Podcasts about sarco

In this episode, I sit down with Dr. Patrick DeHeer, who shares his incredible 33-year journey in podiatry, from treating NBA players with the Indiana Pacers to performing life-changing surgeries in Haiti and the Philippines. We talk about innovation in podiatry, global medical missions, and why teaching the next generation keeps him inspired. We also explore leadership, international outreach, his invention of the Aquinas Brace, and why he's more excited than ever to lead the profession forward. If you're a podiatrist or healthcare professional looking for a dose of purpose, passion, and perspective, this one's a must-listen. “My goal is to leave the profession better than I found it.” If you're enjoying the Podiatry Legends Podcast, please tell your podiatry friend and consider subscribing.  If you're looking for a speaker for an upcoming event, please email me at tyson@podiatrylegends.com, and we can discuss the range of topics I cover. 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On-Site TEAM Training Days around communication, leadership and marketing.   But let's have a chat first to see what best suits you. ONLINE CALENDAR Facebook Group: Podiatry Business Owners Club  Have you grabbed a copy of one of my books yet?  2014 – It's No Secret There's Money in Podiatry  2017 – It's No Secret There's Money in Small Business     (Un-Edited Podcast Transcript) Tyson E Franklin: [00:00:00] Hi, I am Tyson Franklin and welcome to this week's episode of the Podiatry Legends Podcast. With me today is Dr. Patrick Deheer, DPM from Indianapolis, Indiana. Now, if you recognise the name, 'cause it wasn't that many episodes ago, episode 373 when Patrick was on here with Ben Pearl, and Patrick Agnew. We were talking about Podiatry, student recruitment, research, and unity. So if you missed that episode. You need to go back and listen to it. But I picked up pretty early, , when I was talking to Patrick that he's had a pretty amazing Podiatrist career, which is why I wanted to get him back on the podcast. And when I looked through his bio and I saw how much you have actually done, I started to question how many podiatry lifetimes have you actually had? It's I'm looking through your BIO and I've gone. Where, how, where did you find the time to do all this? It's amazing. Patrick Deheer: Thank you. I get asked that question a lot, but I think it's just, I really love what I do and I have a hard time saying no. Tyson E Franklin: It has [00:01:00] to be because I picked that up when we were, did the other episode and you said that towards the end you said, I just love being a Podiatrist. Mm-hmm. And it was actually refreshing to hear someone say that, especially. How many years have you been a Podiatrist for now? Patrick Deheer: So I graduated from Podiatrist school at the Shoal College in 1990. I did a one year residency back then I'm from Indiana. I wanted to come back. All the residencies in Indiana were just one year. And then I did a fellowship with, which there weren't even fellowships after at that point, but I did a fellowship for a year after that. So I had two years of training and so I've been in practice for 33 years in total. Tyson E Franklin: Okay. I've gotta ask a question. Why Podiatrist? How did you get into Podiatrist in the first place? Patrick Deheer: Yeah, that's interesting. I went to Indiana University and I went to school as a pre-dental major and I was gonna be a dentist. And somewhere in my second year, I visited my dentist and I realised that was not a good choice [00:02:00] and, there were several things that didn't resonate with me, and at that point I wasn't sure what I wanted to do. So I was considering marine biology and some other things, and my counselor at IU actually recommended Podiatrist and I didn't know anything about it. And I was, had a, I was talking on the phone with my dad who played golf with a Podiatrist, and he said, well, I know Dr. Ralph Gibney, and he would, I'm sure you could visit him. I did and he loved his job. His patients loved him. He did surgery, had a normal lifestyle. I saw patients leave his office happy, like immediately feeling better. Yeah. He was very successful, just kind and generous and I was like, I can do, I could do that. That looks like a great career and I think. Being really involved with student recruitment, the secret sauce for sure is when a prospective student visits a Podiatrist, just like my experience was so many years ago. They see people who are happy, who love what they do, whose patients appreciate them, who they can help immediately. Feel better. And then, you have the [00:03:00] whole gamut of things you can do within Podiatrist, from diabetic limb salvage to sports medicine to pediatrics to total ankle replacements. So it really gives you a wide range of subspecialties within the profession. So you said you Tyson E Franklin: went Patrick Deheer: to Indiana University, is that right? Yes. Okay. Did you play basketball there as well? I didn't, my dad did. My dad was a very well known basketball player. I love basketball and I'm six foot five, but he was six foot 10 and oh geez, I'm not, I'm not as athletic as he was, but I love basketball. Basketball's been a big part of my life. And that's one of the reasons I was really excited to work with Indiana Pacers, which I was there team podiatrist for 30 years. Tyson E Franklin: I saw that. So you finished in 1990 and from 92 to 2022. You were the Podiatrist for the Indiana Pacers. Yes. How did you score that gig? Patrick Deheer: Well, there's a couple things that happened that led to that. One my mentor was Rick Lde, who was a really big name in [00:04:00] Podiatrist at that point in time nationally and internationally for that fact. He brought arthroscopy into Podiatrist. He was doing it unofficially. And then my dad, like I mentioned, was a big time basketball player. He was actually drafted by the Indiana Pacers in the late 1960s. Oh. And so they knew the name and they worked with Rick Lde and they wanted somebody in more of an official capacity than he had been doing it. And I was in the right place at the right time and I got along really well with the trainer, David Craig. And it just was a great relationship for 30 years. And I take it, you still go to the games? Occasionally. So, they made a change on the orthopedic whole team back in 2022 and they're like, well, we're gonna change everything. And I was like, okay, that's fine. I've done it for 30 years. That was enough. And they had a really nice on the court celebration for me where they recognised me before a game and gave me, I have a couple different jerseys that they've given me, but they gave me one with the number 30 on it to celebrate my 30 years. Oh, that's cool. It was really cool and [00:05:00] it was really fun working with professional athletes. There's a whole sort of nuance to that that I, a lot of people unfortunately don't get experience, but it is it can be challenging. It can be very hectic at times. There's, there can be a lot of pressure involved with it also but it's also incredibly rewarding. Tyson E Franklin: So as, as the Podiatrist for like. Uh, a basketball team at that level. What was it? Was it a a, a daily contact you had with them or was it something once a week you caught up with the players or they only came into your clinic when there was an issue? Patrick Deheer: More the latter, I would say, but I usually would see them at the beginning of the season, help with our orthotic prescriptions and evaluate them, and then as needed. Oftentimes the trainer would call me and ask me to either come to a game or practice and then occasionally they'd have the players would need something more urgent and they would come to my office. But it varied from year to year quite a bit on how much I did on just based on how much they needed me. Tyson E Franklin: Did you go along to the games when you [00:06:00] were the team Podiatrist at the time? Patrick Deheer: Yeah. Not all of them, but definitely some of them. And, they would, the Pacers are such a great organization. They actually had. Every medical specialty as part of their healthcare team and including like, pediatrics for the players kids. And so at the beginning of every year, they would have a a sort of a team doctor reception dinner, and then we would, they'd have a lottery for tickets for us for the games. They would have usually the general managers there and the coach and a player too. And we gotta interact with them and talk with 'em and hang out with 'em. It was just always really fun and the Pacers are just a first class organization and they were great to work with. Tyson E Franklin: What made you decide it was time to. Hang up the boots and not do that. Honestly, Patrick Deheer: it wasn't my decision. It was theirs. They were changing the whole orthopedic team, and yeah, and that's, that happens in sports and especially high levels like that. And initially I was a little bit caught off guard. I can't lie about that, but once I came to terms like, I've done this for a long time Tyson E Franklin: it's okay. [00:07:00] Yeah, I know because we have the Cairns Taipans where I live in the National Basketball League, and it was interesting when they first kicked off 20 something years ago, I was the Podiatrist for the team. Did that first two years. Then all of a sudden there was a change of coach. And they dropped us and just went with another. Podiatrist and we went, well, what the, and we're talking to the team doctor go, what happened there? He goes, oh, I had no control over it. This person knew this person and they've made that decision. I went, oh, okay. Anyway, it only lasted about five months, I think, with the other person. The next minute the coach was ringing up saying, please, we need you to come back. And I'm like, ah, I don't wanna do it now. And they're going, please. So we did, and we did it for the next 15 years. It was a long period of time, but we had a really good arrangement with them. Same thing, doing screens at the beginning of the year and we end up having a, like a corporate box at the game. So we were at every home game and we did a bit of a deal with them to actually get that, [00:08:00] which would be a lot cheaper in the NBL than in the NBAI bet. Yeah. Their budget would be a lot, a lot smaller too in the NBL over here than the NBA. It's crazy sports money over there. Yes it is. Had you worked with other sporting teams as well, or basketball was Patrick Deheer: the main sport you were involved in? Basketball? I worked with the women's. We have A-A-W-N-B-A team also, so I worked with them for a few years, not nearly as long as the Pacers but I worked with them. And then we have a college in Indianapolis called Butler University. I worked with 'em for a few years, but it was again, the basketball team. But I will say. Because of working with professional athletes, I do tend to get athletes from all different types of sports coming to my private office but now official capacity with another team. Tyson E Franklin: So with your career after you graduated and then you did your residency, which was one year back when you did it and you decided you were gonna stay in Indiana, what was the next stage of your career? Patrick Deheer: I've had a [00:09:00] interesting employment history. I worked, went to work for a large group where Rick Lundine, who was my mentor, was one of the owners, and then he left the group after about three years and then went to work for a hospital. So then I followed him and went to work for a hospital for a few years, and then we formed a multi-specialty group. Then I worked in that for a few years and I was like, I think I can do better on my own. So then I was out in practice private practice by myself for several years. And then about four and a half years ago or so the private equity involvement in medicine in the United States has really taken off. And it started in other specialties in medicine, but it hit, it was ha happening in Podiatrist then and still is for that matter. And I was approached by three or four different private equity firms that wanted to buy my practice and have me be involved with their company. And I enjoy, I sold my practice to Upper Line Health back then, and I've been part of that group since. Tyson E Franklin: With um, that transition into private practice, did you, did your practice cover all aspects of [00:10:00] Podiatrist or did you specialize in particular area? Patrick Deheer: I've done everything and I really enjoy all components of Podiatrist. My the things that I'm probably most known for. I'm a big reconstructive surgeon, so I do a lot of reconstructive surgery and I do a lot of pediatrics. Those are probably the two biggest things that I'm most, known for I'm also a residency director in at Ascension St. Vincent's, Indianapolis. And, but I've worked with residents my whole career. I've been a residency director for about six or seven years now. And but I've enjoyed teaching residents for, 33 years basically. And also you go to Haiti and do reconstructive surgery there. So, international medicine has been a big part of my career. I've been on 30 trips total around the world. I've been to several countries. The first one was in 2002. I went to Honduras. One of my former residents that I became really close to he was practicing in Little Rock, Arkansas in a large group there, asked him to go with them and he asked me if I [00:11:00] would join him. And so we went to Trujillo and which is on the eastern coast of Honduras. And, that was in 2002. It was a really kind of small hospital. There was about a hundred people on the, in the group that went there. Not all medical, but most medical we would actually take over the whole hospital. And it was something that just like, I just knew that was like me, like that was so, I just loved it so much and I had such an amazing experience that. I went back there twice and the third time I went, I actually brought with my daughter is my oldest child. She was in high school at the time and watching her go through that experience was probably one of my most favorite international trips. She worked in the eye clinic and just seeing her, see her experience and doing international medicine was really rewarding. Then I wanted to start to go to some other places, and then I stumbled on Haiti. And I really got involved with Haiti. I've been there by far the most, and started working in Haiti, [00:12:00] primarily doing Clubfoot. And in Haiti. I met Kay Wilkins, who was a pediatric orthopedic surgeon from Texas, San Antonio. We started working together on the Haitian Clubfoot project. I also, through my experience in Haiti, my first trip with one particular young man who I did surgery on. Who had a really difficult postoperative course. He was about a 12, 13, or 12-year-old boy who I did clubfoot surgery on. And after that first trip when I came back home, about a week later, I called down to the orthopedic surgeon who was covering our cases and taking care of the patients postoperatively. And we did several cases. I had my good friend Mike Baker, who's a Podiatrist residency director in Indianapolis also. And then we had an anesthesiologist from the. Hospital and Steve Offit, who's a Podiatrist who was a resident at the time, we went down together. So I called and asked how everybody was doing. We did maybe 30 surgeries or something, and they said Everybody's fine except for the kid. He had a really bad wound, dehiscence and infection we're gonna have to amputate his leg. And I said, well, [00:13:00] how long can you wait? And yeah, they said Could maybe wait a week or so. This young man, his name is Wilkin. He lived in the middle of Haiti and he had no paperwork, nothing. I was fortunate. I was in a fraternity at Indiana University and two of my fraternity brothers, their dad was our state senator, one of our state senators, and working through his office. In the Haitian embassy in the US we were able to get him a passport and visa. Within a week. There happened to be a group called the Timmy Foundation from Indianapolis and Porter Prince. They brought him up to Indianapolis. I got the hospital where I worked at that time to admit him. And I got a whole team of doctors involved, pediatricians, infectious disease, plastic surgeons, and we got his wound stabilized. Then one night we were going to do this big massive surgery on him and I fixed his other foot and then the plastic surgeons came in and they did a rectus abdominis flap from his stomach and connected it to fill in. He had a big [00:14:00] wound on his medial sort of heel area, and then they did a split thickness skin graft over that. We had to wait until all the regular surgeries were done 'cause everybody was doing it for and then he stayed in the hospital for about a month after that. And then there were some other people from a church who went with us too here. And one of them brought him into his home with his family and they took care of him for about three months while he rehab. And he was on the news, the story was on the news and in the newspaper. And then he some he became a little celebrity and, then some local people helped put him through a private school in Port-au-Prince, and he ended up healing both feet really well and moving on and living his life. And it was a long journey, but through that I really thought there has to be a better way of dealing with Clubfoot. So I started going to the University of Iowa and met Dr. Ponseti and I went out there several times and I got to know Dr. Ponseti pretty well. And I just loved working with him and learning from him. And he was the kind most kind, gentle man I've ever met [00:15:00] in my life. He was in his like 92, 93, somewhere early nineties. Oh, right. At that time, seeing patients and. A quick story. One of the most surreal nights of my life, the last time I was there, he invited me to his house for dinner, and his wife was equally famous in her profession. She, they were from Spain and she was a Spanish literature teacher, a professor. And so I go to their house and I'm having beer and pizza with these two 90 year olds who are incredibly famous respective professions. And it was just, I was just like, I cannot believe this. And then he asked me if I wanted to go up to his office and look at his original Deco Dega paintings. I'm like. Yes, let's go do that. That's, I mean, I still kind of get goosebumps thinking about that because , he is the biggest name in pediatric orthopedics, and being able to learn from him and spend as much time as I did with him was really influential in my career. And to still be performing at that age is incredible. That is incredible. Yeah. [00:16:00] His hands were arthritic at that point, but they were almost in the shape of the way he would mold the cast, the clubfoot cast on children. Yeah. 'cause he had done, the thing I loved about him is, he started. His technique in the fifties and everybody thought he was crazy and nobody understood it, and he just kept putting out research and research. In the sixties it was kites method. In the seventies it was posterior release in the eighties. Everybody's like, we don't know what to do now because none of this stuff works. Maybe we should look at that guy in Iowa. And they started looking at it as research. He just kept putting out research and they're like, this may be the answer. And now it's the standard of care according to the World Health Organization. And his story is just really amazing. I have other colleagues here in the US who spent time with him, like Mitzi Williams and learned from him. He didn't care about the initials after your name, if he wanted to help children and put in the effort to learn his technique and he wanted to teach you. And, he was such a kind gentleman. Like I mentioned before, I've never seen a [00:17:00] 90-year-old man get kissed by so many women in my life. People would just be so, I mean, these moms would be just overwhelmed with their appreciation for him and what he did for so many kids. So Tyson E Franklin: the young boy you were talking about before, who went through all that surgery and eventually you saved his limbs, did you ever catch up with him Patrick Deheer: later years? Yeah. I did. I went back several times and to the school he was at, and then the earthquake happened in 20 10 I think it was. I was, uh, I was signed up for this international mission board and I got called about a week after the earthquake in Porter Prince. And they said, you have to be at the airport and you have to bring your own food, your own water and clothes, and we don't know how long you're gonna be here. And so I had my family meet me at the airport and brought as much to as I could, and I flew from Indianapolis to Fort Lauderdale. And then I was in a small airport in Fort Lauderdale and I got on a private plane with two NBA basketball players in a famous football player [00:18:00] who were going down for the earthquake literally a week after. Desmond Howard Alonzo Morning in Samuel Dallen Bear. And so we went, we were on the same flight together and got into Porter Prince and the, there is like a filled hospital at the UN and a big tent. And I get there and they ask me what I do and I say, I'm a Podiatrist, foot and ankle surgeon. And they're like, what else can you do? And I'm like. I go, I can do wound care. And they're like, okay, you're in charge of wound care for the whole hospital. And so, and they're like, and these guys are gonna help you. And they had these Portuguese EMS guys who were there, there were people from all over the world there helping, and everybody was staying in the airport property, which was adjacent to where the UN was. And, they didn't speak any English. I didn't speak Portuguese. And but we would every day go around and premedicate all the patients in the hospital because they had really the, painful wounds, severe crush injuries, massive wounds all over. And then we'd go back through and I would do [00:19:00] wound debridement and do their dressing changes. And these guys helped me. We developed our own sort of way to communicate with each other. And I ended up being there for about eight days and sleeping on a cot with, no bathrooms available that, we just had to makeshift and eventually they got things set up for all the volunteers. And then I went home and through that I met, and one of my other heroes in medicine was John McDonald and he was. Down really the day after the earthquake from Florida. He was a retired cardiothoracic surgeon who got into wound care and he set up the wound care clinic that I took over. And then after I got back, John asked me if I would work in the wound care clinic that he was starting in Porter Prince and if I'd be in charge of the diabetic limb salvage part. And I said that, I said I would. So then I started working with him in Porter Prince at this Bernard Mes Hospital wound care center. So. Tyson E Franklin: Doing this overseas aid work, you must get a lot of enjoyment outta doing it. Patrick Deheer: I love it. I love it. It's not easy. My last trip last late fall was to the Philippines [00:20:00] and I had some travel issues. My total travel time to get to Manila was about 32 hours or so. And but you know, it made it worth it. The it was such a great experience Tyson E Franklin: do you normally go with a team of podiatrists when you. Go and visit Haiti. Do you have a group of podiatrists you go down with? Patrick Deheer: It varies from trip to trip. The more recent trips I've been on to Kenya and to the Philippines, I've gone with steps to walk, which Mark Myerson, who's a orthopedic foot and ankle surgeon, I've gotten to know real well from lecturing together and teaching together. And he started this nonprofit. And I think there, there aren't many podiatrists that are involved with it. There are a few. But he and I have really bonded and gotten to know each other and he asked me if I'd participate in, I really love how they set up their program 'cause it's very much educational based. And one of the things I learned from Kay Wilkins who I went to Haiti with is it's more about. Teaching and sharing your knowledge and experience instead of just what I call parachute medicine, where you go [00:21:00] in and you do 20 or 30 surgeries. It's really about teaching the teachers, especially if you can teach the teachers. Then it's gonna have a mushrooming effect. So you're gonna help, thousands of people instead of 10 or 20 people. Tyson E Franklin: So you are teaching other surgeons down there how to perform these procedures the right way, or? Patrick Deheer: Yes. Well, just, it's not so much that it's my experience in a lot of developing countries is. So for like, reconstructive type stuff, it's gonna be orthopedic surgeons. If it's more wound stuff, it'll be general surgeons. But it's, they just don't get the specialized training that we have. And so that's one of the things that we can bring is we have this knowledge base that they just haven't been exposed to. There are great, like orthopedic surgeons and do a lot of trauma for example, but they maybe don't do a lot of reconstructive flatfoot surgery or Yeah. Or any, yeah. Sarco or something like that where we can give them the, our share, our experience and knowledge and with steps to walk. I really love it [00:22:00] because there's usually five or so faculty and it's mostly foot and ankle orthopedic surgeons, and then myself and from all over the world. And the first day is. And it's all the orthopedic surgeons and residents from pretty much the whole country come in for this program. And so the first day there's a conference where we as faculty present the next day, they line up these patients for us to evaluate. So we evaluate them. They're actually interviewing us. Why we're evaluating, we're telling them what we think and what we would recommend, and then. The so that's on Tuesday. Then Wednesday and Thursday there are surgeries. And then Friday it's either like a cadaver lab or review the surgeries and it's just really great there for the surgeries, there's two faculty nurse, there's a lead surgeon and an assistant surgeon, and then usually two of the orthopedic residents are also on the case too. So there's usually four people on the case. It's really interesting since I have a strong background in pediatrics this year when we were in Manila, there were a lot of pediatric cases. More than half the cases were pediatrics. And the foot and [00:23:00] ankle orthopedic surgeons really don't do a lot of pediatric stuff. They're usually adults. They, usually it's the pediatric orthopedic surgeons who are doing the kids. And so they made meet the lead surgeon on all those cases which was really interesting. Tyson E Franklin: So are they different groups and organizations reaching out to you or are you searching for areas that you feel may need help? When Patrick Deheer: I first started, I was more me searching and trying to find opportunities. Now that I, my name is known people will approach me. For example, I've been working with a colleague in Barbados. She's a she graduated from Podiatrist school in England, and there are seven podiatrists in Barbados who are all non-surgical. And the country actually has a really high amputation rate. And one of the things that they determined, despite everything else that they're doing to try to help reduce that amputation rate, they just needed surgical Podiatrist to be part of it. And we talked at one of the APMA national meetings a couple years ago, and she asked me if I would come down to Barbados. And so I took two of my residents down a CO about. That was [00:24:00] about a year and a half ago and met with her and went to the hospital and I, I was like, yeah, we could definitely help here. There this things like, if a patient has a bunion, a diabetic patient has a bunion that nobody is fixing that, that then leads to an ulcer because it's such a bad bunion that could have been prevented. And. The problem, and this is pretty common in a lot of countries, is they really don't recognise surgical Podiatrist from a credentialing standpoint. And much so in countries like that, were under the English system, they have to change the law. So the government has to change the laws and a force in of nature. Simone McConney is her name, and she's been working with the government to try to give me an exemption so I can start coming down and demonstrating that we can influence the amputation rate and hopefully reduce that significantly. On that Tyson E Franklin: first trip that you just did, was that more of a reconnaissance trip? It was more to go down there and evaluate the area and what is [00:25:00] actually needed. You couldn't actually go down there and perform surgery. Patrick Deheer: Correct. We did see some, we did see patients at a diabetic center and did some minor things like some and things like that. But yeah, it was more, it's more about, and one of the things I've learned is and people ask me about international medicine all the time. It's not going down and saying, here's what I can do. It's about going somewhere and saying, how can I help? What do you need? And then if you can help fulfill the need. Then great. And really, and especially if that can be centered around teaching the local doctors and working with them. And again, it's not that I know anything that I'm a better surgeon than anybody there. It's just I have this really super sub-specialized training that they haven't been exposed to. And then I can share that with them. Tyson E Franklin: Yeah. I've had a few Podiatrist on the podcast who have done some overseas work and there was one Australian Podiatrist and he's been traveling through South America for the last couple of years. Not doing surgery, but just making up inserts or whatever he can get his hands on. And just [00:26:00] doing general routine foot care on people. Mm-hmm. And educating 'em about footwear and protecting their feet. And he's been doing it for a couple of years now and absolutely loves it. Patrick Deheer: I I mean, I've made some maybe not the best decisions. Like I went to Iraq twice in the middle of the Gulf War, for example. Not this. Up in the world. But and Haiti, I've been in Haiti at times when Haiti was in total civil unrest. But I love it so much that the risk is worth it for me to be able to make a difference in people's lives, but also to share the knowledge and experience that I have accumulated over my 35 years and to pay it forward. Tyson E Franklin: So over this period of time you've done a lot of work overseas and, but you've been on a number of different boards and associations. How important is it is it for you to actually be involved in the profession in that way? Patrick Deheer: Well, when I [00:27:00] finished my residency I was at our state meeting and I was complaining about the quality of the meeting and they were like, okay, that's fine. You can be on the CE committee now, the continuing education committee. I'm like, okay, I'll do that. But don't ask me to get involved in politics 'cause I'm never gonna be doing that. I'm gonna be more in the educational stuff. Look at me now. I'm President elective, at APMA and I've had several board positions and i've been on a million committees. And I will o once I got on the board for our state association and went through all those stages or positions on the state board I really started to enjoy the leadership part of that. I liked trying to help direct where the profession is going and in. My whole thing is to leave it better than I found it. My father-in-law was also a Podiatrist and he passed away about a year and a half ago and is mid eighties. He worked in my office until he is like 82 or 83 and I loved Podiatrist, but he really loved Podiatrist and people like [00:28:00] him. My mentor, Rick Lde. I can, Teddy Clark, who was the a president of APMA from Indiana. He was the first African American president of APMA Earl Kaplan, Dalton Glary, who just recently passed away. All those people paved the way for us who are practicing now, and it's our responsibility to pay for pave the way for those people following us and to continue to advance the profession. And I can really do that at a high level. Being involved in a national organization like APMA. Tyson E Franklin: With the national board in the United States, do you connect with associations in other countries a lot or you don't have much to do with them? Patrick Deheer: N not a lot, somewhat, but I do think there's opportunity. It's been interesting to lecture internationally, like at the International Federation for Podiatrist meetings the global health or the global Podiatrist meetings. Yeah, I'm gonna be the speaker next year for it. And, seeing Podiatrist [00:29:00] grow all throughout the world in the different stages that it's in, in different countries is really encouraging. But I think that we need to first work on the lexicon so everybody's usually in the same. Terminology and then start to, to set some like qualifications to what those things mean. I really think they're, the two terms that need to be used, especially on the international platform, are podiatrists and podiatric surgeons, because yeah they're totally different. And you know what the qualifications are for those, I have my own opinions about, but I think the standards need to be set. And then all the countries who want to see Podiatrist flourish within their country need to figure out a way to meet those standards that have been set. Uh, Feel free to share your opinion, tell us what, what, how you think it should be. Yeah, I mean, I think that to be a Podiatrist, it should be a graduate degree, not my, not an undergraduate degree. And then I think to be a pediatric surgeon, you should have a postgraduate medical educational experience, like a residency program. [00:30:00] And I think those are the two qualifiers. I think board certification should be part of that too to be a pediatric surgeon. But the word, podology is used a lot. Chiropodist has still used some in some places. Yeah. And some of 'em are just like almost a technical degree versus a graduate degree. So I think if everybody could start to agree on some standards and some terminology, then everybody can work towards a common goal and help each other. Tyson E Franklin: , Some part of that I agree. And other parts I can see how other people be going. It's gonna be so confusing to try and get it standardised everywhere. Yeah. It's even the UK system they've started introducing. And if there's anyone from the UK listening this, and if I'm wrong please let me know. But they've introduced like apprenticeships where you don't have to be at the university for the whole four years. You can be doing a lot of your education in the clinic itself, and you go to university at different times and they're calling it like an apprenticeship program. Which [00:31:00] is a completely different pathway again. Patrick Deheer: Right. And in, I think in Canada it's more like an undergraduate degree too. I don't know the speci remember the specifics, but I've lectured in Canada and I've talked to a lot of Canadian podiatrists over the years. But again, not a lot of Canadian podiatrists are doing surgery. Kind of varies from province to Tyson E Franklin: province. Well, in Australia we pretty much finish high school and it's an undergraduate degree. We just go straight in, do Podiatrist. Four years later you come out and you start working. Patrick Deheer: Yeah and may maybe that some sort of hybrid model of that would be great. I just think that. It's an evolving profession and it's such an impactful profession on the healthcare system for all these countries that can improve patients' quality of life, keep people walking, keep people active and healthy dealing with problems like. Diabetes and obesity that are gonna lead to foot problems and reducing the complications associated with those [00:32:00] systemic diseases can really impact the overall healthcare system for countries. So I think it's so important for Podiatrist to be part of that equation, but we, we need to establish what the standards are to really have an impact in those healthcare systems. Tyson E Franklin: Yeah, and even if everybody got together, had a big meeting and you're all agreed, it would still be. Generations for, yeah, for it to roll out completely, because you'd have people that are just graduating now, so they've got a 30, 40 year career ahead of them. Patrick Deheer: For sure. And I think the US has set the standard and I think that, people, something along that line with Australia and England and what you've done and Spain now too, looking at all those models and trying to find something that is everybody can say, okay, this is what it means to be a Podiatrist and this is mean, what it means to be a pediatric surgeon. And then. Work with the support the country's podiatric associations to try to work with their [00:33:00] government to, to make that happen. Tyson E Franklin: This is what I found interesting doing the podcast and what I've enjoyed a lot is where I've had Podiatrist from India, from the UEA, from Mauritius, uk, Canada, South Africa, so many different parts of the world. When you talk to 'em and you go through the processes, everyone goes through. There's a lot of similarities between a lot of countries and then, America is on its own in the way that they actually do things. Patrick Deheer: For sure. I mentioned I graduated from Podiatrist school in 1990. To see the evolution of Podiatrist in the United States, even during my career is really amazing. I'm really proud of where we've. Gotten to, we still have things ways to go to really get to where the profession should be, but I'm really proud of the progress our profession has made during my career. Tyson E Franklin: What would you say has been the biggest change you've seen over your 30 years? Patrick Deheer: I really think [00:34:00] that the diabetic limb salvage has integrated Podiatrist into hospital healthcare systems. And then that has expanded, into things like trauma and into reconstructive surgery. Even more so, I think like in the 1970s here in Indiana, there was only one hospital in the whole state that would let podiatrists operate in the hospital. And that was here in Indianapolis. And now to think that, we can admit our own patients and do total ankle replacements or take trauma call or I'm doing pediatric surgery it's just an amazing how far it's come and, to see that progress. I think a lot of it was led by the diabetic limb salvage component of the profession and integrating that, and that helped to integrate Podiatrist into just the healthcare system and it became a key player and amputation prevention. Tyson E Franklin: So it wasn't one significant moment in time where things changed. It was progression over that period of time. [00:35:00] Patrick Deheer: I think guys like Larry Harless David Armstrong, Larry Lavery Robert Feinberg, Lee Rogers. Those people have really help from a diabetic limb salvage part, integrate the whole profession, I think. Tyson E Franklin: I wanna move ahead a little bit. You invented a thing called the Aquinas Brace. Patrick Deheer: Yeah. So I was running to try to lose weight and I got poster tibial tendonitis and I didn't wanna stop running. And I was wearing orthotics. I was taking some steroid pills but it still was really hurting. And so I realised I had Aquinas like everybody. I needed to stretch, so I was wearing a night splint at night to try to stretch out my calf, and I woke up at two in the morning because they're uncomfortable to sleep in. I looked down, I'm sleeping on my side with my knee bent, and I'm like, this is a complete waste of time. Has to go above your knee, or this is doing nothing. And so that was the genesis of it. I realised the brace needed to go above the knee, and then I also realised the foot position mattered too, that you need to have the foot [00:36:00] supinated so that you can lock them in tarsal joint. And then all the force is gonna be in the hind foot. But also when you supinate the foot, you externally rotate the tibia, which locks the knee. You can't lock your knee into full extension unless your tibia externally rotates via the screw home mechanism. So, that's where the idea came from. I had a friend who was a sales rep. I told him about it and he goes, I know the guy that can help us make this come to reality. So the three of us formed a company called IQ Medical Ricky Heath and John Moore. And I. And then we got brought the brace to market. It was really a learning experience for all three of us. It, like anything took much longer than we thought and cost a lot more money than we thought it would, but it's pretty amazing to see something that you dreamed up in your head, come to life into a real thing. Did you use it on yourself and did you get back running? So this was, it took us about five years from, it really took about five years to get it actually in production. I kept [00:37:00] running though. So Tyson E Franklin: did you end up, being one of your own patients testing this out on yourself. Patrick Deheer: Oh, yeah, I was testing all the sort of different versions of it coming up on myself for sure. I have a size 14 shoe, so it's really pushing the limits on the size of the brace, but I was able to try 'em out as we were going through different ideations of it. Tyson E Franklin: And this is what I was talking about when I did the introduction with you. Where you've had a very successful Podiatrist career. You've been on so many boards and associations and held so many different positions. You're gonna be the next president of the APMA. You've done all this volunteer work overseas, you've invented the Aquinas Brace . with all that going on, what's next? You must have other things in the pipeline you're going, I'm gonna do. I've got more to do. Yeah. Patrick Deheer: I, my favorite thing that I do in Podiatrist is being a residency director. I love it. Okay. I have we have [00:38:00] 12 residents at our program, so we have four per year, or it's a three year residency, and I've become really close to the residents. We have a great program and I just love teaching. I, I love watching the residents develop. We just had a new group start a week ago. So watching 'em develop from July 1st when they start over three years to the June 30th of their third year when they graduate, and I've seen them out. We always have our graduation party in kind of mid-June and it's a kind of a running joke at our residency program that. I cannot get through my speech at their graduation party without getting very emotional because they become like my kids. And yeah I'm so close to them and I'm so proud of them, and I can see what they have to offer to not only their patients but the professional also going forward. And just, it really, it's really something that I love doing and I feel honored to be able to teach them. Tyson E Franklin: So when somebody does Podiatrist in United States, they go to Podiatrist [00:39:00] school, they finish? They get their degree. They've done an undergraduate degree beforehand, haven't they? Then they, yeah. Go to Podiatrist school. If somebody doesn't do residency, they can't work as a Podiatrist. Patrick Deheer: Right. They can't get licensed in the Tyson E Franklin: states Patrick Deheer: any longer Tyson E Franklin: without doing a residency. Yeah. So they do the Podiatrist school. Are there enough positions around the country residencies for everybody who graduates? Patrick Deheer: Yes. There are actually more residency spots now than students. Okay. That's good. Because I'd Tyson E Franklin: heard years ago that sometimes it was a struggle. People would finish and then it was difficult to try and find a residency. I mean, when I was going through it, that was the case. Yeah. And I take it all residencies are not equal. Some are better Patrick Deheer: reputation. Tyson E Franklin: Well, Patrick Deheer: they're all standardised. They're all three year residencies and they're all hold all accountable to the same standards by our governing organization, the Council in Podiatric Medical Education. With that being said, yes, there are some residency [00:40:00] programs that are the leading residency programs for sure. So you Tyson E Franklin: have 12 residencies spots in your program. So there'd be a lot of podiatrists if they really wanted to work with you. Do they contact you while they're in Podiatrist school and start reaching out that way? How do you actually select. He does nce. Yeah. So in, Patrick Deheer: in the US the, and the students during their fourth year rotate through different hospitals. Some, most of the time they're for one month rotations, some are for three month rotations. And it's a little bit of a getting to know each other. It's also part of their educational experience. So they're getting that practical experience and getting out of just the book experience from learning. So we have probably, around 50 to 60 students through the year coming through our residency program as externs. Somewhere between four and or so a month. And then the interviews for residency are always in January, mid-January. And then you rank the students how you like them and they rank the residency programs, how they like them. [00:41:00] And then there's a match that comes out in mid-May and then you find out who you match with. Tyson E Franklin: Okay, so it's not your decision on who actually gets the position. So it doesn't come down to anyone's personal preference that it's an external body that puts them all together. Patrick Deheer: Well, it's not so much an external body it's just you rank your top students and the students rank their top programs. If you pick student, a number one and student a picture, residency, number one, then you're gonna match and they're gonna be one of your residents. Tyson E Franklin: I get It's good to get some insight on how that process actually works, and it's also good knowing there's more residency spots than there are students Patrick Deheer: graduating. Yeah. And while they're here for a month, we get to know them, they get to know us. And then the interviews are part of the mix too. But really, while they're rotating is probably the most important part of it. Because I've had students who were number one in their class who wanted to do our residency, but. It wasn't necessarily a good fit from a culture [00:42:00] standpoint. We are very protective of our culture and sometimes maybe the, top students aren't the be the best fit. I've also had students who were number one in their class who are a great fit, who have been residents at our program too. But we are very protective over the culture. So we wanna look at the the perspective resident global, from a global standpoint and looking at them in the entirety of how they fit in the program. Tyson E Franklin: I think there's a fantastic point that anyone listening to this, even when you were just employing a team member, is you've gotta make sure they fit the culture of your business. Doesn't matter how qualified they are, doesn't matter how many other boxes they tick if they don't fit. It's always gonna be difficult, long term to make it work. Patrick Deheer: Absolutely. I talk to other residency directors and they talk about their challenges with certain, with residents. I never really have any issues with our residents. I think. Part of that is the culture we've established. And part of it is I have two chief residents that are in their third year. The third year residents, two of 'em are [00:43:00] chiefs. I rely really heavily on them. We work very closely. And then I have a program coordinator her name's Carrie and the four of us run the program together. And we all work together. And but everybody is part of it though. We're all, all, so. It would be 12 plus the program coordinator plus me, and we have a clinic, a Podiatrist who runs a clinic. So the 15 of us are all working together, plus we have about 50 podiatrists who are attending surgeons, who our residents work with. So we have a really. Big group of people that we work with, but our residents I, nothing really ever escalates to my level where I've gotta intervene. They just, they all work hard. They all come as willing, eager learners, and I always ask the new residents the same thing to leave the residency program better than they found it. Tyson E Franklin: Have you had anyone that's done the residency that it, they've got halfway through it and just went, this is not working out. We made a mistake. You're not the right fit. Patrick Deheer: Nope. [00:44:00] I, it's interesting I'm known for not being a big fan of fellowships. I think fellowships in the United States have needs to be reigned in. That's another year after training, after residency program are doing, and I think unfortunately, a lot of 'em have become, almost like a fourth year of residency. And fellowships really should be for really specific specialized training. Like if you wanna do diabetic limb salvage or you want to do pediatrics or whatever. But I tell our residents, if you think you need a fellowship because you didn't get adequate surgical training while you were at our residency program, that is my fault. I failed you. And so, in the case that you brought up, that would've been my responsibility. Not the problem of the resident. Tyson E Franklin: So before we wrap up, is there anything else you would like to talk about ? Patrick Deheer: Well, I think one of the other things you asked me about, what excites me now is I started, I invented a surgical a kit for Aquinas surgery for the bowel and gut. And I started a company with three of my sons. [00:45:00] So that's been really fun working with my sons. One of my sons also has a brace company where he sells AFOs and sells the Aquinas brace that I invented. But starting this company with my sons and working with family has been really fun. It some of my most cherished memories were working with my father-in-law when he was still alive and practicing. Even if he was just doing routine care, just hanging out in the office with him and talking shop over dinner and was fun. But I just, i'm really excited about the profession. It's been really great to me and that's why I feel a responsibility to pay it forward and to try to see that it's in a better place than when I entered it. And so that's why I put so much effort into it. I've been in charge of the student recruitment, which we talked about last time, which is another big, yeah. I'm working on right now and I'm really excited about that. And we're looking at expanding that into a branding campaign for the entire profession and getting all the key stakeholders in Podiatrist in the United States involved in that. And it's interesting 'cause osteopathic [00:46:00] medicine to that about. 15 years ago, and it had a really significant impact on osteopathic medicine. I think we can have the same impact on Podiatrist with a national branding campaign where we just elevate the awareness of Podiatrist so people understand what we do and understand that as a potential career for people who are in high school or undergraduate trying to figure out what they want to get into. And it's interesting, we work at a big, our residency's at a big teaching hospital and still their residents in general surgery or neurosurgery who don't really understand what we as podiatrists do, and our residents are interacting with them and say, yeah, oh yeah, we can work on that. And trying to save that limb from being amputated. And they're like, wow, you guys really do that? Tyson E Franklin: And that doesn't surprise me. 'cause nearly anyone I ever talk to when I tell 'em I was a podiatrist and you just explain. What you do, and they go, well, I didn't know you did that. That sounds really interesting. Patrick Deheer: Sure. And I do all parts of Podiatrist and I like all of it. I'm [00:47:00] not above trimming a 90-year-old lady's toenails. I mean, if I can trim a 90-year-old lady's toenails in a corn on her little toe and she walks outta my office and feels immediately better that's an honor for me to be able to help somebody like that. And I take that very seriously. Tyson E Franklin: Okay. Well, on that note, Patrick, I wanna thank you for coming back on the Podiatry Legends Podcast. Sharing part, Oh geez. You sharing part of your story. It's gonna be a smidgen of what you've done. You have done so much. This has been it's been a pleasure having you on here, so thank you very much. Patrick Deheer: It's been awesome having a conversation with You're such a great interviewer. Thank you for having me on. Well, thank you. I'm gonna take that, I'm gonna take, that's a big compliment. Thank you very much. You're really good.

Veckans recensioner: Sarco-grundarens självmord, TipTapp-skam, kan spindlar flanera, Bodegans nya ägare, El Maco Nuevo, Momentmagnitudskalan, Bobbes nya grekiska matambassadör, hästar med diabetes, ”Svenska Sim”, fåfänga sjöstjärnor, ordet ”insteg”, radiosignatur går i graven, seriefigurernas år och bogserbåt med bra namn.

These final 2 episodes of the Bardcast miniseries on Assisted dying stand together to share inspiring and touching monologues from Stephen Callaghan's beautiful play Pure dead Dangerous. (Julie's mum in this episode and The Priest in the 2nd episode.)We look at the dark comedy of the astonishing rhetoric around the Sarco (the suicide pod) that refers to it as ‘reliable and safe.'We ask whose values and choices are really respected when autonomy becomes the highest value in society and consider what values and ideas really help us. We encourage everyone to send episodes of this mini-series to friends and MPs or MSPs who need to imagine the possible unforeseen consequences of the Assisted Dying bill becoming law before it's too late.For those creatives wanting to attend the Write for Life Academy's next Activation Day in June 14th or online in October apply herewww.writeforlife.academy

In this 2nd part of the Sarco or Sanctity episode of our mini-series on Assisted dying, we ask whether drama can save lives. Sarah de Nordwall looks both at a profound monologue from the Priest in the play “Pure Dead Dangerous” and also a quote from Paul Tennant's play - “A Matter of Conscience” set in 1941. This is a section of the real life sermon that inspired the White Rose Movement of Sophie Scholl. Robert Cassidy also reads real stories from Dr John Wilkie's book “Assisted Suicide past and present” that teaches us how quickly safe guards fall and fail when Assisted Dying has been legal for a while. An episode full of striking facts and helpful considerations then reflects on the short but powerful life of Saint Jacinta who embraced her suffering and death at age 9 in order to save souls. We take her as our patron for this urgent cause of keeping government-sanctioned assisted suicide out of our culture and mindset. For those creatives wishing to help build a culture fit for life, do come to our next Activation Day either in June or October.Apply here www.writeforlife.academy

Notes et référencesArticle : Labens R, Saba C, Williams J, Hollis A, Ensink J, Jose-Cunilleras E, et al. Intratumoural tigilanol tiglate in the multicentre treatment of equine sarcoids and cutaneous melanomas. Equine Vet J. 2025. https://doi.org/10.1111/evj.14502Retrouvez toute la synthèse sur la fiche podcast juste ici : https://audmns.com/BsXUOXBPour nous suivre :1. Abonnez-vous à notre chaine pour profiter de l'intégralité des épisodes : Le Quart d'Heure Véto : décrypte et résume en moins de 15 min un article de biblio véto - Sur abonnement uniquementLe Véto du Mois : Partagez le temps d'une interview l'expérience de vétérinaires emblématiques de notre milieu, des rencontres conviviales, comme si nous étions dans votre salon au coin du feu. Podcasts bonus au fil des inspirations... 2. Le ScopeNous partageons avec vous nos dernières découvertes, inspirations, pistes de réflexion, nouveautés… À découvrir et utiliser dès maintenant, TOUT DE SUITE, dans votre quotidien de vétérinaire, de manager, de vie personnelle, de chef d'entreprise… Et tout cela en moins de 5 minutes top chrono un à 2 mardis par mois ! Je souhaite recevoir mon Scope : https://vetmasterclass.com/lescope/ 3. Contactez-nous, suivez-nous et donnez nous votre avis ! Des sujets que vous souhaiteriez approfondir, des références à partager, ou nous faire part de vos feed-backs :Abonnez-vous à notre chaine, donnez nous des étoiles, un commentaire et partagez autour de vous !Sur notre site : https://vetmasterclass.com/Sur Facebook : https://www.facebook.com/VmHorseSur Instagram : https://www.instagram.com/vetmasterclass/Sur YouTube : https://www.youtube.com/channel/UC18ovcWk9e-mFiTL34OQ03gSur Linkedin : https://www.linkedin.com/company/vetmasterclass-horse/about/Belle journée à tous, Et continuez à vivre votre métier avec Passion ! Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Sei mesi fa ha fatto scalpore il cosiddetto “caso Sarco”: nel Canton Sciaffusa, una statunitense sostenuta da un'associazione di aiuto al suicidio poco conosciuta in Svizzera, ha messo fine alla sua vita all'interno di una capsula sigillata nella quale è stato immesso dell'azoto. Sarco, appunto. Un caso che ha fatto molto discutere e sul quale è in corso un'indagine penale nei confronti di chi ha messo a disposizione la capsula e l'azoto.  Il caso Sarco ha però anche attirato l'attenzione della politica: sono stati presentati vari atti parlamentari a Berna e la Commissione degli affari giuridici del Consiglio degli Stati ha deciso di procedere a delle audizioni per valutare se sia necessario rafforzare il quadro legale. Attualmente non esiste in Svizzera una legge specifica sul suicidio assistito. L'articolo 115 del codice penale punisce chi spinge qualcuno al suicidio o aiuta qualcuno a togliersi la vita per “motivi egoistici”. Ne consegue, secondo un'interpretazione liberale, che chi aiuta qualcuno a suicidarsi per motivi altruistici è esente da colpe. È comunque la persona che vuole suicidarsi a dover compiere l'atto finale. Visto poi che la dose letale di pentobarbital di sodio – la sostanza usata nel suicidio assistito - necessita di una prescrizione medica, fa stato anche la Legge sugli agenti terapeutici e quella sugli stupefacenti. Anche le linee guida dell'Accademia svizzera delle scienze mediche (SAMS) stabiliscono alcune regole procedurali. Regole che non sono legalmente vincolanti ma chi non le rispetta rischia sanzioni da parte della Federazione dei medici  Nel corso degli ultimi decenni si è valutato più volte se fare una legge ad hoc, e si è sempre optato per lo status quo. Ora, come detto, il caso Sarco ha riaperto il dibattito, con vari atti parlamentari che chiedono di approfondire la questione su una legge ad hoc. Il percorso politico è agli inizi; a Modem ne parliamo da Berna con due deputati alle camere federali Mauro Poggia, consigliere agli Stati MCG/GEGiorgio Fonio, consigliere nazionale CENTRO/TI e con due interviste registrate a Samia Hurst-Majno, vicepresidente Commisione nazionale di etica per la medicina umanaErnesto Streit, responsabile di Exit Ticino

The story of Soylent Green is not just about mass cannibalism being hidden from the public but the way the older generations decide to voluntarily end their lives by going to what is called a Thanatorium. It literally was an assisted suicide center. No one dreamed that less than 40 years after the dystopian cinematic classic was released, assisted suicide clinics, exactly like the one depicted in the movie, would legally operate in Switzerland and service hundreds of people from around the world. The controversial SARCO suicide capsule looks like a compact spaceship that you get into, press a button, nitrogen fills up and you fall asleep and die. Is this a humane way to assist those who wish to depart peacefully from this physical realm or will it be used as a depopulation tool? Tonight on Ground Zero (7-10 pm, pacific time) Clyde Lewis talks with Paula Swope about THANATORIUM – FLYING THE SUICIDE SAUCER.Originally Broadcast On 9/25/24

Delicate and uncertain Illusionary Images 159 is here. Be sure to check out Illusionary Images on the first Thursday of every month exclusively on di.fm/djmixes. Max Cooper - The Missing Piece (Original Mix) [Mesh] Felix Rösch - Poly (Original Mix) [Felix Rösch] Sarco, Alpas - Dozing Off (Original Mix) [8589528 Records] Latteo, Xande (IT) - Eolian (Original Mix) [Amselcom] Sol Rising feat. Steven Argila - The River's Whisper (Original Mix) [Sol Rising] Flexible Fire feat. Alex Hentze - Aoranza (Original Mix) [Monstercat Silk] Thylacine, Aukai - Azure (Thylacine Rework) (Original Mix) [AUKAI] TWO LANES - Sign (Original Mix) [TWO LANES MUSIC] MayFlwr - Lonely Dancer (Original Mix) [951102 Records] Oliver River, Misc Inc. - Gloaming (Original Mix) [Oasis.] Nortas - Vingis (Original Mix) [Nortas] Beije - Away (Original Mix) [Sound Avenue] Etza - Aura (Original Mix) [Setting Sail Records] Noo, Faodail - Hold On (Extended Mix) [Enhanced Chill] KIDSØ - Ylva (Original Mix) [Embassy One] Nuage - Isolated (Original Mix) [House of Youth] Ryan Taubert - Memories (Original Mix) [Musicbed] Sina Bathaie - Rise (Original Mix) [Windcatcher Records] 6sept, Afnan Prince - Untamed (Extended Mix) [More Than A Feeling] Banyan - Obsidian (Extended Mix) [Lilly Era] Jones Meadow - Tsunami (Original Mix) [Epidemic Sound] pølaroit - Stay Like This (Original Mix) [NORR] Otherwish - Never Change (Original Mix) [This Never Happened] Bonsaye - Wons (Original Mix) [Epidemic Electronic] birø - Lost It All (Extended Mix) [Purified Records] Bound to Divide, imallryt - Hope (Extended Mix) [Sekora] UOAK, Ceci, Bound to Divide - Scent of Wood (Bound to Divide Extended Remix) [Sekora] Tagavaka - A Promise To The Sea (Extended Mix) [Anjunadeep Explorations] Fejká - Maara (Extended) [Coexist] TMPST, Slow Ted, Phil Odd - Closer (Extended Mix) [Sekora] Parra for Cuva - Ventilate (Monkey Safari Remix) [Parra for Cuva] Dokho - Found You (Extended Mix) [Colorize (Enhanced)] Thaylo - Fly Away (Extended Mix) [Sommersville Records] Sound of Fractures - Traces (Original Mix) [Sound of Fractures]

Pour accéder à l'intégralité de ce podcast et écouter chaque semaine un nouvel épisode du Quart d'Heure Véto, c'est très simple, il vous suffit de vous abonner en cliquant sur ce lien : https://m.audiomeans.fr/s/S-yUNSBZSR Notes et référencesArticle : Offer KS, Dixon CE, Sutton DGM. Treatment of equine sarcoids: A systematic review. Equine Vet J. 2024 Jan;56(1):12-25. doi: 10.1111/evj.13935. Epub 2023 Mar 23. PMID: 36917551.Retrouvez toute la synthèse sur la fiche podcast juste ici : https://audmns.com/hwpzDGoPour nous suivre :1. Abonnez-vous à notre chaine pour profiter de l'intégralité des épisodes : Le Quart d'Heure Véto : décrypte et résume en moins de 15 min un article de biblio véto - Sur abonnement uniquementLe Véto du Mois : Partagez le temps d'une interview l'expérience de vétérinaires emblématiques de notre milieu, des rencontres conviviales, comme si nous étions dans votre salon au coin du feu. Podcasts bonus au fil des inspirations... 2. Le ScopeNous partageons avec vous nos dernières découvertes, inspirations, pistes de réflexion, nouveautés… À découvrir et utiliser dès maintenant, TOUT DE SUITE, dans votre quotidien de vétérinaire, de manager, de vie personnelle, de chef d'entreprise… Et tout cela en moins de 5 minutes top chrono un à 2 mardis par mois ! Je souhaite recevoir mon Scope : https://vetmasterclass.com/lescope/ 3. Contactez-nous, suivez-nous et donnez nous votre avis ! Des sujets que vous souhaiteriez approfondir, des références à partager, ou nous faire part de vos feed-backs :Abonnez-vous à notre chaine, donnez nous des étoiles, un commentaire et partagez autour de vous !Sur notre site : https://vetmasterclass.com/Sur Facebook : https://www.facebook.com/VmHorseSur Instagram : https://www.instagram.com/vetmasterclass/Sur YouTube : https://www.youtube.com/channel/UC18ovcWk9e-mFiTL34OQ03gSur Linkedin : https://www.linkedin.com/company/vetmasterclass-horse/about/Belle journée à tous, Et continuez à vivre votre métier avec Passion !

Die Ermittler in der Causa Sarco schweigen, zugleich nimmt die Kritik an ihrem Vorgehen zu. Doch nun liegt ein Gerichtsurteil zu den Ermittlungen vor, das deutlich zeigt: Die Staatsanwaltschaft ist korrekt vorgegangen. Weitere Themen: · Über 13'000 Personen wehren sich gegen das Rottweilerverbot · Zürcher FDP lehnt erstmals ein neues Schulhaus ab · Winterthur-Grüze: Frau bei Gewaltdelikt verletzt; Täter stellt sich · Zwei Künstler finden einen Pilz, der leuchtet

En el evento Buscando Valor 2024, celebrado en el Palacio de la Bolsa de Madrid, Jaime Vázquez, cogestor del fondo Renta 4 Megatendencias Medio Ambiente, de Renta 4 Gestora, expone una tesis de inversión acerca de la compañía Spirax Sarco. A lo largo de la charla, Jaime expone los fundamentos específicos de la empresa y su posición estratégica en el mercado de vapor y fluidos industriales. Basándose en datos clave y un enfoque riguroso, se explican los motivos de cómo esta tesis de inversión ha entrado en el radar de los gestores.

Maladie inflammatoire, la sarcoïdose est une pathologie affectant le système immunitaire. Chez un patient qui n'est pas atteint par cette maladie, l'inflammation est une réaction normale du corps pour faire face à une blessure ou à une infection. Chez un sujet atteint par la sarcoïdose, l'inflammation apparait en l'absence d'une blessure ou d'une infection. Le système immunitaire, en réponse, va alors créer un amas de cellules inflammatoires et cela peut altérer les fonctions de l'organe touché : foie, yeux, pancréas, thyroïde… Comment expliquer ce qu'est la sarcoïdose à quelqu'un qui n'en a jamais entendu parler ? La sarcoïdose peut-elle être confondue avec d'autres maladies ? Pr Claire Le Jeunne, Professeur émérite en médecine interne à l'Hôpital Cochin-APHP à Paris Retrouvez l'émission en entier ici : La sarcoïdose

Maladie inflammatoire, la sarcoïdose est une pathologie affectant le système immunitaire. Chez un patient qui n'est pas atteint par cette maladie, l'inflammation est une réaction normale du corps pour faire face à une blessure ou à une infection. Chez un sujet atteint par la sarcoïdose, l'inflammation apparait en l'absence d'une blessure ou d'une infection. Le système immunitaire, en réponse, va alors créer un amas de cellules inflammatoires et cela peut altérer les fonctions de l'organe touché : foie, yeux, pancréas, thyroïde… Connait-on les causes de cette maladie ? Quelles en sont les complications possibles ? Quelle prise en charge existe ? Pr Claire Le Jeunne, professeur émérite en Médecine interne à l'Hôpital Cochin-APHP à Paris Pr Souhaibou Ndongo, interniste, rhumatologue à Dakar, chef du service de Médecine interne au Centre hospitalier national Dalal Jamm de Dakar, au Sénégal, auteur de plusieurs ouvrages notamment sur les maladies systémiques (Syndromes Généraux et Systémiques - Contexte Tropical) Taoussy L'Hadji, ancienne patiente guérie d'une sarcoïdose multiviscérale neurologique et présidente de l'Association sarcoïdose francophone.► En fin d'émission, nous parlons des conséquences d'un durcissement à l'accès à l'aide médicale de l'État (AME) sur la santé des femmes en situation administrative précaire, avec Dr Jean-François Corty, président de Médecins du Monde.Programmation musicale :► Free Nationals, Chronixx – Eternal light ► Binta, Musa Keys, KDDO – Outside.

Maladie inflammatoire, la sarcoïdose est une pathologie affectant le système immunitaire. Chez un patient qui n'est pas atteint par cette maladie, l'inflammation est une réaction normale du corps pour faire face à une blessure ou à une infection. Chez un sujet atteint par la sarcoïdose, l'inflammation apparait en l'absence d'une blessure ou d'une infection. Le système immunitaire, en réponse, va alors créer un amas de cellules inflammatoires et cela peut altérer les fonctions de l'organe touché : foie, yeux, pancréas, thyroïde… Connait-on les causes de cette maladie ? Quelles en sont les complications possibles ? Quelle prise en charge existe ? Pr Claire Le Jeunne, professeur émérite en Médecine interne à l'Hôpital Cochin-APHP à Paris Pr Souhaibou Ndongo, interniste, rhumatologue à Dakar, chef du service de Médecine interne au Centre hospitalier national Dalal Jamm de Dakar, au Sénégal, auteur de plusieurs ouvrages notamment sur les maladies systémiques (Syndromes Généraux et Systémiques - Contexte Tropical) Taoussy L'Hadji, ancienne patiente guérie d'une sarcoïdose multiviscérale neurologique et présidente de l'Association sarcoïdose francophone.► En fin d'émission, nous parlons des conséquences d'un durcissement à l'accès à l'aide médicale de l'État (AME) sur la santé des femmes en situation administrative précaire, avec Dr Jean-François Corty, président de Médecins du Monde.Programmation musicale :► Free Nationals, Chronixx – Eternal light ► Binta, Musa Keys, KDDO – Outside.

Gisteravond werd er in de Tweede Kamer gesproken over de Wet Voltooid Leven van D'66. De partij is al jarenlang bezig met deze wet die het makkelijker zou moeten maken voor ouderen om medische hulp bij zelfdoding te krijgen. Artsen en wetenschappers zijn kritisch en vrezen voor negatieve effecten voor kwetsbare ouderen. Presentator Jan Willem Wesselink gaat erover in gesprek met Kamerlid Anne-Marijke Podt.

0:00 Intro 0:30 Reus MLS-Meister 1:30 Güler nach Leverkusen? 4:20 Sarco x Leverkusen 5:55 BVB: Süle kämpft um neuen Vertrag 7:15 Kehl vor Vertragsverlängerung 7:45 Nmecha-Interesse aus England 8:50 Wanner als Millot-Nachfolger? 11:00 News aus Leipzig 12:15 Kevin Müller, Timothy Chandler und Naby Keita - das bringt die Zukunft 14:25 FC Bayern: Wer verlängert wann - So denkt Sane 19:00 Das ist der Zaragoza-Plan 20:00 Talk mit Hendrik Fischer 23:15 Die Wende bei Liverpool und Mo Salah? 24:35 Sportchef verlässt United 26.26 Nani beendet Karriere 27:23 Need for Speed - TU-Edition 29:40 Das passiert auf dem Zweitliga-Markt 33:30 Player to watch: Mathis Albert

Fin septembre, l'utilisation, dans le canton de Schaffhouse, de Sarco (une machine dans laquelle une personne peut se suicider) a fait polémique. Le Point J se penche sur la pratique du suicide assisté en Suisse (où il est autorisé mais soumis à des règles) avec Samia Hurst-Majno, bioéthicienne, médecin et vice-présidente de la Commission nationale d'éthique dans le domaine de la médecine humaine. Avertissement : cet épisode parle du suicide. Si vous avez besoin d'aide, vous pouvez contacter : - La Main Tendue, par téléphone au 143 et sur 143.ch (écoute et conseils pour les adultes) - Pro Juventute, par téléphone au 147 et sur 147.ch (écoute et conseils pour les jeunes) - Les Urgences, par téléphone au 144 Vous pouvez aussi trouver des ressources sur ces sites internet : - ciao.ch (pour les enfants et personnes adolescentes) - ontecoute.ch (pour les 18-25 ans) - stopsuicide.ch (pour la prévention du suicide des jeunes) - preventionsuicide-romandie.ch (Groupe romand prévention suicide) - santepsy.ch Journaliste: Grégoire Molle Réalisation: David Chapuis Nous écrire: +41 79 134 34 70 L'épisode a été corrigé suite à une erreur sur le prénom de Mme Roduit.

* Vicepremier en minister Eddy van Hijum over de vraag: hoeveel arbeidsmigranten passen er nog bij in ons land en wanneer is Nederland vol? * Coöperatie Laatste Wil kwam deze week met een capsule voor een - volgens hen - pijnloze dood in tegenstelling tot het eerdere omstreden middel X. Moeten we dat willen?

De Coöperatie Laatste Wil heeft een plan bedacht om de zelfdodingscapsule te gedogen in Nederland. Ze denken drie tot vier ‘Sarco's' nodig te hebben om aan de wensen van Nederlanders te voldoen. Er klinkt veel kritiek over deze nu nog verboden gedoogwens van de coöperatie. Kan het wel? En misschien nog wel belangrijker: is het wenselijk?  Presentator Jan Willem Wesselink gaat daarover in gesprek met: * Bert Homan, Coöperatie Laatste Wil * Marli Huijer, filosoof en voormalig huisarts

Breaking his silence, this week Exit Director and Sarco Creator, Dr Philip Nitschke, has spoken out about the first use of the Sarco, how the device operated exactly as planned, and the dirty politics which have since come into play. After 12 years of production and planning the Sarco was finally used in Switzerland on 23 September 2024 by a seriously ill American woman. She entered the Sarco unassisted, pressed the button unassisted, lost consciousness in < 2min, with death occurring at around 7 minutes. The police were notified of the death half an hour after she entered the device. While the Sarco worked precisely as expected, the aftermath of its first use has been controversial and the event surrounded by misinformation and fake news. To listen to Philip discuss the first use of the Sarco is to be better informed about the true events that took place, and why Sarco offers an accessible, drug-free option for those seeking a peaceful and reliable death. Video Podcast: https://www.exitinternational.net/VideoPodcast/VideoPodcastNov2024TueSUBTITLED.mp4

Join us as we confront the unsettling rise of the "culture of death." In this episode we explore the nuanced debate surrounding physician-free euthanasia as we spotlight the Sarco pod's chilling promise of a "peaceful" end. We cast a critical eye on the removal of protective barriers in the euthanasia process, questioning whether this aligns with the harsh realities of assisted suicide. We dissect the ethical and moral quandaries of this chilling innovation. These pods, with their potential AI-driven capabilities and cutting-edge 3D printing processes, raise critical questions about the normalization of self-termination and its implications on societal values and personal ethics. We trace the path from historical execution methods to the evolving acceptance of such technologies, urging you to reflect on the profound transformation of cultural attitudes towards death. This exploration challenges us to consider the role of media, cultural changes, and the continued quest for control over life's final act, presenting a sobering reminder of technology's impact on our most fundamental beliefs.Support the show

//The Wire//2300Z November 4, 2024////ROUTINE////BLUF: FBI ARRESTS POTENTIAL TERRORIST PLOTTING ATTACK ON POWER GRID. MEDIA SPECULATES IRANIAN COUNTERATTACK TO BEGIN TONIGHT. ELECTION FORTIFICATIONS CONTINUE IN USA.// -----BEGIN TEARLINE------International Events-Switzerland – Over the weekend additional details have come to light pertaining to the September arrests of the inventor of the Sarco death pods serviced by the assisted-death group Last Resort. The inventor and several others were arrested in September following a malfunction during the first operational use of their death pod. New details indicate that foul play is assessed to be a factor at this time, as a forensic medical examiner noted strangulation marks on the victim's neck. AC: As this exceptionally morbid and dystopian topic has received much attention over the past few years, the situation has not been made much better following the first victim of one of the death pods being found strangled to death. Initial information is sketchy at best, but most theories pertain to the idea that the death pod probably didn't actually kill the person inside it, and the developers probably had to murder their first customer instead.Middle East: Many mainstream media sources throughout the region are theorizing that an Iranian counterattack on Israel may take place tonight or tomorrow, so as to take advantage of the timing of the American Presidential election. AC: As always, nothing is confirmable via open sources. However, even though all mainstream media sources are largely propaganda outlets, it's possible that mainstream media groups run/influenced by intelligence agencies could indeed have inside information pertaining to Iranian attack plans.-HomeFront-United States: Election day fortifications and anti-personnel obstacles continue to be emplaced throughout most major US cities by government agencies and private businesses alike. Plywood barricades have been emplaced by most businesses and storefronts around the National Mall as has become standard during times of heightened potential for civil unrest.Tennessee: This afternoon a man was arrested for allegedly planning to conduct an attack on a power station near Nashville. The FBI identified the assailant as Skyler Philippi, who was arrested after attempting to use an explosive-laden drone to attack a power station.Gulf Coast: Tropical Depression 18L continues to develop strength, as most forecast models predict the storm strengthening into a Tropical Storm this evening. Initial forecast modeling indicates a general track toward Louisiana.-----END TEARLINE-----Analyst Comments: Not much is known regarding the incident in Nashville, however a cursory search of the alleged assailant's name returns substantial open-source investigation reports conducted by far-left groups hunting down alleged White Supremacist groups and/or people. This individual left a paper trail so far and wide as to be exceptionally suspicious, and probably attracted the attention of every federal agency that exists by his rather active online presence. In a continuation of previous DoJ takedowns of potential terrorists, the details surrounding this case raise questions as to how long the FBI was going to wait before stopping this assailant. Per the FBI's own press release, the individual had confessed to planning a mass shooting at a YMCA facility in June of this year. He had also scouted out the electrical facility multiple times, and openly conveyed all of his attack plans to undercover FBI agents in excruciating detail. Additionally, the assailant purchased C4 plastic explosives from an undercover agent, and later purchased black power to be used in the manufacture of IEDs as well. As if this was not enough to arrest the individual, he was able to assemble the explosive devices, attach at least one to a drone, travel to the facility, arm the explosives a

Lara and Carey record remotely as Lara spends her Halloween in Rome. They talk the Colosseum, the upcoming Vatican Jubilee (whatever that means), and Europe's ambivalence towards All Hallow's Eve. They also discuss a legitimately terrifying new twist in the Sarco su*cide pod saga and the power and glory of Lady Gaga's new music video. Then on RHOSLC, Lisa and Barlow's Alibaba showdown continues as Justin and John nearly come to blows. Bronwyn shows off her airport tradition with Grandpa-Husband and bans Britani (and possibly Heather) from her upcoming group trip to SoCal. Lisa and her younger sister bond under Edison lightbulbs and Britani invites Angie and Heather over for a Mormon prayer group at her house. John and Justin work it out on the remix over drinks and Heather heads to Bronwyn's home to clock dog poop and make a case for a vacation invite. Chapters: 00:00 It's a Nun Halloween for the Dolls 18:15 Sarco Suicide Pods Get Worse? 27:30 Mother Monster is Back 30:40 RHOSLC S5E7 Recap! More Lara & Carey Content: Subscribe to Once Upon a Time in Nashville to hear a new episode out now! Listen to this episode ad-free AND get access to weekly bonus episodes + video episodes by joining the SUP PATREON. Be cheap as hell and get full-length videos of the pod for free by subscribing to the SUP YOUTUBE. Relive the best moments of this iconic podcast by following the SUP TIKOK & SUP INSTAGRAM Sexy Unique Podcast is Produced By: Tiny Legends Productions, LLC Executive Producer: Stella Young Tech Director: Guy Robinson Art Director & Social Media: Ariel Moreno Sexy Unique Podcast is Edited by: Video & Audio Editor: Case Blackwell & Ness Smith-Savedoff

Aan tafel deze week: oud-diplomaat en vredesonderhandelaar Robert Serry, minister van Sociale Zaken en Werkgelegenheid Eddy van Heijum, Oost-Europa deskundige Marina Ohanjanyan, oud-Moskou-correspondent Michel Krielaars, psychiater Boudewijn Chabot, fotograaf en filmmaker Ahmet Polat  Presentatie: Pieter Jan Hagens  Wil je meer weten over de gasten in Buitenhof? Op onze website vind je meer informatie. Daar kan je deze aflevering ook terugkijken en je vindt er natuurlijk nog veel meer gesprekken:   https://bit.ly/buitenhof-27-okt-24  In de nacht van vrijdag op zaterdag kwam dan eindelijk de verwachte vergelding van Israël na de raketaanval van Iran een maand geleden. In Buitenhof: oud-diplomaat en voormalig VN gezant Robert Serry over de gevolgen van deze aanvallen voor de verhoudingen in het Midden-Oosten.      De duizenden dossiers met verkeerd berekende uitkeringen zijn slechts een onderdeel van de grote problemen bij uitvoeringsorganisatie UWV. Vicepremier en minister van Sociale Zaken en Werkgelegenheid Eddy van Hijum schuift aan over zijn plannen om het ingewikkelde systeem van sociale wetgeving te vereenvoudigen. En hoe kijkt hij naar het zwaar bevochten akkoord over het asielbeleid? Houdt dat stand?     In Oost-Europa mengt Rusland zich nadrukkelijk in de verkiezingen die daar in drie landen worden gehouden. Pro-Kremlin partijen lijken terrein te winnen. Wat is er aan de hand in deze voormalige Sovjetlanden, waar is Rusland op uit en wat betekent dit voor Europa? Een analyse van Oost-Europa deskundige Marina Ohanjanyan en oud-Moskou-correspondent Michel Krielaars.      Vorige maand maakte een vrouw in Zwitserland een einde aan haar leven door middel van de Sarco-capsule. Daarmee laait een gevoelige discussie over eigen regie bij levenseinde opnieuw op. De Nederlandse psychiater Boudewijn Chabot komt binnenkort met een eigen methode voor wat hij noemt een goede zelfdoding.    En fotograaf en filmmaker Ahmet Polat schuift aan met de nieuwsfoto. 

Aan tafel deze week: oud-diplomaat en vredesonderhandelaar Robert Serry, minister van Sociale Zaken en Werkgelegenheid Eddy van Heijum, Oost-Europa deskundige Marina Ohanjanyan, oud-Moskou-correspondent Michel Krielaars, psychiater Boudewijn Chabot, fotograaf en filmmaker Ahmet Polat  Presentatie: Pieter Jan Hagens  Wil je meer weten over de gasten in Buitenhof? Op onze website vind je meer informatie. Daar kan je deze aflevering ook terugkijken en je vindt er natuurlijk nog veel meer gesprekken:   https://bit.ly/buitenhof-27-okt-24  In de nacht van vrijdag op zaterdag kwam dan eindelijk de verwachte vergelding van Israël na de raketaanval van Iran een maand geleden. In Buitenhof: oud-diplomaat en voormalig VN gezant Robert Serry over de gevolgen van deze aanvallen voor de verhoudingen in het Midden-Oosten.      De duizenden dossiers met verkeerd berekende uitkeringen zijn slechts een onderdeel van de grote problemen bij uitvoeringsorganisatie UWV. Vicepremier en minister van Sociale Zaken en Werkgelegenheid Eddy van Hijum schuift aan over zijn plannen om het ingewikkelde systeem van sociale wetgeving te vereenvoudigen. En hoe kijkt hij naar het zwaar bevochten akkoord over het asielbeleid? Houdt dat stand?     In Oost-Europa mengt Rusland zich nadrukkelijk in de verkiezingen die daar in drie landen worden gehouden. Pro-Kremlin partijen lijken terrein te winnen. Wat is er aan de hand in deze voormalige Sovjetlanden, waar is Rusland op uit en wat betekent dit voor Europa? Een analyse van Oost-Europa deskundige Marina Ohanjanyan en oud-Moskou-correspondent Michel Krielaars.      Vorige maand maakte een vrouw in Zwitserland een einde aan haar leven door middel van de Sarco-capsule. Daarmee laait een gevoelige discussie over eigen regie bij levenseinde opnieuw op. De Nederlandse psychiater Boudewijn Chabot komt binnenkort met een eigen methode voor wat hij noemt een goede zelfdoding.    En fotograaf en filmmaker Ahmet Polat schuift aan met de nieuwsfoto. 

In der sargähnlichen Kapsel Sarco können sich Sterbewillige per Knopfdruck umbringen. Sarco hat die Debatte um Sterbehilfe befeuert: Braucht es mehr Gesetze – oder würde dies die heutige Praxis gefährden? Soll Sterbehilfe weiter liberalisiert werden – oder würde dies den Druck auf alte Menschen erhöhen? Mit Barbara Lüthi diskutieren: – Celina Schneider, Angehörige; – Marion Schafroth, Präsidentin «Exit Deutsche Schweiz»; – Nina Fehr Düsel, SVP-Nationalrätin und Juristin; – Heinz Rüegger, Theologe und Ethiker; – Raimund Klesse, Psychiater und Präsident der Hippokratischen Gesellschaft Schweiz; und – Bijan Fateh-Moghadam, Rechtsprofessor, Universität Basel. Schaltung: Ingrid Hieronymi, ehrenamtliche Unterstützerin von «The Last Resort»

Für Jennifer McLaughlin war klar: Sie wollte Suizid begehen und in einer Waldlichtung in der Schweiz in der «Sarco»-Kapsel sterben. Doch sie starb anders. In einem hinterlassenen Video erhebt sie schwere Vorwürfe gegen die Organisation hinter der Kapsel, insbesondere wegen kommerzieller Ausbeutung und unangemessenem Medienrummel.

Helllllllo Geoffs! This week Madison is truly embracing the Halloween spirit with some OG Haunted Houses! Next, Spencer discusses an update on the Sarco pod. We've got an an obituary with all the deets, one for a real halloween girly and so much more! Stay till the end because we've also got some dumb.ass.criminalllllls! Buy our book: prh.com/obitchuaryGet your Merch: wonderyshop.com/obitchuaryCome see us live on tour: obitchuarypodcast.comJoin our Patreon: Patreon.com/cultliterNew episodes come out every Thursday for free, with 1-week early access for Wondery+ subscribers.Follow along online: @obitchuarypod on Twitter & Instagram @obitchuarypodcast on TikTokCheck out Spencer's other podcast Cult Liter wherever you're listening!Write to us: obitpod@gmail.comSpencer Henry & Madison ReyesPO Box 18149 Long Beach, CA 90807Sources:https://www.nbc4i.com/news/u-s-world/pa-man-charged-with-felony-arson-for-flaming-bag-of-dog-poop-on-porch/https://apnews.com/article/italy-ai-weiwei-work-smashed-artist-bologna-3be001c81eb64991c92cdc98484a2534https://amp.theguardian.com/society/2024/sep/24/several-detained-in-switzerland-over-suicide-capsule-death-police-sayhttps://en.m.wikipedia.org/wiki/Suicide_baghttps://www.legacy.com/ca/obituaries/prpeak/name/helen-mackenzie-obituary?id=56282464https://www.foxnews.com/us/houston-robbery-suspect-dressed-michael-jackson-sought-subway-heisthttps://www.smithsonianmag.com/history/history-haunted-house-180957008/#:~:text=Lisa%20Morton%2C%20author%20of%20Trick,damage%2C%20vandalism%20and%20harassment%20ofhttps://www.theatreinparis.com/blog/the-horrific-history-behind-theatre-du-grand-guignol-in-parishttps://en.wikipedia.org/wiki/Grand_Guignolhttps://www.smithsonianmag.com/history/history-haunted-house-180957008/#:~:text=Lisa%20Morton%2C%20author%20of%20Trick,damage%2C%20vandalism%20and%20harassment%20ofhttps://hauntpay.com/2024/07/history-of-haunted-houses-how-attractions-evolved-over-time/https://ush.utah.gov/history/https://www.atlasobscura.com/places/castle-amphitheaterhttps://www.atlasobscura.com/articles/utah-state-haunted-castle-psychiatric-hospitalhttps://kslnewsradio.com/2014931/provo-castle-amphitheaters-long-winding-history/https://abc7.com/knots-fearvr-knotts-closing-halloween-ride-mental-health-at-scary-farm/1530097/https://www.deseret.com/1998/4/17/19375099/replace-haunted-castle-in-provo-advocates-for-mentally-ill-tell-leavitt/See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Scopri come la capsula Sarco, utilizzata per la prima volta in Svizzera, sta riaccendendo il dibattito etico e legale sul suicidio assistito. Un'innovazione controversa che solleva molte domande.#suicidioassistito #capsulasarco #finedivita #tecnologiaetica #debattoetico #eutanasia #dirittiumani #Svizzera #philipnitschke #ExitInternational

Diddy's baby oil parties, Tyrese is an idiot. Diddy's Miami property. Y encourages Andrea to start a YouTube channel. Candace goes in on Kamala. Will there be another President? So we just eat people now??!! Zelenskyy and Trump have a Father & son talk. They are spending our tax dollars! The first Sarco pod scandal!  If you want follow us online   https://twitter.com/theIn4mous  https://www.instagram.com/theinfamous4/  http://theinfamous4.com/ 

Ming the Maverick and Brian Nashel join TESD to talk comicons, late-age rocking and rolling, Kmart closed, and talking points for married couples. Bry brings back ‘suicide of the week'.

Thoughts of a massage with four hands (two people) and 8–9 litres of oil sounds like utter bliss to me. And more, from Ayurveda Parkschlösschen. Our roundup of the week's news, with Sasha Kehoe, covers: - Pope Francis's visit to Luxembourg on such a wet Thursday and the much-noted coffee-shop visit - Upcoming Austrian elections with a potential real far-right win - Former Prime Minister and President of the European Commission Jean-Claude Juncker addressing the ongoing rumours of his alleged alcoholism - Pirate Party Defections - Euthanasia in Switzerland - death in a Sarco capsule, which fills with nitrogen and causes death by hypoxia. - A bit of light relief with Pesto the Penguin at an Australian aquarium home Ayurveda Parkschlösschen and Nestwärme Ayurveda Parkschlösschen is not too far away at the Mosel river in Traben-Trarbach and is an oasis for the over-worked. Kathleen Landbeck is a naturopath and psychotherapist, who leads the Resilienz Retreat at Ayurveda Parkschlösschen. Maria Hebel is an Ayurvedic Practicioner at the centre. Dirk Hense represents Nestwärme - a family relief network across Germany, Luxembourg and Austria for families with physically or mentally handicapped children; families that need to become resilient to cope with the realities of their day-to-day existence. Ayurveda is an ancient holistic medical system which focusses on the human being as an individual, with individual problems and needs. Each person is viewed in terms of their ‘dosha' (body and personality type) to help us understand our personality type and traps. Whatever one's background or wealth, we face different challenges in life: burdens of work, relationships and health. We also face the burden of ourselves and the weight we put on ourselves through upbringing and culture around us. We've certainly come to realise that physical health impacts mental health and our microbiome. At Parkschlösschen they try to reset the digestive tract and calm the nervous system with a series of many of the things we know ourselves: good food habits, sleep, meditation, yoga, and a digital detox. We fall in to habits and traps, and in relationships: “Partners are our gurus, especially when it's difficult” Kathleen and Maria plus the team meet people as they arrive high on stress hormones. We are not always conscious of what's hurting us, or our unrealistic expectations. Why is it that we are so driven? Or can't meet the standards set by ourselves or others? Kathleen tries to develop the self love muscle. We learn about the Four Stages of Life: - Learning stage - when we are students or apprentices - Establishing stage through work and family; wealth creation - Doing to being - mentoring and giving back - Returning to our spiritual selves - retreating from the doing and rest in the being - We also learn about the importance of boundaries to maintain our emotional and physical health, and also learn about the five different levels of being: - Physical - Vital force - Mind - thoughts and emotions - Intellect - more subtle and stable than the mind - Bliss body - deep sleep, like in a meditation (or great sex!) Nestwärme Nestwärme helps families in a holistic way, fostering the feeling of community and diversity. It's so easy to feel alone with not much ‘extra' energy when faced with an on-going stressful family situation. And this is not an insignificant number - about 2-5% of families are touched by this in western European countries. The work is focused on health and wellbeing where the body follows the mind, plus the intrinsic need for belonging. The motto is ‘me, then you, then we'. We cannot sacrifice too much of ourselves or we burnout. Nestwärme have added 7 elements of building resilience: - Self awareness - Self regulation - realistic optimism - solution orientated - orientation to future - orientation to network - Ability of acceptance And they added the importance of humour Resilience is a muscle that must be trained. They have built and e-learning platform which is available in English, German and French. If you wish to contact any of these organisations you can fine Ayurveda Parkschloesschen here, https://www.ayurveda-parkschloesschen.de/en/homepage-english/ with a blog here https://gb.parkschloesschenblog.de/ They are also available on instagram. https://www.instagram.com/ayurvedaparkschloesschen/ Kathleen is about to become a digital nomad, travelling the world with her work and has a website here. https://www.kathleenlandbeck.de/de Nestwärme is available here https://www.nestwaerme.org/lu/ with their CareYoo programme here http://www.careyoo.org The news stories can be found here: https://today.rtl.lu/news/world/a/2234922.html https://apnews.com/article/austria-election-far-right-kickl-nehammer-9db1d6bebfd67d3225be787e34e0b13d https://today.rtl.lu/news/luxembourg/a/2233867.html https://today.rtl.lu/news/luxembourg/a/2232874.html https://today.rtl.lu/news/world/a/2234508.html https://today.rtl.lu/news/science-and-environment/a/2234566.html

L'émission 28 minutes du 28/09/2024 Ce samedi, Renaud Dély décrypte l'actualité avec le regard international de nos clubistes : Arancha Gonzalez, doyenne de l'École des affaires internationales de Sciences Po ; Aysegul Sert, journaliste turco-américaine et professeure à l'école de journalisme de Sciences Po ; Michel Taubmann, écrivain et éditeur franco-israélien et le dessinateur de presse Patrick Chappatte. Vers une inéluctable hausse des impôts sur les plus riches en France ? Michel Barnier a affirmé dimanche dernier qu'il n'excluait pas une hausse d'impôts pour “les plus fortunés”. Alors que le déficit public risque “de dépasser les 6 %”, selon le nouveau ministre du Budget Laurent Saint-Martin, la baisse des dépenses ne semble plus être l'unique mantra du gouvernement pour renflouer les caisses. Ainsi, le nouveau Premier ministre mettrait fin au dogme macroniste depuis 2017 de baisse des impôts. Le patron de la Banque de France, François Villeroy de Galhau, pourtant peu enclin à la pression fiscale, préconise un “cocktail” de mesures dont “certaines hausses d'impôts ciblées”. Mais pour qui exactement ?  Israël prêt à une intervention militaire terrestre au Liban ? En trois jours, plus de 2 000 frappes israéliennes au sud du Liban et sur des cibles attribuées au Hezbollah ont fait plus de 600 morts dont 50 enfants. Depuis le début des attaques, des milliers de Libanais prennent la route de l'exode vers le nord du pays. En marge de l'assemblée générale de l'ONU, qui s'est tenue cette semaine, la France et les États-Unis ont proposé un cessez-le-feu de 21 jours pour tenter de résoudre le conflit par la diplomatie. Le ministère des Affaires étrangères israélien a pour l'instant affirmé qu'il “n'y aura pas de cessez-le-feu avec le Hezbollah jusqu'à la victoire”. L'armée israélienne n'exclut d'ailleurs pas une intervention terrestre au Liban. Antonio Guterres, le secrétaire général de l'ONU, met en garde : “Le monde ne peut pas laisser le Liban devenir un autre Gaza.” Ancien inspecteur général de la DGSI, Michel Guérin s'intéresse aux agents doubles dans son livre “Walk-ins, ces grands espions de l'histoire qui ont fait défection” (Mareuil, 2024). Le terme “walk-ins” qualifie les espions qui frappent à la porte d'un service de renseignement adverse. Pour les services spéciaux qui les reçoivent, ils représentent à la fois une source d'informations inespérée et un cadeau empoisonné. Valérie Brochard nous donne des nouvelles de nos chers voisins suisses. Pour la première fois, le 23 septembre, un suicide assisté a eu lieu, en Suisse, à l'aide de la capsule "Sarco". Cette nouvelle technologie est un sarcophage d'assistance au suicide, activé de l'intérieur par la personne qui s'y trouve. Si le suicide assisté est légal en Suisse (dans des conditions très précises), cette capsule n'a pas été autorisée.  Jean-Mathieu Pernin zappe sur la télévision espagnole et revient sur l'arnaque aux “faux Brad Pitt”. Près d'un an d'enquête plus tard, la Guardia Civil est parvenue à démanteler un groupe de délinquants qui ont soutiré des centaines de milliers d'euros à des femmes en se faisant passer pour l'acteur Brad Pitt sur internet. Ce week-end, Olivier Boucreux décerne le titre d'employé de la semaine à Edmundo Gonzalez Urrutia. Les députés européens ont décidé de reconnaître l'opposant à Maduro, actuellement en exil en Espagne, comme “le président légitime, élu démocratiquement, du Venezuela”. Les autorités vénézuéliennes avaient déclaré le président sortant Nicolas Maduro vainqueur de l'élection de juillet. Une partie de la communauté internationale avait alors alerté sur le manque de preuves tangibles sur la transparence du scrutin.  La chanteuse Mylène Farmer se produit ce week-end au Stade de France. Alors que Taylor Swift est au programme de plusieurs facultés américaines, Paola Puerari se demande si Mylène Farmer doit être enseignée à l'université.  Enfin, ne manquez pas la question très intéressante de David Castello-Lopes qui se demande comment rendre les routes de forêt plus sûres ?   28 minutes est le magazine d'actualité d'ARTE, présenté par Élisabeth Quin du lundi au jeudi à 20h05. Renaud Dély est aux commandes de l'émission le vendredi et le samedi. Ce podcast est coproduit par KM et ARTE Radio.  Enregistrement : 28 septembre 2024 - Présentation : Renaud Dély - Production : KM, ARTE Radio

In this Right to Life of Michigan LifeBeat episode, host Anna Pluymert, Director of Education and Communications, and Danny Earl, Content Contributor and Events Coordinator, give a recap on our 51st Annual State Conference that took place yesterday in Owosso, Michigan. Thank you to those who joined us for the day. We hope that you found the workshops educational and the keynote speakers inspirational. Anna and Danny also talk about a recent news story about the first person to pass away from a Sarco death pod. The death pod was created so people could commit suicide by pressing a button inside a chamber and a doctor would not have to be involved. Anna and Danny explain how dangerous this invention is, especially considering the keynote speakers from our conference who gave personal testimonies of physician-assisted suicide and having a disability.

Watch out for the penis fish, heart attack maid,Warship and star wars, maiden voyage for SARCO, penis horror stories and so much more to make you say WTFFOLLOW US EVERYWHERE Bio.link/nosensicalnetwork

The story of Soylent Green is not just about mass cannibalism being hidden from the public but the way the older generations decide to voluntarily end their lives by going to what is called a Thanatorium. It literally was an assisted suicide center. No one dreamed that less than 40 years after the dystopian cinematic classic was released, assisted suicide clinics, exactly like the one depicted in the movie, would legally operate in Switzerland and service hundreds of people from around the world. The controversial SARCO suicide capsule looks like a compact spaceship that you get into, press a button, nitrogen fills up and you fall asleep and die. Is this a humane way to assist those who wish to depart peacefully from this physical realm or will it be used as a depopulation tool? Tonight on Ground Zero (7-10 pm, pacific time) Clyde Lewis talks with Paula Swope about THANATORIUM – FLYING THE SUICIDE SAUCER. Listen Live: https://groundzero.radio Archived Shows: https://aftermath.media

Luis Herrero entrevista al doctor Javier Júdez, médico y vicepresidente de la Asociación de Bioética Fundamental y Clínica.

(9/18/2024-9/25/2024) Tune in. patreon.com/isaiahnews #applepodcasts⁠ ⁠#spotifypodcasts⁠ ⁠#youtube #amazon⁠ ⁠#patreon⁠ --- Support this podcast: https://podcasters.spotify.com/pod/show/isaiah-m-edwards/support

Morse code transcription: vvv vvv Ryan Routh charged with attempted assassination of Donald Trump Meet Pesto the fat baby penguin and viral superstar Israel is gambling Hezbollah will crumple but it faces a well armed, angry enemy Monsters The Lyle and Erik Menendez Story Netflix show sparks controversy Russia Ukraine War closer to the end than some think, Zelensky says Afia Pokuas apology fails to fix row with Ghanas Asantehene Caroline Ellison, who helped convict Sam Bankman Fried, sentenced to two years for FTX crypto fraud Biden struggles to contain conflict as Israel and Hezbollah on the brink US election polls tracker 2024 Who is ahead Harris or Trump Arrests after Sarco suicide pod used in Switzerland

Morse code transcription: vvv vvv Ryan Routh charged with attempted assassination of Donald Trump Afia Pokuas apology fails to fix row with Ghanas Asantehene Russia Ukraine War closer to the end than some think, Zelensky says Monsters The Lyle and Erik Menendez Story Netflix show sparks controversy US election polls tracker 2024 Who is ahead Harris or Trump Caroline Ellison, who helped convict Sam Bankman Fried, sentenced to two years for FTX crypto fraud Arrests after Sarco suicide pod used in Switzerland Biden struggles to contain conflict as Israel and Hezbollah on the brink Meet Pesto the fat baby penguin and viral superstar Israel is gambling Hezbollah will crumple but it faces a well armed, angry enemy

Morse code transcription: vvv vvv Biden struggles to contain conflict as Israel and Hezbollah on the brink Ryan Routh charged with attempted assassination of Donald Trump Monsters The Lyle and Erik Menendez Story Netflix show sparks controversy Afia Pokuas apology fails to fix row with Ghanas Asantehene Arrests after Sarco suicide pod used in Switzerland Israel is gambling Hezbollah will crumple but it faces a well armed, angry enemy Meet Pesto the fat baby penguin and viral superstar Russia Ukraine War closer to the end than some think, Zelensky says Caroline Ellison, who helped convict Sam Bankman Fried, sentenced to two years for FTX crypto fraud US election polls tracker 2024 Who is ahead Harris or Trump

Morse code transcription: vvv vvv Meet Pesto the fat baby penguin and viral superstar Ryan Routh charged with attempted assassination of Donald Trump Biden struggles to contain conflict as Israel and Hezbollah on the brink US election polls tracker 2024 Who is ahead Harris or Trump Russia Ukraine War closer to the end than some think, Zelensky says Israel is gambling Hezbollah will crumple but it faces a well armed, angry enemy Afia Pokuas apology fails to fix row with Ghanas Asantehene Arrests after Sarco suicide pod used in Switzerland Monsters The Lyle and Erik Menendez Story Netflix show sparks controversy Caroline Ellison, who helped convict Sam Bankman Fried, sentenced to two years for FTX crypto fraud

Veckans recensioner: Podmun, det senaste om Sarco, assisterat självmord, allt om Schweiz, portvinstå, Karolinska sjukhuset, stulet kött, akutpsyk, Bobbes nya terapiform, totempålarna i Väsby, insektshotell, Sápmidagarna på Stureplan, samiska Graaf-systrarna och PO:s positiva lista.

Im Wald bei Merishausen ist die Suizidkapsel Sarco erstmals genutzt worden. Darauf hat die Schaffhauser Polizei mehrere Personen verhaftet und Strafverfahren eingeleitet. Die Polizei stellte die Kapsel sicher und brachte die verstorbene Person zur Obduktion nach Zürich. Weitere Themen: * Stadt Zürich budgetiert ein Minus von 226 Mio. Franken * 240 Personen wollen am 24. November ins Schaffhauser Stadtparlament gewählt werden * Mettmenstetten und Maschwanden überlegen sich eine Fusion * Zürcher Firmen wollen Flugreisen reduzieren * Ludovic Waeber kehrt zum EHC Kloten zurück * Ein historischer Rückblick auf die Velostadt Zürich

Erfinder der Kapsel ist der Australier Philip Nitschke. Der ursprüngliche Arzt und Sterbehilfe-Aktivist möchte die Suizid-Kapsel in der Schweiz einweihen, da es hierzulande bereits eine lange Tradition der Sterbehilfe gibt.Doch das ist gar nicht so einfach: Es gibt juristische Fragezeichen – und Unklarheiten bei den Zuständigkeiten. Gleichzeitig haben etablierte Sterbehilfeorganisationen wie «Exit» nur begrenzt Freude an der neuen Methode, aus dem Leben zu gehen. Und ebenso an der Art und Weise, wie diese beworben und publik wurde.Wie steht es grundsätzlich um die Sterbehilfe in der Schweiz? Und warum schalten sich jetzt auch Politikerinnen und Politiker wieder in die Debatte ein? Diese und weitere Fragen beantwortet Inlandredaktorin Alexandra Aregger in einer neuen Folge von «Apropos», dem täglichen Podcast des Tages-Anzeigers und der Redaktion Tamedia. Gastgeber ist Philipp Loser.Host: Philipp LoserProduzent: Tobias HolzerArtikel zum Thema: Suizidkapsel-Erfinder hält an Schweizer Premiere fest – Politiker erwägen Verbote«Sterben ist ein sehr intimer Moment»: Exit-Chefin lehnt Suizidkapsel abFrau verkauft vor Sterbehilfe­termin fast ganzes Hab und Gut, dann kommt es zum ZerwürfnisBesser sterben ja, Versuchs­kaninchen nein  Unser Tagi-Spezialangebot für Podcast-Hörer:innen: tagiabo.chHabt ihr Feedback, Ideen oder Kritik zu «Apropos»? Schreibt uns an podcasts@tamedia.ch

Noch in diesem Jahr soll der erste Mensch in der Suizidkapsel sterben. Doch für Philip Nitschke, den Erfinder von «Sarco», läuft es nicht nach Plan. Gast: Simon Hehli, Inlandredaktor Host: Nadine Landert Produzentin: Alice Grosjean Weitere Informationen zum Thema: https://www.nzz.ch/schweiz/du-brauchst-dein-geld-sowieso-nicht-mehr-die-frau-die-als-erste-in-der-suizidkapsel-sterben-sollte-erhebt-schwere-vorwuerfe-ld.1841701 Wenn Sie selbst Suizidgedanken haben oder jemanden kennen, der Unterstützung benötigt, wenden Sie sich bitte an folgende Organisationen: Schweiz: https://www.143.ch/ Deutschland: https://www.telefonseelsorge.de/telefon/

Daehler, Helena www.deutschlandfunk.de, Tag für Tag

On October 28th, I hosted a webinar called "How To Write A Great Story," where I talked about how to come up with interesting and unique story ideas, as well as how tapping into your everyday life interactions with people can help with this. This episode addresses questions you asked in our Q&A session that we didn't have time to answer. There's lots of great info here, make sure you watch.Show NotesFree Writing Webinar - https://michaeljamin.com/op/webinar-registration/Michael's Online Screenwriting Course - https://michaeljamin.com/courseFree Screenwriting Lesson - https://michaeljamin.com/freeJoin My Newsletter - https://michaeljamin.com/newsletterAutogenerated TranscriptMichael Jamin:Yeah, you better figure that out because your story needs to be about one thing everyone wants to throw in the kitchen sink. And it's about this, but it's also about this, but it also has elements of this. It's like, no, no, you don't know what your story is. You got a hot mess. You can't kitchen sink it. Your story's about one thing. And if you think it's about two things, congratulations. Now you have a sequel or you have another episode, but your story's about one thing. And if you think I'm making it up, read stories that you've enjoyed and ask yourself the same question. What is this about you're listening to? What the hell is Michael Jamin talking about? I'll tell you what I'm talking about. I'm talking about creativity, I'm talking about writing, and I'm talking about reinventing yourself through the arts. Hey everyone, welcome back to What the Hell is Michael Jamin talking about? And today I am answering your questions and I'm back here with Phil. Welcome back, Phil,Phil Hudson:Good to be here. Thank you forMichael Jamin:Having me. We had a delay because I borrowed some of Phil's mic equipment for a few weeks and then I gave it back to him with the wrong card. And then Phil, you learned a lesson. The lesson is no good deed goes unpunished.Phil Hudson:Oh man, I feel like's. I'mMichael Jamin:Happy to have taught you that lesson. ThankPhil Hudson:You for teaching me that lesson. I feel like the theme of every story I've ever written is that you get screwed either way. Just so everyone knows. Sometimes high tech is low tech and we have these awesome zoom recorders and they only allow you to have a 32 megabyte SD card. And then the American way of gluttony. We bought massive SD cards for the podcast, missed an SD card somewhere. SoMichael Jamin:Here we're won't run, but we're back and we made it work. We had a little delay. And so today I have these webinars every three weeks or so where I talk to people about writing. And anyone's welcome to join. It's free, go to michaeljamn.com/webinar for the next one. And we have a rotating list of topics that I cover and they're all writing related. And so these are some of the questions I didn't have time to answer during these webinars.Phil Hudson:And you are often testing new subjects too, so if you've attended them in the past, make sure you come sign up so you can get into those.Michael Jamin:Yeah.Phil Hudson:Alright, well, we've got several topics and as we do, I tend to group these together based on subject matter, and these are raw questions just ask during the podcast. So I apologize in advance for ruining people's names and mispronouncing everything, but let's start with craft. I think that's the thing people care a lot about is how do they get better at writing? And s sl junk indie author asks, how does the story structure fluctuate depending on genre, I should say too, this is from your podcast, how to Write a Great Story, which is one of your MyMichael Jamin:Webinar. My webinar. YourPhil Hudson:Webinar, yeah, yeah. Excuse me. Your webinar, how to Write a Great Story, which is one of your most popular webinars that we have. So if you haven't signed up for that, go do that the next time it's up. So how does the story structure fluctuate? Depending on genre, if I'm writing a horror, but I'm used to fantasy, what are some things I need to consider when structuring my story?Michael Jamin:I really don't think there's that much of a difference, to be honest. I think if you're writing a mystery that's different, and I think writing mysteries, people do it wrong all the time. Rich are a little harder to do, but you're just telling the story structure is very similar. You're telling a scary story. A horror story is just a scary story. A fantasy is just, it is a fantastical story, but they're just stories. I mean, everyone gets hung up on these genres. You get to decide the tone and the tone of your story is scary or fantastical, but it's still a story.Phil Hudson:Yeah. Something that you told me privately that I think is interesting for everybody listening, you were approached by a publisher who said, we want to make you the next Save the Cat. We want you to publish this book series, and you've never read any of those things. But for those of us who have, this is commonly taught, what are the tropes of your genre? What are the things in your genre? What is the story structure of your genre? And it's like you read between the lines and it's like what you've said many times. You're taking something apart and reassembling that and it's not the right way. You need to start with structure and then move forward. It's the same reason you do a foundation and then a frame, and then you do the rest of the house.Michael Jamin:You can paint the house any color you want, and that's whether it's scary or funny or dramatic or whatever. That's just color of paint. But the house still looks the same for the framing, still looks the same regardless of what paint you want to put on it.Phil Hudson:Awesome. Just Mason May. How does someone overcome the concern that our work won't live up to its potential?Michael Jamin:Oh, it never does. To get over it, you'll never be happy. You'll never be, oh, I should have done it. This. When you're done, you're always going to look at it and go, I wonder if this could have been better. I think any artist is going to feel that way, but if the question is how do I make sure it's good enough to even share, well, then you can just give it to your friend or your mother or whoever and have them look at it and read it. Take your name off the cover and ask them, did you enjoy reading this? When you got to the bottom of the page, did you want to turn the page or not? And if you wanted to turn the page, you did a good job. And if you didn't, something's wrong.Phil Hudson:Right. Aside from that, what would you recommend people do to overcome the fear of rejection or the fear of someone hating their work?Michael Jamin:I get over it. I mean, that's the job you're signing up for this. Hopefully no one's going to be too mean to you, but just know that when I was starting off, I was no good. No one's good when they start off. I mean, no one starts every single artist you admire, musician, actor, writer, whatever, performer, they were not good when they started. Listen to them in interviews. They'll say as much, so you get better. The more you do, the better you get.Phil Hudson:Yeah. We watch these kids shows now that I've got small children, and one of our favorite shows is Bluey, which I've talked about before. And they just dropped a bunch of new episodes yesterday, and one of the episodes is about drawing. And the daughter bluey is not good at drawing, but the dad's not good at drawing, but the mom's really good at drawing, and then the little sister doesn't care at all. She's just a kid and she's just drawing whatever she wants. And so the dad's super conscientious, self-conscious of what he's drawing. And so bluey the protagonist becomes a little self-conscious of her drawing, and they tell the story that the dad made fun of when he was a kid. So he stopped and the mom, just, her mom incentivized her, encouraged her, you're doing great for a 7-year-old. And she was like, oh, and that was enough. And then she became a wonderful artist. So at the end, bluey and the dad are both freed up to draw the things that they got made fun of or were worried about. And it's this beautiful allegory of just, Hey, just let it go. Who cares? That person's just being a jerk and it's because they envy what you do. That'sMichael Jamin:A good lesson. That's a good lesson from that show.Phil Hudson:Yeah, it's a great show. I bet we should watch it with your kids, Michael.Michael Jamin:My kids are too old to watch TV with me now.Phil Hudson:Yeah, that's scary. It's so sad to hear that. Rachel Zoo, I would like to get my motivation for riding back and for everybody. You have this other webinar you just put out, which is about how professional writers overcome writer's block. And I think that kind of addresses this, but this was before that. But what general thoughts do you have about getting motivation back to write?Michael Jamin:Yeah, I mean, well, first of all, I can't motivate anyone. I mean, if you don't have the motivation in you, then it's not going to get done. So you have to be self-driven. But probably what you're experiencing is the fact that you just don't know how to do it. And so when you don't know how to do something or you think you're bad at it, it's not fun. Why would you want to do anything when you feel like you're horrible at it? But once you learn how to do it and story structure can be taught and it doesn't make writing easier, it makes it easier. It doesn't make it easy, but it makes it easier. So I think the problem that you're facing is you just dunno how to do it yet. So come to some of my webinars and that'll help you a lot just to learn. You're flailing. I don't blame you. It's no fun. When you're flailingPhil Hudson:For everybody who is unaware, you also give away the first lesson of your online course for free @michaeljamin.com/free. And you teach this beautiful lesson about what is story. That alone is worth its weight in gold because it's just something we all miss or forget. And you've even said you forget sometimes.Michael Jamin:Yeah. I mean, I was watching a movie that I got a screener the other, and I'm getting halfway through, I go, there's no story here. I'm bored. And now my wife was bored by it too, but she didn't know why. I knew why because I'm a writer. I'm like, what's the story you're telling? No one knew. And yet the movie got made. I dunno, I got to tell you.Phil Hudson:Yeah. The other thing that comes to mind is many people have heard this guy, and you've heard me talk about him before, this guy, Jocko Willink, former Navy Seal leadership consultant, multiple New York Times bestsellers, a huge podcast, and he has this motto that says, discipline equals freedom. And he's like, it's a little bit counterintuitive because you think if you're disciplined, then you don't have choice and you can't do things. And his point is, if you are disciplined, you don't have to rely on motivation. And that's what I hear from you and I've heard from other professional writers is being a professional is doing it When you don't feel like it, motivation doesn't matter.Michael Jamin:You know what? I'll tell you as well, I post every day on TikTok or at least five or six days a week. I find, and I've talked to other creators who feel the same way. If I take too many days off, it gets harder to get back on. So two is the max, and you got to, because I know people think it's easy to, it's not easy posting on social media. It's like I got to think about what I'm going to say. I got to rehearse it, I got to shoot it, then I got to tag it, upload it, make all the meta tags. I don't do it in two seconds. And yeah, it's like brushing your teeth. You have to do it,Phil Hudson:And that's like any habit they say you can mess up once, don't mess up twice. It's like dieting, don't make two bad choices. If you made one, that's okay. Now continue to get back on track, but it's discipline, discipline, discipline. You just need to sit down and do the work because that is what is required. And if you're not willing to do that, this is not the career for you. It might be fun for you to do on your own, but even then I imagine that's going to be pretty brutal if you don't have the discipline and the habit of just sitting down and doingMichael Jamin:It. Oh, even if it's a hobby, it'll still be more fun if you know how to do it. I mean, golf is a hobby for most people. The better you get, the more fun it is to play.Phil Hudson:Yeah, I don't like being bad at things. That's very true. Great. Stephanie Anthony, what are daily writing exercise exercises that are invaluable to helping to build stronger storytelling muscles?Michael Jamin:Well, I don't do exercises, but would certainly have. Keeping a journal or a diary and writing it, knowing that no one will read it is very freeing. When I was in high school, I wrote, I had a creative writing class and our assignment was to write daily entries in this journal and we gave it to him at the end of every class and then he would read it and he was always so kind. He always said such nice things about what I wrote. He was looking forward to reading it. I thought that was really nice of him to do. I'm sure it wasn't very good, but I was trying to entertain him and he appreciated it. Yeah, just write and read how those are your exercises. Write and read.Phil Hudson:I've talked before about some of my experiences translating for the Sundance Labs and some of the things I got to do with the scholarship I had through Robert Redford and this woman Joan, who runs these workshops at the labs for whether you're a writer, a director, whether you're doing editing, whatever it is, everyone goes through this basic storytelling lab with her, these workshops almost every day. And it's about taking, basically it's what you talk about in your course, mining your life for stories. And I remember that one time I went and she saw me and she recognized me from doing this Redford scholarship stuff, and she was like, it's so good to see you here. And I told her what I was doing and she was introducing everybody in the room and I introduced myself and she was kind enough to say, and Phil is a very talented writer, and I made the mistake of saying, well, that's why I'm here translating. And I've been thinking about that literally today as doing the work and practicing and getting better and then getting acknowledgement from other people is important. The practice of doing it every single day is the exercise. And then I think the other exercise is accepting people's praise when it's earned and deserved.Michael Jamin:Take the compliment because you know why it's insulting not to. It insults the person, not if you shit on it, then they gave you a giftPhil Hudson:And I did.Michael Jamin:I see people do it all the time. You're not the only one. It's normal. You also feel like, well, I'm not good enough.Phil Hudson:My thought was like, well, I'm not in the labs, so I'm here translating, but I did it in front of people and I did apologize to her after, and she was very kind and we had a good chat about it, but that was ringing in my head today.Michael Jamin:It's hard to take a compliment for a lot, a lot of time I feel the same way. I feel the same way,Phil Hudson:But if you say no or you shoot it down, then it's all going to be harder because you're reinforcing unconsciously that you are not good or it isn't good enoughMichael Jamin:AndPhil Hudson:You got to take the wins. Take the wins.Michael Jamin:Yeah, right.Phil Hudson:Awesome. A couple of questions related to the topic, and you're online screenwriting course, so they're kind of bundled together, Joel Riedel regarding execution of an idea in a script. How do you know when you've taken a script far enough? In other words, how do you know if it's ready?Michael Jamin:Well, kind of the same. I kind of touched on this earlier, but basically give it to someone and take the title sheet off. If so, they don't know you wrote it and then give 'em a week or so to read it. And if they get to page 20 and they ask, they're going to say, what do I know? I'm not a Hollywood director. How do I know if your script is any good? You say, well, no. When you get to 20, do you want to read more? Does it feel like I gave you a gift or a homework assignment? That's it. You don't even, because your reader is your audience, they don't have to be a Hollywood insider to know whether they like something or not. Do they want to turn the page or not? And if they do, it's good. If it's not, if they don't, that's a problem.Phil Hudson:Yeah, there's levels of that too, because I've written things that I've given to friends and they said this was great and then given 'em to you and you've given me good praise, but solid feedback and things that I could improve, and it's the quality of the feedback is also important, but what I'm hearing you say is regardless of that, if you have a show on tv, whoever's going to sit down and invest their time to watch your story, they need to all understand there's a story here and it's worth the hour of my time, the 27 minutes of my time, whatever it is that they're doing.Michael Jamin:Yeah, because no one's obligated to watch your show. They'll turn the channel now. So that's how you judge things.Phil Hudson:Yeah. Are you ever at a point when you write things where you feel you've done enough, I'm happy with that one, that one's good to go, or is it always like, I can make that better. I just got to turn it in?Michael Jamin:Yeah, I always feel that way. Even with my book coming out, I always feel like I could have done that a little differently, but it's like, no, you got to let it go. You got to let, but I saw an interview with Frank Geary and he was looking at, I think it was 60 minutes, and he was staring at the Disney Concert Hall, which he designed, and he's a fantastic architect. I think he was with Leslie Stall, and they're admiring his work and she goes, when you see this building and it is one of the most beautiful buildings in la, yeah, it'sPhil Hudson:Great. It's gorgeous. If you guys have seen Iron Man, I want to say Iron Man one, they go to it,Michael Jamin:They do. It's very sculptural. It looks like a piece of sculpture, and she said, when you look at this building, what do you see? He goes, I see all the things I would do differently now, and he's a master, so you just never get past that stage,Phil Hudson:But that's not the job of a pro, which is what you teach. The job of a professional is you do the work, you turn it in, you move on.Michael Jamin:Yeah, you move on to something else and make the next one better if you can.Phil Hudson:Well, you always do the best you can with the time you have. Is that accurate to say?Michael Jamin:Yeah. Yeah, for sure. That's definitely what with tv, we got to turn on an episode of TV and at the end of the week, so we do the best we can.Phil Hudson:Yeah. Awesome. Camika Hartford in creating a story with structure in mind first, is it ever useful to organically write or figure it out, then go back and pick out the pieces you want to create a solid narrative, or is that just wasted time? This is in regards to Greta Gerwig process. That's a little bit different than most people. That'sMichael Jamin:A great question, and if you were writing a movie on your own time, sure, you can write it. You don't have time to schedule. You could take four years to write your movie, and if you want to discover it organically and if you understand how to do that, if you understand what that means, it means you have to write and write and then you figure out what the story is. Then once you finally find the story, you can go back and rewrite all the other stuff that's not the story and then fix it. But you still have to understand what story structure is to know what you're fixing. If you were to on a TV show though, you don't have that luxury. You're on staff with a bunch of other writers in a room, and before one word is written, you break the story on the whiteboard and then you outline it. Just don't discovering the story. Everyone agrees on what the story is in the writer's room, so it's a very different process. One is more organic, the other is definitely more efficient.Phil Hudson:You said everyone agrees, and I've been in the room, or I've seen people not agree with the showrunner.Michael Jamin:When I say everyone agrees, I mean the showrunner agrees. Yeah,Phil Hudson:So just for a point of clarification for people, it is not your job to approve every decision in a writer's room, but like you said, when you're writing something for yourself, you have the luxury of doing that. So yeah, fascinating question and answer. Thank you, cam. Gleb, Lin, how can I bring my vision to life through a screenplay?Michael Jamin:How can I bring my vision to life? I'm not really sure. Are they asking how do I sell it orPhil Hudson:How do I think? What I'm hearing from this question based on the topic is, alright, so I've got this vision for what I want my story to be, and I've chosen screenplay as my medium. How do I get what's in my head on the pageMichael Jamin:And justice?Phil Hudson:You knowMichael Jamin:What? I saw this short by Wes Anderson last night, God, I can't remember what it was called, damnit, I don't remember what it was called. It was with Ray Fines and Ben Kingsley. It was a half hour long and it was typical Wes Anderson only, it wasn't shot like a movie, it was shot like a stage play, and so the character would talk and behind the character, the sets would move and would fly in this different set. Then he'd pretend to walk and then he'd be in a different set, and it was wonderful to watch. It was so creative, but on paper, it's the most boring thing in the world. There's no magic on paper. You have to see it. So if that's what you want to do, you're going to have to just build that yourself. You're going to have to got a phone, you got a camera, you got friends, make it yourself and don't spend a lot of money. Whatever you think it's going to cost, I guarantee you I can shoot it for much less because it's not about the money. It's always about the words and the more creative you are. I did a bunch of commercials that I wrote for,Phil Hudson:It's just about to talk about, wereMichael Jamin:You going to say that?Phil Hudson:I was, yeah.Michael Jamin:For Twirly Girl, my wife had a company called Twirly Girl, and we shot all these commercials and I wrote and produced them and I hired a bunch of high school kids to shoot it as my crew and the sets, I built the sets out of cardboard, literally I got cardboard boxes and I built everything. And the fact that it was made out of a cardboard made it funnier. It made it silly,Phil Hudson:But tonally on point too because it's a children's clothing line, right? Yeah.Michael Jamin:But it was magical, but it had the same, Wes Anderson has that same kind of magical thing about him. It doesn't exist so cool about it.Phil Hudson:For those of you who haven't seen them, are those published anywhere? Are they on Twirly Girl YouTube? I know we have in your Vimeo account. I've seen them.Michael Jamin:I know there, I mean, I think you could see some of them. If you go to twirly girl shop.com,Phil Hudson:Would you ever want those published on your site just as examples?Michael Jamin:We can do that. Do you think someone is interested? We should put some there.Phil Hudson:Why don't you guys, if you guys are listening to this, just go comment on Instagram and just put hashtag twirly girl in the comments, and so we know if you guys want to see 'em, we can load 'em up on your side. Yeah,Michael Jamin:We can make a page for that, but it's probably a good idea, Phil. I think it should be inspiring. Each of those commercials, they're about three to five minutes long, whatever. Maybe they're five minutes, but I cut 'em down to three and each one costs, the first one I think was 1200 bucks. You can do it cheap. You can do it cheap.Phil Hudson:My business partner Rich, he was one of my professors in film school, actually he's teaching at Grand Canyon University in Arizona. He's teaching film right now. And so for the final project last semester, he had them shoot a video, basically that kind of commercial for pickleball brand. And the thing looks incredible. There's amazing camera, there's crane movement, there's drones, it looks good, and $128.Michael Jamin:Yeah. Oh, that's great. That's great.Phil Hudson:Yeah, it looks like it was 10 grand. Now there's, it got to perform as an ad. I dunno, but the quality was definitely there and what I'm getting to is when you talk about getting your vision to life, it is the job of the writer. It is the job of the writer to get the vision on the page so that anyone who reads it can see that vision. But it is the director's job to take that and work with the art department and everyone else to expand it. Or in tv, the writer is typically the showrunner. That showrunner has that same capacity to get the vision made beyond doing it yourself. I think the other piece of advice that I might give would be you need to understand your craft. You need to understand what a screenplay looks like, and your formatting and your own style and tone are going to influence your ability to do that on the page. If you're not going to produce your own stuff, and I don't mean that to counter what or contrast with what you're saying, it's just the person who's not going to go shoot those things. If you're just talking about it from a writer's perspective, you got to have your story there. The structure has to be sound, and then you need to be able to use the words and the style and format of screenwriting to get the job done to convey that vision.Michael Jamin:And as you were talking, I forgot to tell you this morning on TikTok, someone tagged me and they said they're in law school and that they're taking an entertainment law class and their professor assigned them to watch my channel.Phil Hudson:That's awesome. Why?Michael Jamin:I don't know why. What a weird homework assignment.Phil Hudson:Love it. Love it. Maybe he's going to just call out all the things that you could be sued for. Yeah, maybe. That's wild, man. The world's shifted in the Michael Jamin sphere over here. You got Michael's got his own Wikipedia page too. Yeah,Michael Jamin:I'm on Kpia. Yeah,Phil Hudson:A couple of years ago you would've never wanted any of this attention, right?Michael Jamin:No, I still struggle with it a little bit. I still strugglePhil Hudson:Just highlighting that for everybody here who's struggling to put their stuff out there, what a lot of these questions are about, you wanted to do something, just publish this book and you said, what do I need to make that happen? It's been over two years in that process. And your book will be coming out pretty soon.Michael Jamin:Yeah, we'll do a special episode on that. But yeah, when I'm yelling at you guys to build the damn mountain to build it yourself, I just want you to know everything I recommend, either I have done or I'm currently doing, so I'm not talking out of my ass. SoPhil Hudson:Zero hypocrisy here with the recommendations and I will defend you on that because I see it happening. Yeah. Alright. Sucks to suck has a question. Great. Great. Username story build finding, planning the path of the characters. This is a statement, it's not a question, but when you're story building, how do you find or plan the path for your characters? What are their arcs?Michael Jamin:Yeah, I mean, that's something I teach in my course, my screenwriting course. Come sign up michael jammin.com/course, but that's not a 32nd answer. That's a 14 hour course. So yeah, come to my webinars. I did a webinar a couple weeks ago where I literally gave away part of the course. Not a lot of it, just a small part of it.Phil Hudson:I was surprised. It's a lot though. It's a lot of nuggets in there of,Michael Jamin:Yeah, there's a lot of good stuff in that. I was like, I kind of felt like, guys, if you don't hit the whole thing, you're missing out because this is pretty good stuff.Phil Hudson:What was that? How professional writers create great characters? Is thatMichael Jamin:What it meant? No, it was, I don't know. It was not. It might've been getting past writer's block or what was the onePhil Hudson:After that? Both of those are pretty good, and I think you've given a lot of new context and a lot of context in there for that. I think it was a great characters was one specifically on this subject, and you talk about this, I don't want to spoil it for people who are going to miss it, but you talk about the principle of how to put the right character in a story and it is worth watching. I don't want to steal the opportunity for you to learn that lesson by listening to Michael.Michael Jamin:Come to my talk on characters that it'll help you a lot and it's free.Phil Hudson:Awesome. Sammy Cisneros, how strict should we follow conventional story structure?Michael Jamin:I would say don't break the rules until you understand them. So I would say very strict, and just so you know, I don't break the rules and I've been doing it for a long time. If it ain't broke, why fix it? Honestly, once you're in that story structure, there's still so much creative freedom that you can have once you understand, it's not like I don't feel handcuffed when I'm writing a story that way. I feel liberated. I understand how to do it. There's the roadmap that'll help.Phil Hudson:You discussed this principle of Picasso in your free lesson, which I think everyone should go pick up or rewatch if you've signed up for it in the past, but you talk about what it means to become a master and it's visually apparent when you look at the way you display that in that lesson.Michael Jamin:Yeah, go watch. Yeah, that was in the free lesson,Phil Hudson:Michael jamon.com/free.Michael Jamin:Yeah, go watch that. That'll help.Phil Hudson:Great. Leoni Bennett, when breaking a story, do you keep track of both plot and story?Michael Jamin:Yeah, it's all yes, all yes. And if you don't know what that means, there's a difference between plot and story, and I talk about this in I think the free lesson, but yeah, you have to keep both in mind. You don't do one without the other. It's the same time. You can have a plot if you have a good plot, but no story. You got nothing. If you've got a good story but no plot, you also have nothing. So you need both.Phil Hudson:Yeah, I think lesson two in the course is heavily dedicated to this, and you do touch on it on the free one, but second year in the course and you get to lesson two, it's like, oh, okay, this makes a lot more sense. And I've always said this since we started the podcast and doing this stuff together. You're the only writer I know online who talks about story and not plot everyone else's. What are your plot points? What is this plot? What is this beat? How does this beat build to this? What is your inciting incident to this thing? To crossing the threshold to the Boone? And they're mixing all this jargon from all of it's youngian, it's Joseph Campbell. It's like all this stuff. It's very hard to even wrap your head around. And I'm egotistically. I consider myself to be a pretty intelligent person who's capable of learning. And very often when I started studying screenwriting, I was just beating my head against the wall because it's like I don't even understand what subtext is, and you're telling me to use it, but no one's teaching how to use subtext, which you talk about, but it's that. Yeah, it's the story. It's story, story, story. And then the plot is, to me, it is the painting of the story. It's what makes the story matter.Michael Jamin:Well, I watched a movie the other day and there was plenty of plot. Things were moving along, things were clipping, things were happening, but the whole time I'm like, so what? Who cares? Why do I, this is so who cares? And so the story is really the who cares part. Why shouldPhil Hudson:Write that down? WriteMichael Jamin:That down. Yeah, write that down. It's the who cares. It's what to me as the viewer or the listener or the reader, it's all the same. Why do I care what happens to the main character? And if you don't, I won't say it on camera, I won't say which one it was, but it was a big movie, big budget, big director who's done some great stuff. You shouldPhil Hudson:Just text me so I know what itMichael Jamin:Is. I'll tell you later, but I was like, who cares? Why do I care about any of this?Phil Hudson:Yeah. Dave Crossman, who is pretty active in the course we've talked about before. He has said that I have a coined phrase now when I read someone's script. It's a lot of things happen, a lot of people doing things and nothing's happening.Michael Jamin:Okay, yeah,Phil Hudson:That's good. Lots of stuff. JustMichael Jamin:Plot is so boring.Phil Hudson:Cool. Yeah. Alright. David Campbell, how do we determine which contestants, which content to reveal in what order?Michael Jamin:Oh yeah. I have a whole analogy that I go through in one of my free webinars about the order in which you unpack the details of your story is really important, and that's what I teach in the course. But for sure, yeah, a lot of times you'll read new writers and they just do a dump. They just dump everything out. But that's not how you tell a story. The story is like you as the author, you get to decide when your reader learns this, and that's how you keep people turning the page.Phil Hudson:Yeah. I have bought a lot of self-published books from friends and people I went to film school with and some are good and some are like, wow, what you just put in a chapter could have been a whole book and you ended this chapter in a place that makes zero sense. And it's because of the way they're laying out the story. They have so much they want to say they're just rushing through it or they have so little they want to say it's dragging on. And to me, I think that's what we're talking about, story structure. If you understand structure, then the artistic way you unfold that sort of unravel that story is your craft and your voice and that the person who comes to mind for me is Guy Richie. I think Guy Richie does that masterfully in his stories.Michael Jamin:Yeah, I'm working on a story right now, which I'm writing, and there's one of two ways I want to write it. And so I'm not sure which way I'm supposed to do it, but I'll choose one and I'll go down that path and if I find it halfway through, it doesn't work, I'll go back and do the other way.Phil Hudson:So you're saying you're not married to the words you wrote. They're not precious written in stone and can never be changed.Michael Jamin:No. It's all about, yeah, exactly. I've tossed out so many stories that weren't working, but I am always thinking about what's the best way to compel the reader to turn the page.Phil Hudson:High level note there, guys, write that one down too. WriteMichael Jamin:It down.Phil Hudson:Paul Gomez, seven 90 Should a story center around subject or a character, is there a different approach for each? What I'm hearing with this question is should I focus on theme or character when I write my story?Michael Jamin:Honestly, I think you focus on a character and then theme comes a little bit later, but I've seen some movies, the very interesting setting, very interesting subject matter, very interesting. But because I don't care about what the character wants and I'm not invested in the character, I was very unsatisfied with the movie, even though the subject matter was really interesting.Phil Hudson:Yeah. Previous podcast episode we've done, we talked about basically picking a word. There's a word that's going to color my story then to me is theme. What is the theme of this that might help shape the character that I'm telling to convey that theme, but the character has to matter or it doesn't matter what the theme is.Michael Jamin:Yeah. When my partner and I are writing, often we pretend there's a drinking game. That theme will keep on appearing, and often you'll see a word recurring over and over in a script, and we always will drink, drink, and then when we're done, we go back and change those words. So it's not so obvious we disguise it. But if you're doing it right, that theme will reappear many times and throughout your script, but you just have to hide it a little better.Phil Hudson:Yeah. Yeah. Good stuff. Good stuff. Guys. I know some of you are advanced enough to know how much gold Michael's just dumping his pockets right now. Just gold nuggets. For those of you who are newer, this is worth re-listening to so that you can pick up that gold. This is stuff that will shape you, and I would come back and listen to this one six months from now because you're going to be a different place as a writer at different things. I've definitely seen that even just listening to our podcast with questions I've asked you. The answer is that I got two years ago apply very differently to me. Now. I'm a father of two kids now I am dealing with all these other different life issues than I was two years ago, and that affects the way I tell my stories and what things I want to talk about.Michael Jamin:And I'm still learning, guys, just, I mean, you're never done learning when you're writing, so I don't know everything. I just pretend toPhil Hudson:More than he gives himself credit for, but he's going to take credit like we talked about, right?Michael Jamin:Yeah. Right. Yeah. Hey, it's Michael Jamin. If you like my content and I know you do because you're listening to me, I will email it to you for free. Just join my watch list. Every Friday I send out my top three videos of the week. These are for writers, actors, creative types, people like you can unsubscribe whenever you want. I'm not going to spam you and the price is free. You got no excuse to join. Go to michael jamon.com/and now back to what the hell is Michael Jamin talking about?Phil Hudson:Alright, is that my voice asks the beats? Is that what we are referencing here when we talk about story structure are the beats?Michael Jamin:The question is what? What'sPhil Hudson:The question? Yeah, so the context of this is from the webinar, how to write a great story. And when you're asking the question, what is a story or what is story structure? They're asking, are you referencing beats? Is that what you mean when you say story structure? They'reMichael Jamin:Beats, so they're about seven or eight beats in every story, and it doesn't matter whether you're writing a half hour, an hour and a half feature, whatever that you must hit, in my opinion, in order for a story to feel fulfilling. And so those are the beats I talk about. And one is at the bottom of act one, bottom of act two, these are all important beats and I teach that. But yeah, and there's still some creativity you can have. Well, a lot of creativity you can have once those beats.Phil Hudson:I want to highlight something because I know you don't read any of the other advice that people are giving. And again, a lot of these people are not riders. In my intro to storytelling class, which is writing 1 0 1 in college, my professor asked this question, how many beats, beats are in this thing? And he'd have us watch a movie and count the number of beats. And then he put up this image on the board and it was 40 beats. And he says that every feature should have about 40 beats. Now, that's the difference between sequences and beats, and you already can tell this is again very confusing, right? But this is the formulaic approach that is very confusing and shackling to people who are starting out and what you're saying, I don't want people to misconstrue what you're saying by saying there should only be eight moments in a script or eight scenes, but he was describing scenes as beats and how you progress through things. And that comes from a book, and I can't remember which book, but it lays that out.Michael Jamin:That's just too many. How are you going to keep all that in your head? I feel like eight is manageable. Eight not eight scenes, but eight moments that you have to hit. And then it just like when you go from A to B2C to D, you can take a little side trip from A to B, but you still got to get to B.Phil Hudson:Yeah. And I think that USC and UCLA, I think they use what they call eight beat story structure, which mirrors pretty close to what you teach, but you'd expect that because they're proper film schools taught by professional writers, directors, producers, editors who are just doing that now because they've moved out of their first career. So yeah, I just want to make sure people are not misconstruing the two or conflating 'em. NRS creates How can a series pilot with more than eight main characters work without story overload?Michael Jamin:You wouldn't want to have that many go back and watch some of these old pilots or any pilot even towards whatever season five or eight. They may introduce a lot of new characters, but in the pilot, how many characters were in the pilot? And if it's a sitcom, you're talking probably five or six. It's if an hour long, you're going to have a few more. You might be eight, but you should be able to service eight characters in an hour long story. So it shouldn't be a problem. It's when you start growing the cast, it gets more complicated.Phil Hudson:Yeah, I think lost is a great example of this. Tons of people, plane crash, there's mayhem happening all around you, and we're looking at four or five people. And then as the series goes along, they introduce more people and the stories become more complex and there's side things happening. But in the pilot, which is two hours, I think JJ Abrams and Damon Lindelof did that masterfully.Michael Jamin:Yeah, great pilot.Phil Hudson:Richard Monroy, life, death Rebirth. These themes are found in art. How can this be applied to screenwriting?Michael Jamin:Well, I mean, what else are you going to write about when you're going to write about all events that happen to you in life? Jealousy, anger, love, betrayal, vengeance, whatever. That's what you're going to write about. So you're going to you life mirrors art and art mirrors life.Phil Hudson:Yeah. I think that ties back to our theme as well, right? You pick your theme and then that's the thing you're deciding to talk about, and then your characters and the story and the plot all play to paint that picture. Yeah. David Campbell, another question here. Do you have to write a log line for every episode or story?Michael Jamin:Yes. One of the things, when my partner and I run a TV show, what we make all the writers do, including ourselves, is we write after the story is broken on the whiteboard and one writer is chosen or a team is chosen to write that script, the first thing they got to do is write what we call a book report, which is a one page summary of what we just discussed in the writer's room for past week. And this is not as easy as it looks. We need to make sure everyone's on the, were you paying attention? Did you understand what we finally agreed to? And at the top of that book report, we make them write a log line. What is it about? What is this episode about? And it's amazing how that one simple thing can really, really be beneficial. I never assume anyone understands what it's about.And sometimes I tell a story that a couple of years ago, I think it was on Tacoma, my partner and I were writing an episode, we're writing the outline and we're figuring out these scenes. We start arguing over what the scene should be. And I was like, I'm right. And he's like, he's right. And I'm like, wait a minute, what do you think the story's about? And we didn't agree on what the story was about. We literally didn't agree. So we stopped and went back to the whiteboard to figure out what the story was about. Even though we had spent a week working on it, we couldn't agree.Phil Hudson:Yeah, that's how much it matters. I don't know that there's anything to add to that. That's great. Henry Wind, as an audience member, I'm really trying to catch the details and the dialogue so I can understand what is happening in this scene between two actors. How do you deepen subtext?Michael Jamin:Well, characters often don't say what they're actually thinking. And so that's the difference between writing directly and writing indirectly. And again, I talk about this in the course to greater detail, but writing directly is, I'm really mad at you. You hurt my feelings. The other day when you said this about that's writing directly, writing indirectly might be just me ignoring you or me telling you that your hat is stupid. So you know what I'm saying? Who cares about your hat? I'm really mad about you for what you did. And so that's the difference. And the more indirect you can write your writing, the better the smarter it seems.Phil Hudson:Yeah, it's amazing how this is human nature though. Just last night, my daughter, she just turned three, and so she's throwing a little bit of the terrible three tantrums. I've heard terrible twos, but it's really the threes is what every parent says. And she wanted to do something and we said, no, it's time for bed. And so her lovey, her stuffy Is Cob the Cow? And she's like, I don't want cob in my bed. And my wife who's wonderful, says, just because you're mad at us doesn't mean you should take it out on other people. And she said, okay. And then she cuddled her little stuffed animal, but it's human nature to do this. She didn't say, I'm mad at you. She's like, I don't want COB in here. I don't want to sing songs. I don't want to read a book. She's mad atMichael Jamin:Me. She's writing indirectly. She's a writer.Phil Hudson:Yep. She's human nature. The beautiful things you learn from kids, man. All right. Moving on to breaking in the Broken Breaking Seas. That's an apt name. Can you talk about working with a writing partner a bit? I'm very curious what that process is like.Michael Jamin:Well, it's sort of a marriage and you get to decide who you want to marry. I've been working with my partner Seaver for close to 30 years. And at this point there's a lot of trust and there's a lot of, we try to argue as little as possible. The truth is I don't really care if it's his idea or my idea. I really don't. If it's his idea, great. That's one less idea I have to come up with. It's not about my ego and it's really about what's best for the work. And then great. I mean, it helps to have one, it helps have one bounce idea. We can bounce ideas off each other and often he'll shoot down my idea, say whatever. I don't really care. It's really about getting the work done.Phil Hudson:We did a whole episode about writing with partners on the podcast, so go check that out as well.Michael Jamin:Yeah.Phil Hudson:Alright, moving on to miscellaneous questions. We got about 10 left, Michael, does that sound good? Sure. We hit those in the next 17 minutes and wrap this up in an hour. Sounds great. Lisa J. Robinson, for a beginning writer, what program do you recommend to write a script that is very user-friendly? Imagine thatMichael Jamin:RightPhil Hudson:In my mouth. Didn't even know, didn't even know Michael. This question in October would serving today. SoMichael Jamin:Every single television show, movie, everything I've sold, every single one of them have been written in a program called Final Draft. And that is considered to be the industry standard now. So it's the best as far as I'm concerned. Now. They offered me a brand deal a couple months ago, and so I've since done some spots for them and I had no problem doing it because it's not like it's a product that I have. I use the product, so Sure.Phil Hudson:And you've turned down so many deals from people with different writing software. Even when we first started doing this, people were reaching out. It's like, Hey, we'd love to pay you to talk about our screenwriting software, and you turn them all down.Michael Jamin:No. So thisPhil Hudson:Is a bigMichael Jamin:Deal, but if you want to use Final Draft, we do have, they gave me a brand deal, so if get on my newsletter, we said, well, there'll be a link on my newsletter and you can click on that link and you can get a discount 25% off on finalPhil Hudson:Draft. Do you want to give them the code? Do you want toMichael Jamin:Give the I think so we could do the code. Yeah.Phil Hudson:It's M jamming 25 I think, right?Michael Jamin:24 I think.Phil Hudson:Correct. For it's 24 M jamming 24, but it gives you 25% off your purchase. And I used it and it worked on my upgrade from vinyl draft 12. So you saved me 25 bucks on something I was going to buy anyway.Michael Jamin:Yeah, you can upgrade. You can upgrade at some point you have to continue, you got to upgrade your, so it doesn't fall out of surface andPhil Hudson:And there's new stuff that come in. There's all kinds of stuff that comesMichael Jamin:That, yeah, there's bells and whistles, but honestly I've been using Final draft since final draft five. They don't update it every day, every couple of years they improve it.Phil Hudson:We used a final draft for the collaboration mode in the writer's room.Michael Jamin:The collaboration is a good feature.Phil Hudson:And while I was doing this yesterday, this is totally unprompted, I was looking for this. You sent me a bunch of stuff and in 2016, just as I was going to move out here, you were asking me for my resume, like, Hey, there's somebody out here who was interested in getting your resume. And I sent it over and you told me in here, and I'm trying to find the exact words, but it was basically study final draft and know it like the back of your hand. And that was 2016, so that you've been preaching this for a long time.Michael Jamin:Yeah, it helps to know that program. Yeah.Phil Hudson:Great. Alright, Mimi, how to find the main idea from a lot of ideas you have in your book. So I'm assuming she's writing a book and she wants to know what the main idea. Yeah,Michael Jamin:You better figure that out because your story needs to be about one thing everyone wants to throw in the kitchen sink. And it's about this, but it's also about this, but it also has elements of this. It's like, no, no, no, you don't know what your story is. You got a hot mess. You can't kitchen sink it. Your story's about one thing. And if you think it's about two things, congratulations. Now you have a sequel or you have another episode, but your story's about one thing. And if you think I'm making it up, read stories that you've enjoyed and ask yourself the same question. What is this about?Phil Hudson:What's the difference between an A plot B plot C plot though, if it's only about one thing,Michael Jamin:Right? So an APL will occupy two or three characters, and that's a story that has the most emotional weight, and that's the one that has the most time on screen. YouPhil Hudson:Have, it's usually the leads too though, right? It's your main character.Michael Jamin:But if you have five leads on your show, then two of them will be in the A story. And then you have to occupy your other characters. So you give them a B story and maybe a C story if you still have to occupy some of them. But they don't carry as much emotional weight often they're just lighter.Phil Hudson:You don't want 'em sitting in their trailers cashing a check, right?Michael Jamin:Yeah, you got to pay these people. The audience wants to see them too. So you want to give the audience what they want.Phil Hudson:Great mental pictures. Love to know an example of a log line on a whiteboard in the writer's room.Michael Jamin:So a log line might be, okay, we wrote an episode called Fire Choir, and I think the log line was Eddie joins a malePhil Hudson:Choir acapella group. It was like firefighters, acapella choirMichael Jamin:To basically recapture the lost fame of his youth. It was something like that. So you knew what the plot was and you also knew what the story was. Oh, he's there to recapture his law. He was famous, whatever. He was in a garage band when he was a kid, and here's the chance to feel like a star again. So that's what it's really about. It's about the fame partPhil Hudson:And a great episode with one of our favorite characters. Wolf BoykinsMichael Jamin:Wolf. Yes. So played by Paul Soder.Phil Hudson:Paul Soder says, hi, by the way. Oh, you should have him on the podcast.Michael Jamin:I should. I'll get him on. That's a good question. Yeah.Phil Hudson:Richard Monroy, can you describe this Greta Gerwig style in more detail? It seems more unstructured and organic.Michael Jamin:It's not unstructured, it's just the fact that it's definitely not unstructured. It's just that how she comes about finding the structure. So I believe she still hits the same eight points that I'm talking about, but whereas in TV or even in movies, for the most part, you'll think about this before you're ever writing a word. You're figuring out what those story points are. And you might spend weeks or months if it's a movie before you're actually writing. But she doesn't do it that way. But she's Greta Gerwig until you become her, you may want to rethink how you do this, but what she does is she starts writing, oh, I think this is what it's about. And she starts typing the script and she'll say the same thing. I've heard her talk about it. Alright, now I have an 800 page script. Well, we can't shoot an 800 page script. Now she has to go back and throw out 700 pages and figure out what the story is. So it's very inefficient, but it's organic. But again, she can do it. She knows what story is. And by the way, that movie made a billion dollars. It's not for me to say that she's doing it wrong, she's doing it right. It's just that it's just inefficient. And unless you really have a good grasp upon what story structure is like she does, you're probably going to screw it up.Phil Hudson:This just popped into my mind, one of the best tiktoks I've ever seen was this story. And you've seen 'em before. And it's like everyone told me that I was a loser and I would never make it as an artist. And over the years I've practiced and honed my craft and it shows all these different art. You see their art evolving year over year, and now here I am and look what I've done. And then they show the worst drawing of a horse you've ever seen. And it brought me to tears because mocking this thing, which is the reality, is you can't be a one year in rider or a four year in rider and think that you can write the way someone's been running for 20 years will, you also can't do it, but think you're going to paint or draw the way in one year or two years. The way that Picasso or Van Gogh or anybody else has done who's devoted their life to that craft. It's effectively, I'm hearing you say, is she's earned the right to do things her way and it shows in the box office, and that is not an excuse for you to do it that way, and that's not to say you won't do it that way, but you have to learn structure and process and all of those things form light balance. You have to learn those things before you can make artMichael Jamin:And it's not easy for her. I saw an interview where she was saying, look, every time I sit down, I'm like, I don't know how to do this it, you're starting from scratch. I feel the same way. It's like, ah, I don't really know how to do this. I do, but I still feel like I don't, it's hard.Phil Hudson:Yeah. Yep. I saw that interview too. And that's going back to what we talked about earlier. That's the discipline. It's hard, but she sits down and does it and then she's able to get billion box officeMichael Jamin:And sometimes I'm writing, I'm like, am I saying too much or am I saying too little? Am I taking my audience? Am I insulting their intelligence by saying too much or am I taking their intelligence for granted? That's a hard question.Phil Hudson:Yeah. EG wants to know what if the notes you receive from the higher ups make the story worse?Michael Jamin:Often it does. Your goal is to try to give them what they want without making the story too much worse. And what can I tell you? Sometimes they're not writers so often that's the give and take. Often you'll argue with them, you're almost never going to win the argument, and so you have to give them what they want. They're the buyer. And so sometimes people say, sometimes it makes it better too, but people often say, why does TV suck? Well, there's a lot of people involved and a lot of people have opinions and they all want to be heard. I've worked with actors who've had notes who make the story worse. What are you going to do? That's the job. It's it's life.Phil Hudson:I've talked about this documentary before, but showrunners, which you can find it in a bunch of places, they talk about an interview, a pretty well known actor. I'm blanking on his name, but he talks about how at a certain point, the first year, the showrunner, it's the showrunner story. The second year, it's the showrunner story, the third year, it's kind of a balance between the actors and the showrunner, and then the fourth, it's kind of the actors because they are the characters. And his whole opinion here was, I think famously he got an argument and a heated battle with the showrunner who created the show, and the showrunner got fired because he was the star of the show. And he said, it's my job to protect my character because that's me and who I'm playing. And I was like, yeah, that's just the reality of this. It's none of it's yours.Michael Jamin:You can't, the funny thing is, yeah, the showrunner hires all the actors. It's their show. They sold it, they created it, but at some point, if there's an argument between the actor, the star and the showrunner, you can always get a new showrunner. The star is on camera, and so the star is going to win that fight nine times out of 10.Phil Hudson:Yeah. Pretty interesting. Go check that out guys. Yeah. Richard Roy asks, if you're an independent writer, do you ever reveal what you're working on in early stages?Michael Jamin:Some people tell you no. I mean, some people will say, don't reveal your dreams to anybody because people will tell you how stupid it is for you to dream. So why keep it to yourself? That's a personal choice whether you want to share it or not.Phil Hudson:Yeah. My opinion is screw the haters.Michael Jamin:Screw the haters. But also, I mean, you can also put it out there and maybe they hold you accountable. Well, now that I went on record saying I'm going to do this, I better do itPhil Hudson:For a lot of people, a lot of people, that's some strong accountability saying, I'm going to do something. Eagle Boy, 7 1 0 9 0. How strict should we expect prospective studios to be about the page length of a historical drama limited series? I've seen some episode ones that are nearly 80 pages for an hour long show.Michael Jamin:Listen, the question is who do you think you are? I mean, when you write your script, your script is a writing sample and that's it. Stop thinking about what I'm going to sell it for, how much money I'm going to make. Some people ask me, how much money can you make as a first? Now you're spending the money. Your job first is to write a great script. That's it. One episode. Don't worry about episode 12, writing that one first. Great script is damn hard enough. And it's a calling card. And it's a writing sample. So some of these questions are for people like me, this is a question I might ask a fellow showrunner. I might ask them that question because we are doing, this is stuff that we have to worry about, but you don't have to worry about this.Phil Hudson:Yeah. Big note there too, that this is the big takeaway I've gotten from doing this work with you over the podcast is everything is a writing sample. If it sells, great. If it's good enough to sell, great. But right now, I need to be good enough to give me a job.Michael Jamin:Yeah, get me a job.Phil Hudson:Yep. Matt Sharpe, with the changes to TV writing rooms during the pandemic, do you see Zoom rooms still being a thing post the WGA strike? More to the point, do you still have to live in LA to write in tv?Michael Jamin:A lot of these rooms are still on Zoom. That's probably going to go the way at some point. I don't know. Maybe it's going to get back in person probably sooner than later, but someone made that point. I was going to do a TikTok on social media. What are you talking about? Everything's on Zoom. Okay. But how do you get the job? How do you get the job so that you can be on a show that's on Zoom. Tell me how you do that. Unless you live in la, there's no answer for that because you have to live in la. Sorry. There's a handful of screenwriters who work mostly in features who get to live other places. Maybe they have to fly to LA or maybe they live in New York. I follow Julia York from New York. She lives in York or Yorks, but she's in New York and she's able to make a living out of it somehow, but it's definitely harder. You made a hard career. You're making a hard career. Harder.Phil Hudson:Yeah. Tacoma FD is now streaming on Netflix, so everybody go watchMichael Jamin:That. Go watch thatPhil Hudson:Talk. Tacoma fd, which is the companion podcast that Kevin and Steve the showrunners do that dropped. And in episode four, I actually was in the cold open and I got put in the cold open. They talk about it on Sarco fna. It was very kind of them to mock me a little bit and poke fun. But what they said is basically what you have said to me all along is if you want to make it in Hollywood, you have to be in LA because they need you Now. It's not two a week from now. And evidence of this is I got cast in the cold open because the actor tested positive for Covid that day. And they said, well, this is a guy protesting pornography, and Phil is a religious dude. Let's get him out here. And then they were like, he came out and he gave this tirade of just Christian anti pornographic stuff. It's like he'd rehearsed it, you could tell. And it was like I'd done acting classes with Jill and with Cynthia. I've done prep work. I've been on set. I've seen how it's done, and I was just able to go and perform in this moment because of all of that prep work. And I only got it because I was on set standing next to the showrunner when he heard that this guy got covid.Michael Jamin:So two things, half of life is about showing up and two, but also being prepared for yourPhil Hudson:Could imagine, because you could have choked shot the bed. Imagine you could choked shot the bed

The poet, novelist and playwright Fred D'Aguiar was born in Britain, grew up in Guyana and now lives in Los Angeles. There he came across the story which became his most recent collection of poems, For the Unnamed. It was originally entitled For the Unnamed Black Jockey Who Rode the Winning Steed in the Race Between Pico's Sarco and Sepulveda's Black Swan in Los Angeles, in 1852. That tells us what we know: the horses' names, who owned them, where and when the race was run, and that the winning jockey was black. His name, though, was not recorded. Fred D'Aguiar recovers and re-imagines his story, in several voices – including the horses. In this edition of In the Studio, Julian May meets D'Aguiar on the cusp. For The Unnamed is written and D'Aguiar explains how he is now preparing it for publication and his way of proof-reading. He is also feeling his way towards his next project, beginning a series of poetic studies of people he has known, people he has lost and people who inspire him. This is, tentatively, entitled Lives Studied. D'Aguiar reveals his processes, how he begins, rising very early, taking his dog, Dexter, for a walk, drinking a coffee, then setting to. He speaks quickly, so writes always in longhand with a pen, to slow thought down, to consider. He speaks too of his reading and influences, for instance Robert Lowell and his collection ‘Life Studies'. For D'Aguiar the practice of writing is integral to his existence - writing is living.

Michael Connelly is one of several authors suing the tech company OpenAI for "theft" of his work. Nicola Solomon, outgoing Society of Authors CEO, and Sean Michaels, one of the first novelists to use AI, discuss the challenges and opportunities facing writers on the cusp of a new technological era.What makes a great piece of terrible album artwork? The Williamson Gallery & Museum in Birkenhead is currently displaying nearly 500 albums which have been collected over a seven year period by Steve Goldman from record fairs and online market places as part of their ‘Worst Record Covers' exhibition. Samira is joined by the exhibition curator Niall Hodson and the writer, journalist and author of “The Sound of Being Human” Jude Rogers.The most famous event in Los Angeles in 1852 was a horse race. Fortunes were won and lost on Pio Pico's horse Sarco and Jose Sepulveda's Black Swan. Widespread press reports included the horses' names and the names of their owners - but not the name of the black jockey who won. Apart from his colour, we know nothing about him. Fred D'Aguiar talks to Samira Ahmed about his latest collection of poems, 'For the Unnamed', in which he recovers and re-imagines the story, giving the black jockey the presence today he was denied in his lifetime.