Podcasts about researching

Host Jesse Jackson welcomes writer and musician David Starkey to Set Listing Bruce to discuss Starkey's book On Track: Bruce Springsteen 1973–1987, Every Album, Every Song and his lifelong relationship to Springsteen's recorded work. Starkey shares how growing up between Sacramento and summers in Beaumont shaped his musical tastes, from Johnny Cash and Aerosmith to discovering Springsteen via Greetings and being captivated by Born to Run and Darkness on the Edge of Town. They talk about the current tour, its political tone, Tom Morello's guitar work, ticket prices, and setlist debates. Starkey explains his writing process, what he learned by re-listening (especially the importance of piano), and why 1987 marks an era's end. The conversation also touches on poetry vs. lyrics, Starkey's interview series The Creative Community, upcoming projects, and the “Mary question” from Thunder Road. https://www.simonandschuster.com/books/Bruce-Springsteen-1973-1987/David-Starkey/On-Track/9781789524710 00:00 Podcast Welcome 00:39 Meeting David 02:03 Early Music Obsessions 03:44 Family Sounds and Travel 06:59 Johnny Cash Tangent 09:04 Finding Springsteen 10:03 Live Shows and Politics 13:54 Ticket Prices Debate 14:28 Writing and Poetry 18:08 Why This Bruce Book 20:05 Born in the USA Memories 22:14 Researching the Albums 23:53 Why Stop at 1987 25:43 Concert Banter Debate 26:59 River Tour Pacing 27:55 Writing More Personally 29:33 Hot Takes On Songs 30:51 Family Discovers Nebraska 32:06 Biopic Who Is It For 34:35 Bruce Creative Evolution 36:46 Never Repeating Himself 39:41 His Interview Show Origins 41:09 Next Books And Memoir 44:12 Where To Find The Book 45:54 Final Thanks And Signoff 46:24 Podcast Housekeeping Learn more about your ad choices. Visit megaphone.fm/adchoices

Are we researching the right things when it comes to back pain, neck pain, and osteoarthritis? With musculoskeletal conditions leading to significant global disability and healthcare utilization, it's more important than ever to evaluate whether current research priorities truly address the needs of patients, clinicians, and policymakers—or if we're missing key factors that could help reduce the worldwide burden of these conditions.Research:Global research priorities for back pain, neck pain and osteoarthritis: a scoping reviewSpecial Offers for Listeners:TURN YOUR CHIROPRACTIC PRACTICE INTO A 7-FIGURE REVENUE MACHINE: The 'Hybrid Practice Model' That Helps Chiropractors & PTs Generate $40K-$200K Per Month While Taking FEWER AppointmentsSave $500 and Get a Free Cart- Learn more at Shockwave Center of America Today!Leander Tables- Save $750 on the Series 950 Table using the code EBC2026 — their most advanced flexion-distraction tableNovoPulse OA Recovery Program- learn more hereCare Plan Pro: Care Plans, Memberships, and Concierge Plans That Sell Themselves.Our members use research to GROW their practice. Are you interested in increasing your referrals? Discover the best chiropractic marketing you aren't currently using right here!

Dr. Julia Bailey-Serres is Director of the Center for Plant Cell Biology and Distinguished Professor of Genetics at the University of California, Riverside. She also holds the University of California John D. and Catherine T. MacArthur Foundation Chair and is Professor of Rice Physiology at Utrecht University in the Netherlands. A major focus of Julia's lab is to investigate how plants survive water extremes with the goal of improving the ability of crops to survive a temporary flood. When she's not working, Julia enjoys gardening, hiking, traveling, and spending time with her friends and family. She also has fun baking and cooking with fresh vegetables from her garden. She was awarded her B.S. in biology from the University of Utah and her Ph.D. in botany from the University of Edinburgh. Afterwards, Julia conducted postdoctoral research at the University of California, Berkeley before joining the faculty at UCR. She has received many awards and honors over the course of her career, including being named an elected Member of the U.S. National Academy of Sciences, a Fellow of the American Association for the Advancement of Science, and a Fellow of the American Society of Plant Biologists. In addition, she has been recognized with the Stephen Hales Prize from the American Society of Plant Biologists. In our interview, Julia shares more about her life and research.

Chris Hill is the host of Money Unplugged and a veteran of the podcasting world, having started at The Motley Fool in 2009 and gone on to host and executive produce more than 3,500 episodes. He has interviewed some of the biggest names in business and media, including Michael Lewis, Mark Cuban, and Malcolm Gladwell, and he also narrates Morgan Housel's bestselling books The Psychology of Money and The Art of Spending Money. In this conversation, Chris shares what more than a decade in podcasting has taught him about building an audience, controlling costs, preparing for great interviews, and using a podcast as one of the most powerful networking tools available. On this episode we talk about: How Chris helped launch one of the earliest major investing podcasts during the 2009 financial crisis Why keeping podcast production costs low is critical to building a profitable show The evolution of podcasting from an early, computer-based medium to YouTube and multi-platform distribution How a podcast can become a powerful networking and relationship-building tool Why thorough interview preparation can transform a conversation and help guests get off autopilot The connection between money and personal experiences, emotions, relationships, and psychology Top 3 Takeaways Keep your podcast costs proportional to your goals. Chris emphasizes setting a specific financial allocation for a side hustle or podcast and avoiding the temptation to continually invest more money when things aren't working. Use your podcast to build relationships, not just an audience. Inviting someone onto a podcast gives you a legitimate reason to connect with people you admire, expand your network, and create conversations that might never happen over a traditional coffee chat. Preparation creates better conversations. The goal isn't simply to book impressive guests—it's to make the conversation memorable. Researching a guest deeply allows you to ask questions they haven't heard before and move beyond their standard talking points. Notable Quotes "The less expensive your podcast is to produce, the more profitable it's gonna be." "Personal finance is more personal than finance." "They will be delighted if you're not asking the same four questions or telling the same three stories that they tell on all the other interviews." Connect with Chris Hill: Website: https://www.moneyunpluggedpodcast.com/ Other: Money Unplugged — available wherever you listen to podcasts, with new episodes every Friday A Word from Our Sponsors: - Go to Leesa.com for 25% OFF select mattresses (through August 23, 2026) PLUS get an extra $50 off with promo code TMM, exclusive for my listeners  Learn more about your ad choices. Visit megaphone.fm/adchoices

Send us Fan MailYou are not thinking nearly as much as you think you are. In this episode, we unpack how inaccurate thinking quietly sabotages love, success, and money, and why so many of our "decisions" are really impulses absorbed from the people around us. Emilia and Bianca get into metacognition, cognitive appraisal, and the uncomfortable reality that most of us are running on autopilot while telling ourselves a story about how deliberate we are.Bianca shares a client story that shows how an unexamined childhood pattern was still dictating his sleep two decades later, and Emilia walks through her denial framework, FREE for the four types of denial and HEAL for the antidote, because whatever you are denying you actively cannot improve. The conversation lands on humility as the greatest antidote to ignorance, and on the willingness to say "I don't know" as the entry point to better thinking.Here's a related episode that builds on today's conversation: #480 | Everything You Need For Real Self Belief, Part Two - https://podcasts.apple.com/ca/podcast/evolve-ventures/id1511831621?i=1000750453998Learn more about:

Host Jesse Jackson welcomes writer and musician David Starkey to Set Listing Bruce to discuss Starkey's book On Track: Bruce Springsteen 1973–1987, Every Album, Every Song and his lifelong relationship to Springsteen's recorded work. Starkey shares how growing up between Sacramento and summers in Beaumont shaped his musical tastes, from Johnny Cash and Aerosmith to discovering Springsteen via Greetings and being captivated by Born to Run and Darkness on the Edge of Town. They talk about the current tour, its political tone, Tom Morello's guitar work, ticket prices, and setlist debates. Starkey explains his writing process, what he learned by re-listening (especially the importance of piano), and why 1987 marks an era's end. The conversation also touches on poetry vs. lyrics, Starkey's interview series The Creative Community, upcoming projects, and the “Mary question” from Thunder Road. https://www.simonandschuster.com/books/Bruce-Springsteen-1973-1987/David-Starkey/On-Track/9781789524710 00:00 Podcast Welcome 00:39 Meeting David 02:03 Early Music Obsessions 03:44 Family Sounds and Travel 06:59 Johnny Cash Tangent 09:04 Finding Springsteen 10:03 Live Shows and Politics 13:54 Ticket Prices Debate 14:28 Writing and Poetry 18:08 Why This Bruce Book 20:05 Born in the USA Memories 22:14 Researching the Albums 23:53 Why Stop at 1987 25:43 Concert Banter Debate 26:59 River Tour Pacing 27:55 Writing More Personally 29:33 Hot Takes On Songs 30:51 Family Discovers Nebraska 32:06 Biopic Who Is It For 34:35 Bruce Creative Evolution 36:46 Never Repeating Himself 39:41 His Interview Show Origins 41:09 Next Books And Memoir 44:12 Where To Find The Book 45:54 Final Thanks And Signoff 46:24 Podcast Housekeeping Learn more about your ad choices. Visit megaphone.fm/adchoices

Geoff White has spent over a decade at the intersection of technology and organized crime. As Channel 4 News' technology correspondent, he reported on the Snowden leaks, exposed the Talk Talk hack, and dug into fraud across the online dating industry. He's the co-creator of the BBC's Lazarus Heist, a chart-topping podcast on North Korea's hacking operations, and the author of three books — Crime Dot Com, Rinsed, and, for Audible, The Dark Web and AI: Friend or Foe, the latter released back in 2019, well before AI became a household conversation.In this episode, Geoff joins Yitzy to talk about his path from local newspapers to investigative journalism, the difference between writing a book and building a podcast, and how crypto has genuinely changed the mechanics of money laundering — not made it impossible to trace, but made it faster to move. He also breaks down how his team pieced together 350,000 leaked internal messages from the Conti ransomware gang, translation quirks and all, and gives his take on recent AI-driven hacks, including the Hugging Face/OpenAI incident and the Cold Card wallet exploit — plus why he's skeptical of confident claims about how much AI is actually being used in phishing today.This episode is brought to you by FirstRead — the AI-powered contract and document tool built for lawyers. Use code BYNDTHECODE10 for 10% off, or sign up here: https://first-read.com/signup?ref=BEYOND2026In this episode, we cover:00:00 – Intro: who is Geoff White04:14 – From balloon modeler to investigative journalist09:25 – Going freelance and the leap into book writing11:05 – How book deals and advances actually work13:39 – Researching and writing Crime.com15:05 – Meeting Brett Johnson, the "OG of hacking"17:36 – Books vs. podcasts: what changes in the storytelling24:00 – What the reader knows and when: crafting a true-crime narrative26:18 – Rinsed: has crypto made money laundering easier, or just different?35:37 – Inside The Conti Files: leaked chats, translation chaos, and "the grandmas"42:30 – Personal safety and the risks of covering hackers directly44:22 – Revisiting AI: Friend or Foe, written in 201948:05 – The Hugging Face/OpenAI hack, the Cold Card exploit, and self-custody risk50:45 – Why Geoff won't say "AI phishing is worse" without the dataConnect with Geoff :https://geoffwhite.tech/ (podcast and audiobook links, book purchases and contact details)

In this episode of Macro, Micro and Small Cap News, we take a deep dive into UK market liquidity and outline a macro plan to fix wealth inequality while jump-starting domestic enterprise. Inspired by U.S. capital participation and newborn account models, we present a 10-point proposal to transform the Junior ISA (JISA) into a public-private wealth engine. Plus, an extended summer discount and three UK stocks worth adding to your watchlist.Key Topics Covered: Summer Discount Extension: Explaining the difference between meteorological and astronomical summer, plus an extension on the POD40 discount code (40% off Sharepickers Investment Club through August 31st). A Macro Story — Rebooting the UK Market: US vs. UK Market Culture: Why 60% of Americans invest in stocks versus only 35% in the UK, and how U.S. capital powerhouse status creates a virtuous liquidity cycle. The Upgraded JISA Proposal: Seeding every UK newborn with £1,000, allowing tax-deductible matching for donors/corporations, and requiring a mandatory 50% allocation to low-cost UK equity index funds. The Growth Math: How £1,000 at 7.5% annual return grows to £3,676 by age 18, or £14,800+ with modest £25/month family top-ups. 10 Economic Benefits: Igniting practical childhood financial literacy, re-energising domestic listed companies, banishing active fund fees, and creating a share-owning democracy. Parliamentary Petition: Feedback call on bringing this proposal to Parliament. 3 Stocks Worth Researching:The Property Franchise Group (#TPFG) S4 Capital (#SFOR) WINVIA (#WVIA) Rght now you can get 40% off the Sharepickers Investment club with our SPECIAL SUMMER 40% OFF CODE.This code expires on 31st August 2026To take advantage visit Sharepickers dot com, scroll down and use this code where you see the label, “Have a Coupon”Type inPOD40That's capital P capital O capital D and the number FOUR ZERO without any spacesYou will get 40% off £249, which means you get membership for £149 and this code is valid for as 

AI for Etsy sellers just got WAY more useful. Watch on youtube: https://youtu.be/j4dreHpRV04 Most Etsy sellers are still using AI like a better version of Google: ask a question, get an answer, move on. But AI can now do a lot more than that. In this video, I break down how I would actually use AI if I were running an Etsy shop today, including how tools like Claude can help you analyze your shop, research competitors, improve SEO, respond to customers, identify underperforming listings, and take repetitive work off your plate. We'll also talk about where AI is genuinely helpful, where I absolutely would NOT trust it, and why I think Etsy sellers should treat AI more like a collaborator than an employee running the shop by itself. Some of the ideas we cover: • Using AI to learn your products, customers, positioning, and marketing strategy • Letting AI analyze Etsy traffic and listing performance • Comparing your strongest and weakest listing headlines • Researching higher-ranking Etsy competitors • Improving titles, tags, and SEO • Handling repetitive customer-service research • Using Claude inside your browser to actually perform tasks • Creating better prompts by having AI build the workflow for you • Saving time while you're fulfilling orders instead of sitting at your computer doing research The goal isn't to have AI completely run your Etsy shop. The goal is to figure out which parts of your business require your creativity and judgment — and which parts you can hand off so you can move faster. If you're an established Etsy seller trying to scale your shop, this is one of those tools I'd start experimenting with now.

How do you break down a brand-new body of water when you've never even launched a boat on it? In this episode of Tackle & Tacos, we walk through our complete game plan for preparing for a bass tournament on unfamiliar water—without ever making a practice trip. From studying contour maps and satellite imagery to using fishing reports, seasonal patterns, and a little help from local anglers, we break down the exact process we use to eliminate water before tournament day. If you've ever wondered how to show up confident on a lake you've never fished, this episode is packed with practical tips you can use immediately. Whether you're fishing local jackpots or chasing bigger tournament trails, preparation can be the difference between cashing a check and wondering what went wrong.

I show how I use the ChatGPT Etsy plugin for Etsy trend research, niche validation, SEO, product ideas, and Pinterest content. Learn how to research Etsy bestsellers, find laser-engraved dog product opportunities, review listing URLs, and build a Pinterest posting workflow for your Etsy shop.  

The conversation delves into the exploration of Italian roots and family stories, the process of translating and publishing a book in Italian, the experience of writing historical fiction and researching family history, the role of women in World War II and Italian history, living and renovating in Italy, advice on relocating and renovating, finding authentic Italian restaurants, and book availability and contact information.TakeawaysExploring Italian roots enriches life and connects individuals to their heritage.Translating and publishing a book in Italian involves careful selection of translators and beta readers.Researching family history and writing historical fiction involves weaving together truth and fiction to create compelling narratives.Chapters00:00 Exploring Italian Roots and Family Stories03:08 Translating and Publishing the Book in Italian09:09 Writing Historical Fiction and Researching Family History13:37 The Role of Women in World War II and Italian History17:25 Living and Renovating in Italy23:59 Advice on Relocating and Renovating29:24 Finding Authentic Italian Restaurants31:52 Book Availability and Contact Information

Guardian-US Senior Sports Editor Alex Abnos bats leadoff on SDH AM on a couple of topicsAlex was in the press conference introducing new MLS Commissioner Larry Berg to the assembled press earlier this week- we get his thoughts on the appointmentPlus, with the Austin FC story he and Pablo Maurer posted to the publication involving youth-on-youth sexual abuse and the ongoing investigation, SDH gets a backgrounder on the journalism involved in making sure the story is presented in a 100-percent factual manner

If you've ever wondered whether it's okay to feel relief alongside grief, episode 448 of Grief and Happiness is for you. Debut novelist Anna Nordberg shares how losing her mother as a teenager inspired her novel When She Was Ours. Drawing on twenty years as a journalist, she opens up about becoming a mother herself, rediscovering her own mother as a person, and why Americans still lack the language to talk about loss.In This Episode, You Will Learn:(00:55) Anna Nordberg's shift from journalism to her debut novel, When She Was Ours(02:35) Why grief is now a universal theme in books, film, and TV(03:49) Losing her mother at 17, and learning to hold relief and guilt(06:37) Creating a believably human mother inspired by her own mom(09:49) Setting the scene: a wedding, a diagnosis, a family under pressure(13:24) Why siblings are fiction's most underexplored bond(18:17) Researching medical detail firsthand, bringing journalistic rigor to fiction(24:13) A fictional scene that shifted her bond with her mother's memory(27:24) The "Bay's daughter" moment, carrying her mother through her son's medical scare(32:44) Why writing is a healing, cathartic act, private or sharedAnna Nordberg is a journalist and culture writer whose essays have appeared in Slate, The Washington Post, The New York Times, and the San Francisco Chronicle. She grew up in New York City and now lives in San Francisco with her husband and two children. After two decades in journalism, she pivoted to fiction in her forties, drawing on her mother's death as a teenager to write her debut novel, When She Was Ours, out August 1 and available for pre-order now.On the episode, Anna spoke candidly about how losing her mother to illness at 17 left her without language for contradictory feelings — sadness alongside relief, love alongside loneliness — that no one had told her were normal. She described how becoming a mother gave her new insight into her own mother as a person, and how writing the novel became a way of reconnecting with that memory. She also discussed her fascination with sibling relationships and happy families under pressure as underexplored fiction territory, citing Little Women as an inspiration, and credited journalism with helping her write authentic scenes beyond her own experience. She closed by calling writing a healing, cathartic act, echoing the episode's themes of grief and growth.Connect with Anna Nordberg:WebsiteLinkedInInstagramBook: Anna Nordberg - When She Was OursLet's Connect: WebsiteLinkedInFacebookInstagramTwitterPinterestThe Grief and Happiness AllianceBook: Emily Thiroux Threatt - Loving and Living Your Way Through Grief Hosted on Acast. See acast.com/privacy for more information.

Scottish crime writer Heather J Fitt joins Wayne Kelly to discuss reclaiming the rights to her three published novels and taking control of their future as an independent author.Heather has recently released new independent editions of Open Your Eyes, The Flight and The Boat Trip. We explore what happens when an author's books become part of a publisher's backlist, the practical process of getting those rights returned, and the benefits and challenges of republishing your own work.The conversation focuses particularly on Open Your Eyes, Heather's dark psychological thriller about an ambitious Edinburgh journalist investigating a series of attacks against women. Heather explains how reading Laura Bates's Men Who Hate Women introduced her to the online world of incels and the manosphere, and why she chose to explore those disturbing issues through fiction.Heather also discusses:• Researching dark subjects without damaging your mental health• Creating balance and complexity when writing an antagonist• The persistent stigma surrounding independent publishing• Why more traditionally published writers are reclaiming their backlists• Searching for an agent after already publishing three novels• Blending crime fiction with elements of horror• Her evolving approach to plotting and discovery writing• Finding time to write around freelance work and everyday life• Overcoming self-consciousness and giving yourself permission to beginHeather also reveals why Men Who Hate Women is her Book That Saved Your Life and shares her advice for writers who are still waiting to take themselves seriously.Heather J Fitt is a Scottish crime writer and the author of Open Your Eyes, The Flight and The Boat Trip. She is also an experienced editor and proofreader who has worked within independent publishing.Find Heather and her books:Website: https://www.heatherjfitt.comBooks: https://www.heatherjfitt.com/heatherjfitt-booksInstagram: https://www.instagram.com/heatherjfittFacebook: https://www.facebook.com/HeatherFittAuthorSupport independent bookshops: https://uk.bookshop.org/shop/heatherjfittauthorFind out more about The Write Place Podcast and Wayne's writing, publishing and mentoring work:https://waynekellywrites.com

This post contains affiliate links, which means I may earn a small commission at no extra cost to you.What happens when the Grim Reaper falls for a children's librarian? Kelly Creagh's adult debut says: absolute chaos, and a whole lot of heart.YA fan-favorite Kelly Creagh (the Nevermore trilogy) makes her adult debut with A Date with Death, a spicy, comedy-forward paranormal rom-com about a Grim Reaper and the sunshine-y librarian who steals his afterlife. In this episode, Kelly talks about jumping from YA to adult romance, writing comedy after years in paranormal horror, and her upcoming Hades and Persephone romantasy retelling — plus she shares the books currently topping her TBR. Perfect for readers who love cozy paranormal rom-coms, monster romance, and stories about finding your process as a writer.

(01:57) — Father's passing at 13: the moment that pointed toward medicine(03:22) — Growing up in Nigeria with no doctors in the family(05:07) — Applying to med school in Nigeria and not getting in(06:53) — Leaving home at 17 on a scholarship to study in the UK(09:04) — Being premed in the UK with no advisor who understood US requirements(10:32) — Why US medical school was always the destination(16:17) — Researching which US schools she was eligible to apply to(19:06) — Building the application largely on her own(22:26) — Why she stopped comparing herself to other applicants(26:38) — A family loss mid-cycle and a collapsing timeline(28:13) — Deciding to apply anyway instead of waiting a year(29:49) — Submitting her primary early while prepping for a late-July MCAT(31:45) — Secondaries submitted on the deadline — the honest account(33:57) — First interview invite, roughly a month after her last secondary(38:41) — Three interviews, three acceptances(39:37) — Choosing a school: full funding and research access(40:08) — Final words for premeds navigating this without a roadmapOre grew up in Nigeria, lost her father at 13, and left home at 17 on a scholarship to study in the United Kingdom. From her first year of undergrad, she was researching US medical school requirements and treating herself like a premed in the US — even when her advisors had no idea what she was talking about. She came to the United States for her master's in public health, worked to cover her living costs, and applied to roughly ten schools — the only ones she was eligible for given her background. Her aunt passed away mid-cycle. Her secondaries went in on the deadline. She had no US prereqs and no premed advisor who had seen a path like hers. She received three interview invites and three acceptances. In this conversation with Dr. Ryan Gray, Ore walks through every major decision she made — how she chose which schools to apply to, how she balanced her personal statement with MCAT prep, why she moved forward instead of waiting a year, and how financial aid shaped her final choice. She is direct, practical, and honest about the parts that did not go according to plan.What You'll Learn:- How to identify which US medical schools you are eligible for when your prereqs were completed outside the United States- Why submitting your primary early matters even if your MCAT score is not back yet- How to think through the decision to apply in a difficult cycle versus waiting a year- What it looks like to build a competitive application without a premed advisor who understands your specific situation- How to stop comparing your application to others when your path has been genuinely different

Researching apex predators often means putting yourself in situations that are mind-boggling to the average person. Our guest, Rosie Moore, is no stranger to this. She's found herself lost at sea researching bull sharks, waist deep the Everglades trying to find Burmese pythons, and in shark-infested waters right after an attack. This episode, she talks to host Dr. Samantha Yammine about her research. They discuss Rosie's experience on Shark Week, how to use forensics to analyze a shark attack, and the role of citizen science in understanding sharks. Before that, Sam looks into a new study that alleges cats are more selfish than dogs (and people). And later, there's evidence in a study that reveals how to keep mosquitoes from sticking around once summer ends. If you want to learn more about sharks, be sure to check out Shark Week 2026, only on Discovery. Link to Show Notes HERE Follow Curiosity Weekly on your favorite podcast app to get smarter with Dr. Samantha Yammine — for free! Still curious? Get science shows, nature documentaries, and more real-life entertainment on discovery+! Go to https://discoveryplus.com/curiosity to start your 7-day free trial. Terms apply. Hosted on Acast. See acast.com/privacy for more information.

The Georgia Tech Research Institute's Independent Research and Development (IRAD) program represents a strategic investment in innovation, funding groundbreaking research that directly addresses national security concerns and global challenges that will define our future. Through IRAD, researchers have the freedom to explore bold ideas, test unconventional approaches, and develop solutions before problems become crises. Dr. Kenneth Allen, GTRI Chief Technology Officer, provides the strategic vision behind IRAD investments, explaining how GTRI identifies emerging challenges and allocates resources to address them. Dr. Allen offers insider perspective on what makes a research project truly transformative and how IRAD serves as an innovation engine for both GTRI and the broader research community. With more than 200 research posters filling the exhibition hall at Georgia Tech, each one representing months or years of dedicated work, each one a potential game-changer in its field. The energy is palpable as researchers passionately explaining their work, colleagues challenging assumptions, students absorbing knowledge, and leaders identifying the next big opportunities. It's creativity, curiosity, and collaboration all converging in one dynamic space. Our podcast captures this electric atmosphere, bringing you conversations recorded live from the exhibition floor, where ideas are still fresh and enthusiasm runs high. Featured Voices In addition to our headline interview, we captured the voices of the Extravaganza itself, researchers, students, and institutional leaders who generously shared their time and perspectives. Some offered in-depth insights into their work, while others simply introduced themselves, but all conveyed the unmistakable excitement that filled the exhibition hall. You'll hear from early-career researchers launching their first major projects, seasoned investigators pushing the boundaries of their fields, students gaining hands-on experience, and administrators shaping research policy.

After a wildfire, there's often a lot of effort to revegetate the area that burned. Hear about the lessons we can learn from a small cactus in northern Arizona. And, what art from more than 100 years ago can tell us about the future of the West.

The story of the last samurai is one of the greatest tales of honor, courage, and sacrifice ever told. In this episode of the Willie Jackerson Experiment, I explore the fascinating history behind the warriors who stood against the tide of change as Japan entered the modern age.This episode also became one of my favorite creative projects. I sat down with my 12-string guitar and recorded a simple melody that captured the emotion I was looking for. I then brought that original recording into Suno Pro and made my own original song to create an epic Asian-inspired melodic death metal anthem. The result is a powerful soundtrack that reflects the spirit of the samurai's final stand—blending crushing riffs, traditional Japanese influences, and cinematic storytelling. I also used a track by Sabaton called Shyroyama to showcase this historic event. Researching this episode taught me just how remarkable the samurai truly were. Their unwavering commitment to Bushidō, their loyalty, and their willingness to sacrifice everything for honor left a lasting impression on me. It reminded me that some ideals are worth preserving, even as the world changes around us.If you enjoy history, heavy metal, and hearing how original music is brought to life, this episode is for you.⚔️ Honor. Loyalty. Sacrifice. One final battle.

