Statement that apparently contradicts itself
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Patrick K. O'Donnell explains how at 4:05 a.m. on June 6, 1944, the Rangers received the order to man their boats amidst a massive Allied naval bombardment. The plan involved Force A, which included Dog, Easy, and Foxcompanies, assaulting the cliffs at Pointe du Hoc, while Force B and C were to provide reinforcements and secure secondary objectives. However, the operation immediately faced complications as heavy seas and navigational errors threatened to derail the mission. A critical mechanical failure in the radar of Lieutenant Beaver's lead boat caused the landing craft to drift off course toward the wrong objective, blowing the Rangers' timetable by 30 to 40 minutes. Paradoxically, this delay likely saved Force A from destruction. A scheduled flight of A-20 bombers dropped their ordnance on the point just as the Rangers were supposed to land; had they been on time, they would have been caught in the friendly bombardment. Upon finally reaching the correct beach, the Rangers faced immediate danger; Sergeant Len Lomell, a central figure of Dog Company, stepped off his landing craft into a 10-foot-deep shell hole and had to walk across the bottom to reach the shore. Meanwhile, the 5th Ranger Battalion, intended as reinforcements, never received a critical radio message and proceeded to their secondary objective at Omaha Beach. This mistake proved historic, as their arrival at Omaha helped break the stalemate on a beach where the invasion was otherwise stalled. (2)1944
Holly Fretwell explains how NEPA, the Endangered Species Act, and the Clean Air Act create "red tape" and litigation that stall restoration projects. She highlights that the Clean Air Act paradoxically limits prescribed burns, which would prevent far more damaging, high-emission wildfires. Some litigious groups cling to unrealistic, romanticized visions of unmanaged forests. (2)180E HARLEM HEIGHT00
You may think of allergies as causing sniffly noses and congestion in the spring or fall. But allergies can go far beyond that. As Dr. Kari Nadeau points out in this episode, allergies can affect us from head to toe, including eyes, nose, throat, lungs, sinuses, skin and gut. In the most dangerous instances, the whole body is threatened with an anaphylactic reaction. That's a medical emergency! One in three Americans will develop allergies at some point in our lives, so it's important to know what works to control them. At The People's Pharmacy, we strive to bring you up to date, rigorously researched insights and conversations about health, medicine, wellness and health policies and health systems. While these conversations intend to offer insight and perspective, the content is provided solely for informational and educational purposes. Please consult your healthcare provider before making any changes to your medical care or treatment. How You Can Listen You could listen through your local public radio station or get the live stream at 7 am EST on Saturday, June 6, 2026, through your computer or smart phone (wunc.org). Here is a link so you can find which stations carry our broadcast. (Welcome, Huntsville, Alabama!) If you can't listen to the broadcast, you may wish to hear the podcast later. You can subscribe through your favorite podcast provider, download the mp3 using the link at the bottom of the page, or listen to the stream on this post starting on June 8, 2026. What Are Allergies? We begin our discussion of your allergy survival guide with an explanation of what is happening during an allergic reaction. The immune system perceives some foreign compound, usually a protein, as dangerous even though normally it would not be. So it reacts by trying to flush the invader out by producing extra mucus. The turbinate sinuses can make one to two gallons of mucus a day, and naturally, it has to go somewhere. That's why you might be congested. Having all that mucus in the sinuses can also encourage bacterial growth, so if the allergic reaction persists, some people have to deal with sinus infections. Emergency Treatment In determining what works, you need to know the nature of the reaction. If you have two or more organs involved, if you are having trouble breathing or if you feel dizzy, you may be in the midst of an anaphylactic reaction. What works for that is an epinephrine injection and immediate medical attention. This is potentially life-threatening, so you will want to figure out what triggered the reaction so you can avoid it in the future. Once someone has suffered one anaphylactic reaction, they should keep epinephrine with them at all times in case of another episode. Epinephrine comes as a self-injector pen or a nasal spray (neffy). Can You Spot Drug Allergies? In the warnings that are rattled off as part of a TV ad for a pricey new drug, we often hear viewers cautioned not to take the medicine if they are allergic to it. That sounds like simple common sense, but it also has a Catch 22 quality. How do you know you are allergic to a medication unless you take it–and experience an allergic reaction for which you might need treatment. Most of these presumably are immune system-mediated reactions, in which the body produces IgE. That is how allergies to penicillin or sulfa drugs work. Some drugs cause a different type of reaction, not IgE-mediated but dangerous nonetheless. Lisinopril is the most commonly prescribed blood pressure medicine in this country. Like other ACE (ACE is short for angiotensin-converting enzyme) inhibitor medications, lisinopril can trigger angioedema. This swelling can affect the face, lips, tongue and throat, where it can compromise breathing. The most insidious aspect of this reaction is that it can occur after the person has been taking the drug without problems for weeks, months or even years. “Red man syndrome” or infusion reactions in people taking vancomycin can likewise occur without warning. The last type of drug reaction is not actually an allergy at all, although people occasionally use that terminology. It is better described as sensitivity. For example, a stomachache is a common reaction to the antibiotic erythromycin. Some people are disabled by this abdominal pain and try to limit their exposure to erythromycin thereafter. What Works and What Doesn't? Since the immune system is acting inappropriately to cause allergic reactions, treatment should involve immunotherapy. Eye drops can help eyes feel less itchy and irritated. Likewise, OTC nose drops or nasal sprays can often help the nose. The corticosteroid Flonase (fluticasone) and the antihistamine Astepro (azelastine) are good examples. During allergy season, some people find that a daily nasal wash (with a neti pot or NeilMed device) can help reduce the mucus and remove the allergens such as pollen causing the reaction. There are also oral antihistamines and inhalers for asthma. For decades now, allergists have offered their patients shots to help desensitize them to the allergen causing their trouble. Joe had these as a child and teenager and has been largely free of allergies since. Not everyone gets such lasting relief. Complications from Current Therapies Medications have side effects, and that is true of allergy medicines as with other drugs. Antihistamines, especially the older ones like Benadryl (diphenhydramine), are notorious for causing drowsiness. That's one reason it is often included in nighttime pain relievers as the “PM” in drugs like Advil PM. We worry about regular use of such antihistamines because it has been linked to a greater risk for dementia. A second-generation antihistamine such as Allegra (fexofenadine) is much less likely to make someone feel sleepy. However, Dr. Nadeau has seen patients on antihistamines suffer worse allergies if they stop suddenly. The People's Pharmacy has received hundreds of reports from people who experienced unbearable itching upon discontinuing Zyrtec (cetirizine) or Xyzal (levocetirizine). This can last for weeks. Doctors don't usually worry much about steroid nasal sprays like Flonase because they are topical. Presumably, nasal tissues pick up most of the dose. Just the same, using such a nose spray day after day for a long time could result in systemic steroid exposure that is not trivial. Stronger Medicine Dr. Nadeau is enthusiastic about the benefits of two potent prescription medicines. One is Xolair (omalizumab). It was originally developed to prevent asthma, but is now approved for chronic sinusitis, food allergies and chronic hives. Paradoxically, Xolair is one of those medicines that could cause a severe allergic reaction even on the first dose, so the FDA warns that the initial injection should be given in a healthcare setting prepared to treat anaphylaxis. This is uncommon, though, occurring in 0.1 to 0.2% of patients. The other medication Dr. Nadeau is prescribing for allergy patients who don't respond well to other treatments is Dupixent (dupilumab). The FDA has approved this medicine to treat a wide range of conditions, including eczema, asthma, chronic sinusitis, allergic reactions affecting the esophagus and chronic hives, among other things. Most insurance companies will not cover this pricey injection unless the patient has failed all other therapies. Fighting Air Pollution: What Works Air pollution makes allergy symptoms worse, so using an effective air filter inside the home is a good step. A HEPA (high-efficiency particulate-arresting) filter is ideal, especially as part of the air-handling system. If that's not possible, utilizing a MERV 13 in the part of the home where you spend the most time is a good second choice. Sonu One new option for treating allergies is acoustic resonance therapy with the SoundHealth Sonu headband. It uses vibration from sound to loosen mucus from the sinuses so that they can clear. The FDA has approved its use for children as well as adults. New research was just published demonstrating its helpfulness in treating children with nasal congestion (Oto-Open, April-June 2026). SoundHealth has underwritten The People's Pharmacy podcast. Dr. Nadeau has also been compensated for her role in conducting studies of this device (International Forum of Allergy & Rhinology, Dec. 2025). Since it does not employ medications, there are no drug side effects. This Week’s Guest Kari C. Nadeau, M.D., Ph.D., is Dean of the UCLA Fielding School of Public Health ( starting July 1 2026). Until then, she holds many other positions. At Harvard T. H. Chan School of Public Health she is: John Rock Professor of Climate and Population Studies; Chair of the Department of Environmental Health; and Director of the Allergy, Extreme Weather, and Exposomics Lab. Dr. Nadeau is Professor of Medicine at Harvard Medical School and serves in the Division of Allergy and Inflammation at Beth Israel Deaconess Medical Center. She is an Adjunct Professor at Stanford Medical School. Dr. Nadeau is also the co-author of The End of Food Allergy, which provides strategies for treating and preventing food allergies in children. Here is a link to the research underway in her Harvard laboratory. PHOTO CREDIT: STACY GEIKENTaken in April 2017 at Kari Nadeau’s professorship dinner The End of Food Allergy: The Science-Based Plan That Turns Food into Medicine The People's Pharmacy is reader supported. When you buy through links in this post, we may earn a small affiliate commission (at no cost to you). Listen to the Podcast The podcast of this program will be available Monday, June 8, 2026, after broadcast on June 6. You can stream the show from this site and download the podcast for free. This episode has additional information about Nasalcrom (cromolyn sodium nasal spray) and its effect on mast cells; alpha gal allergy to red meat; and the latest thinking on preventing peanut allergy among young children. Download the mp3
How might aligning with Deep Time assist us in trusting ourselves and, more importantly, trusting the constant unfolding of the cosmos?In this episode, I invite us to contemplate the nature of time to consider how we relate to our own processes.From the perspective of deep time, we are always in process. Across lifetimes, across different chapters within our current lifetime, and across myriad collective evolutions we move through.At the same time, the human experience of impatience, frustration, and disappointment comes with the territory. The question isn't about avoiding or bracing for these experiences. But rather, how one can create space for deeper curiosity toward various layers of our experiences.Curiosity is a portal. It's a way of aligning with the larger flow of life, with the trickster current, with this cosmic body we are part of.I invite you to gaze at your own resistance the way you might gaze at a beautiful aquarium. Letting yourself be in awe without feeling the need to interfere. To treat the light, spacious observing of your own patterns as a creative practice, a way of learning to enjoy the view of your own becoming. This is what mystics and sages call presence: being so engaged with your experience that the impulse to fix or change it dissolves.Paradoxically, this becomes the secret to alchemizing tension. Because life is always expanding in all directions._______Resources & LinksIf you've enjoyed and benefited from the podcast, I invite you to apply for private ongoing guidance with me. This work is designed to support you in refining your self-leadership skills, moving through important life thresholds with grace, and expanding your capacity for creative expansions.Join the waitlist for an upcoming summer course on unleashing your inner creative beast here.Be the first to hear when spots open up for singing lessons and somatic sessions in the Vocal De-Armoring style here.Support the podcast on Substack hereTry the incredible breathwork and meditation app Open for 30 days free using this special link.This podcast is hosted, produced, and edited by Jonathan Koe. Theme music is also composed by me! Connect with me through Instagram @jonathankoeofficial, and listen to my music. For podcast-related inquiries, email me at healingthespiritpodcast@gmail.com. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit jonathankoeofficial.substack.com/subscribe
Originally aired August 18, 2022. In this episode Eckhart answers questions about suffering as part of the human condition. He says many spiritual traditions focus on awakening as the end of suffering. Paradoxically, Eckhart says we need to go through a certain amount of suffering to realize we don't want it anymore. He says oftentimes our suffering is caused not by our life situation, but our reaction to it. He believes much of our pain is generated by the mind and its toxic narrative. Eckhart says we can move beyond suffering by embracing life's challenges. He says they are a doorway into the transcendent realm and that when we step into the light of consciousness, we are free from suffering at last. Hosted on Acast. See acast.com/privacy for more information.
Title: Introduction to 2 Thessalonians Text: 2 Thessalonians Scripture Intro: [Slide 1] Turn in your bible to 2 Thessalonians chapter 1. After spending several weeks dissecting 1 Thessalonians thought by thought, it would be good for us to review what we have learned. However, Paul kind of does that for us with his follow up book to the Thessalonian church, called 2 Thessalonians. So rather than do a review sermon, we'll continue on to Paul's second letter to this church. Now I don't want you to get the impression that 2 Thessalonians will be boring or merely a rehashing of all that we've already learned. In fact, this letter takes what we've seen already and adds to and expands upon it. And of course, as is our custom with smaller books like this, after I introduce it, we will read through the entire letter so we can see all that Paul says in 1 reading. But before we dive in to all the details about this book – let's take a moment to ask the Lord to be with us as I introduce this book to you. [Slide 2] Series or Two Independent books? Since the books have so many related themes, and since many elements of this introduction are repeated from 1 Thessalonians, one might wonder why I chose to introduce the two books separately. Similarly to 1 and 2 Peter, 1 Thessalonians is fairly lacking for discrepancies or differences of opinion regarding authorship, date, and occasion. But 2 Thessalonians is another matter entirely. We'll get to some of these discrepancies very soon. But it should be said as a reminder that these letters are certainly NOT two independent books. Not only were they written to the same audience, but they were probably written within months of each other, as we'll discuss in a moment. And as we've said, many of the themes opened in 1 Thessalonians are elaborated on or at least mentioned in 2 Thessalonians. We should very much view them as we view 1 and 2 Corinthians. They are two letters which build on each other and address issues a particular congregation faced in a particular point in time. Of course, since the bible is living and active, even though the original audience received the letter this way – we not only receive the same message when we put ourselves in their shoes and see it through their eyes, but we also gain more layers of spiritual insight and understanding since we have the entire and completed revelation of God to us in the 66 books of the Old and New Testaments. Throughout our study I will endeavor to see from the text what the Thessalonians saw – but not stop there. We must see how this message fits with the whole context of the Scriptures and how the themes of all the scriptures pour into this letter. But let's start unpacking some of the things that are… disputed. [Slide 3] Authorship: One of the first items the early church councils considered when deciding whether or not a book should be received as Scripture is whether or not it was written by a trusted member of the early church community. This is one of the reasons that the book of Hebrews was one of the last to be received, because the human author remains unknown. That being said, who is the author of 2 Thessalonians? Early church fathers and biblical scholars up to the mid 1900s had always almost universally accepted that the words written in verse 1 are accurate and that Paul the apostle wrote both the first and second letter to the Thessalonians. Both letters also include Silvanus and Timothy as authors. We dealt with the topic of co-authorship in our introduction to 1 Thessalonians. We settled on Paul being the primary writer or dictator of the writing, but with Silvanus also called Silas and Timothy making contributions along the way. But in the mid 1900s a few scholars began turning the tide of historical opinion concerning Pauline authorship. Paradoxically the modern arguments against Pauline authorship conclude that 2 Thessalonians is both too similar to 1 Thessalonians and also that it is too different. In the too similar category, some scholars say that themes and structure are reproduced in 2 Thessalonians so well, that what we have is less likely a second letter and more likely a letter written at the same time but to a different audience. Or perhaps a letter written later by a different author adopting the persona of Paul, attempting to not stray too far from what he had already said. In the too different category, we mainly find the argument that the eschatology in 1 Thessalonians points to an immanency of Christ's return, as though it could happen any time, and in 2 Thessalonians we find an eschatology that points to things that must happen before Christ returns. However, when we analyze the similarities and differences, we are not forced to conclude that Paul did not write this at all. In fact, it seems quite far fetched to come up with these explanations. It is much easier to conclude that the similarities center around the author addressing the same purpose around the same time. And the differences can easily be explained by understanding how we humans tend to pendulum swing and need to be taught two sides in order to keep us where we should be. As an illustration, the differences we see in the letters are guardrails to keep us on the road. The similarities are the destination we are traveling toward. When all is said and done, it becomes quite clear that there is no reason to doubt Paul being the author of this book. So, who is the original audience? [Slide 4] Original Audience: Well, let's look at the red arrow on this map. Thessalonica is a city situated on an ideal natural harbor on the Thermaic Gulf of the Aegean Sea. Four major Roman roads intersected at the city. Thessalonica became the capital city of the province of Macedonia in 168 BC and served as a vital place of trade and political activity in Macedonia. It was also classified as a free city, given the right to govern itself under the Roman Empire. It was to this city that Paul fled after being poorly treated in the city of Philippi by those who employed a slave girl infected by an unclean spirit of divination. Paul exorcised the demon and left her masters with no way of continuing to make money. So, they rose up and made it a racial issue citing that they were trouble makers because they were Jews. Paul and Silas were beaten without a trial and imprisoned. They were released because of their status as Roman Citizens but the city magistrates begged Paul and Silas to leave. So, they traveled 100 miles south to Thessalonica. In our intro to 1 Thessalonians we dealt with the discrepancy of Luke recording in the book of Acts that Paul's visit to Thessalonica was only 3 weeks, when both these letters seem to indicate that the visit was longer. We explained this by simply pointing to the fact that Luke was not particularly interested in clearly indicating chronological specifics. And in Acts 17 there is actually plenty of room in the language to account for a month or even a few month's stay in the city before they were run out. Paul and Silas were forced to flee to Berea. This brings us to the occasion of 1 Thessalonians. Paul had pastoral concern for the fledgling church and from Athens (The blue arrow on the screen) he sent Timothy to them to check on them while he went on to Corinth (The green arrow on the screen). When Timothy and Silas arrived in Corinth, joining Paul, that is when Paul wrote to the Thessalonian church the first time. So, what prompts Paul to write again to this church and when does he write? [Slide 5] Occasion: What is happening in Thessalonica What is happening in Thessalonica that prompts Paul to write this letter? Throughout the first letter, we noted that the Thessalonians had endured some affliction and persecution. No doubt from friends, family members, and the community as a whole seeing their abandonment of the pagan gods as a threat to the safety and prosperity of the entire city. What is clear from the very outset of 2 Thessalonians, is that this persecution has rekindled. We are not given specifics, but it is safe to conclude that being ostracized and shunned is no longer the ceiling of persecution they are experiencing. Indeed, if we remember from 1 Thessalonians, Paul warned that believers are ordained to suffer for the name of Christ. It is actually part of our destiny to suffer for Christ's sake. 2 Thessalonians then is MORE focused on providing comfort and encouragement to a church experiencing heavier persecution from outsiders. But there is also a lingering issue of idle busybodies infecting the church and a lingering misconception about the Day of the Lord. So when did he write this? [Slide 6] Date: Because Paul references his time in Athens in 1 Thessalonians as if it were a past event, and because Paul indicates that it was not a long time since they had been with the Thessalonians, we can guess that Paul probably wrote 1 Thessalonians from Corinth. We have archeological evidence of when Gallio served as a proconsul in the city of Corinth, and because Paul has an altercation with Gallio we can reasonably assign a date to the composition of 1 Thessalonians. Gallio was proconsul from AD 51 to AD 52. This gives us a date of right around AD 50-51 for the composition of 1 Thessalonians. But what about 2 Thessalonians? While it is surely possible that Paul could have written this letter years later… several factors support Paul writing this very soon after writing 1 Thessalonians. First, we see that his companions are the same. In Acts we note that Paul is frequently sending his companions on errands to churches they have visited before while he stayed in another city. The fact that Silas and Timothy are still with him and co-authoring this letter, seems to indicate that it is the same setting as 1 Thessalonians. Second, the themes of this letter are so similar, even down to the unruly lazy mooches who are busybodies, that one wonders if the issues endured, why would Paul wait a significant amount of time to write again to address them? Third, in 2 Thessalonians Paul references difficulties he is facing with people who do not believe. Now if Paul is in Corinth, we know that Paul spent 18 months in Corinth. That is the longest he has spent in any city in the whole missionary journey thus far. We also know that although in the early months he did face some problems, once the proconsul Gallio renders his verdict, Paul spends the remainder of his time in Corinth in relative peace. This means that if we do conclude that Paul is writing from Corinth, the problems he faces most likely are early in the ministry there. Which would indicate to us that 2 Thessalonians was written mere months after the first letter. What is his purpose in sending the letter? [Slide 7] Purpose: How Paul addresses what is happening in Thessalonica Paul addresses his concern for this fledgling church as they face a significant uptick in persecution from without and persistent busybodies from within. 1.) The first way Paul addresses what is happening in Thessalonica, is by encouraging them with the assurance of God's justice on those who are persecuting them and the assurance of their being glorified at Christ's return. 2.) Then he desires to assuage some of their fears about the Day of the Lord. Given the persecution, they are afraid that they are in the midst of the Day of the Lord already. Without contradicting what he said in his previous letter, Paul reminds them that there are some events that yet need to occur before the Lord returns. 3.) Finally, Paul addresses once again the lazy busybodies who continue to mooch from the church. He points to his example and encourages them to execute church discipline upon any member who continues to refuse to listen to his instruction on the matter. So, what are some key themes we will see in this letter? [Slide 8] Key Themes: Because of the occasion and purpose of the letter, several themes come to the forefront as major talking points for the apostle Paul. 1.) God's Ultimate Justice 2.) The Glorification of Believers 3.) There seems to be an indication that they are hearing contradictory messages from various sources, some of which are claiming to be Paul himself. 4.) The Man of Lawlessness 5.) [Slide 9] Standing firm on the gospel and holding fast to the things he taught them 6.) Deal a final blow to those who are idle busybodies. Make sure it stops one way or another. 7.) Thanksgiving, peace, prayer, and endurance. [Slide 10] Words and concepts to keep an eye out for: 1.) Righteous Judgment 2.) Lawlessness vs. Righteousness 3.) Chosen 4.) Traditions [Slide 11] Theological Challenges and Spicy Topics 1.) God's Omnipresence and destruction away from his presence. 2.) Eternal destruction to unbelievers or annihilation? 3.) What is the apostasy? 4.) Who is the man of lawlessness? 5.) [Slide 12] Who is the one who holds him back? 6.) God sends a strong delusion? Isn't that lying? 7.) Should we really execute church discipline on people who… a. Are lazy b. Don't follow traditions c. Are busybodies [Slide 13] Outline of 2 Thessalonians I.) Greetings and Thanksgiving for the Thessalonians (1:1-4) a. Greetings in the Lord from 3 companions (1) b. Wish for grace and peace from God. (2) c. Continued prayer of thanksgiving for them. (3-4) II.) [Slide 14] Encouragement against the persecution they face (1:5-2:2) a. God will give them rest and righteously judge those who are persecuting them (1:5-12) b. The uptick in persecution does not mean the Day of the Lord has come. (2:1-2) III.) [Slide 15] Instruction concerning what needs to happen before the Day of the Lord. (2:3-12) a. The Apostasy and the Man of lawlessness must come (2:3-5) b. When will this happen and how does Christ's return relate to it? (2:6-12) c. But this will not happen for those to whom God has chosen (2:13-15) d. Benediction closing out this instruction section (2:16-17) IV.) [Slide 16] Application section for the here and now. (3:1-18) a. Prayer for the evangelists in Corinth (3:1-2) b. Hope for their protection too. (3:3-5) c. Definitively deal with the unruly idle busybodies (3:6-15) d. Salutation (3:16-18) Read 2 Thessalonians [Slide 17 (end)] And with that, I'd like to ask for 3 readers to come up and read a chapter from the book of 2 Thessalonians. It is first come first serve, so the first three to make their way forward to this front pew will get to read. While they come forward to fill the queue, let me pray and ask the Lord's blessing on the reading this morning as well as the study we are about to embark upon.
Under Western Eyes: Vulnerable Minorities and the Russian State in New Cold War Cultures (Academic Studies Press, 2025) examines the New Cold War between Anglophone Western and Russian media, focusing on its coverage of LGBTIQ+ topics and representations of Russian femininity, masculinity, racial and gender diversity, and disability. It interrogates how the Anglophone media constructs images of vulnerable bodies and groups in Russia, juxtaposing them with the vengeful state and the powerful figure of Putin. These media discourses delineate and unify liberal values as American and Western and contrast them with "backward" Russian values. Paradoxically, in its endeavor to accentuate American dominance and its role in global affairs, various news outlets and entertainment media amplify homophobic, heteronormative, and racist narratives stemming from Russian sources and lend support to Putin's self-portrayal as a formidable opponent to the West. While the West expresses outrage at Putin's criminalization of LGBTIQ+ activity, it draws on homophobic language to mock his shirtless horse-riding and “bromance” with Trump; the West condemns Russia's oppression of women, yet peddles the Orientalist idea of the "Slavic Femme"―that is, the hypersexualized trickster. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network
Under Western Eyes: Vulnerable Minorities and the Russian State in New Cold War Cultures (Academic Studies Press, 2025) examines the New Cold War between Anglophone Western and Russian media, focusing on its coverage of LGBTIQ+ topics and representations of Russian femininity, masculinity, racial and gender diversity, and disability. It interrogates how the Anglophone media constructs images of vulnerable bodies and groups in Russia, juxtaposing them with the vengeful state and the powerful figure of Putin. These media discourses delineate and unify liberal values as American and Western and contrast them with "backward" Russian values. Paradoxically, in its endeavor to accentuate American dominance and its role in global affairs, various news outlets and entertainment media amplify homophobic, heteronormative, and racist narratives stemming from Russian sources and lend support to Putin's self-portrayal as a formidable opponent to the West. While the West expresses outrage at Putin's criminalization of LGBTIQ+ activity, it draws on homophobic language to mock his shirtless horse-riding and “bromance” with Trump; the West condemns Russia's oppression of women, yet peddles the Orientalist idea of the "Slavic Femme"―that is, the hypersexualized trickster. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/gender-studies
Under Western Eyes: Vulnerable Minorities and the Russian State in New Cold War Cultures (Academic Studies Press, 2025) examines the New Cold War between Anglophone Western and Russian media, focusing on its coverage of LGBTIQ+ topics and representations of Russian femininity, masculinity, racial and gender diversity, and disability. It interrogates how the Anglophone media constructs images of vulnerable bodies and groups in Russia, juxtaposing them with the vengeful state and the powerful figure of Putin. These media discourses delineate and unify liberal values as American and Western and contrast them with "backward" Russian values. Paradoxically, in its endeavor to accentuate American dominance and its role in global affairs, various news outlets and entertainment media amplify homophobic, heteronormative, and racist narratives stemming from Russian sources and lend support to Putin's self-portrayal as a formidable opponent to the West. While the West expresses outrage at Putin's criminalization of LGBTIQ+ activity, it draws on homophobic language to mock his shirtless horse-riding and “bromance” with Trump; the West condemns Russia's oppression of women, yet peddles the Orientalist idea of the "Slavic Femme"―that is, the hypersexualized trickster. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/russian-studies
Under Western Eyes: Vulnerable Minorities and the Russian State in New Cold War Cultures (Academic Studies Press, 2025) examines the New Cold War between Anglophone Western and Russian media, focusing on its coverage of LGBTIQ+ topics and representations of Russian femininity, masculinity, racial and gender diversity, and disability. It interrogates how the Anglophone media constructs images of vulnerable bodies and groups in Russia, juxtaposing them with the vengeful state and the powerful figure of Putin. These media discourses delineate and unify liberal values as American and Western and contrast them with "backward" Russian values. Paradoxically, in its endeavor to accentuate American dominance and its role in global affairs, various news outlets and entertainment media amplify homophobic, heteronormative, and racist narratives stemming from Russian sources and lend support to Putin's self-portrayal as a formidable opponent to the West. While the West expresses outrage at Putin's criminalization of LGBTIQ+ activity, it draws on homophobic language to mock his shirtless horse-riding and “bromance” with Trump; the West condemns Russia's oppression of women, yet peddles the Orientalist idea of the "Slavic Femme"―that is, the hypersexualized trickster. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/lgbtq-studies
Under Western Eyes: Vulnerable Minorities and the Russian State in New Cold War Cultures (Academic Studies Press, 2025) examines the New Cold War between Anglophone Western and Russian media, focusing on its coverage of LGBTIQ+ topics and representations of Russian femininity, masculinity, racial and gender diversity, and disability. It interrogates how the Anglophone media constructs images of vulnerable bodies and groups in Russia, juxtaposing them with the vengeful state and the powerful figure of Putin. These media discourses delineate and unify liberal values as American and Western and contrast them with "backward" Russian values. Paradoxically, in its endeavor to accentuate American dominance and its role in global affairs, various news outlets and entertainment media amplify homophobic, heteronormative, and racist narratives stemming from Russian sources and lend support to Putin's self-portrayal as a formidable opponent to the West. While the West expresses outrage at Putin's criminalization of LGBTIQ+ activity, it draws on homophobic language to mock his shirtless horse-riding and “bromance” with Trump; the West condemns Russia's oppression of women, yet peddles the Orientalist idea of the "Slavic Femme"―that is, the hypersexualized trickster. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/eastern-european-studies
Under Western Eyes: Vulnerable Minorities and the Russian State in New Cold War Cultures (Academic Studies Press, 2025) examines the New Cold War between Anglophone Western and Russian media, focusing on its coverage of LGBTIQ+ topics and representations of Russian femininity, masculinity, racial and gender diversity, and disability. It interrogates how the Anglophone media constructs images of vulnerable bodies and groups in Russia, juxtaposing them with the vengeful state and the powerful figure of Putin. These media discourses delineate and unify liberal values as American and Western and contrast them with "backward" Russian values. Paradoxically, in its endeavor to accentuate American dominance and its role in global affairs, various news outlets and entertainment media amplify homophobic, heteronormative, and racist narratives stemming from Russian sources and lend support to Putin's self-portrayal as a formidable opponent to the West. While the West expresses outrage at Putin's criminalization of LGBTIQ+ activity, it draws on homophobic language to mock his shirtless horse-riding and “bromance” with Trump; the West condemns Russia's oppression of women, yet peddles the Orientalist idea of the "Slavic Femme"―that is, the hypersexualized trickster. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/communications
Under Western Eyes: Vulnerable Minorities and the Russian State in New Cold War Cultures (Academic Studies Press, 2025) examines the New Cold War between Anglophone Western and Russian media, focusing on its coverage of LGBTIQ+ topics and representations of Russian femininity, masculinity, racial and gender diversity, and disability. It interrogates how the Anglophone media constructs images of vulnerable bodies and groups in Russia, juxtaposing them with the vengeful state and the powerful figure of Putin. These media discourses delineate and unify liberal values as American and Western and contrast them with "backward" Russian values. Paradoxically, in its endeavor to accentuate American dominance and its role in global affairs, various news outlets and entertainment media amplify homophobic, heteronormative, and racist narratives stemming from Russian sources and lend support to Putin's self-portrayal as a formidable opponent to the West. While the West expresses outrage at Putin's criminalization of LGBTIQ+ activity, it draws on homophobic language to mock his shirtless horse-riding and “bromance” with Trump; the West condemns Russia's oppression of women, yet peddles the Orientalist idea of the "Slavic Femme"―that is, the hypersexualized trickster. Learn more about your ad choices. Visit megaphone.fm/adchoices
Having a place that feels like home provides profound psychological comfort, reduces stress and anxiety, and enhances physical as well as mental well-being. There have been places I have lived for extended periods. While some gave me a measure of comfort, I have always felt as if I were a transient, a vagabond mole burrowing into a place to lay my head temporarily, knowing it will be fleeting. Paradoxically, the homiest places I've ever been are lands where I have spent at most a few days to a week before moving back to my "official" home, as per my driver's license.
Sebastiaan Bremer and son Tobias Bremer turns photographs—found or snapped—of himself, his family, and appropriated imagery into trippy, dust-laden memories that, through his layered pointillist technique, reveal the subconscious and the real world in the blink of an eye. By laboriously painting his poetic braille over fast snapshots, he slows down time to render hauntingly beautiful interior landscapes—spaces where personal memory, art history, and cultural symbolism converge. He maintains an extensive archive of images, ranging from intimate family photographs to pages sourced from historical flower books, particularly those rooted in the Dutch tradition of floriculture. Carefully sorting through this material, Bremer selects images that resonate with his memory, using them as the groundwork for each piece. His recurring engagement with floral imagery—tulips, roses, irises, and other blooms—places his work in dialogue with a long lineage of Dutch still life painting, while simultaneously reconfiguring it through a contemporary, psychological lens. Once an image is chosen, redeveloped, and printed to size, Bremer begins to draw intricate webs of small dots with white retouching paint across the photographic surface. Paradoxically, this process obscures sections of the original image while redefining others, embedding new layers of meaning. His ethereal markings spread organically, like mycelial growth, evoking both proliferation and decay. Thin washes of coloured India ink are occasionally added, creating visual sensations akin to the colours perceived behind closed eyes. Within his flower works, blooms become more than decorative motifs—they function as mutable symbols, at once seductive and unstable. Expanding, dissolving, and recombining across the surface, they evoke associations ranging from the intimate to the historical, from cycles of growth to the fragility of life. Drawing on the legacy of tulip imagery in the Netherlands—where beauty, commerce, and speculation have long been intertwined—Bremer's practice reflects on the enduring entanglement of desire, value, and transience. His flowers carry echoes of memento mori traditions, embodying both vitality and inevitable decay, suggesting the delicate balance between joy and loss. Each piece varies in its level of abstraction, shifting between figuration and dissolution. The visceral quality of Bremer's work lies in its inventiveness and technical complexity, while his compositions maintain a fine balance between the intricate and the bold. Whether rooted in a fleeting emotion, a resurfacing memory, or the symbolic charge of a flower in bloom, each work opens onto layered worlds—where the personal and the historical, the aesthetic and the existential, unfold simultaneously. Sebastiaan Bremer, Cunning stunts, 2025 Sebastiaan Bremer, However humanity, 2025 Sebastiaan Bremer, One foot resting on the ground, 2025
In this Sunday Interview, Bradley Onishi sits down with historian Matthew Avery Sutton to discuss his sweeping new book Chosen Land. Sutton argues that from the colonial era onward, Americans have pursued a centuries-long project to transform North America into a “holy land” that could usher in God's millennial kingdom. Paradoxically, the founders' decision to create a secular Constitution and protect religious freedom through the First Amendment helped fuel the explosive growth and innovation of American Christianity. Without a state church, religious leaders became entrepreneurs—competing for followers through media, technology, and spectacle—helping make the United States far more publicly religious than many other Western democracies. The conversation explores how a long-standing Protestant cultural dominance shaped American politics and public life, from Abraham Lincoln navigating religious expectations in the 19th century to Barack Obama confronting controversy over Rev. Jeremiah Wright. Sutton also explains the decline of mainline Protestantism, the rise of evangelical branding, and why the very term “evangelical” is largely a modern reinvention rather than a continuous tradition stretching back to figures like Jonathan Edwards. The episode closes with a look at today's Christian nationalism, culture-war politics, and apocalyptic thinking—from debates about Israel to interpretations of global conflict—asking whether the United States is witnessing the last gasp of white Protestant dominance or simply another revival in a long and turbulent religious history. Subscribe for $3.65: https://axismundi.supercast.com/ Subscribe to our free newsletter: https://swaj.substack.com/ Order American Caesar by Brad Onishi: https://static.macmillan.com/static/essentials/american-caesar-9781250427922/ Donate to SWAJ: https://axismundi.supercast.com/donations/new Learn more about your ad choices. Visit megaphone.fm/adchoices
Disclaimer: this episode is based on my proprietary behavior mapping system. This system is used in conjunction with a discovery conversation I have with an individual. In the case of mapping public figures this is purely an independent analysis and opinion based on publicly available research. See citations below article. Transcript: You’re probably like me in that you’re a very visual person. (see below!) Well, hey there. Welcome back. Let’s talk Elon Musk. But before we do that, let’s talk about behavioral mapping and my book BeCAUSE!. Freud’s Pleasure Principle: Monsters and Unicorns Okay, wait. We have to back up from that and we have to talk about Freud’s pleasure principle. If you are an old fan of this show, you’ve probably heard me say this a bunch of times, but let’s sum it up really quickly. Freud’s pleasure principle is based on the fact that we are binary individuals. We seek pleasure, we avoid pain. Everything and anything we do is broken down into those things. I’ve had a number of episodes on this and the book BeCAUSE! is based on this, but I give the seeking pleasure and the avoiding pain a face. The seeking pleasure is a unicorn and the avoiding pain is a monster. They are neither good nor bad. They are not devils and angels. They simply are. Visualizing Behavior: My New Mapping Software After the book BeCAUSE! came out, I ended up developing patent pending behavioral mapping software. It’s software that allows me to actually map this stuff out. And you’re probably like me in that you’re a very visual person. This episode might be a little bit longer than my self-imposed 10-minute limit, so please bear with me. Paradoxically, when I talk about Elon Musk, I actually want you to not be thinking of him, but to be thinking of you. Every episode of this podcast starts out as an article on Alchemy for Life. This one is no different, and you’ll be able to see the visual mapping on the site if you’d like. You can follow along on there or if you’re listening in your car, you can just visualize based on what I’m telling you. Deconstructing Elon Musk: The Childhood Trauma Most people are familiar with Elon Musk. He’s a rather polarizing person. He’s someone who won’t stop talking about going to Mars and now the moon. He’s someone who created an empire. He owns Tesla, SpaceX, Twitter, now X, the Boring Company, and X AI. He’s had some romances. He’s currently not married and he has a lot of children. What most people don’t know is what I actually found out in the map showing why all of this is happening. And again, because audio is literally linear, meaning you talk in a straight line, you stop it. You can’t go into branches and things like that. It’s a little harder in audio to tell you what something on a screen can tell you, but I’ll do the best I can. When he was young, the family dog bit him. It was actually a pretty vicious bite, but he was terrified that the dog was going to be put down. He needed medical attention, but he kept refusing it because he said, “You need to promise you’re not going to put the dog down.” Unfortunately, they put the dog down. And this was a very traumatic thing. And I can imagine for myself, and I’m sure you’re thinking about this, too, that’s a very traumatic thing to have to go through. You blame yourself. You think, well, maybe there’s something I could have done to not have the dog bite me. It’s horrible, horrible feeling. And it’s a feeling of losing something and someone that’s really important to you. You feel like you’re literally responsible for the death of a living creature. and that you have no control. So imagine that. It puts a pretty strong pleasure center. It puts a pretty strong unicorn in place that says, “Hey, follow me and you’ll have more control. You want more control.” Yes, I want more control. As with a lot of things, sometimes you also have the opposite in place. You have a monster that says, “It really feels bad to lose control.” And I’m sure you can understand that. I’m sure there are times in your life when you’ve lost control for some reason and you vowed to never lose that control again. Whether you were placed in a very unfortunate position due to your job or relationship or or even in your childhood The Teenage Existential Crisis when he was a teenager and we all remember just how wonderful and clear thinking we were as teenagers. He read both Shopenhau and Nietzsche. And I’ll tell you that Nichi is actually on my wall among five other people. But it’s not exactly something you would read out loud at like a children’s birthday party. So for him, he deeply regretted reading that stuff because it created in him an existential crisis. And imagine that’s essentially what being a teenager is, is having an existential crisis. You you question life. you’re halfway between being an adult and being a child. So reading that created in him a monster of avoiding the feeling of having existential dread and personal meaninglessness. We all want purpose in our life. Imagine removing that as a teenager. Imagine questioning all of that and saying, “Oh my god, this feels terrible. I I I can’t experience this.” So, conversely, it creates the unicorn that makes it feel really good when you feel purpose and meaning. It’s the same one most of us would have. The Scars of Bullying and Humiliation When he was in school, he was severely bullied and beaten basically to the point of not being recognizable. Some of us were bullied, maybe all of us were bullied. And it tends to shape us sometimes in bad ways and sometimes in good ways. But to compound this, when he came home to his father, his father blamed him for this and made him stand for 2 hours while he bered him and called him a loser. How would you respond to that? How would you psychologically speaking respond to that so that it would never happen to you again? You would have a monster that would be very strong in making sure you avoid humiliation and being vulnerable. And from the bullying, obviously you would have a monster that would say, “I’m never going to be bullied again. Never.” This is probably the first time you’re hearing about a lot of this stuff. Probably what you tend to hear about Elon Musk is his purchase or he makes a decision that you think is chaotic or egotistical. you’ve probably never heard any of this other stuff unless you have read his bio or multiple bios and things like that. Connecting the Trauma to the Billionaire’s Actions So, now that you know the monsters and unicorns that he has in place, what actions did these cause? Well, let’s go through them. If you’re trying to avoid the pain of bullying and the monster keeps getting in the way and saying, “You’re going to be bullied. Don’t do that.” Wouldn’t you be a bit combative on social media? Wouldn’t you make sure that in an interview you’re not going to be bullied? Wouldn’t you make sure that when you are dealing with the feds or other court systems or other CEOs that you would tend not to back down? In fact, maybe even not back down even when it’s to your detriment. If you’re avoiding the pain and fear of scarcity because of what happened with your dog and that you had no control over that, and you’re avoiding the pain of humiliation and especially vulnerability and bullying because of the place you’re in as someone who is almost a trillionaire, would it not affect your approach on forming a family? If you are married and have children, you are in a position of vulnerability. You have more vulnerability right now than someone who, let’s say, doesn’t have children or isn’t married. If you’re in a loving relationship, that’s part for the course. It comes with the territory. It’s something you welcome. But if you combine a fear of scarcity and you’ve developed a sort of pleasure for having absolute sovereignty and control of any and all outcomes and you have a terrible monster that makes it feel horrible. If you are losing control, you would be in a unique position to want to perpetuate the human race, but not in a traditional way that causes vulnerability. which is why he has 14 children across four different women and he is presently not married to any of them. This monster for avoiding pain and the fear of scarcity, working together with this pleasure of having absolute sovereignty and control and this extremely strong unicorn pulling him towards the feeling of purpose and meaning would obviously lead him to the creation of Space X so that he could continue to make the race multilanetary. Oh, and that monster telling him that scarcity feels bad, he helps as well. And guess who’s also looking over his shoulder? The monster that’s avoiding him having the feeling of existential dread and personal meaninglessness. You’re definitely listening to that monster if you are trying to perpetuate the human race on another planet. If you are avoiding losing control and you certainly enjoy the absolute sovereignty of being able to change the outcome and you enjoy the feeling of purpose and meaning and you’re terrified of having existential dread and personal meaninglessness, would you not purchase the most well-known social media platform in your attempt, at least according to you, to save free speech? Mapping Your Own Monsters and Unicorns Whether you’re a fan or not of Elon, whether you’re completely neutral or not, you can’t help but empathize with some of the things I’ve described. And like I said, you’re more likely to think of you than of him in these situations. What would you do? What have you experienced? What emotional turmoil have you gone through? What horrible things have you gone through in your childhood, in your teens, and even in your adult life that have shaped who you are? Those things just don’t go away. They stay with you for life. Your monsters and unicorns sort of show up and they take residence in your brain. If it sounded a little bit like I was all over the map, well, quite literally, I was. I worked through the visual map that I’m looking at right now and it’s the same one you might be looking at or that you will look at after the podcast. I found the research on this fascinating and I did find that things logically led to other things. It the pattern, the map, it all just sort of unveiled itself to me based on what I have created and what I have established. I didn’t run into any dead ends. I didn’t find something that contradicted something else. It all actually made sense. And that’s what led to the writing of BeCAUSE!—it all just continued to make sense and make sense and make sense and sometimes in an unnerving way. Look, I understand we don’t want to be deconstructed. We we we want to feel whole and sometimes thinking about monsters and unicorns and little programmatic psychological building blocks can sometimes be a little bit unnerving, but it can also be revealing. And the beauty of this is that it’s neither good nor bad. Sure, you can have a monster in place that’s doing something that’s really messing up your life, but that same monster might also be helping you in another aspect of your life. It’s about you recognizing it and not allowing it to have the control over your life that you don’t want. And ultimately, you stay in the driver’s seat. Conclusion So, I hope you enjoyed this. I did. I certainly enjoyed mapping all this out and doing the research. In fact, I did this for two other people. It made me reflect on my own monsters and unicorns, and I hope it did the same for you. If you’re indeed curious, feel free to pick up a copy of BeCAUSE!. And if you’re curious about your own map, let me know. The behavioral mapping done, purely as an independent analysis and opinion based on publicly available research. Episode Sources & Citations: The Childhood Bullying & His Father’s Reaction: * Source:Elon Musk by Walter Isaacson (Published September 2023). Context: Isaacson’s authorized biography details the specific incident where Musk was beaten so severely by bullies he was hospitalized for four days. Upon returning home, his father, Errol Musk, made him stand in front of him for two hours, called him a “loser,” and sided with the boy who attacked him. The Teenage Existential Crisis (Schopenhauer and Nietzsche): Source: Multiple interviews, including a notable deep-dive interview detailed in CleanTechnica (2018) and referenced in Isaacson’s biography. Context: Musk has publicly stated multiple times, “We happened to have some books by Nietzsche and Schopenhauer in the house, which you should not read at age 14. It is bad, it’s really negative.” He credits this period of reading with triggering a severe teenage existential crisis, leading to his lifelong obsession with finding “the meaning of life” and “understanding the right questions to ask” (which birthed the Unicorn of seeking purpose). The Dog Bite Trauma: Source: Elon Musk by Walter Isaacson (2023). Context: The biography details the incident where a young Elon was viciously bitten by a dog. He refused medical treatment until he was promised the dog wouldn’t be put down. The adults broke the promise and put the dog down anyway, cementing his early trauma regarding powerlessness, scarcity, and broken trust. Family Structure (14 Children / 4 Women): Source: Forbes Billionaires Profile (Updated March 2026). Context: Forbes officially verifies that Musk, driven by his vocal fears of population collapse, has fathered 14 children with four different women (including multiple sets of twins and triplets) and is currently not married.
“Cos my sorrows did not drown my friend, they always learned to swim…” I’ve been taking a lot of early baths – in the middle of the night when the electricity is cheaper, and I created a playlist for that – over 300 tracks. As I was lying there I thought ‘this would make a good podcast’ and here we are – recorded in my bathroom! Paradoxically that’s where I used to record my podcasts not to disturb John, annoyed by the ever-present echo – now it’s a stylistic choice. Talking of John – he’s famous! He’s featured in a book about Switchboard (formerly Lesbian and Gay Switchboard) as he was one of the co-founders. One of the many things he did…and I am so proud. Halfway through reading it, and the book is great – but also you can also hear his voice on famous The Log Books podcast – Series 4, episode 1. Hearing his voice again was wonderful but also bittersweet. Ugly-cried when it came on. So I’ve done readings across the podcast from a few bits of the book around him. It has nothing to do with baths, but given it’s his bath in a weird olive/grey shade (which made recently fixing a hole in it with Milliput easy actually, it’s that sort of weird grey/green!) and we used to have baths together when I was lot thinner. I talk about that, the music, the state of the world (Iran So Far Away) and how I am glad that John doesn’t get to see the rise of the Fourth Reich, Icy Dumb and Dumber edition. My bathroom…And cream..and CREAM…. (167 Mb, 2:07) Readings from ‘The Log Books’ by Tash Walker and Adam Zmith Patt Stanton Gjonola – My Bathroom (American-Standard, 1969) Hannah Williams & The Affirmations – The Only Way out Is Through ††† – Goodbye Horses Röyksopp – I Had This Thing (featuring Jamie Irrepressible) Pet Shop Boys – I Want To Wake Up (Breakdown Mix) Easy Star All-Stars – Five Years Beverly Glenn-Copeland – Durocher Instamatic – How To Lose Control Completely (Ane Brun vs Teddy Swims) Nils Frahm – Kaleidoscope Jon Hopkins – Recovery Christopher O'Riley – Not Half Right Fleetwood Mac – Never Make Me Cry Lotte Kestner – Somebody Lone – Stands Tidal Waves Nils Frahm – #2 Röyksopp – You Know I Have to Go (feat. Jamie Irrepressible) The Unthanks – Bird in the Blue Low – Just Make It Stop ANOHNI – Landslide Daniel Avery – First Light The Unthanks – Night Is My Friend Psyche – Goodbye Horses (Immortality Mix) Hannah Peel – Palace Beverly Glenn‐Copeland – Ever New (At Hotel2Tango) Beck – Lost Cause (Union Chapel BBC 4 Session) Ane Brun – Stay Jon Hopkins & Hayden Thorpe – Goodbye Horses
We live in a culture that constantly urges us—and our daughters—to "find ourselves." To chase affirmation. To define our identity by looking inward. But when our gaze is fixed on the mirror, comparison, anxiety, and exhaustion often follow. For many girls growing up today, the pressure to curate a self can feel relentless. And for moms? The weight of modeling confidence while secretly wrestling with their own identity struggles can feel just as heavy. Yet Scripture offers a radically different invitation. In Matthew 16:24, Jesus calls us to deny ourselves, take up our cross, and follow Him. Paradoxically, it's in self-forgetfulness—not self-obsession—that we discover true freedom. When we lift our eyes from ourselves and fix them on the character, goodness, and glory of God, something shifts. Peace replaces pressure. Joy displaces comparison. Identity becomes received rather than achieved. In this special weekend conversation, Patti Garibay welcomes bestselling author and pastor Sharon Hodde Miller to the Raising Godly Girls Podcast. Sharon's newest devotional, Gazing at God, gently guides readers toward a life of humility, surrender, and sacred freedom. Together, Patti and Sharon explore what "self-forgetfulness" actually looks like in everyday motherhood, how comparison silently steals our daughters' joy, and how families can build rhythms that help everyone in the home look up instead of inward. This episode is for the mom who sees her daughter growing weary from trying to measure up. It's for the girl who feels like she must define herself before she can belong. And it's for every parent longing to create a home atmosphere where identity is anchored not in performance, but in the steadfast love of Christ. You'll walk away encouraged to model humility, practice surrender in the unseen work of motherhood, and help your daughter experience the deep freedom that comes from fixing her eyes on the Savior rather than on herself. Scriptures Referenced in This Episode: Matthew 16:24 Hebrews 12:2 Psalm 34:5 Colossians 3:1–2 To learn more about Sharon Hodde Miller and her books, including Gazing at God, visit sharonhoddemiller.com. Visit raisinggodlygirls.com for more encouragement and faith-based parenting tools. Learn how to find or start an American Heritage Girls Troop in your community at americanheritagegirls.org.
The fact that millions of people share the same vices does not make these vices virtues, the fact that they share so many errors does not make the errors to be truths, and the fact that millions of people share the same form of mental pathology does not make these people sane.It takes a moment to tell someone you love them, but it takes a lifetime to prove it.The lust for power is not rooted in strength but in weakness.The task we must set for ourselves is not to feel secure, but to be able to tolerate insecurity.Love isn't something natural. Rather it requires discipline, concentration, patience, faith, and the overcoming of narcissism. It isn't a feeling, it is a practice.If other people do not understand our behavior-so what? Their request that we must only do what they understand is an attempt to dictate to us. If this is being 'asocial' or 'irrational' in their eyes, so be it. Mostly they resent our freedom and our courage to be ourselves. We owe nobody an explanation or an accounting, as long as our acts do not hurt or infringe on them.Greed is a bottomless pit which exhausts the person in an endless effort to satisfy the need without ever reaching satisfaction.Man's main task in life is to give birth to himself, to become what he potentially is. The most important product of his effort is his own personality.Paradoxically, the ability to be alone is the condition for the ability to love.FORTITUDE IS THE CAPACITY TO SAY NO WHEN THE WORLD WANTS TO HEAR 'YES'Hate is a product of the unfulfilled life.As long as anyone believes that his ideal and purpose is outside him, that it is above the clouds, in the past or in the future, he will go outside himself and seek fulfillment where it cannot be found. He will look for solutions and answers at every point except where they can be found- in himself.The deepest need of the human being is to overcome ourseparateness, to leave the prison of our loneliness.Selfish persons are incapable of loving others, but they are not capable of loving themselves either.The affirmation of one's own life, happiness, growth and freedom, is rooted in one's capacity to love.The scars left from the child's defeat in the fight against irrational authority are to be found at the bottom of every neurosis.The danger of the past was that men became slaves. The danger of the future is that man may become robots.
Seeing the assembly of devotees eagerly waiting to purchase the Name, Lord Nityānanda first examines each of them to test their qualification; then, He sells them the Name by bargaining for His price accordingly. Sometimes when we go out—just as we were recently, as recently as yesterday, to people in the dhāma where we just were, (first Māyāpur, then Jagannātha Purī, then Vṛndāvana) we offer people a little prasādam, a picture of Kṛṣṇa, and transcendental literature. And we give them the opportunity; we bargain with them. We say, “Please give something.” They say, “I don't have anything.” “Nothing? Give something.” Some people will give some small donation, whatever they can afford. Some people are ready to immediately give something in return, recognizing the value, and they say, “I could hardly give enough.” Other people are hesitant, but we find, especially in India, everybody has something. We met a man digging a ditch, and all he was wearing was a gamchā. And we suggested that, on behalf of Lord Nityānanda, we would accept a donation. Some of the devotees who were watching thought, “Where is he going to find a rupee?” Well, it's in the roll! When you put on a gamchā, you have to roll it. It's in there. Similarly, everyone's got something rolled up somewhere that they can offer. Lord Nityānanda goes around. He finds what can somebody give that gets them started in giving. Because, as Kṛṣṇa says in the Bhagavad-gītā (BG 3.9): yajñārthāt karmaṇo 'nyatra loko 'yaṁ karma-bandhanaḥ tad-arthaṁ karma kaunteya mukta-saṅgaḥ samācara Human life is made successful by giving. When we give, we grow and we notice that not only do we survive giving away what we're so attached to, we feel complete when we give. Paradoxically, we give away and we grow. We feel fuller, because the soul is a servant of Kṛṣṇa—and any way we can serve fills us up immediately. It is natural for the soul to feel happy and full. So Lord Nityānanda quizzes each person to see what level they can start their giving, and then He adjusts the price accordingly. Oh, my dear friends, if you really want to buy this pure Holy Name, then just come along with me, for I am now going to meet with this Nityānanda Mahājana. (Translation, verse 4) That line always gets me, because just think, if someone's going there and they say, “Hey, why don't you come along?” What a life-changing event to meet Nityānanda Prabhu, just like Raghunātha dāsa Gosvāmī, He wanted to join Śrī Caitanya Mahāprabhu.,, ------------------------------------------------------------ To connect with His Grace Vaiśeṣika Dāsa, please visit https://www.fanthespark.com/next-steps/ask-vaisesika-dasa/?utm_source=youtube&utm_medium=video&utm_campaign=launch2025 https://vaisesikadasayatra.blogspot.com/ ------------------------------------------------------------ Add to your wisdom literature collection: https://iskconsv.com/book-store/?utm_source=youtube&utm_medium=video&utm_campaign=launch2025 https://www.bbtacademic.com/books/?utm_source=youtube&utm_medium=video&utm_campaign=launch2025 https://thefourquestionsbook.com/?utm_source=youtube&utm_medium=video&utm_campaign=launch2025 ------------------------------------------------------------ Join us live on Facebook: https://www.facebook.com/FanTheSpark/ Podcasts: https://podcasts.apple.com/us/podcast/sound-bhakti/id1132423868 For the latest videos, subscribe https://www.youtube.com/@FanTheSpark For the latest in SoundCloud: https://soundcloud.com/fan-the-spark ------------------------------------------------------------ #spiritualawakening #soul #spiritualexperience #spiritualpurposeoflife #spiritualgrowthlessons #secretsofspirituality #vaisesikaprabhu #vaisesikadasa #vaisesikaprabhulectures #spirituality #bhaktiyoga #krishna #spiritualpurposeoflife #krishnaspirituality #spiritualusachannel #whybhaktiisimportant #whyspiritualityisimportant #vaisesika #
I'm not stressed by AI itself. I'm stressed by the insatiable greed of those who profit from it, even if it means sacrificing large parts of the population. I'm also stressed about how ruthlessly it can be abused to cause deliberate harm.In this episode I'm not taking you into world of fire science, but rather into my own thoughts on how the AI revolution influences our lives. And I was influenced it just last week - through a phishing attack on the IAFSS, and through reading a very disturbing piece of fiction I found on the Internet...In the episode I comment on the targeted phishing attack against our association that used well-researched details and a cloned voice pulled from public audio. From there, we step into a stark forecast of near-term AI disruption in white-collar work. Agent teams can already write, review, and ship production code in loops, compressing time and cost while jolting stock prices across entire sectors the moment capabilities drop. Then we get specific about our field. Some tasks in fire safety are ripe for automation—code interpretation, routine calculations, device placement, and documentation—where speed and consistency help. But holistic fire strategy is contextual and slow to validate, with scarce, standardized case data and long feedback loops. Buildings are messy, multidisciplinary systems; that friction is a temporary moat against full automation. The larger risk may be macroeconomic: if AI compresses demand and margins across white-collar industries, construction cools, and safety work gets squeezed. Paradoxically, low digitalization in construction buys time, making it harder to train and deploy one-size-fits-all models.I'm still to large extent positive Fire Safety Engineering won't be directly disrupted at the same scale as Software Engineers got, but as a part of a larger ecosystem we won't be untouched either... I hope the version of the future that plays out is more optimistic than the one I got worried about.Read the Citrini piece here, if you have not yet: https://www.citriniresearch.com/p/2028gic----The Fire Science Show is produced by the Fire Science Media in collaboration with OFR Consultants. Thank you to the podcast sponsor for their continuous support towards our mission.
Tomorrow, we launch our second issue on Aspiration—devoted to audacious ideas for a thriving Jewish future. Four years ago, when we published our first issue, the world was a very different place. In his editor's note, Bret Stephens writes: “Jewish aspiration after October 7 is a different story. Paradoxically, it requires more realism and more ambition.”So here we are, returning with new questions: Is the Jewish world taking enough risks? Has American Jewish life become too convenient? Should we, indeed, stop fighting antisemitism and instead fight Jewish complacency? And did Bret go too far when he called for the dismantling of the ADL?Join Editor-in-Chief Bret Stephens and Rabbi David Wolpe for a wide-ranging SAPIR Conversation on these questions and more.Read SAPIR: www.sapirjournal.org Music from #Uppbeat: https://uppbeat.io/t/theo-gerard/monsieur-groove
Rob Bloom, creative director for Universal theme parks, shares his journey living with a stutter that shaped his entire life and career. He reveals how hiding his stutter for 30 years meant ordering food he didn't want, watching movies he didn't choose, and avoiding authentic self-expression. Paradoxically, stuttering forced him to become creative early—making videos for school presentations instead of speaking. Bloom explains the three coping strategies for stutterers (openly stuttering, blocking, or hiding), why hiding leads to inauthenticity, and how he eventually embraced his stutter. His story demonstrates how perceived limitations can become creative advantages and why vulnerability is essential for genuine connection. Hosted on Acast. See acast.com/privacy for more information.
Last time we spoke about The Battle of Suixian–Zaoyang-Shatow. Following the brutal 1938 capture of Wuhan, Japanese forces aimed to solidify their hold by launching an offensive against Chinese troops in the 5th War Zone, a rugged natural fortress in northern Hubei and southern Henan. Under General Yasuji Okamura, the 11th Army deployed three divisions and cavalry in a pincer assault starting May 1, 1939, targeting Suixian and Zaoyang to crush Nationalist resistance and secure flanks. Chinese commander Li Zongren, leveraging terrain like the Dabie and Tongbai Mountains, orchestrated defenses with over 200,000 troops, including Tang Enbo's 31st Army Group. By May 23, they recaptured Suixian and Zaoyang, forcing a Japanese withdrawal with heavy losses, over 13,000 Japanese casualties versus 25,000 Chinese, restoring pre-battle lines. Shifting south, Japan targeted Shantou in Guangdong to sever supply lines from Hong Kong. In a massive June 21 amphibious assault, the 21st Army overwhelmed thin Chinese defenses, capturing the port and Chao'an despite guerrilla resistance led by Zhang Fakui. Though losses mounted, Japan tightened its blockade, straining China's war effort amid ongoing attrition. #188 From Changkufeng to Nomonhan Welcome to the Fall and Rise of China Podcast, I am your dutiful host Craig Watson. But, before we start I want to also remind you this podcast is only made possible through the efforts of Kings and Generals over at Youtube. Perhaps you want to learn more about the history of Asia? Kings and Generals have an assortment of episodes on history of asia and much more so go give them a look over on Youtube. So please subscribe to Kings and Generals over at Youtube and to continue helping us produce this content please check out www.patreon.com/kingsandgenerals. If you are still hungry for some more history related content, over on my channel, the Pacific War Channel where I cover the history of China and Japan from the 19th century until the end of the Pacific War. Well hello again, and yes you all have probably guessed we are taking another detour. Do not worry I hope to shorten this one a bit more so than what became a sort of mini series on the battle of Changkufeng or Battle of Lake Khasan. What we are about to jump into is known in the west as the battle of khalkin Gol, by the Japanese the Nomohan incident. But first I need to sort of set the table up so to say. So back on August 10th, 1938 the Litvinov-Shigemitsu agreement established a joint border commission tasked with redemarcating the disputed boundary between the Soviet Union and Japanese-controlled Manchukuo. However, this commission never achieved a mutually agreeable definition of the border in the contested area. In reality, the outcome was decided well before the group's inaugural meeting. Mere hours after the cease-fire took effect on the afternoon of August 11, General Grigory Shtern convened with a regimental commander from Japan's 19th Division to coordinate the disengagement of forces. With the conflict deemed "honorably" concluded, Japan's Imperial General Headquarters mandated the swift withdrawal of all Japanese troops to the west bank of the Tumen River. By the night of August 13, as the final Japanese soldier crossed the river, it effectively became the de facto border. Soviet forces promptly reoccupied Changkufeng Hill and the adjacent heights—a move that would carry unexpected and profound repercussions. Authoritative Japanese military analyses suggest that if negotiations in Moscow had dragged on for just one more day, the 19th Division would likely have been dislodged from Changkufeng and its surrounding elevations. Undoubtedly, General Shtern's infantry breathed a sigh of relief as the bloodshed ceased. Yet, one can't help but question why Moscow opted for a cease-fire at a juncture when Soviet troops were on the cusp of total battlefield triumph. Perhaps Kremlin leaders deemed it wiser to settle for a substantial gain, roughly three-quarters of their objectives, rather than risk everything. After all, Japan had mobilized threatening forces in eastern Manchuria, and the Imperial Army had a history of impulsive, unpredictable aggression. Moreover, amid the escalating crisis over Czechoslovakia, Moscow may have been wary of provoking a broader Asian conflict. Another theory posits that Soviet high command was misinformed about the ground situation. Reports of capturing a small segment of Changkufeng's crest might have been misinterpreted as control over the entire ridge, or an imminent full takeover before midnight on August 10. The unexpected phone call from Foreign Minister Maxim Litvinov to the Japanese embassy that night—proposing a one-kilometer Japanese retreat in exchange for a cease-fire along existing lines—hints at communication breakdowns between Shtern's headquarters and the Kremlin. Ironically, such lapses may have preserved Japanese military honor, allowing the 19th Division's evacuation through diplomacy rather than defeat. Both sides endured severe losses. Initial Japanese press reports claimed 158 killed and 740 wounded. However, the 19th Division's medical logs reveal a grimmer toll: 526 dead and 914 injured, totaling 1,440 casualties. The true figure may have climbed higher, possibly to 1,500–2,000. Following the armistice, the Soviet news agency TASS reported 236 Red Army fatalities and 611 wounded. Given Shtern's uphill assaults across open terrain against entrenched positions, these numbers seem understated. Attackers in such scenarios typically suffered two to three times the defenders' losses, suggesting Soviet casualties ranged from 3,000 to 5,000. This aligns with a Soviet Military Council investigation on August 31, 1938, which documented 408 killed and 2,807 wounded. Japanese estimates placed Soviet losses even higher, at 4,500–7,000. Not all victims perished in combat. Marshal Vasily Blyukher, a decorated Soviet commander, former warlord of the Far East, and Central Committee candidate, was summoned to Moscow in August 1938. Relieved of duty in September and arrested with his family in October, he faced charges of inadequate preparation against Japanese aggression and harboring "enemies of the people" within his ranks. On November 9, 1938, Blyukher died during interrogation a euphemism for torture-induced death.Other innocents suffered as well. In the wake of the fighting, Soviet authorities deported hundreds of thousands of Korean rice farmers from the Ussuri region to Kazakhstan, aiming to eradicate Korean settlements that Japanese spies had allegedly exploited. The Changkufeng clash indirectly hampered Japan's Wuhan offensive, a massive push to subdue China. The influx of troops and supplies for this campaign was briefly disrupted by the border flare-up. Notably, Kwantung Army's 2nd Air Group, slated for Wuhan, was retained due to the Soviet threat. Chiang Kai-shek's drastic measure, breaching the Yellow River dikes to flood Japanese advance routes—further delayed the assault. By October 25, 1938, when Japanese forces captured Hankow, Chiang had relocated his capital to distant Chungking. Paradoxically, Wuhan's fall cut rail links from Canton inland, heightening Chiang's reliance on Soviet aid routed overland and by air from Central Asia. Japan secured a tactical win but missed the decisive blow; Chinese resistance persisted, pinning down a million Japanese troops in occupation duties. What was the true significance of Changkufeng? For General Koiso Suetaka and the 19th Division, it evoked a mix of bitterness and pride. Those eager for combat got their share, though not on their terms. To veterans mourning fallen comrades on those desolate slopes, it might have felt like senseless tragedy. Yet, they fought valiantly under dire conditions, holding firm until a retreat that blended humiliation with imperial praise, a bittersweet inheritance. For the Red Army, it marked a crucial trial of resolve amid Stalin's purges. While Shtern's forces didn't shine brilliantly, they acquitted themselves well in adversity. The U.S. military attaché in Moscow observed that any purge-related inefficiencies had been surmounted, praising the Red Army's valor, reliability, and equipment. His counterpart in China, Colonel Joseph Stilwell, put it bluntly: the Soviets "appeared to advantage," urging skeptics to rethink notions of a weakened Red Army. Yet, by World War II's eve, many British, French, German, and Japanese leaders still dismissed it as a "paper tiger." Soviet leaders appeared content, promoting Shtern to command the Transbaikal Military District and colonel general by 1940, while honoring "Heroes of Lake Khasan" with medals. In a fiery November 7, 1938, speech, Marshal Kliment Voroshilov warned that future incursions would prompt strikes deep into enemy territory. Tokyo's views diverged sharply. Many in the military and government saw it as a stain on Imperial Army prestige, especially Kwantung Army, humiliated on Manchukuo soil it swore to protect. Colonel Masanobu Tsuji Inada, however, framed it as a successful reconnaissance, confirming Soviet border defense without broader aggression, allowing the Wuhan push to proceed safely. Critics, including Major General Gun Hashimoto and historians, questioned this. They argued IGHQ lacked contingency plans for a massive Soviet response, especially with Wuhan preparations underway since June. One expert warned Japan had "played with fire," risking Manchuria and Korea if escalation occurred. Yet, Japanese commanders gleaned few lessons, downplaying Soviet materiel superiority and maintaining disdain for Red Army prowess. The 19th Division's stand against outnumbered odds reinforced this hubris, as did tolerance for local insubordination—attitudes that would prove costly. The Kremlin, conversely, learned Japan remained unpredictable despite its China quagmire. But for Emperor Hirohito's intervention, the conflict might have ballooned. Amid purges and the Czech crisis, Stalin likely viewed it as a reminder of eastern vulnerabilities, especially with Munich advancing German threats westward. Both sides toyed with peril. Moderation won in Tokyo, but Kwantung Army seethed. On August 11, Premier Fumimaro Konoye noted the need for caution. Kwantung, however, pushed for and secured control of the disputed salient from Chosen Army by October 8, 1938. Even winter's chill couldn't quench their vengeful fire, setting the stage for future confrontations. A quick look at the regional map reveals how Manchukuo and the Mongolian People's Republic each jut into the other's territory like protruding salients. These bulges could be seen as aggressive thrusts into enemy land, yet they also risked encirclement and absorption by the opposing empire. A northward push from western Manchuria through Mongolia could sever the MPR and Soviet Far East from the USSR's heartland. Conversely, a pincer movement from Mongolia and the Soviet Maritime Province might envelop and isolate Manchukuo. This dynamic highlights the frontier's strategic volatility in the 1930s. One particularly tense sector was the broad Mongolian salient extending about 150 miles eastward into west-central Manchukuo. There, in mid-1939, Soviet-Japanese tensions erupted into major combat. Known to the Japanese as the Nomonhan Incident and to the Soviets and Mongolians as the Battle of Khalkhin Gol, this clash dwarfed the earlier Changkufeng affair in scale, duration, and impact. Spanning four months and claiming 30,000 to 50,000 casualties, it amounted to a small undeclared war, the modern era's first limited conflict between great powers. The Mongolian salient features vast, semiarid plains of sandy grassland, gently rolling terrain dotted with sparse scrub pines and low shrubs. The climate is unforgivingly continental: May brings hot days and freezing nights, while July and August see daytime highs exceeding 38°C (100°F in American units), with cool evenings. Swarms of mosquitoes and massive horseflies necessitate netting in summer. Rainfall is scarce, but dense morning fogs are common in August. Come September, temperatures plummet, with heavy snows by October and midwinter lows dipping to –34°C. This blend of North African aridity and North Dakotan winters supports only sparse populations, mainly two related but distinct Mongol tribes. The Buriat (or Barga) Mongols migrated into the Nomonhan area from the northwest in the late 17th to early 18th centuries, likely fleeing Russian expansion after the 1689 Treaty of Nerchinsk. Organized by Manchu emperors between 1732 and 1735, they settled east of the river they called Khalkhin Gol (Mongolian for "river"), in lands that would later become Manchukuo. The Khalkha Mongols, named for the word meaning "barrier" or "shield," traditionally guarded the Mongol Empire's northern frontiers. Their territories lay west of the Buriats, in what would become the MPR. For centuries, these tribes herded livestock across sands, river crossings, and desert paths, largely oblivious to any formal borders. For hundreds of years, the line dividing the Mongolian salient from western Manchuria was a hazy administrative divide within the Qing Empire. In the 20th century, Russia's detachment of Outer Mongolia and Japan's seizure of Manchuria transformed this vague boundary into a frontline between rival powers. The Nomonhan Incident ignited over this contested border. Near the salient's northeastern edge, the river, called Khalkhin Gol by Mongols and Soviets, and Halha by Manchurians and Japanese, flows northwest into Lake Buir Nor. The core dispute: Was the river, as Japan asserted, the historic boundary between Manchukuo and the MPR? Soviet and MPR officials insisted the line ran parallel to and 10–12 miles east of the river, claiming the intervening strip. Japan cited no fewer than 18 maps, from Chinese and Japanese sources, to support the river as the border, a logical choice in such barren terrain, where it served as the sole natural divider. Yet, Soviets and Mongolians countered with evidence like a 1919 Chinese postal atlas and maps from Japanese and Manchukuoan agencies (1919–1934). Unbeknownst to combatants, in July 1939, China's military attaché in Moscow shared a 1934 General Staff map with his American counterpart, showing the border east of the river. Postwar Japanese studies of 18th-century Chinese records confirm that in 1734, the Qing emperor set a boundary between Buriat and Khalkha Mongols east of the river, passing through the hamlet of Nomonhan—as the Soviets claimed. However, Kwantung Army Headquarters dismissed this as non-binding, viewing it as an internal Qing affair without Russian involvement. Two former Kwantung Army officers offer a pragmatic explanation: From 1931 to 1935, when Soviet forces in the Far East were weak, Japanese and Manchukuoan authorities imposed the river as the de facto border, with MPR acquiescence. By the mid- to late 1930s, as Soviet strength grew, Japan refused to yield, while Mongolians and Soviets rejected the river line, sparking clashes. In 1935, Kwantung Army revised its maps to align with the river claim. From late that year, the Lake Buir Nor–Halha sector saw frequent skirmishes between Manchukuoan and MPR patrols. Until mid-1938, frontier defense in northwestern Manchukuo fell to the 8th Border Garrison Unit , based near Hailar. This 7,000-man force, spread thin, lacked mobility, training, and, in Kwantung Army's eyes, combat readiness. That summer, the newly formed 23rd Division, under Kwantung Army, took station at Hailar, absorbing the 8th BGU under its command, led by Lieutenant General Michitaro Komatsubara. At 52, Komatsubara was a premier Russian specialist in the Imperial Army, with stints as military attaché in the USSR and head of Kwantung's Special Services Agency in Harbin. Standing 5'7" with a sturdy build, glasses, and a small mustache, he was detail-oriented, keeping meticulous diaries, writing lengthy letters, and composing poetry, though he lacked combat experience. Before departing Tokyo in July 1938, Komatsubara received briefings from Colonel Masazumi Inada, AGS Operations Section chief. Amid planning for Changkufeng, Inada urged calm on the Manchukuo-MPR border given China's ongoing campaigns. Guidelines: Ignore minor incidents, prioritize intelligence on Soviet forces east of Lake Baikal, and study operations against the Soviet Far East's western sector. Familiar with the region from his Harbin days, Komatsubara adopted a low-key approach. Neither impulsive nor aggressive, he kept the green 23rd Division near Hailar, delegating patrols to the 8th BGU. An autumn incident underscores his restraint. On November 1, 1938, an 8th BGU patrol was ambushed by MPR forces. Per Japanese accounts, the three-man team, led by a lieutenant, strayed too close to the border and was attacked 50 meters inside Manchukuo. The lieutenant escaped, but his men died. Komatsubara sent an infantry company to secure the site but forbade retaliation. He pursued body recovery diplomatically, protested to MPR and Soviet officials, and disciplined his officers: garrison leaders got five days' confinement for poor troop training, the lieutenant thirty days. Despite this caution, pressures at AGS and KwAHQ were mounting, poised to thrust the 23rd Division into fierce battle. Modern militaries routinely develop contingency plans against potential adversaries, and the mere existence of such strategies doesn't inherently signal aggressive intentions. That said, shifts in Japan's operational planning vis-à-vis the Soviet Union may have inadvertently fueled the Nomonhan Incident. From 1934 to 1938, Japanese war scenarios emphasized a massive surprise assault in the Ussuri River region, paired with defensive holding actions in northwestern Manchuria. However, between mid-1938 and early 1939, a clandestine joint task force from the Army General Staff and Kwantung Army's Operations Departments crafted a bold new blueprint. This revised strategy proposed containing Soviet forces in the east and north while unleashing a full-scale offensive from Hailar, advancing west-northwest toward Chita and ultimately Lake Baikal. The goal: sever the Transbaikal Soviet Far East from the USSR's core. Dubbed Plan Eight-B, it gained Kwantung Army's endorsement in March 1939. Key architects—Colonels Takushiro Hattori and Masao Terada, along with Major Takeharu Shimanuki—were reassigned from AGS to Kwantung Army Headquarters to oversee implementation. The plan anticipated a five-year buildup before execution, with Hattori assuming the role of chief operations staff officer. A map review exposes a glaring vulnerability in Plan Eight-B: the Japanese advance would leave its southern flank exposed to Soviet counterstrikes from the Mongolian salient. By spring 1939, KwAHQ likely began perceiving this protrusion as a strategic liability. Notably, at the outbreak of Nomonhan hostilities, no detailed operational contingencies for the area had been formalized. Concurrently, Japan initiated plans for a vital railroad linking Harlun Arshan to Hailar. While its direct tie to Plan Eight-B remains unclear, the route skirted perilously close to the Halha River, potentially heightening KwAHQ's focus on the disputed Mongolian salient. In early 1939, the 23rd Division intensified reconnaissance patrols near the river. Around this time, General Grigory Shtern, freshly appointed commander of Soviet Far Eastern forces, issued a public warning that Japan was gearing up for an assault on the Mongolian People's Republic. As Plan Eight-B took shape and railroad proposals advanced, KwAHQ issued a strikingly confrontational set of guidelines for frontier troops. These directives are often cited as a catalyst for the Nomonhan clash, forging a chain linking the 1937 Amur River incident, the 1938 Changkufeng debacle, and the 1939 conflict.Resentment had festered at KwAHQ over perceived AGS meddling during the Amur affair, which curtailed their command autonomy. This frustration intensified at Changkufeng, where General Kamezo Suetaka's 19th Division endured heavy losses, only for the contested Manchukuoan territory to be effectively ceded. Kwantung Army lobbied successfully to wrest oversight of the Changkufeng salient from Chosen Army. In November 1938, Major Masanobu Tsuji of KwAHQ's Operations Section was sent to survey the site. The audacious officer was dismayed: Soviet forces dominated the land from the disputed ridge to the Tumen River. Tsuji undertook several winter reconnaissance missions. His final outing in March 1939 involved leading 40 men to Changkufeng's base. With rifles slung non-threateningly, they ascended to within 200 yards of Soviet lines, formed a line, and urinated in unison, eliciting amused reactions from the enemy. They then picnicked with obentos and sake, sang army tunes, and left gifts of canned meat, chocolates, and whiskey. This theatrical stunt concealed Tsuji's real aim: covert photography proving Soviet fortifications encroached on Manchukuoan soil. Tsuji was a singular figure. Born of modest means, he embodied a modern samurai ethos, channeling a sharp intellect into a frail, often ailing body through feats of extraordinary daring. A creative tactician, he thrived in intelligence ops, political scheming, aerial scouting, planning, and frontline command—excelling across a tumultuous career. Yet, flaws marred his brilliance: narrow bigotry, virulent racism, and capacity for cruelty. Ever the ambitious outsider, Tsuji wielded outsized influence via gekokujo—Japan's tradition of subordinates steering policy from below. In 1939, he was a major, but his pivotal role at Nomonhan stemmed from this dynamic. Back in Hsinking after his Changkufeng escapade, Tsuji drafted a response plan: negotiate border "rectification" with the Soviets; if talks failed, launch an attack to expel intruders. Kwantung Army adopted it. Deputy Chief of Staff Major General Otozaburo Yano flew to Tokyo with Tsuji's photos, seeking AGS approval. There, he was rebuffed—Changkufeng was deemed settled, and minor violations should be overlooked amid Tokyo's aversion to Soviet conflict. Yano's plea that leniency would invite aggression was countered by notes on Europe's tensions restraining Moscow. Yano's return sparked outrage at KwAHQ, seen as AGS thwarting their imperial duty to safeguard Manchukuo. Fury peaked in the Operations Section, setting the stage for Tsuji's drafting of stringent new frontier guidelines: "Principles for the Settlement of Soviet-Manchukuoan Border Disputes." The core tenet: "If Soviet troops transgress the Manchukuoan frontiers, Kwantung Army will nip their ambitions in the bud by completely destroying them." Specific directives for local commanders included: "If the enemy crosses the frontiers … annihilate him without delay, employing strength carefully built up beforehand. To accomplish our mission, it is permissible to enter Soviet territory, or to trap or lure Soviet troops into Manchukuoan territory and allow them to remain there for some time… . Where boundary lines are not clearly defined, area defense commanders will, upon their own initiative, establish boundaries and indicate them to the forward elements… . In the event of an armed clash, fight until victory is won, regardless of relative strengths or of the location of the boundaries. If the enemy violates the borders, friendly units must challenge him courageously and endeavor to triumph in their zone of action without concerning themselves about the consequences, which will be the responsibility of higher headquarters." Major Tsuji Masanobu later justified the new guidelines by pointing to the "contradictory orders" that had hamstrung frontier commanders under the old rules. They were tasked with upholding Manchukuo's territorial integrity yet forbidden from actions that might spark conflict. This, Tsuji argued, bred hesitation, as officers feared repercussions for decisive responses to incursions. The updated directives aimed to alleviate this "anxiety," empowering local leaders to act boldly without personal liability. In truth, Tsuji's "Principles for the Settlement of Soviet-Manchukuoan Border Disputes" were more incendiary than conciliatory. They introduced provocative measures: authorizing commanders to unilaterally define unclear boundaries, enforce them with immediate force "shoot first, ask questions later", permit pursuits into enemy territory, and even encourage luring adversaries across the line. Such tactics flouted both government policy and official army doctrine, prioritizing escalation over restraint. The proposals sparked intense debate within Kwantung Army's Operations Section. Section chief Colonel Takushiro Hattori and Colonel Masao Terada outranked Tsuji, as did Major Takeharu Shimanuki, all recent transfers from the Army General Staff. Tsuji, however, boasted longer tenure at Kwantung Army Headquarters since April 1936 and in Operations since November 1937, making him the de facto veteran. Hattori and Terada hesitated to challenge the assertive major, whose reputation for intellect, persuasion, and deep knowledge of Manchuria commanded respect. In a 1960 interview, Shimanuki recalled Tsuji's dominance in discussions, where his proactive ideas often swayed the group. Unified, the section forwarded Tsuji's plan to Kwantung Army Command. Commander Lieutenant General Kenkichi Ueda consulted Chief of Staff General Rensuke Isogai and Vice Chief General Otozaburo Yano, seasoned leaders who should have spotted the guidelines' volatility. Yet, lingering grudges from AGS "interference" in past incidents like the Amur River and Changkufeng clouded their judgment. Ueda, Isogai, and Tsuji shared history from the 1932 Shanghai Incident: Tsuji, then a captain, led a company in the 7th Regiment under Colonel Isogai, with Yano as staff officer and Ueda commanding the 9th Division. Tsuji was wounded there, forging bonds of camaraderie. This "clique," which grew to include Hattori, Terada, and Shimanuki, amplified Tsuji's influence. Despite Isogai's initial reservations as the group's moderate voice, the guidelines won approval. Ueda issued them as Kwantung Army Operations Order 1488 on April 25, 1939, during a division commanders' conference at KwAHQ. A routine copy reached AGS in Tokyo, but no formal reply came. Preoccupied with the China War and alliance talks with Germany, AGS may have overlooked border matters. Colonel Masazumi Inada, AGS Operations head, later noted basic acceptance of Order 1488, with an informal expectation—relayed to Hattori and Terada—of prior consultation on violations. KwAHQ dismissed this as another Tokyo intrusion on their autonomy. Some Japanese analysts contend a stern AGS rejection might have prevented Nomonhan's catastrophe, though quelling Kwantung's defiance could have required mass staff reassignments, a disruptive step AGS avoided. Tsuji countered that permitting forceful action at Changkufeng would have deterred Nomonhan altogether, underscoring the interconnectedness of these clashes while implicitly critiquing the 1939 battle's location. Undeniably, Order 1488's issuance on April 25 paved the way for conflict three weeks later. Japanese records confirm that Khalkha Mongols and MPR patrols routinely crossed the Halha River—viewed by them as internal territory, 10 miles from the true border. Such crossings passed uneventfully in March and April 1939. Post-Order 1488, however, 23rd Division commander General Michitaro Komatsubara responded aggressively, setting the stage for escalation. The Nomonhan Incident ignited with a border clash on May 11–12, 1939, that rapidly spiraled into a major conflict. Over a dozen "authoritative" accounts exist, varying in viewpoint, focus, and specifics. After cross-referencing these sources, a coherent timeline emerges. On the night of May 10–11, a 20-man Mongolian People's Republic border patrol crossed eastward over the Halha River (known as Khalkhin Gol to Mongols and Soviets). About 10 miles east, atop a 150-foot sandy hill, lay the tiny hamlet of Nomonhan, a cluster of crude huts housing a few Mongol families. Just south flowed the Holsten River, merging westward into the broader Halha. By morning on May 11, Manchukuoan forces spotted the MPR patrol north of the Holsten and west of Nomonhan. In the MPR/Soviet perspective, Nomonhan Hill marked the Mongolia-Manchuria border. To Manchukuoans and Japanese, it sat 10 miles inside Manchukuo, well east of the Halha. A 40-man Manchukuoan cavalry unit repelled the Mongolians back across the river, inflicting initial casualties on both sides—the Manchukuoans drawing first blood. The MPR patrol leader exaggerated the attackers as 200 strong. The next day, May 12, a 60-man MPR force under Major P. Chogdan evicted the Manchukuoans from the disputed zone, reestablishing positions between the Halha and Nomonhan. The Manchukuoans, in turn, reported facing 700 enemies. Sporadic skirmishes and maneuvering persisted through the week. On May 13, two days post-clash, the local Manchukuoan commander alerted General Michitaro Komatsubara's 23rd Division headquarters in Hailar. Simultaneously, Major Chogdan reported to Soviet military command in Ulaanbaatar, Mongolia's capital. What began as a Mongolian-Manchukuoan spat was poised to draw in Soviet and Japanese patrons. Attributing the May 10–11 violation hinges on border interpretations: both sides claimed the Halha-Nomonhan strip. Yet, most accounts concur that Manchukuoan forces initiated the fighting. Post-May 13 notifications to Moscow and Tokyo clarify the record thereafter. Midday on May 13, Komatsubara was leading a staff conference on the newly issued Kwantung Army Operations Order 1488—Major Tsuji Masanobu's aggressive border guidelines. Ironically, the first Nomonhan combat report arrived mid-discussion. Officers present recall Komatsubara deciding instantly to "destroy the invading Outer Mongolian forces" per Order 1488. That afternoon, he informed Kwantung Army Headquarters of the incident and his intent to eradicate the intruders, requesting air support and trucks. General Kenkichi Ueda, Kwantung commander, approved Komatsubara's "positive attitude," dispatching six scout planes, 40 fighters, 10 light bombers, two anti-aircraft batteries, and two motorized transport companies. Ueda added a caveat: exercise "extreme caution" to prevent escalation—a paradoxical blend of destruction and restraint, reflective of KwAHQ's fervent mood. Ueda relayed the details to Tokyo's Army General Staff, which responded that Kwantung should handle it "appropriately." Despite Kwantung's impulsive reputation, Tokyo deferred, perhaps trusting the northern strategic imbalance, eight Japanese divisions versus 30 Soviet ones from Lake Baikal to Vladivostok, would enforce prudence. This faith proved misguided. On May 14, Major Tsuji flew from KwAHQ for aerial reconnaissance over Nomonhan, spotting 20 horses but no troops. Upon landing, a fresh bullet hole in his plane confirmed lingering MPR presence east of the Halha. Tsuji briefed 23rd Division staff and reported to Ueda that the incident seemed minor. Aligning with Order 1488's spirit, Komatsubara deployed a force under Lieutenant Colonel Yaozo Azuma: an armored car company, two infantry companies, and a cavalry troop. Arriving at Nomonhan on May 15, Azuma learned most MPR forces had retreated westward across the Halha the prior night, with only token elements remaining, and those withdrawing. Undeterred, he pursued. The advance met scant resistance, as foes had crossed the river. However, Japanese light bombers struck a small MPR concentration on the west bank, Outpost Number 7, killing two and wounding 15 per MPR reports; Japanese claimed 30–40 kills. All agree: the raid targeted undisputed MPR territory. Hearing of May 15's events, Komatsubara deemed the Mongolians sufficiently rebuked and recalled Azuma to Hailar on May 16. KwAHQ concurred, closing the matter. Soviet leaders, however, saw it differently. Mid-May prompted Soviet support for the MPR under their 1936 Mutual Defense Pact. The Red Army's 57th Corps, stationed in Mongolia, faced initial disarray: Commander Nikolai Feklenko was hunting, Chief of Staff A. M. Kushchev in Ulan Ude with his ill wife. Moscow learned of clashes via international press from Japanese sources, sparking Chief of Staff Boris Shaposhnikov's furious inquiry. Feklenko and Kushchev rushed back to Ulaanbaatar, dispatching a mixed force—a battalion from the 149th Infantry Regiment (36th Division), plus light armor and artillery from the 11th Tank Brigade—to Tamsag Bulak, 80 miles west of the Halha. Led by Major A. E. Bykov, it bolstered the MPR's 6th Cavalry Division. Bykov and Cavalry Commander Colonel Shoaaiibuu inspected the site on May 15, post-Azum's departure. The cavalry arrived two days later, backed by Bykov (ordered to remain west of the river and avoid combat if possible). Some MPR troops recrossed, occupying the disputed zone. Clashes with Manchukuoan cavalry resumed and intensified. Notified of renewed hostilities, Komatsubara viewed it as defiance, a personal affront. Emboldened by Order 1488, he aimed not just to repel but to encircle and annihilate. The incident was on the verge of major expansion. I would like to take this time to remind you all that this podcast is only made possible through the efforts of Kings and Generals over at Youtube. Please go subscribe to Kings and Generals over at Youtube and to continue helping us produce this content please check out www.patreon.com/kingsandgenerals. If you are still hungry after that, give my personal channel a look over at The Pacific War Channel at Youtube, it would mean a lot to me. The ghosts of the Changufeng incident have come back to haunt both the USSR and Japan. Those like Tsuji Masanobu instigated yet another border clash that would erupt into a full blown battle that would set a precedent for both nations until the very end of WW2.
Jesus continues to describe his reign. Paradoxically entrance to his kingdom is very narrow; and yet once you are inside it is very spacious.
In this conversation, Zev and I discuss what role the Torah plays in the pursuit of knowing Hashem00:30 Why do we require the Torah for the pursuit of da'as Hashem?9:00 Can a person achieve da'as Hashem without the Torah?16:30 Is the Torah the exclusive method that brings to da'as Hashem?18:00 What is the Torah and to what genre does it belong?21:45 It is impossible to disentangle Jewish values from the Torah30:30 The Torah's words, narratives and practices anchor a person in da'as Hashem40:00 Does all da'as Hashem trace its roots to the Torah?51:00 Torah as Law and its difference from the Prophets: https://www.ebay.com/itm/364132946794...https://open.substack.com/pub/shnayor/p/ee-and-r-3_1-between-the-torah-and?utm_campaign=post-expanded-share&utm_medium=web52:00 Da'as Hashem is absent from the Torah; Moshe is higher than the prophets by virtue of his recognition that Hashem is actually unknowable53:30 The Law as guardrails against absolute freedom of thought54:45 We cannot and will not contemplate infinity, and therefore we need the finitude of the Law56:00 Paradoxically, restrictions allow for freedom of thought1:00:00 The Jewish People is the greatest mitzvah1:05:00 Summary of how the Torah serves da'as Hashem
Send us a textWhat's in a name?My father who was a stoic Vedic scholar choose the name “Vijaya Maya” which means victory over and beyond Maya.In Sanskrit “Maya” has a vast cosmic meaning (often misunderstood) as illusion). At the time of my initiation as a Vedic Monk we are necessarily given another name stripped as it were of our past ancestral vasanas. My Guru renamed me “MayaAtitaAnanda”, a spiritual name translated as “Beyond Maya, in service to the full Conscious”. Both fathers had arrived at the same conclusion. As although I had since renounced my path as a Vedic monk, what remains is a path aligned in consciousness, true to my destiny. Before we unfold this mysterious principle of creation, it is important to note that your name in any language is ultimately a variation of Maya's cosmic principle. your name holds both ancestral and cosmic power. Whether you like it or not the name given at birth is meant to be your personal mantra throughout life. whether chosen sentimentally, or by astrological science or by chance your name holds and protects the meaning.of your karmic journey. Your name that is repeated hundreds of thousands of times in your lifetime- each call resounding memory, a call to remember. Let's reveal the core essence of Maya.She is the cosmic force that contains both the power to conceal your true nature( tirodhana), and the power that reveals it, (anugraha.) In her aspect of tirodhana, she performs as the cosmic wielder, manifestor of the material world - the space in which we perceive the One as many , the false reality of separation. In her aspect of anugraha, the blessing we experience is her Power that lifts the veil to reveal your pure identity - Oneness, the multitudes folding into One. Each experience in life teaches us to own consciousness- we lift the veil bit by bit to catch glimpses of long forgotten reality. We move through innumerable experiences over billions of lifetimes - each rebirth healing into a greater degree of awareness. This is the journey from commodities to consciousness. Most of humanity exists in the state of tirodhana where we feel tethered, shackled to the material force the common collective perspective of wants, needs, greed, and competition that stimulate and bind us to commodity-awareness which only reinforces separation from source. In every life, there comes a turning point. That ineffable moment when fear and veil are removed, when we meld into the realisation of love, oneness with all things. Paradoxically, the same power that creates the illusion of separation is the very power that lifts the veil, the power of anugraha, grace. Once the grace is felt we can never return to the. veil. Our spiritual journey begins. Every breath reminds us to turn toward this light, the power to relentlessly seek - not material things - but the grace of revelation, the lifting of the veil of our own forgotten Support the showMay Peace Be Your Journey~www.mayatiwari.comwww.facebook.com/mayatiwariahimsa.Buzzsprout.com Mothermaya@gmail.com Get Maya's New Book: I Am Shakti: https://www.collectiveinkbooks.com/o-books/our-books/I-am-shakti Amazon.com Bookshop.org
The United States is the only modern nation where nearly half a billion privately owned firearms—most dormant, unseen, and unorganized—form an unspoken fourth layer of power within civil society. Public debate reduces guns to crime, culture wars, or personal safety, but the deeper structural reality is that private firearm ownership disperses consequence and prevents any single actor—local government, shadow authority, or federal power—from assuming uncontested monopoly over civilian life. The Second Amendment was not written for hunting or nostalgia. It was written for parity—citizens maintaining access to contemporary tools comparable to those used by the state they authorize.This fourth layer is defined not by rebellion but by restraint. Despite their scale, America's firearms are not mobilized into vigilantism, organized insurgency, or paramilitary politics. They sit in homes, safes, closets, glove compartments—present but unused. Deterrence operates through uncertainty. The absence of uprisings is not proof the deterrent is fiction; it is evidence that the boundary is understood. Power is negotiated, not assumed.Unlike cartels or militias abroad, American gun ownership is not aligned to a single ideology. It is not a tribal uniform. It cuts across geography, race, and politics. Recent trends—LGBTQ groups training, Black gun clubs expanding, feminist self-defense movements growing—have not terrified the traditional 2A crowd. Paradoxically, the reaction has been: welcome. Because the principle is not cultural; it is constitutional. The fear is not who owns the guns. The fear is who believes only they should.Critics claim that if these guns mattered, they would have already been used. But deterrents are measured by the events that do not happen. Nuclear arsenals prove themselves through silence. Privately held arms shape governance not through force but through the impossibility of unilateralism. The Fourth Layer has no leader, no roster, and no headquarters. It is self-policed by consequence: misuse a firearm and the state itself removes you from the equation.In a century defined by institutional mistrust, rapid social revision, and attempts to frame America as pure “democracy” rather than a constitutional republic of negotiated powers, the presence of privately held parity matters. It does not guarantee virtue. It guarantees consent must be earned, not presumed.These firearms are not mythology and not menace. They are sequestered carbon—stored energy, dormant pressure, waiting not for ignition but for justification. They remain the silent ballast of a system that expects debate before decree. Not a threat. Not a promise. A boundary.
073 Only recently have both women and men been able to liberate themselves from the yoke of patriarchal norms. The transition to a more egalitarian, post modern society in the last 50 years also meant a rejection of historical narratives about manhood, including what some mythological traditions call the masculine spirit. In the absence of this archetypal energy, many men languish and struggle with a deep insecurity about their place in a fast changing world.While the media focuses on caricatures of alpha males and examples of ‘toxic masculinity', the shadow side of men, especially well intentioned and conscious men, more often appears in the form of the ‘nice guy'. Dr Robert Glover first coined the term ‘nice guy syndrome' to describe a complex of self defeating traits, including passivity, excessive people pleasing, covert manipulation and weak personal boundaries. Paradoxically, nice guys rarely get what they truly want from relationships or life by being nice.In this episode of Awake In Relationship I speak with Jason Lange, men's embodiment coach, group leader and podcaster, about men's shadow work to recover the generative power of the masculine spirit. In this conversation we discuss the origins of nice guy syndrome, it presentation in intimate relationships and creating transformative spaces for men to be seen and supported to rise to the challenge of modern masculinity.Follow Awake In Relationship on Instagram and LinkedinIf you have been loving what you are hearing on AIR please rate, review and subscribe to get the latest content fresh to your device. Sign up for our newsletter at awakeinrelationship.com to learn about upcoming programs and events.Do you have suggestions for guests or feedback on the show? Send us an email at awakeinrelationshippodcast@gmail.com
Husky voice, Friday night whiskey, and a mountain of cheese from the book launch. In this episode I lift the lid on what really happens inside a print judging room. The rotation of five from a pool of seven. Silent scoring so no one nudges anyone else. How a challenge works, what the chair actually does, and why we start with impact, dive through craft, then finish on impact again to see what survives. Layout over composition, light as the whole game, and a final re-rank that flattens time drift so the right image actually wins. If you enjoy a peek behind the curtain, you will like this one. You can grab a signed copy of the new Mastering Portrait Photography at masteringportraitphotography.com and yes, I will scribble in it. If you already have the book, a quick Amazon review helps more than you know. Fancy sharpening your craft in person? Check the workshops page for new dates and come play with light at the studio. The book: https://masteringportraitphotography.com/resource/signed-copy-mastering-portrait-photography-new-edition/ Workshops: https://masteringportraitphotography.com/workshops-and-mentoring/ Transcript [00:00:00] Hey, one and all. How are you doing? Now? I'll be honest, I still have the remnants of a cold, and if you can hear that in my voice, I do apologize, I suppose you could call it slightly bluesy, but you can definitely hear that I'm ever so slightly husky. It's Friday night, it's eight 30, and I was, I've been waiting a week to record this podcast, hoping my voice would clear it hasn't, and so I've taken the opportunity having a glass of whiskey and just cracking on. So if you like the sound of a slightly bluesy voice, that's great. If you don't, I'm really sorry, but whichever, which way I'm Paul. And this is the Mastering Portrait Photography podcast. So it's been a busy month or two. You can always tell when it's busy [00:01:00] 'cause the podcasts. Get, don't really get delivered in quite the pace I would like. However, it really has been a busy couple of weeks the past few. Let me, I'm gonna draw your attention to it. The past couple of weeks, we've, there's a ton of stuff going on around us for a moment. I was up in Preston. I've been up in Preston twice over the past couple of weeks. The first one was working as a qualifications judge for the BIPP, the British Institute Professional photographers. Um. Which I love judging. I love judging. It's exhausting, but I love it. And that was qualifications, panels. Then last week was the launch. Of the updated edition of Mastering Portrait Photography, the book, which is where it all started, where Sarah Plata and I published this book that seems to have been incredibly popular. 50,000 copies translated from English into four other languages. Chinese, Korean, German. And Italian, do not ask me, do not ask me the logic on why the book is in those [00:02:00] particular languages. To be fair, we only found out about the Chinese and Korean when we were trying to get some marketing material together to talk about the new book Nobody had told us. I'm not even sure the publisher knew, to be honest. Uh, but we have found copies. We have a Chinese copy here in the studio. I'm still trying to get a Korean version. So if you are listening to this. Podcast in Korea. Please tell me how to get hold of a version in Korean because we'd love to complete the set. There's, in fact, there's two Italian versions. We knew about that. There's a German version we knew about that hardback version. It's great. It's really beautiful. Very I, like I, I don't live in Germany and I don't like to stereotyping entire nation, but the quality of the book is incredible. It's absolutely rock solid, properly engineered. Love it. We have a Chinese version here but the Korean version still alludes us. However, this week the new version, mastering portrait photography is out. And as you know, I, Sarah interviewed me for the podcast last week to talk about it. Well, it's out. We've had our launch party, uh, we invited everybody who [00:03:00] has featured in the book who, everybody, every picture in the book that we asked the person in it to come to the studio for a soiree. And it was brilliant. I've never seen so much cheese in all my life, and by I don't mean my speech, I mean actual cheese. We had a pile of it, still eating it. So it's been a week and I'm still eating the cheese. I dunno quite how, well, quite by how much we vacated, but probably by several kilos. Which I'm enjoying thoroughly. I've put on so much weight this week, it's unreal, but I'm enjoying the cheese. And then on Sunday we had an open day where we had set the studio out with some pictures from the book and some notes of the different people. Who featured and what I might do, actually, I'd, I wonder if I can do a visual podcast. I might do a visual podcast where I talk about those images, at some point on the website, on masteringportraitportraitphotography.com. I will do the story and the BTS and the production of every single image that's in the book, but it's gonna take me some [00:04:00] time. There's nearly 200 images in there. Um, and every one of them, bar one is a new image or is, is. It is, it is a new image in the book, and it has been taken in the 10 years or the decades subsequent to the first book, all bar one. Feel free to email me. Email me the image you think it might be. You'll probably guess it, but it's it's definitely in there. Um, and so it's been really busy. And then at the beginning of this week, I spent two days up in Preston again, judging again, but this time it was for the British Institute of Professional Photographers print Masters competition. Ah, what, what a joy. Six other judges and me, a chair of judges. Print handlers, the organizers. Ah, I mean, I've seen so many incredible images over those 48 hours, and in this podcast I want to talk a bit about how we do it, why we do it, what it feels like to do it, [00:05:00] because I'm not sure everybody understands that it's it, it's not stressful, but we do as judges, feel the pressure. We know that we are representing, on the one hand, the association as the arbiters of the quality of the curators of these competitions, but also we feel the pressure of the authors because we are there too. We also enter competitions and we really, really hope the judges pay attention, really investigate and interrogate the images that we've entered. And when, when you enter competitions, that heightens the pressure to do a good job for the authors who you are judging. So in this podcast, I'm gonna talk through some of the aspects of that. Forgive me if it sounds like I'm answering questions. It's because I wrote myself some questions. I wrote some [00:06:00] questions down to, how I structures the podcast usually, uh, the podcast rambles along, but this one I actually set out with a structure to it, so forgive me if it sounds like I'm answering questions. It's 'cause I'm answering my own questions. What does it feel like? How do you do it? Et cetera, et cetera. Anyway, I hope it's useful. Enjoy. And it gives you an insight into what it's like to be a competition judge. Okay. As you walk into the judging room. For me at least, it's mostly a sense of excitement. There's a degree of apprehension. There's a degree of tension, but mostly there's an adrenaline rush. Knowing that we're about to sit and view, assess, score these incredible images from photographers all over the world, and let's remember that every photographer when they enter a print competition, which is what I'm talking about primarily here. Every photographer [00:07:00] believes that print that category that year, could win. Nobody enters an image thinking that it doesn't stand a chance. Now you might do that modest thing of, I don't know, you know? Oh no, I don't. I I just chance my arm. No one enters a print they don't think has a chance of doing well. That just doesn't happen. It's too expensive. It takes too much time. And as judges. We are acutely aware of that. So when you walk into the room, lots of things are going in your on, in your heads. Primarily, you know, you are there to do a job. You are there to perform a task. You are going to put your analytical head on and assess a few hundred images over the next 48 hours. But as you walk in, there's a whole series of things. You, you are gonna assess the room. You see that your fellow judges, you're gonna see the print handlers. You're going to see the chair, you're gonna see the people [00:08:00] from whichever association it is who are organizing it, who or who have organized it. You'll see stacks of prints ready to be assessed. There's a whole series of things that happen. A lot of hugging. It's really lovely. This year the panel of judges, uh, had some people in it I haven't seen for quite a few years, and it was beyond lovely to see them. So there's all of that, but you, there's this underlying tension you are about to do. One of the things you love doing more than anything else in as part of your job. So there's the excitement of it and the joy of it, but there's always this gentle underlying tone of gravitas of just how serious it is. What we are doing. So there will be plenty of laughter, plenty of joy, but you never really take your eye off the task in hand. And that's how it feels as you go to take your seats on the judging [00:09:00] panel. So the most important thing, I think, anyway, and I was chair of qualifications and awards for the BIPP for a number of years, is that the whole room, everybody there is acting as a team. If you are not gonna pull as a team, it doesn't work. So there has to be safety, there has to be structure. There has to be a process and all of these things come together to provide a framework in which you assess and create the necessary scores and results for the association, for the photographers, for the contestants. So you take your seats, and typically in a room, there are gonna be five judges at any one time assessing an image. It's typically five. I've seen it done other ways, but a panel of judges is typically five. The reason we have five is at no point do all of the judges agree. [00:10:00] We'll go through this later in more detail, but the idea is that you have enough judges that you can have contention, you can have. Disagreements, but as a panel of judges, you'll come up with a score. So you'll have five judges sitting assessing an image at any one time. To the side of the room, there'll be two more judges typically. Usually we have a pool of seven, five judges working, two judges sitting out every 10 prints or 10 minutes or whatever the chair decides. They'll we'll rotate along one, so we'll all move along one seat and one of the spare judges will come in and sit on the end and one of the existing judges will step off. And we do that all day, just rotating along so that everybody judges, broadly speaking, the same number of images. Now, of course there is a degree of specialism in the room. If a panel has been well selected, there'll be specialists in each of the categories, but you can't have, let's say there's 15 categories. You [00:11:00] can't have five specialist judges per category. That's simply impractical. Um, you know, having, what's that, 75 judges in a room, just so that you can get through the 15 categories is. A logistics task, a cost. Even just having a room that big, full of judges doesn't work. So every judge is expected to be reasonably multi-talented, even if you don't shoot, for instance, landscapes. You have to have a working knowledge of what's required of a great landscape. Because our job as a panel isn't that each of us will spot all of the same characteristics in an image, all of the same defects, all of the same qualities. Each judge has been picked to bring their own. Sort of viewpoint, if you like, to the image. Some judges are super technical, some judges, it's all about the atmosphere. Some judges, it's all about the printing and there's every bit of image production is [00:12:00] covered by each of the individual specialisms of the judges. And so while there is a degree of specialism, there will be a landscape. Specialist in the room or someone who works in landscape, there will be plenty of portrait photographers, wedding photographers, commercial photographers. The idea is from those seven, we can cover all of those bases. So we have seven judges all at fellowship level, all highly skilled, all experienced. And then there's the chair. Now the chair's role is not to affect the actual score. The chair's role is to make sure the judges have considered everything that they should be considering. That's the Chair's job, is to make sure the judges stay fresh, keep an eye on the scores, keep an eye on the throughput. Make sure that every image and every author are given a. The time and consideration that they are due. What do I mean by that? Well, I just mean the photographers spent a lot of time and effort and [00:13:00] finance putting this print in front of us, and so it's really important that we as judges give it due consideration. The chair, that's their role is to make sure that's what really happens. So the process is pretty simple, really. We will take our seats as a panel of judges and when we are settled. The chair will ask for the print, one of the print handlers. There's normally a couple of print handlers in the room, one to put the image on, one to take the image off. The print handler will take the first image or the next image off the pile and place it in front of us on the light box. They will then check the print to make sure there's no visible or obvious dust marks, um, or anything, and give with an air blower or with the back of a a handling glove, or very gently take any dust spots away. They will then step back. Now, the way the judges are set, there are five seats in a gentle arc, usually around the light [00:14:00] box. The outer two judges, judges one and five will step into the light box and examine or interrogate the print carefully. They will take as much time as they need to ascertain what they believe the score for that image should be. They will then take their seats. The next two judges in, so let's say Judge two and four, they will step in to interrogate the print and do exactly the same thing. When they're ready, they'll step back and sit down. And then the middle judge, the final judge in seat three, they will step up and interrogate the print. And the reason we do it that way is that everybody gets to see the print thoroughly. Everybody gets to spend enough time. Examining the print. And at that point, when we all sit down, we all enter our scores onto whatever the system is we're using either using iPads or keypads. There's all sorts of ways of doing it, but what's really important is we do all of this in total silence and we don't really do it because we need to be able to [00:15:00] concentrate. Though that has happened, sort of distracting noises can play havoc. Um, we really do it so that we are not influencing any other judge. So there's no, oh, this is rubbish, or, oh, this is amazing. Or any of this stuff, because the idea is that each judge will come to their own independent score. We enter them, and then there's a process as to what happens next. So that's the process. If at some point a single judge when the image appears, says, I can't judge this for whatever reason, usually it's because they've seen the image before. I mean, there's one this week where I hadn't directly influenced the image. But the author had shown me how they'd done it, so they'd stepped me through the Photoshopping, the construction, the shooting, everything about the image. I knew the image really well, and so when the image appeared on the light box, I knew while I could judge it, it wasn't fair to the author or to the other [00:16:00] competitors that I should. So I raised my hand, checked in with the chair, chair, asked me what I wanted. I said, I need to step off this. I'm too familiar with the work for me to give this a cold read, an objective read. So I if, if possible, if there's another judge, could they just step in and score this one image for me? And that means it's fair for all of the contestants. So that's that bit of process when we come to our score. Let's assume the score's fine. Let's assume, I dunno, it gets an 82, which is usually a merit or a bronze, whatever the system is. The chair will log that, she'll say that image scored 82, which is the average of all five of us. She'll then check in with the scores and the panel of judges. He or she rather, uh, they, so they will look at us and go, are you all happy with that result? That's really important. Are you all happy? Would that result? Because that's the opportunity as judges for one of us, if we're not comfortable that the image is scored where we think it probably should. And [00:17:00] remember with five of you, if the score isn't what you think, you could be the one who's not got your eye in or you haven't spotted something, it might well be you, but it's your job as a judge to make sure if there's any doubt in your mind about the scoring of an image that. You ask for it to be assessed again, for there to be discussion for the team to do its job because it might be that the other members of the panel haven't seen something that you have or you haven't seen something that they have, that both of those can be true. So it's really important that you have a process and you have a strict process. And this is how it works. So the chair will say you are happy. One of the judges may say. No, I'm not happy or may say I would like to challenge that or may simply say, I think this warrants a discussion. I'm gonna start it off. And then there's a process for doing that. [00:18:00] So the judge who raises the challenge will start the dialogue and they'll start in whichever direction it is that they think the scoring is not quite right. They will start the dialogue that way. So let's say the score, the judge who's raising a challenge says the score feels a little low. What happens then is raise a challenge and that judge will discuss the image or talk to the image in a way that is positive and trying to raise the score. And they're gonna do that by drawing attention to the qualities that they feel the image has, that maybe they're worried the other judges haven't seen when they're done, the next judge depends, depending on the chair and how you do it. The next judge will take their turn and he goes all the way around with every judge having their say. And then it comes back to the originating judge who has the right of a rebuttal, which simply means to answer back. So depending on how the [00:19:00] dialogue has gone it may be that you say thank you to all of the judges. I'm glad you saw my point. It would be great if we could give this the score that I think this deserves. Similarly, you occasionally, and I did do one of these where I raised a challenge, um, where I felt an image hadn't scored, or the judges hadn't seen something that maybe I had seen in the image, and then very quickly realized that four judges had seen a defect that I hadn't. And so my challenge, it was not, it's never a waste of a challenge. It's never ever a waste because it's really important that every image is given the consideration it deserves. But at the end of the challenge that I raised, the scoring stayed exactly the same. I stayed, I said thank you to all of the judges for showing me some stuff that I hadn't noticed. And then we moved on. More often than not, the scores move as the judges say, oh, do you know what, you're right, there is something in this. Or, no, you're right. We've overinflated this because we saw things, but we missed these technical defects. It's those kinds of conversations. So that's a, a chair, that's a, a judge's [00:20:00] challenge. Yeah, this process also kicks in if there's a very wide score difference between the judge's scores, same process, but this time there's no rebuttal. Every judge simply gives their view starting with the highest judge and then working anywhere on the panel. Um, and then there's a rare one, which does happen which is a chair's challenge, and the chair has the right in, at least in the competitions that I judge, the chair has the right to say to the panel of judges. Could you just give this another consideration? I think there might be things you've missed or that feels like you're getting a little bit steady in your scoring. 'cause they, the chair of course, has got a log of all the scores and can see whether, you know, you're settling into like a 78, 79 or one judge is constantly outta kilter. The chair can see everything and so your job as the chair is to just, okay guys, listen, I think this image that you've just assessed. Possibly there's some things one way or the [00:21:00] other that you might need to take into consideration. It doesn't feel like you have. I'd like you to discuss this image and then just do a rescore. So those are the, those are the mechanisms. So in the room you've got five judges plus two judges who are there ready to step in when required either on the rotation or when someone recuses themself and steps out. Usually two print handlers and then usually there's at least one person or maybe more from the association, just doing things like making sure things are outta their boxes, that the scores are recorded on the back of the prints, they go back into boxes, there's no damage because these prints are worth quite a lot of money. And so, there's usually quite a few people in the room, but it's all done in silence and it's all done to this beautiful process of making sure it's organized, it's clear it's transparent, and we're working as one team to assess each image and give it the score that it deserves. so when the print arrives on the box. It has impact. Now, whether you like it or not, [00:22:00] whether you understand it or not, whether you can define it or not, the print has an impact. You're gonna see it, you're gonna react to it. How do you react to it? Is it visceral? Does your heart rate climb? Do you. Do you explore it? Do you want to explore it? Does it tell a clear story? And now is when you are judging a competition, typically the association or the organization who are running the competition will have a clear set of criteria. I mean, broadly speaking, things like lighting, posing layout or composition storytelling. Graphic design, print quality, if it's a print competition. These are the kinds of things that, um, we look for. And they're listed out in the competition guides that the entrant, the author will have known those when they submitted their print. And the judges know them when we're assessing them, so they're kind of coherent. Whatever it is that the, the entrance were told, that's what we're judging [00:23:00] to the most important. Is the emotional connection or the impact? It's typically called visual impact or just impact. What's really important about that is that it's very obvious, I think, to break images down into these constructed elements like complimentary colors or tonal range or centers of interest, but they don't really do anything except create. Your emotional reaction to the picture. Now, we do use language around these to assess the image, but what we're actually looking for is emotional impact. Pictures tell stories. Stories invoke emotions. It's the emotions we're really looking for. But the trick when you are judging is you start with the initial impact. Then you go in and you in real tiny detail, look at the image. Explore it, interrogate it, [00:24:00] enjoy it, maybe don't enjoy it. And you look at it in all of the different categories or different areas, criteria that you are, that the judges that the organization have set out. And then really, although it never gets listed twice, it should do, impact should also be listed as the last thing you look at as well. Because here's the process. You look at the image. There's an impact. You then in detail investigate, interrogate, enjoy the image. And then at the very end you ask yourself, what impact does it still have? And that's really important because the difference between those two gives you an idea of how much or how well the image is scoring in all of the other areas. If an image has massive impact when you, let's put 'em on the light box, and then you explore it and you [00:25:00] enjoy it, and you look at it under the light, and then at the end of it you're still feeling the same thing you did when it came on the light box, that's a pretty good indicator that all the criteria were met. If on the other hand, as you've explored the image, you've realized. There are errors in the production, or you can see Photoshopping problems or blown highlights or blocked blacks, or things are blurred where they should be sharp or you name it. It's these kinds of things. You know, the printing has got banding in the sky, which is a defect. You see dust spots from a camera sensor. These gradually whittle away your impact score because you go back to the end and you ask, what impact does the image now have? And I've heard judges use terms like at the end of the process, I thought that was gonna be amazing when it first arrived on the light box. I just loved the look of it from a distance, but when I stepped in, there were just too many things that [00:26:00] weren't quite right. And at the end of it, I just felt some would, sometimes I've heard the word disappointed you. So that's certainly how I feel. When an image has this beautiful impact and the hair stand up on the back of your neck and you just think, I cannot wait to step in and explore this image in detail. 'cause I tell you one thing, most authors don't own a light box. When you see a print on a beautiful light box, the, there's something about the quality. The way the print ESS is you actually get to see what a print should look like. So when you step in, you are really excited to see it. And if at the end of that process you're slightly disappointed because you found defects in the printing or problems with the focusing or Photoshop or whatever it is. You really are genuinely disappointed. So that's how you approach it. You approach it from this standpoint of a very emotional, a very emotional connection with the image to start with, and then you break [00:27:00] it down into its elements, whatever those elements are for the competition. And then at the end, you ask yourself really, does it still have the impact? I thought it would because if it does, well, in that case, it's done really, really well. one of the things that's really interesting about judging images is we, we draw out, we write out all of these criteria and. Every image has them really. I mean, well, I say that of course every image doesn't have them. If you are, if you're thinking about landscape or a picture of a shampoo bottle, it doesn't have posing, for instance, if that's one of your criteria. But typically there's a standard set of criteria and every image has them layout, color uh, photographic technique, et cetera. So if we look at let's say composition, let's talk about composition. Personally, I like to use the term layout rather than composition because it [00:28:00] feels a little bit more like a verb. You lay the image out, you have all of the bits, you lay them out. I like that because when we are teaching photography when we say to someone, right, what are all of the bits that you have in front of you? How are you gonna lay them out? It feels a lot more, to me, at least more logical than saying, how are you gonna compose the image? Because it allows. I think it allows the photographer to think in terms of each individual component rather than just the whole frame. So we are looking for how the image is constructed. Remember that every photographer really should think about an image. As telling a story, what's the story that you want somebody else? Somebody that you've never met. In this case a judge, but it could be a client or it could just be somebody where your work is being exhibited on a wall. What do you want them to look at? What do you want them to see? Where do you want that eye to go? And there are lots of tricks to [00:29:00] this, and one of them is layout or composition. So we've got through the initial impact, boom. And the excitement. And then you start to think, is the image balanced? I like to think of an image having a center of gravity. Some photographers will use center of interest, which is a slightly different thing, but I think an image has a center of gravity. The component parts of the image create balance. So you can have things right down in the edges of the frame, but you need something to balance it like a seesaw. You can't just. Throw in, throw parts of the puzzle around the frame. So you are looking for where do they land? And of course, as photographers, we talk about thirds, golden ratios, golden spirals, all of these terms. But what we are really looking for is does the image have a natural flow? Does it feel like everything's where it should be? Does your eye go to the bit that the author probably wanted you to look at? Have they been effective in their [00:30:00] storytelling? And by storytelling, I don't necessarily mean storytelling as in photojournalism or narrative rich photography. What I mean is what did they want you to see, and then did you go and see it? Separation? Is the background blurred? And let's say the, the subject is sharp. That's a typical device for making sure you look at the subject. Is the color of the background muted in a way that draws your attention? Again to whatever it is in the foreground. So layouts one of those tools. So we work our way around it and try and figure out does the positioning of all of the elements of the image does their positioning add or distract from the story? We think that author was trying to tell. Let's remember that it's not the judge's job to understand the story. It's the author's job to tell the story in a way that the judges can get it. Too often, you know, when I, when I've judged [00:31:00] a competition, someone will come and find me afterwards and say, did you understand what that was about? I was trying to say this, and it's like, well, I didn't see that, but that's not my fault. You know, it's, it's down to you to lead me pictorially to. Whatever it is you're trying to show. Same with all judges, all viewers, clients. It doesn't really matter. It's the author's job, not the judges. So at the end of that, you then move on to whatever's the next criteria. So you know, you assess these things bit by bit, and by the way, every judge will do it in a slightly different order. There'll be written down in an order. But each judge would approach it in a different manner. For me, typically it's about emotional connection more than anything else, it's about the emotion. I love that genuine, authentic connection of a person in the image. To me, the viewer. I will always go there if, if it's a portrait or a wedding or fashion image, if there's a person in it or a dog, I suppose, [00:32:00] then I will look for that authenticity, that, that visceral, it feels like they're looking at me or I'm having a dialogue with them. That's my particular hot button, but every judge has their room and that's how you approach it. So when it comes to a photograph in the end, you don't really have anything other than light when you think about it, right? That's, you pick up a camera, it's got a sensor, it's got film, it's got a lens on the front, and a shutter stopping light coming, or it goes through the lens, but the, the shutter stops it hitting a sensor. And at some point you commit light to be recorded. And it's the light that describes the image. There's nothing else. It's not something you can touch or hear, it's just light. And of course light is everything. I think, I think the term pho photography or photograph is a mix of a couple of words, and it's a relatively recent idea. I think [00:33:00] it was Victorian and it's, isn't it light and art photographic or photograph, um. So that's what it is. It's capturing light and creating a reaction from it. So the quality of light is possibly the most important thing. There is too much of it, and you're gonna have blown highlights, nasty white patches on your prints, too little of it. You're gonna have no detail in the shadows and a lot of noise or grain, whether it's film or whether it's off your sensor. And then there's the shape of the light. The color of the light, and it doesn't really matter whether it's portrait, wedding, landscape, product, avant garde, it's light that defines things. It's light that can break an image. So with portraiture, for instance, we tend to talk about. Sculpting or dimensionality of light. We tend to talk about the shape of the subject. We talk about flattering light. We talk about hard and soft light, and all of these things [00:34:00] mean something. This isn't the podcast to talk about those in detail, but that's what we're looking for. We are looking for has the light created a sense of shape, a sense of wonder, a sense of narrative. Does the lighting draw your eye towards the subject? And when you get to the subject, is it clear that the lighting is effective and by effective, usually as a portrait photographer anyway. I mean flattering. But you might be doing something with light that's counterintuitive, that's making the subject not flattered. That's maybe it's for a thriller style thing, or maybe it's dark and moody. Harsh, as long as in tune with the story as we are seeing it, then the lighting is assessed in that vein. So we've seen some incredible beauty shots over the past couple of days where the lighting sculpted the face. It had damaged ality, but it was soft. There were no hard shadows, there were no [00:35:00] blown highlights. The skin, it was clear that the texture of the skin, the light, it caught the texture. So we knew exactly what that would be. It had. Captured the shape. So the way the gens or shadows ripple around a body or a face tell you its shape. They haven't destroyed the shape. It's it's catch shape, but it hasn't unnecessarily sculpted scars or birthmarks or spots, you know? And that's how lighting works. So you look for this quality, you look for control, you look for the author, knowing what they're doing. With landscapes, typically it's, it is very rare, in my opinion, for a landscape. To get a good score if it isn't shot at one end of the day or the other. Why? Well, typically, at those points of the day, the light from the sun is almost horizontal. It rakes across the frame, and you get a certain quality to the way the shadows are thrown. The way the [00:36:00] light, sculpts hills, buildings, clouds, leaves, trees, the way it skips off water, whether it's at the beginning of the day or the end of the day. It's quite unusual though we do see them for an amazing photograph of escape to be taken at midday. But you can see how it could be if you have the sun directly overhead, because that has a quality all of its own. And you know, if when an author has gone to the effort of being in the right place to shoot vertical shadows with a direct overhead son, well maybe that's so deliberate that the, the judges will completely appreciate that and understand the story. So it's looking for these things and working out. Has the lighting been effective in telling the story? We think the author was trying to tell? Lighting is at the heart of it. So when we've been through every criteria, whatever they are, lighting, composition, color, narrative, et cetera, et cetera, et cetera, [00:37:00] we've assessed every image, hundreds of them. We've had challenges, we've had conversations. We have a big pile of prints that have made it over the line. To whatever is your particular association scoring, whether it's merit or bronze or whatever. The puzzle isn't quite complete at that stage because there is of course, a slight problem and that problem is time. So if you imagine judging a section of images might take a couple of hours to do 70 prints, 60, 70 prints might take longer than that. In fact, it might take the best part of an afternoon. During that time. There's every chance the scores will wander. And the most obvious time is if a category spans something like a lunch break. We try to make sure categories don't do that. We try to complete categories before going for a break. We always try to be continuous, but [00:38:00] you've still got fatigue. You've got the judges rotating. So all of these things are going on. It sometimes it depends what images come up in what order could conceivably affect the scoring. For instance there's an image that came up this year where I think probably I was the judge that felt the strongest about it. There was something about this particular image that needed talking about, and so when it came up and it was scores that I raised a challenge and my heart rate, the minute the print hit the stand, my heart rate climbed through the roof. It was. Something about it that just connected with me. And then when I explored the image on the lights, on the light box, to me, there was very little that was technically holding it back. There were a couple of bits, but nothing that I felt warranted a lower score. And so I raised a [00:39:00] challenge. I said my point, I went through it in detail. I asked the other judges to consider it. From my viewpoint, they gave their views as to why they hadn't. But each of them understood where I was coming from and unlike the challenge I talked about earlier where no one changed their mind on this one, they did on this one. They also saw things that I saw when we went through it. But at the end of the process, the image was got a higher score, which is great, but. I didn't feel that I could judge the next image fairly because whatever came in, my heart rate was still battering along after seeing this one particular image. And that happens sometimes. It's not common, but I felt I needed to step off the panel before the next image came up. Which I did in work, working with the chair and the team. I stepped off for a couple of prints before stepping back on [00:40:00] just to let my eye settle and let myself get back into the right zone. But during the day, the zone changes. The way you change your perception of the images, as the images come through is so imperceptible, imperceivable, imperceptible. One of those two words is so tiny that you don't notice if there's a slight drift. And so there's every opportunity for an image to score a couple of points lower or a couple of points higher than it possibly could have done. If it had been seen at another point in the day. Maybe it had been, maybe if the image was seen after a series of not so strong images, maybe it would get a higher score. Or of course, the other way round. Maybe after seeing a series of really, really powerful, impactful images that came up, maybe it scored be slightly diminished. Both of those can be true. And so it's really important that we redress that any possible imbalance and every competition I've ever done has a final round. And the [00:41:00] way this is done is that we take the highest scoring images, top five, top 10, depending on the competition, and we line them up. And all of the judges now, not just the judges who are the five on the panel, all seven judges. Get an opportunity to bring each image back onto a light box if they wish, if they haven't seen them already. Because remember, some of those images may not have been assessed by the, well. It cannot have been assessed by all seven of the judges, so there's always gonna be at least two judges who haven't seen that image or seeing it for the first time as a judge. So we bring them back, we look at them, and then we rank them using one of numerous voting mechanisms where we all vote on what we think are the best images and gradually whittle it down until we're left with a ranked order for that category. We have a winner, a second, a third, a fourth, sometimes all the way down to 10 in order, depending on the competition. And that's the fairest way of doing it, because it means, okay, during the judging, [00:42:00] that image got, I dunno, 87. But when we now baseline it against a couple of images that got 90 something, when we now look at it, we realize that that image probably should have got a 90 as well. We're not gonna rescore it, the score stands, but what we are gonna do is put it up into there and vote on it as to whether it actually, even though it got slightly lower, score, is the winning image for the category. And every competition does something similar just to redress any fluctuations to, to flatten out time. It takes time outta the equation because now for that category, all seven judges are judging the winner at the same time, and that's really important. We do that for all the categories, and then at the end of that process, we bring back all of the category winners and we vote on which one of those. Wins the competition. Now, not every competition has an overall winner, but for the one we've just done for the print masters, for the BIPP print masters, there is an overall winner. And so we set them all out [00:43:00] and we vote collectively as a winner on the winner. And then, oh, we rank them 1, 2, 3, 4, or whatever. Um, really we're only picking a winner, but we also have to have some safety nets because what happens if for instance. Somebody unearths a problem with an image. And this has happened, sadly, this has happened a couple of times in my career where a photographer has entered an image that's not compliant with the rules but hasn't declared it. And it's always heartbreaking when it does happen, but we have to have a backup. So we always rank one, two, and three. So that's some backups, and that's the process. That's how we finish everything off. We have finished, we've got all the categories judged, the category winners judged, and then the overall one, two, and three sorted as well. at the end of the process? I can't speak for every judge. I can speak for me, I feel, I think three things. Exhaustion. It's really hard to spend 48 hours or longer [00:44:00] assessing images one by one, by one by one, and making sure that you are present and paying attention to every detail of every image. And you're not doing an author or an image a disservice. You pay each image or you give each image, you pay each image the due attention it deserves. I feel exhilaration. There's something energizing about assessing images like this. I know it's hard to explain, but there's something in the process of being alongside some of the best photographers that you've ever met, some photographers that you admire more than any others, not just as photographers, but as human beings. The nicest people, the smartest people, the most experienced people, the most eloquent people. There's something in that. So there's this [00:45:00] exhilaration. You are exhausted, but there's an exhilaration to it. And then finally, and I don't know if every photographer feels this or every judge feels this, I do. Which is massively insecure, I think. Can't think of the right words for it. There must be one. But I come away, much like when you've been out on the beers and you worry about all the things you've said, it's the same process. There was that image I didn't give enough credit for. There was this image I was too generous on. There were the things I said in a challenge when it gets a little bit argumentative or challenging. 'cause the clues in the title, you know, maybe I pushed too hard, maybe I didn't push hard enough. There are images you've seen that you wished you'd taken and you feel like. I'm not good enough. There's an insecurity to it too, and those are the three things I think as you leave the room, it's truly [00:46:00] energizing. Paradoxically, it's truly exhausting, but it's also a little bit of a head mush in that you do tend to come, or I do tend to come away a little bit insecure about. All the things that have gone on over the two days prior, and I've done this a long time. I've been judging for, I dunno, 15, 16, 17 years. And I've got used to those feelings. I've got used to coming away worrying. I'm used to the sense of being an underachiever, I suppose, and it's a wonderful , set of emotions that I bring home. And every time I judge. I feel better for it. I feel more creative. I feel more driven. I feel more determined. I feel like my eyes have been opened to genres [00:47:00] of photography, for types of imagery, for styles of posing or studio work that I've never necessarily considered, and I absolutely adore it every single second. So at the end of that, I really hope I've described or created a picture of what it's like to be a judge for this one. I haven't tried to explain the things we saw that as photographers as authors, you should think about when you are entering. I'm gonna do that in a separate podcast. I've done so many of those, but this one was specifically like, what does it feel like to be a judge? Why do we do it? I mean, we do it for a million reasons. Mostly we do it because people helped us and it's our turn to help them. But every photographer has a different reason for doing it. It's the most joyful process. It's the most inspiring process and I hope you've got a little bit of that from the podcast. So [00:48:00] on that happy note, I'm gonna wrap up and I'm gonna go and finish my glass of whiskey which I'm quite excited about if I'm honest. 'cause I did, it's been sitting here beside me for an hour and I haven't drunk any of it. I do hope you're all doing well. I know winter is sort of clattering towards us and the evenings are getting darker, at least for my listeners in the north and the hemisphere. Don't forget. If you want more information on portrait photography or our workshops we've announced all of the upcoming dates or the next set of upcoming dates. Please head across to mastering portrait photography.com and go to the workshop section. I love our workshops and we've met so many. Just lovely people who've come to our studio. And we've loved being alongside them, talking with them, hopefully giving a bit of inspiration, certainly taking a little bit of inspiration, if I'm honest, because everyone turns up with ideas and conversations. Uh, we would love to see you there. The workshops are all are all there on the website and the workshop section. You can also, if you wish, buy a signed copy of the book from mastering portrait photography.com. Again, just go to the [00:49:00] shop and you'll see it there on the top. Amazon has them for sale too. It is great. Amazon typically sells them for less than we do, but we have a fixed price. We have to buy them from the wholesaler at a particular price, whereas Amazon can buy many, many more than we can, so they get a better deal if I'm honest. However, if you want my paw print in there, then you can order it from us and it's supports a photographer and it's really lovely to hear from you. When you do, uh, one thing, I'd love to ask anyone who has bought the updated edition of the book, if you are an Amazon customer. Please could you go on to amazon.com and leave us a review? It's really powerful when you do that, as long as it's a good review. If it's a rubbish review, just email me and tell me what I could have done differently, and I'll email you back and tell you, tell you why I didn't. But if it's a half decent review, a nice review. Please head over to Amazon. Look for mastering portrait photography, the new version of the book, and leave us a review. It's really important particularly in the first couple of [00:50:00] weeks that it's been on sale. Uh, it would be really, really helpful if you did that. And on that happy note, I wish you all well. I've grabbed my glass of whiskey and I'm gonna wrap up and whatever else you do. Until next time, be kind to yourself. Take care.
What happens when you stop analyzing the eighth house and start walking into it? We invite you into a guided descent—part myth, part meditation—through sex, death, shared resources, and the hidden currents that shape intimacy and power. Recorded close to midnight, this journey leans on feeling more than theory, letting the night world rewrite how we meet fear, trust, and desire.We unpack the anxiety around “empty houses” by showing why no house is truly empty and how the cusp and its ruler speak volumes. From there, we cross the threshold with stories: Persephone pulled below, Inanna choosing the descent, Hercules learning that force fails underground, and Orpheus softening the gates with song. Each myth becomes a method for real life—how to let go, how to be guided, how to bring music to heavy doors. Along the way we visit the Necromanteion, an ancient temple of the dead, and reflect on ancestor contact as a form of practical divination.This house is where intimacy strips our persona, where shared finances and entanglements test honesty, and where the body's quiet signals tell the truth before our minds can. We explore Reich and Freud on eros and death to ask whether life force is fighting an enemy or simply frees itself when we stop blocking it. Paradoxically, by facing mortality we recover appetite—a warm, steady desire to be here now. And when we come back up, the ninth house opens with clearer meaning because we earned our perspective below.If you're ready to feel into the eighth—beyond clichés and fear—press play, bring a journal, and let a slower rhythm lead. If the journey moved you, subscribe, leave a five-star review, and share this episode with someone who's navigating their own underworld. Your support helps keep the show ad-free and the work alive.*This episode blurb was created by Buzzsprout's AIEpisode artwork is from Arnold Böcklin - Die Toteninsel III (Alte Nationalgalerie, Berlin).Join the Newsletter! Podcast Musician: Marlia CoeurPlease consider becoming a Patron to support the show!Go to OnTheSoulsTerms.com for more.
In the second episode of our special series, "Women Outside the Garden", host Terri Petersen interviewed an amazing Substack content provider Stephanie G., discussing women and priesthood power. In a church culture that emphasizes patriarchal authority embodied by "keys", Stephanie presents a parable of how a young princess is given a new car, but never really given the keys to operate it. It's a refreshing look at how our systems of authority and control can have a toxic effect on women in the church, and what we can do about it. Stephanie has discovered she can find access to Jesus without the need for "keys" at all. She, along with other women have the power to direct their lives, blessing all with whom they contact. Paradoxically, having her own keys has been able to enhance her family relationships, becoming a true equal partner with her husband in their journey. Stephanie's substack link is here: "More Questions Than Answers" Here is the link to her "Parable of Power and Priesthood"
How powerful is your comfort zone? And what effect does it really have on your life?The very word comfort evokes warmth and security — a sense of being settled. But if you think deeper, you'll discover that comfort zones are one of life's greatest traps. They keep us confined to the familiar — to the status quo, to inertia.Every genuine form of growth — personal, emotional, or spiritual — happens only when we step beyond that zone. Growth doesn't have to come through pain or loss; it simply means moving beyond where you are right now. That's the essence of transformation. That's metamorphosis.Paradoxically, the secret to all growth lies in discomfort — in daring to leave what feels safe.Please join Rabbi Simon Jacobson as we explore this vital truth about growth and discover how to break free from the limits of the familiar, awaken your true potential, and begin living the life your soul is meant to lead.
Send us a Positive Review!Series Title: An Exploration of ‘Fabricated Fellowship' & ‘Harmful Religiosity' on the Path Towards Healing Spiritual Community [Part III of IV]In this thought-provoking episode, Valerie and guests Ginger and Steve continue to delve into discuss their book, 'Igniting the Holy Flame.' In this episode the topic turns to a core principle key community spiritual healing. Paradoxically, the more each individual in a community is trusted to find God within, the more they bring this True Self to their communities around them. Healthy souls create healthy communities. This episode delves deeply into the importance of finding one's true inner self, the impact of meditation on spiritual growth, and how to navigate the tension between individual faith journeys and traditional religious expectations.Timestamps:00:00 Introduction and Series Overview00:30 Recap of Previous Episodes01:29 Today's Topic: The True Self02:12 Guest Introductions and Personal Reflections02:37 Challenges in Religious Communities03:38 Reading from 'Igniting the Holy Flame'05:08 Discussion on True Self and Spiritual Growth06:31 Meditation and Personal Practices15:47 The Role of Patriarchy in Religious Systems19:28 Managing Tensions and Personal Authority21:38 Celebrating Individual Faith Journeys37:09 Closing Thoughts and Summary39:15 Conclusion and Next Episode Preview40:49 Final Remarks and Listener SupportSupport the showSupport the show Listen, Share, Rate & Review EPISODES Friday Episodes Semi-Annual Sale $69 Friday Episodes Monthly Subscription $10 Valerie's Support & Processing Groups Gift a Scholarship Download Free Resources Visit our Website
“Science isn't about showing off. It's about attending to unusual data, unusual evidence”, says astrophysicist Avi Loeb.“We can only learn new things from anomalies, from what doesn't line up.”Paying attention to anomalies is precisely what he does as head of the Galileo Project at Harvard, whose purpose is to search for evidence of extraterrestrial technology.Loeb is frustrated. Almost all the research money that is allocated to the search for extraterrestrial life goes to projects for picking up radio signals and scanning for molecular fingerprints of microbes on exoplanets.“It's like lonely people waiting for a phone call. Nobody might call you”, says Loeb.“And personally, I think microbes are boring. I am more interested in intelligent life. Yes, there are more microbes, but it is arguably easier to detect evidence of technology.”Loeb became famous in 2017 when he suggested that the first detected interstellar object traversing our solar system, named 1I/Oumuamua, might be artificial because of its strange behavior.His suggestion was not well received in the scientific community. He was academically attacked by many colleagues.Now, the third interstellar object ever detected, 3I/Atlas, is hurling past the planets in our home system at breakneck speed. This visitor also features very odd properties. It doesn't look like a comet. It seems to be extremely large, it doesn't have the classic cometary tail, its glow is preceding it, the composition of its coma is unique, and its trajectory is in line with the plane of the planets.“If you were to construct a spacecraft that were to visit this solar system, you would make it go in the plane of the planets”, Loeb says.Yet mainstream astronomers call it a comet, or more specifically a “black“ comet.“It's like having only seen zebras and then suddenly see an elephant and go: ‘Look, a zebra without stripes, and with a trunk'.”Loeb has developed a scale for assessing whether a space object is natural or artificial, where 0 means decidedly natural and 10 means decidedly artificial. Loeb has given 3I/Atlas a 4, the same score he gave 1I/Oumuamua.It might drop on the scale – or climb – as more data is collected. By the end of October 2025 we probably know more, because that is when the object will be at its closest to the sun.Avi Loeb has always been an outlier in the scientific community, he says. He would “trade everything” he has of modern life to go back 95 years, to the time of quantum pioneers like Bohr and Heisenberg.“Because they were open-minded and willing to replace an old worldview with something completely new.”Science is more rigid today, he feels. Paradoxically, this may have to do with the fact that there are so many more scientists today. With a large enough population, ideas tend to regress to the mean.Avi Loeb isn't afraid of airing ideas that would appear outrageous in conventional quarters. Have there been advanced civilizations on earth millions of years ago? Could our species have been genetically manipulated by interstellar visitors a long, long time ago? Loeb is open to both propositions.“We tend to think we are first. But it's fully plausible that there was a technologically advanced civilization millions of years ago that was destroyed in a major catastrophe.”The Galileo ProjectPersonal page at HarvardEssays on MediumThe Book Interstellar (2024)The Book Extraterrestrial (2022)
This is part 2 of "Make It Make Sense," our series at Fusion Christian Church where we ask difficult questions and look for biblical answers. In week 2 of the series, Pastor Zac teaches how to deal with suffering in our lives.Suffering follows evil.Suffering is a consequence of the fall of creation as described in Genesis 3. Because humans sinned, we all experience the consequences of that sin through suffering and pain. While some choose to blame God, each of us has committed more than enough sin to deserve our own pain. Though choosing to blame God is tempting, there are some things we should remember about the God we would accuse.Jesus entered our suffering on the cross.The God who some choose to accuse of evil is the very God who entered into creation to suffer an excruciating death on our behalf. We do not have a God who is distant or uncaring, but a God who experienced human suffering in full. Therefore God is able to understand our weaknesses and sympathize with us. Not only this, but God can strengthen us in our time of need. Remember that God is able to take what was meant for evil and turn it for good. In light of this, how should we respond when we face suffering?Worship God - in suffering and in joy.When we experience intense suffering, the last thing we may want to do is praise God, but it helps. As shocking as it may be, choosing to praise God through the trials instills hope when we would otherwise despair. To help in times of trouble, train yourself to praise him in the hills so you are ready to praise in the valleys.Let suffering open your heart and eyes to see God more clearly.Paradoxically, God's goodness is revealed most clearly in our suffering. If we choose to praise him through it, we can feel his comfort and learn to know him more closely.Don't let suffering crush you - let God use it to make you stronger.Suffering can easily cause us to turn bitter. That temptation is strong. Choose, however, to let God strengthen you through the experience instead. Trust God to lead you through it and you will end up stronger in faith because of it.Remember: suffering in this world is temporary for the Christian.This world is not all there is, but rather the Christian has hope for the next one. There will come a day when God will wipe away every tear and set all things right. God is loving and just, and he will both establish justice and save his people.Use your experience to comfort others.When we experience trials, we should remember them so that we might comfort others in the same situation. Our trials are not ours alone, but they equip us to help others when they face similar circumstances. Whatever the pain you face, trust in God to deliver you through it.
Ephesians 6:1-9 The Family Circle (vv. 1-4) The practice The promise The Workplace Circle (vv. 5-9) The respectful employee The regardful employer More to Consider Paul did not condone slavery when urging both slaves and masters to live as responsible Christians; his concern was to change Christians attitudes toward each other. The gospel is opposed to slavery. Where the gospel permeates lives, the institution of slavery will be undermined and abolished. It is worth noting that the first generation of Christians who had been freed from slavery to sin, gladly called themselves slaves of God or of Christ (see 1 Tm 6:1; Phm 16). Paradoxically, this latter slavery is the highest human freedom. Cabal, T., Brand, C. O., Clendenen, E. R., Copan, P., Moreland, J. P., Powell, D. (2007). The Apologetics Study Bible: Real Questions, Straight Answers, Stronger Faith (p. 1770). Holman Bible Publishers. The New Testament emphasizes a voluntary (James 4:7) rather than a forced (Luke 10:17) submission. Submission is appropriate in social roles (as citizen or servant, see Rom. 13:1; Titus 2:9). It is also appropriate in Christian interpersonal relationships. Here the image is one of responsiveness and willingness to yield to one another out of love. Richards, L. O. (1987). The teachers commentary (p. 927). Victor Books. Start Owne Wister, an old college friend of Theodore Roosevelt, was visiting him at the White House. Roosevelt's daughter Alice kept running in and out of the room until Wister finally asked if there wasn't something Roosevelt could do to control her. "Well," said the President, "I can do one of two things. I can be President of the United States or I can control Alice. I cannot possibly do both." Bits Pieces, December 9, 1993, p. 16. A manager and a sales rep stood looking at a map on which colored pins indicated the company representative in each area. "I'm not going to fire you, Wilson," the manager said, "but I'm loosening your pin a bit just to emphasize the insecurity of your situation." Bits Pieces, May 26, 1994, Page 9. The work of a Beethoven, and the work of a charwoman, become spiritual on precisely the same condition, that of being offered to God, of being done humbly "as to the Lord." This does not, of course, mean that it is for anyone a mere toss-up whether he should sweep rooms or compose symphonies. A mole must dig to the glory of God and a cock must crow. C.S. Lewis, The Weight of Glory.
Let us know what you enjoy about the show!What if the key to a more fulfilling life isn't about squeezing more productivity from every minute but rather making space for unscheduled joy? Join me as I share the surprising lessons I've learned from playing impromptu badminton games with my husband on the narrow green strip between our cottage and the lake.These spontaneous matches—where he strategically positions me with the wind at my back, sends the birdie soaring into tree branches, and lunges dramatically for returns while I laugh until I cry—have become a treasured ritual. You won't find these games on our calendars or to-do lists. They serve no purpose beyond the moment itself, yet they've become invaluable to our wellbeing.Through these playful interludes, I've discovered that while I deeply believe in hard work and dedication, success isn't defined solely by hours logged, words written, or money earned. There's diminishing value in working so relentlessly that we're too exhausted to enjoy the rewards. Paradoxically, when we return from these breaks, we find ourselves more energized and connected—not just to each other, but to whatever we're focusing on. We may put the "bad" in badminton with our lack of skill, but as I like to say, the score is always "love-love." I encourage you to find your equivalent of lakeside badminton—that activity that brings you pure, purposeless joy. Your productivity (and your heart) might just thank you for it.If you are enjoying the show please subscribe, share and review! Word of mouth is incredibly impactful and your support is much appreciated! Support the show
Paradoxically, this movie is exactly what it sounds like and not at all what you were thinking at the same time.
As Joanne Z. Tan emphasizes, celebration is a leadership skill, a mental discipline, and a path to success. By learning to direct your focus toward the uplifting, you gain control over your state of happiness and empower those around you. Happiness is not a reaction, it's a choice. Celebration is your daily practice for resilience, connection, and leadership impact. - To read it as a half-min blog - To watch it as a 1-minute video When do we need celebration the most? Paradoxically, in the darkest moments. True leaders and professionals can redirect attention from despair toward something—anything—worth honoring. Why Celebrate the Everyday Celebration doesn't require birthdays or milestones. Every step along your journey matters. By celebrating daily, you train your mind to live here and now—content, fulfilled, and grounded, even in turbulent environments. The Leadership Edge in Celebration In times of economic uncertainty and political divide, leaders have a unique role: Celebrate small wins—yours and your team's. Foster trust, camaraderie, and belonging. Anchor your people while inspiring them forward. To dig deeper and get more insights, subscribe to our Newsletter Stay tuned for my next one-minute “Sip of Solace - Thought Leadership Coaching Tips”. - To read the FULL 3-min article - to watch the FULL 5-min video - to listen to the full 5-min podcast (coming soon) ©Joanne Z. Tan all rights reserved. Please don't forget to like it, comment, or better, SHARE IT WITH OTHERS! - To stay in the loop, subscribe to our Newsletter (About 10 Plus Brand: In addition to the “whole 10 yards” of brand building, digital marketing, and content creation for business and personal brands. To contact us: 1-888-288-4533.) - Visit our Websites: https://10plusbrand.com/ https://10plusprofile.com/ Phone: 888-288-4533 - Find us online by clicking or follow these hashtags: #10PlusBrand #10PlusPodcast #JoanneZTan #10PlusInterviews #BrandDNA #BeYourOwnBrand #StandForSomething #SuperBowlTVCommercials #PoemsbyJoanneTan #GenuineVideo #AIXD #AI Experience Design #theSecondRenaissance #2ndRenaissance #thoughtleadershipcoaching #SipofSolace
Drawing from over three decades of experience coaching high-stakes deals, my guest on the Sales Reinvented show, Jim Camp Jr., shares how the Camp System helps organizations avoid unnecessary compromise while improving their negotiation outcomes. He unpacks the key differences between strategy and tactics, reveals his go-to approach for handling emotionally charged negotiations, and explains why internal alignment and embracing problems are critical for successful outcomes. He also discusses the importance of planning, emotional control, and treating your counterpart with respect—even permiting them to say no. Outline of This Episode [05:49] Plan each negotiation, focus on understanding the opponent, modify goals, and respect their right to veto to lower emotions [07:33] Planning provides a systematic approach and emotional edge despite unexpected challenges [10:51] Understand the client's needs, budget, and decision-making process before presenting. [15:29] Don't fear last-minute offers or rejections; they're preferences, not decisions. [17:07] Focus on uncovering the true motivations behind procurement negotiations. [20:44] Focus on addressing the client's vision, budget, decision-making, and challenges for a deal that finalizes naturally. [25:16] Challenge and adapt your sales behavior for improvement. Why Systems Outperform Gut Instincts One major theme Jim emphasizes is the value of a systematic approach. The Camp System of negotiation, developed by Jim Camp Sr., has shaped negotiation successes for decades. Why does systemization matter so much in high-stakes negotiations? It all comes down to emotional control. “The higher the stakes, the more emotional both sides become,” Jim points out. A clear framework keeps you focused, reduces the risk of irrational decision-making, and helps you recover when negotiations veer off course. Key elements include: Framing the right mindset before you enter the negotiation. Methodically planning every meeting and communication. Debriefing after each interaction to assess what worked and what needs adjustment. This careful planning doesn't eliminate surprises, but it ensures you're better equipped to handle them as they arise. Top Negotiation Tactics That Build (Not Break) Trust While Jim pushes back on the idea of “leverage” as a goal, he offers three core tactics that foster trust and effectiveness: Internal Alignment: Before any negotiation starts, make sure your own team is unified in objectives and understands what success looks like. Iterative Planning: Don't treat negotiation as a single event. Plan each conversation with the other party's motivations and decision-making process in mind. Respect the Right to Veto: Openly acknowledge your counterpart's right to say “no.” Paradoxically, this lowers tension, builds trust, and leads to more honest discussions. This approach is not just respectful but also strategic. When clients feel safe to say no, they're less defensive and more open to exploring mutually beneficial solutions. Why Planning and Emotional Control Are Negotiation Superpowers Jim draws on his experience as a military aviator to illustrate the importance of planning under pressure. Whether flying a mission or working triage in an ER, a systematic approach helps teams stay calm when the unexpected happens. Planning isn't just about tactical prep—it's fundamentally about emotional regulation. Knowing what you'll do in a variety of scenarios (“What if they say yes? What if they say no?”) keeps you grounded and flexible. This matters because decisions are made primarily on emotion, rather than logic, in up to 96% of cases, according to Nobel laureate Daniel Kahneman. Common Negotiation Pitfalls—and How to Avoid Them Too often, sales professionals jump into demos and presentations before ensuring they're speaking to qualified decision-makers about the real problems. Jim suggests a disciplined approach: We have to uncover what issues or challenges matter most to the client, confirm they have the budget and authority to close a deal, and finally resist the urge to “present” too early—focus first on listening and diagnosing. Aggressive tactics from buyers—like last-minute demands or “take it or leave it” statements—are usually emotional moves, not real decisions. Instead of reacting defensively, seek to understand the underlying reasons for resistance. Four common causes: lack of perceived value, insufficient data, lack of authority, or simple bluffing. Putting the System to Work Jim shares a case study from his own background, of when a large auto dealership shifted from the usual high-pressure sales to a respectful, client-focused system, their sales and referrals soared. Giving clients permission to say “no” and centering the experience around their needs earned the dealership trust and loyalty, resulting in lasting success. Jim is always striving for self-improvement: “Challenge your current behavior. Don't settle for the status quo. Adopt a system, whether it's ours or someone else's, and keep iterating.” By focusing on honesty, respect, and disciplined preparation, sales professionals can elevate negotiation from a dreaded experience to a proud profession—one that benefits both buyers and sellers alike. Resources & People Mentioned Daniel Kahneman Connect with Jim Camp Jr. Camp Negotiations Connect With Paul Watts LinkedIn Twitter Subscribe to SALES REINVENTED Audio Production and Show Notes by PODCAST FAST TRACK https://www.podcastfasttrack.com
Episode No. 712 features artist Julian Hoeber and curator María Elena Ortiz. Hoeber is included in "Generations: 150 Years of Sculpture" at the Nasher Sculpture Center, Dallas. The exhibition offers a new selection of works from the Nasher collection that offers conversations between works from the past and present. Hoeber's practice centers perception and searches for ways to exceed and reconcile limits set by binary ideas such as interior and exterior, or psychic and somatic. Paradoxically, he often uses binary systems, such as stereoscopic vision, in his work. His exhibition credits include Desert X 2019, a Hammer Projects show in 2010, and gallery shows in San Francisco, New York, Milan, Los Angeles, London, and more. His work is in the collection of museums such as the Museum of Modern Art, New York; the Museum of Contemporary Art, Los Angeles, the Hammer Museum, and the Nelson-Atkins Museum of Art, Kansas City. Ortiz is the curator of "Feeling Color: Aubrey Williams and Frank Bowling" at the Modern Art Museum of Fort Worth. "Feeling Color" pairs the work of two Guyanese artists and considers their roles in the history of late-twentieth-century abstract painting. "Feeling Color" is on view through July 27. Instagram: Julian Hoeber, María Elena Ortiz, Tyler Green.
Solo Travel Adventures: Safe Travel for Women, Preparing for a Trip, Overcoming Fear, Travel Tips
Have you ever looked at a solo traveler with a mix of curiosity, concern, or even pity? Those reactions reveal the powerful misconceptions surrounding solo travel, especially for women over 50. As a freedom traveler and coach who's ventured solo across continents, I'm pulling back the curtain on these limiting beliefs that might be keeping you from one of life's most empowering experiences.Safety concerns top most people's list when discussing solo travel. While being informed is crucial—researching current conditions and avoiding regions experiencing unrest—countless destinations welcome solo women travelers with open arms. Resources like Safe Expat offer daily safety updates, and thorough preparation eliminates most risks. The world offers abundant safe havens for the solo adventurer.Beyond safety myths lies the assumption that solo travelers are lonely souls without companions. This perspective misses the mark entirely. Many women, myself included, actively choose solo travel for its unparalleled freedom. There's a special kind of empowerment that comes from navigating foreign streets on your own terms, making spontaneous decisions, and discovering your own resilience. Paradoxically, solo travelers often find themselves more socially engaged than those in groups, striking up conversations and forming connections that might never happen otherwise.I still experience fears during my travels—like my recent worry about breaking down in remote parts of Iceland without cell service. But courage isn't the absence of fear; it's moving forward despite it. With each journey, that courage muscle strengthens, building confidence that extends well beyond travel into everyday life. Solo travel becomes not just a vacation choice but a transformative practice in self-reliance and presence.Ready to dispel these myths through your own experience? Whether you're considering your first solo adventure or seeking to expand your horizons, I'm here to help. Connect with me for personalized guidance on creating your perfect solo journey. Don't wait for the "right" companion or the "perfect" time—your adventure is calling now. What destination will be your first solo story?BOOK A CALL: Get direction for your solo triphttps://calendly.com/solotraveladventures/book-a-callSupport the showInstagram @solotraveladventures50Facebook community: Solo Travel for Women Over 50 https://www.facebook.com/groups/860865768609200
By Vince Fakhoury HornToday, in The Jhāna Community, I want to center our exploration around the completion phase—also known as enlightenment.What is the relationship between enlightenment and jhāna? That's what we'll explore.The Goal of Vipassana JhānaIn Vipassana jhāna practice, the goal is insight—clearly seeing the way things are. This clear seeing leads to awakening, within the Buddhist frame.Trudy Goodman uses a beautiful metaphor for this, comparing the phases of insight to the phases of the moon:“Can we appreciate all the phases of the moon, all the stages of our life? Can we see past the patterns of perception that too often eclipse the wonder of being alive? Birth, growth, fullness, letting go, vanishing into the mysterious dark—these are the eternal cycles of life.”The completion phase, in this metaphor, is the full darkness of the moon: the vanishing.Describing the UnconditionedEarly Buddhist texts describe the apex of this phase—Nirvana—as a kind of vanishing. Bill Hamilton, Kenneth Folk's teacher, once said:“Nirvana is an experience of the unconditioned which defies any description. Any description of Nirvana is not a description of Nirvana.”There are no reference points. Concepts can't contain it. It's not a “thing.” It's a different kind of experience.Bodhidharma, founder of Zen, said:“When the mind reaches Nirvana, you don't see Nirvana because the mind is Nirvana.”Beyond Meditative StatesI remember talking with Kenneth Folk about how many meditation teachers end up teaching a state—a temporary condition—as the goal. But awakening is not about achieving and clinging to a special state.There are moments of direct contact with the unconditioned. But the next moment might involve answering the phone, cooking dinner, or helping someone. At first, these seem like separate domains. Eventually, they can be integrated.This practice is about learning to release identification with all states—even the expansive and blissful ones.Wanting to Be “Permanently Okay”It's understandable that we want to find a place where we can be permanently okay. That desire comes from a younger part of us—vulnerable and needing security.But the adult part of awakening is what frees us to be present for life as it is—even the messy, painful, inconvenient parts.Paradoxically, it's not what we thought we signed up for. We imagined transcendence. What we found was this—the real.The Journey Doesn't End HereHere's the good news: the journey doesn't end at the completion phase. Awakening is recursive. It loops, like the moon's phases.“To understand recursion, you must first understand recursion.”In early Buddhism, the highest achievement was to break out of saṃsāra. But transformation happens not by escaping, but by cycling with change.Philosopher John Vervaeke says:“Evolution is revolution with change.”If your cycles bring new learning, new understanding—that's evolution.The Big PictureThat's the bigger picture I love to teach. Meditation isn't about escaping life. It's about working with the natural cycles of our minds and lives—and transforming through them.And this isn't in contradiction to Nirvana. When the realization deepens, you see that every experience, every thought, every person is it.Even the thought, “There's somewhere else I should be”—that's it too.Embodying the MysterySo what's the point of all this state-jumping, deconstructing, and releasing?For me, part of the point is to embody the mystery.Reggie Ray writes in Touching Enlightenment:“To be awake, to be enlightened is to be fully and completely embodied… to be entirely present to who we are and to the journey of our own becoming… with no external observer waiting for something better.”That's the journey of vipassana jhāna. Nothing left out. Full intimacy with reality.Awakening Is CollectiveUltimately, awakening isn't a personal project. Everyone is on this journey—even if they'd never use those words.Martin Luther King Jr. wrote:“Injustice anywhere is a threat to justice everywhere. We are caught in an inescapable network of mutuality, tied in a single garment of destiny.”Awakening leads to the realization that we are in this together.Eventually, the idea of my awakening dissolves into our awakening.So Now What?So the question becomes:How can I show up fully for this moment—this body, this life, this karmic tangle of heartbreak and hope?That's the real practice.Mastering the Art of JhānaIf you found this article helpful, you may want to check out the community of practice it arose from… Get full access to Buddhist Geeks at www.buddhistgeeks.org/subscribe
Welcome to another edition of The Way Out Podcast! I'm your host, Charlie, and in this rendition of The Way Out, we have something truly special lined up for you. You might know Edwin McCain as the voice behind timeless hits like 'I'll Be' and 'I Could Not Ask for More,' but beyond the music, he's got a deeply personal story that embodies recovery, resilience, and transformation. For those of you who've been listening to The Way Out from the start, you'll recognize this as the original format of the show, where I would deliver the introduction to the interview that followed. We're going old school on this one with Edwin because once our chat got started, there was no stopping for nothin. In this conversation, Edwin opens up about his journey to and through Recovery to this point—the highs, the struggles, and the lessons that have shaped him not just as an artist, but as a human being. His insights into addiction, healing, and finding purpose beyond fame are powerful and deeply relatable. All of this he takes into his new album, Lucky for which he embarks on Tour to support starting in our back yard in Minneapolis tomorrow, Cinco De Mayo of all days. Perhaps the most profound and resonant piece of spiritual and Recovery wisdom to come from our recovery rap session is that Nothing is the hardest thing to do on our path to and through Recovery. This strikes at the very core of mine and so many that I've come to knows experience. Boredom and idle time was untenable and it felt impossible not to react to most everything.Paradoxically, when I'm spiritually centered, Nothing is too hard in Recovery or life. So whether you're doing something or nothing as you listen, I am certain you'll enjoy kicking it old school with Edwin and I waxing poetic on all things Recovery so Listen Up. TakeawaysRecovery is a personal journey that requires understandingone's triggers.The loss of an addict can lead to others finding their pathto sobriety.Mindfulness can help individuals separate their thoughtsfrom their actions.Harm reduction strategies can be effective for someindividuals in recovery.Community support is crucial in the recovery process.Every recovery journey is unique and requires tailoredapproaches.Understanding brain chemistry can aid in addressingaddiction.Families must also engage in the recovery process to breakthe cycle. It's hard to bring people to the realization of their challenges.Family dynamics can complicate recovery.Emotional responses can be overwhelming in early recovery.Altruism is a key component of recovery support.Recovery is about becoming a dependable person.Balance is essential for a fulfilling life.Creativity can flourish when addiction is removed.Recovery allows for deeper emotional connections.The stigma around addiction can hinder treatment.Recovery can lead to unexpected moments of clarity.Connection is everything for me.You can't rush the process.Be the best example of recovery.I'm not looking for an attaboy.Gratitude list is usually way up there.Living Sober had the biggest impact.The hardest thing in the world to do is nothing. Learn more about Edwin McCain and his music - https://edwin.com/ Recovery literature (quit-lit) recommendation: Living Sober:Practical Methods Alcoholics Have Used for Living Without Drinking - https://a.co/d/dpoxlCW Best piece of Recovery advice: The hardest thing in the worldis to do nothing Song that symbolizes Recovery to Edwin: The Lucky One by AndersOsborne - https://youtu.be/pJOoKWwjj5A Don't forget to check out “The Way Out Playlist” available onlyon Spotify. Curated by all our wonderful guests on the podcast! https://open.spotify.com?episode/07lvzwUq1L6VQGnZuH6OLz?si=3eyd3PxVRWCKz4pTurLcmA (c) 2015 - 2025 The Way Out Podcast | All Rights Reserved.Theme Music: “all clear”(https://ketsa.uk/browse-music/)byKetsa(https://ketsa.uk)licensedunder CCBY-NC-ND4.0 (https://creativecommons.org/licenses/by-nc-nd)
Performing sold-out shows and starring in an Oscar-winning movie… to helping catch a serial killer, Patton Oswalt has one of the most eclectic careers of anyone working today. Paradoxically known for his wholesome characters and his provocative stand-up, Patton speaks with Dan about what it was like forging his comedy career and falling into acting without intending to make a living off of it. Patton's also no stranger to grief and recovery. He speaks about dealing with his vast anxiety surrounding his wife's passing, raising their young daughter alone, and explores the joys of finding new love and building a life after the unimaginable. For upcoming shows and tickets to see Patton live, go to PattonOswalt.com Learn more about your ad choices. Visit podcastchoices.com/adchoices
This emphasis on self is one strongly encouraged by the society today. We're challenged to focus singularly on our personal lives and our individual versions of happiness. Paradoxically, it's in letting go of our self-centered desires that we find serenity. It's in faithfully keeping our hearts open to serving others – even sometimes having them broken by those we love – that the meaning, joy and real peace we seek is gradually revealed. Let me explain.
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