Podcasts about Quest

Steam Machines, Steam Frames, Steam Controllers, and Steamed Hams; all at this time of year, in this economy, localized entirely within Gabe's yacht? May we talk about it?

Dan Wang, author of Breakneck: China's Quest to Engineer the Future, talks about the US-China global competition from his unique perspective,the "engineering state versus the lawyer state," Trump's trade policy and the impact of tariffs, why the US needs more manufacturing, the lessons of Robert Moses in rebuilding our infrastructure, and what thetwo countries can learn about each other.

More Post-Dispatch podcasts.  Please consider subscribing.  Welcome to the great plains. When next Major League Baseball hosts a World Series it will have been a decade since any of thw 10 teams from the Midwest divisions have reached the Fall Classic. They've rarely had a club get as far as the championship series, and the National League Central hasn't won a game in the best-of-seven NLCS since 2018. Oh, and coming out of the pandemic the small-market teams that dot the NL and American League Central divisions have been rocked by revenue turbulence. All while the games star free agents gather at the coasts. With that as the background, Cincinnati Enquirer baseball writer Gordon Wittenmyer suggested to Post-Dispatch baseball writer and BPIB host Derrick Goold that they poll as many executives as possible at the General Manager Meetings to ask: Which team in the NL Central is most likely to be the next team to win a World Series? The answers were revealing -- not just for the task, but also for what executives view as the most likely traits a team needs to win. The "most resources," came up often as the big-city Cubs received the most votes. Here is the Post-Dispatch story that came from the poll. And here is the podcast that expands upon the poll to discuss the factors that got the divisions here, how one or more can escape the bind, and whether Major League Baseball is just going to keep soaring above fly-over country until the economic structure of the game changes. The two baseball writers dissect how the Pirates could augment a talented team with a different payroll formula, how the Brewers may lose their edge, how the Cardinals made regain theirs, how the Reds could make a push to the top, how the Cubs could financially squash the competition, and why they don't.  In the end, one of the writers makes his prediction for the NL Central team that will next win a World Series title. It's a team that just doesn't exist yet. In its 13th season as one of the first and most widely heard podcasts on baseball and the Cardinals, the Best Podcast in Baseball has reached a new season-high with 30 episodes. Each episode is sponsored weekly by Closets by Design of St. Louis, is a production of the St. Louis Post-Dispatch, StlToday.com, and lead baseball writer Derrick Goold.

In this live PAC Talk session, coach Pieter Vodden sits down with writer and strength-training historian Michael Joseph Gross to explore what strength really means — not just for performance, but for longevity and quality of life. They trace the history of strength culture from ancient Greece to modern gyms, unpack how we've told stories about muscle over the centuries, and why we're only just beginning to understand how powerful strength training is for living longer, better lives.Michael shares how learning a scary new sport in his 40s pushed him into serious training and ultimately into eight years of research on strength — from motor units and neurology to myth, culture, and identity. He and Pieter break down why strength training has to become as automatic as brushing your teeth, how a simple, consistent program can change your body and mind at any age, and why the real magic happens when strength becomes part of your story, not just your routine.They dive into the science of muscle and aging, including landmark studies on people in their 90s who dramatically improved strength, independence, and life expectancy after just eight weeks of resistance training. Michael explains how lifting can reduce risk for chronic disease, support brain health, and even rival antidepressants for many people. The conversation also tackles the myth of “brain vs. brawn,” showing how muscle actually supports cognition, emotional resilience, and empathy.A big part of this talk centers on women and strength, featuring the story of Jan Todd and the fight to normalize heavyweight training for women. Pieter and Michael break down persistent myths about “bulking,” “girl exercises vs. boy exercises,” and the way fitness marketing has confused people about what really works. They also talk about the synergy between strength and cardio, the pros and cons of bodybuilding culture, why relatability matters more than extremity, and how community gyms like Pharos help people build not just muscle, but a shared sense of meaning and connection through training.Connect with MichaelBuy his bookInstagramWebsite

Mal e mal nasceu o Projeto de Lei "Anti Facção" do Ministério da Justiça e ele virou o "Marco Legal do Combate ao Crime Organizado no Brasil", trocou de protagonista, passou por várias versões, emendas, propostas, retiradas, destaques, correções e ainda precisa sobreviver ao crivo pelo Senado e por debates (certamente virão) no Judiciário. Acompanhe a (podemos dizer) primeira parte da "Saga" da mais nova tentativa de fazer frente via legislativa à criminalidade organizada no país, cheia de fogos de artifício penais e muitas polêmicas inatas.

Fluent Fiction - Spanish: Lost Locket, Found Connections: A Buenos Aires Quest Find the full episode transcript, vocabulary words, and more:fluentfiction.com/es/episode/2025-11-21-08-38-20-es Story Transcript:Es: La brisa suave del Jardín de las Flores acariciaba las mejillas de Isabel mientras caminaba entre los coloridos puestos festivos.En: The gentle breeze of the Jardín de las Flores caressed Isabel's cheeks as she walked among the colorful festive stalls.Es: Las rosas en plena floración llenaban el aire con su dulce aroma.En: The roses in full bloom filled the air with their sweet aroma.Es: Era el Día de la Soberanía Nacional en Buenos Aires, y la ciudad vibraba con música tradicional y risas contagiosas.En: It was the Día de la Soberanía Nacional in Buenos Aires, and the city was alive with traditional music and infectious laughter.Es: Isabel, sin embargo, tenía una misión.En: Isabel, however, was on a mission.Es: Había venido desde Madrid para encontrar un relicario muy especial, perdido desde hace mucho tiempo, que guardaba una foto de sus abuelos.En: She had come from Madrid to find a very special locket, long lost, that held a photo of her grandparents.Es: A su alrededor, las familias celebraban, los niños corrían con cometas, y los adultos disfrutaban de empanadas y mate.En: Around her, families celebrated, children ran with kites, and adults enjoyed empanadas and mate.Es: Pero en medio de la multitud, Isabel sentía la carga del pasado.En: But in the midst of the crowd, Isabel felt the weight of the past.Es: Recordó cómo su abuela le contaba historias del locket y de cómo su abuelo se lo había regalado al casarse.En: She remembered how her grandmother would tell her stories about the locket and how her grandfather had given it to her when they married.Es: Aquella historia siempre le había llenado de ternura y responsabilidad.En: That story had always filled her with tenderness and responsibility.Es: El jardín estaba lleno, dificultando su búsqueda.En: The garden was crowded, making her search difficult.Es: Isabel se movía con cuidado, mirando entre los arbustos y alrededor de las fuentes.En: Isabel moved carefully, looking between the bushes and around the fountains.Es: Cada instante perdido era una presión más en su pecho.En: Every lost moment was another pressure on her chest.Es: Podía sentir los ojos de su familia sobre ella, esperando que resolviera el misterio.En: She could feel her family's eyes on her, expecting her to solve the mystery.Es: A pesar de sentirse abrumada, Isabel sabía que necesitaba ayuda.En: Despite feeling overwhelmed, Isabel knew she needed help.Es: Pero pedirla significaba abrir su corazón y compartir una parte profundamente personal de su historia familiar.En: But asking for it meant opening her heart and sharing a deeply personal part of her family history.Es: Justo cuando pensaba desistir, se decidió.En: Just when she was about to give up, she made up her mind.Es: Miró a su alrededor y vio a Javier, un hombre amable que disfrutaba de la música con sus amigos.En: She looked around and saw Javier, a kind man enjoying the music with his friends.Es: Isabel se acercó tímidamente y explicó su situación.En: Isabel approached timidly and explained her situation.Es: La historia del relicario y de sus abuelos.En: The story of the locket and her grandparents.Es: Al principio, su voz temblaba, pero las palabras fluyeron con más fuerza cuando vio la empatía en los ojos de Javier.En: At first, her voice trembled, but the words flowed more strongly when she saw the empathy in Javier's eyes.Es: "Te ayudaré", dijo él con una sonrisa cálida.En: "I'll help you," he said with a warm smile.Es: Y juntos comenzaron a buscar nuevamente.En: And together they began to search again.Es: Mientras las festividades alcanzaban su punto más alto, Isabel y Javier revisaron los rincones del jardín.En: As the festivities reached their peak, Isabel and Javier searched the corners of the garden.Es: No era fácil, con tantos colores y sombras jugando con la luz del atardecer.En: It wasn't easy, with so many colors and shadows playing with the evening light.Es: Sin embargo, la determinación renovada de Isabel hizo su búsqueda más intensa.En: However, Isabel's renewed determination made her search more intense.Es: Finalmente, cuando el sol ya comenzaba a despedirse en el horizonte, Javier vio un pequeño brillo cerca de la fuente.En: Finally, when the sun was starting to set on the horizon, Javier saw a small glint near the fountain.Es: "¡Allí, Isabel!En: "There, Isabel!"Es: ", exclamó apuntando.En: he exclaimed, pointing.Es: Corrieron juntos y al agacharse, encontraron el relicario, descansando sobre la tierra entre las raíces de las flores.En: They ran together, and as they bent down, they found the locket, resting on the earth between the roots of the flowers.Es: Isabel lo recogió con manos temblorosas, abriendo el cierre para ver la imagen de sus abuelos.En: Isabel picked it up with trembling hands, opening the clasp to see the image of her grandparents.Es: Una ola de alivio y gratitud la inundó.En: A wave of relief and gratitude flooded her.Es: Los ojos se le llenaron de lágrimas no solo por encontrar el tesoro perdido, sino también por el acto de bondad de un extraño que en aquel momento se sintió como un amigo cercano.En: Her eyes filled with tears not only for finding the lost treasure but also for the act of kindness from a stranger who in that moment felt like a close friend.Es: Esa noche, mientras el jardín se cubría de luces y música, Isabel comprendió que no estaba sola.En: That night, while the garden was covered in lights and music, Isabel realized she was not alone.Es: La historia de su familia no solo le pertenecía a ella, sino que era parte de una comunidad más amplia, donde la bondad y la historia compartida podían iluminar incluso la búsqueda más desafiante.En: Her family's story didn't just belong to her, it was part of a broader community, where kindness and shared history could illuminate even the most challenging search.Es: En Javier, la ciudad y sus celebraciones, encontró un nuevo hogar para su corazón, enriquecido por la confianza en el poder del encuentro y la ayuda mutua.En: In Javier, the city, and its celebrations, she found a new home for her heart, enriched by the trust in the power of connection and mutual help. Vocabulary Words:the breeze: la brisacheeks: las mejillasfestive stalls: puestos festivosfull bloom: plena floraciónsweet aroma: dulce aromathe mission: la misiónthe locket: el relicariocrowded: llenothe bushes: los arbustosthe fountains: las fuentesthe pressure: la presiónthe chest: el pechooverwhelmed: abrumadatimidly: tímidamentetrembled: temblabarenewed determination: determinación renovadathe shadows: las sombrasthe horizon: el horizontesmall glint: pequeño brillopicked up: recogióthe clasp: el cierrethe wave: la olathe relief: el aliviothe gratitude: la gratitudthe tears: las lágrimasthe lights: las lucesbelong: pertenecerthe community: la comunidadthe power: el poderthe connection: el encuentro

Quer jogar RPG comigo? ⁠⁠⁠⁠https://dadoviciado.netlify.appAgora você vai poder jogar RPG com a certeza de ter continuidade.Siga o Dado Viciadohttps://beacons.ai/dadoviciadoParticipações:https://beacons.ai/nuckturphttps://beacons.ai/papodadorpghttps://beacons.ai/ocaradorpgLink do Mesa Questhttps://mesaquest.com.br/

Oggi vi portiamo in montagna!

A Conferência das Nações Unidas sobre Mudanças Climáticas se encerra em Belém com inúmeros desafios. Um deles é estabelecer compromisso prático com a transição energética. Sede do evento, o Brasil lidou com a contradição de autorizar a exploração de petróleo na foz do rio Amazonas. Para compreender o contexto, nossa reportagem ouviu a professora da Escola Politécnica da UFRJ Heloísa Firmo.Reportagem: Julio Cezar RodriguesEdição: Gabriel Savelli

V nejnovějším Questu se Šárka, Jarda a Lukáš vydávají do doby, kdy se po fóru procházeli senátoři, nad hlavami se tyčily akvadukty a města řídila pevnou rukou administrativa. Ano, Anno 117: Pax Romana se skutečně pouští do Říma, a to rovnou ve dvou provinciích, klasickém, echt římském Latiu, a v okupovaném keltském Albionu.Všechny díly podcastu Quest můžete pohodlně poslouchat v mobilní aplikaci mujRozhlas pro Android a iOS nebo na webu mujRozhlas.cz.

What happened to the lost colony of Roanoke?In the 1580s Sir Walter Raleigh set about establishing a permanent English colony on Roanoke Island, off the coast of North Carolina. But within a few years the settlement and its colonists had mysteriously vanished. Ever since, historians and archaeologists have tried to piece together what really happened to the colonists.Professor Suzannah Lipscomb is joined by archaeologist Professor Mark Horton to explore one of history's great unsolved puzzles.MORE:Walter Raleigh's Quest for El DoradoListen on AppleListen on SpotifyThe Dark Side of Sir Francis DrakeListen on AppleListen on SpotifyPresented by Professor Suzannah Lipscomb. The researcher is Max Wintle, audio editor is Amy Haddow and the producer is Rob Weinberg. The senior producer is Anne-Marie Luff.All music courtesy of Epidemic Sounds.Not Just the Tudors is a History Hit podcastSign up to History Hit for hundreds of hours of original documentaries, with a new release every week. Sign up at https://www.historyhit.com/subscribe. You can take part in our listener survey here: https://insights.historyhit.com/history-hit-podcast-always-on Hosted on Acast. See acast.com/privacy for more information.

On this episode of The Karen Kenney Show, I dive into the idea of “adjusting your sails”- a message that came to me one morning and has been bopping around in my mind ever since.Sometimes, life throws us winds that we can't control, but we always get to choose how we respond.So, I talk about taking a pause and tuning in, and getting wicked intentional about the direction we're heading… especially as this year wraps up.I invite us to look at different areas of our lives - whether it's physical health, relationships, finances, or creativity - and asking ourselves: are my current choices pointing me in the direction I really want to go?We discuss the little habits that can trip us up (like staying up too late or scrolling on your phone) and the importance of taking a “fearless moral inventory” of what's really working, and what isn't.

Why might ‘bring your whole self to work' be terrible professional advice, and what should we be thinking about instead? Why does authenticity come into play more now than in previous generations? Tomas Chamorro-Premuzic is a professor of business psychology at University College London and Columbia. He is also the author of several books, including Don't Be Yourself: Why Authenticity Is Overrated (and What to Do Instead), Why Do So Many Incompetent Men Become Leaders?: (And How to Fix It), and The Talent Delusion: Why Data, Not Intuition, Is the Key to Unlocking Human Potential, I, Human: AI, Automation, and the Quest to Reclaim What Makes Us Unique.Greg and Tomas discuss the overemphasis of authenticity in professional and personal settings, the nuanced insights from sociologist Erving Goffman on impression management, and how emotional intelligence often aligns with strategic impression management. Their conversation gets into the impact of AI on human potential and workplace dynamics, as well as the complex interplay between organizational culture and individual behavior, particularly among leaders. *unSILOed Podcast is produced by University FM.*Episode Quotes:Why do people believe authenticity naturally leads to wellbeing and success?03:08: In a world that is obviously not very authentic, pretending that we value authenticity or encouraging people to just be themselves might be quite fitting. I think it's not very authentic advice to tell people, "Oh, just be yourself. Oh, just bring your whole self to work. Oh, don't worry about what people think of you." But then, if somebody is silly or naive enough to follow that advice, the repercussions for them are not very positive.Self-awareness requires paying attention to others13:33: Professional success and personal development and self-awareness can only be achieved if you are receptive to what other people think of you. So, by the way, as I say in the book [DON'T BE YOURSELF], the notion that, I mean, you know, one of the mantras of authenticity or to authenticity advice, which is "ignore what people tell you," ironically,  the advice is trying to tell us how to behave, right? So you cannot ignore what people tell you. And the difference between somebody who has achieved basic emotional maturity and psychological maturity and somebody who still behaves like a child is that the psychologically mature person pays attention to what other people think of themselves, which doesn't mean being a sort of weak, feeble, conformist sheep. It means being a highly functioning member of society, of work, of community, not being trapped in your own narcissistic delusion.How do you achieve self-awareness?12:20: Self-awareness is actually achieved by internalizing the feedback from others from a very, very early age. We learn about ourselves from internalizing or incorporating the feedback we get from others. So your teachers, your aunt, your uncle, your parents, your older siblings, your friends will tell you, you are good at this, you are bad at that, you are funny. And then you understand that you are funny, right? It's obviously problematic if they're lying to you and then you realize, Ooh, outside my family, nobody laughs with my jokes, right? But there's no answer to who we really are. But the best way to understand who we are in the eyes of others is to not be self-centered and to actually be open to feedback. And that's something that people with high emotional intelligence do very well. Show Links:Recommended Resources:Erving GoffmanCore Self-EvaluationsEmotional LaborEmotional IntelligenceSelf-MonitoringElon MuskDavid Bowie360-degree feedbackCharles Horton CooleyDale CarnegieHenry FordJeffrey PfefferPope FrancisRobert HoganMachiavellianismMax PlanckAmos TverskyDaniel KahnemanJohn Maynard KeynesGuest Profile:Faculty Profile at University College LondonWebsite | DrTomas.comLinkedIn ProfileWikipedia PageSocial Profile on XGuest Work:Amazon Author PageDon't Be Yourself: Why Authenticity Is Overrated (and What to Do Instead)Why Do So Many Incompetent Men Become Leaders?: (And How to Fix It)The Talent Delusion: Why Data, Not Intuition, Is the Key to Unlocking Human PotentialI, Human: AI, Automation, and the Quest to Reclaim What Makes Us UniqueConfidence: How Much You Really Need and How to Get ItPersonality and Individual Differences, 3rd EditionThe Future of Recruitment: Using the New Science of Talent Analytics to Get Your Hiring Right (The Future of Work)Personality and Intellectual CompetenceThe Psychology of Personnel SelectionPersonality and Individual DifferencesConfidence: Overcoming Low Self-Esteem, Insecurity, and Self-Doubt Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Do you long for something deeper in your life? Are you innately drawn toward spirituality and curious about what you may find? Do you think we as humans are naturally wired to search for deeper meaning in our lives? Whether it be a walk in the woods, or through mediation or prayer, our guest today, Dr. Lisa Miller, believes that we are naturally able to tap into a heightened awareness of the world around us. We are able to cultivate circuits in our brains which help us to become more spiritually aware. By developing this awareness, we can begin to free ourselves from depression, anxiety, loss of creativity, and so much more. We can consider things from a more awakened, more elevated perspective. Dr. Miller believes when we feel depressed, this is an alert asking us for deeper spiritual exploration.    Dr. Miller is a professor in the Clinical Psychology Program at Teachers College, Columbia University, where she founded the Spirituality Mind Body Institute, the first Ivy League graduate program and research institute in spirituality and psychology. She has been with the Department of Psychiatry at Columbia University Medical School for more than a decade.    Dr. Miller is the NYT bestselling author of "The Spiritual Child" and her latest book is "The Awakened Brain." She is the Editor of the Oxford University Press Handbook of Psychology and Spirituality, Founding Co-Editor-in-Chief of the APA journal "Spirituality in Clinical Practice," an elected Fellow of The American Psychological Association (APA) and the two-time President of the APA Society for Psychology and Spirituality. A graduate of Yale University and University of Pennsylvania, she earned her doctorate under the founder of positive psychology, Martin Seligman, and she has served as Principal Investigator on multiple grant-funded research studies. Info: LisaMillerPhD.com.  

Fluent Fiction - Danish: Finding Magic: The Quest for the Perfect Christmas Tree Find the full episode transcript, vocabulary words, and more:fluentfiction.com/da/episode/2025-11-20-23-34-02-da Story Transcript:Da: Mikkel nød den kolde luft i Møndrup Skoven.En: Mikkel enjoyed the cold air in Møndrup Skoven.Da: Det var slutningen af efteråret, og sneen begyndte så småt at dække jorden.En: It was the end of autumn, and the snow was just beginning to cover the ground.Da: Det var den perfekte dag til at finde et juletræ.En: It was the perfect day to find a Christmas tree.Da: Han havde sparet op for at kunne købe det bedste træ til sin familie.En: He had saved up to be able to buy the best tree for his family.Da: Ved hans side gik Lotte, hans barndomsveninde.En: Lotte, his childhood friend, walked by his side.Da: Hun havde et godt øje for at finde det rigtige.En: She had a good eye for finding the right one.Da: Markedsboderne var fyldt med mennesker.En: The market stalls were filled with people.Da: Der var duften af varm æblecider og ristede mandler i luften.En: There was the scent of warm apple cider and roasted almonds in the air.Da: Små julelys glimtede mellem grantræerne.En: Small Christmas lights twinkled among the fir trees.Da: Alt føltes magisk.En: Everything felt magical.Da: Mikkel og Lotte gik fra bod til bod, mens børn legede i sneen omkring dem.En: Mikkel and Lotte went from stall to stall while children played in the snow around them.Da: "Vi skal finde et perfekt træ," sagde Mikkel og så sig om.En: "We need to find a perfect tree," said Mikkel, looking around.Da: "Mor bliver så glad."En: "Mom will be so happy."Da: "Men se!"En: "But look!"Da: sagde Lotte og pegede.En: said Lotte, pointing.Da: "Jens har de bedste træer.En: "Jens has the best trees.Da: Lad os gå derhen."En: Let's go over there."Da: Jens stod midt i sin bod, smilende men travl.En: Jens stood in the middle of his stall, smiling but busy.Da: "Velkommen!En: "Welcome!Da: Kom og se vore fine træer," sagde han.En: Come and see our fine trees," he said.Da: Mikkel gik hen og så på de smukke, høje træer.En: Mikkel walked over and looked at the beautiful, tall trees.Da: Men de havde alle en høj pris.En: But they all had a high price.Da: Han talte sine penge.En: He counted his money.Da: Der var kun lige nok, men kun til et af de mindste træer.En: There was just enough, but only for one of the smallest trees.Da: Han sukkede og så sig om, håbede på noget bedre.En: He sighed and looked around, hoping for something better.Da: "Der er ikke meget tilbage," sagde Jens undskyldende.En: "There's not much left," said Jens apologetically.Da: "Det har været en travl dag."En: "It has been a busy day."Da: Mikkel overvejede sine muligheder.En: Mikkel considered his options.Da: Han kunne købe et stort, men dyrt træ, eller et mindre, billigere træ.En: He could buy a large, expensive tree, or a smaller, cheaper tree.Da: Det var svært at vælge.En: It was hard to choose.Da: Lotte lagde en hånd på hans skulder.En: Lotte placed a hand on his shoulder.Da: "Mikkel, husk at det vigtigste er, at det er specielt for dig og din familie."En: "Mikkel, remember that the most important thing is that it is special for you and your family."Da: Pludselig fangede et træ hans opmærksomhed.En: Suddenly, a tree caught his attention.Da: Det stod gemt bag nogle store træer.En: It was hidden behind some large trees.Da: Det var mindre, men smukt formet.En: It was smaller but beautifully shaped.Da: Han kunne allerede forestille sig, hvor fint det ville se ud hjemme.En: He could already imagine how lovely it would look at home.Da: Han smilede.En: He smiled.Da: "Det er den!"En: "That's the one!"Da: udbrød han.En: he exclaimed.Da: Mikkel købte træet og tog det med tilbage sammen med Lotte.En: Mikkel bought the tree and took it back with Lotte.Da: Da de nåede Mikkels hjem, pyntede de træet med kugler, lys og stjerner sammen med resten af Mikkels familie.En: When they reached Mikkel's home, they decorated the tree with ornaments, lights, and stars together with the rest of Mikkel's family.Da: Træet strålede i stuen.En: The tree shone in the living room.Da: Selvom det var mindre, var det perfekt.En: Although it was smaller, it was perfect.Da: Det viste, at det ikke altid handler om størrelsen, men om hvordan man gør det til sit eget.En: It showed that it isn't always about the size, but about how you make it your own.Da: Mikkel så på det lysende træ og mærkede glæden breder sig i rummet.En: Mikkel looked at the glowing tree and felt the joy spreading in the room.Da: Han lærte, at det perfekte øjeblik ofte er skjult i skønheden af det uventede.En: He learned that the perfect moment is often hidden in the beauty of the unexpected.Da: Juleaften nærmede sig, og det ville blive en af de bedste i Møndrup Skoven.En: Christmas Eve was approaching, and it would be one of the best in Møndrup Skoven. Vocabulary Words:enjoyed: nødcold: koldeautumn: efteråretbeginning: begyndtecover: dækkeground: jordenchildhood: barndomstall: bodscent: duftenroasted: ristedetwinkled: glimtedemagical: magiskperfect: perfektsurrounded: omkringsmiled: smilendeapologetically: undskyldendeconsidered: overvejedeoptions: mulighederimagine: forestillelovely: fintornaments: kuglerglowing: lysendespreading: brederunexpected: uventedeapproaching: nærmedejoy: glædenhidden: skjultexpensive: dyrtcheaper: billigeredecide: vælge

EI's Paul Lay is joined by technology analyst Dan Wang to discuss how China has engineered its way to global power status.  Image: New high-rise buildings in China. Credit: ton koene

Fluent Fiction - Korean: Finding Joy Beyond Chuseok's Autumn Colors: A Heartfelt Quest Find the full episode transcript, vocabulary words, and more:fluentfiction.com/ko/episode/2025-11-20-08-38-20-ko Story Transcript:Ko: 경복궁의 정원은 가을빛으로 가득 찼습니다.En: The gardens of Gyeongbokgung were filled with the colors of autumn.Ko: 붉고 금빛으로 물든 나무들 아래, 추석을 맞이한 사람들로 북적였습니다.En: Under the trees dyed in red and gold, there was a crowd of people celebrating Chuseok.Ko: 서진은 하루 종일 일한 후, 체력도 마음도 피곤했습니다.En: Seojin was exhausted both physically and mentally after working all day.Ko: 그러나 그녀에게는 목적이 있었습니다. 할머니에게 줄 완벽한 선물을 찾는 것이었죠.En: However, she had a purpose: to find the perfect gift for her grandmother.Ko: 서진의 곁에는 천진난만한 미소를 띤 친한 친구 민재와, 에너지가 넘치는 사촌 은서가 있었습니다.En: Next to Seojin were her close friend Minjae, who wore an innocent smile, and her energetic cousin Eunseo.Ko: 은서는 한국의 전통에 굉장히 호기심이 많아 보였습니다.En: Eunseo seemed very curious about Korean traditions.Ko: 세 사람은 하나같이 수려한 경복궁의 정원을 거닐며, 전통 음식을 즐기고, 다양한 물건들을 구경했습니다.En: The three of them strolled through the beautiful Gyeongbokgung gardens, enjoying traditional food and browsing various items.Ko: 하지만 서진의 마음은 무겁기만 했습니다.En: But Seojin's heart felt heavy.Ko: 그녀의 머릿속은 해야 할 일들로 가득 찼습니다.En: Her mind was filled with tasks she needed to complete.Ko: 그녀는 마음속으로 조용히 전쟁 중이었습니다.En: Quietly, she was waging a war within herself.Ko: "시간이 없는데, 해야 할 일도 많아..." 서진은 마음을 가라앉히고자 했으나 쉽지 않았습니다.En: "There's not enough time, and so much to do..." Seojin tried to calm her mind, but it wasn't easy.Ko: 그때 민재가 다가와 말했습니다. "서진, 좀 쉬어 가는 게 어때? 지금 이 순간을 즐겨봐."En: That's when Minjae approached her and said, "Hey, Seojin, how about taking a break? Enjoy this moment."Ko: 민재의 제안에 서진은 잠시 멈춰 섰습니다.En: At Minjae's suggestion, Seojin paused.Ko: 그녀는 마음을 돌리고, 친구들과 함께 축제를 즐기기로 결심했습니다.En: She decided to shift her mindset and enjoy the festival with her friends.Ko: 그러다 우연히 하나의 부스에 다다랐습니다.En: Then, they stumbled upon a booth by chance.Ko: 그곳에는 수공예로 만들어진 아름다운 장식품들이 전시되어 있었습니다.En: It displayed beautiful handcrafted ornaments.Ko: 그중 하나는 할머니와 함께하던 소중했던 어린 시절의 추억을 떠올리게 했습니다.En: One of them reminded her of cherished childhood memories with her grandmother.Ko: 작은 나전칠기 상자는 할머니의 방 한구석을 항상 따스하게 채워주었습니다.En: A small najeon chilgi box always warmly lit up a corner of her grandmother's room.Ko: 서진은 그 장식품을 집어 들고 미소를 지었습니다. 따스한 감정이 그녀를 감싸고 있었습니다.En: Seojin picked up the ornament and smiled, enveloped in a warm feeling.Ko: "이거야. 이게 할머니께 드릴 선물이야." 서진은 마음의 평화를 찾으며 장식품을 구매했습니다.En: "This is it. This is the gift for grandmother." With newfound peace of mind, Seojin purchased the ornament.Ko: 서진은 그날, 가족과 함께하는 순간의 소중함을 다시금 느꼈습니다.En: That day, Seojin rediscovered the importance of moments spent with family.Ko: 일에 쫓겨 달리는 것보다, 사랑하는 사람들과 시간을 보내는 것이 얼마나 중요한지 깨달았습니다.En: She realized that spending time with loved ones is more important than being driven by work.Ko: 경복궁의 정원은 여전히 활기차고 아름다웠습니다.En: The gardens of Gyeongbokgung were still lively and beautiful.Ko: 서진, 민재, 은서는 그렇게 한 걸음 한 걸음 가벼운 발걸음으로, 사랑스러운 추억을 품고 집으로 향했습니다.En: Seojin, Minjae, and Eunseo walked home with light steps, carrying lovely memories.Ko: 그날의 경험은 서진에게 힘든 일상 속 작은 기쁨을 찾는 법을 알려주었습니다.En: The experience taught Seojin how to find small joys in a challenging daily life.Ko: 그리고 그 작은 기쁨이 얼마나 큰 행복을 가져다주는지를 말입니다.En: And how those small joys could bring about great happiness. Vocabulary Words:autumn: 가을exhausted: 피곤한purpose: 목적innocent: 천진난만한energetic: 에너지가 넘치는curious: 호기심이 많은strolled: 거닐다traditional: 전통적인browsing: 구경cherished: 소중한childhood: 어린 시절memories: 추억enveloped: 감싸인peace: 평화lively: 활기찬challenging: 힘든handcrafted: 수공예ornaments: 장식품innocent: 천진난만함shift: 돌리다mindset: 마음가짐booth: 부스displayed: 전시된rediscovered: 다시 느끼다driven: 쫓긴vivid: 선명한subtle: 미묘한importance: 중요성gifts: 선물들gratitude: 감사

Fluent Fiction - Serbian: Đorđe's Quest: The Perfect Slava Gifts Journey Find the full episode transcript, vocabulary words, and more:fluentfiction.com/sr/episode/2025-11-20-23-34-02-sr Story Transcript:Sr: Кроз жуте и црвене ниге лишћа у Калемегданском парку, Ђорђе корача лаганим кораком.En: Through the yellow and red carpets of leaves in Kalemegdan Park, Đorđe walks with a light step.Sr: Дан је ведар, а ветар доноси мирисе пецива и варенике са божићне пијаце.En: The day is clear, and the wind carries the scents of pastries and mulled wine from the Christmas market.Sr: Ђорђе је одлучио да пронађе савршене поклоне за Славу своје породице.En: Đorđe has decided to find the perfect gifts for his family's Slava.Sr: Али срце му трепери од бриге – жели да усрећи сваког члана породице и да се част нађе у поклонима.En: But his heart flutters with worry—he wants to make every family member happy and to find honor in the gifts.Sr: Нина, Ђорђева сестра, и Маја, њена најбоља пријатељица, већ су испред једног штанда.En: Nina, Đorđe's sister, and Maja, her best friend, are already in front of one of the stalls.Sr: Смеју се и показују прстима на рукотворине.En: They laugh and point at the handmade crafts.Sr: Ђорђе их сустиже и загрли.En: Đorđe catches up with them and hugs them.Sr: „Хајде да видимо шта овде има,“ каже Нина узбуђено.En: "Let's see what we have here," Nina says excitedly.Sr: Али, како корача кроз масу, Ђорђе се осећа као да га гужва гуши.En: But as he steps through the crowd, Đorđe feels like the throng is suffocating him.Sr: Стотине лица, боја и звукова га окружује.En: Hundreds of faces, colors, and sounds surround him.Sr: Он застане на тренутак и удахне дубоко.En: He pauses for a moment and takes a deep breath.Sr: Не може дозволити да га страх победи.En: He cannot allow fear to overcome him.Sr: У мислима му се појављују слике прошлих Слава.En: Images of past Slavas appear in his mind.Sr: Његов стричев покоњени дукат, мирис славске свеће, бакин осмех док драгоцени поклон открива.En: His uncle's gifted ducat, the scent of the Slava candle, his grandmother's smile as she discovers the precious gift.Sr: Док размишља, Ђорђу поглед пада на дрвени предмет.En: As he thinks, Đorđe's gaze falls on a wooden item.Sr: Љуљашка са уписаним вековним мотивима.En: A swing with carved age-old motifs.Sr: Његово срце осети тренутак мира.En: His heart feels a moment of peace.Sr: Зна да је то рађено са љубављу и да носи душу традиције.En: He knows it was made with love and carries the soul of tradition.Sr: Савршено за његовог ујака који сакупља рукотворине.En: Perfect for his uncle, who collects handmade crafts.Sr: Са новооткривеним самопоуздањем, Ђорђе наставља куповину.En: With newfound confidence, Đorđe continues shopping.Sr: Слуша савете Маје, која пажљиво гледа и његове лоше и добре изборе.En: He listens to Maja's advice, who carefully observes his bad and good choices.Sr: Свако зна да је донети поклон од срца боље него било шта друго.En: Everyone knows that a gift given from the heart is better than anything else.Sr: Ђорђе проналази свилену мараму за мајку, и вуну кесе за баку, који душу греју.En: Đorđe finds a silk scarf for his mother and wool socks for his grandmother, which warm the soul.Sr: Када је напокон завршио, Ђорђе се осећа сигурно.En: When he finally finishes, Đorđe feels secure.Sr: Торбе пуне поклона, његово срце пуно радости.En: Bags full of gifts, his heart full of joy.Sr: Као да је свака ствар савршено легла у свој комадић слагалице Слава.En: It's as if each item perfectly fit into its piece of the Slava puzzle.Sr: Брзо корача поред старе тврђаве, знајући да ће ове године Слава бити нарочита.En: He quickly walks past the old fortress, knowing this year's Slava will be special.Sr: Ђорђе је научио како да повезе традицију са својим личним изборама.En: Đorđe has learned how to connect tradition with his personal choices.Sr: Док је заједно са пријатељима напуштао пијацу, знао је да је урађено оно што је правилно – за њега и за његову породицу.En: As he left the market with his friends, he knew that what needed to be done had been done—both for him and for his family. Vocabulary Words:carpets: нигеStalls: штандаmarket: пијацеflutter: трпериhonor: частthrong: гужваsuffocating: гушиpause: застанеovercome: победиvisions: сликеgifted: покоњениcandle: свећеprecious: драгоцениmotifs: мотивимаcrafts: рукотворинеconfidence: самопоуздањемwoolen: вунуfortress: тврђавеtradition: традицијеpersonal: личнимobserve: гледаscarf: марамуfit: леглаslippery: хлизаваoverwhelm: обавиreluctant: невољанanticipation: очекивањеdiscern: различеfulfill: испуниassure: уверава

It's always aeonic when Gary Lachman materializes at the Virtual Alexandria. He'll discuss his new work, Touched by the Presence. This memoir traces the journey of a founding member of Blondie, detailing his transition from a successful rock and roller to a writer on consciousness and the Western esoteric tradition. We'll explore his deep involvement in esoteric studies such as Gurdjieff's Fourth Way, Crowley's O.T.O., and the Golden Dawn, and recount encounters with figures like David Bowie, Iggy Pop, and author Colin Wilson. Get The Occult Elvis: https://amzn.to/4jnTjE4 Virtual Alexandria Academy: https://thegodabovegod.com/virtual-alexandria-academy/ Gnostic Tarot Readings: https://thegodabovegod.com/gnostic-tarot-reading/ The Gnostic Tarot: https://www.makeplayingcards.com/sell/synkrasis Homepage: https://thegodabovegod.com/ Patreon: https://www.patreon.com/aeonbyte AB Prime: https://thegodabovegod.com/members/subscription-levels/ Voice Over services: https://thegodabovegod.com/voice-talent/ Support with donation: https://buy.stripe.com/00g16Q8RK8D93mw288 Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Having been at the precipice, Qui-Gon Jinn returns and, after actually garnering help from Jocast Nu, may know why Corlis Rath is trying to kil him as Jedi Knights #9 propels the maxi-series to its conclusion in December.

Comics Discussed This Week:Jedi Knights #9Star Wars Comics New to Marvel Unlimited This Week:
Jedi Knights #6
News:Dark Horse is collecting its The High Republic Adventures Phase II and III stories in three TPBs coming out in April, May and June, including the 20-issue main series, the Nameless Terror, Saber for Hire, Echoes of Fear and Dispatches From the Occlusion Zone mini-series, as well as the Quest of the Jedi, Crash Landing, Crash and Burn, 2025 Annual, The Wedding Spectacular and The Battle of Eriadu one-shots. Dark Horse dropped images of a new team clones (Cole, Hank, Rice and Charger) making its debut in Dec. 31's Hyperspace Stories: The Bad Batch -- Rogue Agents #1 (of 4) as Illustrated by Artist Reese Hannigan.Taurin Clarke is doing a connecting-cover variant for Black History Month that will be on Jar Jar Binks #1 and Star Wars #10 in February. It features film icons Lando Calrissian, Mace Windu, Saw Gerrera, Finn and Jannah; The Mandalorian's Moff Gideon, Greef Karga and Kelleran Beq; Star Wars Jedi: Fallen Order and Star Wars Jedi: Survivor's Cere Junda; The High Republic's Keeve Trennis and Lula Talisola; and Marvel's own Sana Starros.
Upcoming Star Wars comics, graphic novels and omnibuses:Nov. 25 _ Star Wars: Darth Vader Modern Era Epic Collection: Vader Down (Collects 13-25, Star Wars 13-14 and Vader Down #1)Nov. 26 _ Boba Fett: Black, White & Red #3 (of 4)Dec. 2 _ Star Wars: Doctor Aphra — Friends and Enemies Omnibus (Collects Doctor Aphra 26-40, Star Wars: Sana Starros 1-5)Dec. 3 _ Legacy of Vader #11Dec. 9 _ Young Jedi Adventures — The Training Sessions HC (Collects Free Comic Book Day stories)Dec. 10 _ Han Solo — Hunt for the Falcon #4 (of 5), Codebreaker #4 (of 4), Tales From the Nightlands #3 (of 3)Dec. 17 _ Jedi Knights #10Dec. 24 _ Star Wars #8Dec. 31 _ Boba Fett: Black, White & Red #4 (of 4), Hyperspace Stories — The Bad Batch: Rogue Agents #1 (of 4)Jan. 7 _ Han Solo -- Hunt for the Falcon #5 (of 5), Tides of Terror #4 (of 4)Jan. 14 _ Legacy of Vader #12Jan. 21 _ Star Wars (Vol. 4) #9Jan. 27 _ Darth Maul: Black, White & Red TPB (Collects 1-4)Jan. 28 _ Hyperspace Stories: The Bad Batch — Rogue Agents #2 (of 4)Feb. 11 _ Jar Jar Binks #1 One-ShotFeb. 17 _ Star Wars: Hidden Empire Omnibus (Collects HIdden Empire 1-5, Star Wars (Vol. 3) 26-36, Bounty Hunters 27-34, Darth Vader (Vol. 3) 28-32, Doctor Aphra (Vol. 2) 22-31 and 2022's Star Wars: Revelations #1)Feb. 18 _ Star Wars (Vol. 4) #10Feb. 25 _ Hyperspace Stories: The Bad Batch — Rogue Agents #3 (of 4)March 11 _ The High Republic Adventures -- Pathfinders #1 (of 6)March 17 _ Star Wars Legends: The Empire Omnibus Vol. 4 (Collects Star Wars: Underworld - The Yavin Vassilika (2000) #1-5; Free Comic Book Day 2013: Star Wars #1; Star Wars: Empire (2002) #5-6, 8-13, 15; Star Wars: X-Wing Rogue Squadron (1995) #1/2; Star Wars: A New Hope - The Special Edition (1997) #1-4; Star Wars: Tag & Bink Are Dead (2001) #1; Star Wars Infinities: A New Hope (2001) #1-4; The Star Wars (2013) #0-8; material from Star Wars Tales (1999) #1-2, 4, 6, 8-10, 12, 14, 16, 19-20); Hyperspace Stories: Grievous OGNMarch 24 _ Tales From the Nightlands TPB (Collects 1-3); Hyperspace Stories: Codebreaker TPB (Collects 1-4) March 31 _ Legacy of Vader: The Reign of Kylo Ren Vol. 2 TPB (Collects 7-12)April 14 _ Jedi Knights Vol. 2 - A Higher Path TPB (Collects 6-10), Star Wars Visions TPB (Collects Visions -- Peach Momoko #1, Visions -- Takashi Okazaki #1, Peach Momoko's Story from Darth Vader -- Black, White & Red #1)April 21 _ The High Republic Phase III -- Trial of the Jedi Omnibus (Collects 2023's The High Republic 1-10, Revelations #1's High Republic story, The Acolyte — Kelnacca one-shot, Shadows of Starlight 1-4, Fear of the Jedi 1-5, The Finale #1: The Beacon one-shot); The Mandalorian -- Seasons One & Two (Collects #1-8 of both mini-series), Jedi Knights Vol. 2 TPB (Collects 6-10); Hyperspace Stories: Tides of Terror TPB (Collects 1-4)April 28 _ Han Solo -- Hunt for the Falcon TPB (Collects 1-5), The High Republic Adventures -- The Complete Phase II (1-8, Nameless Terror 1-4, Quest of the Jedi one-shot)May 12 _ Star Wars: New Republic (Collects 1-10, material from Free Comic Book Day 2025: Star Wars #1)May 19 _ Star Wars Legends: Legacy Omnibus Vol. 1 (Collects Star Wars: Legacy (2006) #0, 0-1/2, 1-36, 41); Doctor Aphra — Chaos Agent TPB (Collects 1-10)May 26 _ The High Republic Adventures -- The Complete Phase III Part 1 (Collects The High Republic Adventures (Phase III 1-10), Saber for Hire 1-4 and the Crash Landing and Crash and Burn one-shots)June 16 _ Star Wars Legends: The New Republic Omnibus Vol. 3 (Collects Star Wars: Crimson Empire (1997) #0-6, Star Wars: The Bounty Hunters - Kenix Kil (1999) #1, Star Wars: Crimson Empire II - Council of Blood (1998) #1-6, Star Wars: Crimson Empire III - Empire Lost (2011) #1-6, Star Wars: Jedi Academy - Leviathan (1998) #1-4, Star Wars: The Mixed-Up Droid (1995) #1, Star Wars: Union (1999) #1-4, Star Wars: Chewbacca (2000) #1-4, Star Wars: Invasion (2009) #0-5, Star Wars: Invasion - Rescues (2010) #1-6, Star Wars: Invasion - Revelations (2011) #1-5, Star Wars Handbook (1998) #2; material from Dark Horse Extra (1998) #21-24; Dark Horse Presents (2011) #1; Star Wars Tales (1999) #8, 11, 16-19, 21); The Art of Star Wars: A New Hope — The Manga Vol. 1June 30 _ The High Republic Adventures -- The Complete Phase III Part 2 (Collects The High Republic Adventures (Phase III) 11-20, Echoes of Fear 1-4, Dispatches From the Occlusion Zone 1-4 and the one-shots 2025 Annual, The Wedding Spectacular and The Battle of Eriadu)July 21 _ Star Wars Legends: The Newspaper Strips Omnibus (Collects Classic Star Wars: The Early Adventures (1994) #1-9, Classic Star Wars: Han Solo at Stars' End (1997) #1-3, Classic Star Wars (1992) #1-20, Classic Star Wars: A New Hope (1994) #1-2, Classic Star Wars: The Vandelhelm Mission (1995) #1, Star Wars newspaper strips "The Constancia Affair," "The Kashyyyk Depths" and "Planet of Kadril”); Star Wars Modern Era Epic Collection: The Screaming Citadel (Collects Star Wars (2015) #31-43, Star Wars Annual (2015) #3, Star Wars: The Screaming Citadel (2017) #1, Star Wars: Doctor Aphra (2016) #7-8)
Aug.  _ The Bad Batch — Rogue Agents TPB (Collects 1-4)Aug. 18 _ The Art of Star Wars: A New Hope -- The Manga Vol. 2----------------------------------------------------------------------------------------------------------------------------------------Star Wars Splash Page is a weekly podcast dedicated solely to contemporary Star Wars comics published by Marvel, Dark Horse and previously IDW, featuring views about the current week's comics, interviews with the writers, artists, colorists, letterers and editors who create them, as well as the latest details on publishing schedules, upcoming series and mini-series, so that you, the listener have more detail and context about the comics that are a vital part of Star Wars canon, lore and legends.

Maybe bringing the kleptomaniac to the island full of rich people was a bad idea.   Theme: Struttin' by Louie Zong   Music from https://filmmusic.io "Blip Stream"  by Kevin MacLeod (https://incompetech.com) License: CC BY (http://creativecommons.org/licenses/by/4.0

Fluent Fiction - Japanese: Unveiling Hidden Roots: A Quest Through Autumn's Embrace Find the full episode transcript, vocabulary words, and more:fluentfiction.com/ja/episode/2025-11-19-08-38-20-ja Story Transcript:Ja: 風が鮮やかな秋の葉を揺らし、田舎の村を穏やかな色合いで満たしていました。En: The wind rustled the vibrant autumn leaves, filling the countryside village with a serene palette.Ja: 山々は金色に輝く稲田と赤く染まった紅葉に囲まれ、まるで絵画のようです。En: The mountains were surrounded by rice paddies glowing golden and red-tinted autumn leaves, resembling a painting.Ja: 木造の古い家々は薪の暖かさに包まれ、それぞれの家から立ちのぼる煙が懐かしさを感じさせます。En: The old wooden houses were enveloped in the warmth of firewood, and the smoke rising from each house evoked a sense of nostalgia.Ja: その村に住む結城（ゆうき）は、ある日、自宅の屋根裏部屋で古い家族の手紙を見つけました。En: In that village lived ゆうき, who one day found an old family letter in the attic of her home.Ja: そこには会ったことのない親戚宛のメッセージが書かれていました。En: The message was addressed to a relative she had never met.Ja: 「あなたの存在など知らなかった…誰なの？En: Puzzled, she thought, "I didn't even know you existed... Who are you?"Ja: 」と不思議に思い、その手紙に心惹かれました。En: and was drawn to the letter.Ja: 結城の兄、遥斗（はると）は、過去を掘り返すことには否定的でした。En: ゆうき's brother, はると, was against digging up the past.Ja: 「もう昔のことは忘れて前に進むべきだ」と忠告しました。En: He advised, "You should forget the old days and move forward."Ja: しかし、結城の好奇心は止まりませんでした。En: However, ゆうき's curiosity was unstoppable.Ja: 彼女は過去の謎を解き明かしたいと思いました。En: She wanted to unravel the mysteries of the past.Ja: 家族の旧友、美香（みか）に相談すると、彼女は何やら意味深な態度を見せました。En: When she consulted a family friend, みか, みか displayed a somewhat meaningful demeanor.Ja: 「時期がくれば、きっとわかるわよ」と微笑むだけで、多くを語りませんでした。En: She simply smiled and said, "When the time comes, you'll surely understand," without saying much more.Ja: 結城は自分の力で真実を探すことを決めました。En: Determined, ゆうき decided to search for the truth on her own.Ja: 村の古い家々を回り、村のお年寄りに話を聞くことにしました。En: She went around the village's old houses and talked to the elders.Ja: 聞けば聞くほど、家族の歴史についての断片が集まります。En: The more she heard, the more fragments of her family history she gathered.Ja: そして、ある日、結城は隠された家族の場所を見つけました。En: Then, one day, ゆうき discovered a hidden family location.Ja: それは山の中にひっそりと佇む古い風呂屋でした。En: It was an old bathhouse quietly nestled in the mountains.Ja: その場所で、彼女は意外な事実に直面しました。En: At that place, she came face to face with an unexpected truth.Ja: 結城の家系には旅芸人の血が流れていることがわかりました。En: She discovered that ゆうき's family line had the blood of traveling performers.Ja: そこにはその昔、家族が使用していた楽器や道具も残っていました。En: There, old instruments and tools that the family once used were still remaining.Ja: 「これが私たちのルーツなの？En: "Is this our roots?"Ja: 」と戸惑いながらも、結城は心のどこかで自分自身の一部を見つけたように感じました。En: she wondered, while feeling as if she found a part of herself deep inside.Ja: そして、ついに彼女はその手紙で宛先として書かれていた親戚と出会いました。En: Finally, she met the relative whose address was written on the letter.Ja: 長年失われていた絆が再び結びつき、結城は家族の歴史に新しい1ページを加えることができました。En: A bond long lost was once again connected, and ゆうき was able to add a new page to her family's history.Ja: 彼女は過去と現在の自分をつなぎ、心に深い満足感を得ました。En: She connected her past with her present self and gained a deep sense of satisfaction in her heart.Ja: 結城は自分に自信を持ち、家族のルーツについてもっとよく知りたいと思うようになりました。En: ゆうき grew confident in herself and desired to learn more about her family roots.Ja: 家族とは何か、自分とは何か、その答えに少し近づけたようでした。En: It felt as if she had moved a little closer to the answer of what family is and who she is.Ja: 秋の風は、まるで彼女を祝福しているかのように優しく吹き続けました。En: The autumn wind continued to blow gently, as if blessing her.Ja: 結城は新しい一歩を踏み出す自分に微笑みました。En: ゆうき smiled at herself taking a new step forward. Vocabulary Words:rustled: 揺らしvibrant: 鮮やかserene: 穏やかなenveloped: 包まれnostalgia: 懐かしさpuzzled: 不思議に思いunravel: 解き明かしたいdemeanor: 態度fragments: 断片mysteries: 謎consulted: 相談dignity: 意味深evoked: 感じさせますmeaningful: 意味深hidden: 隠されたunexpected: 意外なperformers: 旅芸人instruments: 楽器tools: 道具bond: 絆satisfaction: 満足感confidence: 自信blessing: 祝福palette: 色合いpaddies: 稲田gathered: 集まりますattic: 屋根裏部屋nestled: 佇むroots: ルーツ

Tema de abertura de Claudio Zaidan para o programa Bandeirantes Acontece

Presidenciais: Alargamento do aborto? "Questões constitucionais estão resolvidas", diz Catarina Martins

Join me on my outdoor adventures on public lands across the American West and beyond. Check out The Hunter's Quest YouTube Channel here:https://www.youtube.com/@thehuntersquest Follow along on Instagram:@TheHuntersQuest www.eberlestock.com/quest - Check out my pack, bino harness and other favorite gear! Canis Athlete - use code: QUEST and save 10% on SOLID HUNTING GEAR__________________________________________________________________________ OnX Maps – use code: QUEST and save 20% when you join / support the show Seek Outside Shelters – use code: QUEST and save 10% on shelters, stoves, etc.______________________________________________________________________________ Heather's Choice, use code: QUEST – save 15% on backcountry meals @heatherschoice.com___________________________________________________________________________ Subscribe to my YouTube Channel! https://www.youtube.com/channel/UCGVP4F5g3SiOookJK01Jy5w Follow me on Instagram! https://www.instagram.com/thehuntersquest/ and @huntermcwaters____________________________________________________________________________ www.thehuntersquest.com

Geek-rock musician Mikey Mason joins me to talk about writing songs on schedule, his New Music Monday ritual, and how to stay creative every single week. Music by Caliceltic, May Will Bloom, The Gothard Sisters, and Mikey Mason. This is Pub Songs & Stories #311 0:18 - Caliceltic "The Beer from St James Gate" from 2023 and Me 5:25 - WELCOME TO PUB SONGS & STORIES Every song has a story, every episode is a toast to Celtic and folk songwriters. Discover the stories behind the songs from the heart of the Celtic pub scene. I am your bard, Marc Gunn, also host of the Irish & Celtic Music Podcast. Today's episode dives into the creative mind of comedy-rock songwriter Mikey Mason. If you've ever struggled to finish a song or waited for inspiration to strike, this conversation will change how you think about writing. Mikey writes and releases a brand-new song every Monday. And he does it without relying on his muse. We'll talk about manufacturing inspiration, using unusual prompts, and turning routine into creative freedom. 6:59 - UPCOMING SHOWS NOV 22: Georgia Renaissance Festival Fall Fling, Fairburn, GA DEC 6: Georgia Renaissance Festival Fall Fling, Fairburn, GA DEC 7: Nerdy Wonderland at The Lost Druid, Avondale Estates, GA @ 12 - 5 PM. If you're new to the show, please follow us. You can do that at PubSong.com. I have a new band with my daughter Inara. We are called May Will Bloom and at IrishFest Atlanta, we released a brand new single. 9:40 - May Will Bloom "Star of the County Down" from Single A big thanks to my… GUNN RUNNERS ON PATREON If you're enjoying Pub Songs & Stories or you've been spinning my music for years, follow me on Patreon. It's free to join, and you'll get early, ad-free episodes along with updates on what I'm creating next. But the real magic kicks in when you become a Patron of the Arts. Patreon is how independent musicians like me keep making music, telling stories, and sharing these pub-song adventures with you. For just $5 a month, you unlock a treasure trove of exclusives—unreleased songs, behind-the-scenes podcasts, video concerts, rare bootlegs, and surprises you won't hear anywhere else. Want the full rundown? Email follow@celtfather and I'll send you all the details. 13:35 - NEWS Mark your calendar for December 5. That's the next Bandcamp Friday. It's also the official release of Another Faire to Remember by Brobdingnagian Bards. If you loved our Renaissance festival classic, A Faire to Remember, you will love this one as well because it was made for you in mind. Follow our mailing list on Patreon to be the first to hear of the release to read some stories from our Renaissance festival past. It's http://patreon.com/thebards Christmas music is in the air. In fact, Celtic Christmas Music is a podcast where you can enjoy Christmas music by Celtic musicians. There are over 80 episodes including some of my music. Are you looking for the perfect Celtic stocking stuffer? Give a gift that's green… and a little bit magical. At MageRecords.com, you'll find eco-friendly Irish and Celtic treasures made to delight the music lovers, the festival wanderers, and the folklore fans in your life.Wood-burned album pins and for a limited time, Celtic Christmas ornaments. Small enough to slip into a stocking… and meaningful enough to make someone smile long after the holidays. So this year, skip the plastic. Go Celtic. Go sustainable. Visit com and fill those stockings with something worth keeping. Check out my new Kickstarter, Please leave a comment on the podcast show notes at pubsong.com or wherever you listen. Email pictures of where you're listening to follow@celtfather . I'll send you a free gift and you can learn more about how to follow this podcast. 16:33 - The Gothard Sisters "Moment in Time" from Moment in Time 19:55 - TODAY'S SHOW IS BROUGHT TO BY CELTIC INVASION VACATIONS Every year, I take a small group of people on a relaxing adventure to one of the Celtic nations. We don't see everything. Instead we stay in one area. We get to know the region through its culture, history, and legends. You can join me with an auditory and visual adventure through podcasts, blogs, videos, and photos. Sign to the Celtic Invasion Vacations mailing list at CelticInvasion.com. 20:23 - QUEST & CHORUS of How to Write Songs on Schedule (and Still Stay Inspired) Where every place has a story, every story has a song, and every song is a step in the quest. Mikey Mason is a U.S.-based "geek-rock" musician. He blends his stand-up comedy background with music rooted in sci-fi, fantasy, board games, cats and role-playing. He spent more than a decade as a full-time stand-up comedian performing across the U.S. In 2011 his song "She Don't Like Firefly" went viral on YouTube and earned attention from outlets including Nerdist, SyFy, MTV Geek News, Dr. Demento and Time magazine. Since then, Mikey has released numerous albums and EPs and now primarily works as a musician and artist whose work draws heavily on his lifelong love of geek culture. Before we get started, this is also a Quest & Chorus.Where every place has a story, every story has a song, and every song is a step in the quest. That means you need a secret word to unlock a secret treasure chest of bonus content, this time from Mikey Mason. So listen up so you can unlock the Quest. How many songs does Mikey Mason average in a year with his New Music Monday releases? Click here to enter your answer and unlock your reward! 46:06 - Mikey Mason "Kinda Like" from Patreon Single 1:03:14 - Mikey Mason "Shades of Gray" from Shades of Gray If you want to learn more about Mikey Mason, visit his website at http://mikeymason.com his com/mikeymason. You can also enjoy him Our podcast together, In the 'Verse Listen to my interview with Mikey Mason about "Hero of Christmas" I interviewed Mikey in 2018 for my Celtfather podcast. 1:07:35 - CREDITS Thanks for listening to Pub Songs & Stories. This episode was edited by Mitchell Petersen. You can follow and listen to the show on my Patreon or wherever you find podcasts. Sign up to my mailing list to learn more about songs featured in this podcast and discover where I'm performing. Clean energy isn't just good for the planet, it's good for your wallet. Solar and wind are now the cheapest power sources in history. But too many politicians would rather protect billionaires than help working families save on their bills. Real change starts when we stop allowing the ultra-rich to write our energy policy and run our government. Let's choose affordable, renewable power. Clean energy means lower costs, more freedom, and a planet that can actually breathe. Join the Pub and Sing Along at www.pubsong.com! #pubstories  

Superpowers for Good should not be considered investment advice. Seek counsel before making investment decisions. When you purchase an item, launch a campaign or create an investment account after clicking a link here, we may earn a fee. Engage to support our work.Watch the show on television by downloading the e360tv channel app to your Roku, LG or AmazonFireTV. You can also see it on YouTube.Devin: What is your superpower?Erin: Creativity and tinkering.Working mothers often face immense challenges balancing professional ambitions with the demands of nursing. Erin Martin, the Co-Founder and CEO of Pump for Joy, turned her personal struggles into a groundbreaking innovation designed to empower mothers in the workplace. In this interview, Erin shared her journey of transforming what she calls an “exclusive pumping” experience into a solution to make life easier for countless moms.Erin described her experience as a working mother pumping breast milk in 2021: “The cleaning between each pumping session would take a long time. Every time I was done, it felt like the next second I was doing another pumping session.” Realizing the lack of support for pumping moms, she envisioned a product that eliminates the hassle of cleaning pump parts while maintaining a commitment to sustainability.Pump for Joy's flagship product is a single-use, 100% biodegradable breast milk collection kit. Designed to simplify the lives of working mothers, the product eliminates the need for extensive cleaning while remaining environmentally friendly. “I cannot bring myself to make a single-use plastic product,” Erin explained. “If I'm creating a convenience product, the very last thing I want to do is hurt the environment.”Developing this innovation has required Erin and her team to navigate the complexities of creating a biodegradable design that meets strict medical device regulations. However, their efforts don't stop there. Erin is actively exploring cellulose-based materials and cutting-edge bioplastics, such as PHA, to push sustainability even further.To fund this mission, Pump for Joy is raising capital through a regulated investment crowdfunding campaign on WeFunder. This approach allows moms and supporters alike to invest in the company's success and become part of the effort to create a better future for working mothers and the planet.As a proud women-owned, minority-owned business, Pump for Joy exemplifies innovation, environmental stewardship, and social impact. Erin's commitment goes beyond solving a problem; it reflects a deep integrity. She put it best: “It's an unwavering commitment to create a better solution for moms and for the environment at the same time.”Those interested in supporting the company can explore its WeFunder campaign at s4g.biz/joy. Pump for Joy is making a real difference in the lives of mothers and contributing to a more sustainable world.tl;dr:Erin Martin created Pump for Joy to empower working moms with a biodegradable breast milk collection kit.The product eliminates cleaning for nursing mothers and prioritizes environmental sustainability with innovative materials.Erin and her co-founder Vanessa leverage their complementary skills to drive Pump for Joy's success.The company is raising capital on WeFunder, inviting the community to invest in its mission.Erin's superpower, creativity and tinkering, has been key to solving challenges and innovating sustainably.How to Develop Creativity and Tinkering As a SuperpowerErin's superpower lies in her ability to creatively tinker and iterate, transforming failure into opportunity. She explained, “I have not ever let go of this idea of constant learning and creativity. If there's a problem to be solved, my brain immediately starts thinking through how we might solve it.” Her passion for experimentation and improvement allows her to approach challenges with curiosity and determination, making her a natural innovator.When developing Pump for Joy's biodegradable breast milk collection kit, Erin faced a design challenge: creating a product that was both user-friendly and environmentally sustainable. Initially, the design was a single piece, but through relentless iteration, it evolved into a multi-part solution. Erin described how she explored everything from magnetic seals to twist mechanisms, testing each idea with prototypes from her 3D printer. Her persistence paid off, resulting in a design that balances functionality and sustainability, a testament to her creative problem-solving.Tips for Developing Creativity and Tinkering:Embrace Failure as a Learning Tool: Erin reminds us, “Failure is not final.” Use setbacks as opportunities to refine your approach.Stay Curious: Approach problems with a mindset of exploration and a willingness to try unconventional solutions.Iterate Relentlessly: Test, tweak, and repeat until you find the best solution.Learn New Skills: Erin's hobbies, like programming in Arduino and 3D printing, directly enhance her creative problem-solving.Adopt a Growth Mindset: Expect your first attempt to fall short and see improvement as part of the process.By following Erin's example and advice, you can make creativity and tinkering a skill. With practice and effort, you could make it a superpower that enables you to do more good in the world.Remember, however, that research into success suggests that building on your own superpowers is more important than creating new ones or overcoming weaknesses. You do you!Guest ProfileErin Martin (she/her):Co-Founder & CEO, Pump For JoyAbout Pump For Joy: Pump for Joy makes single use breast milk collection kits for busy moms. Our kits are biodegradable, safe, and easy to use: no washing or sterilizing away from home. This way, busy moms can spend less time cleaning and more time making waves in the world.Website: pumpforjoy.comLinkedIn Profile: linkedin.com/company/pump-for-joy/Company Facebook Page: facebook.com/profile.php?id=61557243352181#Instagram Handle: @pump.for.joy Other URL: wefunder.com/pumpforjoyBiographical Information: Seasoned product leader with 10+ years of experience launching 0→1 products to market. She's led cross-functional teams, driven go-to-market strategy, and built scalable solutions across various fintech and consumer sectors.LinkedIn Profile: linkedin.com/in/erindevinemartinSupport Our SponsorsOur generous sponsors make our work possible, serving impact investors, social entrepreneurs, community builders and diverse founders. Today's advertisers include FundingHope, and Envirosult. Learn more about advertising with us here.Max-Impact Members(We're grateful for every one of these community champions who make this work possible.)Brian Christie, Brainsy | Cameron Neil, Lend For Good | Carol Fineagan, Independent Consultant | Hiten Sonpal, RISE Robotics | John Berlet, CORE Tax Deeds, LLC. | Justin Starbird, The Aebli Group | Lory Moore, Lory Moore Law | Mark Grimes, Networked Enterprise Development | Matthew Mead, Hempitecture | Michael Pratt, Qnetic | Mike Green, Envirosult | Dr. Nicole Paulk, Siren Biotechnology | Paul Lovejoy, Stakeholder Enterprise | Pearl Wright, Global Changemaker | Scott Thorpe, Philanthropist | Sharon Samjitsingh, Health Care Originals | Add Your Name HereUpcoming SuperCrowd Event CalendarIf a location is not noted, the events below are virtual.Superpowers for Good Live Pitch applications due by November 17. Apply to pitch at the Superpowers for Good live event on December 11, 2025. This is your chance to spark campaign momentum and present to expert investors who frequently invest in our winners. Applicants must have an active Regulation Crowdfunding offering live when applying that will still be live on the event date. Apply by November 17, 2025.SuperCrowdHour, November 19, 2025, at 12:00 PM Eastern — Devin Thorpe, CEO and Founder of The Super Crowd, Inc., will lead a session on “Investing with a Self-Directed IRA.” In this session, Devin will explain how investors can use self-directed IRAs to participate in regulated investment crowdfunding while managing taxes and optimizing returns. He'll break down when this strategy makes sense, how to choose the right custodian, and what fees, rules, and risks to watch for. With his trademark clarity and real-world experience, Devin will help you understand how to balance simplicity with smart tax planning—so you can invest confidently, align your portfolio with your values, and make your money work harder for both impact and income.SuperGreen Live, January 22–24, 2026, livestreaming globally. Organized by Green2Gold and The Super Crowd, Inc., this three-day event will spotlight the intersection of impact crowdfunding, sustainable innovation, and climate solutions. Featuring expert-led panels, interactive workshops, and live pitch sessions, SuperGreen Live brings together entrepreneurs, investors, policymakers, and activists to explore how capital and climate action can work hand in hand. With global livestreaming, VIP networking opportunities, and exclusive content, this event will empower participants to turn bold ideas into real impact. Don't miss your chance to join tens of thousands of changemakers at the largest virtual sustainability event of the year.Community Event CalendarSuccessful Funding with Karl Dakin, Tuesdays at 10:00 AM ET - Click on Events.If you would like to submit an event for us to share with the 10,000+ changemakers, investors and entrepreneurs who are members of the SuperCrowd, click here.We use AI to help us write compelling recaps of each episode. Get full access to Superpowers for Good at www.superpowers4good.com/subscribe

Roger welcomes Dan Wang, a research fellow at Stanford University's Hoover Institution History Lab and author of “Breakneck: China's Quest to Engineer the Future.” They discuss Wang's perspective on China's technological rise and the contrast he draws between China's engineering approach to governance and the United States' lawyerly system, which emphasizes rights, pluralism and individual liberty. Wang also explains how his life in Canada, the United States and China shaped his understanding of the assumptions and incentives that drive each society.They explore China's intense focus on large-scale industrial and technological projects, as well as the costs and vulnerabilities of this top-down model. Wang discusses the long-term social damage caused by policies such as the one child policy and zero-COVID, which reflected an engineering mindset stretched beyond physical infrastructure into attempts to reshape society itself. Additional topics include America's challenges with permitting, infrastructure and housing, the limited areas where a modest shift toward engineering thinking could help, and how both countries might navigate the complex and uncertain future of U.S. and China relations.The Liberty + Leadership Podcast is hosted by TFAS president Roger Ream and produced by Podville Media. If you have a comment or question for the show, please email us at podcast@TFAS.org. To support TFAS and its mission, please visit TFAS.org/support.Support the show

Australia correspondent Karen Middleton joins Kathryn to discuss how the toxic sand discovery is being handled by different states.

Le piccole e medie imprese rappresentano la colonna vertebrale dell'economia italiana e il loro sostegno finanziario è fondamentale per sviluppo e competitività, soprattutto in un contesto segnato da tensioni geopolitiche, dazi e trasformazioni tecnologiche legate alle transizioni digitale ed ecologica, che richiedono investimenti significativi. In questo scenario, Intesa Sanpaolo ha presentato a Milano l'iniziativa «Crescere per competere», finalizzata a supportare le Pmi in operazioni straordinarie tramite strumenti di finanza strutturata, Ipo e M&A. L'innovazione consiste nel rendere disponibili questi strumenti di investment banking anche alle Pmi, attraverso una struttura dedicata nata dalla collaborazione tra la Banca dei Territori e IMI CIB, che oggi conta oltre 70 professionisti distribuiti in tre team territoriali e si rivolge a oltre 6.000 aziende. Durante l'evento presso la Borsa Italiana sono stati presentati casi di successo di Pmi in vari settori, tra cui Bending Spoons, Moltiply Group, Generalfinance, Lynx e Next Geosolutions. Dal 2020 a oggi la divisione Banca dei Territori ha assistito operazioni di finanza straordinaria per oltre 10 miliardi di euro, di cui oltre 2 miliardi nei primi nove mesi del 2025, con più di 35 operazioni tra M&A e Ipo. Stefano Barrese ha sottolineato che le Pmi devono individuare vie di sviluppo innovative e che Intesa Sanpaolo agisce come ponte tra economia reale e finanza, accompagnando gli imprenditori nella progettazione di strategie di crescita sostenibili e di lungo periodo. Interviene proprio Stefano Barrese, responsabile Divisione Banca dei Territori Intesa Sanpaolo.Delegazione italiana in Cina in difesa della proprietà intellettualeL'Unione Europea è leader globale nell'esportazione di tecnologia e know-how, ma le imprese rischiano violazioni se i diritti di proprietà intellettuale non sono tutelati. L'Italia gioca un ruolo di primo piano in settori come alimentare, farmaceutico, tessile e automotive, confermandosi nel 2024 quinta in Europa per domande di brevetto e quarta per deposito marchi. La Cina rappresenta un partner commerciale strategico e la tutela dei DPI è essenziale per proteggere le innovazioni, contrastare la concorrenza sleale e attrarre investimenti. Alessandro Plateroti si trova in Cina per seguire Action for China, programma dedicato a supportare le Pmi italiane nella localizzazione commerciale e produttiva, in collaborazione con istituzioni, associazioni di imprese, banche, fondi e studi legali. L'obiettivo della missione è siglare accordi per tutelare i settori strategici italiani nelle esportazioni verso la Cina, iniziando dall'alimentare con il consorzio di San Marzano, e proseguendo con farmaceutico, tessile e automotive, prevenendo contraffazione e manipolazione delle materie prime. Il commento è di Alessandro Plateroti, Direttore editoriale UCapital.comL'Italia torna ad essere fanalino di coda per crescitaNel 2025 l'Europa ha registrato una crescita migliore del previsto, con un PIL della zona euro stimato all'1,3%, rispetto allo 0,9% di maggio. L'Italia invece ha registrato una crescita più contenuta: la Commissione europea ha rivisto le stime a +0,4% per il 2025 e +0,8% per il 2026 e 2027, mentre il governo prevede rispettivamente +0,5%, +0,7% e +0,9%. Quest'anno l'Italia ha la quarta crescita più bassa dell'area euro e nei prossimi anni risulterà tra i paesi meno dinamici. La debole crescita è dovuta alle esportazioni nette che sottraggono 0,7 punti percentuali, mentre la domanda interna contribuisce con circa 1 punto percentuale, trainata dagli investimenti, e penalizzata dalla fine degli incentivi fiscali nel settore immobiliare. L'incertezza internazionale ha portato le famiglie ad aumentare il risparmio e ridurre i consumi. Sul fronte dei conti pubblici, le previsioni fissano il deficit al 3% del PIL nel 2025, con l'intenzione delle autorità italiane di mantenerlo leggermente inferiore per uscire dalla procedura per disavanzo eccessivo. Il presidente di Confindustria, Emanuele Orsini, ha sottolineato l'importanza di rafforzare la competitività e ha suggerito di posticipare il rientro del debito per aumentare le risorse disponibili per investimenti, ricordando che conti in ordine facilitano la presenza delle imprese italiane sui mercati esteri.Il commento è di Mario Deaglio, professore emerito di Economia Internazionale Università di Torino.

 They put in their cover letter, “Honestly, we're just gonna go up to Yellowstone around that time and we would love to swing by and show the movie.”Rudi Womack is the Director of the Wyoming International Film Festival and the creator of the YouTube channel The Film Festival Guide.In this conversation, Rudi talks about:* What watching thousands of film festival submissions has taught him about good storytelling* The biggest mistake filmmakers make when they submit to festivals* Why transparency matters and why he published all of the submission and acceptance stats for the Wyoming International Film Festival * The importance of a compelling poster and thumbnail* How to write a good description of your movie* The most important questions filmmakers must askHere is a link to Hiike, the new film festival submission platform that Rudi mentioned.If you enjoyed this episode please forward to a friend.Here is an AI-generated transcript of my interview with Rudi. Don't come for me.79. Film Festival Director Rudi WomackBEN: Hi everyone. This is Ben Guest and this is The Creativity Education and Leadership Podcast. My guest today is Rudy Womack, who is the director of the Wyoming International Film Festival, and also Rudy has a fantastic YouTube page called The Film Festival Guide. So for all my filmmakers out there who are interested in submitting to festivals in this interview and on Rudy's YouTube page, he breaks it down. Enjoy.Rudi, thank you so much for joining us.RUDI: Hey, it's my pleasure to be here. Thank you for having me.BEN: So I always start off with a fun question, and we're entering the holiday season, so very important holiday question. Is Die Hard a Christmas movie?RUDI: Absolutely. A hundred percent. Come on.BEN: I love it. So I, I told you this off Air, I found you through the Rate YouTube channel.You have the Film Festival Guide. Is that the right name? I wanna make sure I get the name right. Yeah. The filmRUDI: festival guide. Yep.BEN: On YouTube Film Festival Guide on YouTube. Please. Any filmmakers out there go and subscribe. The information is so helpful. What, why did you start the this YouTube page?RUDI: I, as a filmmaker have gone through the festival circuit several times and I made a lot of amateur mistakes. I didn't know what I was doing. Definitely fell on my face a couple of times, but I also had some successes. And as I did more film festivals, I started learning more about the circuit.I got invited by a film festival to become a programmer, and so I started reviewing a lot of films and seeing a lot of the submissions. And I think instantly that made me a better filmmaker just because I saw what was working, what wasn't working, and how other filmmakers really brought to, brought their stories to life on the screen.And it, it was truly inspirational. Very long story short, the Wyoming International Film Festival was started by a gentleman named Alan Oi, and he's a, he's a documentarian out of Wyoming, which is where I'm from. I'm from Wyoming. So Alan had the film festival and he had run it for some years and it was going great and everything.But then Alan retired and now he's retiring. He wants to move outta Wyoming and he doesn't wanna run a live event. ‘cause it is a lot of work in his words. And I quote, it's a young man's game. And at the same time, COVID hit and he didn't wanna do the whole online thing and it was just a big mess.So Alan was like, I'm done with the festival, it's done. I'm just gonna let it die. And I was begging him, no, Alan, you can't do it. It's so important for indie filmmakers. And at the time I'm just finding my feet in the festival circuit as well as both a filmmaker and now I'm a programmer.I'm begging him like don't let it die. It's important, maybe I can help out. And he was like, why don't you run it? And I was like, absolutely not, man. What are you talking about? That's crazy. No way. No way. And I was like, I'm going to be your director of programming. That's what I'm going to do.I'm gonna help you get films in so you don't have to do that work. Very long story short, I ended up running it. I ended up taking over the festival from Alan. I did so reluctantly. But when I started working with the festival, working with the community, working with my hometown filmmakers and my home state filmmakers, and just seeing how important a film festival can be for a local community to uplift indie filmmakers to help them along the way I fell in love with it and here I am now, I run the film festival.And your question was, how did I start the YouTube channel? Sorry, I'm getting there. But I got a lot of questions from filmmakers about festivals, like how to navigate ‘em. And there's just so much mystery behind film festivals ‘cause it's so opaque. There's not a lot of transparency from film festivals.Film festivals are sketchy about which films they do select and which they don't. And frankly, there's a lot of misinformation out there about festivals. So I started answering a lot of questions and I started repeatedly answering the same question again and again and again. And I had some friends who told me, you should write a book.But I was like, yeah, but books, there are books, like people have already written books, bluntly, frankly, people far more experienced and knowledgeable than myself have written books. And so if you're not reading those books, then you're probably not gonna read my book. So that's when I decided, you know what, the YouTube channel is a great way to just do very easy outreach.Take one single topic, break it down for 10 minutes, and hopefully help filmmakers along on their film festival journey.BEN: I love it. And you said something for all the filmmakers who are listening. I'm gonna come back to it. Don't worry. You said something about once you started programming and watching so many films, you got a good sense of what works and what doesn't.So I definitely wanna come back to that. I know the filmmakers listening want to hear that. But before that you mentioned 10 minute videos. You strike me as somebody who, does research and takes time to Yes. Before they do something. What did you discover about running a YouTube page?What things work, what things don't work?RUDI: I'm still very early on in my own YouTube development. I'm still trying to learn what does and doesn't work. So I'm probably the worst person on earth to give advice. Definitely that first 32nd hook is so important on YouTube, just like it is on a film that, that intro, how we come into the story, whatever, on YouTube, you can see a massive drop off and apparently it's that way on every channel.Again, I'm not a YouTube guru, so I don't give advice, but that first 32nd hook is a big deal, but also just my presence on camera. I come from the post world. I'm an editor, so I'm not just behind camera. I'm behind, behind the camera. So I'm very much not used to an on-camera presence, so I'm developing that and learning it as well.What kind of energy I can bring. How to make it engaging. But also I don't wanna be zany and too quirky or anything because I am trying to give good guidance to filmmakers, but I also don't want to lecture them and bore them to death. So it's finding that balance of information that's valuable, but also entertaining enough that people don't wanna click off.And it's actually quite a complex thing that I'm still unraveling one video at a time. But the best advice that I saw was some YouTube guru who is just focus on getting 1% better on every single video. So is that little bit better graphics or better delivery, or better audio, or better editing or whatever it is.And after a hundred videos, you're now a hundred percent better. So that's what I've been focusing on. Just very small baby steps.BEN: Yeah, that's such a great way to break it down, right? It just makes it bite-sized, get 1% better.RUDI: I think you can apply that to life in general. There's a lot of things in life just today be 1% better.That's it,BEN: so you mentioned once you start a programming scene, get enough feel for what works, what doesn't, especially with short films, both narrative and docs. What are you seeing that works and doesn't work?RUDI: In the shorts world I'm seeing a couple of things. One, a self-contained story, and this is something that I had a problem with because oftentimes I would go for more of a quote unquote scene instead of a full beginning, middle and in, in a story.So a self-contained story typically is gonna make your short film much more successful. This can be hard for some filmmakers because they're trying to make a proof of concept short film that they're gonna go and get financing for their future. So one of the things that they often do is they just take a scene outta their feature and then just shoot that, which has mixed results.And the problem is the films that have gotten financed and been made from shorts that have done that are the ones that you see. So it's actually a survivor bias, where it's like it, it works for those particular films and therefore everybody thinks it's gonna work for their film. But obviously the films that it doesn't work for, you're never going to see.So you don't understand, actually for the majority of films, it doesn't work. So if you have a proof of concept, I actually say, don't pull a scene outta your feature. I say write its own scene, or sorry, your own short film. That exists in the same world and universe with the same characters as what your feature film is.And I think that's gonna have much more success on the film festival circuit. And that will lean you or lead you to whatever your goal is, financing or distribution or whatever. So that's a big thing with short films that makes ‘em successful is make sure it is actually a self-contained story and it doesn't have any loose ends, so to speak.What doesn't work is something that I myself struggle with, ironically as an editor. And that's things being too long and you need to parse them down. Now a lot of people will say, shorter, the better, which is true, but I actually think that's a result of actually getting to the core of the problem.And that's make your film as concise as possible. Get the idea. The emotion, the story out as concise as you can. And what that does by happenstance is it makes your film shorter. So it's not that shorter is better. I know there's it almost sounds like I'm just splitting hairs here, but I've seen plenty of five minute films that didn't work.I've seen plenty of 10 minute films that board me to death. So shorter isn't necessarily better. It's more concise of your story is better. And sometimes that still manifests as a 20, 30, 40 minute film. But if it's a very interesting 20, 30, 40 minutes, that's not gonna matter.BEN: It's such a great point. And for me, when I get to a certain point in the edit, I like to just bring in a couple friends and have them watch it. And then I just sit there and watch them watch it and whatever feedback they're gonna provide afterwards. 95% of what I need, I can just tell from Body Language as they're watching the film.RUDI: Yep.BEN: You come fromRUDI: theBEN: Go ahead.RUDI: Oh I was just gonna piggyback off that and just say, audience feedback is worth its weight and goal.BEN: Yeah.RUDI: And every filmmaker when you hit that fine cut stage, like you said, get your friends and family together, buy everybody some burgers and fries or whatever.Get ‘em all together. Gather ‘em up in a room, watch them, watch your film. That's gonna tell you more than anything else. We'll be able to about the success of your film and where it's strong, where it's weak, where you can still fix things. And I always suggest do it in your fine cut stage because nothing's locked in and you can still move things around and adjust, or whatever it is you need.BEN: Love it. And I think earlier what you are really getting at is telling a good story. Yes. And I'm amazed at, not amazed, but maybe a little disappointed, especially in today's world, the technical side of filmmaking. Even for an amateur, even for an indie filmmaker that you can, things can be d done so well technically, but there's no story.RUDI: Yes. All the time. So when I get onto Reddit, ‘cause you mentioned Reddit earlier if I go onto our filmmakers, right? Yeah. I don't have to look far to see people just geeking out over the newest Camerons. It's, and it's always cameras. Everybody always talks about. This camera is so fancy and it has so many stops above and this lens can do this and blah, blah, blah, blah, blah, blah, blah.It has this big bit rate, whatever. Everybody gets so excited about cameras and I always say to myself, man, if they got this excited about audio, I wouldn't have to reject half the films that we have to reject because the audio is just blah. So if we're gonna talk tech, if we're gonna talk about the quote unquote quality of the filmmaking, I think what filmmakers need to understand is there are so many films out there we're that is just the foundation.It is the base level, it is the bare minimum that the film looks good. It sounds good. It feels good. So for us, festival guys, we see so many of these films. You're super gorgeous cinematography, you're really fancy, VFX, whatever it is that you think really separates your film from the pack. I don't wanna discourage you, I don't wanna sound jaded or anything, but it's not as impressive to us as you might believe it is, simply because we see hundreds and sometimes thousands of films like that.So for us it constantly falls back to originality and the story. Is the story well done? Is it well told? Is it a new and interesting story that we've never seen before? Is it a story that we've seen before but told in a very unique way, from a specific point of view, that is what is going to move us as festival people.‘cause when I put it into the theater and my audience walks in and they pay a ticket. My audience is used to going down to the theater and seeing a hundred million dollar movies. So for them, quality is just a given. It's just assumed they're not going to be thinking about it for them. They go and watch a movie ‘cause they're interested in, and I think if more filmmakers really dialed in on their story, they're going to find more success.BEN: So many great points there and a hundred percent agree with what you were saying about people get excited about the camera. And so I did my MFA at USC and there were three different times where I was on a set that, that I felt was unsafe. Not that I felt it was unsafe, what they were doing. Geez. And I walked off and it was always to get the cool shot.Like no one's ever hanging off a balcony to get room tone. You know what I mean? It's just, it's always to get the cool shot that, again, if you're not telling a good story, it doesn't matter. And to your point, I've always felt good audio is more important than good video.RUDI: Good image.BEN: Yeah.RUDI: Look at the documentary. Look at the nonfiction world. We see verite stuff all the time. We see stuff people recorded on their phone or, security camera footage or whatever, like at the end of the day in the nonfiction world is a great example of the quality of the shot doesn't necessarily matter so much as the quality of the story and how it's being told and how it's being revealed to us.And the audio is always gonna be very clean, very top notch, even if it's quote unquote found footage or. Veritate footage or whatever, the audio is always peak. I saw that Netflix doc recently, it was super heartbreaking. The perfect neighbor. And most of it is police body cam footage, but the audio is clean so we're able to follow the story so no one sits back and thinks of themselves this isn't a good shot.Of course it's not, it's police potty cam footage. Like it doesn't look good and it's not meant to,BEN: but it sounds good. And so you can follow it.RUDI: Yes.BEN: What what are some tropes that you think you've gotten tired of seeing in, especially in short films?RUDI: So every year it's a little bit different.You would be surprised what things pop up and what don't. The one trope that kind of rubs me the wrong way, I, I don't know how to describe it any other way than filmmaker self therapy. Like they, they're definitely going through something at the moment and they're not focused on creating a good story.They're more focused on using their art form to emotionally process whatever it is they're going through, which fine, you are an artist that makes sense to do, but also I can't sell my audience on that. So while I don't wanna discourage someone from making a film that is very near and dear and personal to them, at the end of the day, it might not be a good fit for film festivals.And so I, I would really think twice about whether or not that is a story that an audience, frankly, needs to see. Filmmaker cell therapy is one that when I get it, I'm always eh I don't know what to do with it. I just, I don't know what to do. Some other tropes that we see very commonly are like.Obviously right now, tech and AI and stuff like that gives a lot of people anxiety. So there's a lot of like evil robot takes over or the big reveal at the end of the movie, they were a robot the whole time, or the whole thing was a simulation or whatever. That's being very well tread right now.For me, I'm I am not a political person and anytime some big thing is in the news, we see tons of films on it. So I understand politics do affect people's day to day and their lives, so I understand that manifest. But man, I probably have a hundred immigration films right now and that's a lot. And I'm not gonna screen that many, so I'm only gonna pick like one, maybe two, so that's a tough one to do.Anything that's like a hot button political issue. We always see a big wave of those come in. And then honestly, romance dramas get tough. It isn't evergreen. We do have an audience for it. We usually do have some kind of a selection of them. Romance dramas have existed since the beginning of time.It's always been a thing. But filmmaker broke up with his girlfriend, so now he has a character who breaks up with his girlfriend. It gets it, it doesn't get very original. I, it just it gets exhausted. So those are some of the kind of general tropes I would avoid. I have heard other festival directors talk about like cancer films and Alzheimer's films and stuff like that.This year I'm not seeing so much of those, but I have seen those in the past. So tho those are some other. Tread stories we'll see.BEN: One of the things that I appreciate about. Your series of videos is your transparency, and you have one video where you literally break down. Here are all the films the number of films, Wyoming International Film Festivals received. Here's how it breaks down, here's how many we, we accepted, et cetera, et cetera.You have another one where you literally show the viewer, this is what we see as a programmer on our film freeway portal. Here's the scoring sheet. I think it's a little bit different from the one you guys use internally, but basically here's what the scoring sheet on film freeway looks like. Why is transparency so important to you?RUDI: Because I'm a filmmaker, because I've been to so many festivals where I have no idea what the hell's going on. I've been to festivals where I think my film is gonna be a good fit. I think based on what I've been able to investigate on my own, digging through their website, digging through their archive.Seen what they've programmed before. I think I'm a good fit, but I don't actually know. And I've submitted to festivals where later on, I see what they programmed or I got rejected or even accepted and then gone to the festival itself and have been a little disappointed when was like I this festival didn't fit my goals the way that I thought it would, or, this festival wasn't going to do the things for me.Or this festival, like really promoted themselves very heavily as this big event. And then you get there and then it's not, and that's a little bothersome. So when I stepped into my role at the Wyoming International Film Festival, I made a whole bunch of changes. But one of the changes that I made was, we are going to be transparent.I don't ever want a filmmaker to submit to our festival, get in, get accepted to the festival, drive all the way out to Wyoming and be disappointed. I don't want them to do that. That's not good for them. It's not good for us. It's not good for the community. It's not good for indie film at large.What's better is if we just be what we are in Wyoming, we're straight shooters. We just say it as it is. So I'm going to tell you exactly how many films were submitted, which films we accepted, what the percentage rates are, how many shorts versus features, how many docs versus narratives, how many music videos, all of this stuff.And we've been releasing the data for the past couple of years. This year, like we went all out with the data it was much more thorough than what we've done in years past. And even me, the director of the festival, I sit back, I look at the data and I can see some weak spots in it. I can see where we need to improve as a festival, where we need to start, bringing in a certain type of film or where other films might be overrepresented or how we can give more of an experience to our filmmakers.Just by boiling it down to numbers and looking at it. I can start seeing some of our weak spots and I want to improve on that ‘cause I want to have a good festival. And I think if more festivals were to do that, I think the filmmaking community at large would be much more appreciative. And I think film festivals need to understand.That if you have fewer submissions, that's not a bad thing because the submissions that you are going to get are filmmakers that really want to be in your festival and that's good for the health of your festival, the community, the filmmakers, everything. So I, I think the only way we get there is by being transparent.And thankfully there are other festivals that are publishing their data, which is great. And that makes me very happy to see. And I hope that trend continues and I hope even more festivals start publishing more of their data and showing how they review films, what their scorecards look like, what they're looking for.‘cause ultimately I genuinely believe that just serves the filmmakers better and ultimately makes everybody have a better experience on the film festival circuit, including the festivals themselves.BEN: When you took over as directorWhat were the biggest challenges?RUDI: So our biggest challenge to this day is our venue.So there's only one movie theater in Cheyenne, Wyoming. It is owned by a company outta Casper, Wyoming. They own pretty much a monopoly of movie theaters across the state, like most of them. And they don't allow anybody into their theaters at all. They don't allow her private screenings or corporate events or, in individuals who wanna screen their film or film festivals.I'm not the only film festival in Wyoming. I talk with other festival directors. They can't get in either. It's funny, the film commissioner of the state can't even get in. You would think the movie theater would at least want to partner with the state film Commission, but no. So for us, the challenge has been a venue and luckily our partners over at Laramie County Community College.Have graciously allowed us to use their facilities for the last couple years. They have a beautiful auditorium that we do some of our screenings in, but we also have screening rooms in a black box theater that they have as well as a conference room. And when I say conference room, most filmmakers like their heart drops a little bit.They're like, oh man, I'm just, I'm going into a conference room. It's not a proper movie theater. And that's fine. We publish that data on our film freeway page on hike. We are transparent about that. So when you submit, you might be in the conference room. But ironically, I think it has some of the best audio and it has some of the best projection.So even though it's the quote unquote least movie theater, like I actually think it has some of the best projection, best color. But venue is probably one of our biggest challenges and we continue to develop that. We continue to. Trying to innovate. We're trying to build our own screening room there on the campus.Like we're trying to use one of their big classrooms for it. And what we wanna do is we wanna turn it into a lounge. We wanna bring in like couches and sofas and comfy chairs where it's like much more of a chill environment in there. And that's the type of film we wanna screen in. There's some you can literally sit back, settle in and relax.So there's things that we're doing to create a better environment for our filmmakers and of course our audience, our guests at the festival.BEN: I love it. What's been the biggest reward?RUDI: The, I get to meet you. That's what the biggest reward is. I get to meet so many filmmakers. I get to hear their stories.I get to be inspired. I get to learn stuff. I was talking with a festival director a couple of days ago. Who asked me about how we do our audience award scores and how we process that and what they do. And I just like I lit up, I'm like, oh my God. It's such a better way, it's more efficient, it's easier on the staff.It's more representative of how the audience actually feels about the film, the way the scores are aggregated and counted. It's so great. I get to meet so many people in this world of film and every single day it's like a new, whole new world is opened up to me and I get to hear so many fantastic points of view.I get to see so many awesome films, like just how many great movies are out there is a cinephile. It's like the most rewarding thing in the world. I'm an addict. I'm totally addicted to it. It's so great.BEN: I love it. I remember I used to coach basketball in my first year as a head coach. I was like, yeah, everybody's gonna be pretty competitive, other coaches and so forth.And they were, and I was. But at the same time, when coaches would get together, it was just so supportive. And people are sharing, this is what I'm doing in practice. I'm looking at this offense, this defense. And I imagine it's the same with other film festival directors and programmers. Oh, yeah. Just a supportive environment comparing notes.RUDI: It is. And the more that I meet, the more I truly do understand. 99% of festival directors out there are programmers, people who work in it. They have some tie to cinema. Most of them are filmmakers. Those who aren't, have a deep passion and love for cinema and for storytelling, and.Everybody's a volunteer. Everybody has a day job. Nobody makes money on this. They do it from the love of their heart. They truly do. And the way that they serve their communities, the way that they serve their filmmakers, some of the cool ideas they come up with there's some really neat festivals out there with like very interesting hooks or events or whatever.And I think it is such an incredible ecosystem and I think I'm truly privileged to be part of it.BEN: What are some lesser known or maybe mid-tier festivals or local festivals that you love to attend?RUDI: Okay, so one of my favorite festivals I guess you said lesser known. This one is not lesser known, but Film Quest over in Provo, Utah, damn man, pe like festival people talk about building community. They're on a different level. They've built a family. Like everybody who goes to that festival is just so tight knit there. There's no other festival like Provo or sorry, film Quest in Provo. It is just, it's on another level. And how well they treat their filmmakers is fantastic.Some years ago I was invited to be a jury member at the Fair Film Festival, which is in Ferazi Kosovo. So that is in southeastern Europe. It's a landlocked country, just a little bit above Greece, a little bit north of Greece and north of Macedonia. And Fari is a small town. And I went to that festival and first off, wow.What a great festival. I strongly suggest you submit your film to fair film. It's so good. But the cool part of being in this European festival, and frankly a small European country, most of the films are international, obviously. And so there's filmmakers coming in from like Jordan and Spain and Germany and Slovakia and Slovenia and like all over the place, Greece, Turkey, you name it.And how interesting it is to have this incredible cross section of languages and cultures and peoples, but we're all united by this one singular thing. And that's our love for storytelling and our love for movies. It had to be one of the most incredible experiences of my life. And the next movie I make, taking it back to cosBEN: Fantastic.Just had a question. What was it? Oh okay. So with the huge caveat of besides making. A good film, a film that tells a story. Besides that, are there any tips or tricks, things on the margins that filmmakers can do when they're applying to festivals to be aware of? Sometimes festivals. Ask for a cover letter orRUDI: Yes.BEN: Press kit, things like that. Okay.RUDI: So with, sorry, my phone is loud. I should turn that down. So obviously with a huge caveat of make a good film or whatever, what's the easiest way to get it? All of the stuff on film Freeway, and I do have a video on this, on my YouTube page if you wanna check it out, where I give you a tour of film, freeway from the festival side of things like what the festival can see and how we see it and how we navigate it.On the festival end of things. We can see your cover letter, your screenings and awards your. Cast and crew information, your director's bio, your director's statement, your photographs, your EPK, that's your electronic press kit your trailer, all of that. All of that. As much of that as you can possibly make, you should make it.It's very important. And you never know which piece is gonna be more important to a particular film festival. For instance, here's something crazy. I was meeting with some of my programmers last night. They had a whole bunch of films that they wanted to recommend to go to the next level programming.And we require films. Tell us where in the world or where in the United States the film was made. And every single one of ‘em was California. California. California. California. California. Which fine, whatever. California has a big film industry. That's, it's a very big state, population wise. Makes sense, right?But I am sitting back thinking, okay. I don't want it just to be a bunch of California movies. We have a big country here. I would like to see something else. And something caught my attention. One of the filmmakers, their address was in Birmingham, Alabama, but the film was shot in California, so I am suspicious.I haven't dug into it myself. I'm suspicious either that filmmaker's from Alabama and they have moved to California, or that filmmaker lives in Alabama and they shot their film in California. So they're answering where it was shot correctly. But for me, I'm like, there you go. When everybody's from California.I want that unique perspective. I wanna see someone's from Alabama and what their perspective is now. I haven't watched the film yet. I don't know if it's what we're looking for. Obviously it's a good film if my programming team has recommended it, there's no doubt in my mind it's good film. Now there's other considerations we're gonna have, but.That alone was something, even my, like I myself did not know that I would be looking for. So filling out all of that data on film, freeway, all of your information that you possibly can, your cover letters your screenings, your awards, whatever it is, the more information you give us as a festival, the more we have to make our selections.And it only benefits you. It only helps you out. So filmmakers don't get lazy. Fill out all of that information. We need it. We use it. It's important. Just do it.BEN: You mentioned a meeting with your programmers last night. Take us inside that conversation. What does that look like? What do you discuss, et cetera.RUDI: So there's. There's a big programming team and it's divided up into two different groups. There's our kind of first round screeners and then there's our senior programmers and the senior programmers pretty much review the films that have gone through that first round of screening that are getting recommended to go onto the next one.So typically when I'm talking with my screeners and everything, it's a very different conversation on the bottom end of it where they're just sorting through all of the submissions versus a different conversation I have with the senior programmers who are on the top end of it. We're now trying to decide how to block films together, how we're gonna organize it, what's the schedule maybe look like, what's the overall tone and vibe of the festival going to be, okay.If we wanna have a sci-fi block, do we even have enough sci-fi films? If we don't. Where else can we find homes for ‘em? Stuff like that. So those conversations are a little bit more high end, if you will. And it tends to be less about the story of the film itself and more about how that film is going to fit into the festival.Whereas when I'm talking with the screeners, it's much more on the story end. Like what about the story did you like or you didn't like? Or what was the unique point of view? Or whatever. So depending on which group I'm talking to it, it's gonna be different. And then of course that divides out further on features and shorts and documentaries and narratives and music videos.So like obviously my conversation with the music video people are gonna be much different than my like short documentary people.BEN: Shout out to short documentary people as a documentarian primarily makes shorts I'll ask a question for us folks. In one of the videos, as I mentioned, you literally show here's what the scoring sheet looks like.Yes. And that was for narrative with, I think one of the categories was acting and so forth. So for a documentary or documentary shorts, what does that scoring sheet look like? What do those discussions entail?RUDI: Film freeway does not allow us to have more than one scoring sheet.So unfortunately, there's just this one scoring sheet that's for everything. What I tell my screening team, and we definitely double check everything, like there's multiple people who look at something. So it's not just one person's opinion. You have at least two, oftentimes three, pretty often four.So for something like documentary they skip over that. That's what they do. So if there's no acting in the film, they skip over that. They don't rate acting if there is no acting. But you'd be surprised. There are documentaries that have acting in ‘em. There are like docudramas or documentaries with recreation In the recreation is like actual scenes and performances and stuff like that.So in those cases, even though it's a nonfiction and a documentary, yeah, we'll still judge it for the acting ‘cause that's what it has. I get the question. I'm gonna hijack your question for a second, but it is applicable. I get the question, do we accept AI in our film festival, we do not have any official policy for or against ai, which scares some filmmakers.But we do rate AI on the same standards as we would anybody else. So when it comes to creativity and originality, guess what, you're getting a nothing. ‘cause AI didn't create it. AI is not original. AI just mashes together a bunch of information from other people. So that's no creativity and originality.Same thing for something like, I don't know, art design. If you have a AI character walking through a scene or whatever you're getting zero on your art design. Nobody built those sets. Nobody costumed that actor. Nobody was the makeup artist or the hair or whatever other art deck or, PD or anything on the set.So we will accept ai. We have accepted one single AI film so far because despite all of its quote unquote handicaps, and it was a music video. It still was successful in other categories that had a good enough score. We as a team sat down, said Yes, that it still is a good film. The audience is still gonna enjoy it.The filmmaker definitely had a vision with it. They wrote out a whole thing on like why they chose to use ai. ‘cause they're also an experimental filmmaker, so it made sense for them and everything. So we were like, you know what? That's legit. Let's put it in. But other AI submissions, like I got an AI children's animation the other day and I'm like they didn't animate it themselves.They didn't voice act it themselves. It's not getting good scores on any of these. So we'll see. We'll see. We'll see if it gets through or not, but already you're shooting yourself in the foot. So don't do ai.BEN: Okay. Couple little. I don't know, around the edges or micro questions. One of the things that you talked about in one of your recent videos was having a good poster and you talked about designing your poster for your film prudence.RUDI: Yeah.BEN: Talk, talk to me about,RUDI: I specifically gave my posters an example, not a great poster,BEN: But talk to me about that.For the no budget or low budget filmmaker that can't afford to hire a a designer to make a poster. Talk to me about poster design and how that impacts the presentation of the film for festivals.RUDI: So I strongly believe that a big part of filmmaking and marketing and packaging your film together, all of that is psychology.And as much as we want to sit back and say, Hey, don't judge a book by its, cover it, that literally goes against human psychology. People are not hardwired to do that. It, it is. In our DNA, it's not just a bad habit, it is literally a survival mechanism. So if you want to stand out, you do need to have everything put together.Your cover letter, your synopsis, your photographs, all of that, and of course all of your key art. That's your poster. That's any banners that you have, that's how you're going to be promoting the film. And you have to understand it's not just about making your film look pretty to get filmmakers to go, or sorry your programmers go, Ooh, and ah, it's a pretty film.We are looking at that as a mechanism for us to advertise the festival. You gotta understand if I have 150 films in the festival, I have to get an audience for those films. And the easiest way for me to do that is through your marketing materials. We don't have the capacity. To design marketing materials for 150 different films.We are relying on the filmmakers to do that so we can go out and promote the festival. So people show up to your screening, which I would presume is what you want if you're going to a film festival. So anything you're trailer, any photographs that you can provide, which some filmmakers only provide BTS photographs, BTS is fine.It's great. Give me some good key art I can also use, please. That's what newspapers, that's what the local news that's what podcasters, whatever, that's what they want to see. So that's what I can provide. And of course, your poster. Now, there are a lot of online tools to help in poster design, frankly, I don't have an excuse for making a bad poster like I did, which is one of the reasons I use it as an example is I am shaming myself being like, this could be better and it should be. But there's a lot of online resources that can help with poster design. And also for filmmakers who are a little bit strapped for cash, you would be surprised what people will do for in kind, service for service.So if you have a friend or if there's someone that you can find that's Hey, they'll design your poster if you can design whatever their website or whatever it is that your skills might be there, there's a lot of exchange that you can do on that part. So yeah your marketing, your packaging, all of that together is actually quite important.BEN: Such a great point. And I've written and published a memoir and through that, I've worked with other authors on, on. Both writing and marketing their books, editing and marketing their books. And I tell people the exact same thing. People judge a book by its cover all the time. And in this day and age, they judge it for listeners, I'm holding my thumb and forefinger part as a thumbnail on a computer screen.Yeah, that's the size. So even for a programmer or a festival director watching it on film freeway through their platform, they're not gonna see the poster like we see it in the movie theater. They're gonna see it as a thumbnail image. Yeah. So it has to work as a thumbnail image. And if you can't read the title as a thumbnail or can't make out what's on the image, what's on the poster as a thumbnail, then you've failed that part of the process.RUDI: One, one of the things that like really clued me into how important a poster is, I went to a film festival, I believe it was Kansas City Film Festival. Some years ago, and they had a bunch of posters of films out, but there was one that was like bright pink. It was like super bright pink and had like very eye popping design and everything on it.And it was like in a whole field of like dark drama posters that are all like gritty and everything. And I'm like that stands out. That really drew my eye to it. And I think that was like my big light bulb moment of like how important this stuff actually is. And one of the things that I've been saying for some years, I've said it on the channel, I think, I don't know, some, sometimes I record things and edit out.So I don't know what I've said on the channel sometimes but one of the things that I say is making a film is half of film making. The other half is marketing, the other half is getting butts in the seats. The other half is getting eyeballs on your movie. The other half is selling your film to an audience or a film festival or a distributor or a programmer or whatever you're trying to do with it.It's getting it out there. So making a film is half a filmmaking. The other half marketing, that's what it is.BEN: I'm just nodding along with everything you're saying and I've always felt both with films and with books, with art in general, you're trying to make an emotional connection from what's in your head and your heart to the audience.And if you don't do your job, getting your film out there and helping an audience come and see your film. Then you're not helping that connection. You're missing sort of the point of making this, unless it's just for yourself. It's for, it's to connect with other people and for other people to connect with your work.And that is marketing.RUDI: It's valid. If you're just making a film for yourself, that's absolutely valid. It's in art form. You can make a film for yourself, but if you're sending it to me at a film festival, you're not you're literally trying to find an audience. So these are the things you need to consider.BEN: I love it. I got two more just in the weeds detail questions.RUDI: Alright, let's do it.BEN: Let's talk description. And what I've seen ‘cause I'm in the middle of applying to festivals. And by the way just for. Listeners, this might interest you. So I discovered Rudi's YouTube page and I was like, this is so helpful.And then I went to the Wyoming International Film Festival page and all the transparency and statistics that, that Rudi puts out, that the festival puts out. And I realized, okay, so the short documentary I have is not a good fit for this festival. Exactly what Rudi's saying. So just for anybody listening, thank you for doing research.RUDI: Thank you. That's good. That's not a bad thing, right? That means it saves you time, it saves you money, it saves you heartbreak. It's so good. Do research before you submit. I'm sorry, but I, it's in, in almost every single one of my videos, I tell filmmakers, do your research before you submit. Find the festivals that gel with your film.And if it, if they don't screen the type of movie that you have, don't submit to ‘em. You're wasting your time, you're wasting your money. And the festival, like the programmer behind the screen, might love your film. They truly might love your film, but they're programming for a very specific audience and they know what that audience's taste is.So that's why they're driving specific films to that audience. So even if they love it, they might not include it, which is why you should always do your homework and do your research before you submit. I'm sorry to interrupt, but it's so importantBEN: And yes. And the flip side of that coin is now I also know what the Wyoming International Film Festival looks for.So in the future, if I have a doc or a film, I'm like, oh, this would be a great fit for this festival.RUDI: Yes.BEN: It helps both ways.RUDI: It does. And it helps you dial in. Which festivals you should target, which festivals are gonna help you with your specific goals. Whatever your goals are with the film it's gonna help you with your budgeting and your travel plans and your own personal calendar.It's gonna help with your mental health. It just, it helps on so many different aspects. And on the film festival side of things, I appreciate it when I hear from filmmakers say, Hey man, I looked into your festival looks good, but you don't have the kind of film that I have. And I'm like, not a problem man.Maybe I can point you in the right direction. Maybe I know some film festival programmers, I can make a recommendation, on your behalf too, that's not a bad thing. We love movies and we want to see them successful, but not every single fest or film and story is going to be successful in every single market.So it's very important to find your audience. And believe me, we are going to be cheering you the whole way.BEN: I want get back to my kind of in the weeds questions, but you've mentioned something that is big picture, that's so important. I feel like I've buried the lead here. And you mentioned this you've mentioned this multiple times in your videos.Is that a Phil, it's key. Maybe the most important part of this process is of the film festival submission process is a filmmaker needs to understand what are their goals in applying to a festival. Yes. So can you just talk a little bit about that?RUDI: So film festivals are a tool. And they can be a tool for many different things, but they are a tool.And just every single tool is not right for every single job, every film festival is not gonna be right for every film and vice versa. So before you go out to film festivals, you just need to ask yourself why? Why am I going out to film festivals? Why am I spending the money, the time, the energy, the effort?What do I want out of film festivals? And that's where you need to identify your goal. And the more specific you can be with the goal, the better it's going to be you going on your film festival journey. So for many filmmakers, a common reason they go out to film festivals is networking. So I'm gonna use that as an example.So let's say your goal is I want to network, I want to meet other. Filmmakers, I wanna meet, directors of photography and producers and other people that I can hire for my projects, or they're gonna hire me for their projects, and I want to build that network and I want to meet more filmmakers.Fantastic. Great. That's your goal. So the first thing that you need to do is you need to be looking at festivals that have networking events. And in this particular instance, you need to ask yourself two things. One, does it have networking? Is there in-person networking parties or networking events?And two, do the types of people that I want to meet actually attend those networking events. So us at the Wyoming International Film Festival, we have a pretty broad spectrum. We have filmmakers that are just beginning their journey. They're totally new, wet behind the ears. They're green they're just starting their journey.That's great. All the way up to every year we have multi Emmy award-winning filmmakers. Like people who do this professionally they're in unions or professional organizations, or they're a member of the academy, motion picture Arts and sciences or the TV Academy or sometimes like the Grammys and stuff like that.I, myself, I'm a professional editor, so there's people like me who professionally work, but they're like below the line. They're cinematographers editors, gaffers, what have you. So if your goal is to meet some like high-end producer that's gonna throw, a million dollars at your movie our festival is not the festival that's gonna help you with your goal.So you should skip over us because we don't have that kind of person in attendance. But if your goal is to meet other filmmakers at your level that you can collaborate with or get hired by or whatever. We're a great festival. We have tons of networking, and we bring in a ton of those filmmakers.We're a great event for you. So when you identify what your goal is and you're very specific about it, it's easier to identify which festivals you should start targeting. I take that one step further, and then once you've narrowed down which festivals are gonna help you with your goal, then you look into their history and see which of them have screened movies like yours in the past.So if you have a, you know I use the example, if you have a seven minute comedy coming of the age film, now you know which festivals have good networking, which festivals have the kinds of people you want to network with. Now you look at which ones have screened short coming of age comedy films in the past, and have a history of doing that.So that's gonna help you filter it even further. And by doing that, you're gonna really start to develop your film festival strategy. Now I do have some exciting news. There is something coming now, it's called Hike, H-I-I-K-E. It's hike with two I. And what Hy is doing, it's a submission platform similar to film Freeway, but among many of the tools that they're giving filmmakers, they're giving filmmakers customized festival strategies and they're scraping all of that data from film festivals, what they've programmed in the past.And when you as a filmmaker, join Hike, you take a little quiz, you tell them what your goals are, what your film is, you know how long it is, what the genre is, tell them about yourself. And they literally have. Data scientist who's built this like machine learning algorithm that pairs the data from the film festival to what the filmmaker provides.That literally gives you a compatibility score. So it's, it comes out and tells you, if you want to network with, professional filmmakers but not mega producers and you have a short comedy coming of age film Wyoming International Film Festival has that crowd screens those types of films and you would have a 90% compatibility.So it actually helps you develop your festival strategy for you.BEN: It's so needed. And Rudi has a great video on how to spot scam film festivals. Yes. That's something that is just prevalent these days. So for filmmakers who are getting ready to submit, I encourage you to watch that video. I'll link to it in the show.I'll link to everything that we're discussing in the show notes. The. So Rudi talked about one goal a filmmaker can have is to network other goals at various points in my, film festival my limited film festival career I've applied to festivals ‘cause I wanted to go to that city, new Orleans Fest, new Orleans Film Festival.TravelingRUDI: is totally legitimate reason to go.BEN: People apply because they want distribute, they wanna meet distributors or financiers for the next film. Although, that's what everybody wants. SoRUDI: you, you would be surprised. So in, in 2018, I had a feature film and my, my goal like most feature films was to land a distribution deal.But I was like, that's not specific enough. There are many steps to land a distribution deal. So what I need is I need good press on my film. So that was a goal. So I wanted to target festivals that had press. I wanted laurels. I wanted to win some awards with it, but I also knew my film was. Small and kind of small scale.So it wasn't gonna win laurels at big festivals. So I was like, okay, I need festivals with press. I need festivals that are legitimate and above board, but also small enough where I'm gonna be competitive. And then I wanted to actually meet distributors. And I know they only go to big festivals, so I actually had to target three different kinds of festivals.‘cause I had three, let's call ‘em conflicting goals with my own film. So that's what I did. I did a split strategy. I targeted festivals where I was gonna be this tiny little fish in a very big pond. And no one's really gonna notice me, but I'm just happy to be there. I targeted festivals where I know that I was going to get very good press and very good reviews on the film.And I targeted festivals that were small, still legitimate, but I was gonna be competitive and maybe bring home some trophies. And so that was my strategy and it worked, and I landed a distribution deal.BEN: That's so great. I, I'd love to do a part two at some point we can talk distribution deals and all of the, yeah.Things like that. But I think for people listening, the big takeaway is even with this multi-pronged goal, three different goals connected to each other. Once you identify what your goals are, then you work backwards and you create your strategy to Yes, to achieve those. Okay. Back to the two in the weeds.Two more in the weeds questions. Yeah. So description, and as I'm looking at other film descriptions, and I saw this at USC all the time as well, and we talked about earlier, filmmakers wanting to sit in emotion or sit in something traumatic and have the audience experience that I notice a lot of times in descriptions of short films.Can so and so come to terms with this? Can, and just as someone who has a little bit of experience marketing stories, where's the action? What's the active what's this person actively trying to accomplish, rather than can they just come to terms with something? Can you talk a little bit about film description, just three or four lines.What pops?RUDI: So just like your poster, just like your marketing and everything, a film description is your way to reach through the screen, grab the audience, grab the programmer, and pull them into your movie. Keep in mind, your whole entire goal is to get people to watch your film, get them excited about your film.And so if you just have a very drab, like description that's just yeah, has to face consequences for a decision they made or come to terms with something when I, that's a good V one, that's a good place to start, but that's not going to get an audience excited about your film.I saw film, I don't know if it was at my festival. It wasn't at my festival. We didn't screen it, but I'm saying, I don't know if it was submitted to my festival or if I saw it at another festival, but I remember one of the descriptions it was great. It was whatever the two character names were, John and Jane, I forget what the characters are, but like John and Jane are on a date, there's a bomb in the other room.I I hope the date goes well, or something like that. Let's hope the date goes well. And I'm like, what is this movie? That gets you really excited for it. You're. It, it creates so much mystery. And also just the cavalier way that it was written immediately tells me this is gonna be a comedy, or it's not taking itself too seriously.It's not some like gritty, dive into the underworld or whatever. Like just how blunt it was about the dis of the film and just that like small little description. I know I'm paraphrasing what it was, but it stuck with me for years at this point. ‘cause I'm like, that is how you write a description for a film.That is how you get someone excited to see what is this movie about? Let's jump in. Piggybacking off a description. Titles are another great way to do that. In, in my own repertoire of films I've had film called Prudence. Okay, fine, whatever. Prudence doesn't really tell you much about that film.I had a film that I'm very proud of. It's artsy, it's a little bit magical realism and it's called in this gray place, and it has that artsy mystique around it in this gray place. And I love that title. I did it, I did a film back in film school. It's terrible, but the title's great.It's called Back to Fort Russell. It was a Western and I, to this day, it's one of my favorite titles that I've ever had. But it tells you something. It clues you into what this film is going to be, what the journey of this movie is going to be. And some films do that better than others. And some films, yeah, it's not necessary.But I, I get more excited when I hear something like the Texas Chainsaw Massacre than I do something that's just like love. Or mom or something.BEN: I think this is the last question. So again, with all these little details, cover letter, talk to me about cover letters.RUDI: It's so interesting you asked me that question ‘cause hearing about four or five days, I'm posting a video on the YouTube channel about cover letters. It's short, it's only four or five minutes long, but cover letters are so important.Should absolutely write a cover letter. And a couple of days ago I was talking with programmers at dances with films, and if you don't know dances with films, look ‘em up. They are an incredible film festival. They are in the big leagues for sure. And I was talking with a couple of programmers and I asked them about covert letters and they said, it's so important it.How the filmmaker is going to put an audience in the theater is very important for their festival. How they're going to get people to attend is very important for them and they're like, a good indication in a cover letter is when they, the filmmaker indicates how they're going to market their film and they use the example of football.Let's say it's a movie about football. They're like, if it's a movie about football and you tell me in the cover letter that you're part of several like football organizations, or you're gonna be reaching out to sports organizations or youth organizations for sports or something like that, to attend the film.That's a very good indication for them in the cover letter. For me, I think a cover letter is very important in that it shows. You're going the extra mile to show the festival you care. You're not just submit and quit. We're not just one festival on a list of 50 that you're submitting to. There is a reason you want to screen with us, and that's a specific reason.Either you feel that your film is good fit for our audience, or there's something that you want to connect with. In Wyoming, I had one cover letter and we did accept this film and it was really funny. They put in their cover letter like their film was a comedy, so their cover letter was also very comedic, but they're like, honestly, we're just gonna go up to Yellowstone around that time and we would love to swing by and show the movie.And I laughed. I laughed so hard at that and I'm like. But that shows me they care. Like they want to be there. And the film was good and it was funny and we screamed it and they were there. So it's a way to show a film festival enthusiasm and it's way to inform the festival about yourself, about your film, and how that's gonna gel with their particular event and their audience.BEN: I love it. And that reminds me, I got one more, I got a bonus question. Yeah. Can you talk about applying early?RUDI: Yes. Statistically, when I look at our own data, statistically, it does seem to be that the earlier you apply, the better chance that you have. And so I don't want to give the impression that if you applied late.You have no chance. I think in the video where I literally broke down the data and the statistics, I think at our festival we had a one in five chance of getting in on the late deadline, which is about a 20% acceptance rate. But it was much higher the earlier it came in. So just with the raw data taking out my opinions, my emotions on it, whatever, just the data itself shows earlier is better.Now, here's where my opinions and my feelings towards it come from. I think it's a couple of things. One, when you get in early, you set the pace for the rest of the festival, you're telling us, okay, it's a drama. We're gonna compare your film against others. Like you have now become the benchmark that we're gonna compare other films to when it comes to like dramas or whatever.What it also does. It's something I'm going to discuss in my video and cover letters, but it also engages something, what's called mere exposure effect in psychology, which is essentially the more that you are exposed to something, the more preference you have towards it. Which means if you get in early, you are exposing yourself, your film, and your story to the programmers more often and more readily than late submissions are.So it's more likely that the programmers form some attachment to your film, and that's just human nature, that's just psychology. There's some practical reasons for it as well. Obviously, earlier submissions, earlier deadlines are cheaper, so it's better to get in. It's just gonna cost you less money to do and then lastly, there are many festivals that are developing their program as they go. So as films are coming in, they're shaping. We got a ton of dramas. Maybe we need two drama blocks, or, we, we don't have enough sci-fi for a sci-fi blocks, we gotta spread it out or whatever. So if you come in late, you're now trying to elbow some other film out of the way in order to find your screening slot.Which don't get me wrong, there are plenty of programmers that are absolutely gonna go to bat for you. They're gonna fight hard to get you in. Doesn't matter if you come in early or late or whatever, but the chances are just better. And the data shows that if you get in early. All that said, a couple of years ago, the very last film that came in with only two hours left in our deadline, we ended up programming it.So it, it is possible.BEN: Rudi, I cannot thank you enough. I can't tell you how helpful this has been. There's so much great information for filmmakers. Filmmakers submitted to festivals, people just interested in going to festivals. So thank you so much for taking the time.RUDI: Hey it's always a pleasure.I always love talking film festivals and for any filmmakers out there, head on over to YouTube hit up the Film Festival Guide. That's my YouTube page. I'm coming out with videos every two or three weeks. That's about what I put ‘em out there for. So if you need any guidance or any, I don't know, insight for film festivals that's where I am.BEN: Film Festival Guide. I'm a subscriber. I can't recommend it enough. Any other social media where people can find you?RUDI: Oh no, I'm terrible on social media. YouTube's enough for me right now.BEN: So Film Fest.RUDI: I will probably expand in the future and I'll probably make some announcement on the YouTube channel.Got it. But for right now, I'm just trying to get good information out there to as many filmmakers as possible.BEN: Thank you so much for doing that. It's such a huge benefit for film.RUDI: Thank you very much for the support and thank you very much for having me on. I enjoyed this. This was a lot of fun.BEN: Me too. This was great. Thank you. And that was my interview with Rudy Womack, director of the Wyoming International Film Festival and creator of the great YouTube page, the Film Festival Guide. Hope you enjoyed this episode. If you did, please forward it to one person. Thank you and have a great day. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit benbo.substack.com

On the latest Whisper in the Wings from Stage Whisper, we welcomed on the composer Jamie Allen, to talk about his new show Alexsei's Quest. This timely and fascinating new show was so wild and wonderful to learn all about. So make sure that you hit play, and follow the show to stay up to date on the upcoming mounting of it!And be sure to follow Jamie to stay up to date on all his upcoming projects and productions: alexseisquestthemusical.comjamieallencomposer.us

Episode 3 of The Voucher Series welcomes Monica Cook, Chief Operating Officer of NET Energy. As a recipient of Illinois Innovation Voucher funding, Monica Cook shares how NET Energy's customizable heating and cooling systems are driving greater sustainability across industries. Discover more of the Illinois Innovation Voucher Program and how it supports innovators like NET Energy: https://ilinnovoucher.istcoalition.org/

Got feedback about this episode? Send Carolyn a textIn this episode, Carolyn sits down with Kristian Warwick — host of The Marathon Podcast, filmmaker, and 2:47 marathoner living in Oslo. Kristian shares how a lifetime in competitive speed skating shaped his rapid rise in the marathon, why he's dreaming boldly about running 2:25, and what it's like being coached by Jon Green. He also opens up about his unique approach to supporting emerging professional runners through direct athlete sponsorship, backed by his creative work at Wiild Studios. Kristian's zest for life, belief in giving back, and passion for storytelling make this a truly inspiring conversation you won't want to miss.Connect with Kristian:Podcast: The Marathon PodcastInstagram: @the.marathon.podcast & @warwick.runsYouTube: https://www.youtube.com/@WarwickrunsConnect with Inspired Soles & Carolyn:Instagram: @inspiredsolescast or @carolyn.c.coffinBrowse 260+ episodes in the archivesSubscribe, rate & review to support the showYou can help spread the running love! The best way to SUPPORT Inspired Soles is to share your favourite episode(s) with friends, subscribe, or leave a rating and review on Apple Podcasts. Connect on Instagram @inspiredsolescast or email guest ideas to inspiredsolescast@gmail.com.

La semana que prometía anuncios de Valve no defraudó. Por ahora no tenemos Half-Life 3 pero la empresa de Gabe Newell se despachó con tres anuncios de hardware más que interesantes: la Steam Machine, el Steam Frame y el Steam Controller. Qué significan estos anuncios para la industria? Además, Ubisoft está teniendo unos días raros y la especulación sobre su venta se incrementa minuto a minuto.

Full episodes and much more available at patreon.com/slopquest Comedian Ryan O’Neill and Illustrator Andrew DeWitt bring you the dumbest takes on news, movies and ridiculous business ideas every week on Slop Quest! This week Ryan prepares for leaving the country and the yellow fever treatment puts him on his ass. Andy’s daughter leaves a hilarious secret note in Ryan’s bathroom that makes Andy so proud but enrages O’Neill. Ryan opens up about the amount of people he knows who got abducted by aliens in Indiana. Then the boys debate whether or not they could bang an alien. Andy finds a chick whose whole face looks fake in a super scary way. On the Patreon side, O’Neill opens up about some dark and hilarious family ass whoopings.

The idea that the universe is made of tiny vibrating strings was once the science theory du jour. String theory promised to unite the disparate theories describing particles and gravity, and many people, not just scientists, were optimistic that a theory of everything might be within our grasp. But here we are, many years later, and string theory doesn't seem to have delivered on its initial promise. What happened? We consider the science around string theory in this episode of Skeptic Check. Guest: Brian Greene – Physicist and mathematician at Columbia University, and author of The Elegant Universe: Superstrings, Hidden Dimensions, and the Quest for the Ultimate Theory. Descripción en español Featuring music by Dewey Dellay and Jun Miyake Originally aired October 14, 2024 Big Picture Science is part of the Airwave Media podcast network. Please contact advertising@airwavemedia.com to inquire about advertising on Big Picture Science. You can get early access to ad-free versions of every episode by joining us on Patreon. Thanks for your support! Learn more about your ad choices. Visit megaphone.fm/adchoices

Today's story: Snake bites kill over 100,000 people each year, but antivenom (the treatment for poisonous snake bites) has hardly changed in a century. Today, doctors have to know the type of snake that bit a patient, and the hospital has to have the right antivenom handy. But now, scientists are developing universal treatments that work against many types of venom. If successful, it could save lives and prevent amputations.Transcript & Exercises: https://plainenglish.com/818Full lesson: https://plainenglish.com/818 --Upgrade all your skills in English: Plain English is the best current-events podcast for learning English.You might be learning English to improve your career, enjoy music and movies, connect with family abroad, or even prepare for an international move. Whatever your reason, we'll help you achieve your goals in English.How it works: Listen to a new story every Monday and Thursday. They're all about current events, trending topics, and what's going on in the world. Get exposure to new words and ideas that you otherwise might not have heard in English.The audio moves at a speed that's right for intermediate English learners: just a little slower than full native speed. You'll improve your English listening, learn new words, and have fun thinking in English.--Did you like this episode? You'll love the full Plain English experience. Join today and unlock the fast (native-speed) version of this episode, translations in the transcripts, how-to video lessons, live conversation calls, and more. Tap/click: PlainEnglish.com/joinHere's where else you can find us: Instagram | YouTube | WhatsApp | Email

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Greg and Aaron ditch the rest of the Super Ghost gang to chat about Soulja Boy's recent nonsense, corporate mascots in video games, the return of Tito, Ys Origin, and Ninja Gaiden 4. After that, they talk about the coolest ninjas and samurai in video games. SPOILER ALERT: we forgot about Sekiro. PLEASE DON'T EGG US. 

How do we date in a world where privacy is fragile and connection feels digital? In this conversation, Jessica and Kelly explore the complexities of dating in the modern age, touching on the rise of Facebook Dating, the challenges of identity and privacy in the digital world, and the evolving nature of relationships. They discuss the importance of compatibility and companionship in marriage, reflecting on personal experiences and societal expectations surrounding dating and relationships. Inside This Conversation:  Dating is a challenging topic for many, especially for those re-entering the dating scene. Facebook Dating has gained popularity due to its integration with existing social networks. Privacy and data sharing are significant concerns in the digital age, especially with dating apps. The evolution of dating has shifted from traditional matchmaking to algorithm-based connections. Companionship and shared values are crucial for long-term relationships. The perception of dating has changed with the rise of technology and social media. Scams related to identity theft are becoming increasingly sophisticated. Support from tech companies, like Facebook, is often lacking when issues arise. Understanding compatibility is essential in finding a life partner. Marriage can evolve over time, with companionship becoming a key component. Chapters 00:00 The Quest for a Dating Expert 03:36 The Rise of Facebook Dating 06:21 Navigating Identity and Privacy in the Digital Age 09:17 The Evolution of Dating and Relationships 12:02 Compatibility vs. Attraction in Long-Term Relationships 14:48 The Importance of Companionship in Marriage 17:56 NEWCHAPTER   Connect With Us:

Well hey there, friends! Shark Quest was fantastic. Well, I thought it was until Richard started dunking on it and now I'm not sure. Anyway, have you ever...wait, what's this? Another email message? I gotta go.But first you should know that in this episode we gene slammed our good pal Conan (@Conan_Lybarian). Sometimes the randomization gods are kind. Sometimes they do what they did to Conan.Enjoy!

What is the legend behind the sacred staircase at the Loretto Chapel? How did Georgia O'Keeffe portray New Mexico in her artwork? Who was Kit Carson? Collin Sugg returns to discuss his long-awaited trip to New Mexico, where he explored art museums, churches, and savored local cuisine.

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RIP to the penny, more Epstein files drop and nothing will happen, it's emotional edging. And Elon's nanny robot might put you under house arrest.0:00 - RIP3:00 - Quest4:17 - Epstein Didn't Kill Himself14:47 - Sheath16:25 - Weather16:59 - Siri, Please Take My Life23:06 - Phetasy News25:14 - The Internet Is GloriousGet your Overburdened With Mitochondrial Challenges t-shirts HERE - https://bit.ly/bridgetphetasy-merch Designs are available on the front and the back! End Music - Sweetfire performed by Lightmaker Walk-Ins Welcome YouTube Channel https://www.youtube.com/@morebridgetphetasy ---------------------------------------------------------------------- Thanks to our sponsors Quest & Sheath - Prioritize your health and find answers to the multitude of health questions you may have at https://www.questhealth.com and use promo code DUMPSTER25 get 25% off. - Check out Sheath's ingenious dual pouch system and order yours at https://bit.ly/df-sheath and save 20% with the code DUMPSTER ---------------------------------------------------------------------- We just want to make you laugh while the world burns. We produce media content, essays, and merchandise such as t-shirts and greeting cards that make burgers out of your sacred cows and tell you not to take yourself so damn seriously. Buy PHETASY MERCH here: https://www.bridgetphetasy.com/ For more content, including the unedited version of Dumpster Fire, BTS content, writing, photos, livestreams and a kick-ass community, subscribe at https://phetasy.com/ Twitter - https://twitter.com/BridgetPhetasy Instagram - https://www.instagram.com/bridgetphetasy/ Podcast - Walk-Ins Welcome with Bridget Phetasy https://itunes.apple.com/us/podcast/walk-ins-welcome/id1437447846 https://open.spotify.com/show/7jbRU0qOjbxZJf9d49AHEh https://play.google.com/music/listen?u=0#/ps/I3gqggwe23u6mnsdgqynu447wva 

Our memories make us who we are—just ask Barbra Streisand. But despite the lyrics in many popular songs, memories aren't frozen in time. When we call them up, the details shift and change. And neuroscience research shows that we might be able to take that a step further—to manipulate our memories and even implant false ones.Neuroscientist Steve Ramirez joins Host Ira Flatow to explain how memory manipulation could revolutionize the way we treat brain disorders. They also discuss Ramirez's book, How to Change a Memory: One Neuroscientist's Quest to Alter the Past, and how the sudden death of his friend and scientific collaborator made him rethink the role of memory.Guest: Dr. Steve Ramirez is an associate professor of psychology and brain sciences at Boston University and the author of How to Change a Memory.Transcripts for each episode are available within 1-3 days at sciencefriday.com. Subscribe to this podcast. Plus, to stay updated on all things science, sign up for Science Friday's newsletters.

Once widely banned, raw milk consumption is on the rise and states are repealing their bans. No one's happier about that than the far right. How did we get here?NOTE: In the retelling of Pasteur's early pasteurization, Aubrey misspoke! The culprit wasn't lactic yeast, it was lactic acid bacteria. Sorry for the slip up!Support us:Hear bonus episodes on PatreonWatch Aubrey's documentaryBuy Aubrey's bookListen to Mike's other podcastGet Maintenance Phase T-shirts, stickers and moreLinks!Milk!: A 10,000 Year Food FracasU.S. Consumer surveyThe Effects of Pasteurization on VitaminsLingering Heat over Pasteurized MilkHow pasteurization improves safetySwill-Milk and Infant MortalityAlta Dena (Court case 1, Court case 2, Alta Dena's raw milk history)A Raw Milk Magnate Has Spent Years Fighting Public Health AgenciesShould This Milk Be Legal?The Amish farmer who ignited outrage over raw milkWhy Are People Promoting Raw Milk? The Quest for Raw MilkSome Raw Truths About Raw MilkRight Wing Commentators Are Pushing MisinformationHow Raw Milk Went From Hippie to MAGA Here's why raw milk drinkers need to be concerned about bird fluInfluencers promote raw milk Thanks to Doctor Dreamchip for our lovely theme song!Support the show