Podcasts about Pan

** PLEASE SUBSCRIBE ** Featured in Jam Fans Forum Episode 9: This is the show where expert panelists provide their top picks in various funk music categories. This time around, we are taking on the fascinating and fun topic of the Top 5 Funk Flashes in the Pan, or one-hit wonders, of All Time. These are acts primarily known for one major funk song or album, with either no subsequent releases or their other releases fizzled from sales, chart and airplay standpoints.    Joining host Scott "DR GX" Goldfine are three esteemed Jam Fans: returning funk crusader, educator and host of the Uncut Funk radio show, Phil Colley; returning musician and radio show host of A Funk Above the Rest, Skip Reeves, a.k.a. The Funktologist; and JFF newcomer DJ and album liner notes researcher, who's worked with famous compilations and reissues figure Harry Weinger, Greg Caz. Thanks to all of them for keeping the funk alive!  Panelists' Picks Ground Rules: - Pick 5 top all-time flash-in-the-pan or 1-hit wonder funk songs - Panelists reveal their picks one at a time, explain why and allow others to react. - Picks are not shared ahead of time, so everyone experiences the reveals together. - Panelists compile alternates in case someone else names the same pick first. Thus, we will end up with 20 picks in total! - Picks may be shared in random or non-chronological order.  - Picks may be based more on personal preference than historical context. Go to https://funknstuff.net/jam-fans-forum-list-20-funk-flashes-in-pan OR https://wp.me/p77e8T-3Kb to listen to and buy this episode's 20 top funk flashes in the pan or 1-hit wonder songs.  Be sure to like, comment, share and subscribe – and let us know other categories you would like to see covered. Also, share your own choices for the 5 Top Funk Flashes in the Pan or 1-Hit Wonders of All Time. RECORDED OCTOBER 2025 LEGAL NOTICE: All video and audio content protected by copyright. Any use of this material is strictly prohibited without expressed consent from original content producer and owner Scott Goldfine, dba FUNKNSTUFF. For inquiries, email info@funknstuff.net. Get your copy of "Everything Is on the One: The First Guide of Funk" today! https://www.amazon.com/gp/product/1541256603/ref=as_li_tl?ie=UTF8&camp=1789&creative=9325&creativeASIN=1541256603&linkCode=as2&tag=funknstuff-20&linkId=b6c7558ddc7f8fc9fe440c5d9f3c400

Haber encontrado a Dios y seguir buscándolo es una paradoja del amor, desdeñada por el religioso conformista pero justificada por la experiencia de quienes arden de amor. San Bernardo de Claraval expresó esta santa paradoja en un poema musical de cuatro versos que toda alma devota comprenderá al instante: Te gustamos, oh Pan de Vida, Y anhelamos seguir deleitándonos en Ti. Bebemos de Ti, Fuente de la Vida, Y nuestras almas sedientas de Ti se sacian. Acércate a los santos y santas del pasado y pronto sentirás el fervor de su anhelo por Dios. Deja que la búsqueda de Dios de A. W. Tozer te impulse también a sentir una auténtica hambre y sed de conocer verdaderamente a Dios. Acerca el autor Entre los más de 40 libros que ha escrito, al menos dos son considerados clásicos cristianos: La búsqueda de Dios y El conocimiento del Dios Santo. Sus libros transmiten al lector la posibilidad y la necesidad de una relación más profunda con Dios.

Haber encontrado a Dios y seguir buscándolo es una paradoja del amor, desdeñada por el religioso conformista pero justificada por la experiencia de quienes arden de amor. San Bernardo de Claraval expresó esta santa paradoja en un poema musical de cuatro versos que toda alma devota comprenderá al instante: Te gustamos, oh Pan de Vida, Y anhelamos seguir deleitándonos en Ti. Bebemos de Ti, Fuente de la Vida, Y nuestras almas sedientas de Ti se sacian. Acércate a los santos y santas del pasado y pronto sentirás el fervor de su anhelo por Dios. Deja que la búsqueda de Dios de A. W. Tozer te impulse también a sentir una auténtica hambre y sed de conocer verdaderamente a Dios. Acerca el autor Entre los más de 40 libros que ha escrito, al menos dos son considerados clásicos cristianos: La búsqueda de Dios y El conocimiento del Dios Santo. Sus libros transmiten al lector la posibilidad y la necesidad de una relación más profunda con Dios.

Haber encontrado a Dios y seguir buscándolo es una paradoja del amor, desdeñada por el religioso conformista pero justificada por la experiencia de quienes arden de amor. San Bernardo de Claraval expresó esta santa paradoja en un poema musical de cuatro versos que toda alma devota comprenderá al instante: Te gustamos, oh Pan de Vida, Y anhelamos seguir deleitándonos en Ti. Bebemos de Ti, Fuente de la Vida, Y nuestras almas sedientas de Ti se sacian. Acércate a los santos y santas del pasado y pronto sentirás el fervor de su anhelo por Dios. Deja que la búsqueda de Dios de A. W. Tozer te impulse también a sentir una auténtica hambre y sed de conocer verdaderamente a Dios. Acerca el autor Entre los más de 40 libros que ha escrito, al menos dos son considerados clásicos cristianos: La búsqueda de Dios y El conocimiento del Dios Santo. Sus libros transmiten al lector la posibilidad y la necesidad de una relación más profunda con Dios.

Haber encontrado a Dios y seguir buscándolo es una paradoja del amor, desdeñada por el religioso conformista pero justificada por la experiencia de quienes arden de amor. San Bernardo de Claraval expresó esta santa paradoja en un poema musical de cuatro versos que toda alma devota comprenderá al instante: Te gustamos, oh Pan de Vida, Y anhelamos seguir deleitándonos en Ti. Bebemos de Ti, Fuente de la Vida, Y nuestras almas sedientas de Ti se sacian. Acércate a los santos y santas del pasado y pronto sentirás el fervor de su anhelo por Dios. Deja que la búsqueda de Dios de A. W. Tozer te impulse también a sentir una auténtica hambre y sed de conocer verdaderamente a Dios. Acerca el autor Entre los más de 40 libros que ha escrito, al menos dos son considerados clásicos cristianos: La búsqueda de Dios y El conocimiento del Dios Santo. Sus libros transmiten al lector la posibilidad y la necesidad de una relación más profunda con Dios.

Haber encontrado a Dios y seguir buscándolo es una paradoja del amor, desdeñada por el religioso conformista pero justificada por la experiencia de quienes arden de amor. San Bernardo de Claraval expresó esta santa paradoja en un poema musical de cuatro versos que toda alma devota comprenderá al instante: Te gustamos, oh Pan de Vida, Y anhelamos seguir deleitándonos en Ti. Bebemos de Ti, Fuente de la Vida, Y nuestras almas sedientas de Ti se sacian. Acércate a los santos y santas del pasado y pronto sentirás el fervor de su anhelo por Dios. Deja que la búsqueda de Dios de A. W. Tozer te impulse también a sentir una auténtica hambre y sed de conocer verdaderamente a Dios. Acerca el autor Entre los más de 40 libros que ha escrito, al menos dos son considerados clásicos cristianos: La búsqueda de Dios y El conocimiento del Dios Santo. Sus libros transmiten al lector la posibilidad y la necesidad de una relación más profunda con Dios.

Haber encontrado a Dios y seguir buscándolo es una paradoja del amor, desdeñada por el religioso conformista pero justificada por la experiencia de quienes arden de amor. San Bernardo de Claraval expresó esta santa paradoja en un poema musical de cuatro versos que toda alma devota comprenderá al instante: Te gustamos, oh Pan de Vida, Y anhelamos seguir deleitándonos en Ti. Bebemos de Ti, Fuente de la Vida, Y nuestras almas sedientas de Ti se sacian. Acércate a los santos y santas del pasado y pronto sentirás el fervor de su anhelo por Dios. Deja que la búsqueda de Dios de A. W. Tozer te impulse también a sentir una auténtica hambre y sed de conocer verdaderamente a Dios. Acerca el autor Entre los más de 40 libros que ha escrito, al menos dos son considerados clásicos cristianos: La búsqueda de Dios y El conocimiento del Dios Santo. Sus libros transmiten al lector la posibilidad y la necesidad de una relación más profunda con Dios.

Haber encontrado a Dios y seguir buscándolo es una paradoja del amor, desdeñada por el religioso conformista pero justificada por la experiencia de quienes arden de amor. San Bernardo de Claraval expresó esta santa paradoja en un poema musical de cuatro versos que toda alma devota comprenderá al instante: Te gustamos, oh Pan de Vida, Y anhelamos seguir deleitándonos en Ti. Bebemos de Ti, Fuente de la Vida, Y nuestras almas sedientas de Ti se sacian. Acércate a los santos y santas del pasado y pronto sentirás el fervor de su anhelo por Dios. Deja que la búsqueda de Dios de A. W. Tozer te impulse también a sentir una auténtica hambre y sed de conocer verdaderamente a Dios. Acerca el autor Entre los más de 40 libros que ha escrito, al menos dos son considerados clásicos cristianos: La búsqueda de Dios y El conocimiento del Dios Santo. Sus libros transmiten al lector la posibilidad y la necesidad de una relación más profunda con Dios.

Haber encontrado a Dios y seguir buscándolo es una paradoja del amor, desdeñada por el religioso conformista pero justificada por la experiencia de quienes arden de amor. San Bernardo de Claraval expresó esta santa paradoja en un poema musical de cuatro versos que toda alma devota comprenderá al instante: Te gustamos, oh Pan de Vida, Y anhelamos seguir deleitándonos en Ti. Bebemos de Ti, Fuente de la Vida, Y nuestras almas sedientas de Ti se sacian. Acércate a los santos y santas del pasado y pronto sentirás el fervor de su anhelo por Dios. Deja que la búsqueda de Dios de A. W. Tozer te impulse también a sentir una auténtica hambre y sed de conocer verdaderamente a Dios. Acerca el autor Entre los más de 40 libros que ha escrito, al menos dos son considerados clásicos cristianos: La búsqueda de Dios y El conocimiento del Dios Santo. Sus libros transmiten al lector la posibilidad y la necesidad de una relación más profunda con Dios.

Haber encontrado a Dios y seguir buscándolo es una paradoja del amor, desdeñada por el religioso conformista pero justificada por la experiencia de quienes arden de amor. San Bernardo de Claraval expresó esta santa paradoja en un poema musical de cuatro versos que toda alma devota comprenderá al instante: Te gustamos, oh Pan de Vida, Y anhelamos seguir deleitándonos en Ti. Bebemos de Ti, Fuente de la Vida, Y nuestras almas sedientas de Ti se sacian. Acércate a los santos y santas del pasado y pronto sentirás el fervor de su anhelo por Dios. Deja que la búsqueda de Dios de A. W. Tozer te impulse también a sentir una auténtica hambre y sed de conocer verdaderamente a Dios. Acerca el autor Entre los más de 40 libros que ha escrito, al menos dos son considerados clásicos cristianos: La búsqueda de Dios y El conocimiento del Dios Santo. Sus libros transmiten al lector la posibilidad y la necesidad de una relación más profunda con Dios.

Haber encontrado a Dios y seguir buscándolo es una paradoja del amor, desdeñada por el religioso conformista pero justificada por la experiencia de quienes arden de amor. San Bernardo de Claraval expresó esta santa paradoja en un poema musical de cuatro versos que toda alma devota comprenderá al instante: Te gustamos, oh Pan de Vida, Y anhelamos seguir deleitándonos en Ti. Bebemos de Ti, Fuente de la Vida, Y nuestras almas sedientas de Ti se sacian. Acércate a los santos y santas del pasado y pronto sentirás el fervor de su anhelo por Dios. Deja que la búsqueda de Dios de A. W. Tozer te impulse también a sentir una auténtica hambre y sed de conocer verdaderamente a Dios. Acerca el autor Entre los más de 40 libros que ha escrito, al menos dos son considerados clásicos cristianos: La búsqueda de Dios y El conocimiento del Dios Santo. Sus libros transmiten al lector la posibilidad y la necesidad de una relación más profunda con Dios.

Haber encontrado a Dios y seguir buscándolo es una paradoja del amor, desdeñada por el religioso conformista pero justificada por la experiencia de quienes arden de amor. San Bernardo de Claraval expresó esta santa paradoja en un poema musical de cuatro versos que toda alma devota comprenderá al instante: Te gustamos, oh Pan de Vida, Y anhelamos seguir deleitándonos en Ti. Bebemos de Ti, Fuente de la Vida, Y nuestras almas sedientas de Ti se sacian. Acércate a los santos y santas del pasado y pronto sentirás el fervor de su anhelo por Dios. Deja que la búsqueda de Dios de A. W. Tozer te impulse también a sentir una auténtica hambre y sed de conocer verdaderamente a Dios. Acerca el autor Entre los más de 40 libros que ha escrito, al menos dos son considerados clásicos cristianos: La búsqueda de Dios y El conocimiento del Dios Santo. Sus libros transmiten al lector la posibilidad y la necesidad de una relación más profunda con Dios.

