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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

Lee and Daniel are joined by Lee's long-time best friend Peter to talk about a movie they bonded over back in high school in the late 1990s, "The Stöned Age" (1994), directed by James Melkonian. This R-rated stoner buddy comedy feels like the crude love child of "Dazed and Confused" & "Wayne's World". Is it perhaps better than both of those films? Is it at least more fun? Do you want to play submarine? Don't be a worm, bring a case of Ox 45 along (they better be fucking talls!), and listen in. "The Stöned Age" IMDB  Lee on Bluesky, Instagram, and Letterboxd.    Listen to Daniel punch Nazis on the I Don't Speak German podcast. Catch Daniel on Bluesky and support his Patreon.    Featured Music: Excerpt from "Rock Candy" by Montrose, "Bang a Gong (Get it On)" by T. Rex, and "(Don't Fear) The Reaper" by Blue Öyster Cult.

E se aprender não fosse apenas chegar, mas realmente pertencer? No X da Questão de hoje, Marcos Keller explica por que trabalhar equidade em sala de aula é importante para enfrentar desigualdades, ampliar vozes e construir uma experiência escolar verdadeiramente justa.   O X da Questão Apresentação: Marcos Keller Produção e execução: Agência Bowie Coordenação do Projeto: Livia Garcia *** Produzido pelo Departamento de Marketing da Editora do Brasil S/A www.editoradobrasil.com.br Atendimento: atendimento@editadobrasil.com.br   Siga-nos nas redes sociais: facebook.com/EditoraDoBrasil  twitter.com/editoradobrasil www.instagram.com/editoradobrasil_oficial   O Arco43 Podcast é uma publicação da Editora do Brasil S/A. As opiniões expressas no programa são de responsabilidade dos convidados e não expressam necessariamente a opinião da empresa ou de seus colaboradores.

E se uma palavra fosse capaz de reconstruir pertencimentos? No X da Questão de hoje, Marcos Keller explica como o afroletramento transforma a sala de aula, dá voz às histórias silenciadas e fortalece uma educação verdadeiramente antirracista.   O X da Questão Apresentação: Marcos Keller Produção e execução: Agência Bowie Coordenação do Projeto: Livia Garcia *** Produzido pelo Departamento de Marketing da Editora do Brasil S/A www.editoradobrasil.com.br Atendimento: atendimento@editadobrasil.com.br   Siga-nos nas redes sociais: facebook.com/EditoraDoBrasil  twitter.com/editoradobrasil www.instagram.com/editoradobrasil_oficial   O Arco43 Podcast é uma publicação da Editora do Brasil S/A. As opiniões expressas no programa são de responsabilidade dos convidados e não expressam necessariamente a opinião da empresa ou de seus colaboradores.

Recibimos en nuestros estudios a Rubén Nasville coincidiendo con el lanzamiento de su nuevo y esperado disco “Oxígeno”.También suenan El Vicio Del Duende (Qué Más Quisieras), Sex Museum (Have Love Will Travel), Sanguijuelas Del Guadiana (100 Amapolas), Los Coringas (Gypsy Woman), Chucho y Bebo Valdés (Tea For Two), Mariaconfussion (Dónde Está Lo Que Me Falta), The Hermetics (I Don't Mind DIRECTO RADIO) y Carlichi (I Walk To Fly FEAT MarUbe).

Recibimos en nuestros estudios a Rubén Nasville coincidiendo con el lanzamiento de su nuevo y esperado disco “Oxígeno”.También suenan El Vicio Del Duende (Qué Más Quisieras), Sex Museum (Have Love Will Travel), Sanguijuelas Del Guadiana (100 Amapolas), Los Coringas (Gypsy Woman), Chucho y Bebo Valdés (Tea For Two), Mariaconfussion (Dónde Está Lo Que Me Falta), The Hermetics (I Don't Mind DIRECTO RADIO) y Carlichi (I Walk To Fly FEAT MarUbe).

In this episode of Roofing Road Trips®, Karen Edwards sits down with Todd Gluski from OX Engineered Products to spotlight the company's journey and core philosophy. Listeners will hear how OX is reimagining building materials, from innovative structural insulation and house wraps to advanced weatherization systems. Together, they explore what sets OX apart, including product versatility, performance and feedback from the field. Todd shares the company's approach to solving everyday building challenges and what's ahead for both residential and commercial projects. This conversation offers insights for contractors and builders who want to understand the value of making smart material choices and keeping up with industry evolution.   Learn more at RoofersCoffeeShop.com! https://www.rooferscoffeeshop.com/   Are you a contractor looking for resources? Become an R-Club Member today! https://www.rooferscoffeeshop.com/rcs-club-sign-up   Sign up for the Week in Roofing! https://www.rooferscoffeeshop.com/sign-up     Follow Us!   https://www.facebook.com/rooferscoffeeshop/   https://www.linkedin.com/company/rooferscoffeeshop-com   https://x.com/RoofCoffeeShop   https://www.instagram.com/rooferscoffeeshop/   https://www.youtube.com/channel/UCAQTC5U3FL9M-_wcRiEEyvw   https://www.pinterest.com/rcscom/   https://www.tiktok.com/@rooferscoffeeshop   https://www.rooferscoffeeshop.com/rss     #Elevate #ElevateCommercialRoofingSystems #NobodyCoversYouBetter #RoofersCoffeeShop #MetalCoffeeShop #AskARoofer #CoatingsCoffeeShop #RoofingProfessionals #RoofingContractors #RoofingIndustry 

Josh and Drusilla are joined by Salem Horror Fest's Steve Kleinedler for 1978's The Legacy. From wiki: “The Legacy is a 1978 horror film directed by Richard Marquand, in his directorial debut, and starring Katharine Ross, Sam Elliott, Roger Daltrey, John Standing, and Margaret Tyzack. It follows an American couple who are summoned to a British mansion while visiting England for a work obligation, where they stumble upon its family's curse.”Also discussed: Salem Horror Fest, Tenderness of the Wolves, The Exterminating Angel, Fruits of Paradise, Daisies, Wolf Hole, Wicked: Part One, A Woman Under the Influence, John Cassavettes, The Ox-bow Incident, and more. NEXT WEEK: Alien (1979)Salem Horror Fest Submissions:https://filmfreeway.com/salemhorrorfestSteve Kleinedlerhttps://bsky.app/profile/skleinedler.bsky.socialhttps://letterboxd.com/stevekl/Bloodhaus:https://www.bloodhauspod.com/https://www.instagram.com/bloodhauspod/https://letterboxd.com/bloodhaus/Drusilla Adeline:https://www.sisterhydedesign.com/https://letterboxd.com/sisterhyde/https://www.instagram.com/sister__hyde/Joshua Conkelhttps://www.joshuaconkel.com/https://www.instagram.com/joshua_conkel/https://letterboxd.com/JoshuaConkel/  

Oxóssi – XXXAshSparrow – D101CØNTRA x MYTHM – RuptureThe Widdler – Eclipse (SEEK Remix)Nemzz ft. Latto – Art (Fang Shui Bootleg)Ivy Lab – Spooky Dub (Substrada 140 Edit)Claudia Valentina – Candy (ATYYA Flip)CØNTRA x Skinny Limbs – Digital MeltdownSaule x Centauri – BullfrogStarkey – Shark (Centauri Remix)FRED AGAIN x SKEPTA – Victory Lap (Coltcuts Bootleg)Unkey – Visor – The Crescent VeilMono Code – Shadowscale AshSparrow – D121 Trekka – Say LessAshSparrow – D138 (Sadan Remix)Tallboy – Treasure Island (Kamer Remix)

E se o tempo da criança fosse o maior aprendizado que a escola pode ter? Neste episódio do X da Questão, Marcos Keller reflete sobre o ritmo da infância e o que ele ensina ao currículo — um convite para desacelerar e ouvir o tempo da aprendizagem.   O X da Questão Apresentação: Marcos Keller Produção e execução: Agência Bowie Coordenação do Projeto: Livia Garcia *** Produzido pelo Departamento de Marketing da Editora do Brasil S/A www.editoradobrasil.com.br Atendimento: atendimento@editadobrasil.com.br   Siga-nos nas redes sociais: facebook.com/EditoraDoBrasil  twitter.com/editoradobrasil www.instagram.com/editoradobrasil_oficial   O Arco43 Podcast é uma publicação da Editora do Brasil S/A. As opiniões expressas no programa são de responsabilidade dos convidados e não expressam necessariamente a opinião da empresa ou de seus colaboradores.

10/24/2025 PODCAST Episode #3075 GUESTS: Grover Norquist, Christine Glassner, The "OX", David McIntosh + YOUR CALLS! at 1-888-480-JOHN (5646) and GETTR Live! @jfradioshow #GodzillaOfTruth #TruckingTheTruth

To make things easier this week, on me at least, I'm going to pick my favorites from New York Comic-Con. Well, also because it's what took up half of the show this time around. Transformers was easy for me, can't beat an Ox and Cart Optimus Prime! G.I. Joe continues the movie goodness with their Cobra La Royal Guard. Star Wars continues not only their Retro line, but also does so with a third wave of A New Hope figures. Mondo carried the MOTU mantle. While their 200x line looks amazing, that price through.

Send us a textTo watch this episode on: click hereFor more info, check out our newsletterCarol's  Garden Bloggers' Bloom Day postRuth Stout, a Lost Lady of Garden Writing.Flowers:Gardening with vulgare flowersLeucantheum vulgare - Ox-eye daisesSyringa vulgaris - Common lilac Aquilegia vulgaris - ColumbinePrimula vulgaris - Primroses. Silene vulgaris - Bladder Campion. Filipendual vulgaris - Dropwort. Vegetables:Growing with vulgare in the vegetable garden.Some herbs:Origanum vulgare - oreganoThymus vulgare - common thymeFoeniculum vulgare - fennelTanacetum vulgare - Tansy - don't grow it. Beta vulgaris - beets - what's new in the beet world? There's an AAS Winner from 2015 - Avalanche, which is white. The history of beets. On the Bookshelf:Love Letter to a Garden by Debbie Millman (Amazon Link)Thank you to TimberPress for review copies!Dirt:Screaming Plants: Rabbit Holes:The Many Lives & Secret Sorrows of Josephine B. by Sandra GullandThe Unselected Journals of Emma M. Lion, Vol 1 by Beth Brower. Check out our affiliate links here.We appreciate all our listeners and readers. Have a great week everyone!Support the showOn Instagram: Carol: Indygardener, Dee: RedDirtRamblings, Our podcast: TheGardenangelists.On Facebook: The Gardenangelists' Garden Club.On YouTube.

Don't Muzzle the Ox _ 1 Timothy 5_17-25 by Cypress Bible Church

E se educar fosse menos sobre repetir conteúdos e mais sobre reinventar o mundo? Neste episódio do X da Questão, Marcos Keller fala da educação como ato poético, de criação e coragem para imaginar outros futuros.   O X da Questão Apresentação: Marcos Keller Produção e execução: Agência Bowie Coordenação do Projeto: Livia Garcia *** Produzido pelo Departamento de Marketing da Editora do Brasil S/A www.editoradobrasil.com.br Atendimento: atendimento@editadobrasil.com.br   Siga-nos nas redes sociais: facebook.com/EditoraDoBrasil  twitter.com/editoradobrasil www.instagram.com/editoradobrasil_oficial   O Arco43 Podcast é uma publicação da Editora do Brasil S/A. As opiniões expressas no programa são de responsabilidade dos convidados e não expressam necessariamente a opinião da empresa ou de seus colaboradores.

Ox präsentiert: How Ya Goin'? (mit Dr. Knighty) - Folge 5 Ross Knight von den Cosmic Psychos alias Dr. Knighty ist der Host dieses Podcasts. In der fünften Folge ist Andrew Stockdale von WOLFMOTHER zu Gast. Übrigens: Das neue Cosmic Psychos-Album "I Really Like Beer" erscheint am 07.11. Prost!

En este podcast te anunciamos un nuevo servicio que hemos montado para todos los seguidores de Garaje Hermético. Porque a partir de ahora tendrás en nuestra/vuestra página web “Garajehermetico.com” una selección de coches de ocasión a buen precio y con pocos kilómetros que te ofrecemos en colaboración con Ruteo. La primera selección que te ofrecemos son coches pequeños, urbanos y con etiqueta “Eco”. Si es lo que estás buscando, echa un vistazo a esos coches en el siguiente enlace: https://www.garajehermetico.com/ruteo/ Llevamos años con un mensaje desde Bruselas que ha sido un dogma: el futuro es 100x100 eléctrico y 2035 será el apocalipsis para la combustión. Y las cosas no van a cambiar, ¡ya están cambiando! Hay un claro “frenazo” al coche eléctrico y te contamos los motivos y las consecuencias… Y añado una cosa más… ¡me he currado este video! Espero que se note. La tesis de hoy es clara: desde las altas esferas europeas se está produciendo un evidente frenazo a la transición eléctrica. No es una marcha atrás, pero sí una clara deceleración. La gran pregunta es: ¿es una corrección de rumbo necesaria para salvar nuestra industria y no dejar a nadie tirado? Vamos a desgranarlo, argumento por argumento. Argumento 1. El Muro de 2035 se agrieta. La "Trampa" de los e-fuels. Para entender el frenazo, primero hay que recordar el plan de la UE, conocido como "Fit for 55" de reducción de un 55 por ciento de emisiones en 2030. Era tajante: a partir del 1 de enero de 2035, se prohibiría la venta de coches y furgonetas nuevos que emitieran CO₂ por el tubo de escape. En el lenguaje de la calle, esto significaba el fin del motor de gasolina, diésel e incluso de los híbridos. Pero… surgió una nota discordante, un país al que esto no le parecía una buena idea… Alemania. En marzo de 2023, cuando todo parecía sellado y firmado, el gobierno alemán, con el peso de gigantes como BMW, Mercedes y todo el Grupo Volkswagen con Porsche incluido dijeron: "Un momento, de esto tenemos que hablar". Bloqueó la votación final y forzó una renegociación. ¿Su as en la manga? Un concepto del que cada vez oiréis hablar más: los e-fuels o combustibles sintéticos. La magia legal de todo esto reside en el concepto "neutralidad de carbono". Aunque un coche que quema e-fuel sigue emitiendo CO₂ por el escape es exactamente el mismo CO₂ que se capturó para fabricarlo. Así que "lo comido por lo servido". Este fue el resquicio, la letra pequeña que Alemania consiguió colar en el texto final. Te contamos lo que es en el video. Argumento 2. ¡Que llega la Euro 7! De “Sentencia de Muerte” a “Balón de Oxígeno”. Si el tema de los e-fuels fue una grieta en el muro de 2035, el cambio en la normativa euro 7, ha sido como derribar un tabique entero. La propuesta inicial de la Euro 7, presentada en 2022, era, sencillamente, una bestialidad. Era tan exageradamente estricta que la industria la tachó de "prohibición encubierta". Pero, de nuevo, se produjo un giro de guion. Argumento 3. Se acabaron las “pagas”. Dicho de otra forma: El fin de la “Demanda Dopada”. Seamos sinceros. El crecimiento en las ventas de coches eléctricos en los últimos años no ha sido un milagro del mercado. Ha sido un crecimiento, en gran medida, "dopado". La demanda ha estado hinchada artificialmente por generosísimas ayudas gubernamentales: planes MOVES, bonificaciones directas en la compra, exenciones de impuestos de matriculación y circulación, aparcamiento gratis... Pero el dinero público no es infinito, y estamos empezando a ver qué pasa cuando se cierra el grifo. El mejor laboratorio para comprobarlo ha sido Alemania, el mercado más grande de Europa. A mediados de diciembre de 2023, su gobierno, por problemas presupuestarios, cortó las ayudas a la compra de coches eléctricos de la noche a la mañana. ¿El resultado? Un desplome instantáneo y brutal. Argumento 4. El Elefante en la “cacharrería”. Geopolítica y el miedo a China. Y llegamos al último argumento, pero quizás el más importante y del que menos se habla: La geopolítica. La apuesta ciega y acelerada por el coche eléctrico le ha abierto de par en par las puertas de Europa a los fabricantes chinos que han entrado en Europa como un elefante en una cacharrería. ¿Por qué son tan competitivas las marcas chinas? Porque China lleva décadas de ventaja en la que es la pieza clave de todo este puzle: las baterías. Controlan la mayor parte de la cadena de suministro, desde la minería de los materiales hasta el ensamblaje final de las celdas. Sin olvidar el precio de la mano de obra.

Christopher & Jobst im Gespräch mit Uschi. Wir reden über Tahini & Erdnussbutter, Trust & A+P, das fehlende Schöpferische bei Social Media, Handys aufm Klo, Insta-Katzen-Reels, die Frage nach dem Sinn von Provokation, Christophers verstörendes Erlebnis mit Ikkimel, zwei oder drei Punks auf dem Weg zur Berufsschule, ein Wohnzimmer-Konzert von Die Toten Hosen im ZDF, guter alter Classic Rock, ein Hit von REO Speedwaggon, jugendliche Statussymbole, sich von Gott entfremdet haben, für andere da sein, James Last & Ernst Mosch, die Riesenhits von Neil Diamond, Pichelsteiner Eintopf mit zähem Fleisch, alle Jubeljahre paniertes Rind, eine Kleinanzeige in der Zeitschrift Musik-Szene, das Fanzine Jinx, Oma erzählt vom Krieg, die vielen Brieffreundschaften, ein weiter Schritt von REO Speedwaggon zu Blut & Eisen, die Kult-Huren im Juze Leutkirch, familiäre Beziehungen zu den Ewings, die Beach Stage vom Punk Rock Holiday, mit Sturzhelm stagediven, zu sehr Kontrollmensch, testweise auf Drogen podcasten, das Ego-Zine "Sie trägt rote Pyjamas", wie die Zeugen Jehovas am Eingang stehen, die wunderbare Idee von Split-Fanzines, die Kapuphase, blaue Directions zum Rauswaschen, anstrengende Möbelberatung, Abi mit Ende 20, die Gratis-7inch im Ox, Buchbindung vs. Heftklammern, die Schriftgröße, das Tagebuch eines Verlierers, sich bemühen ein Release nicht zu verreissen, mühsam lernen vegetarisch zu kochen, Vollwert-Hippie-Kram, das Soy Not Oi vom Hippycore, irgendwann vegan werden, die Idee vom Kochen ohne Knochen, Sendungsbewusstsein nach Außen, intensiver Austausch fürs KoK, eine Art von Empowerment, "Wir haben kein Geld für Marketing", Nutzen was die Natur bietet, keine Kornelkirschen im Garten, versuchen aus Holunderbeeren Kapern zu produzieren, 5 Millionen Euro auf dem Konto, ein 911er Porsche aus dem Jahr 1963, was Reichtum ist, das neue Buch von Nagel, die Küblböck-Story, uvm.Drei Songs für die Playlist:1) Ein Lieblingssong der 17-jährigen Uschi: JOURNEY - Wheel in the Sky2) Ein Song, der Uschi immer wieder Mut macht: JOY DIVISION - Love Will Tear Us Apart 3) Der beste Song, der zur Zeit im Radio läuft: BRUTUS - Victoria

Are your marketing investments driving real business value, or are you simply throwing money at the latest trends? Agility means being able to react to change while knowing which strategies, processes, and technologies are ultimately moving the needle and driving real business outcomes. This episode is brought to you by The Office of Experience, a design-driven, digital-first, vertically integrated and collaborative agency that believes in the power of ideas and the strength of people. Today, we're going to talk about taking ROI models from confusion to clarity, specifically in the B2B e-commerce space. We'll explore how to build models that truly reflect business value, avoid common pitfalls, and unlock exponential growth. To help me discuss this topic, I'd like to welcome, Carlos Manalo, Co-CEO and Co-Founder at Office of Experience. About Carlos Manalo Carlos is co-founder & co-CEO of OX. He leads his team with nearly 20 years of grit and seasoning in the interactive and integrated multichannel space. As a customer-centered experience strategist by training, Carlos believes that enhanced customer satisfaction and loyalty is achieved through clarifying strategic intent and uncovering opportunities in the user journey. By merging the benefits of analysis and interaction, he creates experiences that drive alignment, progress and evolution. His focus on performance-driven engagements has allowed Carlos to be a true 360-degree partner, building user-centered experiences for some of the world's leading brands. Carlos Manalo on LinkedIn: https://www.linkedin.com/in/carlosmanalo/ Resources Office of Experience: https://www.officeofexperience.com This episode is brought to you by The Office of Experience, a design-driven, digital-first, vertically integrated and collaborative agency that believes in the power of ideas and the strength of people. Don't Miss MAICON 2025, October 14-16 in Cleveland - the event bringing together the brights minds and leading voices in AI. Use Code AGILE150 for $150 off registration. Go here to register: https://bit.ly/agile150 Connect with Greg on LinkedIn: https://www.linkedin.com/in/gregkihlstromDon't miss a thing: get the latest episodes, sign up for our newsletter and more: https://www.theagilebrand.showCheck out The Agile Brand Guide website with articles, insights, and Martechipedia, the wiki for marketing technology: https://www.agilebrandguide.com The Agile Brand is produced by Missing Link—a Latina-owned strategy-driven, creatively fueled production co-op. From ideation to creation, they craft human connections through intelligent, engaging and informative content. https://www.missinglink.company

This was originally broadcast as episode 21 of Ichimon Japan. On this episode of Ichimon Japan we ask: What's so scary about the hour of the ox? Topics Discussed All about Japan's old way of telling time that was based on the 12 animals of the Chinese Zodiac (eto) Which "animals" in the old Chinese Zodiac based way of telling time correspond to which hours in the modern way of telling time Why the "hour of the ox" (ushi no koku) was thought to have associations with demons and inauspicious things What a "demon gate" (kimon) is In which direction you would find a kimon (demon gate) What ushimitsudoki is and what time it corresponds to The punctual nature of demons What ushi no koku mairi is How people performing ushi no koku mairi are typically depicted today The historical origins of ushi no koku mairi The story of Uji no Hashihime The various tools involved when placing a curse on someone ushi no koku mairi style The potentially deadly consequences of catching someone in the act of performing ushi no koku mairi Websites/companies that offer to places curses on your behalf Whether performing ushi no koku mairi or cursing someone is illegal in Japan Two actual cases of people threatening others using straw dolls (wara ningō) Why you could get arrested if you were to perform a full ushi no koku mairi ceremony How you can purchase ushi no koku mairi kits from online retailers like Amazon Japan One man's attempt to curse the coronavirus ushi no koku mairi style And more! Listen to Ichimon Japan on [btn btnlink="https://podcasts.apple.com/us/podcast/ichimon-japan-a-podcast-by-japankyo-com/id1492400997" btnsize="medium" bgcolor="#0568bf" txtcolor="#ffffff" btnnewt="1" nofollow="1"]Apple Podcasts[/btn] [btn btnlink="https://podcasts.google.com/?feed=aHR0cHM6Ly9pY2hpbW9uamFwYW4ubGlic3luLmNvbS9yc3M" btnsize="medium" bgcolor="#0568bf" txtcolor="#ffffff" btnnewt="1" nofollow="1"]Google Podcasts[/btn] [btn btnlink="https://www.stitcher.com/podcast/japankyocom/ichimon-japan-a-podcast-by-japankyocom" btnsize="medium" bgcolor="#0568bf" txtcolor="#ffffff" btnnewt="1" nofollow="1"]Stitcher[/btn] [btn btnlink="https://open.spotify.com/show/1ZVgnljVM8gcR1ar98eK0D" btnsize="medium" bgcolor="#0568bf" txtcolor="#ffffff" btnnewt="1" nofollow="1"]Spotify[/btn] [btn btnlink="https://www.iheart.com/podcast/263-ichimon-japan-a-podcast-by-59510504/" btnsize="medium" bgcolor="#0568bf" txtcolor="#ffffff" btnnewt="1" nofollow="1"]iHeartRadio[/btn] [btn btnlink="https://www.podbean.com/podcast-detail/mv3zr-ad2df/Ichimon-Japan-A-Podcast-by-Japankyo.com" btnsize="medium" bgcolor="#0568bf" txtcolor="#ffffff" btnnewt="1" nofollow="1"]PodBean[/btn] [btn btnlink="https://tunein.com/podcasts/Arts--Culture-Podcasts/Ichimon-Japan-A-Podcast-by-Japankyocom-p1290988/" btnsize="medium" bgcolor="#0568bf" txtcolor="#ffffff" btnnewt="1" nofollow="1"]Tunein[/btn] [btn btnlink="https://ichimonjapan.libsyn.com/rss" btnsize="medium" bgcolor="#0568bf" txtcolor="#ffffff" btnnewt="1" nofollow="1"]RSS[/btn] Support on Patreon If you enjoy Ichimon Japan and want to ensure that we're able to produce more episodes, then please consider becoming a patron on Patreon.com. For a minimum pledge of $2 a month you'll get access to exclusive content and our eternal, profound, and undrying gratitude. Support on Patreon Sources, Links, Videos, Etc. There are various ways of referring to the old way of telling time used in Japan that was based on the 12 animals of the Chinese Zodiac. The two most common terms are kojikoku (古時刻) and jūnijishin (十二時辰). Much of the information this episode was based on was gathered from the Japanese-language sources below. Jūnijishin (十二時辰) This is the Japanese-language Wikipedia entry. 昔の時間の古時刻・十二時辰とは？初刻や正刻の鐘の意味は This is an in-depth article focusing on the old system used in Japan for telling time. Although it is not as thorough as the Japanese language articles above, the Japan Times article below does give some general information on the old Chinese Zodiac based system of telling the time that Japan used to use. Telling time with animals In the Chinese Zodiac-based way of telling time the day would start with the hour of the rat (ne no koku) and end with the hour of the boar (i no koku). Below you can see the terms used for all 12 animals/time divisions) and what two hour block each corresponds to. Also it should be noted that both English and Japanese-language sources are unclear on when exactly each two hour block of time begins. In general sources go with wording like "between 11 and 1," thus I have been unable to determine with 100% certainty if, for example,  the last minute of the hour of the rat is 12:59 (which seems more likely) or 1:00. While this degree of precision was likely not a matter of concern for most people when this method of telling time was still being used, the question of when exactly each block of time ends is nevertheless one that remains and is unfortunately not solved in the information below. 11:00 p.m - 1:00 a.m. Rat 子 (鼠) ne 1:00 a.m. - 3:00 a.m. Ox 丑 (牛) ushi 3:00 a.m. - 5:00 a.m. 寅 (虎) tora 5:0 am. - 7:00 a.m. Rabbit 卯 (兎) u 7:00 a.m.  - 9:00 a.m. Dragon 辰 (竜) tatsu 9:00 a.m. - 11:00 a.m. Snake 巳 (蛇) mi 11:00 a.m. - 1:00 p.m. Horse 午 (馬) uma 1:00 p.m.  -3:00 p.m. Sheep 未 (羊) hitsuji 3:00 p.m. - 5:00 p.m. Monkey 申 (猿) 酉 saru 5:00 p.m. - 7:00 p.m.  Rooster 酉 (鳥) tori 7:00 p.m. - 9:00 p.m.9:00 p.m. - 11:00 p.m. Dog 戌 (犬) inu 9:00 p.m. - 11:00 p.m. Boar 亥 (猪) i Information about the two articles by Salvador Jimenez Murguia that were mentioned in this episode can be found below. Only the second article is accessible for free. The Cursing Kit of Ushi no Koku Mairi Cyber Execration: A Case Study of Ushi No Koku Mairi The link below is for a video about the "Curse Demon Association" (呪鬼会, Jujikai), which is, according to the video, a group of Shinto priests that will curse people for you in exchange for money. Video About the Curse Demon Association The link below will take you to the Nikkan Spa article mentioned in this episode. The article describes one person's attempt to curse the coronavirus using ushi no koku mairi in order to stop the pandemic. Although the article is in Japanese, it's worth a look even if can't read Japanese since he pictures are pretty amusing. コロナを呪って終息へ！ リモート丑の刻参りに挑戦 Here is a staged video of a couple guys claiming to have come across someone performing ushi no koku mairi. [embed]https://www.youtube.com/watch?v=PGKRCIgWHhA[/embed] Here is the tutorial style video mentioned in this episode. The video walks you through the the entire process of cursing someone using a home kit that you can purchase online. [embed]https://www.youtube.com/watch?v=LyAvy9s5e3w[/embed] To listen to the latest episode of Japan Station, use the link below. Talking Translation w. Sarah Moon | Japan Station 43 Japanese Vocabulary List Most episodes feature at least one or two interesting Japanese words or phrases. Here's some of the ones that came up on this episode. All information is from Jim Breen's WWWJDIC. Eto 干支 【えと; かんし】 (n) (1) sexagenary cycle (60-year cycle of 12 animal zodiac and 5 elements in the traditional Chinese calendar); (2) 12-year Chinese zodiac  Ushi no koku mairi 丑の刻参り 【うしのこくまいり】 (exp,n) cursing ritual where one visits a shrine at 2am and nails a doll representing a person to a tree, praying for said person's death Hakamairi 墓参り : 墓参り(P); 墓参(P) 【はかまいり(P); ぼさん(墓参)】 (n,vs) visit to a grave Ushimitsudoki 丑三つ時 【うしみつどき】 (n) (1) dead of night; middle of the night; midnight; (2) (See 丑の刻) third quarter of the hour of the ox Wara ningyō 藁人形 : 藁人形; わら人形; ワラ人形 【わらにんぎょう(藁人形,わら人形); ワラにんぎょう(ワラ人形)】 (n) straw doll; straw figure; straw effigy Kyōhaku 脅迫 【きょうはく】 (n,vs) threat; menace; coercion; terrorism We Want Your Questions Is there something about Japan that confuses you? Is there something about Japanese culture that you would like to learn more about? Is there something in Japanese history that you would like us to explain? We're always looking for new questions about Japan to answer, so if you have one, please send it to ichimon@japankyo.com. Special Thanks Opening/Closing Theme: Produced by Apol (YouTube, Twitter, Facebook, Fiverr) Ichimon Japan cover art: Produced by Erik R. Follow Japankyo on Social Media Facebook (@JapankyoNews) Twitter (@JapankyoNews) Full Show Notes https:///japankyo.com/ichimonjapan

In this episode, Nick talks about Lowest Illegal Crossings in a Long Time, Venezuelan Vessel Vaporized, Trump Healthy as an Ox, Black Teen Gropes Old Lady, White House Bag Job and a Kissing Bug! Watch Nick on the FREE RUMBLE LIVE LINEUP at 6pm ET https://rumble.com/TheNickDiPaoloShow TICKETS - Come see me LIVE! For tour dates and tickets -  https://nickdip.com MERCH - Grab some snazzy t-shirts, hats, hoodies,mugs, stickers etc. from our store! https://shop.nickdip.com/ SOCIALS/COMEDY-  Follow me on Socials or Stream some of my Comedy -  https://nickdipaolo.komi.io/

8/29/2025 PODCAST Episode #3013 GUESTS: John Reid, The OX, Tom Basile + YOUR CALLS! at 1-888-480-JOHN (5646) and GETTR Live! @jfradioshow #GodzillaOfTruth #TruckingTheTruth

This final episode of season two is strangely a leftover from season one, so far as we can tell. So many scenes from the opening credits! Julia Nickson is back! We meet Chekhov’s Security Guard, whose name is Ox! The Law of the Economy of Characters and the Fallacy of the Talking Killer are both on display! And, most importantly, we introduce perhaps our biggest bit of Official Magnum Podcast Head Canon yet: Miłosz. Jason Snell, Philip Michaels and David J. Loehr.

This final episode of season two is strangely a leftover from season one, so far as we can tell. So many scenes from the opening credits! Julia Nickson is back! We meet Chekhov’s Security Guard, whose name is Ox! The Law of the Economy of Characters and the Fallacy of the Talking Killer are both on display! And, most importantly, we introduce perhaps our biggest bit of Official Magnum Podcast Head Canon yet: Miłosz. Jason Snell, Philip Michaels and David J. Loehr.

8/28/2025 PODCAST Episode #3012 GUESTS: Brandon Weichert, OX, Jody Barrett, Kelsey Pritchard + YOUR CALLS! at 1-888-480-JOHN (5646) and GETTR Live! @jfradioshow #GodzillaOfTruth #TruckingTheTruth

Joseph Bengivenni is an artist and photographer who has spend most of the past twenty years living in and exploring South Korea. The Korean mountains and temples have captured his heart and mind, as he obsessively searches for scenic areas to photograph and auspicious places to practice Dharma. You can follow his journey on Instagram: @oxherder_photography The history of Korean Buddhism: koreanbuddhism.wordpress.com. Photos: https://oxherder.smugmug.com/   Discussion 0:00 Introduction to Buddhism 34:00 Seosan, Korea 45:48 Meditation and Hwadu 1:01:20 Gyeongheo 1:19:20 An Ox with No Nostrils 1:27:48 Daehaeng Kun Sunim 1:38:00 Recommendations   David A. Tizzard has a PhD in Korean Studies and lectures at Seoul Women's University and Hanyang University. He writes a weekly column in the Korea Times, is a social-cultural commentator, and a musician who has lived in Korea for nearly two decades. He can be reached at datizzard@swu.ac.kr. Watch this video next: https://youtu.be/vIbpLfWJoZM?si=srRVQ1vRkLvCV076 Subscribe to the channel: @DavidTizzard/videos Thanks to Patreon members: Bhavya, Roxanne Murrell Join Patreon: https://www.patreon.com/c/user?u=62047873 Music by Jocelyn Clark   Connect with us:  ▶ Get in touch: datizzard@swu.ac.kr ▶ David's Insta: @datizzard ▶ KD Insta: @koreadeconstructed Listen to Korea Deconstructed ▶ Listen on iTunes: https://podcasts.apple.com/kr/podcast/korea-deconstructed/id1587269128 ▶Listen on Spotify: https://open.spotify.com/show/5zdXkG0aAAHnDwOvd0jXEE ▶ Listen on podcasts: https://koreadeconstructed.libsyn.com

Zohar for All. VaYishlach. You Shall Not Plow With an Ox and a Donkey

8/8/2025 PODCAST Episode #2095 GUESTS: Nan Hayworth, OX, Matt Rinaldi, Israel Debate + YOUR CALLS! at 1-888-480-JOHN (5646) and GETTR Live! @jfradioshow #GodzillaOfTruth #TruckingTheTruth

Preached from the 2025 Christian Baptist Camp Meeting. The Old Testament law concerning an Ox and its owner is a beautiful picture to the child of God!

Send Us Your Prayer Requests --------Thank you for listening! Your support of Joni and Friends helps make this show possible. Joni and Friends envisions a world where every person with a disability finds hope, dignity, and their place in the body of Christ. Become part of the global movement today at www.joniandfriends.org. Find more encouragement on Instagram, TikTok, Facebook, and YouTube.

So last month I started the annual classics series with the 2005 mix.This week I flipped it round and did a mix based on the month I bought the music.  Since it's July that's the month I went with.  I have done this a couple of times on Pressure Radio with a Junes and Decembers mix.  It's fun and helps you reconnect with older music you may not have heard for years.When I started the mix and looked in my music folders I realised that July isn't a common month for me.  Up to 2017 I have most years covered all the way back to 2005.  In fact July 2005 is my oldest digital track.  However in recent years I have been overseas in July , usually at Suncebeat and therefore don't buy music until I get back in August.  As a result a lot of this mix is from pre 2015/6.  Not that you can tell of course, unless you know when certain tracks were released.I tried to keep a pretty chill vibe for the majority of the mix.  Not something I'm used to doing, but for the most part I think I did a pretty good job!It was never going to last the whole mix though and so in the last 30 minutes I let off some steam.  Have to say July has some absolute bangers so the end of the mix is strong like Ox.For those of you in Sydney - tickets now available to my inaugural Classics event which will hopefully become a quarterly thing.  First one is at Gitano in Double Bay on August 8th.  I've been lucky to land Simon Caldwell and Jerry Drew to play alongside myself.  The first event is all about the early 90's house scene.>>>>>>>>>Grab Tour Tickets

In this episode, I divide Suboxone, buprenorphine, and naloxone into syllables, tell you which syllables to emphasize, and share my sources. As a bonus, I share my Suboxone mispronunciation from ~2002. The written pronunciations are below and in the show notes on https://www.thepharmacistsvoice.com/podcast.   Note: we don't cover pharmacology in this series. Just pronunciations. The FULL show notes are available at https://www.thepharmacistsvoice.com/podcast.    Suboxone = sub-OX-own Emphasize the second syllable, OX (which sounds like “BOX” when you say Suboxone fast) Sources: For the written pronunciation, read the medication guide for Suboxone https://www.suboxone.com/pdfs/medication-guide.pdf. Spoken pronunciations - google.com, m-w.com, or drugs.com.   buprenorphine = byoo pre NOR feen Emphasize NOR  Sources: Written - medlineplus.gov. Spoken - google.com, m-w.com, or drugs.com    naloxone = nal-OX-one  Emphasize OX (which sounds like “LOX” when you say naloxone fast) Sources: Written - medlineplus.gov. Spoken - google.com, m-w.com, or drugs.com    Thank for listening to the 59th episode in my drug pronunciation series!   If you'd like to recommend a drug name for this series, please reach out through the contact form on my website, thepharmacistsvoice.com.   If you know someone who would like to learn how to say Suboxone, buprenorphine, or naloxone, please share this episode with them. Subscribe for all future episodes. This podcast is on all major podcast players and YouTube. Popular links are below. ⬇️   Apple Podcasts   https://apple.co/42yqXOG  Spotify  https://spoti.fi/3qAk3uY  Amazon/Audible  https://adbl.co/43tM45P YouTube https://bit.ly/43Rnrjt   ⭐️ Sign up for The Pharmacist's Voice ® monthly email newsletter! https://bit.ly/3AHJIaF   Host Background: Kim Newlove has been an Ohio pharmacist since 2001 (BS Pharm, Chem Minor). Her experience includes hospital, retail, compounding, and behavioral health. She is also an author, voice actor (medical narrator and audiobook narrator), podcast host, and consultant (audio production and podcasting).    Links for this episode Suboxone written pronunciation (accessed July 17, 2025) https://www.suboxone.com/pdfs/medication-guide.pdf  Buprenorphine written pronunciation (accessed July 17, 2025) https://medlineplus.gov/druginfo/meds/a605002.html Naloxone written pronunciation (accessed July 17, 2025) https://medlineplus.gov/druginfo/meds/a616003.html  Spoken pronunciations for all three drug names today: google.com, m-w.com, and drugs.com Note: I was unable to find the written pronunciations for buprenorphine and naloxone in the USP Dictionary Online. The USP Dictionary Online is my go-to resource for written generic drug pronunciations.    Other episodes in this series The Pharmacist's Voice Podcast Episode 337, Pronunciation Series Episode 58 (rosuvastatin)  The Pharmacist's Voice Podcast Episode 335, Pronunciation Series Episode 57 (QVAR) The Pharmacist's Voice Podcast Episode 333, Pronunciation Series Episode 56 (pantoprazole)  The Pharmacist's Voice Podcast Episode 330, Pronunciation Series Episode 55 (oxcarbazepine) The Pharmacist's Voice Podcast Episode 328, Pronunciation Series Episode 54 (nalmefene) The Pharmacist's Voice Podcast Episode 326, Pronunciation Series Episode 53 (Myrbetriq) The Pharmacist's Voice Podcast Episode 324, Pronunciation Series Episode 52 (liraglutide)  The Pharmacist's Voice Podcast Episode 322, Pronunciation Series Episode 51 (ketamine) The Pharmacist's Voice Podcast Episode 320, Pronunciation Series Episode 50 (Jantoven) The Pharmacist's Voice Podcast Episode 318, Pronunciation Series Episode 49 (ipratropium) The Pharmacist's Voice Podcast Episode 316, Pronunciation Series Episode 48 (hyoscyamine) The Pharmacist's Voice Podcast Episode 313, Pronunciation Series Episode 47 (guaifenesin) The Pharmacist's Voice Podcast Episode 311, Pronunciation Series Episode 46 (fluticasone) The Pharmacist's Voice Podcast Episode 309, Pronunciation Series Episode 45 (empagliflozin) The Pharmacist's Voice Podcast Episode 307, Pronunciation Series Episode 44 (dapagliflozin) The Pharmacist's Voice Podcast Episode 304, Pronunciation Series Episode 43 (cetirizine)  The Pharmacist's Voice Podcast Episode 302, Pronunciation Series Episode 42 (buspirone)  The Pharmacist's Voice Podcast Episode 301, Pronunciation Series Episode 41 (azithromycin) The Pharmacist's Voice Podcast Episode 298, Pronunciation Series Episode 40 (umeclidinium) The Pharmacist's Voice Podcast Episode 296, Pronunciation Series Episode 39 (Januvia)  The Pharmacist's Voice Podcast Episode 294, Pronunciation Series Episode 38 (Yasmin) The Pharmacist's Voice Podcast Episode 292, Pronunciation Series Episode 37 (Xanax, alprazolam) The Pharmacist's Voice Podcast Episode 290, Pronunciation Series Episode 36 (quetiapine)  The Pharmacist's Voice Podcast Episode 287, pronunciation series ep 35 (bupropion) The Pharmacist's Voice Podcast Episode 285, pronunciation series ep 34 (fentanyl) The Pharmacist's Voice Podcast Ep 281, Pronunciation Series Ep 33 levothyroxine (Synthroid) The Pharmacist's Voice ® Podcast Ep 278, Pronunciation Series Ep 32 ondansetron (Zofran) The Pharmacist's Voice ® Podcast Episode 276, pronunciation series episode 31 (tocilizumab-aazg) The Pharmacist's Voice ® Podcast Episode 274, pronunciation series episode 30 (citalopram and escitalopram) The Pharmacist's Voice ® Podcast Episode 272, pronunciation series episode 29 (losartan) The Pharmacist's Voice Podcast Episode 269, pronunciation series episode 28 (tirzepatide) The Pharmacist's Voice Podcast Episode 267, pronunciation series episode 27 (atorvastatin)  The Pharmacist's Voice Podcast Episode 265, pronunciation series episode 26 (omeprazole) The Pharmacist's Voice Podcast Episode 263, pronunciation series episode 25 (PDE-5 inhibitors) The Pharmacist's Voice Podcast Episode 259, pronunciation series episode 24 (ketorolac) The Pharmacist's Voice ® Podcast episode 254, pronunciation series episode 23 (Paxlovid) The Pharmacist's Voice ® Podcast episode 250, pronunciation series episode 22 (metformin/Glucophage) The Pharmacist's Voice Podcast ® episode 245, pronunciation series episode 21 (naltrexone/Vivitrol) The Pharmacist's Voice ® Podcast episode 240, pronunciation series episode 20 (levalbuterol) The Pharmacist's Voice ® Podcast episode 236, pronunciation series episode 19 (phentermine)  The Pharmacist's Voice ® Podcast episode 228, pronunciation series episode 18 (ezetimibe) The Pharmacist's Voice ® Podcast episode 219, pronunciation series episode 17 (semaglutide) The Pharmacist's Voice ® Podcast episode 215, pronunciation series episode 16 (mifepristone and misoprostol) The Pharmacist's Voice ® Podcast episode 211, pronunciation series episode 15 (Humira®) The Pharmacist's Voice ® Podcast episode 202, pronunciation series episode 14 (SMZ-TMP) The Pharmacist's Voice ® Podcast episode 198, pronunciation series episode 13 (carisoprodol) The Pharmacist's Voice ® Podcast episode 194, pronunciation series episode 12 (tianeptine) The Pharmacist's Voice ® Podcast episode 188, pronunciation series episode 11 (insulin icodec)  The Pharmacist's Voice ® Podcast episode 184, pronunciation series episode 10 (phenytoin and isotretinoin) The Pharmacist's Voice ® Podcast episode 180, pronunciation series episode 9 Apretude® (cabotegravir) The Pharmacist's Voice ® Podcast episode 177, pronunciation series episode 8 (metoprolol)  The Pharmacist's Voice ® Podcast episode 164, pronunciation series episode 7 (levetiracetam) The Pharmacist's Voice ® Podcast episode 159, pronunciation series episode 6 (talimogene laherparepvec or T-VEC)  The Pharmacist's Voice ® Podcast episode 155, pronunciation series episode 5 Trulicity® (dulaglutide)  The Pharmacist's Voice ® Podcast episode 148, pronunciation series episode 4 Besponsa® (inotuzumab ozogamicin) The Pharmacist's Voice ® Podcast episode 142, pronunciation series episode 3 Zolmitriptan and Zokinvy The Pharmacist's Voice ® Podcast episode 138, pronunciation series episode 2 Molnupiravir and Taltz The Pharmacist's Voice ® Podcast episode 134, pronunciation series episode 1 Eszopiclone and Qulipta   Kim's websites and social media links: ✅ Guest Application Form (The Pharmacist's Voice Podcast) https://bit.ly/41iGogX ✅ Monthly email newsletter sign-up link https://bit.ly/3AHJIaF  ✅ LinkedIn Newsletter link https://bit.ly/40VmV5B ✅ Business website https://www.thepharmacistsvoice.com ✅ Get my FREE eBook and audiobook about podcasting ✅ The Pharmacist's Voice ® Podcast https://www.thepharmacistsvoice.com/podcast ✅ Drug pronunciation course https://www.kimnewlove.com  ✅ Podcasting course https://www.kimnewlove.com/podcasting  ✅ LinkedIn https://www.linkedin.com/in/kimnewlove ✅ Facebook https://www.facebook.com/kim.newlove.96 ✅ Twitter https://twitter.com/KimNewloveVO ✅ Instagram https://www.instagram.com/kimnewlovevo/ ✅ YouTube https://www.youtube.com/channel/UCA3UyhNBi9CCqIMP8t1wRZQ ✅ ACX (Audiobook Narrator Profile) https://www.acx.com/narrator?p=A10FSORRTANJ4Z ✅ Start a podcast with the same coach who helped me get started (Dave Jackson from The School of Podcasting)! **Affiliate Link - NEW 9-8-23**      Thank you for listening to episode 339 of The Pharmacist's Voice ® Podcast.  If you know someone who would like this episode, please share it with them!

Hey Wiretappers, listen to my short bonus episode. I'm looking for mob fans to read the first half of a memoir about my life, which is partly about being a cop and mostly about the Civella Spero War. Email me at ganglandwire@gmail.com and I'll send you a pdf to read. It's about 22,000 words. Once it's done, I'll send you a copy This week, we journey back to the early 1900s—a time when the first wave of Sicilian immigrants brought more than just dreams of opportunity to America. They also brought with them an age-old criminal code that would lay the foundation for the American Mafia as we know it. Our story begins with the Mustache Petes—those old-world mafiosi who preyed on their own immigrant communities through intimidation, extortion, and a cunning knack for organized crime. One of their earliest rackets? Counterfeiting.

Apoie O X do Controle: Catarse | OreloCompre seus jogos na Nuuvem! Neste episódio de O X do Controle Takes, Guilherme Dias e Bruna Penilhas recebem André Campos, do Jogabilidade, para falar de relançamentos de jogos e suas terminologias.Afinal, o que é um remake, uma remasterização, um reboot ou até mesmo uma “rebuild”? Será que as linhas que definem cada formato estão tão claras assim?Siga o XdC: YouTube⁠⁠⁠| Instagram | Bluesky | Threads | ⁠⁠⁠Tik Tok⁠⁠⁠⁠⁠⁠Nossas plataformas e redes⁠⁠⁠Contato: contato@xdocontrole.comContato para anunciantes e parcerias: comercialxdc@gmail.com CRÉDITOSApresentação: Guilherme Dias e Bruna PenilhasConvidado: André Campos  Roteiro: Guilherme DiasEdição: Yoshi OhashiThumbnail: Lucas Ferreira

If you want to learn about LOVE, you'd best look to the OX. Like a stray OX, Love is inconvenient, Love is intrusive and you will be tempted to ignore it. Similarly, a decision to love is inconvenient, intrusive and you'll be tempted ignore engaging in the whole business.What is love like? If it involves a wandering  OX, then run to the OX.https://youtu.be/wrwqGxGLMrk

Hey Jeepers, it's time for another epic Jeep Talk Show flagship episode!

A new MP3 sermon from Bemiss Road Baptist Church is now available on SermonAudio with the following details: Title: Keep the Ox & Clean the Stall Subtitle: WZYN Treasured Heritage Speaker: Clarence Sexton Broadcaster: Bemiss Road Baptist Church Event: Special Meeting Date: 7/1/2025 Length: 27 min.

What happens when you grow more cows to make more milk to make more cheese and butter?You end up with more oxen that can't make milk - but are useful as a source of beef.And this works out well when you are living in a society that craves more meat, and are in a place with apparently wide open spaces that are just fine for feeding said cattle.A bonus when you have lots of growing industries that are willing to buy beef from you to feed their growing ambitions - whaling, the railroad, new factories, a military pushing out the borders...And then... you also have new technologies to cook the beef, and have come up with new flavors for seasoning the beef.The result - American is ready to become a beefy country.Music Credit: Fingerlympics by Doctor TurtleShow Notes: https://thehistoryofamericanfood.blogspot.com/Email: TheHistoryofAmericanFood at gmail dot comThreads: @THoAFoodInstagram: @THoAFood& some other socials... @THoAFood

Final Destination: Cookies. 1-877-NO-BIKES-4-BARB. The Royal You. Energy Stroopwaffles. Creeping Down the Street with Scott. Baby got back, with Dunaway. Today Is Not Your Favourite Ride. Hit Him In That Bone. You Can't Cast A Coccyx. I Don't Like CTEeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeee! Elmo Cleveland. Shoot the Shapes. Eating bad shrimp with Ox. Red On Air Black Mirror. The Juggernaut Bitch w Stephen and more on this episode of The Morning Stream. Hosted on Acast. See acast.com/privacy for more information.

Final Destination: Cookies. 1-877-NO-BIKES-4-BARB. The Royal You. Energy Stroopwaffles. Creeping Down the Street with Scott. Baby got back, with Dunaway. Today Is Not Your Favourite Ride. Hit Him In That Bone. You Can't Cast A Coccyx. I Don't Like CTEeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeee! Elmo Cleveland. Shoot the Shapes. Eating bad shrimp with Ox. Red On Air Black Mirror. The Juggernaut Bitch w Stephen and more on this episode of The Morning Stream. Hosted on Acast. See acast.com/privacy for more information.

Premiering @facelikethesun "Beyond the Verse" mini documentary "The Four Cherubim and their Counterfeit Beasts!" Unlock the mystery of the Four Living Creatures around God's throne in Revelation—Lion, Ox, Man, and Eagle—and their eerie counterparts: the Beasts from the Sea in Daniel and Revelation. Are these divine beings reflections of God's perfect order… or a blueprint the enemy tries to counterfeit? In this deep dive, we explore prophetic symbolism, the Tetraevangelion (4 Gospels), and the shocking parallels to the Four Horsemen and hybrid beasts rising in the end times. Perfect for those interested in biblical prophecy, eschatology, angelology, and spiritual warfare. Subscribe for more deep dives into scripture and current events

Welcome to a special edition of the Talking City Podcast!

Ingrid Betancourt, presidenta del partido Oxígeno, habló en 6AM acerca de los esquemas de seguridad que ha tenido y por qué asegura que la están cuidando los exFarc.

Agility requires finding ways to stay one step ahead of the competition, as well as in anticipating customers' needs. So how does a brand maintain this speed and agility in the area of UX design, where it has often taken a considerable amount of time, effort, and testing to get to a better result? Today we're going to talk about using AI strategically in UX research, design, and testing. To help me discuss this topic, I'd like to welcome Jason Bowman, Executive Director of User Experience at The Office of Experience. About Jason BowmanJason leads OX as the Executive Director of UX, bringing over 20+ years of meaningful UX and design experience to the firm, overseeing and managing Content Strategy, UX and Business Analyst teams. Jason has a true talent for guiding projects to successful launches as quickly and efficiently as possible. With strong collaboration skills and attention to detail, he is always looking for the right thing in order to create a better experience for users, clients, and teams. His expansive experience includes multinational, multilingual intranets, startups, marquee consumer brands, global agencies, mobile apps, and more. Notable client work includes Patagonia, Groupon, Samsung, Boston Consulting Group, Sitka Gear, Goop, American Medical Association, and more. RESOURCES The Office of Experience: https://www.officeofexperience.com https://www.officeofexperience.com This episode is brought to you by The Office of Experience, a design-driven, digital-first, vertically integrated and collaborative agency that believes in the power of ideas and the strength of people. Catch the future of e-commerce at eTail Boston, August 11-14, 2025. Register now: https://bit.ly/etailboston and use code PARTNER20 for 20% off for retailers and brandsOnline Scrum Master Summit is happening June 17-19. This 3-day virtual event is open for registration. Visit www.osms25.com and get a 25% discount off Premium All-Access Passes with the code osms25agilebrandDon't Miss MAICON 2025, October 14-16 in Cleveland - the event bringing together the brights minds and leading voices in AI. Use Code AGILE150 for $150 off registration. Go here to register: https://bit.ly/agile150Connect with Greg on LinkedIn: https://www.linkedin.com/in/gregkihlstromDon't miss a thing: get the latest episodes, sign up for our newsletter and more: https://www.theagilebrand.showCheck out The Agile Brand Guide website with articles, insights, and Martechipedia, the wiki for marketing technology: https://www.agilebrandguide.com The Agile Brand is produced by Missing Link—a Latina-owned strategy-driven, creatively fueled production co-op. From ideation to creation, they craft human connections through intelligent, engaging and informative content. https://www.missinglink.company

These 5 colon issues and gut problems can wreak havoc on your skin's health!1. An altered microbiome means your gut contains more bad bacteria than healthy gut microbes. It's often caused by diet or antibiotics. An altered gut microbiome can cause inflammation that can become systemic, leading to rosacea. 2. SIBO is a condition where gut microbes are in the wrong place. Most microbes should be in the large intestine, not the small intestine. SIBO can lead to nutritional deficiencies, inflammation, arthritis, and rosacea. 3. Gut inflammation symptoms include pain, tightness, or bloating. Gut inflammation is typically caused by diet, with gluten being one of the most common culprits. The more gut inflammation you have, the less you can absorb zinc. Zinc deficiencies are one of the most common causes of skin rashes. The carnivore diet is very beneficial for people with gut inflammation.4. If you have chronic gut inflammation, you may lose your gut villi over time. This can diminish nutrient absorption, especially the absorption of vitamin D. Many autoimmune skin issues are directly related to low vitamin D. You can increase vitamin D with supplements, sun exposure, and certain types of light therapy.5. If you've had your gallbladder removed or you have low bile, you may develop skin issues. Without enough bile, you won't be able to break down and digest the fat-soluble vitamins, especially vitamin A. To increase vitamin A, consume beef liver or cod liver oil. Ox bile, purified bile salts, or TUDCA can help if you have a sluggish gallbladder or have had your gallbladder removed. To improve gut and skin health, take a good probiotic and consume fermented foods like sauerkraut, kimchi, raw milk cheese, yogurt, and raw salad from the garden. The carnivore diet can significantly improve gut health, reduce skin issues, and improve autoimmune conditions.If you have SIBO, do intermittent fasting and OMAD. Try acidifying the stomach with betaine hydrochloride or apple cider vinegar. You can make your own L. reuteri probiotic mixture to improve your gut and skin health significantly. L. reuteri can live in the small and large intestine and has multiple benefits, including improved digestion and the improvement of skin issues like acne.

What will happen to the innocent villagers when Dr. Ox begins his experiment? Jules Verne, today on The Classic Tales Podcast.   Welcome to this VINTAGE episode of The Classic Tales Podcast. Thank you for listening.   If you'd like to ensure the future of The Classic Tales, please visit the website, classictalesaudiobooks.com, and either make a donation, buy an audiobook, or pick up one of our many support options.   And if you can't support us monetarily, leave us a review or share an episode with a friend. It all helps.   Last week, we met Dr. Ox, who graciously offered to light the town of Quiquendone at his own expense, pumping in a unique gas of his own invention. It's time to turn it on.   And now, Dr. Ox's Experiment, Part 2 of 2, by Jules Verne   Follow this link to become a monthly supporter:       Follow this link to subscribe to our YouTube Channel:       Follow this link to subscribe to the Arsène Lupin Podcast:     Follow this link to follow us on Instagram:     Follow this link to follow us on Facebook:

Why does Dr. Ox offer to light the town with a mysterious gas at his own expense? Jules Verne, today on The Classic Tales Podcast.   Welcome to this VINTAGE episode of The Classic Tales Podcast. Thank you for listening.   If you'd like to ensure the future of The Classic Tales, please visit the website, classictalesaudiobooks.com, and either make a donation, buy an audiobook, or pick up one of our many support options.   And if you can't support us monetarily, leave us a review or share an episode with a friend. It all helps.   We kind of have a feeling when we think about Jules Verne. Around the World in 80 Days, 20,000 Leagues Under the Sea, A Journey to the Centre of the Earth. Lots of fun, sometimes predictive adventure fiction that leaves us feeling good, and a little bit smarter. Today's story is in this vein. I hope you like it.   And now, Dr. Ox's Experiment, Part 1 of 2, by Jules Verne   Follow this link to become a monthly supporter:       Follow this link to subscribe to our YouTube Channel:       Follow this link to subscribe to the Arsène Lupin Podcast:     Follow this link to follow us on Instagram:     Follow this link to follow us on Facebook:

What will happen to the innocent villagers when Dr. Ox begins his experiment? Jules Verne, today on The Classic Tales Podcast.   Welcome to this VINTAGE episode of The Classic Tales Podcast. Thank you for listening.   If you'd like to ensure the future of The Classic Tales, please visit the website, classictalesaudiobooks.com, and either make a donation, buy an audiobook, or pick up one of our many support options.   And if you can't support us monetarily, leave us a review or share an episode with a friend. It all helps.   Last week, we met Dr. Ox, who graciously offered to light the town of Quiquendone at his own expense, pumping in a unique gas of his own invention. It's time to turn it on.   And now, Dr. Ox's Experiment, Part 2 of 2, by Jules Verne   Follow this link to become a monthly supporter:       Follow this link to subscribe to our YouTube Channel:       Follow this link to subscribe to the Arsène Lupin Podcast:     Follow this link to follow us on Instagram:     Follow this link to follow us on Facebook:    

Why does Dr. Ox offer to light the town with a mysterious gas at his own expense? Jules Verne, today on The Classic Tales Podcast.   Welcome to this VINTAGE episode of The Classic Tales Podcast. Thank you for listening.   If you'd like to ensure the future of The Classic Tales, please visit the website, classictalesaudiobooks.com, and either make a donation, buy an audiobook, or pick up one of our many support options.   And if you can't support us monetarily, leave us a review or share an episode with a friend. It all helps.   We kind of have a feeling when we think about Jules Verne. Around the World in 80 Days, 20,000 Leagues Under the Sea, A Journey to the Centre of the Earth. Lots of fun, sometimes predictive adventure fiction that leaves us feeling good, and a little bit smarter. Today's story is in this vein. I hope you like it.   And now, Dr. Ox's Experiment, Part 1 of 2, by Jules Verne   Follow this link to become a monthly supporter:       Follow this link to subscribe to our YouTube Channel:       Follow this link to subscribe to the Arsène Lupin Podcast:     Follow this link to follow us on Instagram:     Follow this link to follow us on Facebook: