreadshop.com/Music By Spirit Travel Plaza:https://open.spotify.com/artist/30dW3WB1sYofnow7y3V0YoSupport the show

In this episode, I speak with Sarah White from Advance UK about her journey into politics and her concerns regarding the current political landscape. We discuss the prioritization of undocumented migrants over British citizens, her experiences with the Pink Ladies movement, and the importance of free speech in a climate of censorship. Sarah highlights issues related to crime and community safety in the UK and concludes with a call for listeners to reassess their support for institutions like the BBC, advocating for proactive engagement in defending one's beliefs and values. Chapters https://x.com/advancesarah Connect with Hearts of Oak. . .

In this interview, Cheryl Chumley, an online opinion editor, author, and host of the Bold and Blunt podcast, discusses the shifting political landscape in Virginia and the broader implications of socialism in American politics. She warns that ideologies masquerading as progressivism threaten foundational American values, particularly in major cities where fiscal irresponsibility often leads to crises necessitating federal bailouts.   Connect with Cheryl Chumley

⚔️Did the Mahabharata actually happen – Nilesh Oak on Evidence, Astronomy & India's Ancient Timeline

Today on Consuming the Craft, I welcome back Charlie Stanley from Oak and Grist Distilling Company in Black Mountain, North Carolina. We dive deep into the journey of a small craft distillery navigating the challenges of being in a control state, the growth of Oak and Grist's product line, and the evolution of their spirits since Charlie's last visit. We geek out on the technical and creative aspects of distillation, address the headaches of marketing and distribution in North Carolina's ABC system, and celebrate unique spirits — like their incredible Genever and the Peachwood-Smoked Single Malt. Along the way, we share a sensory deep-dive with a glass of Armagnac and touch on the resilience it takes to keep a craft beverage business alive, especially in the wake of devastating storms. Charlie Stanley is an alum of AB Tech's Craft Beverage Institute and serves as lead distiller at Oak and Grist. With almost six years under his belt at the distillery, Charlie brings a wealth of knowledge in production, blending, and creative problem solving. Whether it's crafting rare spirits like American Genever from scratch or adapting to unpredictable market forces, his experience and dedication are evident in every bottle. Beyond the production floor, Charlie has been an invaluable educator for both staff and the broader beverage community, returning often to AB Tech to share his expertise. "Genever is the whiskey drinker's gin... there's so much more grain flavor, a balance of malt sweetness and botanicals." ~Charlie Stanley Today on Consuming the Craft:·     Oak and Grist has expanded their offerings and matured their products significantly in the past six years, focusing on quality and evolution.·     The ABC system in North Carolina requires distilleries to adapt to a unique, fragmented, and sometimes frustrating structure for spirits sales and distribution.·     Education is essential—both for distillers and retail staff—to help consumers understand and appreciate local spirits.·     Oak and Grist produces a rare, authentic American Genever that's 100% single malt and distilled entirely in-house without sourcing.·     The distillery uses only full-size 53-gallon barrels for aging, favoring balance and complexity over rapid wood extraction from small barrels.·     Their Smoke Series features whiskeys made from North Carolina craft malt smoked with fruit woods like peach, resulting in nuanced and balanced spirits.·     Surviving Hurricane Helene was a challenge, but it ultimately broadened Oak and Grist's statewide presence and reaffirmed their resilience.·     Continuing education, community connections, and creative blending are all core to Oak and Grist's ongoing success. Contact for Charlie Stanley and Oak and Grist: Oak and Grist Distilling Company – https://oakandgrist.com/ Visit them in Black Mountain, NC More on Charlie and the team: https://oakandgrist.com/about-us Resources Mentioned: AB Tech Craft Beverage Institute: https://abtech.edu/academic-programs/craft-beverage-institute Riverbend Malt House – Suppliers of local craft malt: https://riverbendmalt.com/ This episode is brought to you by… McConnell Farms - Taste the Way You Remember. Enjoy homemade ciders and ice cream made from only the best produce on the market. Visit the McConnell Farms website to learn more about our seasonal inventory and the delicious creations you can make with our homegrown produce. Consuming the Craft Thanks for tuning into this week's Consuming the Craft Podcast episode, brought to you by AB Tech's Craft Beverage Institute of the Southeast. If you enjoyed this episode, please subscribe and leave a review wherever you get your podcasts. Apple Podcasts | Spotify | iHeart | Amazon Podcasts | TuneIn | Pandora | Deezer  Be sure to share your favorite episodes on social media to help us reach more craft beverage enthusiasts. To learn more about AB Tech and the Craft Beer Institute of the Southeast, visit our website.   

Dr. Andrea Lamont Nazarenko discusses her work as a clinical psychologist and the founding of the Make Europe Healthy Again (MEHA) movement. She emphasizes the need for systemic change in public health, drawing from her personal health experiences influenced by vaccine injuries. MEHA aims to unite stakeholders to promote healthier lifestyles while focusing on cooperation across political lines. Dr. Nazarenko stresses the importance of grassroots initiatives and community engagement in fostering health empowerment, inviting listeners to support MEHA in championing better health and well-being across Europe. Connect with Dr Andrea . . .

Two cousins. Countless miles. One bold mission: bring whiskey to a new generation - and a new audience.In this episode of The Whiskey Hue, we sit down with AnnaAxster and Wendelin von Schroder, founders of Lodestar Whiskey, who went from filmmakers turned accidental music execs - running their own label and touring America - to building a whiskey brand that's rewriting the rules.They share how green-room pours with country starsturned into a full-blown love affair with the craft: from the viscosity and sweetness of their high-rye bourbon and single-malt blend, to why color, flavor, and texture aren't accidents.We dive deep into what it takes to source barrels, launch in Southern California, and build community before chasing sales.And we talk representation - why it's time whiskey spoke to women who've been left out of the conversation for far too long. It's smooth. It's fiery. It's full of heart - just like the whiskey itself.Pour a glass, hit play, and discover how these two arelighting a new path in the world of spirits.EPISODE TIMESTAMPS00:00 Intros04:30 Lodestar Quick Intro06:12 But First! Their Music Industry Escapades13:30 Where the Whiskey Love began – First sips with Dads,    to Green Rooms of Country Stars17:50 Blended Whiskeys: consistency 20:53 Bringing Women into the World of Whiskey24:22 Flavor, Color, Texture, Not by Accident. 27:22 What makes a Bourbon a Bourbon?30:00 Sourcing the Barrels33:00 Critical Mass for Sales37:00 Launch a Whiskey, Build a Community First 42:50 Representation Matters To Women Consumers53:00 Burn some Oak, taste some Vanilla57:00 Flaviar: Whiskey Club1:02:00 Anna and Wendelin celebrate their industry peersThis episode is part of the ‘Prof P' series on the Whiskey Hue Stream. Recorded in part for my Fordham Gabelli students.Please Rate, Review, Subscribe and Share with a Friend! Means a lot to us - thank YOU!For more info on:1. Venture, Tech, Sports and Investing, visit: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠AtulPrashar | LinkedIn⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠2. Learn Venture Capital Investing for less than a dinner in NYC: “VC: IdeationThrough Execution”: ⁠⁠⁠⁠https://tinyurl.com/APsVCCourse⁠⁠

The Sunday after this episode is released, November 23rd, 2025, at 4 p.m. Eastern time, there will be an online gathering of folk who use song to help navigate life -- and we'll sing through this Ribbon of Songs with live-looping! To learn more, click here, or sign up right now to join us!   Lyrics ​& Links to the original episodes for the songs in this ribbon.   89. a spell for intergenerational trauma by Ahlay Blakely   Breaking Breaking Breaking the cycles now   Ripple through Through to the ancient ones Ripple through Through to the future ones ​ Healing at the Root We're calling Healing at the root of our belonging   170. Over/Under by Lyndsey Scott   Over / under All the way through Over / under Back to you Over / under All the way down Over / under Lost then found   I am the love that doesn't leave We do this til we free us! Feel thru the dark is how we see We do this til we free us! We are remembering how to grieve We do this til we free us! You are a part of my family We do this til we free us!   77. Winter Song by Dirk Mont Campbell   All things come and go, summer sun and winter snow. Blow wind, fall, rain; all things die and live again.   Fallen leaves lie on the ground so cold and dead. Oak tree stands bare, and the holly green and red. Robin sings of love and loss for Jenny Wren. ​All things that die will return to life again.   50. Navigate the Current by Saro Lynch-Thomason   I often feel a deep despair For a pain that feels unending For a body made with many faults That resists all salve or mending I'm tossed and driven with a tide Of an ocean unforgiving I am left shaking on the shore Afraid of even standing.   I feel a deep temptation then As I am lying weary For a marble form to encase my bones That I may rest more deeply What comfort to be cast as stone To be static and suspended No ecstasy, no misery Nothing given or expended   I am startled then by the touch of friends Who raise and fortify me Who say my name, bid me stretch my frame Help me face the sea's great fury. Where would I be in these long hours Without their voices by me? To ease the pain and soothe the strain Of a troubled and angry body? ​ I am bound between the amity That salves a body splintered And the cries and sighs of the daily hours That pull my soul more inward. Oh, may I learn to trust the hands That soothe a pain so fervent ​May I ride each wave with a greater faith And navigate the current   147. Walk On Through by Samara Jade   The Mystery is holding your hand The Mystery is holding your hand The Mystery is holding your hand As you walk through   The angels are holding your hand The angels are holding your hand The angels are holding your hand As you walk through….   Chorus: So walk on through - no turning back Walk on through - we got your back We'll stand by you You're not alone So walk on through, we'll walk you home   (other verses, same form, fill in the blank with: stars and moon, mother earth, ancestors, all of us, etc)   68. Share the Journey by Katie Sontag   As the dark fades away, here it comes, a brand-new, new day. As it leaves, we watch it go, all we learned, all we need to know. I believe we will survive. I believe this is our time. ​I believe we are alive to share the journey, to share the journey.   Join this community of people who love to use song to help navigate life? Absolutely: https://dashboard.mailerlite.com/forms/335811/81227018071442567/share   Help us keep going: reviews, comments, encouragement, plus contributions... we float on your support. https://www.abreathofsong.com/gratitude-jar.html

What if the emptiness you feel despite your success isn't a sign you're broken, but a signal you're ready for something deeper? In this episode, Andrew Anderson, a transformational coach for high-achieving business leaders, shares his remarkable journey from elementary school playground helper to teaching career to becoming the guide that successful entrepreneurs call when they have "problems money can't solve." Through two pivotal relationships, Xavier, a Belgian mentor he met at 19 who still coaches him 21 years later, and Kevin Hall (former VP of Franklin Covey), who saw potential in him during his darkest season.  Andrew discovered how to help others move from survival to thriving, from playing defense to playing offense with their lives. From reconnecting with Xavier during his friend's divorce and flipping their mentor-mentee dynamic, to standing in the Virgin River at Zion National Park receiving divine inspiration to write a book that would later save a man's life, Andrew reveals how the right relationships at the right time don't just change your business trajectory but reshape your entire identity and calling. His approach cuts through years of traditional therapy in hours, helping clients rewire neural pathways and reconnect with who they truly are beneath the pain. Andrew reflects on honoring the versions of ourselves that went through hard things, why most people are playing not to lose instead of playing to win, and how a single conversation can absolutely change the trajectory of a career, relationship, or life.   [00:04:42] What Andrew Does: Solving Problems Money Can't Solve Shows up in three or four important roles each day First as a son of God Husband supporting wife who homeschools and does foot zoning Father to seven children [00:07:25] The Origin Story: Fourth Grade Playground Met Lap, a Vietnamese student who spoke zero English Became his playground buddy through the universal language of play Lap helped Andrew with math; Andrew helped him with sports First recognition of unique ability to see needs and show up for individuals [00:10:50] The Unique Ability Discovery References Dan Sullivan's Strategic Coach concept Like Marcus Colius told Kevin: "This is the Holy Spirit working through you" Unique abilities reveal themselves through stewardship, not searching [00:16:06] The Transition: From Teaching to Coaching Six years as a classroom teacher Went through separation and divorce that felt like life was over Lost career, marriage, and family simultaneously Left teaching, sold real estate for one year, then started coaching agents [00:20:00] Client Success Story: "Jared" Nearly million-dollar business but struggling with drug addiction, porn addiction Couldn't have children for several years, had hard time keeping money Worked at deep unconscious level to find root causes of self-sabotage Process took hours, not years - created new neural pathways [00:24:33] Playing Offense vs. Defense Andrew's 76-year-old dad's wisdom: "Play to win, don't play not to lose" Most people in life are playing defense, trying to get out of pain First day and a half with clients: playing defense but with love, not resistance [00:27:37] Xavier: The 21-Year Friendship Met in Belgium when Andrew was 19, Xavier was 28-29 Still FaceTimes to this day after 21 years Has visited Andrew's home three times, supports his retreats Andrew's best friend and coach for deepest heart and soul questions [00:29:26] Kevin Hall: The Professional Catalyst Met summer 2015 during Andrew's transition period Former VP of Sales at Franklin Covey, worked with Stephen Covey Author of "Aspire" teaching 10 powerful words Saw something in 29-year-old Andrew during training event Took Andrew under his wing in group coaching [00:32:04] The Book That Saved a Life Standing in Virgin River at Zion National Park at Kevin Hall's event God said: "You're gonna write a book" Title: "Strength of the Oak, Strength of the Willow" Two things keeping him from suicide: the Bible and Andrew's book   KEY QUOTES "Single conversation is guaranteed to change the trajectory of a career, a relationship, or a life. Any single conversation absolutely can." - Andrew Anderson (quoting Susan Scott) "You need to honor and respect that version of you because you would not be doing what you're doing and helping who you're helping or anything without having gone through that experience." - Xavier (to Andrew) "You gotta play to win. Don't play not to lose." - Andrew's 76-year-old dad "It's really hard to move forward while you're looking back." - Andrew Anderson "If you want to find yourself, you're gonna have to lose yourself. And if you're looking for happiness, the best way to find it is to give and do it unconditionally." - Andrew Anderson (referencing Jesus) CONNECT WITH ANDREW ANDERSON

Welcome back! I start with the update, now 30 min or less! I then go to Manny's A Reel Boy where we learn and get motivated then laugh and get motivated. I then Poke My Jokes from Thursday at 82 Oak. I end with some questions to Gino at Chatty G Insights. I ask about what the 30 minutes or less is from, what to do in the next great depression, and how I can tell when he's lying to me. Anyway see you next week! Please Rate, Review, and Share! and see you next week God Willing! IA!

In this episode, I discuss my experiences as a doctor critical of COVID-19 vaccines, highlighted in my book, "Do No Harm: Diaries of a Vaccinated Anti-Vaxxer." I delve into the scrutiny from the General Medical Council, anonymous complaints leading to a "kangaroo court" situation, and the ethical dilemmas surrounding vaccine distribution. Connect with Dr David Cartland... WEB: https://drcartland.com/

Ep.99: Jury Performance - ft. OakOak is working on their name* Low ConfidenceIs that your real name?Someone's missingDawn's big moment*Performing Jury DutyPSP *Let me see your filePorn GamesTron in the cabin with the magazines*Someone broke inThe family computerUsing technologyJury Duty situationsDid you get an allowance?*Oak, remember we're at churchMonetary rewardsDead Presidents*Lincoln's top hatMoney for favors*Money for nothingJest goings on - what's coming up? *= Improvised Sketch - w/soundscape Thank you for listening. LIke what you hear? Want to hear something more? Drop us a comment at https://www.jestimprov.com/podcast Let us know if you want a mention in our episode, we'll do our best to give you a shout-out.Visit us anytime at https://www.jestimprov.com to find out more about us in Ventura, CA - including when to drop-in for classes and shows!

Few wines capture Tuscany's essence like Brunello di Montalcino, and few estates embody its heritage like Il Poggione. In this episode, winemaker Alessandro Bindocci joins Billy Galanko to explore what makes this corner of southern Tuscany one of the most fascinating wine regions on earth.From four generations of family stewardship to the estate's modern sustainability drive, Alessandro takes us inside Il Poggione's vineyards and cellars to reveal how classic Sangiovese becomes one of Italy's most age-worthy wines. We unpack everything from clonal selection, elevation, and soil types to submerged-cap fermentation, large oak aging, and the fine line between structure and elegance that defines great Brunello.Billy also shares new updates on the future of the Vint Wine Podcast, including an upcoming rebrand, a dedicated website, and expanded YouTube content featuring winemakers, critics, and regions shaping today's global wine culture.What you'll learnHow Il Poggione preserves a century-old Brunello identity while embracing organic certification and solar-powered sustainability.Why Montalcino's Mount Amiata, Tyrrhenian breezes, and forest biodiversity are critical to balance and longevity.The impact of submerged-cap fermentation on tannin refinement and color depth.How large French oak casks (3,000–5,000 L) keep Sangiovese pure, while selective barrique aging adds finesse.Vintage takeaways: 2019 classic and firm, 2020 open-knit and supple, 2025 shaping up as a potential benchmark year.A tasting roadmap through Il Poggione's range, from Rosato Toscana to the iconic BdM Riserva Vigna Paganelli.Chapters00:00 Welcome to the Vint Wine Podcast00:55 Exciting Podcast Updates02:04 Meet Alessandro Bindocci of Il Poggione02:42 Exploring Il Poggione's Wine Range08:16 A Family Legacy in Winemaking13:40 The Unique Terroir of Montalcino19:57 Organic and Sustainable Practices25:22 Innovation and Winemaking Philosophy27:57 Submerged-Cap Fermentation Explained30:22 The Role of Oak in Aging32:40 Indigenous Yeast and Fermentation33:56 Vintage Deep Dive: 2019, 2020, and 202541:11 Rosso vs. Toscana — Two Expressions of Sangiovese47:42 The Evolution and Future of Il Poggione50:42 Closing Thoughts and CheersThe Vint Wine Podcast is hosted and produced by Billy Galanko. For more content follow Billy on Instagram @BillyGalanko_wine_nerd and for partnerships and collaborations please email billy@sommeliermedia.com. Cheers!

This week in the news: Crash Bandicoot is getting an animated series. Phasmo is getting a board game. Palworld may have a slight advantage in their dealings with Nintendo. Bully is about to have a fan-made MMO mod and early access starts in December. Amazon cut 14,000 jobs from their gaming division. Halo is coming to PS5 with Campaign Evolved. Microsoft wants to make all of the money and also the next "console" will likely just be a PC. In the non-news stuffs: REPO got an update and everyone loves it. Oak has gone back to Green Hell and everyone else moved back to ARK. It must be the time for the comfort of familiar survival games. All this and much more on this week's Infinite Respawn Podcast!

Get ready for a musical adventure across the Celtic world. From wild reels to heartfelt ballads, these artists capture the spirit of the isles. Celebrate Celtic music and culture before IrishFest Atlanta on the Irish & Celtic Music Podcast #733 - - Subscribe now! Blame Not The Bard, The Gothard Sisters, Jesse Ferguson, Eloise & Co., The Far North, Ritchie Remo, The Bookends, Ainsley Hamill, Nerea The Fiddler, Amelia Hogan, Reilly, Drumspyder, George Murphy and The Rising Sons, Kim Carnie, The Irish Lassies GET CELTIC MUSIC NEWS IN YOUR INBOX The Celtic Music Magazine is a quick and easy way to plug yourself into more great Celtic culture. Enjoy seven weekly news items with what's happening with Celtic music and culture online. Subscribe now and get 34 Celtic MP3s for Free. VOTE IN THE CELTIC TOP 20 FOR 2025 This is our way of finding the best songs and artists each year. You can vote for as many songs and tunes that inspire you in each episode. Your vote helps me create this year's Best Celtic music of 2025 episode. You have until December 4 to vote for this episode. Vote Now! You can follow our playlist on YouTube to listen to those top voted tracks as they are added every 2 - 3 weeks. THIS WEEK IN CELTIC MUSIC 0:09 - Blame Not The Bard "Slide In The Sky / The Ocean Breeze / Until The Sun Rises" from Slide In The Sky / The Ocean Breeze / Until The Sun Rises (Single) 3:51 - WELCOME 6:50 - The Gothard Sisters "Adventurer" from Moment in Time 9:59 - Jesse Ferguson "Scots Who Have with Wallace Bled" from Ten 12:09 - Eloise & Co. "Avant - deux de Vitteaux/Queen's Bath" from avec Elodie 15:57 - Olivia Bradley "Amhrán Na bhFiann" from Amhrán Na bhFiann 17:05 - The Far North "Hummingbird" from Songs For Weathering Storms 20:18 - FEEDBACK 24:50 - Ritchie Remo "Hills Of Connemara" from Hills of Connemara Single 27:54 - The Bookends "The Old Grove" from A Celtic Celebration 31:04 - Ainsley Hamill "Cumha an Eich - Uisge" from FABLE 34:06 - Nerea The Fiddler "The Return" from Off The Beaten Path 38:25 - Amelia Hogan "Snow Hare" from Burnished 41:24 - THANKS 43:16 - Reilly "Black Velvet Band" from Durty Pool 47:01 - Drumspyder "Paddy on the Erie / The Toormore" from Oak and Ash 51:04 - George Murphy and The Rising Sons "Something Out of Nothing" from Something Out of Nothing 55:48 - Kim Carnie "Oran na Beiste Maoile" from A' Chailleach Òran: "OH - ran" (the "ò" is a long 'o' sound) na: "na" (the "a" is a schwa or unstressed 'a' sound) Bèiste: "BEYSH - tya" (a softer, palatalized 's' sound, followed by "tya" rather than a hard 't' sound) Maoile: "MWAH - lee" (the "aoi" combination makes a sound similar to "oo - ee" but with more of an "ah - ee" diphthong) 59:09 - CLOSING 1:00:08 - The Irish Lassies "Redwood Shepherd" from Immigration Stories 1:03:35 - CREDITS Support for this program comes from Hank Woodward. Support for this program comes from Dr. Annie Lorkowski of Centennial Animal Hospital in Corona, California. Support for this program comes from International speaker, Joseph Dumond, teaching the ancient roots of the Gaelic people. Learn more about their origins at Sightedmoon.com Support for this program comes from Cascadia Cross Border Law Group, Creating Transparent Borders for more than twenty five years, serving Alaska and the world. Find out more at www.CascadiaLawAlaska.com The Irish & Celtic Music Podcast was produced by Marc Gunn, The Celtfather and our Patrons on Patreon. The show was edited by Mitchell Petersen with Graphics by Miranda Nelson Designs. Visit our website to follow the show. You'll find links to all of the artists played in this episode. Todd Wiley is the editor of the Celtic Music Magazine. Subscribe to get 34 Celtic MP3s for Free. Plus, you'll get 7 weekly news items about what's happening with Celtic music and culture online. Best of all, you will connect with your Celtic heritage. Please tell one friend about this podcast. Word of mouth is the absolute best way to support any creative endeavor. Finally, remember. Clean energy isn't just good for the planet, it's good for your wallet. Solar and wind are now the cheapest power sources in history. But too many politicians would rather protect billionaires than help working families save on their bills. Real change starts when we stop allowing the ultra - rich to write our energy policy and run our government. Let's choose affordable, renewable power. Clean energy means lower costs, more freedom, and a planet that can actually breathe. Promote Celtic culture through music at http://celticmusicpodcast.com/. WELCOME THE IRISH & CELTIC MUSIC PODCAST * Helping you celebrate Celtic culture through music. I am Marc Gunn. I'm a Celtic musician and also host of Pub Songs & Stories. Every song has a story, every episode is a toast to Celtic and folk songwriters. Discover the stories behind the songs from the heart of the Celtic pub scene. This podcast is for fans of all kinds of Celtic music. We are here to build a diverse Celtic community and help the incredible artists who so generously share their music with you. If you hear music you love, please email artists to let them know you heard them on the Irish and Celtic Music Podcast. Musicians depend on your generosity to release new music. So please find a way to support them. Buy a CD, Album Pin, Shirt, Digital Download, or join their community on Patreon. You can find a link to all of the artists in the shownotes, along with show times, when you visit our website at celticmusicpodcast.com. Email follow@bestcelticmusic to learn how to subscribe to the podcast and you will get a free music - only episode. You'll also learn how to get your band played on the podcast. Bands don't need to send in music, and you will get a free eBook called Celtic Musicians Guide to Digital Music. It's 100% free. Again email follow@bestcelticmusic ALBUM PINS ARE CHANGING THE WAY WE HEAR CELTIC MUSIC I got an email from Discmakers, my CD manufacturer, saying they were forced to raise their prices because of tariffs by our president. This is a tax on Americans. So if you love CDs, remember that the prices will go up. So please support those higher priced CDs. But there is an option for those who don't want to buy CDs and for those who want a better alternative for the environment. It's the Album Pin. Album Pins are lapel pins themed to a particular album. You get a digital download of the album. Then you can wear your album. All of my latest Album Pins are wood - burned and locally produced. This makes them better for the environment. And they are fun and fashionable. If you want to learn more about Album Pins, you can read more about them on my celtfather.Substack.com or just buy one at magerecords.com IRISHFEST ATLANTA Join us at IrishFest Atlanta on Nov 7 - 9, 2025. You'll enjoy exclusive concerts with Open the Door For Three with Special Guest dancer Kevin Doyle on Friday and Teada on Saturday night. Plus enjoy music from Kathleen Donohoe, O'Brian's Bards, Olivia Bradley, Roundabouts, The Kinnegans, The Muckers, Irish Brothers, Celtic Brew, Station 1 2 3 and special set from Inara and Marc Gunn. There are music and dance workshops, Irish cooking competitions, IrishTea, Irish Films, and of course, LOTS of Irish dancing. Celebrate your Irish heritage at IrishFest Atlanta in November. Bring a friend! Learn more at IrishFestAtlanta.com THANK YOU PATRONS OF THE PODCAST! Your support makes the Irish & Celtic Music Podcast possible, nearly every week of the year. You're not just funding a show. You're fueling a movement that shares the magic of Celtic music with thousands around the world. Your generosity covers everything from audio engineering and artwork to the Celtic Music Magazine, show promotion, and buying music from independent Celtic artists. 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Have you ever considered pivoting your handmade Etsy shop into a digital product shop serving the same niche? That's exactly what Jocelyn of Oak and Marlow did with her crochet business--- and she's thriving! Tune in to hear how she learned how to write patterns, the amazing role social media has played in her growth, and her tips for starting and scaling an Etsy business. **"How to Sell Your Stuff on Etsy" is not affiliated with or endorsed by Etsy.com    STUFF I MENTIONED:   ➡️ Join the Template Drop Membership for weekly templates (commercial use): https://www.howtosellyourstuff.com/the-template-drop   ➡️Check out ProfitTree's new product research tool ETSY RADAR: https://lifetime.profittree.io/?via=lizzie87 Get the best profit tracking tool to help you know your numbers AND a product research tool for a one time fee of $67. (completely insane) ✅FREE Etsy Ads Masterclass: https://www.howtosellyourstuff.com/request-etsy-ads-masterclass    FIND JOCELYN: Instagram - Oak and Marlow Website - oakandmarlow.com Email - hello@oakandmarlow.com ---------------------- FIND LIZZIE: Find me on Instagram and TikTok @HowtoSellYourStuff  HOW TO SELL YOUR STUFF WEBSITE: https://www.howtosellyourstuff.com/  HOW TO SELL YOUR STUFF SHOWNOTES: https://www.howtosellyourstuff.com/blog/206              THIS EPISODE IS SPONSORED BY: Lizzie's Weekly Trendspotting and Product Opportunity membership: Are you a print on demand OR digital product Etsy seller who's tight on time or still learning all of the Etsy secrets? Let me give you a leg up with my weekly trends and opportunities report! Get your first month for just $17 with code KEEP20 ⭐Register for weekly trend reports and product opportunities emailed straight to your inbox: https://www.howtosellyourstuff.com/offers/JxNYgLnw   *Some of the links above are affiliate links which means I'll receive a commission if you purchase through my link, at no extra cost to you. You can see my affiliate disclosure here: https://www.howtosellyourstuff.com/affiliate-disclosure

Peter Mcilvenna, Host, UK Hearts of Oak. Advocate for British Grooming Gang VictimsFollow Debbie Georgatos, America Can We Talk Show HostWebsite: http://americacanwetalk.orgTwitter: @DebbieCanWeTalkTruth: https://truthsocial.com/@AmericaCanWeTalkInstagram: https://www.instagram.com/debbiecanwetalkFacebook: https://www.facebook.com/AmericaCanWeTalkRumble: https://rumble.com/user/AmericaCanWeTalkOBBM: https://www.obbmnetwork.tv/series/america-can-we-talk-207873America Can We Talk is a show with a mission — to speak up for the extraordinary and unique greatness of America. I talk about the top issues of the day facing America, often with insightful guests, always from the perspective of furthering that mission, and with the goal to inspire listeners to celebrate and embrace the liberty on which America was founded. #BecauseAmericaMatters #AmericaCanWeTalk #DebbieGeorgatos #Truth #Freedom

Welcome! I start as usual with The Update, now 30 minutes or less! Then I go to Mannys A Reel Boy, with a newer format of the serious stuff first then the funny stuff after. I then went to see my family and came back and Poked My Jokes from Thursday at 82 Oak. I end with a CGI where I ask Geno about what he thinks are the most crazy conspiracy theories and explain why there not that far fetched. I hope you all enjoy it and Rate, Review, and Share if you can! I love you all and see you next week! God willing! IA!