Haber encontrado a Dios y seguir buscándolo es una paradoja del amor, desdeñada por el religioso conformista pero justificada por la experiencia de quienes arden de amor. San Bernardo de Claraval expresó esta santa paradoja en un poema musical de cuatro versos que toda alma devota comprenderá al instante: Te gustamos, oh Pan de Vida, Y anhelamos seguir deleitándonos en Ti. Bebemos de Ti, Fuente de la Vida, Y nuestras almas sedientas de Ti se sacian. Acércate a los santos y santas del pasado y pronto sentirás el fervor de su anhelo por Dios. Deja que la búsqueda de Dios de A. W. Tozer te impulse también a sentir una auténtica hambre y sed de conocer verdaderamente a Dios. Acerca el autor Entre los más de 40 libros que ha escrito, al menos dos son considerados clásicos cristianos: La búsqueda de Dios y El conocimiento del Dios Santo. Sus libros transmiten al lector la posibilidad y la necesidad de una relación más profunda con Dios.

Haber encontrado a Dios y seguir buscándolo es una paradoja del amor, desdeñada por el religioso conformista pero justificada por la experiencia de quienes arden de amor. San Bernardo de Claraval expresó esta santa paradoja en un poema musical de cuatro versos que toda alma devota comprenderá al instante: Te gustamos, oh Pan de Vida, Y anhelamos seguir deleitándonos en Ti. Bebemos de Ti, Fuente de la Vida, Y nuestras almas sedientas de Ti se sacian. Acércate a los santos y santas del pasado y pronto sentirás el fervor de su anhelo por Dios. Deja que la búsqueda de Dios de A. W. Tozer te impulse también a sentir una auténtica hambre y sed de conocer verdaderamente a Dios. Acerca el autor Entre los más de 40 libros que ha escrito, al menos dos son considerados clásicos cristianos: La búsqueda de Dios y El conocimiento del Dios Santo. Sus libros transmiten al lector la posibilidad y la necesidad de una relación más profunda con Dios.

Haber encontrado a Dios y seguir buscándolo es una paradoja del amor, desdeñada por el religioso conformista pero justificada por la experiencia de quienes arden de amor. San Bernardo de Claraval expresó esta santa paradoja en un poema musical de cuatro versos que toda alma devota comprenderá al instante: Te gustamos, oh Pan de Vida, Y anhelamos seguir deleitándonos en Ti. Bebemos de Ti, Fuente de la Vida, Y nuestras almas sedientas de Ti se sacian. Acércate a los santos y santas del pasado y pronto sentirás el fervor de su anhelo por Dios. Deja que la búsqueda de Dios de A. W. Tozer te impulse también a sentir una auténtica hambre y sed de conocer verdaderamente a Dios. Acerca el autor Entre los más de 40 libros que ha escrito, al menos dos son considerados clásicos cristianos: La búsqueda de Dios y El conocimiento del Dios Santo. Sus libros transmiten al lector la posibilidad y la necesidad de una relación más profunda con Dios.

Haber encontrado a Dios y seguir buscándolo es una paradoja del amor, desdeñada por el religioso conformista pero justificada por la experiencia de quienes arden de amor. San Bernardo de Claraval expresó esta santa paradoja en un poema musical de cuatro versos que toda alma devota comprenderá al instante: Te gustamos, oh Pan de Vida, Y anhelamos seguir deleitándonos en Ti. Bebemos de Ti, Fuente de la Vida, Y nuestras almas sedientas de Ti se sacian. Acércate a los santos y santas del pasado y pronto sentirás el fervor de su anhelo por Dios. Deja que la búsqueda de Dios de A. W. Tozer te impulse también a sentir una auténtica hambre y sed de conocer verdaderamente a Dios. Acerca el autor Entre los más de 40 libros que ha escrito, al menos dos son considerados clásicos cristianos: La búsqueda de Dios y El conocimiento del Dios Santo. Sus libros transmiten al lector la posibilidad y la necesidad de una relación más profunda con Dios.

主題：灰指甲的治療胡美健、Dr. Pan

En esta emisión de SAGA Noticias te presentamos el resumen más completo y relevante de la jornada informativa, con el análisis de la polémica por el aterrizaje de un avión militar de Estados Unidos en el aeropuerto de Toluca y las dudas sobre la autorización del Senado, así como las reacciones de la oposición encabezadas por Marko Cortés; además, abordamos los hechos más importantes de seguridad en Michoacán, incluyendo el asesinato de Carlos Manzo, la postura de la alcaldesa de Uruapan, decomisos que hacen apología del CJNG y la detención de “El Mantecas” en Sinaloa con miles de pastillas de fentanilo, sin dejar de lado el seguimiento a casos de desapariciones, hallazgos de fosas clandestinas y hechos violentos protagonizados por jóvenes; en el plano político revisamos el debate por la reforma electoral, las posturas del PAN y Morena, los movimientos en el Congreso y los señalamientos contra figuras clave de la 4T, y cerramos con información de economía, salud, finanzas e internacional, incluyendo el brote de sarampión, previsiones del Banco Mundial, tragedias en Europa y América, y fenómenos climáticos extremos. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Hook is a wonderfully charming movie about rediscovering the joys of one's youth. That said, critics hated it when it was released in 1991, and its director, Steven Spielberg, isn't all that high on it either. The latter is a little puzzling. Sure, Hook is too long and gets oddly dark at times, but there is still so much to enjoy. Principally, both Dustin Hoffman as Captain Hook and Robin Williams as Pan all grown up are just having a blast. Their performances, coupled with imaginative practical effects and the cadre of endearing Lost Boys, make this a return trip to Neverland well worth taking. Now, sit back, Bangarang with a Free Wave Hazy IPA from Athletic Brewing, and make way for the Thud Ball! The Thunderous Wizard, Chumpzilla, and Bling Blake are trapped in the Boo Box. Help! This Week's Segments: Introduction/Plot Breakdown – To live would be an awfully big adventure! Lingering Questions – How dirty did they do poor Rufio? (40:54) The "Happy Thoughts" Trivia Challenge – Bling Blake challenges the field to trivia about the movie. (59:57) Recommendations – We offer our picks for the week and next up: We continue our Best Director Flops series with an epic MCU misfire, Eternals! (1:14:06) And, as always, hit us up on Threads, X, Facebook, Bluesky, or Instagram to check out all the interesting factoids from this week's episode!

NOTAS DE ELENAMaterial complementario de la escuela Sabática para adultosNarrado por: Patty CuyanDesde: California, USAUna cortesía de DR'Ministries y Canaan Seventh-Day Adventist ChurchSÁBADO DE TARDE, 17 DE ENEROUNIDAD MEDIANTE LA HUMILDADInsto a nuestros hermanos a dejar de criticar y de hablar mal, y a acudir a Dios en ferviente oración, pidiéndole que ayude a los que se equivocan. Únanse unos con otros y con Cristo. Estudien el capítulo diecisiete de Juan, y aprendan cómo orar y cómo vivir la oración de Cristo. Él es el Consolador. El morará en sus corazones, haciendo que su gozo sea cumplido. Sus palabras serán para ellos como el Pan de Vida, y con la fuerza así obtenida serán capacitados para desarrollar caracteres que serán una honra para Dios. Un perfecto compañerismo cristiano existirá entre ellos. Se verá en sus vidas el fruto que siempre aparece como resultado de la obediencia a la verdad. Hagamos de la oración de Cristo la regla de nuestra vida, a fin de que podamos formar caracteres que revelen al mundo el poder de la gracia de Dios. Ha de haber menos charla acerca de pequeñas diferencias, y un estudio más diligente de lo que la oración de Cristo significa para quienes creen en su nombre. Hemos de orar por la unión, y entonces vivir de tal manera que Dios pueda responder nuestras oraciones. Es la perfecta unidad —una unidad tan estrecha como la unión que existe entre el Padre y el Hijo—, lo que dará éxito a los esfuerzos de los obreros de Dios. La completa unión con Cristo y unos con otros es absolutamente necesaria para la perfección de los creyentes. La presencia de Cristo por la fe en los corazones de los creyentes es su poder, su vida. Produce unión con Cristo. "Tú en mí". La unión con Dios por medio de Cristo hace perfecta a la iglesia. A quien busque servir a los demás con abnegación y sacrificio le serán dados los atributos de carácter que lo recomendarán ante Dios, y desarrollará sabiduría, verdadera paciencia, clemencia, bondad, compasión. Esto le da un lugar privilegiado en el reino de Dios. Nada puede perfeccionar la perfecta unidad en la iglesia, sino el espíritu de una paciencia semejante a la de Cristo. Satanás puede sembrar discordia; solo Cristo puede armonizar los elementos discordantes... Cuando como obreros individuales de la iglesia amamos a Dios por sobre todo y al prójimo como a uno mismo, entonces no habrá trabajosos esfuerzos para unirnos; habrá una unidad en Cristo, los oídos estarán cerrados a los informes, y nadie hará reproches contra su vecino. Los miembros de la iglesia apreciarán el amor y la unidad, y serán como una gran familia. Entonces portaremos ante el mundo las credenciales que darán testimonio de que Dios ha enviado a su Hijo al mundo. Cristo dijo: "En esto conocerán todos que sois mis discípulos, si tuviereis amor los unos con los otros". Juan 13:35 (Reflejemos a Jesús, 5 de julio, p. 192). 

Minera Alamos reported their preliminary operation results from the last quarter of 2025 from the Pan mine complex in Nevada. Li-FT Power reported results from its 2025 work program on the Yellowknife Lithium Project in Northwest Territories of Canada. Scorpio gold has entered into a property option agreement to acquire 100% interest in the thirty-two unpatented lode mining claims known as the Betty East Property in Nevada. Mithril Silver and Gold says work has commenced at Target 3 at its Copalquin District gold-silver project in Durango State, Mexico. Energy Fuels released results of a new bankable feasibility study for its planned Phase 2 circuit expansion of rare earth element processing at its White Mesa Mill in Utah. Construction decisions are made by both Orla Mining and Kinross. This episode of Mining Stock Daily is brought to you by... Revival Gold is one of the largest pure gold mine developer operating in the United States. The Company is advancing the Mercur Gold Project in Utah and mine permitting preparations and ongoing exploration at the Beartrack-Arnett Gold Project located in Idaho. Revival Gold is listed on the TSX Venture Exchange under the ticker symbol “RVG” and trades on the OTCQX Market under the ticker symbol “RVLGF”. Learn more about the company at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠revival-dash-gold.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Vizsla Silver is focused on becoming one of the world's largest single-asset silver producers through the exploration and development of the 100% owned Panuco-Copala silver-gold district in Sinaloa, Mexico. The company consolidated this historic district in 2019 and has now completed over 325,000 meters of drilling. The company has the world's largest, undeveloped high-grade silver resource. Learn more at⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠https://vizslasilvercorp.com/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Equinox has recently completed the business combination with Calibre Mining to create an Americas-focused diversified gold producer with a portfolio of mines in five countries, anchored by two high-profile, long-life Canadian gold mines, Greenstone and Valentine. Learn more about the business and its operations at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠equinoxgold.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Integra Resources is a growing precious metals producer in the Great Basin of the Western United States. Integra is focused on demonstrating profitability and operational excellence at its principal operating asset, the Florida Canyon Mine, located in Nevada. In addition, Integra is committed to advancing its flagship development-stage heap leach projects: the past producing DeLamar Project located in southwestern Idaho, and the Nevada North Project located in western Nevada. Learn more about the business and their high industry standards over at integraresources.com

Oscar-winning Mexican filmmaker Guillermo del Toro talks to John Wilson about his cultural influences. From his 1992 debut Cronos to his recent big budget spectacular retelling of Frankenstein, del Toro's 12 feature films mix fantasy, horror and Gothic romance to create modern fairy tales about innocence, brutality and redemption. His movies have won eight Academy Awards including three for Pan's Labyrinth in 2006, and four Oscars for The Shape Of Water in 2017, plus seven BAFTAs and three Golden Globes.Producer: Edwina PitmanArchive used: Clip from Pan's Labyrinth, Guillermo del Toro, 2006 Clip from Frankenstein, Guillermo del Toro, 2025 Clip from Frankenstein, James Whale, 1931 Clip from I Confess, Alfred Hitchcock, 1953

Prophecy Radio episode #152 offers wooly thoughts alongside a discussion of Percy Jackson and the Olympians season 2, episode 6, “Nobody Gets the Fleece.” There's also some news to discuss, as well as a recap of the Percy Jackson and the Olympians Official Podcast, which features guests Aleks Pauvnoic, Albert Kim, and the incomparable Andrew McIlroy. New episodes of Prophecy Radio air every other week. All discussions are PG-13.News and Updates (00:05:44) Percy Jackson and the Olympians season 2 has debuted with strong numbers according to The Wrap. We can't help but mention Pluribus, as it seems everyone is watching it at the moment. Did you know there's an official Percy Jackson and the Olympians shop now? You can also get some great merch at Hot Topic! Did you catch the beautiful birthday message to Walker from his dad? There's no Percy Jackson and the Olympians season 4 renewal news, but they ARE working on it at the moment. We channel a little Positive Patty and/or Optimistic Olivia energy and talk about the chances of getting seasons 4 and 5. Percy Jackson and the Olympians season 2, episode 6 discussion (00:14:52) Let's kick off the episode 6 discussion with Tyson in the water. Daniel Diemer does such a good job of getting Tyson's thoughts and feelings across while underwater. RAINBOW TO THE RESCUE. Percy has a pretty awful dream about Camp. It looks like Kronos is dropping by, but when the hood is pulled back it's someone else. Why do you think they showed Thalia in this scene? How does Percy know what she looks like? Percy wants to get a head start on their plan, but Annabeth remains calm and tells him that's not a good idea. Back on the island, Polyphemus regales Clarisse and Grover with tales of his solitary life. Shoutout to Nobody. They made Polyphemus SO MUCH SCARIER than he was in the books. We keep hearing Pan's name. Percy keeps watch while Annabeth grabs some pelts. Luke interrupts with some rainbow wiggles. Annabeth admits Luke might be right about Thalia's feelings about Zeus, but he was also wrong to think she'd be on Kronos' side. This part wasn't in the book, but it's such a great addition. Percy has a dramatic entrance. Was he worried that Annabeth might be betraying him? Was the call about recon or about checking in on Annabeth? “Think wooly thoughts.” Those sheep sounds were pretty legit. Plot twist! Polyphemus set a trap for the demigods. We get a classic Clarisse and Percy moment. Annabeth uses that big brain of hers to distract Polyphemus. Luke uses a portal to travel to the island, and Karen has some questions about the science of the magic. Shoutout to the makeup department because Annabeth's wounds looked BRUTAL. All seems lost…until Tyson returns! Did Percy understand what they said in Ancient Greek? How did Tyson get one up on Polyphemus? Luke arrives at the worst or possibly even the best time. Percy really did try to come up with a different solution than just handing over the fleece. Were we surprised Luke healed Annabeth? How do we feel about the changes from the book here? Tyson saves the day AGAIN, and Percy is so glad he's alive. And like the wish-granting fairy that he is, Tyson has a solution to their problem of no transportation. Percy gets yet another epic line to end the episode. Next time: Young Annabeth, a recovering sarcophagus, Clarisse liking her odds, and BLACKJACK!! Percy Jackson and the Olympians Official Podcast highlights (01:25:15) Aryan and Aleks are in divorce arbitration, and Andrew makes his big debut on the podcast. But first we need to talk about what is was like to play Polyphemus. This is not the first time Aleks has been a cyclops in a Percy Jackson production. Did you realize they did mostly practical effects for Polyphemus? What character inspired the “simple” version of Polyphemus? Did you know what forced perspective was? Which did you like better, the proposal or the prom pictures? The second guest on the podcast was Albert Kim, one of the series' writers. They wanted to surprise even the most diehard fans of the books. We talk about Percy's fatal flaw, and his reaction to giving up the fleece. It's no surprise the sheep were afraid of Polyphemus. Aryan finally gets his ring! Andrew McIlroy returns to talk about his experience on the show so far. It was interesting hearing how they “found” Tyson and Teen!Luke. Kronos is totally a cult leader. We get some insight into how the kids prepare for each scene, including an example of the exercise with the ball that they do to get into character. Why doesn't Andrew go to any of the functions? Where did his commitment to the craft come from? Everyone has such respect for Glynn Turman. Thanks for listening, and tune in next time for episode #153, where we'll recap Percy Jackson and the Olympians season 2, episode 7, as well as the next episode of the Percy Jackson and the Olympians Official Podcast.This episode's hosts are: Karen and KristenEach episode, Prophecy Radio‘s hosts will discuss any official news coming out of Camp Half-Blood before doing a chapter by chapter reread of Percy Jackson or one of Rick Riordan's other series.Follow Us: Instagram // Facebook // TumblrListen and Subscribe: Audioboom // Apple // SpotifyFeel free to leave us your questions or comments through any of these mediums! You can also email us at prophecyradiopodcast@gmail.com or visit our homepage for archives and more information about our show.Prophecy Radio is a Subjectify Media podcast production. Visit Subjectify Media for more shows, including Not Another Teen Wolf Podcast, ReWatchable, and Not About The Weather, and for all our latest articles about the stories we're passionate about.

Dr. Tesha Monteith discusses the different forms of menstrual migraines.  Show transcript:  Dr. Tesha Monteith: Hi, this is Tesha Monteith with the Neurology Minute. Welcome to our series on headache medicine and women's health. I want to start off this series with a discussion on menstrual migraine. Menstrual migraine is considered more frequent, more severe, and is associated with most migraine-associated symptoms with the exception of aura. The pathophysiology is linked to the effects of estrogen withdrawal and the impacts on the trigeminal vascular system. Do check out a recent paper by Pan and colleagues published just in neurology in November showing a robust hypothalamic activation prior to the headache phase in patients with menstrual migraine compared to controls. Now, there are two forms of menstrual migraine recognized in the International Classification of Headache Disorders III. First is menstrually related migraine which consists of attacks that occurred during the perimenstrual window. That's day one of menses plus or minus two days and at least two of three menstrual cycles and during additional times outside of the window. Perimenstrual migraine attacks occur exclusively during the perimenstrual window and is much less common than menstrually related migraine. A key point is that there's a predictable timing with each cycle, yet the condition is still very much underdiagnosed. Advise your patients to use an e-diary to improve the diagnosis and hopefully reduce disability. This is Tesha Monteith. Thank you for listening to the Neurology Minute.  