FREE 5-Day INFP Personality Type Tutorial course:http://inowfeelpositive.comEvolve Community (access to all 10 courses and monthly workshops):http://evolve.geekpsychology.comIf you're an INFP who struggles with analysis paralysis, creative block, or perfectionism, this video is for you.I've spent years believing I was just one more book, one more YouTube video, or one more insight away from finally being ready. After creating over 1,300 videos, 10 courses, and 3 books, I've learned that endless research often feels like progress—but it's actually one of the biggest forms of procrastination.In this video, I explain why INFP perfectionism and introverted feeling (Fi) can keep us stuck in preparation mode, while our curiosity keeps feeding us more information instead of more experience. If you've ever wondered how to stop overthinking, overcome analysis paralysis, or improve your creative productivity, these ideas can help.You'll learn three practical frameworks that have consistently helped me ship more work instead of endlessly preparing.These strategies have helped me overcome creative procrastination, improve my productivity, develop better habits, and make consistent progress without waiting until everything feels perfect.If you're interested in personality type, MBTI, personal growth, mindset, goal setting, self-improvement, and practical psychology for INFPs, subscribe for new videos every week.We'll cover:• Why research feels productive (even when it isn't)• The swimming lesson that changed how I learn• The spaghetti analogy that reveals perfectionism• Why real-world experience beats endless theory• How to use time-boxing to escape analysis paralysis• How to balance your Explorer (Ne), Soul (Fi), and Commander (Te)• Why action should be treated as data collection—not a final judgmentIf you're tired of overthinking, second-guessing yourself, or waiting until you "feel ready," this video will help you break the cycle and finally build momentum.If this helped you, subscribe for more videos about personality type, personal growth, and practical psychology. Leave a like if you've ever fallen into the research trap, and share this with another INFP who needs to hear it.#geekpsychology #INFP #MBTI

Welcome to Macro, Micro and Small Cap News with Sharepickers! In this episode, we break down key macro trends, major market updates, and take a deep dive into three UK micro & small cap companies worth adding to your research list.

In this episode, Bryan welcomes back Trevor Matthews from Refrigeration Mentor for a conversation focused entirely on nailing a job interview in the HVAC and refrigeration trades — whether it's a technician's very first shot at breaking into the industry or an experienced tech looking to move to a new company or specialty. Trevor opens up about his own rocky start, admitting he cycled through roughly 25 different jobs before landing in refrigeration and that he struggled with confidence in early interviews because he assumed he needed a deep resume of experience. What actually got him hired, he says, was being coachable: showing up willing to learn and do what was asked, even if that meant starting by sweeping floors. For technicians just entering the trade, Bryan and Trevor lay out a practical playbook. Research the company before reaching out — knowing what services they offer, how long they've been in business, and what type of work they do builds instant trust. Cast a wide net rather than sending out only a handful of applications, and don't get discouraged by rejection; both hosts stress "pleasant persistence" as the key to standing out, following up warmly without becoming a nuisance. Trevor shares a story about motivational speaker Les Brown showing up at a radio station day after day until he finally got a chance, as a reminder that repeated, respectful effort pays off. They also recommend creative approaches like recording a video resume tailored to a specific company, and getting ahead on certifications such as EPA 608, confined space, first aid, or defensive driving before ever applying, since these small credentials can make a hiring manager's decision much easier. The conversation then shifts to technicians pursuing their next opportunity rather than their first. Bryan explains that many larger companies route candidates through HR before they ever speak with a service manager, and that each conversation requires a different tone: HR wants to hear about safety, a clean driving record, and reliability, while a service manager wants to know how you'll bring value to customers and the team. Both agree that driving records have become a surprisingly major factor in hiring, given how much liability and cost a company takes on with every vehicle on the road. They also encourage candidates to ask people already working at a company for an internal referral, since a warm introduction dramatically increases the odds of getting hired, and many companies even offer referral bonuses that make current employees eager to help. Finally, Trevor and Bryan get tactical about interview performance itself. They recommend using AI tools to generate likely HR and technical interview questions, then practicing out loud with a spouse or friend to shake off the "rust" of not having interviewed in years. Confident humility comes up repeatedly: it's far better to admit "I don't know that term" than to bluff, and to speak with genuine curiosity about the trade rather than reciting a list of accomplishments. Trevor illustrates how a candidate can talk through a hypothetical service call step by step to demonstrate real troubleshooting knowledge, even without hands-on experience in that specific niche. The pair close by touching on soft skills like conflict resolution and building good relationships with dispatch, and Trevor shares where listeners can connect with the Refrigeration Mentor community for more training and support. Topics Covered Why Trevor initially struggled with confidence in early job interviews Researching a company before applying or interviewing Casting a wide net and using "pleasant persistence" instead of giving up after a few no's Standing out with a tailored video resume Getting certifications early: EPA 608, confined space, first aid, defensive driving Why driving records and vehicle safety matter so much to HVAC/R employers The difference between talking to HR versus a service manager Asking a current employee for an internal referral Avoiding negativity about past employers during interviews Using AI to prepare likely interview questions, then practicing with a real person Confident humility: admitting what you don't know instead of bluffing Demonstrating resourcefulness through podcasts, courses, and industry resources Talking through a hypothetical service call to show troubleshooting ability Soft skills, conflict resolution, and building relationships with dispatch Trevor's own story of landing his first refrigeration job in Australia Where to connect with Trevor and the Refrigeration Mentor community   Learn more about all the great resources Trevor offers through Refrigeration Mentor at https://refrigerationmentor.com/. Have a question that you want us to answer on the podcast? Submit your questions at https://www.speakpipe.com/hvacschool Purchase your tickets or learn more about the 8th Annual HVACR Training Symposium at https://hvacrschool.com/symposium. Subscribe to our podcast on your iPhone or Android. Subscribe to our YouTube channel. Check out our handy calculators here or on the HVAC School Mobile App for Apple and Android.

https://www.patreon.com/illuminatiwatcher/posts/dr-anteater-uap-164344299?pr=true (*Unlock ad-free, early access w/ monthly bonus shows!)On today's episode of the Occult Symbolism and Pop Culture with Isaac Weishaupt podcast: the doctor is in! It's the return of Dr Anteater! My long time friend returns to update us on his journey into retiring from the military, his Transcendental Meditation experience, meeting the Bledsoe family, UAP Disclosure, Epstein Files, 4chan, cyberpunk topics, the new Corbell documentary and more! (*Sorry- no video version of this episode, it was on the road in North Carolina)Non-Profit Spotlight: Fayetteville Animal Protection Society: http://fapspet.orgWoofstock is Oct 9, 2026: https://secure.qgiv.com/for/woofstock2026/event/woofstock2026/Links:Merch, MushroominatiWatcher Coffee, shirts, signed books: https://occultsymbolism.com/Dr Anteater 1st interview: Researching the Occult, Religion, Hunting Ghosts, Haunted Ouija Boards, Santeria Ritual & MORE: https://illuminatiwatcher.com/researching-the-occult-religion-hunting-ghosts-haunted-ouija-boards-santeria-ritual-more-dr-anteater-interview/Breaking Social Norms related episode: We Went Sky Watching for UFOs with the Bledsoes… Here's What Happened! https://breakingsocialnorms.com/2026/07/07/we-went-sky-watching-for-ufos-with-the-bledsoes-heres-what-happened/SUPPORTER FEEDS get bonus content AND go commercial free + other perks:*PATREON.com/IlluminatiWatcher : ad free, HUNDREDS of bonus shows, early access AND TWO OF MY BOOKS! (The Dark Path and Kubrick's Code); you can join the conversations with hundreds of other show supporters here: Patreon.com/IlluminatiWatcher (*Patreon is also NOW enabled to connect with Spotify! https://rb.gy/hcq13)*VIP SECTION: Due to the threat of censorship, I set up a Patreon-type system through MY OWN website! IIt's even setup the same: FREE ebooks, Kubrick's Code video! Sign up at: https://illuminatiwatcher.com/members-section/*APPLE PREMIUM: If you're on the Apple Podcasts app- just click the Premium button and you're in! NO more ads, Early Access, EVERY BONUS EPISODE WANT MORE PODCASTS?... Check out my UNCENSORED show with my wife, Breaking Social Norms where we discuss conspiracies, politics, relationships and more!: https://breakingsocialnorms.com/Merch, MushroominatiWatcher Coffee, shirts, signed books: https://occultsymbolism.com/Isaac's Link Tree with links to EVERYTHING: https://allmylinks.com/isaacw *STATEMENT: This show is full of Isaac's useless opinions and presented for entertainment purposes. Audio clips used in Fair Use and taken from YouTube videos. 

This post contains affiliate links, which means I may earn a small commission at no extra cost to you.Rom-com author Victoria Lavine joins us to talk enemies-to-lovers banter, writing wedding chaos, and the funniest, freshest romance reads on her TBR.Victoria Lavine, author of Any Trope But You and the upcoming Not That Kind of Proposal, sits down to talk about crafting high-stakes rom-coms, why banter is her favorite thing to write, and the books that made her cackle out loud this year. If you love enemies-to-lovers, forced proximity, and grumpy-meets-sunshine energy, this episode is for you.

***"I'm almost 99% certain that [BIP] 110 will activate. And not only that, I think there will be a capitulation after October, where if the month of October passes and [BIP] 110 is still not merged by Core devs, it essentially reflects that they are no longer relevant because they failed to be good stewards of the protocol." ~ Hunter Beast*** In this episode I sit down with Hunter Beast for a sprawling, high-signal exploration of how to prepare Bitcoin for an unknowable future. We cover formal verification and Lean 4, AI-accelerated proofs, surveillance and BIP39 risks, faith and natural law, and why he thinks governance must shift toward provable safety over new features. We finish with his confident prediction that BIP 110 will activate, and what it would mean for Core's relevance if it doesn't. Chapters (00:00:00) - Intro and Hunter's prediction (00:06:33) - Researching critical vulnerabilities (00:19:40) - Hilbert's questions and the limits of mathematics (00:28:46) - Faith, personal struggles, and identity (00:37:32) - BIP39 and surveillance (00:43:28) - AI, false idols, and religious history (00:49:26) - Natural law and nation states (00:56:43) - Nodes, and decentralized storage markets (01:24:56) - BIP 110, crisis and shift (02:09:52) - Predictions around BIP 110 activation (02:12:10) - Defending Bitcoin against economic populism Guest Links Hunter on X (Link: https://twitter.com/cryptoquick) Hunter's Website (Link: https://cryptoquick.com/) Hunter's GitHub (Link: https://github.com/cryptoquick) Affiliate Links Become sovereign, hold your keys, be censorship resistant with the Bitbox hardware wallet. Get 5% off everything in the store with code GUY (Link: https://bitbox.swiss/) Get 10% off the best Bitcoin board game in the world, HODLUP! Or any of the other great games from The Free Market Kids! Use code GUY10 at checkout for 10% off your cart! (Link: https://www.freemarketkids.com/collections/games-1) Host Links ⁠⁠Guy on Nostr ⁠(Link: http://tinyurl.com/2xc96ney) ⁠Guy on X ⁠(Link: https://twitter.com/theguyswann) Guy on Instagram (Link: https://www.instagram.com/theguyswann) Guy on TikTok (Link: https://www.tiktok.com/@theguyswann) Guy's Takes on YouTube (Link: https://www.youtube.com/@GuysTake) Guy Swann on YouTube (Link: https://www.youtube.com/@theguyswann) ⁠Bitcoin Audible on X⁠ (Link: https://twitter.com/BitcoinAudible) The Guy Swann Network Broadcast Room on Keet (Link: https://tinyurl.com/3na6v839)

New music from the latest issue of Songlines magazine, the latest Putumayo Discovery CD - Cuban Connections - and a whole bunch of artists performing at this weekend's Vancouver Folk Music Festival - and next weekend's Mission Folk Music Festival. Researching these shows has been a real journey of discovery for me, and I hope you enjoy my selections! Also new music from veteran rockers Rolling Stones and 17 year old blues prodigy Jake Soberlak, from Kamloops BC - plus new songs from Pharis & Jason Romero, Honeybear the Band, and Ireland's Caroline Keane and Tulua, as well as music by some of the incredible performers coming to The Rogue Folk Club over the next few weeks.

Learning how to win a government contract starts with something most small businesses overlook entirely: making sure the government can actually find you. In this live GovCon Giants Q&A, Eric Coffie and co-host Maria Martinez bring real audience members on stage to troubleshoot their SAM.gov profiles, pricing strategy, and search for buyers in real time, live on air. Learn why an incomplete Dynamic Small Business Search (DSBS) profile makes you invisible to contracting officers searching by keyword Discover the difference between a capability narrative and a capability statement, and where to actually enter one inside SAM.gov Understand how to use PSC codes, NAICS codes, FPDS, and USAspending.gov to identify which companies are already winning contracts in your industry Hear real stories from small business owners on trucking and transportation contracts, including Crowley freight lanes and disaster relief hauling Get pricing guidance for government bids, including why requesting a debrief after a loss can reveal exactly what to fix next time EPISODE CHAPTERS: 0:00 - Sponsor reads for Mindy AI and Encore Funding 1:15 - Welcome to the live Wednesday Q&A session 4:01 - Academy 3.0 cohort and workforce program overview 8:24 - Finding a government contracting attorney recommendation 9:52 - Researching which agencies buy your product or service 15:08 - Joint venturing success story from a lighting contractor 25:38 - Finding the right buyers for trucking and transportation work 35:00 - Getting your back office and CAC industry ready 44:38 - Understanding NAICS codes versus cage codes in SAM 46:55 - Why your DSBS capability narrative matters for search 59:03 - Using PSC codes and FPDS to research competitor pricing 1:09:10 - Choosing between product sales and IT project management services 1:12:18 - Fixing a convoluted SBA capability narrative submission Learning how to navigate SAM.gov, research buyers, and price your bids correctly takes time most small business owners do not have. Mindy gives you the federal opportunities, agency signals, recompete intel, and pursuit briefs that tell you not just what contracts exist, but which ones to chase and how to win them. Sign up for free Daily Alerts and get opportunities delivered to your inbox before the day starts.

Favour Obasi-ike, MBA, MS breaks down the debate between content quality and velocity. He argues that while velocity drives visibility, quality is the foundation that keeps audiences engaged and builds trust.High-quality content must be readable, understandable, and digestible, utilizing clear formatting and strong internal linking. By establishing a proof of concept and adhering to Google's E-E-A-T guidelines, creators can scale their publishing frequency sustainably.Who Is This For?This episode is for entrepreneurs, marketers, SEO professionals, bloggers, and creators trying to build search visibility. It serves anyone looking to publish consistently without falling into the trap of low-quality content overload.Key Moments & Timestamps[00:03] - Introduction: Content quality versus content velocity.[02:38] - Quality is not only what you say; it is how it is presented.[05:03] - Headings and the “readable, understandable, digestible” standard.[12:10] - Quotes, testimonials, strong titles, and the content experience.[15:13] - Self-audit: Would you watch, read, or listen to your own content?[21:00] - Attention, engagement, and quality as audience priorities.[26:54] - Google E-E-A-T: experience, expertise, authority, and trust.[29:39] - The debate: Evergreen content versus timely updates.[45:03] - Updating old articles and leveraging the modified date.[47:26] - Content velocity, manual indexing, and internal linking.[52:02] - Two top-quality articles beat ten subpar pieces.[53:35] - Building a controlled cadence to avoid audience burnout.[59:42] - Establish quality and a proof of concept before scaling output.[64:00] - Researching ranked content to evaluate the competitive landscape.[67:17] - Aligning keywords, titles, URLs, and opening lines with intent.[68:42] - Best strategy: High-quality content posted consistently.[77:41] - Final takeaway: Quality trumps velocity; scale only with quality.Memorable Quote"Quality trumps velocity—and if you're going to do velocity, make sure you do it with quality."Frequently Asked Questions (FAQs)What makes content high quality?High-quality content is useful, trustworthy, well-researched, and structured. It should be easy to read and act on, utilizing proper formatting to guide the user experience.Does publishing more content improve SEO?Publishing volume helps only when relevance, quality, internal linking, and audience value remain strong. Velocity without quality leads to subpar results.Should old content be updated?Yes. Update older content when facts, tools, algorithms, or market conditions change. This preserves its evergreen foundation while signaling freshness.Is evergreen or fresh content better?Both serve a purpose. Evergreen content supports lasting discovery, while fresh content is necessary for news, trends, and platform updates.How often should a brand publish?Choose a publishing cadence your team can sustain without lowering standards. It is better to publish fewer high-quality pieces than to overwhelm your audience.Action StepsAudit one of your existing pieces for readability, formatting, and search intent.Fix heading hierarchy, paragraph length, text emphasis, visuals, and calls to action.Refresh a strong older article with current evidence, updated links, and fresh examples.Define a minimum quality checklist and test it until it becomes a repeatable process.Set a sustainable publishing cadence based on audience behavior and team capacity.Scale your output only after your quality, engagement, and workflow are stable.For more strategies, connect directly via the podcast resources shared at the conclusion of the episode.

(Jul 14, 2026) Algae blooms have become a growing problem on Lake Champlain, closing beach areas and disturbing fish and wildlife. We join a group of researchers on a boat gathering data to try to find a solution. Also: Gov. Hochul has ordered a one-year moratorium on large data centers in New York, the first statewide temporary ban in the country.

What's the difference between a bundle, a box set, an anthology, and a collection? How can being part of an anthology be creatively interesting and useful for marketing? With Jamie Ferguson In the intro, Amazon Kindle increases the 70% royalty share; audiobook marketing tips (Voices by InAudio); The Builder's Creed [Seth Godin]; Future Vision XPrize; Researching the dark side of travel [Anna Sayburn Lane]; Photos from Bruges @jfpennauthor; Bones of the Deep: A Thriller – J.F. Penn. Today's show is sponsored by Bookfunnel, the essential tool for your author business. Whether it's delivering your reader magnet, sending out advanced copies of your book, handing out ebooks at a conference, or fulfilling your digital sales to readers, BookFunnel does it all. Check it out at bookfunnel.com/thecreativepenn This show is also supported by my Patrons. Join my Community at Patreon.com/thecreativepenn Jamie Ferguson is a fiction and short story author, editor, and publisher, with over 20 anthologies and multiple ebook bundles through her own press. Her latest book for authors is Bundle Up! A Practical Guide to Anthologies and Box Sets That Sell. You can listen above or on your favorite podcast app or read the notes and links below. Here are the highlights and the full transcript is below. Show Notes The difference between bundles, box sets, anthologies, and collections Why a multi-author project means lots of people promoting the same book, not just you How to find and pitch for anthology opportunities, and what editors look for in a contributor Contracts, rights, and royalty splits explained for short fiction Why Kickstarter and special print editions are changing the anthology game Inkwren, the publishing management tool Jamie built for backlists and anthologies You can find Jamie at JamieFerguson.com. Transcript of the interview ith Jamie Ferguson Jo: Jamie Ferguson is a fiction and short story author, editor, and publisher, with over 20 anthologies and multiple ebook bundles through her own press. Her latest book for authors is Bundle Up! A Practical Guide to Anthologies and Box Sets That Sell. Just for context too, one of my short stories, “The Dark Queen”, is in the Amazing Monster Tales: Into the Briny Deep anthology. So I'm excited to talk about this today. Welcome to the show, Jamie. Jamie: Thanks for having me, Jo. Jo: Lots to talk about. But first up— Tell us a bit more about you and how you got into writing and self-publishing. Jamie: Well, I wanted to be a writer since I was at least six, maybe before then. So it was just something I always wanted to do, but I always did it on the side. I had a year, many years ago, where I was really busy with work, and I just felt like I didn't write anything the entire year, and I thought, “I'm going to give it up.” Then the next year—that was 2011—I started seeing more about self-publishing, and that really invigorated me and made me feel like, “No, why am I giving up something I've wanted to do since before I went to school?” So I got back into a novel I had worked on years before. I went to a writing workshop with Dean Wesley Smith up in Oregon, back in the day, and then I had my energy back. I've been writing ever since. Still on the side, unfortunately, but someday. Jo: Hopefully! Tell us a bit more about what kind of genres you write. Because balancing your own books with also doing these anthologies and things is quite difficult. Jamie: Yes, it definitely is. I'd say I primarily write contemporary fantasy, but I'll write anything in any genre if I'm really excited about it. I also have a soft spot for Westerns. They take a little more time because I like to research all the facts, but those are really fun to write. Creating anthologies on your own is actually quite a bit of work. One of the things I also do is work with two other authors, DeAnna Knippling and Tami Veldura, and create more anthologies with them. That's really fun because then we can each take a different piece. There's also always somebody to talk to, as opposed to doing it on your own. Jo: Let's start with the terminology, because I definitely struggled with this, and I think people still do. We've got bundles, we've got box sets, we've got anthologies, we've got collections—and are these in ebook, audiobook, or print? Can you start by explaining what all of these words actually mean? Jamie: Yes. In my book I actually use the term “multi-author collection” or “multi-author project”, because there are so many different permutations and it does get confusing. From my perspective, I think of a bundle as a collection. It could be a collection of ebooks. Technically it could be a collection of print books, although people generally use “box set” for that—but then a box set can also be a box set that's all ebooks. An anthology, I usually use for something that's a collection of short stories where there's an editor who's actually edited all the stories. I have had stories in anthologies where somebody didn't edit them, and they would technically be called a curator. So it is definitely confusing. I have not done anything with audio collections, but that certainly is another area that I actually think is pretty interesting. Jo: I also think that a single author… so I've done a short story collection, but an anthology is multiple authors. Is that right? Jamie: Yes. Jo: I think when I came into the indie space, there were a lot more multi-author… we all called them box sets back in the day, when it was just ebooks, right? And now we can actually do boxed sets with boxes through things like BookVault. So it feels like the term “box set” has also gone out of fashion. So if people listening are thinking of doing any of this, you do have to figure out what is the thing you might be signing up for. So let's talk about the multi-author projects, as that's where you specialise. What are the benefits for an author to be involved in a multi-author anthology project? Jamie: The biggest benefit is that you are one of multiple people promoting the same project, whether it's print or ebook or whatever. If I put out a short story collection on my own, I'm the one promoting it, and maybe I can get a couple of other people to write about it, but it's really just me. If I'm part of an anthology with 15 other authors, that's 15 other people who are promoting the same project. That's more newsletters, more Facebook posts, maybe something on their Patreons, whatever it is. You get more synergy, and you get more touch points with potential readers. Then hopefully that translates into sales as well. So that's definitely the biggest part of it—the promotion. Then I also personally really enjoy these types of collections because it's just fun to work with other people. There's a nice energy when everybody's like, “Oh, I put this in my newsletter, and I put this here, and I put this here,” and you feel like you're part of something bigger than just your own piece. Jo: What about the creative benefits? Especially with short stories, often people will write them for a collection or for an anthology project. Jamie: Yes. I've definitely written some stories that I never would have thought I'd write, because somebody I knew asked if I would be interested in being in their collection—whether it's an ebook bundle or a print anthology. So at least for me, that's been really fun. One of the ones that stands out is that I was asked to be in a dinosaur collection once, and I was like, “I don't write dinosaur stories.” And then I did. I set a dinosaur story in London, and it was really fun to write, and I never would have come up with that in a million years. Jo: Let's say we've got 12 authors. They've all written short stories, and now it's in this anthology. But what is the market for these kinds of things? Have you found that there is a readership for short story anthologies that carries over to the author's longer work? Jamie: There is. I like to think of it as: if I have a story in a collection or an anthology—whether it's one I'm editing or somebody else is editing—that's one more place for people to find me. A lot of times anthologies will take reprints as well, like your story. “The Dark Queen”—that was a reprint. We asked if you'd be interested in participating in the Amazing Monster Tales series. And I actually really like printing stories again that have already been published, because there are a lot of stories out there that can be hard to find. Or if it's an older book. I have one author I've known for, like, 30 years. I reprinted one of her stories that was originally published in, I think, 1999, and the anthology it was in was out of print. You couldn't find it, and it was a fantastic story. So it's fun to be able to give new life to those stories and give them more opportunities, and also just have more ways for people to find you. Jo: Yes, I definitely think it's a long game. I don't think appearing in a short story anthology in one particular month is going to mean that your whole back collection just sells, right? Jamie: No, definitely not. It's more about avenues to be found. I know there have been some anthologies that have made quite a bit of money, but in general you're probably not going to make as much money, but you will have those extra places for people to find you. Jo: I always feel like yes, there is maybe a small amount of money, but it is more about almost a marketing thing in itself. So let's say an author is listening and they're like, “Do you know, this sounds like a great idea.” How can they pitch for things like this? How do they find out about opportunities, or get noticed to be asked? And what are the expectations for them? Jamie: The biggest thing is networking. There used to be a couple of opportunities where you could make people aware that you had stories that you were interested in potentially having picked up for something. I'm not aware of anything like that now. When I create a collection, I have a mailing list that I send out, and it includes authors I've published before. It includes a couple of extra people who somehow found my mailing list. And I'll publish, like, “Here's what I'm doing.” There are also authors I've met at writing workshops. I've been able to read some of their work, I'll approach them and say, “Hey, I really liked such and such a story. Would you be interested in writing for this?” Then there are a couple of other websites, like Duotrope, and places that advertise markets and calls for submissions. Jo: Yes, I've found them also on small presses that do these kinds of projects. They often put up one call for submission a month or something, and you can write for their particular thing. In general, the short story markets are the places to keep an eye on. Jamie: Yes, definitely. Jo: If an author wants to pitch to have their story as part of an anthology, do you want to know things like platform, or is it just the story itself? Jamie: I personally look at the author's platform. I do make exceptions—there are actually two authors I've worked with a couple of times who don't have websites. They are people I know personally and they are very, very good writers, so I'll make an exception for things like that. But otherwise, if somebody submitted a story to me and I didn't know that person, I would check out their website, I would check out their social media, I would see what else they had done. Part of what you're doing when you're creating a collection is thinking not just about how you, as the person organising this, will promote the collection, but how the authors who are participating will help promote it as well. If it's somebody who has a lot of fans, even if they're not very active on social media, that can help a lot too. There are a lot of different factors, though. Jo: So then talk us through the project timeline. How long do things take, and what sort of involvement do the authors have along the way? Because it's a lot to juggle. Jamie: Yes, it is a lot to juggle. I can give you an example with the Monster Tales series. We'll come up with an idea, and we also like to try to get the artwork done early on in the process. We don't need it that soon, but it's really great to have that taken care of. We'll contact authors. I think for this one we used my mailing list, but we've also contacted a number of people individually that we know who write the style of stories we like. Then, as the submissions come in, we usually wait until we have a nice chunk of them to start going through, and then we'll pick some right away. Sometimes it'll be like, “Oh my gosh, of course we want this story,” and we'll wait to fill out the other slots. Then we'll negotiate sometimes. Sometimes it's like, “I want this story.” “Well, I want this other story.” And we have to figure out how the word count works. Once we finalise the stories, then usually what happens with that anthology is that DeAnna—who is a very, very good editor—will make the first editing pass, and then I'll make the second. And now Tami's involved, so Tami will make the third, and then we'll iterate. Once all three of us have gone through the first time, then we'll send the story back to the author for edits. So the most the author has to do for most of the process is just wait for us to edit their story, and then work on their edits and get them back. Then, once we get closer to launch, we'll give them information about what we're going to do. For example, we're going to launch the next issue with a Kickstarter. So our authors know that we have a Kickstarter coming, and we'll give them more information as we get closer to the actual launch date. Jo: So how long might an author expect before their work is out there? Jamie: It really varies. I've had some collections published very quickly—let's say a couple of months. Some have taken longer just because somebody ends up having some life issue and things get delayed. So I'd say ideally it would be more like three to nine months. Jo: Yes, I think… depending on the— Jamie: —collection and the complexity. Jo: Yes, exactly. Jo: And you did mention word count there. Just give us a range of what word count you like to get. Jamie: So these days I'm shooting for between 75,000 and 80,000 for the total word count for a collection. That includes the stories, but it also includes the opening, the introduction. For one we're working on now, we're going to have some interstitials, where we have little bits of things we're going to write in between each story. So that's the overall size of the collection. I'll keep track of the word count as the stories come in, and then as we edit the stories, sometimes they grow, sometimes they shrink. Sometimes that's a big enough difference where we're like, “Okay, we need one more story to fill it in.” But that's the target. Jo: And how much for each individual story? Jamie: That varies. I've done a bunch of different things. These days, what I'm advertising is between 3,000 and 8,000 words. I also always tell people: if you're outside this range on either side, just check with me, and if it's something that's really an excellent fit for the book, I'll make an exception. The one that's coming out, I think we have a 1,500- or 2,000-word story that was just amazingly perfect for what we wanted. There was another story, actually I think it was the issue that you were in, that was at least 12,000 words, but it also was a perfect fit for the theme. So I will make exceptions, but within reason. I wouldn't put a novella inside an anthology, because then you'd have a 22,000-word story next to a 3,000-word story, and I personally feel like that's really jarring for the reader. You don't want to go from something super short to something super long. It just doesn't feel like it flows well to me. Jo: No, absolutely. Jo: We'll come back to the making of it because you mentioned some really interesting things there. But just on the contractual side—a lot of indie authors don't necessarily do any publishing contracts for their work, unless it's signing the terms and conditions when uploading on Amazon or Kobo. So tell us a bit about the contract side. What rights are we talking about here? Any red lines in contracts around this kind of thing? Jamie: For contracts, I would recommend people read Kristine Kathryn Rusch's posts on this. She is way more informed about this than I ever will be, so when I have questions, I'll look at her posts. I've asked her a couple of questions. What we're doing for the Amazing Monster Tales… this is the first time that I've actually had authors sign contracts. Prior to this, I've used PubShare, which handles royalty splits and all of that, and that was really great. We want to do direct sales and Kickstarters and have lots of other options. So we did put together a contract this time. I'd have to pull it up, but I think we asked for first worldwide rights in English—I'm getting the terminology wrong here—but that was basically it. Jo: Or, I guess, reprint rights if the story's already been licensed. Jamie: Correct. We have two contract templates, one for original stories and one for reprints. We made sure to make that distinction, because it is definitely a distinction. In the book by Kristine Kathryn Rusch—it's called Closing the Deal… on Your Terms—I highly recommend that for anybody interested in learning more about contracts. Jo: Yes, that's great. And just for people listening: when you said you didn't have contracts before, you just used PubShare. So in that way, the author still retained the rights and you just split the royalties—it was more of a co-writing thing. Jamie: Correct. When you publish stories through PubShare, the author signs an agreement with PubShare, and then I, as the editor or organiser, would also sign a separate agreement. So each of us has an agreement with PubShare. We don't have agreements with each other, if that makes sense. Jo: Yes, so it's very different to move into Kickstarter. So tell us about what you're now moving into. Jamie: Well, Kickstarters are a new world for me personally. I have many friends who have had Kickstarters. I've supported Kickstarters. I watch them. But it's something where I'm very happy to have two partners who have done Kickstarters before. I'm not sure how many Tami's done—I think Tami's done the most at this point. So this is all new to me. But it's very exciting. At this point we have a backlist, so part of the plan, for the Monster series, is to offer issues one through four as part of the rewards when we launch issue number five. That's really exciting, because I never had a backlist like that before. Jo: Yes, and in fact the money is in the backlist, as ever, and those add-ons or bundles as part of Kickstarter are great. So are you going to do special print editions, or is it digital only? Jamie: We are talking about special print editions. You mentioned BookVault earlier—we've been looking at BookVault. Our other anthology series that hasn't come out yet will also launch with a Kickstarter. It's dragon-themed, and Tami actually did the cover work, which is beautiful. BookVault just gives you so many options that we never had before, so I'm very excited about that. Jo: Yes, I think it's a really good idea. I did gorgeous hardbacks for my solo author collection, so I think it's a great idea. So from the publisher side, let's come back to that. You've mentioned you have to write things like an introduction and interstitials, and you're trying to balance the stories. What are some of the other things that people might think about if they want to organise their own anthologies? Jamie: Oh gosh, where to start? There's the basic setting up of the anthology, so you have to define the table of contents. You might get a bunch of stories that are really awesome, and you might have to tell somebody who has a wonderful story—and maybe even who's a good friend of yours—that you're going to pass on it because their story doesn't fit with all the other stories. Every time I have to do that, I feel kind of bad. But being on this side, it's really interesting to see how you can tell which stories fit together and which don't. There's also the editing process, which can be a lot of work. Part of what I like about working with Tami and DeAnna is that DeAnna really loves editing. I feel like I'm a good editor, and I can do it, but for me it's more of a job. For DeAnna, she loves it, so she does the bulk of the editing, which is great. When I do it on my own, I feel like it's a task I have to do. There's lots of cat-herding. Sometimes people take a while to get their edits back. Sometimes they have life events, and you have to delay things because you're waiting on them. There are all the little tiny pieces of organising things—like, if you're reprinting stories, you need to make sure you get the copyright attribution correct. A lot of times I'll have to go and look up where something was originally published. An author might say, “Oh, it was published in this year,” and I'm like, “Okay, actually it was published in this other year, by this other publication first.” So I'm trying to be organised there. henT one of the things that very infrequently—I think it's only happened to me twice—every once in a while, you're in the middle of editing a story and you have to pass on it, even though you've already accepted it, because the editorial vision and the author vision for the story are not the same, and you can't reconcile that. Jo: I think that's really interesting, because so much of what you're talking about there—you mentioned vision—it's almost taste. You're saying which stories fit. It's not just a case of, I don't know, a pirate anthology and then picking 10 stories about pirates, right? You seem to be thinking about this in a more artistic way. So can you talk a bit more about that? How do you decide on a theme, and then how do you know that a story doesn't fit? Jamie: In the beginning, I was not this selective. In the beginning I'd say, for example, “Hey, I'm putting out a collection about fairies. Give me a fairy story,” and that was it. As I've edited the stories, it's become easier to see how things fit. So, for example, if I have 10 stories in an anthology and I have an 11th story, and they have different tones—let's say the 11th story is really funny and all the other stories are very serious—then that would be a fit thing. That's not necessarily taste; it's just that you don't want one funny story if everything else is really dark and scary or serious. As far as picking a theme, the theme could be very broad. With this dragon anthology we're working on, we decided we wanted it to be called A Hoard of Books. So the theme was: has to have dragons, has to have books, and that's pretty much it. And then we were like, “Let's just see what we get.” We were very surprised at what we got. We thought we'd have more serious stories, and it turned out most of them were very light-hearted and really fun. And we're like, “You know what? That actually changes the way we're looking at the whole series,” because we did not expect that. With the monster series, we'll pick a theme. So, for example, the next issue is Monsters in Love, and for those it's more like, let's just see what happens. Sometimes I'll have a more specific theme. The next anthology I'm publishing on my own is called Fairy Bargains, and I wanted people to obviously have fairies, but I wanted there to be something related to the mythology and lore of having a bargain with a fairy—and there's a lot of stuff about that. So for some things like that, when I put out a call, I'll provide information. I might say, “Here's a link to a Wikipedia article. Here's some mythology that might be helpful for you,” just because I want things to stick a little bit more to the theme itself. Whereas with Monsters in Love, there's a very wide range of stories, and that was very fun to work through. Jo: Oh, yes. There's a lot of monster, on the spicy side as well. But were you doing a clean Monsters in Love, as opposed to in lust? Jamie: Yes, this is a clean one. That's pretty funny. But boy, when you give authors the room for these types of things, you get all kinds of stories, and it is super fun to work with those collections. Jo: As you're talking, I definitely want to do more short stories. It's really interesting, because you can actually generally get paid more for a first print—first print rights on a short story—but I often want to just publish it myself. Then I was really happy to be in yours, because it was a reprint anyway. So I was like, well, there's absolutely nothing to lose if it goes in as a reprint. So these things can be really interesting. Talking of the finance from your side of things: you have a small press and you're doing this publishing yourself, but you're paying all these authors and doing a lot of work. So how does it work as the publisher, in terms of these anthologies, financially? Jamie: With the ones we've published so far, because we've gone through PubShare, it's been a royalty split. As the editors, we would take a percentage, and then we pay for the artwork, and of course all of our time. I think what we were doing there was saying 70% of the royalties would be split equally between all of the authors and the stories. So, for example, if I had a story as well, I would get part of the author split—the same percentage as everybody else in the collection—in addition to the editor split. For what we're doing now, we've changed this a little bit, and I believe we said 60% goes to the authors, and then we're going to keep a share of the proceeds for the business because we want to be able to pay for the artwork out of the business account. We want to pay for advertising, whatever we need to do—like setting up our store, or if we wanted to invest in anything, we want to be able to do that as the business, as opposed to it just being us doing this on our own. We're just trying to treat it a little bit differently. Jo: And I know it's so much work—a crazy amount of work. How many anthologies and books do you have to do in a year to make it worthwhile financially? Jamie: Oh, I don't know. I would say, unless you get an opportunity—like, for example, to have an anthology in a story bundle or something like that—you may not break even. But if you're going to do this, do it more for the marketing, do it more because you enjoy it. Now, going forward, I think that will change, because we are looking at Kickstarters, we are looking at direct sales. We're very motivated to try to make this more of a business thing than a fun side project. So, ask me in a year. Jo: Yes, hopefully more. I do think Kickstarter is great for short stories. I actually buy quite a few collections on Kickstarter. I think they're actually really hard to discover through, say, Amazon—it's a place that is quite hard to identify short stories. Whereas I've found I've bought collections on Kickstarter because there's so much more of a sales page—there's so much more rich media that tells me how I'm going to feel about the stuff. I've bought short story anthologies and collections from people I don't know. So I think it's a really good thing to do. There is an audience there. Jamie: Yes, definitely. And it does feel like the anthologies on Amazon don't sell as well—you don't make as much as you used to. I've been doing this for, well, gosh, 10 years now, and I feel like the sales numbers on Amazon in the past year were noticeably lower than they would have been six or eight years ago. So I am very excited about Kickstarter. Plus, Kickstarter just feels really fun. You're not just throwing your book up; you also have all the extra stuff with the page, you have the rewards, and it just feels really exciting. Jo: No, I agree. I really love it. I didn't do it for a long time, and now I just love it. Jo: So, staying with the publisher side of things— Any practical formatting and production tips? Because in these types of projects, all kinds of people just send you different stuff. Jamie: I have a style guide. So whether it's me or it's the group project, once all the edits are complete, I'll do a formatting pass, and I'll make sure I use curly quotes and the same em dash format and everything, just so everything in the book is formatted the same way. Every once in a while there's an author who has something particular that they want, and I can work around that, and that's fine. I also work with a lot of Canadian authors, and I'll let them keep their Canadian spellings. I don't think everybody does that, but I feel like that's their voice in a way, so I don't correct those. I might check some things there. I think the formatting is important—it makes things look better if everything has the same style. Then I use Vellum, which makes things really easy. I love Vellum. Because I publish so many authors at this point, I have a Vellum file where I store their biographies and their links, so when I publish a new anthology I'll just go grab, say, Jo's “about the author” page from that collection and put it into the new file. Then I also track when the last time was that I checked with the author about their biography. If it's been more than a year, I'll check in with them and say, “Hey, do you have an updated biography you want me to use? Here are your links—do you have any different links now?” So that makes it a lot easier from the formatting standpoint. Jo: And you mentioned Vellum—having done box sets on Vellum, you can just drag a whole book in there if you want to do a three-book box set, or three short stories, whatever. It's much easier to just drag things in, and it makes it easier to format. So I would say to people: you don't need to worry too much about that. There are lots of things that can help you. But even with doing the print stuff for the Kickstarter—people have opinions, don't they? So in terms of authors' opinions and managing—you mentioned herding cats—how do you manage all of that side of things? Jamie: I haven't actually had a lot of trouble with that. The authors I've worked with seem to feel like they gave me their story, and then once the edits are out of the way… I haven't had anybody have any issues with the covers. Usually they love the covers, especially for the Monster series. So, no problems there. Jo: Oh, that's good. Well, I would say a tip would be to make sure you're communicating, if you're somebody who's organising. So talk a bit about communication. Jamie: Communication is very important. What I try to do is send regular updates, especially if I'm in the middle of edits or working on something and I'm not ready to launch. I'll send an update email out to the authors and just say, “Here's what's going on, here's what the plan is.” Or if the plan has to change, if the launch date has to change for some reason, I'll let the authors know about that. Actually, with the upcoming Monsters in Love issue, we were originally not going to do a Kickstarter. That was a late decision, so I contacted all the authors and said, “We've changed our plans. We're going to launch this with a Kickstarter. Please confirm that you're okay with this.” One author was not comfortable with the Kickstarter idea, so he pulled his story, and then we found a replacement story for that. But I just feel like the communication piece is really essential. It's really important for the authors to know what's going on. Jo: Yes, absolutely. So, we've talked about how marketing is a good thing, in terms of there being lots of people marketing. How are you effectively marketing these kinds of books, as the premise is quite different to a single author project? Jamie: Right. There's the usual—write a release post, write posts on social. I do additional things, so I'll publish what I call a story spotlight for each story in the anthology. That's just where I talk a little bit about the story, I provide an excerpt, and then I provide the author's bio and links to find them. Those are really great, because they're very quick to put together. The hardest part is getting a short excerpt that shows enough about the story to be engaging. But that really isn't that much time, either. Then those are also nicely evergreen. I've actually searched for authors before, when I'm trying to research them for an interview, and I've found my own spotlight posts and my own interview posts with authors come up at the top of the list, which is kind of funny. I also do interviews with as many of the authors in a collection as are willing to participate. Sometimes people just don't have the time—I don't make this required—but I usually get 80 to 90% of the authors participating. So, for example, this year I'm in a couple of bundles on StoryBundle, and I'm doing interviews for people there. It's also really fun, and you're not paying for advertising—you're just creating something that the authors are excited about and they want to share. So it promotes the collection, but it also promotes the author, which I find really nice. It's a nice networking thing too, and I'm happy if someone wants to interview me. It's like free publicity for each person, in addition to the collection. Jo: I love that you've used the word “fun” quite a lot, which I find amazing. You're obviously a super collaborative person. I've co-written a number of books— I've been part of some collections, and I really think that there are two personalities. One is like me, where we really love the creation stuff and the publishing stuff, but we're hyper-controlling. And then someone like you—you're very collaborative, and you're doing such a great job. To people listening, I would say: if you're more like me, don't organise an anthology. What you want is Jamie, or somebody who actually finds it fun to organise a big group of authors. Jamie: Yes. It is definitely interesting working with other partners in this, because when I publish an anthology on my own, I make all the decisions. I pick the artwork, I pick the theme, I do everything, I decide the table of contents. But when you're working with other people, you do need to negotiate. So we've had a couple of times where it's like, “I want this story.” “Well, I want this other story, I don't like the story that you want.” And so we have to barter, in a way. Aside from that, it is nice, because you get to split up the tasks. I could focus on things like the organising—I do the Vellum files, I do the final cover and everything. For the Kickstarters, actually, Tami's got more expertise, so Tami's going to be working on the Kickstarters for our collections together. If I had to do all this on my own, it's a ton of work. It's a ton of work. So it is nice to split it up. Jo: And of course, one of the things is managing so many moving parts—and you've actually built a tool to manage all this. So tell us a bit about that tool, and how it might be useful for people with big backlists as well as anthologies. Jamie: I built what I think of as a publishing management application. The original idea is that, for years and years, I wanted a software tool that would do catalogue management, because I was managing my own catalogue, and I was also managing—at this point I've published at least 20 anthologies, so that's a lot of authors. Then last summer, I had an author who I'd published a number of times, who was going to, I think, WorldCon, and she asked if I could give her covers for five anthologies she'd been in, so that she could make some promotional material. I was like, “Oh, sure, I can do that.” And then I was like, “Well, wait a second—is this in Notion?”—because I started trying to use Notion last year—”or is it in a spreadsheet?” It turned out her information was in, like, three different places, and I had to work to pull it together. And then I was like, “You know what? That's it. I'm just going to finally write this application.” So Inkwren manages your stories. As an author, I can manage my stories—I can track which are published, which are drafts, which are just ideas. I can track my publications. From the publisher standpoint, it's really helpful, because I can track each anthology I've published and what I'm working on. I can track the edits, I can track the contracts. I can upload contract templates—so we talked earlier about the original and reprint contract templates that I use. I upload those, and they have placeholders in them. When I generate the actual contract, the author's name will replace the placeholder—I'll have the text “author name” in the contract template, and it'll get replaced by, like, “Joanna Penn” or whatever. So that saves a lot of time. Then I also added in task tracking, because I started to feel like, well, now all my stuff is in one place, but my tasks are somewhere else. So now I can associate tasks with a publication. For example, for the book I'm working on right now, I know which tasks I need to do for the cover, and which for the interior, and everything. I have a template of tasks. Then I can also track tasks related to promotions. For example, the story bundle I'm promoting right now, I have a task for each interview I'm doing with the authors, and I have a calendar view. I can see when I'm going to publish them and know that they're all spread out. It saves me so much time, and it's so much easier. Jo: I do think building tools when you actually need the tool yourself is very useful. Just say the name again, and spell it out for people. Jamie: It's Inkwren. My own personal publishing company is Blackbird Publishing, and I wanted something related to birds and writing. So I came up with Inkwren, which is I-N-K-W-R-E-N, and it's just inkwren.com. Jo: And it is available for other people to potentially buy and use? Jamie: Yes, it is. Jo: Well, I think that's super useful, because it's very hard when people are starting out and they think, “Oh, I've only got one book—why would I need any kind of tool to manage it?” But over the years, your backlist grows, especially with short stories. So I love that you've built this, and there's probably more that you can add over time as you expand the business yourself. So much potential. So we are at the end. Where can people find you and your books and everything you do online? Jamie: My author website is JamieFerguson.com. And then, obviously, I mentioned Inkwren earlier. My publishing company is BlackbirdPublishing.com. And then the projects I'm doing with Tami and DeAnna—we have a couple of websites, but the easiest way to find us is our press, which is BorogrovePress.com. Jo: Fantastic. Well, thanks so much for your time, Jamie. That was great. Jamie: Thanks, Joanna.The post Bundles, Box Sets and Anthologies With Jamie Ferguson first appeared on The Creative Penn.

About Dave EmoryDavid Emory is a political researcher and broadcaster whose California-based radio programs are heard on a regular basis in the United States, Canada and Europe.Mr. Emory's broadcasts focus on the U.S. military and intelligence community's historical involvement with international fascism. Researching such national security establishment abuses as domestic and foreign political assassinations, and governmental complicity with organized crime and drug smuggling syndicates, Mr. Emory has distilled his academic research into an archival documentary format. These “archive” programs consist of excerpts from printed sources read during his broadcasts.Mr. Emory's programs have been featured on a regular basis on Pacifica stations KPFK (Los Angeles) and WBAI (New York), and many smaller stations. He has appeared as guest on major commercial stations including KGO-AM (San Francisco) and WLUP-AM (Chicago) and as an expert commentator on broadcast outlets in three continents. Audio cassette copies of the archive programs are also circulated internationally.Mr. Emory began his work during the Watergate era when he noted numerous connections between that scandal and the assassination of President Kennedy. Pursuing his work on the JFK assassination, Mr. Emory discovered Nazi General Reinhard Gehlen's Eastern front spy apparatus, and its incorporation into the CIA after World War II. This led Mr. Emory to study the origins of fascism and its influence on the contemporary world.Mr. Emory graduated from Amherst College with a B.A. in psychology.Become a supporter of this podcast: https://www.spreaker.com/podcast/the-opperman-report--1198501/support.

What happens when real estate stops being about the transaction and becomes about truly listening to people? In this episode of the Real Estate Excellence Podcast, Tracy Hayes sits down with Debora McCarty. Debora is a Watson Realty real estate professional serving Jacksonville, Saint Johns County, and surrounding Northeast Florida communities after a career path that began in Brazil, continued through family life and teaching, and eventually led her into real estate. Her story shows how teaching, patience, community involvement, and deep preparation shaped the way she guides buyers and sellers through complicated decisions. In this conversation, Debora shares why education gives agents confidence, why consistency matters more than shortcuts, how relationships can become the foundation of a sustainable business, and why sellers must understand today's market as an adjustment rather than a collapse. Listen to the full episode to hear how Debora uses calm guidance, local knowledge, and genuine care to help clients navigate Northeast Florida real estate with confidence.   HighlightsTop of FormBottom of Form 00:00 - 09:24 From Brazil To The Classroom To Real Estate Brazilian background and move to the United States Life as a homemaker and community volunteer Teaching certification after divorce Computer education at Fruit Cove Middle School Choosing real estate after years of interest 09:24 - 18:07 Why Education Creates Confident Agents Passing the real estate exam on the first try Learning through Watson and NEFAR classes Why agents should repeat important courses The risk of using outdated forms Researching success through coaching and online learning 18:07 - 29:39 Building A Business Through Relationships Consistency as the key for new agents Ninja Selling and relationship-based business Staying connected through notes and follow up Helping clients beyond a simple transaction Matching buyers and sellers by listening closely 29:39 - 44:08 Turning Client Care Into Referrals Creating client experiences worth talking about Helping a family before they were ready to sell Earning referrals through patience and trust Handling difficult transactions with office support Inspection issues and polybutylene piping challenges 44:08 - 53:02 Navigating Market Taxes And Location Choices Florida property tax relief conversation Homestead portability and long-term savings Tax shock with new construction purchases Jacksonville and Saint John's lifestyle questions Low interest rates and seller motivation 53:02 - 01:18:09 Motivation Technology And Lasting Success Understanding why a client really wants to move Guiding clients through rate concerns Using technology and AI as real estate tools Building trust through knowledge and communication Final advice on service education and consistency   Quotes: "I love helping people." – Debora McCarty "If you know your work, you know your trade, you can provide that best service for your client." – Debora McCarty "You have to continue your education." – Debora McCarty "I want to become the best real estate agent I can possibly be for my clients." – Debora McCarty   To contact Debora McCarty, learn more about her business, and make her a part of your network, make sure to follow her Website, Instagram, Facebook, YouTube, and LinkedIn.   Connect with Debora McCarty! Website: https://www.deboramccarty.realtor/ Instagram: https://www.instagram.com/debora.mccarty.realtor/ Facebook: https://www.facebook.com/Debora.McCarty.REALTOR YouTube: https://www.youtube.com/@DeboraMcCartyRealtor LinkedIn: https://www.linkedin.com/in/d%C3%A9bora-mccarty-607aba40/   Connect with me! Website: toprealtorjacksonville.com   Website: toprealtorstaugustine.com    SUBSCRIBE & LEAVE A 5-STAR REVIEW as we discuss real estate excellence with the best of the best.   #RealEstateExcellence #TracyHayes #RealEstateExcellence #DeboraMcCarty #WatsonRealty #JacksonvilleRealEstate #SaintJohnsCounty #NortheastFloridaRealEstate #FloridaRealtor #RealEstateAgent #RealEstateEducation #ClientFirst #RelationshipMarketing #NinjaSelling #HomeBuying #HomeSelling #RealEstatePodcast #JacksonvilleHomes #SaintJohnsHomes #RealEstateTips #MarketKnowledge #RealtorLife

In this episode of Soul Sense, Mark Verkler sits down with author, coach, and teacher Tony Stoltzfus to explore how God transforms us through relationship with Jesus—not just through discipline, effort, or trying harder.Tony shares his journey from being driven by self-discipline and performance to discovering the freedom of grace, learning to encounter Jesus in the middle of suffering, and finding a deeper way to read Scripture through imagination and experience.Tony also shares powerful stories of betrayal, loss, forgiveness, and how God can redeem even the deepest wounds.If you are walking through a difficult season, feeling stuck in performance, or longing for a deeper relationship with Jesus, this conversation offers hope and practical ways to meet God in the middle of your story.

Government proposal writing can fall apart over a single missed sentence, and that's exactly what happened on a $20 million, five-year federal contract that proposal strategist Zach Golden still calls his "nightmare." In this episode, Zach breaks down his stage-by-stage proposal process, from building a bid/no-bid matrix to using AI for compliance checks, and explains the costly lesson that changed how he reviews every requirement before submission. Key takeaways from this episode: How to build a proposal matrix that filters bid/no-bid decisions in under 15 minutes Why a missed training documentation clause led to a "not technically acceptable" rejection on a $20 million janitorial contract How AI-assisted compliance checks now catch buried requirements humans miss on complex, multi-building contracts Why clarifying scope discrepancies upfront prevents change order disputes with contracting officers How incumbent research and pricing intel shape a stronger proposal strategy EPISODE CHAPTERS: 0:00 - Introduction to the Federal Help Center podcast 0:50 - Building the proposal bid no bid matrix 1:30 - Editing the AI generated proposal outline 2:24 - Running compliance checks after writing proposals 3:04 - Clarifying scope discrepancies to avoid change orders 4:21 - Researching incumbents and pricing before bidding 4:50 - The 20 million dollar janitorial contract story 6:00 - Receiving the not technically acceptable rejection 6:28 - Requesting a debrief and finding the missed clause 7:38 - How AI would have caught the compliance gap   Mindy gives you the federal opportunities, agency signals, recompete intel, and pursuit briefs that tell you not just what contracts exist, but which ones to chase and how to win them. Sign up for free Daily Alerts and get opportunities delivered to your inbox before the day starts.

Get the FREE GUIDE to 10 Nonclinical Careers at nonclinicalphysicians.com/freeguide. Get a list of 70 nontraditional jobs at nonclinicalphysicians.com/70jobs.                                                                                                 =============== Most physicians in career transition work through the process alone. Researching, applying, second-guessing, and starting over without much outside input. In this solo masterclass, John makes the case for a different approach: the mastermind group. It's a structured peer process that's been used in business for decades, rarely applied to physician career development, and significantly more effective than going it alone. John covers what a mastermind actually is, how the hot seat process works, and how he ran his own monthly 10-minute mastermind groups for physicians.

Building relationships with contracting officers before a solicitation ever drops is one of the most overlooked strategies in federal contracting, and it's exactly what separates small businesses who win from those who just show up to bid. In this clip from the Federal Help Center podcast, Randie Ward breaks down how one small business turned years of relationship building into a $2 million job order contract win, plus a federal opportunity that got shortlisted simply because the right people already knew her name. If you are tired of submitting proposals into a black hole, this episode shows you what to do months before the RFP even exists. How researching forecasted opportunities and pre-solicitations before they post helped win a 51-page proposal against multiple competitors Why job order contracts (JOCs) function like an IDIQ and how relationship building unlocked a $2 million, two-year project The rule every contractor should know: program managers and contracting personnel can still talk to you before the RFQ or RFP drops, but not after How maintaining a multi-year relationship with an FAA contact who later became a contracting officer led to new opportunity alerts Why attending industry conferences like SAME (Society of American Military Engineers) and simply introducing yourself can connect you directly with a head of contracting EPISODE CHAPTERS: 0:00 - Introduction to building relationships before bidding 0:32 - How a JOC relationship led to a 2 million dollar win 1:09 - Why the 51 page proposal required strategic preparation 1:46 - Researching pre-solicitations and forecasted opportunities early 2:33 - The rule on contacting officials before the RFQ or RFP 3:10 - Maintaining a long-term relationship with an FAA contracting officer 3:57 - Turning a Christmas check-in into a new contract lead 4:33 - Why showing up on their radar changes your odds 5:08 - Building courage as an introvert to network in person 5:51 - Audience questions on building relationships and getting found 6:14 - Meeting a head of contracting at a SAME conference 7:11 - Closing thoughts on stepping outside your comfort zone Mindy gives you the federal opportunities, agency signals, recompete intel, and pursuit briefs that tell you not just what contracts exist, but which ones to chase and how to win them. Sign up for free Daily Alerts and get opportunities delivered to your inbox before the day starts.

This Road to Macstock features a discussion with Brian Hensen about his evolving role as the event's master of ceremonies. From speaker wrangler to stage host. Brian previews how this year's Macstock will let him spotlight the people who inspire him, comments on the event's welcoming Apple community, and reflects on the value of shared learning, speaker preparation, podcasting, and personal connections that are at the core of the Macstock experience. This edition of MacVoices is brought to you by the MacVoices Dispatch, our weekly newsletter that keeps you up-to-date on any and all MacVoices-related information. Subscribe today and don't miss a thing. Show Notes: Chapters: 00:28 Introducing Brian Henson and the Road to Macstock 01:23 From speaker wrangler to master of ceremonies 03:54 The Ecamm workshop before Macstock 06:36 Looking forward to speaker surprises 07:04 Memorable presentations that changed perspectives 09:19 Passion as the common thread among presenters 11:53 Friends, listeners, and overlapping communities 14:30 Meeting people beyond the hosts and presenters 15:22 Macstock's unusually open event culture 17:55 Macstock's connection to the old Macworld spirit 18:56 Brian's plans for Macstock 10 introductions 21:03 Spotlighting speakers and community members 24:06 Researching guests and preparing better transitions 28:12 Encouraging attendees to come to Crystal Lake 31:10 Podcasting history and long-term consistency 37:21 Event details and invitation to attend Links: Macstock Conference: http://macstockconference.com Guests: Get detailed bios and contact information about for the panel on the MacVoices Live! Panel page on our web site: https://macvoices.com/macvoiceslive/macvoices-live-panel/ Support: Become a MacVoices Patron on Patreon      http://patreon.com/macvoices      Enjoy this episode? Make a one-time donation with PayPal Connect: Web:      http://macvoices.com Twitter: http://www.twitter.com/chuckjoiner      http://www.twitter.com/macvoices Mastodon:      https://mastodon.cloud/@chuckjoiner Facebook:      http://www.facebook.com/chuck.joiner MacVoices Page on Facebook:      http://www.facebook.com/macvoices/ MacVoices Group on Facebook:      http://www.facebook.com/groups/macvoice LinkedIn:      https://www.linkedin.com/in/chuckjoiner/ Instagram:      https://www.instagram.com/chuckjoiner/ Subscribe:      Audio in iTunes      Video in iTunes      Subscribe manually via iTunes or any podcatcher: Audio: http://www.macvoices.com/rss/macvoicesrss      Video: http://www.macvoices.com/rss/macvoicesvideorss

South Africa's history is a fascinating migration story, with people arriving from all over the world and others leaving to build new lives in other lands. Understanding the patterns of immigration and emigration can open up new doors in your genealogical research, revealing the journeys your ancestors took, why they moved, and where they settled. Let's explore the various waves of migration to and from South Africa and how you can trace these movements in your family history... Podcast Notes: https://ancestralfindings.com/researching-south-african-immigration-and-emigration-patterns/ Ancestral Findings Podcast: https://ancestralfindings.com/podcast This Week's Free Genealogy Lookups: https://ancestralfindings.com/lookups Genealogy Giveaway: https://ancestralfindings.com/giveaway Genealogy eBooks: https://ancestralfindings.com/ebooks Follow Along: https://www.facebook.com/AncestralFindings https://www.instagram.com/ancestralfindings https://www.youtube.com/ancestralfindings Support Ancestral Findings: https://ancestralfindings.com/support https://ancestralfindings.com/paypal  #Genealogy #AncestralFindings #GenealogyClips

In this episode of Bold Journeys, we dig into one of the most important questions anyone wrestling with faith eventually faces: Is there real historical evidence for the resurrection of Jesus? New Testament scholar and author Dr. Mike Licona shares his personal battle with doubt, the research that reshaped his faith, and the historical case that convinced him the resurrection wasn't just a belief — it was an event grounded in eyewitness testimony and early Christian records. We talk through Paul's transformation, external historical sources, debates with skeptics, and why alternative explanations fall apart when you actually pressure‑test them. This conversation is honest, direct, and built for anyone navigating questions about faith, truth, and the foundation of Christianity. In This Episode Licona's journey through doubt The historical case for the resurrection Paul's testimony and early Christian creeds External sources: Josephus, Tacitus, and more How personal experience and evidence work together Stay Connected If these conversations help you think deeper and live with more clarity, make sure you're plugged in: Subscribe to the Bold Journeys Newsletter for weekly insights and episode updates Subscribe on YouTube for full episodes and clips Follow on Instagram for behind‑the‑scenes content and daily encouragement Your support helps this show reach more people who want more conversations on grit, faith and adventure. Chapters 00:00 Doubting the Resurrection 01:38 Meet Mike Licona 04:35 Campus Questions Today 09:22 Childhood and Conversion 15:38 From Music to Ministry 28:19 Researching the Evidence 35:50 Debate Prep Mindset 36:56 Did Jesus Exist 40:20 Resurrection Case Starts With Paul 47:01 Martyrdom And Eyewitness Claims 51:26 James Skeptic To Believer

In this episode of The Write Place, I'm joined once again by author Gemma Denham to talk about her new psychological thriller, The Inheritance.Kate and Patrick are struggling financially when an unexpected inheritance seems to offer the perfect escape: a Victorian townhouse on the north-east coast. But from the moment they arrive, things feel wrong. Objects disappear, footsteps sound in the night, and Kate begins to wonder whether someone is getting into the locked house, whether something more unsettling is at work, or whether she is losing her grip on reality. Gemma and I chat about the idea behind the book, balancing thriller and supernatural elements without tipping fully into horror, and why The Inheritance flowed so differently from the difficult second book she originally tried to write. We also talk honestly about second book syndrome, imposter syndrome, Goodreads reviews, publishing timelines, social media, marketing as an author, and the reality of building a writing career after your debut has gone out into the world. In this episode, we discuss: The creepy locked-house setup behind The Inheritance Writing suspense without crossing fully into supernatural horror  Why Gemma's original second book didn't quite work  The pressure that follows a debut novel  Plotting, character journals and visual references  Researching blessings and exorcisms with a local vicar  How reviews can feed imposter syndrome  The difference between writing for yourself and writing with a publisher waiting  Gemma's Darkest Hour and what she learned from pushing through a difficult project You can find out more about Gemma and her books at her website, GemmaDenham.com, and follow her on Instagram, Facebook and X. The Inheritance is available now in paperback and ebook.My book, Real Writers Never Quit, is out now: https://mybook.to/realwritersneverquitFollow me on Instagram: https://www.instagram.com/mrkelly2u/

After a first-hand experience with a witch, author and AWC graduate Inessa Jackson started researching the real world Wiccan community, and the result was her debut crime/thriller novel, Devil Mountain. In this episode, Inessa generously shares her quirky writing process, her experience learning the craft, publishing timeline and more! 00:00 Welcome04:17 Graduate spotlight10:21 Writing tip: Name your characters14:07 Writers in the wild16:35 WIN: The Divorce by Freida McFadden18:11 Word of the week: ‘Derrick’18:58 Interview with: Inessa Jackson20:00 Inessa describes Devil Mountain21:13 Inspirations for the book23:00 Themes of the novel24:30 Researching witches for the book26:04 The timeline to writing the novel28:00 What drew Inessa to the crime-thriller genre?29:30 Inessa’s experience with AWC30:47 Her Write Your Novel experience32:22 Crime and structure courses33:22 Post-It note plotting34:53 Daily writing routine36:52 Getting the publishing deal41:34 What readers take away44:29 Inessa’s writing tip46:53 Book recommendations48:28 Final thoughts Read the show notes Connect with Valerie and listeners in the podcast community on Facebook Visit WritersCentre.com.au | ValerieKhoo.comSee omnystudio.com/listener for privacy information.

⭐️ Episode 809 - Dani Vee and Emily Gale - The Wild Unknown 2045 Dear gentle listeners, In this episode I chat to Emily Gale about her new dystopian middle grade novel set in 2045. We chat about …

Preview for Later Today: Bruce Nichols reveals the entrepreneurial side of Henry David Thoreau, who significantly improved his family's pencil-making business. By researching German techniques and developing better graphite-boring methods, Thoreau created market-leading pencils. Despite his technical ingenuity, he eventually turned away from commerce toward a life of contemplation and letters at Walden.

In This Episode of Business Lunch: We explore the latest in AI tools, how they're using them for content creation, research, and business automation, and share practical tips for integrating AI into your workflow.Chapters:00:00 Navigating Parenthood and Business Challenges02:59 Leveraging AI for Content Creation05:57 Exploring AI Tools and Their Applications08:51 Choosing the Right AI Tools for Your Needs11:54 Integrating AI with Personal Knowledge Management14:53 The Role of Obsidian in AI Workflows21:30 The Role of AI in Coding and Management22:52 Understanding Client Needs and AI Utilization24:41 Navigating AI Tools: Productivity vs. Complexity26:35 Exploring AI Platforms and Their Unique Features28:30 Researching with AI: Tools and Preferences30:53 The Future of AI Content Creation32:45 Personalizing AI Interactions for Better Outcomes39:14 The Importance of Human Touch in AI-Driven Content42:20 AI as an Essential Tool for Business LeadersConnect with me on social:TikTok: Check out my TikTok HereInstagram: Check out my Instagram HereFacebook: Check out my Facebook HereLinkedIn: Check out my LinkedIn HereSubscribe to my YouTube

Quick question. What's the voice you hear describing what's happening on screen during a movie or a TV show for blind and low vision viewers? That's audio description. And somebody has to record it for every show, every movie, every piece of streaming content, every educational video on every major platform. Every single one. That is an enormous amount of work. And most voice actors have no idea how to get it. What Audio Description Actually Is AD is narration inserted into the natural pauses in a piece of video content, like dialogue, music, and sound effects, that describes what's happening visually. Character movements, facial expressions, scene changes, text on screen, important visual information that a viewer would otherwise miss if they can't see the picture. The narration is written in the present tense. It's delivered neutrally. The AD narrator describes. They don't editorialize. They are giving information logically but not characterizing it. And it has to fit precisely within the gaps in the existing audio, which means pacing is really important. The scripts are timed to the millisecond. The narrator has to hit very specific durations, sometimes very short ones, while still conveying the information clearly and in a warm, accessible way. It's a skill. It is a very highly sought after skill. It's in demand across every streaming platform. Netflix, Hulu, YouTube, Disney, Amazon, Apple, HBO. As well as broadcast, educational content, corporate video, and more. Accessibility compliance requirements mean this market is not shrinking. It is growing. Why Aren't More Voice Actors Pursuing It Part of it is visibility. AD narration doesn't usually get a credit in the traditional sense. It's not the kind of booking you post about on social media. The narrator is heard, not seen, and the whole point is that the narration blends seamlessly into the viewing experience. Part of it is that the scripts look really intimidating the first time you see them. They're formatted differently from any standard voiceover script. There are time codes and pacing notes and flagged lines with very tight windows to hit. It feels very technical in a way that commercial or corporate work doesn't. And part of it is there isn't a clear how do I get in path that gets talked about the way commercial or gaming or e-learning does. But here's the thing. The opacity is an opportunity. The barrier isn't talent. It's knowledge. Voice actors who understand how AD works, who have trained for the specific demands of the format, and who have appropriate samples in their portfolio are rare. And the buyers in this space know that. The Actual Craft Audio description narration isn't just a neutral read. It has a specific warmth and accessibility to it. You're a guide. You're not a reporter. You're helping someone experience a piece of content, and that requires a quality of presence and care that is specific but also learnable. The pacing demands are unique. AD scripts use notations like brisk or very brisk. The gap between two lines of dialogue might be four seconds and you have to convey meaningful visual information in that space clearly without rushing in a way that loses the listener. You need to deliver every line as if it counts while also being flexible about what gets used. It's a different muscle than commercial or video game or narration work. But it's absolutely buildable. And the voice actors who invest in training for it are walking into a niche with very little competition and pretty steady work. How to Position Yourself for AD Work First, get familiar with the format. Watch content with audio description turned on. Netflix, Amazon, YouTube all have accessibility settings. Turn it on for a show you're already watching and listen to the pacing, listen to the tone, notice how the narration sits in the audio environment. This is your market research and it costs you nothing. Second, build a sample. You cannot pitch AD work with a standard narration demo. You need a sample that demonstrates you understand the format, ideally built from fictional content. The sample should show tight pacing, appropriate tone, and ideally a mix of slower and brisk paced lines. Third, identify the buyers. AD is produced by post-production companies and accessibility service providers, not usually directly by studios or streaming platforms. Researching and building a contact list, just like you would for any other vertical, is important to do. And then frame it in your marketing. If you have an AD sample, say it. Put it on your website. Mention it in outreach. Most voice actor websites don't have AD sections. Having one immediately signals that you're someone who has done the work to understand the work. Why This Niche Matters Beyond the Bookings It's not a glamorous vertical. But it is so meaningful. Audio description exists because people deserve to experience art and storytelling and information fully, just as anyone else. The voice actor doing AD work is genuinely contributing to accessibility, to children and adults alike, and that work has human stakes to it. The commercial reality is strong, consistent, and growing. There aren't enough trained narrators to fill the demand. And the personal reality is strong because it's interesting work that requires real craft and you get paid for that craft. The door is open. Most people just haven't knocked on it yet. Want to Keep the Conversation Going? If you're interested in learning more about this, reach out. Mandy offers performance and business coaching and would love to help you get this part of your business going. Reach out at mandy@actingbusinessbootcamp.com.

When building your family tree it's easy to skip over your own parents. Just in time for Father's Day we are exploring practical strategies for uncovering and preserving your dad's life story. Learn how to get around privacy restrictions barriers on records, build a timeline, conduct interviews, and strategically fill in the gaps in your family history. ✔ SHOW NOTES: Get Lisa's video show notes pages here. (Coming Soon) (Premium Member Bonus Downloadable PDF in the Resources section.) Genealogy Gems Premium Members Exclusive Download: Premium Members have exclusive access to: Video classes and downloadable handouts The Genealogy Gems Premium Podcast Downloadable ad-free show notes PDF cheat sheets Become a member here. Learn more about Genealogy Gems Premium Membership. Our Sponsors for this episode: Newspapers.com Get 20% off a Publisher Extra subscription. Click here and use coupon code GenealogyGems MyHeritage Click here to start finding your family history at MyHeritage Visit Archives.com Get the Free Genealogy Gems Newsletter The Genealogy Gems email newsletter is the best way to stay informed about what's available with your Premium eLearning Membership. Sign up today here. Follow Lisa and Genealogy Gems: Instagram.com/genealogygemspodcast Facebook.com/genealogygems Pinterest.com/lisalouisecooke YouTube.com/GenealogyGems

Here is a pattern I've seen play out hundreds of times with high-achieving women: the more capable you are, the more convincing your avoidance becomes. Not the obvious kind — procrastination, distraction, scrolling. The sophisticated kind. The kind that looks exactly like doing something. Researching instead of starting. Refining the plan instead of executing it. Finding the most articulate explanation for why this particular moment isn't quite the right one. Intelligent avoidance doesn't feel like hiding. It feels productive. It generates a genuine sense of forward motion. And it keeps you exactly where you are. This episode is for the woman who is very smart, deeply self-aware in many ways, and still hasn't done the thing she knows she needs to do. It's not a judgment. It's an invitation to look at the pattern clearly — because the moment you can see it, it loses most of its power. Ready to go deeper? Grab my book, The Consistency Code: A Midlife Woman's Guide to Deep Health and Happiness, at https://theconsistencycode.com #GraceAndGritPodcast #MidlifeWomen #Avoidance #MidlifeHealth #WomenOver40 #HealthMindset #HighAchievers #TheConsistencyCode #MidlifeWellness #WomensHealth #Procrastination #SelfAwareness #SecondAct #WomenOver50 #OverthinkingWomen  

Welcome to Schauer Thoughts, this week we'll be dissecting the “MAHA Report” as well as it's strategy and “MAHA ELEVATE” proposal. Please know that there will be several more parts to this series so if there's anything you think I didn't get to or is worth emphasizing, I will absolutely be doing follow-ups and want you to hang tight - I very much hear and mirror your concern. Researching this episode has been heartbreaking like none other and I just appreciate you all taking the time to listen. Please review the sources below for all information, it is of the utmost importance right now that we all stay informed. Download Hily Dating App from the App Store or Google Play, or visit ⁠https://hily.go.link/jRMKW I do also plan on searching for actionable items and ways to recognize front groups, but I do need some time to collect and format that information. Please know that hope is never lost.  Nuance: I do apologize for my poor pronunciation of some medical conditions and other words, I am someone who loves to research outside of a school context so I don't get to hear most of these words spoken out loud by others. I foresee some red-hat-supporters running with this point for “evidence” of me being unintelligent and I'm covering my bases for when that eventually happens. My main reason for pointing this out is not to prevent people making fun of my pronunciation but more of a demonstration on how predictable some people are. Reminder: I love answering questions, if you have an assumption on any of my political stances, please just ask. *Spoiler* I am not a fan of the United States military and have very strong, informed opinions. Edit for 31:50 - I accidentally referred to RFK Jr. as “JFK” - this was a mistake lol. Books: Expecting Inequity: How the Maternal Health Crisis Affects Even the Wealthiest Black Americans - Khiara M. Bridges Sweet and Deadly: How Coca-Cola Spreads Disinformation and Makes Us Sick - Murray Carpenter A History of Transgender Medicine in the United States: From Margins to Mainstream - Carolyn Wolf-Gould, Dallas Denny, Jamison Green, Kyan Lynch, Editors Enshitification: Why Everything Suddenly Got Worse and What to Do About It - Cory Doctorow Astroturfing: Manufacturing Fake Grassroots Campaigns - S Williams Gifted Books: Queer Expressions: Expressive Art and Somatic Therapy Practices for Healing Body Trauma - Wednesdae Reim Ifrach REAT, ATR-BC, CLAT Healing the Land Teaches Us Who We Are: How Indigenous Cultural Resistance Can Restore the Earth, Recover Community, and Create Sustainable Futures - Maceo Carrillo Martinet, PhD Sleep and Its Meanings: Sociocultural Investigations from Critical Sleep Studies - Edited by Diletta De Cristofaro Mad Eden - Morgan Thomas MAHA Information: The MAHA Report - https://www.whitehouse.gov/wp-content/uploads/2025/05/MAHA-Report-The-White-House.pdf The MAHA Strategy - https://www.whitehouse.gov/wp-content/uploads/2025/09/The-MAHA-Strategy-WH.pdf  MAHA ELEVATE Model - https://www.cms.gov/priorities/innovation/innovation-models/maha-elevate  Resources: US Science After a Year of Trump  https://www.nature.com/immersive/d41586-026-00088-9/index.html  Senior NIH official pushes MAHA strategy to skeptical ADA audience https://www.statnews.com/2026/06/05/ada-conference-new-orleans-richard-woychik-synergy-nih-maha/ List of Wars Involving the United States https://en.wikipedia.org/wiki/Lists_of_wars_involving_the_United_States  Poisoning the Well: How Astroturfing Harms Trust in Advocacy Organizations https://journals.sagepub.com/doi/10.1177/23294965221123808 Psychiatrists say RFK Jr's take on SSRIs is an ‘oversimplification' of the problem https://www.kpbs.org/news/health/2026/05/07/psychiatrists-say-rfk-jr-s-take-on-ssris-is-an-oversimplification-of-the-problem S&T Digital Forgeries Report https://www.dhs.gov/sites/default/files/2023-06/23_0630_st_digital_forgeries_report_signed.pdf Example of why we really need  Scientific American (2013) - Natural versus Synthetic Chemicals Is a Gray Matter  https://www.scientificamerican.com/blog/guest-blog/natural-vs-synthetic-chemicals-is-a-gray-matter/ RFK Jr. Parrots Pete Hegseth, Says America is Too Fat for War https://newrepublic.com/post/205033/rfk-jr-parrots-pete-hegseth-says-america-fat-war-dietary-guidelines-hhs  White House asks for $16B in cuts to HHS, more money for war https://healthexec.com/topics/healthcare-management/healthcare-economics/white-house-asks-16b-cuts-hhs-more-money-war World Ward Wednesday: Farm Cadets https://www.thefoodhistorian.com/blog/world-war-wednesday-farm-cadets RFK Jr. talked about ‘reparenting' kids on wellness farms. We visit one that inspired him. https://www.npr.org/2026/04/29/nx-s1-5798733/rfk-jr-addiction-treatment-centers Up to 70% of Farmworkers Not Returning to California Farms following ICE Raids https://www.thepacker.com/70-farmworkers-not-returning-california-farms-following-ice-raids  ICE raids have deterred foreign farm workers, but farmers hope to make hiring easier https://www.npr.org/2025/12/02/nx-s1-5604903/ice-raids-have-deterred-foreign-farm-workers-but-farmers-hope-to-make-hiring-easier Automatic military draft registration takes effect in December. Here's how it would work https://www.cnn.com/2026/04/09/politics/us-military-draft-registration-2026 Selective Service - Who Must Register https://www.sss.gov/wp-content/uploads/2025/01/WhoMustRegisterChart_1-28-25-2.pdf   Military Medical Information Nuance Reminder: I am well aware that there are people in the US military that currently have these disorders/ diseases/ conditions, my *quite specific* emphasis is on the formal documentation and/or diagnosis (it's been medically charted by a physician) of these conditions PRIOR to entering the United States military. Apologies for the aggressive nuance, as someone raised around the military, I just know ~ deep in my soul ~ that someone is going to be so tempted to say “my boyfriends in the Army and he has ADHD!!” I'm very happy for y'all, but again, documented and/or diagnosed before entering the United States military.  Circular No. 100, War Department, Provost Marshal General's Office, Washington, November 9, 1863 - Annual Report of the Secretary of War, Washington: Government Printing Office, 1856 https://www.google.com/books/edition/Report_of_the_Secretary_of_War_which_Acc/EMVOAQAAMAAJ?gbpv=1 To find the information I was discussing go to page 74. Defects Found in Drafted Men (1919) https://collections.nlm.nih.gov/bookviewer?PID=nlm:nlmuid-9502639-bk To find the information I was discussing, go to page 49. Unfit for Service: Physical Fitness and Civic Obligation in World War II https://www.nps.gov/articles/000/unfit-for-service-physical-fitness-and-civic-obligation-in-world-war-ii.htm  Iraq War and Afghanistan  https://dmna.ny.gov/hro/agr/army/files/1557332720--AR%2040-501%20Standard%20of%20Medical%20Fitness.pdf  Current (2026) Disqualifying Conditions https://www.esd.whs.mil/Portals/54/Documents/DD/issuances/dodi/613003_vol1.PDF?ver=8i9QED7mH4XAA4zoSSIwZA%3D%3D  Military Command Exception https://www.health.mil/Military-Health-Topics/Privacy-and-Civil-Liberties/HIPAA-Compliance-within-the-MHS/Military-Command-Exception  Can You Join the Military with ADHD? https://www.additudemag.com/can-you-join-the-military-with-adhd/ Learn more about your ad choices. Visit podcastchoices.com/adchoices