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Think about the histories of your family or memories from your past. What if you recounted them with a dash of magic? What happens when we infuse our stories on film with some magical realism? Tonight's edition of APEX Express features three filmmakers who created magical realism short films centering AAPI women. Listen to directors Cami Kwan, Dorothy Xiao, and Rachel Leyco discuss their films and experiences behind the scenes with host Isabel Li. Cami Kwan: Website | Instagram | Seed & Spark Dorothy Xiao: Website | Instagram  Rachel Leyco: Website | Instagram   Transcript 00:01 [INTRO] Isabel: You're tuned into Apex Express on KPFA. Tonight's edition is all about stories. Think about the histories of your family or memories from your past. Now, what if you recounted them with a dash of magic? What happens when we infuse our stories on film with some magical realism? I'm your host, Isabel Li, and today we have three very special guests, Cami Kwan, Dorothy Chow, and Rachel Leyco. All of them are AAPI filmmakers who received the Julia S. Gouw Short Film Challenge grant from the Coalition of Asian Pacifics and Entertainment and have created short films featuring AAPI stories with magical realism. My first guest of the night is Cami Kwan, a Chinese-American director specializing in stop-motion animation who directed the short film Paper Daughter.  Hi Cami, welcome to APEX Express!  Cami: Hello, thank you so much for having me. Isabel: How do you identify and what communities do you consider yourself a part of?  Cami: So I identify as a queer Asian American woman um and I am a descendant of immigrants, of Chinese immigrants. um Then the communities that I am part of, part of the queer community, part of the Los Angeles community, part of the Chinese American and Asian American community, part of the mixed race community and part of the stop-motion animation and independent artist community.  Isabel: I'm so excited to talk to you about your upcoming short film, Paper Daughter, a gothic stop-motion animated Chinese-American fairy tale about a young woman grappling with the guilt of using the identity of a deceased girl to immigrate to the US via Angel Island in 1926, which is such a fascinating concept. Can you tell our listeners a little bit about how you came up with this story and the historical specificity behind it?  Cami: Absolutely, yeah. So like I mentioned, I'm the child of immigrants, descendants of immigrants rather. So my great grandparents immigrated to the US from China. My great grandfather came over in 1916 and my great grandma came over in 1926. And so I've always grown up knowing the story of Angel Island and knowing the story about the paper sons and paper daughters who had to find any way into the United States that they could. And so they were forced to, you know, take on the identities of other people. And those stories have always stuck with me, you know, like it's very personal. Angel Island means a lot to me and my family. And just the extreme measures that people have always had to take just for the chance at a better life have always been really meaningful to learn about. just the like, I'll use romances in like the art movement, like romantic. It's very romantic and kind of fairy tale-ish, the idea of having to take on a new identity and pretend to be somebody that you're not. And often those identities would be people who had passed away, and then those families had then sold those identities or given those identities to new people. And so it's so interesting the idea of being like the last person to know somebody so deeply, but you'll never get to meet them and you'll never be able to thank them or repay what they sacrificed for your future. And that's kind of how I feel as a descendant of immigrants. The sacrifice that my family made for me was made so long ago that there's no way for me to ever pay it back. And I didn't really get a say in whether I received that sacrifice or not. And I think a lot of descendants of immigrants kind of have to struggle with this. What does it mean for us to be given this new chance at the cost of somebody who came before us? And so that's all of that kind of rolled up into this 14-minute film. Isabel: You describe your film as being in a gothic style? Can you describe what this looks like and why gothic?  Cami: The subject matter is just so naturally gothic. It's dealing a lot with death and a lot with guilt and those big capital R romantic subjects and stuff. My day job, my day-to-day job is working in stop-motion animation directing mostly like children's series and mostly toy related stuff. And so I spent so much of my time in the happy brighter like birthday party storyline kind of like space. But what really made me want to be a filmmaker in the first place were all these like heavier themes, these bigger themes, films by Guillermo del Toro and like Tim Burton and Henry Selig and Hayao Miyazaki and all of those kind of have this like gothic edge to them. And so that's like a story that I've been a type of story I've been wanting to tell for about a decade now.  Isabel: Stylistically, how does this show up in your film? So I imagine darker colors or do you have a visual like preview for us?  Cami: it is a little bit in the darker color space, but it's still very colorful despite all that. It's moody more so than dark, I would say. um We have a lot of like light and dark themes, a lot of like shadow. stuff and um a lot of magical realism, which is where that fairy tale aspect kind of comes in, because you're dealing with things that are so abstract, like guilt and sacrifice and wearing the identity of somebody else, that there's no literal way to convey that. Well, there are literal ways to convey that, but none of those literal ways I feel fully convey the emotional weight of everything. And so we've gone in this very magical realism space where people are tearing information out of these booklets that contain information about the person they're supposed to be and creating these paper masks out of them. And so yeah, there's this whole like magical aspect that tends to be kind of darker. There's imagery of just like being consumed by the identity that you're just supposed to temporarily wear. And there's a lot of like, yeah, there's a lot of darkness in those themes, I think.  Isabel: Wow, that's so interesting. I'd love to learn more about stop motion. What does stop motion make possible that isn't as easily accomplished through other forms of filmmaking? Cami: Yeah, I think the reason why I'm drawn to stop motion, what I stop motion makes possible is like a universality of just like a human experience because with other kinds of animation and other kinds of filmmaking, like there is kind of like an opacity to like how it's made. There's this this veneer, this magic to it, and there's that magic to stop motion too. But the difference between all of those and stop motion is made out of like everyday materials. It's made out of fabric. using paper. We're using clay. We're using materials that people have encountered in their day-to-day lives. And like, that's the one thing that we are all guaranteed to have in common is that we live in a material world and we encounter these textures and materials around us. so by like taking such a specific story and trying to convey such universal themes, it really like behooves us to be using like um a medium that is as universal as stop motion is. So I think that's like the big thing that stop motion unlocks for us. Plus also story-wise, like it's very paper centered, paper daughter, they're tearing paper strips, they're making paper masks. So like physically using these paper textures adds a lot to our world. um And I think working in stop motion gives you a degree of control that live action doesn't give you because we're creating. all of our characters, all of our sets by hand, which gives us so much of a say over what they look like and what they convey based on how they're constructed and stuff. And that's just a degree of communication that nothing else brings.  Isabel: I love that this is a magical realism film and you mentioned Guillermo del Toro. I know that in your campaign trailer, you featured Pan's Labyrinth, which is my all-time favorite movie.  Cami: Me too! Isabel: Yeah! How exactly did you come up with this specific blend of history and fantasy for your film?  Cami: I think that it's almost a natural human instinct to kind of have history and fantasy. Like, that's all that histories are, just stories told to us. And it's just being less literal about it and really leaning into the metaphors that we might use to convey the emotional realities of those histories, right? And so I feel like Del Toro does that a lot with his work. And Miyazaki as well does a lot of that with his work. So much of it deals with unpacking like World War II and things like that. And that's something that I've always just personally been drawn to. Even as a kid, my dream jobs were archaeologist or animator. And so here I kind of get to like do a little bit of both of those, know, like using the magic of animation to make history feel a lot more present and tangible and like emotionally relevant, which is It's really quite poetic to be able to be telling this story right now because it's going to mark the 100 year anniversary of my great grandmother's immigration to the US. I think we are due for an examination of immigration in our country. And I'm very interested to see how people respond to the questions that this raises of how different is the immigrant experience 100 years later. Have we gotten better? Have we gotten worse? Like I would posit it's perhaps worse now than it was then, but I'm really hoping to like, yeah, bring that reality into a more approachable space. And I feel like having that blend of magic and history just makes it a little bit more approachable than telling it in a literal way, you know? Isabel: Those are some great questions to ask. And on that same note, I'm interested in the specificity of Angel Island as well. What types of research did you do to produce your film?  Cami: Oh, gosh, I read every book I could find about it. have… How many books were those? Oh, my gosh, I want to say, like, not as many as I want there to be, you know? Like, Angel Island is not as well covered in history as places like Ellis Island, and there's a lot. to unpack as to why that may be, especially like the racial aspect of it. But I probably read about a dozen different books to prepare for this film. One of the most concrete and useful books that I read is a book called Island, and it's a collection of the poems that are carved into the walls of the men's barracks that remain on Angel Island. And those poems are a huge part, perhaps, the reason why Angel Island has even been preserved as a historical landmark. And so um the three authors went to great pains to replicate these poems, translate them into English, and provide a lot of historical context for the different topics of the poems. And there's a lot of like first-hand testimony from people who immigrated through Angel Island that they interviewed and included in this book. And so I do think that that book, Island, is like the primary source of most of my research for it. Everything else is more like quantitative history and quantitative data. Oh, also The Chinese in America by, I believe it's Iris Chang, that it's not just about Angel Island, but I read that and that gave me a much better understanding about like the place that Chinese immigrants have in American history. Because when I was a kid, like I really only ever learned about great grandma came over through Angel Island and now we're American and we live in America. But our history, as far as I was ever taught, begins and ends with us entering the United States. And so reading um the Chinese in America gave me a much broader understanding about, like, why did we leave China in the first place? And like, what has it meant for us to be in America as Chinese people since then? Yeah, all that came out of like in 2020 and 2021 when the rise of anti-Asian hate crimes were kind of coming about. I personally had to have a huge reckoning with like my racial identity and like how that has impacted like my experience growing up as a mixed-race person who's pretty perceivably Asian and all that stuff. So it was a really whole circle broad situation. Oh, I want to do a quick shout out to the Angel Island Immigration Station Foundation. They were very generous with their time and they answered a lot of my questions and sent me a lot of archival images from Angel Island. So I want to thank them so much for their help in the research process of this.  Isabel: Oh, wow. How fascinating. Did you have any expectations on how the production process was going to go? And now that you're on the other side of it, what are your reflections?  Cami: I had no expectations as to whether we were going to get outside funding or not. Like I, I'm not an experienced or adept grant applicant. Like, it was really just because this was the right kind of project to fit with those kinds of grants. So I had no expectations there. So I am beyond thrilled to have received the support from Cape and Janet Yang and Julia S. Gouw and Shorescripts that we've received, like beyond thrilled for that. So that exceeded all of my expectations. um But as far as how the actual production has gone, the fabrication and the animation and the post-production, that's all stuff that I'm extremely familiar with. Again, that is my day-to-day life, that is my job, that is like what I have done for the last eight years at my studio, Apartment D.  So that all went pretty much as I hoped and expected that it would, but here on the other side, the one thing that has surprised me about it was how much love all of the artists put in this project because like we've said so much in this conversation, there's so much specificity to this. This is about my great grandma. This is about my family and my feelings about being a descendant of immigrants. It's so specific that I wasn't sure how emotionally it would resonate with anybody else that wasn't me or wasn't part of the AAPI community, you know?  But every single person — doesn't really even matter if they were Asian, doesn't really even matter if they have a specific connection to immigration — every artist that I asked to join me on this project, I immediately understood what it meant and understood what we were trying to say. And they put so much love into it. And like, we all put a lot of love into everything we do. It's stop motion. It's like, you don't do this unless you love it, you know, because you certainly are not doing it for the money or anything. um everyone was just so…I'm gonna say careful, but I don't mean careful like cautious. I mean careful like full of care. And I did not expect that and I am so grateful for it. Yeah, looking back, it's just so precious and so tender and like I'm so fortunate to have had the crew with me that I had to make this film.  Isabel: That's so lovely. What are you most excited about upon completing your film?  Cami: I'm just excited to share it with the world. I'm so proud of it. It is truly, and I'm not just saying this because it's my baby, but it is very beautiful and it is very special. For a lot of us, one of the first times that we've been able to be in charge of our own departments or to make the decisions that we wanna make and tell things, do things, show things the way that we think they should be done. And so it's kind of significant for many of us to have this film come out and to be received. What I want people to take away from it is an appreciation and a gratitude for everything that has had to happen for us to be where we are now. And I also really want people to take away the unconditional love that has occurred for us to be in the country that we have and to be the people that we are. Every single person is where they are. doesn't matter if you're in America or anywhere else, like we are all here because of the sacrifices that were made by the people who came before us. And those were all made out of unconditional love. And that's like, I want people to come away from this film remembering that our country is built on the unconditional love and sacrifice from people who came before us. And then wanting to give that unconditional love and sacrifice to everybody who's gonna come after us. Isabel: Such an amazing message. And I know that there's still lots to do and you still have a lot to celebrate with your upcoming film and with the festival circuit with Paper Daughter. But looking ahead, do you have any plans of what you want to do after the short film?  Cami: Yeah, I would love to bring it into a feature. There was so much that we had to cut out to make this film. On one hand, I'm glad that we cut out what we did because I think the film as it is, is like so tight and so like airtight and good and perfect and sparse in a really nice way, but we don't even get to delve into life before Angel Island. It begins and ends on the island, and I would love to explore the stories that brought this all about and the stories that come after. So bringing this up into a feature version and getting that in front of people would be amazing. And I have a couple other short film and feature film and script ideas that I would like to start working on as well. I've kind of really, I'm really grooving on the like Asian early Chinese American history. um So most of them are going to be set in California and focus on like Chinese immigrants and their role in the founding of America. um I'm really excited for the like, after all the film festivals, I really want this film to end up in classrooms. And I even just the other day like I have a friend who's a third and fourth grade teacher and she showed it to her class and then the students asked me questions about Angel Island and about animation. if this can play any part in helping to spread the story of Angel Island and the people that immigrated through there, like that's all that I could ever want from this. So I'm really excited for that.  Isabel: That's wonderful. I'll put your website, social media and seed and spark page for Paper Daughter up on kpfa.org so our listeners can learn more about this stop motion film and get updates for how they can watch it. I can't wait to see it when it comes out. And Cami, thank you so much for joining me on Apex Express today.  Cami: Of course, thank you so much for having me. It was a great, great time talking with you.  Isabel: You just heard Cami Kwan talk about her film Paper Daughter. On Apex Express tonight, we have two more special guests who made magical realism short films. Next up is Dorothy Xiao, who made the film Only in This World. She's a Los Angeles-based award-winning filmmaker who likes to create grounded family dramas with a hint of fantasy.  Hi, Dorothy. Welcome to APEX Express.  Dorothy: Hi. Thanks for having me!  Isabel: Of course! Thank you for coming here. My first question for you is actually quite broad. How do you identify and what communities are you a part of?  Dorothy: Oh, that is a good question. I think in a broader sense. I would say, obviously, I identify as an Asian American. um But I think, like, for me, because I grew up in the 626 or the San Gabriel Valley, I grew up with a lot of people who looked like me. So I think I didn't truly identify as being Asian or had awareness of my identity until later on when I went to college. And then I took Asian American Studies classes and I was like, oh, wow, I'm Asian. Or like, what does it mean to be Asian? You know, like, I think I, at that time, prior to recognizing and understanding what it meant, and also even to be a minority, because at that, like I said, growing up in 626, even going to UCLA, where I'm surrounded by a lot of Asians, I never really felt like a minority. But I think it was really after graduating where I, depending on the spaces that I would enter into, especially in the film industry, I was learning like, oh, yeah, I am a minority and this is what it feels like. And prior to that, I think I just identified as being a daughter of immigrants. And that still is very strongly the case just because I grew up listening to so many stories that my parents would tell me, like coming from China, growing up like they grew up in China during a completely different time. I can't even imagine what it would be like living in the way that they did, you know, during the Cultural Revolution, under communism, in an intense way where they were starving, all this political stuff. But yeah, a second gen or for a lot of people, first generation, daughter of immigrants, of parents who decided that they wanted to make a better life for their kids out here in the States. I think that I want to stand by me saying that I don't feel like I am, I don't really want to identify as only just single categories all the time, just because within each community, could be, you could have nuances, right? Because I am a woman, but I'm also like a woman who doesn't want children, you know, and there was just so many different things of how I identify. So hard for me to categorize myself like that. But they are, there are tidbits of different communities. Like I still identify, identify as Asian American. I identify as a daughter of immigrants. I identify as a female filmmaker and yeah. And a business owner, I guess. Yeah.  Isabel: Right. Yes. Thank you for that nuanced answer. You know, it's so fascinating because I was reading about your work and you have worked in animal research administration and an afterschool program and even web development for nonprofits. How did you get into writing and directing?  Dorothy: Yeah. So after graduating college, I was definitely in a place where many, I'm sure, fresh grads understand what we call the quarter life crisis, where we don't know what we wanna do with our lives. And I was working at UCLA because that was the only job that I could get out of college for an animal research administration office. And really, I worked for them as a student. So I was like, well, it makes sense to have that be my full-time job, because you're in a place where you don't have skills. So how do you get a job if you don't have skills? That weird silly catch-22 situation. So I studied psychology in undergrad because my goal was to become a therapist. I wanted to work with Asian and Asian immigrant communities to help them with mental health because there's such a stigma attached to it. And being somebody who found mental health really important and also found that it was a really great way to understand myself. I wanted to work with, I guess, the people of my community. But at that time, I realized that there's still a stigma attached to mental health and it's really hard to get people to even go to therapy. Like living with my parents, it's really difficult. I cannot ever convince them to go. um And so I had pivoted into, or at least I discovered this filmmaking competition and ended up just like making a film for fun with a couple of friends, random people that um were not in film at all. And I had a lot of fun and I realized that we could actually create stories talking about things that are very similar to mental health or could provide that catharsis and validation that you could probably get in a session, in a therapy session. And it's not clinical at all. It's not as clinical. So, you know, on all those different jobs that you mentioned, they're all day jobs, know, animal research administration and then working for an after school program. That was me still trying to figure out how to be a filmmaker on my weekends. I still needed a day job. I didn't have the luxury of going to film school. So I would work at different places that gave me the flexibility of having a day job. But then also I had free time during the weekend to just make films with my friends, make friends films with people like my mom, who was one of my first actors earlier on. Love my mom. She did not do the greatest in my film, but I love her for being there for me. But yeah, like the different organizations or just jobs that I worked for were all really good in terms of providing me management skills and also communication skills because I worked in different industries, you know, and so at the end of the day, it all culminated in me at my current place. Like I am a freelance filmmaker and I also run my own video production company. So um becoming a writer, I mean, being a writer director is my main identity as a filmmaker. However, I don't think you could be a good writer-director if you don't have life experience. And having all those different jobs that I've had provided me with a lot of varied life experience and I interacted with a lot of different people, many different personalities.  Isabel: Yeah, no, I love that. So you grew up in Alhambra, which I'm familiar with because I too grew up in the San Gabriel Valley. How would you say that growing up in Alhambra has shaped you as an artist?  Dorothy: Alhambra is really special, I feel like, because in the San Gabriel Valley, there are many cities like this. You have Chinese people who can actually get by without ever having to learn English. And the same goes for Latin communities as well. And, you know, I have aunts and uncles who lived in Alhambra for years and never learned how to speak English. So I think it's like, what's so special about it, it feels like a safe space for a lot of immigrant communities. And then my parents being immigrants from China. living in Alhambra was a place where they could feel safe and feel connected to the people that they left behind in another country. And so being a child of immigrants, a daughter of like an Asian American, like a Chinese American growing up in Alhambra, I definitely felt like I grew up with a lot of people who were similar to me. know, we were like a lot of times the first American born children of our families even, and it was, we had to essentially understand what it meant to be Asian versus American and all of that.  But I think like being in Alhambra, I never felt like I wasn't seen, or at least I never felt like I was a minority. I think I mentioned this earlier, in that growing up in Alhambra, you do see a lot of people who look like you. And I have a lot of friends in the film industry who have moved out to California because they grew up in towns where they were like one, the only person, the only Asian person in their school or whatever. And I didn't have that experience. So for me, it was really special just being able to have a whole group of friends where there's a bunch of Asians. And we all spoke different languages. Like I had a lot of friends who were Cantonese speakers, but I'm a Mandarin speaker, but it was just really cool. It was like going to your friends' places and then you have aunties. So it's almost like having more family. You could feel like you have more aunts and uncles that will feed you all the time because that is the way they show love, right?  Isabel: Oh, certainly. I think there's so many stories in multicultural places like Alhambra. And speaking of which, you did in your film Only in This World. It's about an empty nester who has to face her ex-husband's mistress in order to summon her daughter back from the afterlife, which is featured in the 2025 Silicon Valley Asian Pacific Film Festival in Sunnyvale. Congratulations on such a beautiful film. I will say that I am a huge fan of magical realism, and Only in This World has some magical elements to it. So I'd love to get to know, how did you come up with this specific plot and characters that make up this film? Dorothy: Yeah, and thank you for wanting to talk about this one. It's a special story to me just because it is, I think it's the first film that I've made where I just decided to incorporate elements of where I grew up. And so Only in This World is inspired by my mom and her Tai Chi group at our local park, so Alhambra Park. My mom would go to do Tai Chi every morning for years. And in Alhambra, actually, as I mentioned, because there are so many immigrant communities, many of the immigrant communities tend to stay together with the people who speak their language. So Chinese people usually stick together with the Chinese speakers, Spanish speakers stick together with the Spanish speakers. You don't see a lot of mingling or intersectionality. But one of the special things that I saw with my mom's Tai Chi group was that they were not just Chinese people or Asian people, but there were Latino people in their group as well. And so even though they couldn't speak the same language, they would show up and still do Tai Chi every morning because it was a matter of doing something together. And so I love that a lot. And I wanted to tell a story about just older women who are finding friendship because I think that's really important in older age and in these groups because you see that a lot of the people in these Tai Chi groups are even the ones, not just Tai Chi groups, but there are dancers in the park, you know, like you'll see them in the mornings, not just in Alhambra, but in Monterey Park, all the different parks, open spaces, they'll have little dance groups.  A lot of the people who are part of those groups happen to be seniors, and I think it's just because they don't have work, they don't have children, they're lonely. And so…I think it's really important to be aware that where friendship or loneliness is actually an epidemic in the senior community. And it's really important to providing good quality of life is to just have them have that connection with other people. And seeing that in my mom, because my mom is getting older, having her be part of that community was what kept her happier. And so, yeah, and also my mother-in-law is Colombian. And she's done Tai Chi before as well with her group in Rosemead. And so I just was like, well, I'm part of a multicultural family. I want to tell a multicultural family story. Yeah, in terms of the magical realism element, I thought a lot about just how my family, if our house has ever burned down, the things that they would take out are our photos, the print four by six, like, you know, just the print photos because they're just so precious to them. There's something about hard copy pictures that is so special that digital photos just can't take over. Like there is an actual energy to how a photo is made or even like back then when we used to use film, there's energy that's required to actually create photos. And so, you know, I wanted that to be the power that powers this magical scanner where energy is taken from the picture and then you have the ability to bring someone you love back from the afterlife. And I really love grounded magical realism because I think it just makes difficult things a lot easier to understand when you add a little bit of magic to it, a little bit of fantasy.  Isabel: Yeah, magical realism is such a special genre. What part of the production process that you find the most profound?  Dorothy: I think it was just really my gratitude in how much my family came together for me and also just like the people of this team, know, like there were, I think one major situation that I can think of that I always think is really funny was, um so we filmed at my mother-in-law's house and my husband, Diego, was also working on set with me. He is not in the film industry. He's a software engineer manager. He's like in tech, but he is one of my biggest supporters. And so…when we were like, yeah, can we film at your mom's house? He was like, okay. But he had to end up being the, quote unquote, location manager, right? Because the house was his responsibility. And then, and he was also my PA and he was also DIT. Like he would be the one dumping footage. He did everything. He was amazing. And then ah one day we found out that his neighbor was actually doing construction and they were hammering. It was like drilling stuff and making new windows. They were doing new windows. And we were just like, oh, like, how do we get them to, like, not make noise? And so, and they don't speak English. And so we were like, oh crap, you know. So like, unfortunately, my producers and I don't speak Spanish, like we're all just English speaking. And then I did have Latinos working on my set, but they, you know, they had other jobs. I wasn't going to make them translate and do all that other stuff. So then Diego so kindly went over and talked to them and was like, essentially we set up. They were totally cool about it. They were like, yeah, okay, you're making a film. then whenever you're rolling sound, we'll just like prevent, like not hammer. And then so Diego is sitting outside with a walkie and talking to the first AD and other people inside the house, because we're all filming inside. don't know what's going outside. And then so like, we would be rolling, rolling. And then um the workers, I think his name was Armando, are like…whenever we cut, Diego would hear it through the walkie and he'd be like, Armando, okay, you're good to go. You can drill. Armando would drill. And then when we're going, and we'd be like, I'm going for another take. And then Diego would be like, Armando, please stop. So it was so nice of them to be willing to accommodate to us. Because you hear a lot of horror stories of LA productions where neighbors see you're filming something and they'll purposely turn on the radio to make it really loud and you have to pay them off and whatever. And in this case, it wasn't it was more like, hey, like, you know, we're making a movie and they were so supportive and they're like, yeah, totally. This is so cool. We will definitely pause our work, our actual work and let you roll down during the brief period. So we're really grateful. We definitely brought them donuts the next day to thank them. But that was just something that I was like, oh yeah, like I don't think I could have pulled that off if I didn't have Diego or if the fact, if it wasn't for the fact that these were the neighbors, know, that we were filming at someone's house and the neighbors already had a relationship with the people who lived here.  Isabel: Wow, that's really adaptable. And I'm so glad that went well for you. Dorothy, you've directed 13 films by now. Have you ever seen one of your films resonate with an audience member that you've interacted with in the past?  Dorothy: So there was this one short I had done a couple years ago called Tarot and it came at a time when I was struggling with the idea of whether or not I wanted to have kids and many of my friends are off having their first or second kids, you know, and so I never really wanted to be a mom, but then I have a partner who I can see being a great father, so I'm more open to the idea of being a mother, but it was still something I was conflicted about. And so I put this all into a short film, just my feelings of how my identity would change if I were to become a mom, because I've read so much about that. I found a Reddit thread one day where people were just talking about how being a mother is hard. And they openly stated how much they hated it. And it's okay to feel that way. And I wanted to put those feelings into this film to just put it out there like, hey, like if you don't like being a mom, even though you love your kid, you could still hate having that identity and be lost about, and it's okay to be lost or not sure about who you are. And so it was a really short film and it ended kind of open ended. It was like five minute film, so it didn't have like a full ending, but it was an open ended ending. And then afterwards I had a bunch of people come up. I had people who were parents, not just mothers, like even, or like fathers who had just had their first kid who were coming up and telling me like, oh, I totally identify. I understand that struggle of learning about who your new identity is after you've had a kid. And then I had people who were child free who were coming to me and saying like, yeah, this is a similar feeling that I've had about whether or not I should have any kids. Because, you know, as women, we have a biological clock that ticks. And that's something I feel frustrated about sometimes where it's really because of my body that I feel pressured to have a kid versus wanting to have one because I want one. And so that was a story I wanted to, or just something I wanted to put into a film. Yeah, and I also had another person come up and tell me that they were like, this was something I felt, but I never really openly talked about. And so I resonated a lot with this and it just helped basically articulate or helped me identify like, oh, I totally feel this way. And so that was really validating to me as a filmmaker because my goal is to reach others who don't feel comfortable talking about certain things that they tend to hide because I have a lot of those types of thoughts that I might feel ashamed or embarrassed to share. But then I put it into a story and then it makes it more digestible and it's like, or it's more, it's entertaining. But then like the core message is still there. And so people watch it and if they feel that they can connect to it, then I've done my job because I have resonated with somebody and I've made them feel seen. And that's ultimately what I wanted to do when I wanted to be a therapist was I just wanted to make people feel seen. I wanted to make them feel connected to other people and less lonely because that's something that I also have struggled with. Yeah, so filmmaking is my way of putting something small out there that I feel and then finding other people who feel the same way as me. And then we can feel validated together. Isabel: Ah yes, that is the power of film, and Dorothy's work can be viewed on her website, which I'll be linking on kpfa.org, as well as her social media, so you can get new updates on what she is working on. Dorothy, thank you so much for joining me on APEX Express today!  Dorothy: Thank you! Thank you for having me, it was so great to meet you!  Isabel: That was Dorothy Xiao, our second guest for tonight's edition of Apex Express, featuring magical realism AAPI filmmakers. Now time for our final guest of the night, Rachel Leyco, who is a queer, award-winning Filipina-American filmmaker, writer, actress, and activist. We'll be talking about her upcoming short film, Milk & Honey.  Hi Rachel, it's such an honor to have you here on APEX Express. Rachel: Hi, thank you so much for having me.  Isabel: How do you identify and what communities do you consider yourself a part of?  Rachel: Yeah, I identify as a queer Filipina-American. Isabel: So we're here to talk about your short film, Milk & Honey, which is about an ambitious Filipina nurse who leaves her family behind in the Philippines to chase the American dream in the 1990s and facing conflicts and hardships along the way. How did you come up with this specific 90s immigration story?  Rachel: Yeah. So Milk and Honey is inspired by my mom's immigrant story. you know, that's really her true story of coming to America in the early 1990s as a very young Filipina nurse while, and also a young mother and leaving behind her daughter, which was me at the time. um you know, following her journey in the film though fictionalized, a lot of the moments are true and there's a lot of exploration of assimilation, cultural barriers, loneliness and the emotional cost of pursuing the American dream.  Isabel: Yeah, when I read that synopsis, I immediately thought of this short film could totally be something that's feature length. How did you sort of this story to something that is like under 15 minutes long?  Rachel: Yeah, so I wrote the short film script first. And actually, you know, this is a proof of concept short film for the feature film. I actually wrote the feature film script after I wrote the short because there was just so much more I wanted to explore with the characters and the story. It definitely couldn't fit into a short film, though I have that short film version. But there was just so much richness to my mom's story that I wanted to explore, so I expanded into a feature. So I do have that feature film version, which I hope to make one day. Isabel: And you mentioned that this film is inspired by your mom's story. Is there any other sort of research that you did into this story that really helped you write? Rachel: Yeah, one of the main reasons I wanted to write the story, I mean, there's many reasons, but one is because there, if you ask the average American or the general public, they won't really know why there are so many Filipino nurses in the healthcare system. Because if you walk into any hospital, you'll see a Filipino nurse, more than one for sure. ah so I was really curious about the history. ah Having my mom as a nurse, my sister's also a nurse, I have a lot of healthcare workers around me. I grew up with that. I, you know, growing up, I also didn't really know or learn Filipino American history because it's not taught in schools. And I, you know, I took AP US history and didn't learn anything about, you know, my culture and our history. It's, not in the books at all. And it wasn't until like my early twenties that I was really curious about my roots and my upbringing and what it means to be Filipino-American specifically. And so um I really went into like a deep dive of just researching Filipino-American history. And specifically last year, I had been wanting to tell a story about a Filipino nurse because of my proximity to it with my mother. And you know, myself being an artist, being a filmmaker in the industry, there's so many medical shows out there, like, know, Grey's Anatomy, that's been long running, but very, very few, and rarely do we see Filipino nurses at the forefront and at the center of those stories. um You know, rarely are they series regulars. You know, sometimes they'll feature a Filipino nurse for like one episode or two and, you know, a recurring or a side character, but Filipino nurses are never the main character, never the series regular. And so that was another big driving force for why I wanted to make this story. And, you know, really making my mom's character the center of it. And so as far as like research, too, I definitely interviewed my mom and I asked her to just tell me her her entire story and specifically why she even wanted to move to the United States because she could have stayed in the Philippines or she could have moved somewhere else. um she saw a newspaper or her friend actually at the time when she was in a nursing school, a friend of hers saw an ad in the newspaper that America was sponsoring nurses. And so she had it in her mind already like, oh, yeah, I've heard of America. I've heard of the United States that it's, you know, there's better opportunities for me there. And at the time she had just had me. And so she had, you she's a young mother. She's trying to take care of her baby, her newborn. And so, you know, she had her eyes set on moving to the United States and that's kind of how her journey happened. And on top of that, I also did my own research on you know, our history, I watched this really amazing documentary um by Vox. It's on YouTube. It's all about why there are so many Filipino nurses in America. And it really just ties back to U.S. colonization. And after World War II, was so many, there was big nursing shortage in the United States. you know, white Americans did not want to, you know, fill that role. So they turn to Filipino women to fill the gap.  Isabel: Yeah, was there something special about the production process that looking back, you would want to replicate in the future or that really speaks to you?  Rachel: Absolutely. um Yeah, mean, definitely this experience and a lot of the people that I brought on to this project, I want to continue to make films with them and continue to make art with them because um I'm just so proud of the team that we put together. Everyone was so passionate and they knew how important the story was. They also had their own special connection to the material that they brought so much heart and passion into the film. that really comes through in the project. so like a lot of the people I brought onto this film, I want to continue to make art with them forever. That's one thing that I'm really, really grateful for, because I got to work with some really awesome people that I had never worked before or I had been wanting to work with. And so it was such a great opportunity that was given to me to be able to connect with such amazing and talented AAPI creatives in my circle.  Isabel: Yeah, I saw on your Instagram page for the film that you shot this film in both Los Angeles and Austin, Texas. Have you ever done a production where you had to sort juggle two different sets in two very different locations? And how was that entire process?  Rachel: Yeah, that was really, it was really fun. It was my first time being able to film in two different cities, let alone like two different states, really. A lot of my past projects have just been, you know, shooting it with the resources that I had that were available to me. You know, usually like my past short film, Thank You for Breaking My Heart, that I did last year, we shot all of it in one location, which was of course like, know, that is something that's really impressive in and of itself, of course. But, you know, because of the bigger budget that we had for Milk and Honey, I really wanted to challenge myself with this. And I really advocated for filming a part of the film in Texas because it is set in Texas. I was raised there. That's where my mom was placed when she, because how the process goes is, you know, she applied for the nursing sponsorship and then they placed them in certain areas. And so she was placed in El Paso, Texas at the time. And so that's where I also grew up. So I set the film there and I really advocated for filming in Texas because I wanted the film to have that feeling of the environment and atmosphere of Texas. um And so we shot some exteriors there for like this really fun Texas montage where you can really like feel that the character is there in, you know, in that heat, the Texas heat. So that was really, that was really fun. And I, you know, we shot, we shot two days in LA and we shot half a day in Austin, Texas. And we hired a second unit in Texas, because, you know, again, like, even though we had a really good budget, was still, you know, it was still pretty small. So I wasn't able to, you know, fly my LA crew over there. um So what we did was we just hired a second unit crew in Austin, Texas, and they were amazing. And most of them were queer, non-binary filmmakers. And it was just such a fun, intimate crew that you know, we just breezed by and had such a great time shooting that.  Isabel: That's wonderful. As a director, what inspires you and what are some of your filmmaking influences?  Rachel: Yeah, I mean, I'm constantly inspired by, you know, new films, filmmakers that I've seen, em particularly for Milk and Honey. I um so the film is, you know, this grounded drama, but there are a lot of moments of magical realism that I mix into it. love magical realism. love one of my favorite movies is Eternal Sunshine of the Spotless Mind. It's such a beautiful film, also very grounded, but it's filled with all of this, you know, magical realism, surrealism. And so I infused that into, you know, Milk and Honey, which was really fun and a challenge to execute. But yeah, and some other filmmakers and creatives that I'm inspired by are Ava Duvernay. think her work is just incredible and also just an incredible artist overall. I love the kind of work that she does because it comes from such a deep place. And I love that she can combine art with politics and social justice as well. Isabel: I also love that you said in your one of your project funding descriptions that you use your art as your act of revolution, which is so relevant given that, you know, in our current state of, you know, our administration is silencing and suppressing voices of our immigrant communities. And how do we as filmmakers, as artists, what does that revolution and representation mean to you as a filmmaker and artist?  Rachel: I truly believe that that art is our act of revolution and just merely creating the art is that act in and of itself. We don't have to do more than that as from, in my opinion, as an artist, because the mere fact of us existing as artists, existing, myself existing and creating the work and having the work exists out there and putting it out. The most powerful thing that an artist can do is to make their art and share it with the world. And after that, just let it go, you know, forget about how it's going to be received. Forget about like, you know, the critics and, and, and the, you know, self doubt you may have and all of those things, because yeah, it's going to come. I think especially in the landscape of, like you said, of where we're at right now with our current administration and you know, just who knows what's going to happen in the next few years, but also in the face of like AI and technology and all of that, I think all we can really do as artists is to, in order for us to change the system is we have to be the change, right? And in order for us to be that change is just to continue to tell our stories and stay authentic to ourselves. Because I think that's also what a lot of people out there are really craving right now. People are craving authentic, real stories by people that we really don't get to see or hear their stories very often. And so um that for me is something that fuels me and my artistry every day.  Isabel: Very well said and a great reminder to all of us artists out there to keep making our art. What do you hope for audiences to take away when they watch your film?  Rachel: What I hope for audiences to get out of watching the film, well, one, at the core of it is a mother-daughter story. And I also did it to honor my mother and her sacrifices and her story. So I hope that, one, audiences will, you know, maybe reflect on their relationship with their mother and… um think of ways to honor their mother and their family and their ancestry as well. And another thing is to really think about what the American dream means to you, because that was another driving force for me with the film is it's called Milk & Honey because a lot of immigrants coined Milk & Honey as America's milk and honey as this like land of abundance, land of opportunity and you know, this is a, this is a place for creating a better life for ourselves. But I, for me, as I've grown up and as an adult now, really looking at like, well, what does the American dream mean to me? Is that still true to me? Do I still think the U S is a place where I can, where I can build a better life? Is it a place of abundance and something in the film, a big theme in the film is where Cherry's character scrutinizes that dream and thinks for herself, like, is the American dream worth it? And what does the American dream actually mean to me? What is the definition of that? So I think that's a big thing I would love audiences to also take away from it, you know, asking themselves that question. Isabel: That's a great thought to end on. I'll be including Rachel's social media and website on kpfa.org as usual so you can see if Milk and Honey will be screening in a film festival near your city during its festival run. Well, Rachel, thank you so much for joining me on APEX Express today. Thanks so much for having me. I really enjoyed it. Please check our website kpfa.org to find out more about magical realism in AAPI stories and the guests we spoke to. We thank all of you listeners out there. Keep resisting. Keep organizing. Keep creating and sharing your visions with the world. Your voices are important. APEX Express is produced by Miko Lee, Jalena Keane-Lee, Preeti Mangala Shekar, Anuj Vaidya, Swati Rayasam, Cheryl Truong, and Isabel Li. Tonight's show was produced by me, Isabel Li. Thanks to the team at KPFA for their support. Have a great night. The post APEX Express – 1.08.26 – Magical Realism and AAPI Short Films appeared first on KPFA.

PAN presenta denuncias por irregularidades del Corredor Interoceánico Lluvias y fuertes vientos en varias partes del país por frente frío 27 Preparan protesta en Bogotá por ataque de EU a Venezuela 

In episode 301, May takes the mic solo to respond to claims that Mexico lacks a true bread culture, using this moment to explore how wheat arrived during the colonial period and evolved into something uniquely Mexican. We walk you through the history of bread in Mexico, its role in everyday life and religious celebrations, and the incredible variety of pan dulce that defines Mexican bakeries today. Along the way, you'll gain cultural insight, expand your vocabulary, and better understand why food is such a powerful part of Mexican identity. immersion retreats and a community platform to future travel, plus why this kind of reflection can help you appreciate your own progress too.Key Takeaways:Why bread, though not originally Mexican, is deeply woven into Mexico's daily life and traditionsHow history, colonization, and local ingredients shaped uniquely Mexican breadsWhat pan dulce and common Spanish expressions reveal about Mexican culture and valuesRelevant Links And Additional Resources:209 – La Feria Más Bonita de Comala – Ponche, Pan y Café | The Most Beautiful Fair of Comala – Ponche, Bread, and Coffee082 – El Pan de Muerto | Bread of the DeadLevel up your Spanish with our Podcast MembershipGet the full transcript of each episode so you don't miss a wordListen to an extended breakdown section in English going over the most important words and phrasesTest your comprehension with a multiple choice quizSupport the show

What if the foundation of your digital strategy, your corporate website, is becoming less important than the conversations happening about your brand in places you don't control? Agility requires a fundamental shift in mindset, moving beyond just broadcasting your message on owned channels to actively shaping the narrative across an entire ecosystem you don't fully control. Today, we're going to talk about how generative AI is creating a new layer between your brand and your customers, changing how they discover information and what they trust. We'll explore the surprising new balance of power between owned media and earned media, and what it means for your PR, content, and SEO strategies moving forward. To help me discuss this topic, I'd like to welcome, Mark Nardone, CMO at PAN. About Mark Nardone Mark has been a driving force at PAN since its inception. As part of the executive team, Mark oversees operations and leads strategic growth initiatives across business development and marketing.Mark's acumen sparked PAN's positioning as a brand-to-demand agency forged in PR. With more B2B brands seeking a modern, energetic, agile partner to connect the dots between brand awareness, demand acquisition, and growth, Mark saw an opportunity for PAN to meet those needs on a global scale through integrated, data-driven marketing and PR grounded in real-world impact.Passionate about all things AI and CX, Mark is active in Harvard's Office of Technology Department Expert-in-Residence (XIR) program and the thought leadership realm. You can find his insights on the DMNews Podcast, Heinz Marketing Radio, PR News, Agile Brand, and Evan Kirstel LinkedIn Live. When he's not discussing the latest marketing and PR trends, Mark enjoys golfing and spending time with his wife and two kids. Mark Nardone on LinkedIn: https://www.linkedin.com/in/mark-nardone-807560/ Resources PAN: https://www.pancommunications.com The Agile Brand podcast is brought to you by TEKsystems. Learn more here: https://www.teksystems.com/versionnextnow Catch the future of e-commerce at eTail Palm Springs, Feb 23-26 in Palm Springs, CA. Go here for more details: https://etailwest.wbresearch.com/Drive your customers to new horizons at the premier retail event of the year for Retail and Brand marketers. Learn more at CRMC 2026, June 1-3. https://www.thecrmc.com/ Enjoyed the show? Tell us more at and give us a rating so others can find the show at: https://ratethispodcast.com/agileConnect 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

Masa de aire ártico afectará gran parte del país Sheinbaum suspende mañaneras por fin de añoMali y Burkina Faso responden a restricciones de EUMás información en nuestro podcast

This week, Eric and Josh discuss: re-recording this episode, projector technical difficulties, Pan's Labyrinth, Titanic, Flow, David Lynch, Alien 3 / Alien: Resurrection, No One Will Save You, library books, Barbarella, Scrooged, Stranger Things, and more! They also mention the screenings (and a live event) for the week of Friday January 2 - Thursday January 8, 2026: The Librarians, The Secret Agent, Frankenstein, Stars Of Magic!, Aliens, Logan's Run, and the short films Breaking the Line / House Rules / Operation Ex!

En entrevista para MVS Noticias con Óscar Palacios, en ausencia de Ana Francisca Vega, Federico Döring, diputado del PAN, anunció la denuncia penal del PAN por descarrilamiento del tren interoceánico.See omnystudio.com/listener for privacy information.

Noemi Luna, Diputada y vicecoordinadora de la bancada del PAN

VIERNES 26 DE DICIEMBRE DE 2025 TU DOSIS DIARIA DE ESPERANZA "Pero tú, Belén Efrata, pequeña para estar entre las familias de Judá, de ti me saldrá el que será Señor en Israel; y sus salidas son desde el principio, desde los días de la eternidad." (Miqueas 5:2) Dios cumple lo que promete. Él no profetiza a ciegas; lo que el manifieste siempre será cumplido fielmente. No hubo una preparación mundial para recibir al Mesías. Dios escogió a Belén, un pueblo nada relevante, pero que quiere decir "Casa del Pan"; y fue a la "Casa del Pan" que llegó el Pan de Vida. Miqueas profetiza sobre Belén como la más pequeña entre las tribus de Israel; pero el que nació en ella la hizo grande. Si te crees que eres pequeño o insignificante para que Dios se fije en ti, recuerda que quien que quiere nacer en ti es el Rey del universo. Es tu humildad la que te permite, como a los pastores, reconocer al Mesías como el Salvador acostado en un pesebre. Dios es especialista en dar lecciones a los que se creen grandes; de ellos María dijo que los envió vacíos. No permitamos que transcurra otra Navidad sin responder al llamado de Dios a una salvación tan grande. (Gina Sánchez) ....... www.facebook.com/PastoresRobertoyYamiley Apple: https://podcasts.apple.com/us/podcast/tu-dosis-diaria-de-esperanza-new-hope-en-espa%C3%B1ol/id1503374265 Spotify: https://open.spotify.com/show/0dC8BmYXC77tIaReY6JI6y?si=adf3392aa15e45c7 iHeart Radio: https://www.iheart.com/podcast/263-tu-dosis-diaria-de-esperan-211298038/ ....... Pastores Roberto y Yamiley, De Dios Para Ti Hoy - New Hope en Español , Brandon, FL (813) 689-4161

En esta emisión de Me lo Dijo Adela, correspondiente al miércoles 24 de diciembre, Max Espejel presenta una jornada informativa marcada por las fiestas decembrinas y temas de interés nacional, entre ellos el análisis de los resultados de la Encuesta Nacional de Consumo de Drogas, Alcohol y Tabaco 2025, que advierten un crecimiento en el consumo de sustancias, con la participación del diputado federal del PAN, Éctor Jaime Ramírez Barba; además, el psicólogo y nutriólogo Walberto Tenorio ofrece recomendaciones para evitar excesos en comida y bebida durante las celebraciones, Verónica Garay presenta las actualizaciones de TVNotas, Claudia Yezabel Reyes Hernández explica las medidas y la cena navideña en el Torito de la CDMX, y el cantante Pablo Montero comparte cómo celebrará la Navidad con su familia en su nueva casa, junto con información deportiva, de espectáculos y notas relevantes de la agenda nacional. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

En esta emisión de Me lo Dijo Adela, correspondiente al miércoles 24 de diciembre, Max Espejel presenta una jornada informativa marcada por las fiestas decembrinas y temas de interés nacional, entre ellos el análisis de los resultados de la Encuesta Nacional de Consumo de Drogas, Alcohol y Tabaco 2025, que advierten un crecimiento en el consumo de sustancias, con la participación del diputado federal del PAN, Éctor Jaime Ramírez Barba; además, el psicólogo y nutriólogo Walberto Tenorio ofrece recomendaciones para evitar excesos en comida y bebida durante las celebraciones, Verónica Garay presenta las actualizaciones de TVNotas, Claudia Yezabel Reyes Hernández explica las medidas y la cena navideña en el Torito de la CDMX, y el cantante Pablo Montero comparte cómo celebrará la Navidad con su familia en su nueva casa, junto con información deportiva, de espectáculos y notas relevantes de la agenda nacional. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Join Andrew Dunn and Chris Triebel as they discuss Wake Up Dead Man! Then stick around for a review of Aster of Pan by Merwan. I can't wait for the sequel Au Bon Pain! SUBSCRIBE HERE: https://www.youtube.com/c/themedialunchbreak?sub_confirmation=1 BUY SOME MERCH: https://the-media-lunch-break.creator-spring.com Twitter: twitter.com/MediaLunchBreak Patreon: www.patreon.com/TheMediaLunchBreak Youtube: www.youtube.com/c/TheMediaLunchBreak Facebook: www.facebook.com/TheMediaLunchBreak Instagram: @TheMediaLunchBreak Or email us at: TheMediaLunchBreak@gmail.com Listen to and review us on Apple Podcasts, Spotify, and Google Podcasts! The Media Lunch Break on YouTube: www.youtube.com/c/themedialunchbreak Graphic art by: Melinda Filonuk - www.melgraphics.com www.etsy.com/shop/melgraphicscreations Eric Scotolati - https://twitter.com/ericscotolati

En entrevista para MVS Noticias con Sheila Amador en ausencia de Luis Cárdenas, Federico Döring, diputado del PAN, habló sobre garantía gubernamental para otorgar exenciones generales de impuestos federales y locales a la FIFA.See omnystudio.com/listener for privacy information.

En entrevista para MVS Noticias con Sheila Amador en ausencia de Luis Cárdenas, Laura Álvarez, diputada del PAN de la CDMX, habló sobre hoteles y moteles de CDMX exigirán registro a huéspedes para prevenir trata y feminicidios.See omnystudio.com/listener for privacy information.

Son parfum de beurre et d'agrumes imprègne les souvenirs de générations d'Italiens et du monde quand l'année touche à sa fin. Ce gâteau de pâte levée, à la mie filante régale du petit déjeuner aux veillées de fête, et il demande savoir-faire et patience pour la confectionner : 3 jours de travail entre pousses, pétrissage, façonnage et repos la tête à l'envers pour lui permettre de développer sa forme singulière, le pied cerclé de carton et le haut légèrement bombé. Le panettone est un pain du Nord, né en Lombardie, du côté de Milan au XIIIè siècle ou au XVè, bien des légendes et mystères entourent sa création. «Pan de tan» serait le pain de Toni, un garçon de la cour de Ludovico il Moro au XVè ou le «pan de ton», ce qui, en patois, voudrait dire «pain de luxe», en référence aux fruits confits qui le composent. Le panettone a inspiré bien des pains dolce, et autres gâteaux, y compris des déclinaisons et variations de panettone «régionales» en Italie et dans le monde. Il a des pains cousins que l'on retrouve à ses côtés pour les fêtes : le pandoro en forme d'étoile, un goût de vanille et d'œuf, le pan forte de Sienne en Toscane- pâtisserie très ancienne remontant au Moyen-âge également. Il est décrit comme un pain qui contient du poivre et du miel, le poivre venant du piquant des épices qui le composent. Pour cette émission, nous avons tendu un fil entre Paris et Naples où nous avons retrouvé Alba Pezone, cuisinière autrice, napolitaine, «ambassadrice» de cette cuisine italienne durable et diverse tout juste inscrite au patrimoine mondial immatériel de l'Unesco. Avec Alba Pezone, cuisinière, Napolitaine, passionnée, et autrice de «Pizza Mania, Dimore d'Italia», aux éditions Hachette, In Cucina chez Hachette Cuisine. Sur Instagram. Pour aller plus loin : - La cuisine italienne, entre durabilité et diversité bioculturelle inscrit à l'Unesco - La cucina povera sur Rfi - Angelo Motta et Gino Alemagna ont donné, après la guerre, une version industrielle de qualité aux prix plus accessibles qui a permis aussi son développement et son exportation. - Dolce, la pâtisserie italienne de Laura Zavan, aux éditions Marabout ou Venise, les recettes cultes aux éditions Marabout - On va déguster l'Italie, de François Regis Gaudry et ses amis, aux éditions Marabout. Encyclopédie gourmande et joyeuse de la cuisine, de la culture italienne, et de ses produits. - A niestra Cucina Siciliana, de Giuseppe Messina, éditions First, dans une toute nouvelle édition publiée en décembre 2025 - Vilain Gourmand, de Valérie Zanon pour une version au levain maison. Éditions Alternative. - À Naples : aux abricots du Vésuve, aux pommes annurca. - La cassata sicilienne  - Le nougat chaud de Benevento - Les fruits confits d'Apt Union avec pour guide Lionel Pélicier.   Quelques adresses où trouver un panettone : À Paris : - Christophe Louie - Brigat' : en version mandarine et marrons confits. 6 rue du Pas de la Mule, Paris 3ème À Marseille : - Chez l'Idéal, l'épicerie - House of Pain chez Pierre Houlès.   Programmation musicale : Respire de Tribeqa.

Music from: Moat Jumper, Three Quarter Ale, Les Jongleurs, Pandora Celtica , Wicked Tinkers, Thee Corvids, The Bilge Pumps, Celtic Stone, Dregs, Myschyffe Managed, Brian "Tinker" Leo, Bell Book & Canto, Faire to Middlin', Bells and Motley Consort, Fugli, Nancy Daily-Green, Barleyjuice, Axel the Sot, Shakespeare Approves, Withe & Stone, Vince Conaway, Porter & Stout VISIT OUR SPONSORS Bawdy Podcast https://renfestbawdypodcast.libsyn.com/ Happy To Be Coloring Pages https://happytobecoloring.justonemore.website RESCU https://RESCU.org The 23 Patrons of the Podcast https://www.patreon.com/RenFestPodcast The Ren List http://www.therenlist.com SONGS Song 01: Christmas At The Renaissance Fair by Moat Jumper from Christmas At The Renaissance Fair www.moatjumper.com Song 02: Gloucestershire Wassail [03] by Three Quarter Ale from Shall We Gather By The Fire www.facebook.com/pg/threequarterale Song 03: Silver Bells [03] by Les Jongleurs from Jongleurs' Christmas Magic Song 04: Deck the Halls [05] by Pandora Celtica from On Thin Ice www.pandoraceltica.com Song 05: A Piper's Christmas by Wicked Tinkers from Rant Song 06: Yule Shade by Thee Corvids from The Wylde that Quilts the Leaves http://linktr.ee/theecorvids Song 07: A Pirate's Christmas Wish by The Bilge Pumps from A Pirate's Christmas Wish www.thebilgepumps.com/ Song 08: I Saw Three Ships [01] by Celtic Stone from A Light Shall Shine - Music for Christmas Song 09: Here We Come a-Wassailing [02] by Dregs from Dreggnog www.the-dregs.net Song 10: Carol of the Bells [04] by Myschyffe Managed from Faire Tidings www.myschyffemanaged.com Song 11: Riu, Riu Chiu by Brian "Tinker" Leo from An Uncommon Christmas www.facebook.com/tinkersings/ Song 12: Christmas Isn't Christman by Bell Book & Canto from Poor Life Choices www.bellbookandcanto.com Song 13: Veni Veni by Faire to Middlin' from A Faire to Middlin Christmas www.fairetomiddlin.com Song 14: Pat-a-Pan [01] by Bells and Motley Consort from Wassail! A Bells and Motley Christmas www.bellsandmotley.com Song 15: What Child is This [03] by Fugli from Mythtery Playing: A Christmas Album www.povera.com Song 16: The Holly and the Ivy [04] by Nancy Daily-Green from Celebrating Christmas Yore www.reverbnation.com/nancydailygreen/ Song 17: Whiskey For Christmas by Barleyjuice from This Is Why We Can't Have Nice Things www.barleyjuice.com Song 18: I Want a Keg of Guinness Beer for Christmas by Axel the Sot from Raising Ale www.facebook.com/pg/Axel-the-Sot-145245625508912 Song 19: Shakespeare's 12 Nights of Christmas by Shakespeare Approves from Those Midsummer Nights: Shakespeare's Summertime Study Guide www.shakespeareapproves.com/ Song 20: It Came Upon a Midnight Clear [02] by Withe & Stone from On A Cold Frosty Morn Vol 2 www.witheandstone.com Song 21: Good King Wenceslas [04] by Vince Conaway from Hang The Holly www.vinceconaway.com/ Song 22: Coventry Carol [05] by Porter & Stout from Christmas On The Cutlass www.www.porterandstout.fr Song 23: Silent Night [04] by Hey Nunnie Nunnie from Every Day Is Christmas! www.heynunnienunnie.com/ Song 24: Auld Lang Syne [04] by DeCantus from Bee of Good Cheer! www.decantus.com/   HOW TO CONTACT US Please post it on Facebook https://www.facebook.com/renfestmusic Please email us at renfestpodcast@gmail.com OTHER CREDITS Thee Bawdy Verson https://renfestbawdypodcast.libsyn.com/ The Minion Song by Fugli www.povera.com Valediction by Marc Gunn https://marcgunn.com/ HOW TO LISTEN Patreon https://www.patreon.com/RenFestPodcast Apple https://podcasts.apple.com/us/podcast/renaissance-festival-podcast/id74073024 Spotify https://open.spotify.com/show/76uzuG0lRulhdjDCeufK15?si=obnUk_sUQnyzvvs3E_MV1g Listennotes http://www.listennotes.com/podcasts/renaissance-festival-podcast-minions-1Xd3YjQ7fWx/

INE sanciona a partidos con casi 10 millones por irregularidades  Explosivos, armas y detenidos en nuevo golpe al crimen en Michoacán ¡Cae banda de autopartes ilegales en CDMX! Más información en nuestro Podcast

Here's a truth that'll make you uncomfortable: Getting rejected isn't the real problem. The real problem is that you're not doing the work upfront to lower the probability of rejection in the first place. That's the insight that hit when Wendy Ramirez, a leading Mexican sales expert and author of Lo que nadie habla de las ventas: Estrategias para no ser llamarada de petate or What Nobody Talks About in Sales: Strategies to Avoid Being a Flash in the Pan, joined this week's episode about handling rejection on Ask Jeb on The Sales Gravy Podcast. After forty years in sales, I've been rejected yesterday, I'll get rejected tomorrow, and I've been rejected so many times that I almost don't even feel it anymore. But that doesn't mean you can just "let it roll off your back" like some sales trainers tell you. If you're struggling with rejection, you're not alone. And more importantly, you're not broken. There's a biological reason it hurts so badly, and there are concrete techniques you can use to handle it. The Biology of Rejection: Why Your Brain Is Working Against You Here's what most sales trainers won't tell you: Rejection is supposed to hurt. It's baked into your DNA. Forty thousand years ago, human beings lived in small groups around campfires. If you got kicked out of the group and walked away from that campfire into the dark, you were in danger. You were part of the food chain. There were things out there hunting you, rival tribes fighting over scarce resources, and being alone meant you probably weren't going to pass on your genes. So human beings who avoided rejection were more likely to survive. This fear of rejection became an evolutionary advantage, and it's still with us today. That's why selling is so hard. It's why most people don't want to go into sales. Walk into the accounting department and ask if anyone wants to make cold calls with you. They're going to look at you like you've got four heads because nobody wants to be in a profession where you have to do something that unnatural. This avoidance of rejection serves us really well in most of our life. You need to get along with your family, your coworkers, other people in the world. Knowing where the line is that would get you rejected is super important to being able to work as a team. But in sales? It's killing your performance. The Truth About Objections: You're Creating Them When people reject you or give you an objection, what they're expressing is their fear. They're expressing their fear of moving forward, their fear of change, their fear about whether or not you'll do what you say you're going to do. And here's the brutal part: Most of the time, you created that fear. The easiest way to deal with an objection is to do good discovery and do a good job in the selling process. When salespeople make the mistake of not doing any discovery, they don't have any ammunition. So the rejection sounds like this: "Your price is too high." That's the only way a person really knows how to explain it. If they don't like you, they'll say, "We need to go think about this." Think about it this way. If you do a great job of building the relationship, asking questions, listening, getting all of their pain and aspirations on the table, and then telling their story back to them in the context of how you can help them solve their problems, then you've earned the right to ask them. When you ask and they give you an objection, you know what to do because you already have that information. You're just bringing back and putting on the table the things that they already told you. The worst rejections I've gotten? They're usually when I lost a deal because I didn't do discovery. And then I found out after the fact that I missed something I shouldn't have missed. It's not so much the rejection that hurts. It's the shame and the gut punch that I didn't do my job as a salesperson, and therefore I created the environment that made that objection so big that I couldn't get past it because I had no information to work with. The Ledge Technique: Your Magic Quarter Second Let's get practical. You're on a prospecting call, you're engaging another person, and they hit you with an objection which feels like rejection. What do you do? Use a technique called the ledge. Neuroscientists would call it the magic quarter second that allows your executive brain (your prefrontal cortex) to get in control of your emotional brain (your limbic system) and that little structure inside your brain called the amygdala that triggers the fight or flight response. The ledge is just something you've memorized that you say automatically whenever you get that particular objection. The thing about prospecting objections is that we know every potential one. They're not surprising. People are going to say, "I don't have any time," "I'm not interested," "I'm already working with someone," "Your prices are too high," "This is not a good time for me," "I'm not the right person." So if someone says, "I'm too busy right now," I just say, "I figured you would be. And that's exactly why I called." That's all I say. The reason I have that memorized is because when they say that, rather than getting consumed by the fight or flight response, I know exactly what to say. In that magic quarter second, my brain that's smart takes over and says, "This is not a threat. This is just a person who says they don't have enough time right now, and you know exactly how to handle it." Relating: The Slower Form of the Ledge If you're in a slower type of objection (let's say you're asking someone to buy from you), use a form of the ledge by relating with them. When someone gives you an objection, they're expecting conflict because we're just human beings. If I tell you no, I'm expecting you to come back at me. So they give you the objection and they're ready for it. If you punch back, they're going to punch back. Everybody loses. But instead, if you relate to them, you lower the temperature. You get on their side of the table. You show empathy without agreeing with them. Here's what that sounds like in practice: Someone says, "This is more than I wanted to pay." You could say, "Well, look, it's really not that expensive and you're going to get so much out of it." Or you could say, "I totally get where you're coming from. It sounds to me like you're someone who makes really good decisions with their money." You're not agreeing that the price is too high. You're agreeing that they're a person who makes good decisions with their money. You're lowering the conflict level and increasing the collaborative level. You're diffusing them and breaking their pattern. Then you can go into, "When you say it's a little bit more than you wanted to pay, how do you mean? What does that mean to you?" But you always start with relating to them. The One Basic Truth About Objections Here's something you need to understand: In every sales conversation, while facing every objection, it is the human being that has the greatest emotional discipline that is most likely to have control over the conversation. And if you control the conversation, you can handle the objection. This is called relaxed assertive confidence. When you demonstrate this behavior, it almost acts like a magnet. People lean into you. And emotionally (because emotions are contagious), it causes them to respond in kind. When you come off as relaxed and confident, suddenly they lower their conflict level and they become more confident in you as well. There's nothing that handles objections better than pure old confidence. Persistence Always Finds a Way to Win Let me leave you with this: Persistence always finds a way to win. Always. In the US, 44 percent of salespeople only face rejection once before they give up. 78 percent give up after asking twice. 91 percent give up after asking only four times. But on average, it takes eight asks to get someone to say yes to you. So think about that. The statistics are in your favor. The more you're persistent, the more you keep asking, the more likely you're going to get what you want. The more you face rejection, the more likely you're going to get what you want. The inspirational part? Doing that is really hard. It takes discipline, and discipline is defined as sacrificing what you want now for what you want most. The easiest, fastest way to put on that emotional armor and dive into objections and rejections is to know exactly what it is that you want. So that in that moment when your brain is saying to you, "Run, don't do this, don't face it," you remember that on the other side of that rejection is the one thing that you want more than anything else in the world. And you're willing to go through it, around it, under it. No matter what it takes. You're willing to do whatever it takes to get that thing that you want. That's when rejection stops being the problem and starts being just another step in your process. Ready to transform your prospecting approach and fill your pipeline? Grab a copy of The LinkedIn Edge, Jeb's latest book on combining LinkedIn, AI, and proven outbound strategies to sell more and close bigger deals.

Laura Àlvarez, diputada del PAN

On Prophecy Radio episode #147, Karen and Kristen discuss Percy Jackson and the Olympians season 2, episode 1 and everything that goes with it. They also delve into the latest news, including some new footage from the upcoming season, and recap all the best moments from the new Official Percy Jackson Podcast premiere. New episodes of Prophecy Radio air every other week. All discussions are PG-13. News and Updates (00:09:42) So, remember us dreaming of Percy Jackson video games? Fortnite is the first! You won't want to miss the cast reactions to the game, either. Have you seen this billboard, yet? These kids have style. Has anyone else been paying attention to their clothes during this press tour?! If you haven't heard of Percember, now you have. A little behind the scenes footage for the Percy Jackson and the Olympians season 2, episode 1 premiere! Oh, and Percy Jackson and the Olympians is certified fresh at 100% for season 2! Percy Jackson and the Olympians season 2, episode 1 breakdown (00:21:48) Grover asks for a sign and gets... thunder? Zeus? You got something to say? Grover meets Allison Simms on his hunt for Pan. We love cool details like the tentacle/bedsheet connection. Book to show changes: How do we feel about Tyson and Percy living with Sally instead of being at boarding school? Is the eyeball weird for you guys? Kristen thinks its just her brain. Annabeth will pick you up in a freaky taxi if she has a bad dream. Tyson's one eye and the Gray Sisters one eye are not the same thing. Percy and Annabeth have both kept some things out of their letters. Thank goodness Tyson is fireproof! No Colchis bull makes Karen a little disappointed. Luke is up to no good, and this time it involves stabbing a friend. What the heck, Luke?! Meet Tantalus, whom we did not worry about picturing when we read the book. We get some classic Disney innuendo and Karen can't believe they got away with it. Percy chooses Tyson, and we don't think he's in the wrong. Tyson is going to make us cry this season. We just know it. Annabeth settles in to talk to her girl bestie... who just so happens to be a tree. Don't judge. Empathy link dream, baby! Percy and Grover are so freaking cute in this scene. Coordinates. Percy goes to Annabeth this time, because he's got an idea on how to save Thalia's tree and camp. New season, new post credits artwork, and there are hints at all the big tentpole monsters and moments that we can think of. We are both very interested in some art prints of the credit artwork. Percy Jackson and the Olympians Official Podcast highlights (01:35:29) Should the official podcast be called Grover Underwood and the Olympians instead? Walker and Leah are Aryan's first guests. We get a look at the original trio's chemistry read and they are SO YOUNG! Walker is being very careful about the Percabeth timeline. He knows they have a long way to go in their friendship before either of them will be ready to play their bond like anything more. Welcome Daniel Diemer, aka Tyson! Lots of stories about their acting coach, Andrew, especially when he told Daniel his run looked a little too goofy. Oops. Too bad he wasn't going for anything but just, running. Tyson's Taxi Time Talk Show is the podcast's inspiration Jason Mantzoukas crashes the pod and he is CHAOS (copied and pasted directly from Karen's notes). We love that they are using the Big House to record the podcast. Thanks for listening, and tune in next time for episode 148, where we'll recap Percy Jackson and the Olympians season 2, episode 2, as well as the next episode of the Official Percy Jackson Podcast. This episode's hosts are: Karen and Kristen Each episode, Prophecy Radio's hosts will discuss any official news coming out of Camp Half-Blood before doing a chapter by chapter reread of Percy Jackson or one of Rick Riordan's other series. Follow Us: Instagram // Facebook // Tumblr Listen and Subscribe: Audioboom // Apple // Spotify Feel free to leave us your questions or comments through any of these mediums! You can also email us at prophecyradiopodcast@gmail.com or visit our homepage for archives and more information about our show. Prophecy Radio is a Subjectify Media podcast production. Visit Subjectify Media for more shows, including Not Another Teen Wolf Podcast, ReWatchable, and Not About The Weather, and for all our latest articles about the stories we're passionate about.

As IT: WELCOME TO DERRY concludes it's first season Josh welcomes co-showrunner for some spoiler talk plus his Jason's adventures through Hollywood screenwriting, from the disappointment of PAN to the triumph of WONDER WOMAN. UPCOMING EVENTS Sam Heughan 12/15 in New Jersey -- ⁠Tickets here⁠ Walker Scobell 12/19 in NYC -- ⁠⁠⁠⁠⁠⁠⁠⁠⁠Tickets here⁠⁠⁠⁠⁠⁠⁠⁠⁠ Check out the ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Happy Sad Confused patreon here⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠! We've got discount codes to live events, merch, early access, exclusive episodes, video versions of the podcast, and more! Learn more about your ad choices. Visit megaphone.fm/adchoices

1. Siguen las interrogantes sobre la investigación en el caso del asesinato de Gabriela Nicole 2. Molestos los estadistas con Darren Soto por proponer que se incluya el ELA territorial en proyecto de status 3. Optimista Pablo José con la transición del PAN a SNAP 4. Temprano en enero el Senado verá los recientes nombramientos de la gobernadora. Populares se oponen a nombramiento de Hiram Torres Montalvo a DACO 5. En espera de la firma del gobernadora la medida para eliminar las escoltas de exgobernadores- Vocero 6. Por culpa de la AEE y LUMA no están listos los estados financieros del gobierno de Puerto Rico- END- Alta tensión 7. GENERA no tiene plan alterno para garantizar suplido de gas natural si New Fortress (su dueña) incumple 8. Trump quiere investigar el “dumping” de arroz a Puerto Rico- Metro 9. Tribunal Supremo federal en camino a reconocerle más poderes a TrumpSee omnystudio.com/listener for privacy information.

Here's a question that'll stop you in your tracks: Would you let someone walk up to you, take your wallet, empty out all your cash and credit cards, and leave your family with nothing? Of course not. That's insane. But if you're in sales and you let rejection stop you from making calls, booking appointments, and closing deals, that's exactly what you're doing. You're handing over your commission check to fear. That was the powerful insight from Wendy Ramirez, a leading Mexican sales expert and author of Lo que nadie habla de las ventas: Estrategias para no ser llamarada de petate or What Nobody Talks About in Sales: Strategies to Avoid Being a Flash in the Pan, on a recent episode of Ask Jeb the Sales Gravy Podcast. When you give rejection the power to stop you, you're literally taking money away from your family. Let that sink in. The Science of Why Rejection Hurts Let's get one thing straight right now: I'm not going to sit here and glorify rejection. Nobody wants to be rejected. Unless you're a pure sociopath who feels nothing (and there aren't many of those in sales), rejection is going to hurt you. It doesn't matter if you're highly outcome-driven like me or highly empathetic. Rejection hurts everyone in different degrees, but it hurts. Period. Here's what's actually happening inside your body when you get rejected: Your brain treats rejection like a physical threat. Fight or flight kicks in. It's a neurophysical response that dumps adrenaline into your bloodstream, makes your heart race, and creates this overwhelming urge to either run away or fight back. That uncomfortable feeling? That's not weakness. That's just science. The Problem: Sales Is a Rejection-Dense Profession Here's the brutal reality about selling: If you don't face rejection, you're going to fail. Sales is what I call a rejection-dense profession. When you hit rejection in sales, you don't have the option of going backwards. You can go over it, through it, around it, or dig under it. But your job is literally to go out into the world, find rejection, and bring it home. That's the job description. That's what we signed up for. Think about it like this: A few years back, I got invited to jump out of an airplane with the Golden Knights, the U.S. Army's elite parachute team. I'm not a skydiver (just like I'm not a Spanish speaker), but what an honor to jump with probably the best parachute team worldwide. I asked the guy I was tandem jumping with how many times he'd jumped. Ten thousand times, he said. So I asked him, "Do you ever get afraid?" His answer changed everything for me: "Of course I get afraid. I'm jumping out of an airplane. Your body is going to get afraid. I've just done it so many times that I know exactly what the process is. I'm able to get myself to jump even though my brain says this is the wrong thing to do." That's exactly what you have to do in sales. Building Obstacle Immunity In my book Objections, I talk about something called obstacle immunity. It's the process human beings go through of facing something that feels really big and uncomfortable, but doing it enough times that we lower the size of that obstacle. The fear of being rejected never fully goes away. But you can lower that fear. Here's how you do it: Develop the Ledge Technique The ledge technique allows you to interrupt or break the pattern you feel in fight or flight when you get rejected. It helps you regain your poise and confidence so you know what to say next. It's about taking control of the conversation when someone gives you an objection. Understand the Difference Between Objections and Rejection An objection isn't the same as a rejection, even though they feel essentially the same in your body. When someone objects, they're giving you information. When someone rejects you, they're saying no. Learn to tell the difference. Focus on Emotional Discipline In emotionally tense situations, you've got to be emotionally disciplined. You've got to gain control, gain poise, and handle those objections in a way that allows you to achieve your desired outcome. The Mindset Makes All the Difference Sales is a skill position. There are particular skills, techniques, and tools you need to deploy to be good at the craft. But the thing that makes all the difference is what's in your head. This is no different than athletics. Elite athletes all operate at similar skill and talent levels. They'll tell you that winning or losing happens between the ears. I'm a big golfer. The difference between me having a really good game or a really bad game is one hundred percent what's in my head. My body knows what to do. I know how to swing the club. The mental game is everything. If you don't fix your mindset, you're not going to get the results you're expecting. People think they're stuck and can't move forward. But it's just about moving your mindset. Get more information. Learn something new. Apply what you learn. That's how you increase your mindset and get better results. Stop Giving Away Your Power When Wendy said, "When you give to the clients, when you give to the people that rejected you, the power to stop you, that's what exactly you do," it hit me like a freight train. You wouldn't let someone take your wallet. You wouldn't let someone steal from your family. So why would you let rejection steal your future? The next time you feel that uncomfortable feeling in your chest after getting rejected, remember this: That feeling is just your body doing what it's supposed to do. It's not telling you to quit. It's telling you that you're doing something hard, something that matters, something that will pay off. Face your fear. Make the next call. The difference between average salespeople and elite performers isn't talent. It's the willingness to go through rejection instead of around it. That's how you win. Ready to take your sales game to the next level? Check out The LinkedIn Edge to learn how to leverage the world's most powerful B2B social selling platform to fill your pipeline, build relationships, and close more deals.

The great filmmaker Guillermo Del Toro has a new adaptation of Frankenstein. He saw the 1931 film when he was 7. “I realized I understood my faith better through Frankenstein than through Sunday Mass,” he tells Terry Gross. “And I decided at age seven that the creature of Frankenstein was gonna be my personal avatar and my personal messiah.” His other films include Pan's Labyrinth and The Shape of Water. Also, we hear from Cameron Crowe, who wrote and directed Jerry Maguire, Say Anything and the semi-autobiographical film Almost Famous, about writing for Rolling Stone starting at age 15. His new memoir is about being a naive teen, exposed to the excesses of rock musicians.Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy