Podcasts about southwest

Hollywood's Headlines includes Southwest's new Boeing planes, Stephen A Smith hosting GMA, and an 80 year-old woman completing the ironman challenge.

As a child in the foothills of the Himalayas, Priyanka Kumar was entranced by forest-like orchards of diverse and luscious fruit—especially apples. These biodiverse orchards seemed worlds away from the cardboard apples that lined supermarket shelves in the United States. Yet on a small patch of woods near her home in Santa Fe, Kumar discovered a wild apple tree—and the seeds of an odyssey were planted. Could the taste of a feral apple offer a doorway to the wild? In The Light Between Apple Trees: Rediscovering the Wild Through a Beloved American Fruit, Kumar takes us on a dazzling and transformative journey to rediscover apples, unearthing a rich and complex history while illuminating how we can reimagine our relationship with nature.Apples are popular, but in our everyday lives we rarely encounter more than a handful of varieties: of the sixteen thousand apple varieties once celebrated in America, scarcely a fifth remain accessible. Kumar reveals the richness of a hidden world, bringing readers to the vibrant forests and orchards where historic trees still survive. These mature and wild orchards offer more than just fruit: they are havens for creatures from hummingbirds to bears and a living connection to generations past. She brilliantly weaves together science and childhood memories with the apple's storied history, from its roots in Kazakhstan to Spanish orchards in the Southwest and Thomas Jefferson's beloved Monticello fruitery. Kumar shows how—if we follow untamed paths—the tang and texture of an apple can lead us back to the wild. Our guest is: Priyanka Kumar, who is the author of Conversations with Birds, and The Light Between Apple Trees. Her essays appear in The New York Times, The Washington Post, Los Angeles Review of Books, Orion, and Sierra magazine. She holds an MFA, and has taught at the University of California Santa Cruz and the University of Southern California. Her feature documentary, The Song of the Little Road, is in the permanent collection of the Academy of Motion Pictures Arts and Sciences, and her awards include an Alfred P. Sloan Foundation Award, a New Mexico/New Visions Governor's Award, an International Center for Jefferson Studies Fellowship, and an Academy of Motion Pictures Arts and Sciences Fellowship. Our host is: Dr. Christina Gessler, who is a writing coach and freelance editor. She is the producer of the Academic Life podcast, and writes the show's newsletter. Playlist for listeners: Big Box USA In The Garden Behind the Moon Disabled Ecologies Endless Forms The Well-Gardened Mind Welcome to Academic Life, the podcast for your academic journey—and beyond! You can support the show by downloading and sharing episodes. Join us again to learn from more experts inside and outside the academy, and around the world. Missed any of the 275+ Academic Life episodes? Find them here. And thank you for listening! Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

The price of the Families Fly Free membership is going up very soon! Join now at the lowest price you will ever see membership again and get all the value I added in 2025, including a brand new app so help is just a tap away, at the current price. Now's the time to plan your family's 2026 travels and put traveling with your family back at the top of your to-do list. Learn more and join at FamiliesFlyFree.com/Join❓Got questions about how Families Fly Free can help your family travel to more places using miles and points BEFORE the price goes up soon?In this episode, I share a replay of a recent

 It's another Throwback Thursday, where we dig into the vault and find gold from days gone by. Today is a real treat. Innovation has always been a big part of what Rich teaches and preaches about… and he's kind of cracked the code. Instead of doing what most innovation books and gurus do--which encourages you to be innovative, and tells you about Apple and Southwest airlines--like that helps… Rich actually figured out about 20 different formulas that you can use to help you, you know, ACTUALLY generate those ideas! On today's podcast--which comes from a 2012 webinar… he's going to go over about 10 of them… then next week on the TBT podcast, he'll give you the webinar with the other half of them.

A new report shows how Arizona's balanced, affordable energy policies have sparked more than $65 billion in AI, advanced manufacturing and data center investments. Matthew Gonzales, Southwest executive director for consumer energy alliance, joined the show to talk about it.

Live from the South by Southwest festival in Sydney, Bridie Jabour talks to the editor, Lenore Taylor, the head of newsroom, Mike Ticher, and senior audio producer Miles Herbert about how Anthony Albanese will navigate meeting Donald Trump as Australians watch America's authoritarian turn

[Western Art] Co-publisher Adolfo Castillo is the host today as he chats with executive editor Michael Clawson about the November 2025 issue of Western Art Collector. They discuss features on Charles M. Russell and Joshua Gibson, and also special sections devoted to the Southwest, works on paper and small works. Today's episode is sponsored by Western Art Collector, the only monthly magazine devoted to Western art. Learn more at westernartcollector.com.

Today we will be talking with Season Hicks, Regional Vice President of Aerus Enterprises Solutions. We will be learning about indoor air quality solutions for a healthy home and office.Then we will be talking with Nic Griffin and Michael Soulliard of Tanque Verde Home Inspections. We'll be discussing the importance of a thorough inspection of a home or a property.

As a child in the foothills of the Himalayas, Priyanka Kumar was entranced by forest-like orchards of diverse and luscious fruit—especially apples. These biodiverse orchards seemed worlds away from the cardboard apples that lined supermarket shelves in the United States. Yet on a small patch of woods near her home in Santa Fe, Kumar discovered a wild apple tree—and the seeds of an odyssey were planted. Could the taste of a feral apple offer a doorway to the wild? In The Light Between Apple Trees: Rediscovering the Wild Through a Beloved American Fruit, Kumar takes us on a dazzling and transformative journey to rediscover apples, unearthing a rich and complex history while illuminating how we can reimagine our relationship with nature.Apples are popular, but in our everyday lives we rarely encounter more than a handful of varieties: of the sixteen thousand apple varieties once celebrated in America, scarcely a fifth remain accessible. Kumar reveals the richness of a hidden world, bringing readers to the vibrant forests and orchards where historic trees still survive. These mature and wild orchards offer more than just fruit: they are havens for creatures from hummingbirds to bears and a living connection to generations past. She brilliantly weaves together science and childhood memories with the apple's storied history, from its roots in Kazakhstan to Spanish orchards in the Southwest and Thomas Jefferson's beloved Monticello fruitery. Kumar shows how—if we follow untamed paths—the tang and texture of an apple can lead us back to the wild. Our guest is: Priyanka Kumar, who is the author of Conversations with Birds, and The Light Between Apple Trees. Her essays appear in The New York Times, The Washington Post, Los Angeles Review of Books, Orion, and Sierra magazine. She holds an MFA, and has taught at the University of California Santa Cruz and the University of Southern California. Her feature documentary, The Song of the Little Road, is in the permanent collection of the Academy of Motion Pictures Arts and Sciences, and her awards include an Alfred P. Sloan Foundation Award, a New Mexico/New Visions Governor's Award, an International Center for Jefferson Studies Fellowship, and an Academy of Motion Pictures Arts and Sciences Fellowship. Our host is: Dr. Christina Gessler, who is a writing coach and freelance editor. She is the producer of the Academic Life podcast, and writes the show's newsletter. Playlist for listeners: Big Box USA In The Garden Behind the Moon Disabled Ecologies Endless Forms The Well-Gardened Mind Welcome to Academic Life, the podcast for your academic journey—and beyond! You can support the show by downloading and sharing episodes. Join us again to learn from more experts inside and outside the academy, and around the world. Missed any of the 275+ Academic Life episodes? Find them here. And thank you for listening! Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/environmental-studies

As a child in the foothills of the Himalayas, Priyanka Kumar was entranced by forest-like orchards of diverse and luscious fruit—especially apples. These biodiverse orchards seemed worlds away from the cardboard apples that lined supermarket shelves in the United States. Yet on a small patch of woods near her home in Santa Fe, Kumar discovered a wild apple tree—and the seeds of an odyssey were planted. Could the taste of a feral apple offer a doorway to the wild? In The Light Between Apple Trees: Rediscovering the Wild Through a Beloved American Fruit, Kumar takes us on a dazzling and transformative journey to rediscover apples, unearthing a rich and complex history while illuminating how we can reimagine our relationship with nature.Apples are popular, but in our everyday lives we rarely encounter more than a handful of varieties: of the sixteen thousand apple varieties once celebrated in America, scarcely a fifth remain accessible. Kumar reveals the richness of a hidden world, bringing readers to the vibrant forests and orchards where historic trees still survive. These mature and wild orchards offer more than just fruit: they are havens for creatures from hummingbirds to bears and a living connection to generations past. She brilliantly weaves together science and childhood memories with the apple's storied history, from its roots in Kazakhstan to Spanish orchards in the Southwest and Thomas Jefferson's beloved Monticello fruitery. Kumar shows how—if we follow untamed paths—the tang and texture of an apple can lead us back to the wild. Our guest is: Priyanka Kumar, who is the author of Conversations with Birds, and The Light Between Apple Trees. Her essays appear in The New York Times, The Washington Post, Los Angeles Review of Books, Orion, and Sierra magazine. She holds an MFA, and has taught at the University of California Santa Cruz and the University of Southern California. Her feature documentary, The Song of the Little Road, is in the permanent collection of the Academy of Motion Pictures Arts and Sciences, and her awards include an Alfred P. Sloan Foundation Award, a New Mexico/New Visions Governor's Award, an International Center for Jefferson Studies Fellowship, and an Academy of Motion Pictures Arts and Sciences Fellowship. Our host is: Dr. Christina Gessler, who is a writing coach and freelance editor. She is the producer of the Academic Life podcast, and writes the show's newsletter. Playlist for listeners: Big Box USA In The Garden Behind the Moon Disabled Ecologies Endless Forms The Well-Gardened Mind Welcome to Academic Life, the podcast for your academic journey—and beyond! You can support the show by downloading and sharing episodes. Join us again to learn from more experts inside and outside the academy, and around the world. Missed any of the 275+ Academic Life episodes? Find them here. And thank you for listening! Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/food

The Herald-News Prep Football Capsules for Week 8 of the 2025 season, featuring key showdowns across the greater Joliet area.Become a supporter of this podcast: https://www.spreaker.com/podcast/friday-night-drive--3534096/support.

On today's MJ Morning Show:Do the refs favor the Kansas City Chiefs in the playoffs?Tampa city council candidate pulled a gunMorons in the newsIs it wrong to bring your own microwave to the office... and lock it closed?Villages hit and runA one-way Southwest flight's ridiculous priceWhat does a baby name consultant cost?Chloe's classmate in mugshot"Thank You Cleaner Day"Fester's car crawling on the highwayAlec Baldwin - Video of crashUFO seen in Tampa skies?Robert Davi back in the Q105 studio"Leather" pants from Gap makes noise when you squat in themRobert Davi's pickleball update!Average price for a NEW carTea For her data breachCarpet in the sales areaAdults are afraid of the darkPanties sold by Kim Kardashian are sold out, but they're ridiculousUnited Airlines CEO "sits" with his family in coachL.A. Dodgers player refuses to stay with team at hotel that's hauntedIn a recession, people aren't buying new underwear or lipstick, but Hamburger Helper sales are upSchool therapist searches for how to kill her husbandSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Send us a textEver notice how a slight change in the smell of the air can trigger the first thoughts of fall? KC and Harley are back with an Enormous! fun-filled, bursting-at-the-seams episode that is full of stories and memories about fall in the Southwest.Totally Hot!KC recounts the pleasures of his annual pilgrimage to New Mexico for a year's supply of fresh-roasted chiles. He shares how like a time machine, the sound of the gas jets under the rotating chili roaster and the aroma of roasting chilis can bring back wonderful memories of his favorite fall ritual and carry him away.Wild RideHarley explains how a tiny parking-lot dent turned into a month-long repair that left him without the use of his beloved KIA. He was able to suffer through it with the use of a new BMW X7.  So he scheduled a five-day weekend to see good friends in Taos, and was reminded that a short road trip can do wonders to lower stress and reset the brain. We Love BaconThe guys finally got to meet the legendary Kathy Bacon and her amazing daughter, Bacon Bits while they were on a road trip to Denver. Since it was Bacon Bits birthday, Harley and KC decided to do something special by showing up in matching Speedos as they pranced through the sunny outdoor fountains in front of Union Station and Hotel. (JK) Over lunch they told stories and quickly became good friends.Pillow TalkThings have changed quite a bit since either of the guys had purchased a new mattress. After extensive research, Harley ordered a new bed online. Although he barely survived the delivery that should've come with a forklift, he loves his new bed. Guess which luxury upgrade changed everything? Send us a textLet's Do The Time Warp Again!KC, Mister, Harley and Sarge attend The 50th Anniversary of The Rocky Horror Picture Show complete with singalong, —costumes, movie and live shadow-cast, SWAG bags, and Barry Bostwick in person. The Soundtrack Of Our Life KC: Fleetwood Mac's Silver SpringHarley: ABBA's Thank You for the Music  Keep the conversation going... Send us a message from the EnormousPodcast website, Send us a text, follow Enormous!, Share This Episode with a friend, and leave us a quick review—what's your can't-miss autumn tradition?Send us a text: Click HereEnormous Website: www.EnormousPodcast.comDownload or Share MP3: Enormous Speedos MP3Apple Podcast Player: Click HereVoice mail: (303) 351-2880Email: EnormousPodcast@gmail.comInstagram:www.Instagram.com/

Ever feel like you had to start over from zero? I sit down with writer and teacher Peter William Murphy, an Irish expat who rebuilt after a family business collapse, a serious injury, and a move to Reunion Island that reset his path. I wanted to understand what it really takes to choose growth when life gets loud, and Peter shows us how clear decisions, steady practice, and honest support can open new doors. We talk about the power of owning your choices, moving through anxiety, and asking for help before pride gets in the way. Peter explains how he built Peak English to help students raise their IELTS scores and change their futures. We get into how online teaching actually works when you design it with care, why in-person connection still matters, and how writing became a tool for clarity, confidence, and service. What I love most in this conversation is Peter's calm style of resilience. It is not flashy. It is daily. If you are starting over, switching careers, or simply trying to make your next decision with intention, you will hear practical steps you can use right away. I think you will walk away encouraged, with a clearer view of what steady progress looks like and how to keep going when the ground shifts under your feet.   Highlights:   00:10 – Meet the guest and set the theme of choosing growth over comfort. 01:12 – Hear how a family hospitality legacy shaped early values and work ethic. 02:25 – Learn how the 2008 crash ended the bar and pushed a search for a new path. 07:37 – See why a one-way ticket to Reunion Island became a turning point. 10:11 – Follow the move into teaching without a degree and the first classroom wins. 14:20 – Pick up online teaching tactics like gamification and lesson design. 15:56 – Understand imposter syndrome and the pivot into writing and Peak English. 21:16 – Get a clear take on when online learning works and when it does not. 28:38 – Compare virtual vs. in-person speaking for connection and impact. 32:41 – Learn Peak English's mission to make IELTS success more accessible. 46:32 – Try a simple decision tool: write pros and cons and choose with intent. 54:55 – Hear the advice to younger self: talk to someone sooner and keep going   About the Guest:   Peter William Murphy is an Irish writer, educator, and host whose path has been anything but conventional. Raised in a small family-run hotel on Ireland's west coast, Peter immigrated to America following the hotel's closure, attending school there before returning home to rediscover his Irish roots—and a deep love for sport. But beneath the rugby and soccer fields, a creative instinct stirred.   When the 2008 crash brought down his family's business for a second time, Peter booked a one-way ticket to an island off the coast of Madagascar with just €20 and no job prospects. After a brief period of sleeping rough, he was helped by strangers who offered support without judgment—a lesson in quiet empathy that never left him.   Peter made his name on Medium, where he was curated 39 times for his memoir-style essays on travel and the lessons learned along the way, before pivoting to sharp, comedic takes on current affairs. Notable among his growing body of work are original characters like Jack Hennessy, a wry Irish journalist with a nose for trouble, and the Rick and Morty-inspired duo, Peta and Freeman—two chaotic, absurdist voices that serve as both satire and self-reflection. He now splits his creative focus between personal essays, humor writing, and his new livestream comedy podcast, The Peter and Philip Show, which he co-hosts with author Philip Ogley and which is gaining a mini-cult following on Substack. Peter is currently working on a book loosely inspired by his global misadventures, missteps, and the redemptive power of human connection.   Some of Peter's creative and personal heroes include Hunter S. Thompson, Ernest Hemingway, Matt Stone and Trey Parker, as well as his mother, father, and brother—who continue to inspire his voice, values, and pursuit of honest storytelling.   Peter is currently developing the Peta and Freeman series into a comic and is halfway through writing his first novel, The Red Beach in Paradise, which tells the story of his time on Réunion Island through the fictional lens of Jack Hennessy. While Peter still teaches full-time with his own private students, he is also working on opening an online school to help students prepare for exams and gain university admission across Europe. Every cent he earns from his writing goes directly toward making that school a reality.   Ways to connect with Peter:   My GoFundMe to fund the school: Link here Peak English Instagram account: Link here Peak English TikTok: Link here My substack that contains writing and podcasts: Link here My Medium Account: Link here     About the Host:   Michael Hingson is a New York Times best-selling author, international lecturer, and Chief Vision Officer for accessiBe. Michael, blind since birth, survived the 9/11 attacks with the help of his guide dog Roselle. This story is the subject of his best-selling book, Thunder Dog.   Michael gives over 100 presentations around the world each year speaking to influential groups such as Exxon Mobile, AT&T, Federal Express, Scripps College, Rutgers University, Children's Hospital, and the American Red Cross just to name a few. He is Ambassador for the National Braille Literacy Campaign for the National Federation of the Blind and also serves as Ambassador for the American Humane Association's 2012 Hero Dog Awards.   https://michaelhingson.com https://www.facebook.com/michael.hingson.author.speaker/ https://twitter.com/mhingson https://www.youtube.com/user/mhingson https://www.linkedin.com/in/michaelhingson/   accessiBe Links https://accessibe.com/ https://www.youtube.com/c/accessiBe https://www.linkedin.com/company/accessibe/mycompany/ https://www.facebook.com/accessibe/       Thanks for listening!   Thanks so much for listening to our podcast! If you enjoyed this episode and think that others could benefit from listening, please share it using the social media buttons on this page. Do you have some feedback or questions about this episode? Leave a comment in the section below!   Subscribe to the podcast   If you would like to get automatic updates of new podcast episodes, you can subscribe to the podcast on Apple Podcasts or Stitcher. You can subscribe in your favorite podcast app. You can also support our podcast through our tip jar https://tips.pinecast.com/jar/unstoppable-mindset .   Leave us an Apple Podcasts review   Ratings and reviews from our listeners are extremely valuable to us and greatly appreciated. They help our podcast rank higher on Apple Podcasts, which exposes our show to more awesome listeners like you. If you have a minute, please leave an honest review on Apple Podcasts.       Transcription Notes:   Michael Hingson ** 00:00 Access Cast and accessiBe Initiative presents Unstoppable Mindset. The podcast where inclusion, diversity and the unexpected meet. Hi, I'm Michael Hingson, Chief Vision Officer for accessiBe and the author of the number one New York Times bestselling book, Thunder dog, the story of a blind man, his guide dog and the triumph of trust. Thanks for joining me on my podcast as we explore our own blinding fears of inclusion unacceptance and our resistance to change. We will discover the idea that no matter the situation, or the people we encounter, our own fears, and prejudices often are our strongest barriers to moving forward. The unstoppable mindset podcast is sponsored by accessiBe, that's a c c e s s i capital B e. Visit www.accessibe.com to learn how you can make your website accessible for persons with disabilities. And to help make the internet fully inclusive by the year 2025. Glad you dropped by we're happy to meet you and to have you here with us.   Michael Hingson ** 01:20 Hi, everyone. Welcome wherever you happen to be to unstoppable mindset where inclusion, diversity and the unexpected meet. And today, I think we're mostly going to get to do the unexpected, which is anything that doesn't have to do with inclusion or diversity. Peter Murphy, or Peter William Murphy, as he refers to himself in all the emails that he sends to me, is a writer. He has been a teacher, has an interesting story, I think, all the way around, and I'm not going to tell it, because it's more fun to listen to him tell it, and we'll see what we can learn from it and how we progress. So anyway, Peter, I want to welcome you to unstoppable mindset. We're really glad you're here.   Peter William Murphy ** 02:00 Thank you so much for having me. I really appreciate it.   Michael Hingson ** 02:03 And although Peter is Irish, he's in Turkey today, or he's he's over there, so he does move around, as you're going to learn in the course of this next hour or so. So why don't we start, why don't you tell us, kind of about the early Peter, growing up and so on.   Peter William Murphy ** 02:19 Um, well, I'm from truly, county Terry in Ireland, beautiful small town in the west coast, the Southwest we I come from a family of Hoteliers and publicans. My great grand Well, yeah, my great grandfather had the Meadowlands hotel in Chile, and then passed to my grandfather. But then after that, my father decided to open up his own bar. And that's kind of where after growing up, you know, around the hotel and, you know, seeing all the customers talking to people, very social kind of atmosphere, but unfortunately, it closed down. We had to move to America, back to Ireland. I attended Glendale Abbey school in County Limerick and yeah, I had a great upbringing, great family, but unfortunately, I never really liked school, if I'm be honest with you, which is a strange thing for a teacher today, I did not do well in school. I did just okay. But after the economic crash in 2008 Unfortunately, our family business closed down, so I had to try and find my own path. It was a little bit different than Ireland and I took off, got myself a teaching cert, and went to Reunion Island. And from there, my story kind of took off, and it's kind of where I learned a lot of my lessons. And after that, I just kept on going and didn't stop.   Michael Hingson ** 03:59 So why did the family business closed down the first time.   Peter William Murphy ** 04:04 The first time was because my grandfather basically needed a retirement, and he sold the hotel. And then my father then decided to open up his own bar, and just rising then 10 years later, that closed down during in 2011 I think there is a big economic crash in Ireland, rents went up. People weren't eating or socializing like they were, and through no fault of RL, it was just time to close the doors, which was a pity, because name of the bar was wooly Darcy's. It was a fantastic bar, very social, no televisions, very traditional, and yeah, so we all kind of had to go off and find other ways. And, you know, figure out who we are without, say, bars or. Hells or general hospitality and so kind of, yeah, right.   Michael Hingson ** 05:06 Well, so what? What was the reason for commuting or immigrating all the way to America after that?   Peter William Murphy ** 05:14 Well, we immigrated to America after   Michael Hingson ** 05:17 the hotel, yeah, after the hotel closed, right?   Peter William Murphy ** 05:21 Yeah, that was in 1998 and we were there for maybe two years, I believe, I'm not sure, and went to school there. My father worked in summers pubs, which is owned by my uncle in Boston, and then he made enough money to come back to Ireland in 2000 and open up his own bar. But yeah, it's just,   Michael Hingson ** 05:49 why America? Why America? When the hotel closed, half   Peter William Murphy ** 05:53 our family live over there, so my mom's side of the family live in America. Yeah, okay,   Michael Hingson ** 05:59 well, that makes it a little bit more logical that you would you would consider doing that.   Peter William Murphy ** 06:05 Oh, I loved it, Michael. I After, after two weeks, I was no longer Irish. I was playing baseball, eating pizza. I good American accent. I loved America, I   Michael Hingson ** 06:17 must say now, so are you in the Boston area?   Peter William Murphy ** 06:21 Yeah, we lived in West Roxbury, okay, just outside the city.   Michael Hingson ** 06:26 I lived in Winthrop Massachusetts, which is by East Boston, for three years. Very nice. So I never really got a Boston accent, but I do know how to say things like, pack your kind of have a yacht, you know? I can, I can still do it. Great accent, actually, but that's lovely. But I enjoyed being in Boston and just being around all the history. It's pretty, pretty amazing. But then you move back to Ireland, so that worked out, and he started a bar, and then you did that. So when, when that closed, and then you left again? Why did you leave again?   Peter William Murphy ** 07:06 Uh, basically, um, it feels difficult, kind of speaking about publicly, but I, I was kind of Joe there's, and I say that because there are people out there with bigger problems than me like I was a rugby player and the son of a publican. So for my formative years, my identity, for me at least, was kind of set. I was either going to be a rugby player or I was going to work in a bar or go into hotel management or something like that, but I had a pretty horrific leg injury during rugby training, and I suffered a few blows to the head, and then the bar closed down, so it was like one year you kind of had it all figured out. And then going into university as a young man, I had nothing. I could barely really walk I my family identity was gone. We're in the midst of a economic crash, a depression, and then I kind of developed my own sort of depression, but I, at the time, I didn't know it was depression. It's only Lacher that, when I spoke about it to professional that I kind of, we kind of spoke through and just said, Yeah, that's what it was. So I kind of, I wouldn't say, lied to my parents, but I told my mom, who's listening? Hi, Mom, I love you that I got a job in France, and I'd gotten an English certificate, and I didn't want to do University. I wanted to take a year out because I just couldn't handle it. Um, so, you know, I thought solving my problems would, you know, going away would solve my problems. So I there was no job in France. In fact, I wasn't going to France. I booked a one way ticket to Reunion Island, which is an island often called to the Madagascar in the Indian Ocean.   Michael Hingson ** 09:22 So why there? Why there? Because my friend   Peter William Murphy ** 09:26 was there, and he was there getting University credits for his degree. And, you know, back then, I wasn't a very good listener. I was a bit silly. I'm sure he told me all the details, but I just, I just heard son see maybe a job, and it's not and it's not Ireland, you know, it's not gray, it's not depressed. People aren't on social welfare. Let's, let's go. So I booked a one way ticket with what remained in my savings. And blew over there. And Michael, I'm going to be honest with you, when I landed at the airport in fentanyl, and I was hit with the hot Island air, and I could see it the volcano and, you know, the blue ocean surrounding me, I immediately regretted my decision. I want to go home, but I couldn't, because I had no money to buy a return ticket. So then the kind of Island Adventure kind of started, and yeah, I was stuck there for two years trying to get home.   Michael Hingson ** 10:34 Did you ever kind of make peace with all that and decide that maybe it wasn't such a bad place?   Peter William Murphy ** 10:40 Yeah, I, I, I kind of, because I'm a storyteller. I love writing, so I'm good at, kind of, you know, I wouldn't say I think all writers are good at, you know, giving dramatic effect. You know, maybe there, there's instead of one shark, there's five sharks. Instead of a storm, it's a cyclone. But when I would tell people about it, I would say it was difficult, but looking back at it now, it was probably the best thing I ever did, just taking that leap and going for it.   Michael Hingson ** 11:19 Did you ever finish in going to university? Or did you ever   Peter William Murphy ** 11:23 No, I just kept going. Kept going, kept going. I I got a job teaching English at a course. A lady by the name of Daniela from Angola gave me my first ever job, and you know, we hit it off. And this is back in 2011 or 12. I After about six or seven months working with her, so all the kids love me, the students love me. I learned a lot about her kind of holistic approach to education and teaching, and we were speaking in her kitchen one day, and she says, okay, when all this is over, what are you going to do? And I said, Well, I'm going to try and open up my own school. And she seemed surprised, but yeah, over 1310, or 11 years later, I'm not sure that's exactly what I'm trying to do now, is open up my own school.   Michael Hingson ** 12:21 Tell   Peter William Murphy ** 12:22 me about the school. Well, my wife, well, I'll go back a little bit. When I finally built up enough money to fly home, I got a job working with a man from America, actually teaching students in Cork. And I said I wasn't ready to go back to university just yet. I'd been in university for three years before I left, and it just something wasn't clicking with me. I'm an intelligent enough person, but in university just something, it just wasn't clicking. So I've decided to, you know, go to Turkey, simply because it was, you know, the closest. It wasn't like France, which is familiar, and it wasn't like, you know, far away, like China or somewhere like that. So I went there and got a job. But within six months, I think I landed a very, very good job at the top private school there, and they knew that I didn't have a degree. They just knew that I had selfless certificates and TEFL and other English certificates. But they have about 60 campuses in Turkey, and they gave me, and one of them is a university in Istanbul. So I was given a lot of education. By then, I was kind of a teacher for 15th. I observed, if I was doing a lesson, I'd be observed lots of seminars, getting more certificates, learning more and more. And you know that as time went on, I just kind of became Mr. Murphy, you know what I mean? I became a teacher, kind of, I proved myself, and just my students started getting good results. The parents were very fond of me. My colleagues were fond of me, my boss, my principal was fond of me. So I went from kind of not really having any identity, not knowing what I was doing, to kind of having it. So I stayed working in this big school for eight years, and to get back to kind of your question on the degree and the school i i was chosen by them to give a talk in Istanbul to all my peers on online methodology and how I help kids. Do you know? With gamifications, using the right websites for them, things like this, I slowly became very adept at, and they asked me to do it the second year. And then I got offered by Pierce in Turkey, which is an educational publishing company, and to do seminars on their behalf. And then this is, it was the first time since I left Ireland. This was in 2002 or three where I began to have imposter syndrome, where I was like, Okay, I know I'm good, but am I better than the people who I'm, who I'm speaking to, you know, and I raised this with the person who gave me the opportunity, and he said, Everyone feels, feels this way, you know. But I couldn't shake it, so I decided to in 2023 to step back from teaching, and I told my principal that I'm going to take some time away from it, and I became a writer on medium, and my writing on medium then took off. I started making a lot of money, and I found myself in this little hole where everything I was I was trying, was working for me, but it still didn't feel like something that I could 100% stick with well, which is why I started writing the book, and then it's why my wife and I decided to open up our own course, which will be a methodology, kind of created by the two of us, a curriculum, curriculum created by the two of us, which will have third party eyes who will sign off on it, and it's called Peak English, and we'll take it from there. So that's kind of my long answer to your very simple question.   Michael Hingson ** 17:05 Sorry, Kay, that's fine. Going back to when you went to Reunion Island. Do you think there was something deeper than just escaping from Ireland and the life you had, or you think it was just that simple?   Peter William Murphy ** 17:24 Um, yeah, it's strange, because I have a great relationship. My brother, my father and my mother were all very close. But I, I think, I think I became afraid of life, you know, because, you know, my father's my hero, of course, and he's a well respected man in the community. He He was awarded, I can't remember the name of the award, but basically, best host of the Year, Best host in Ireland last year by the hospitality board in the country. And when I saw what the economic crash did to him, it didn't break him, but when I saw that what it did to him, I was like, my god, if life can do that to my dad, take away his bar, you know, make him sad, or whatever it's like, what's it going to do to someone like me, you know, so I became very afraid of life, and I suppose I just wanted to go somewhere that felt other worldly, and that just felt so different, you know, that just so different, Yeah,   Michael Hingson ** 18:38 well, and, and now you say that you really feel that it was the best decision that you could make.   Peter William Murphy ** 18:48 Yeah, I wouldn't change it for the world. I mean, I've got some great stories. Yeah, halfway through a book about it now. So hopefully in the next year, that book will hopefully get published, and if not, I'll put it out there myself.   Michael Hingson ** 19:06 So when the pandemic hit, how did that affect or deal with your teaching and so on? Because you were teaching all that time since you you stepped back from that in 2023 so you must have had to deal with a lot of stuff with the pandemic, I would think,   Peter William Murphy ** 19:25 yeah, I know a lot of people suffered during the pandemic, but if I'm going to speak, it was difficult for everyone, but if I'm going to just for me in my apartment in Turkey, it was a good pandemic for me, you know, I took the opportunity to learn the guitar, get better at my job, did a lot of study, got more certificates, and also. Uh, I was familiar with Zoom before the big zoom thing happened. So I kind of knew before our first online lesson. You know, I spent about maybe three weeks because we went into lockdown in Turkey, I think March 2020, I believe we were a bit Lacher than most, but we, we stopped school in February, I think, and there was about a two or three week time where they were trying to figure it out. And, you know, you you know, everyone's going to go. If America and England are go and China are locked down. We're going to be locked down too. So I started doing tutorials on Zoom Near Pod, other online teaching websites, and started learning about them. So when the first lesson started on Zoom, I was really good at it, and all the students loved it. I wasn't the only teacher who did that. Lots of my colleagues I did that. But, you know, the pandemic was definitely a time where a lot of us who were lucky enough not to get ill were able to, you know, put more strings to our boat, right?   Michael Hingson ** 21:24 What do you think about all the discussions and all the arguments and all the conversations that go on now about online teaching as opposed to doing it live, and where, where all of it fits in. Can people really do it, you know, kind of what are your thoughts   Peter William Murphy ** 21:47 for children? I do not recommend this as the primary source of their education. I believe that socializing is very important for them, even having a teacher. You know, one of the biggest things you can do as a teacher with your classroom management is where you stand in the classroom. You know, being able to observe the students, then knowing that you're there as a present all the materials that you would have in the classroom. These are all things that actually, they need something small, but they do help kids that kind of five minute break every 14 minutes where they can run outside, keep a ball around and talk to each other. That's really important, yeah. But if you're talking about maybe between the 18 and up age group, I think it depends on the person. I've had students who who are prepared for IELTS, and they have needed a top score, and only have three months, and we've been face to face, working, helping them with their writing, doing everything, and it just doesn't work. There's something about the school environment where it just doesn't rub off on them. But then the minute you get them online and you start introducing games, you gamify it, just do lots of different things with them, for some reason they feel more comfortable. It could be an anxiety thing could be where they just feel more relaxed. At home, everyone's different, but for children, from my experience, definitely face to face learning is the best. Zoom is okay in an emergency. I do not recommend hybrid learning whatsoever.   Michael Hingson ** 23:40 Yeah, it's a it's a challenge. I know, for me personally, I can do online and, or and, or I can do things in person, in terms of learning and so on. I'm used to doing a lot of things outside of the typical corporate or office environment. So I can do that, but I also value and appreciate the social interaction when you go into an office and you have an opportunity to to meet with people. The only thing I would would say is way too often, unfortunately, people socialize so much that they forget in a work environment, you're really there to work and really need to figure out how to focus more on getting the job done. But I think there are a lot of aspects to that as well, because it isn't necessarily that people are lazy, but by the same token, if they don't really recognize what the job is about and what they're doing and that they have to put the appropriate time into it, or figure out a way to put in the appropriate time, then that's, you know, an issue too.   Peter William Murphy ** 24:58 Yeah, I would, you percent people. Be With You.   Michael Hingson ** 25:01 I think that, yeah, it's interesting. I've had a few people on the podcast here where we've talked about time management. We've talked about how people work in Europe, as opposed to in the United States, and some of the statistics that show that, in reality, if people put in longer days, but don't spend as many days at work, like if you put in 410, hour days, as opposed to five, eight hour days or something like that, you tend to get more work done, which I think is very interesting.   Peter William Murphy ** 25:36 Yeah, I've noticed that too, since I started working at home more and more. That I had a discussion with my wife the other day, and I said, you know, I think I need to rent an office, you know, because whilst I do like having, you know, low overheads and not paying rent. There is something about getting up in the morning, putting on a nice shirt, black coffee, and walk to the office. And you know, have your work day. One thing that I'm noticing is working online, with writing and helping students, is I'll wake up at 5am and I'll shower and I'll I'll work from 6am until midnight, and I am looking at my looking at myself in the mirror the next day and saying, Joe, this is unsustainable, like we It's you can say to yourself, oh, sure, just, you know, make your own routine. But it's very hard to stick to a routine if you are, you know, writing articles, if you have meetings at various times throughout the day, if you're dealing with multiple time zones. So there's, there is something attractive of going back and renting an office, you know, having a base where work is work and home is home. Yeah,   Michael Hingson ** 27:10 and I, and I appreciate that. I, I personally am able to work at home and separate that out. But I do know what you're what you're saying. And not everyone can do that. I've just done that a lot in my life because I've worked for companies where I worked remotely anyway, so I'm used to that, but I also appreciate your discipline. I'm sorry   Peter William Murphy ** 27:35 you've got discipline. It's something I need to work   Michael Hingson ** 27:38 on. Well, I guess that's probably it, yeah, I guess that's that's probably it. And I have enough other things during the day that demand time. So for example, at five o'clock, that's the time to feed the guide dog, and he wants to eat. And if I don't do that, I'm going to hear about it. So what's your dog's name? His name is Alamo. Like the Alamo? Yeah. So, you know, the issue is that I do have some things to help keep me honest, but, yeah, I can be fairly well disciplined with it, and I can make that work, and I understand that a lot of people can't. The other thing for me being a public speaker is I'm not as great a fan of speaking virtually, speaking online, as I am speaking in person. And the reason is, and it took me a while to kind of figure out why I didn't really like it as much as as probably some people that I don't have nearly the same kind of connection with the audience to whom I'm speaking if I'm doing it online, and I don't get to hear their reactions to things that I say. And for me, having that audio interaction, those auditory signals are part of what tells me if I'm doing a good job or not. On the other hand, I've done this long enough that I can pretty well tell what's probably going to work and what's not. So I'm perfectly happy to do virtual presentations, but if I have a choice, I like to do it in person, right?   Peter William Murphy ** 29:09 Yeah, I agree with you there. There is something very cool about being up on stage, yeah, and talking to a lot of people, but my favorite part has to be afterwards, when you're having the teas and the coffees and you're talking to everybody in the lobby. I really do love that part.   Michael Hingson ** 29:29 Oh, yeah. Well, and I try to integrate some of that even into the talks that I give, so that I have audiences participating. And sometimes the participation may be that I ask them something to answer, and sometimes it's how I tell a story to draw them in. And I've had any number of people tell me we were just following you down the stairs in the World Trade Center as you were telling the story. You were just so. Vivid with what you were saying. We were right there with you. And that's the thing that I think is a lot harder to do in a virtual environment than it is in a in an environment where you're actually speaking to people.   Peter William Murphy ** 30:13 Yeah, that's I told you when we had a chat before I came on, that it's really great honor to speak to you. And you know, I really do love your story and the way that you tell it, and of course, about your guide dog that led you out. It's really like an amazing story   Michael Hingson ** 30:36 well, and you know, it's it, it's a team effort. Both of us had jobs to do, and it was a matter of me being the team leader and keeping the team on course and doing the things that we needed to do. But it did work out well, and I'm glad about that. So it's that's important, but tell me more about the school that you're trying to start as you're working toward it, what will it be? Well, we   Peter William Murphy ** 31:07 are deadline to open it up was in three weeks ago, we found three buildings. I can't go into the detail, but it's, let's just say that, you know, someone said one price in the advertisements, and then when we got face to face, there was a new price. There was a lot of that kind of carry on. So my wife and I had a discussion, and we said, let's put peak English online first and get a base in because we do plan to either maybe perhaps move to Ireland in the future. So it is going to have to be a business that can, you know, move anywhere. We are going to have to have a online base. We've started working with the school in Brazil, and we've got some clients in Saudi Arabia and Qatar. So it's a nice space to get online at the moment, as we head into September, when all the kids are back to school, and then we will start small. We on sub stack. I started a small GoFundMe to help me reach my goal before the deadline, and people were very, very supportive. They gained a lot of traction. And then I spoke with my subscribers, and I said I gave them the plan because I like to tell them to know what's going to happen if they're paid subscribers, because everything I make from my writing goes directly back into education. So everything I make from medium top back, everything it goes towards building the school. And we are now going to go into September on a good footing, but we're going to have to downsize our expectations and perhaps buy some or smaller but our methodology and our mission will remain the same, to make education affordable, to help students pass their IELTS exams, to give them an opportunity to go work in Canada, America, the UK, Ireland.   Michael Hingson ** 33:15 So yes, that's peak English. Well, there you go. Which is, which is pretty cool. Well, what does your wife work? Or does she just help you with the school? Or what does she do?   Peter William Murphy ** 33:26 My wife? What does she do? My wife is an artist. She's a gamer, she's a teacher and she's a website designer. She's everything. She's the Peter whisperer. She's definitely good at when I'm in a whirlwind writing or, you know, I'll do too many things at once. She's, she's like a tablet for ADHD. I think she just, she's good at, kind of directing me calm down. So she she knows everything. Michael, she's a teacher, English language teacher. Graduated from Palm college, university, and she worked in an ink, in a in a college, and she's just about to embark on her Master's. So one of us will get that degree.   Michael Hingson ** 34:18 Yeah, one way or another, you'll have one in the family. Yeah,   Peter William Murphy ** 34:22 exactly. Well, she has one, but she'll get a master's. Yeah,   Michael Hingson ** 34:26 you'll have a master's in the family. Do you have any children? No, no, no, we're children. No children yet? Well, that's another thing to look forward to in in the future, which is, which is,   Peter William Murphy ** 34:38 where we don't know what to do. We love turkey, but also we want them to have a, you know, a Turkish. We want them to, you know, have an appreciation for Turkey and for Ireland. So we're trying to figure out where would be the best place to to raise kids in the in. You know, current global environment. And you know, despite all the trouble that Ireland has in 2008 every time I go home, it's still solid ground. And you know, it's the older I get, the more I'm kind of, I think we will end up there eventually, but we'll see. Yeah, well,   Michael Hingson ** 35:28 it'll all work out in time. I suspect you strike me as individuals. Yeah, you strike me as a person that will, will make things work out. And you're, you're willing to step back and and do it in a methodical and in very positive way, which is, which is pretty cool. Well, tell me about some of your writing. What kind of what have you written?   Peter William Murphy ** 35:54 Well, I told you about the book. I'm halfway through. It's the working title is becoming useful. Then on medium, I started writing about mental health, and I got imposter syndrome again. Of course, there's nothing wrong with writing anecdotally about your experience, but sometimes on the internet, it's probably better not to talk about kind of medical kind of things, you know what I mean. So I said, well, what could I pivot to? And I started writing travel memoirs about my time on the island, and I ended up getting curated about 40 times by medium selected for curation is basically where they choose the staff choose your story, and they give it a boost into the algorithm, and basically it just gets sent all over the internet. So that happened 40 times. Then I wrote for your tango, which is a New York based website. And then after a year and a half on medium, I pivoted to sub stack, where I continued to do my writing. And about three months ago, sub stack began doing live streams, kind of like on YouTube or Instagram, they have these live streams on sub stack. So I didn't feel comfortable talking about my teaching on sub stack, because I felt like my my writing persona, not that it's controversial, had its own space in my life, so I kept it separate from my teaching, and I spoke with a friend, and we saw everyone on Sub stack was doing these live one hour streams. So we thought we would do a comedy show. So we started doing these 1015, minute comedy shows live on substack, and they became very popular. And a lot of you know big authors like Walter Reed, Robin wilding, who would be very popular on that website came on as guest, and it's kind of this new outlet where everything leads back to teaching, where I'm learning about video editing now and how to reach an audience, and then straight away, with peak English, I said, Okay, so that's that. Now I know more about how the internet works, so now open up a Tiktok and an Instagram and, you know, focus that into peak English. So our Instagram account now is growing. It's got close to 1000 followers, and our Tiktok is just open. So, yeah, going to use what I learned from sub stack to reach more students give more tips on how to pass exams on other social platforms.   Michael Hingson ** 39:12 Okay, and you've, you've created some fictional characters along the way, haven't you?   Peter William Murphy ** 39:20 Yeah, I have Peter and Freeman, who have a small little cult following on on substack, kind of based on a relationship I have with a friend of mine and my brother and I. My brother has done the Olympics. He's done the not as an athlete, but he's worked for Warner Brothers and other companies, doing the filming of it, and we're both very much in the film. We're working on a script, and we're trying to develop something at the moment together. Of course, our day jobs are our main focus, but it's very nice to have a similar interest with your brother, that you can just work. Worked on together, you know,   Michael Hingson ** 40:01 yeah, well, you know, back in the days of old radio, there was a ven Troy lacherist, Edgar Bergen, who had his creature, Charlie McCarthy. And it was interesting that a lot of times Charlie spoke for Edgar. Edgar would, would would communicate through Charlie, as opposed to just communicating himself, and it was a way that he felt comfortable doing, which was interesting.   Peter William Murphy ** 40:32 Yeah, that's interesting with Murphy's Law, which is my medium pending, after about a year and a half, I, you know, I said I can't keep writing about the island or this or that, or memoirs. I have to try grow as a writer. So I started trying different styles. I started writing a satire. I started writing a political satire or just pure comedy pieces. And lo and behold, I was okay at it, and they gained traction, and they were funny. And this is strange, so then Murphy's law went to kind of satire. And then I started writing about politics, say what's happening in the USA, the friction over there, some other world events. And I enjoyed it. The editors liked it, and it was published in some very good publications. And it was great. I found many voices, you know, but as time went on, and I love medium, and I love substack, it's, it's my passion, and it has helped me grow, not just as a writer, but as I mentioned earlier, helped me hone all the skills I use that become, you know, big enough on it into how I can create this business that my wife and I try to open up, and it has really helped. But you are always chasing the algorithm, you know, and I would rather have a product out there that helps people, you know, pass their exams, give them guidance with these as, you know, do volunteer work, things like that, that will actually help people. And people will remember it as peak English, as a brand that will help them, because Murphy's Law and the exile files online, I love them, and they are my babies, but they are very much passion projects that, like Reunion Island, have helped me figure out what I want to do. You know?   Michael Hingson ** 42:58 Yeah, well now you talk about Murphy's Law. And of course, we all know Murphy's Law is, if anything can go wrong at will. But there was a book written years ago that was called Murphy's Law and other reasons why things go wrong. And the first, I think I've heard of that, and the first thing in the book after Murphy's Law was o'toole's commentary on Murphy's Law, which was, Murphy was an optimist. I always thought was cute. I like that. Murphy was an optimist.   Peter William Murphy ** 43:30 Well, it's, you know, I think in life, like you said yourself, when, when that terrible day happens in the World Trade Center, it was like you could either lose your mind or you stay calm, you know. And no, I think, I think everybody, kind of you know, can learn from that, from learn from your book, that you just have to keep going moving forward. People react differently to different you know, setbacks like I mentioned, with the leg break and the bar closing another young man, it might, it might not have affected them at all. They would have said, It's okay. I just kept going. But it just so happened that it affected me that way. And you my brother, for example, he stuck it out. He stayed in Ireland, and he he did it so it's it really does depend on the person and how they how one can deal with what life throws at you. Some people think it was like it was the best thing I ever did, but looking back on it, like I wouldn't change it, but looking back on it, I would have liked to have done it, maybe in a calmer way.   Michael Hingson ** 44:56 The other the other side of that though, is that. So there are a lot of things that happen around us, and we don't have any control over the fact that they happen as such, but we absolutely have control over how we deal with what happened, and I think that's what so many people miss and don't, don't deal with and the reality is that we can always make choices based on what goes on around us, and we can do that and and that can be a positive thing, or it can be a negative thing, and that's a choice that we have To make.   Peter William Murphy ** 45:37 Yeah, you're dead, right? Yeah, I, when I first came to Turkey, I was only supposed to be here for three months, you know, but there was something intoxicating about the country. There just the smell, the food people and I about six months into my stay here, back in 2013, or 14, like I did, have that decision where I had to kind of look at myself saying, Am I staying here because I'm running away, or am I staying here because I feel this is where I can achieve what I want to achieve. And I stayed because I felt this was like the environment where I could kind of deal with myself and kind of deal with life, and, you know, just be who I wanted to be, not that I couldn't do that in Ireland, but just the 24 year old version of myself. That's what like he was thinking, you know? And I got to respect that,   Michael Hingson ** 46:46 sure. And the other part about it, though, is that you you at least ask yourself the question, and you really took the responsibility to try to make a decision and come up with an answer, which is what a lot of people avoid doing.   Peter William Murphy ** 47:01 I wrote out the pros and cons on a piece of paper. I still have that piece of paper under your bed, and went up to the top of the mountain. There's, there's a huge mountain next to the city here. I'd go up there every day, but I just sat down and I just stared at the piece of paper. And there was just something where I said, you know, I have to try and become something here, you know, because if I can become something, even if it's something small, like something, you know, as humble, as just being a language teacher or helping one person or two people, it doesn't matter if I can do that here, then it would have been worth it. Yeah, of course. If time goes on, you learn more, you become stronger, you become more educated, you become trained. And then if you just keep going, no matter how you know down the dumps you were in the past, if you just keep going, one day, you will wake up and you will know exactly who you are and what you're supposed to do, and that's kind of what Turkey and Reunion Island gave to me.   Michael Hingson ** 48:10 Do you think that as you were growing up and so on, that the system failed you?   Peter William Murphy ** 48:18 I do remember one time. And I have to preface this for saying that I hold nothing against this person, but I remember I went to the psychologist or counselor in, I won't name the university, and the university I went to and and I didn't know them at all, and I sat down and I told them I was struggling with mental health. And, you know, there was, I'm not saying anything now like but there was a lot of young men taking their own lives in Ireland around this time, a lot and women, and I wasn't like that at all, but I was feeling down, and I wanted to see what the university could do for me. And I remember just being turned away saying, Come back next Tuesday, you know, at 405 and I did find it very hard to kind of like communicate and get help in university through Washington, like I didn't need directions on how to get to the Lacher hall or anything like that. I knew all that, but there was something else going on that I needed help with, and there, it wasn't there at all. Since then, of course, in the last 1516, years, Ireland is, you know, I suggest mental health capital of the world. But when, when I was there, maybe, maybe I just caught them on a bad day.   Michael Hingson ** 49:58 Yeah, hard to say. But the. Other part about it is look at what you've done since then, and look how you talk about it today, which really illustrates a lot of resilience on your part. And I'm sure that that's something that had to develop over time, but you still did it, and you became a more resilient individual because of all of that.   Peter William Murphy ** 50:22 Yeah, I'd say I've got that for my mom and dad. They're very resilient. But also that resilience has changed from, you know, booking a one way ticket to reunion and, you know, just doing all that crazy stuff, then go ahead and stand ball bus rides around Turkey, not knowing where I'm going, not having money, not enough for rent, all this kind of stuff. But it's changed because I remember I got a job partnering with a recruitment company that's based in Amsterdam, and I remember just willy nilly booking the flight over to Amsterdam, and just kind of, I just gotten married, and I Michael. I was not resilient at all. I did not want to go, I did not want to travel, I wanted to be at home with my wife, you know what I mean? And so I definitely got softer in other ways. So your resilience does change. It becomes more kind of a mental toughness than, say, that kind of young book physical resilience that you had when you were younger. It completely switches.   Michael Hingson ** 51:32 Yeah, well, and I think resilience is, is really, to a large degree about the whole concept of, well, mental toughness, or maybe the ability to look at what you're doing and going through and being able to make a decision about how to proceed, I think that's really kind of more of it than anything else, right, right? And so resilience, I think, as oftentimes, it's a term that's overused, but the reality is, I think what resilience really is is your ability to keep things whoever you are, keep things in perspective, and be able to step back and ask the tough questions of yourself and listen to your inner self and get the answers that you need. Yes.   Peter William Murphy ** 52:25 If that makes sense. It does. It makes perfect sense. Just gotta keep going. Yeah, yeah, yeah.   Michael Hingson ** 52:35 You do have to keep going, and it's kind of important to do that, but you've had a lot of different things that you've done. You know, you've been, you're an author, by the way. Do you still make drinks anywhere?   Peter William Murphy ** 52:51 No, I just at home, right away home. Good for you. Yeah? Yeah, we it's a drinking God. Drinking is such a funny one. It's something that just, I don't know, dissolved from my life. When I aged 30, I didn't become a teetotaler or anything like that. Like I'll still have red wine and I'll be here with friends, but I rarely touch the stuff. And I think it's mostly due to the fact that I start work so early in the morning, you know, and I just cannot wake up with any sort of grogginess. I leave black coffee, you know, look at the news for 20 minutes, pet my cat, take a shower and then start, yeah.   Michael Hingson ** 53:42 Well, my wife and I used to have a drink on Friday night. I mean, we're capable. We were capable of going to restaurants and parties and occasionally have something. But I know since she passed in 2022 we were married 40 years. I part of honoring her is that I have a drink on Friday night. One drink. I don't because I've never nice. I've never really felt that I need to have alcohol or anything like that. I've never been a great fan of the taste, but I have a drink to honor her on Friday night. So that's kind of fun.   Peter William Murphy ** 54:21 Yeah, that's very nice. I mean, we it's my wife's birthday in two days, actually, so I'm very lucky. She's very she's like me in a way. I want to take her to a nice, fancy restaurant, or to do this and do that, but she just wants a chicken burger. And hello, yeah, so we just go out to our favorite restaurant. And you know, they're good burgers. They're pretty gourmet, but yeah, she's pretty down to earth with me. And yeah, we have a lot of fun together. And yeah. But I'm currently planning her birthday presents as as I'm speaking to you.   Michael Hingson ** 55:07 If you could go back and talk to a younger Peter, what would you what would you tell them? What would you want them to learn?   Peter William Murphy ** 55:15 Oh, I would tell him to go straight to a to talk to somebody, yeah, just to go straight to talk to somebody, that's the biggest thing. I had an interview where I was the host yesterday with a man who does Astro photography, and one of his, you know, other projects he does. He's a recovering alcoholic. Where he's he really talks about, you know, men talking to other men too, like, if your friend call, pick up, always speak. Tell people what's going on. Of course, don't nag people and to tell them every problem you have, but if you're down into dumps, you should talk to somebody. So anybody who's like young, you know, late, late teens coming up, should definitely talk to someone straight away, because I think a few simple sentences from a professional could have saved me a lot of let's call them headaches in the future, all   Michael Hingson ** 56:28 too often we the way we're taught. We just don't get encouraged to do that, do we?   Peter William Murphy ** 56:34 No, no. People listen. People are good. People will do what they can. But I think sometimes, I think the way it's framed maybe scares men. I think we're a lot better now, but maybe 1015, years ago, and even before that, trying to get a kid to, you know, talk to professional, nobody wants to be different in that way. You know, back then anyway and but it's so healthy. It's so good to have someone who can regurgitate back what you've just told them, but in a clear, calm fashion that you know makes sense. It does the world of good. It's, it's, it's better than medicine   Michael Hingson ** 57:27 for most. Puts a lot of things in perspective, doesn't it? It does, yeah, which, which makes a lot of sense. Well, yeah, I think this has been great. I've very much enjoyed having the opportunity to talk with you and and and hear a lot of great life lessons. I hope everyone who is out there listening to us appreciates all the things that you had to say as well. If anybody wants to reach out to you, how do they do that?   Peter William Murphy ** 57:57 Well, we're on Instagram as peak English. We're also on Tiktok as peak English,   Michael Hingson ** 58:04 peak as in P, E, A, K, that's right   Peter William Murphy ** 58:07 behind me here. So if anybody can see it's there's the spelling on my wallpaper.   Michael Hingson ** 58:14 And, yeah, a lot of people probably aren't watching videos, so that's why I asked you to spell   Peter William Murphy ** 58:19 it. Yeah? Well, actually, I'm blocking it, so I moved out of the way. There   Michael Hingson ** 58:23 you go. Well, I won't see it,   Peter William Murphy ** 58:27 yeah, so I Yeah. So that's the best way to get in contact with me. You can Google me. Peter William Murphy, medium writer, I pretty much on the top of the lid, if you're interested in writing, also the exile files. And we're also on YouTube with the exile files, so there's lots of stuff going on. This is an English speaking audience, so I'm assuming nobody's going to want lessons from me. So if you're interested in my writing, check out medium and sub stack. And if you know anybody of friends who needs English, tell them about peak English, and I will help you.   Michael Hingson ** 59:11 There you go. Well, I don't know, there may be people who aren't the greatest English speakers listening who, who might reach out. Well, I hope that they do, and I hope they appreciate all that you've offered today. I really appreciate you coming on and spending an hour with us. I hope that all it's an honor. Oh, it's been fun. And I would say to all of you out there, I'd love to hear what your thoughts are. Feel free to email me at Michael H i@accessibe.com that's m, I, C, H, A, E, L, H, I, at accessibe, A, C, C, E, S, S, i, b, e.com, love to hear from you. I'd love to hear your thoughts wherever you're listening. I hope that you'll give us a five star rating. We really appreciate your ratings and your reviews and Peter for you and for all of you, if you know anyone who ought to be a. Guest on the podcast. We're always looking for people to come on and tell their stories, so don't hesitate to provide introductions. We love it. We really appreciate you all doing that. And again, Peter, I just want to thank you for for coming on. This has been a lot of fun today.   1:00:14 Thank you so much. It's pleasure to speak with you.   **Michael Hingson ** 1:00:23 You have been listening to the Unstoppable Mindset podcast. Thanks for dropping by. I hope that you'll join us again next week, and in future weeks for upcoming episodes. To subscribe to our podcast and to learn about upcoming episodes, please visit www dot Michael hingson.com slash podcast. Michael Hingson is spelled m i c h a e l h i n g s o n. While you're on the site., please use the form there to recommend people who we ought to interview in upcoming editions of the show. And also, we ask you and urge you to invite your friends to join us in the future. If you know of any one or any organization needing a speaker for an event, please email me at speaker at Michael hingson.com. I appreciate it very much. To learn more about the concept of blinded by fear, please visit www dot Michael hingson.com forward slash blinded by fear and while you're there, feel free to pick up a copy of my free eBook entitled blinded by fear. The unstoppable mindset podcast is provided by access cast an initiative of accessiBe and is sponsored by accessiBe. Please visit www.accessibe.com . AccessiBe is spelled a c c e s s i b e. There you can learn all about how you can make your website inclusive for all persons with disabilities and how you can help make the internet fully inclusive by 2025. Thanks again for Listening. Please come back and visit us again next week.

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Today we have the pleasure to spend time with Hall of Fame radio broadcaster Jim Bednarek.Then we will hear the personal story of coming to America, after the Vietnam war. Our very own, Tucson High Badger graduate and fellow cyclist Kiet Phung.

In this special Beekeeping Today Podcast roundtable, Jeff Ott and Dr. Becky Masterman gather an inspiring group of regional beekeepers from across the U.S. to share how their colonies fared through the 2025 season and what they're doing to prepare for winter. Joining the table are Ang Roell (They Keep Bees, Massachusetts), Bonnie Morse (Bonnie Bee & Company, California), Duane Combs (Arizona Beekeepers LLC), Jay Williams (Williams Honey Farm, Tennessee), and Paul Longwell (Washington). Each regional voice brings a unique perspective on this year's challenges—heat and drought in the Southwest, unpredictable blooms in the Pacific Northwest, and extended broodless periods complicating Varroa management across the country. In response to listener Brian Schmitz's question, “What does your overwintering hive look like?”, these experienced beekeepers describe how their hive setups differ by region—from Ang's double-deeps and Warre hives with insulation and mountain camp feeding, to Jay's “3:2” ratio overwintering in wrapped medium supers, to Duane's Arizona colonies managing through both heat and rain cycles. Later, they discuss what didn't go as planned—queen mating failures, volatile weather, and high mite counts—and what they're most looking forward to in 2026. From germplasm banking and bee breeding projects to bee meditation programs and rare honey production, this lively conversation captures the diversity and innovation within today's beekeeping community. Websites from the episode and others we recommend: Honey Bee Obscura Podcast: https://honeybeeobscura.com Project Apis m. (PAm): https://www.projectapism.org Honey Bee Health Coalition: https://honeybeehealthcoalition.org The National Honey Board: https://honey.com Honey Bee Obscura Podcast: https://honeybeeobscura.com   Copyright © 2025 by Growing Planet Media, LLC     ______________ Betterbee is the presenting sponsor of Beekeeping Today Podcast. Betterbee's mission is to support every beekeeper with excellent customer service, continued education and quality equipment. From their colorful and informative catalog to their support of beekeeper educational activities, including this podcast series, Betterbee truly is Beekeepers Serving Beekeepers. See for yourself at www.betterbee.com This episode is brought to you by Global Patties! Global offers a variety of standard and custom patties. Visit them today at http://globalpatties.com and let them know you appreciate them sponsoring this episode!  Thanks to Bee Smart Designs as a sponsor of this podcast! Bee Smart Designs is the creator of innovative, modular and interchangeable hive systems made in the USA using recycled and American sourced materials. Bee Smart Designs - Simply better beekeeping for the modern beekeeper. Give your bees a boost with HiveAlive! Proven to increase bee health, honey yield, and overwinter survival, HiveAlive's unique formula includes seaweed, thyme, and lemongrass, making it easy to feed. Choose from HiveAlive's Fondant Patties, High-Performance Pollen Patties, or EZ Feed Super Syrup—ready-to-use options for busy beekeepers. Buy locally or online. Thanks to Strong Microbials for their support of Beekeeping Today Podcast. Find out more about their line of probiotics in our Season 3, Episode 12 episode and from their website: https://www.strongmicrobials.com Thanks for Northern Bee Books for their support. Northern Bee Books is the publisher of bee books available worldwide from their website or from Amazon and bookstores everywhere. They are also the publishers of The Beekeepers Quarterly and Natural Bee Husbandry. _______________ We hope you enjoy this podcast and welcome your questions and comments in the show notes of this episode or: questions@beekeepingtodaypodcast.com Thank you for listening!  Podcast music: Be Strong by Young Presidents; Epilogue by Musicalman; Faraday by BeGun; Walking in Paris by Studio Le Bus; A Fresh New Start by Pete Morse; Wedding Day by Boomer; Christmas Avenue by Immersive Music; Red Jack Blues by Daniel Hart; Original guitar background instrumental by Jeff Ott. Beekeeping Today Podcast is an audio production of Growing Planet Media, LLC ** As an Amazon Associate, we may earn a commission from qualifying purchases Copyright © 2025 by Growing Planet Media, LLC

 Today's SWAPA Number is 13,561. That's the number of views the Aeromedical and Benefits committee page has received in the last 12 months. So that's roughly each Southwest pilot viewing it once per year, and as we just started open enrollment for 2025, what a better way to rehack that currency than a guided tour of that page and its contents.This is another audio visual presentation. So for those of you listening to this intro on one of our podcast platforms, click the links in the show notes so you can see the show, much like we did a couple months ago with the 401(k) presentation. This is something you're gonna want to see as well. We're going to walk you through all the resources that live on this page, and you'll leave fully informed about your choices for 2026.VIDEO LINK: 2025 Benefits EducationIf you have any feedback for us at all, please drop us a line at comm@swapa.org or tap here to send us a text.Follow us online:Twitter - https://twitter.com/swapapilotsFacebook - https://www.facebook.com/swapa737

Today's episode is part of our Christian parenting mini-series we are offering on “Motherhood Taboos” and we are tackling a big taboo of finding out you're pregnant ... and you weren't planning to be. Our guests are both priests who found themselves unexpectedly pregnant and want to narrate the grief and the joy, the surprise and the wonder, and the challenge and hope of a blessing that can leave you limping from a worldview that supports women's autonomy, choice, and freedom. MORE ABOUT OUR GUESTS:Rev. Mia Kano is an Episcopal priest in the Diocese of Massachusetts, where she serves as the part-time Rector of St. Andrew's Episcopal Church in Ayer. She lives in Acton, Massachusetts with her husband and two children. Rev. Mia's childhood was shaped by both Catholic and Congregationalist churches. She found her way to the Episcopal Church in her early twenties after exploring secular humanism and Islam. She was ordained as a priest in January 2020. Rev. Reagan Gonzalez was born in Odessa, Texas and raised in Bozeman, Montana. She grew up attending St. James Episcopal Church in Bozeman and later served as its Youth Director and Christian Formation Director before attending seminary. She is a graduate of Montana State University with a degree in Microbiology. After college, Reagan spent a year living in intentional community during a year of service with the Episcopal Service Corps. This experience deepened her faith and confirmed a desire to formally discern a call to ordained ministry. She earned an MDiv from the Seminary of the Southwest in Austin, Texas and was ordained to the priesthood in 2018. Reagan has a passion for community life that is grounded in inclusivity. She loves to preach, teach, tell Godly Play stories to children, and introduce people to an open-minded Christianity where questions are welcomed, and where we trust that we learn best by struggling together to hear where the Holy Spirit is calling. Reagan is married to Bryan, they have two children, and one on the way. +++Like what you hear? We are an entirely crowd-sourced, you-funded project. SUPPORT US ON PATREON: https://www.patreon.com/AndAlsoWithYouPodcastThere's all kinds of perks including un-aired live episodes, Zoom retreats, and mailbag episodes for our Patreons!+++Our Website: https://andalsowithyoupod.comOur Instagram: https://www.instagram.com/andalsowithyoupodcast/++++MERCH: https://www.bonfire.com/store/and-also-with-you-the-podcast/++++More about Father Lizzie:BOOK: https://www.penguinrandomhouse.com/books/762683/god-didnt-make-us-to-hate-us-by-rev-lizzie-mcmanus-dail/RevLizzie.comhttps://www.instagram.com/rev.lizzie/https://www.tiktok.com/@rev.lizzieJubilee Episcopal Church in Austin, TX - JubileeATX.org ++++More about Mother Laura:https://www.instagram.com/laura.peaches/https://www.tiktok.com/@mother_peachesSt. Paul's Episcopal Church in Pittsburgh, PA++++Theme music:"On Our Own Again" by Blue Dot Sessions (www.sessions.blue).New episodes drop Mondays at 7am EST/6am CST! 

Send a Message to the TeamIn this episode, the podcast looks at what would have happened if Christopher Columbus turns back without sighting land.Panel:Dylan, Evan, and ChrisYou can follow and interact with A Fork In Time on….Discord: https://discord.com/invite/xhZEmZMKFSFacebook: https://www.facebook.com/aforkintimeTwitter: @AFITPodcastOur YouTube ChannelIf you enjoy the podcast and want to support it financially, you can help by:Supporting us monthly via Patreon: https://www.patreon.com/aforkintime....or, make a one-time donation via Podfan to A Fork In TimeWebsite: www.aforkintimepodcast.comE-Mail: aforkintimepodcast@gmail.comTheme Music: Conquer by Shane Ivers - https://www.silvermansound.comSupport the show

Flooding from both heavy rain and wind-driven storm surge will extend from eastern North Carolina to southern New England into Monday night as a sprawling tropical wind and rainstorm crawls northward before turning out to sea, AccuWeather meteorologists warn. Also, storms pushing inland from the Pacific will deliver the most significant rain and mountain snow to parts of the western United States since early last spring in the coming days. The storms will create travel disruptions, with mainly wet highways in the lower elevations and snowy, slippery conditions over the highest elevations. The greatest risk of flash flooding will be over the interior Southwest. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Here's your latest Fox Weather forecast with meteorologist Michael Estime.  Learn more about your ad choices. Visit podcastchoices.com/adchoices

Gloria shares a tale from her childhood this week-one where she was given a death sentence and sent to the hospital...and not expected to live! It was in the middle of the night, after the surgery, that she received her healing...and a glimpse of the majesty at the heart of the Universe. She's an author, a psychologist and a human who really desires to help all of us attain our best selves, but she especially works with men, helping them to discover their emotional depth. To read a bit more about Gloria and her work, click here! Remember that ratings and reviews are the bee's knees and ever so groovy...so get to rating! Thank you all so much! Your bit of beauty is a bit of autumn this week and the colors on the Mountain here in New Mexico! Learn how Aspen leaves get their shimmer and bring so much beauty here to us in the high desert of the Southwest! See you next week for another episode of the pod!

Gloria shares a tale from her childhood this week-one where she was given a death sentence and sent to the hospital...and not expected to live! It was in the middle of the night, after the surgery, that she received her healing...and a glimpse of the majesty at the heart of the Universe. She's an author, a psychologist and a human who really desires to help all of us attain our best selves, but she especially works with men, helping them to discover their emotional depth. To read a bit more about Gloria and her work, click here! Remember that ratings and reviews are the bee's knees and ever so groovy...so get to rating! Thank you all so much! Your bit of beauty is a bit of autumn this week and the colors on the Mountain here in New Mexico! Learn how Aspen leaves get their shimmer and bring so much beauty here to us in the high desert of the Southwest! See you next week for another episode of the pod!

WODC Newsletters “Passaconaway Path” – now called the Dicey Mill Trail – cut in 1891. And McGrillis (Flat Pond - Sandwich - long trip Summary of Kate Sleepers life  Description of Kate Sleeper Trail - connects the wonalancet trails to Waterville History of the Tom Wiggin Trail Story of the Heermance shelter on Mount Whiteface Shout out to George Zink - former president of WODC George Testified in congress in support of establishing the Sandwich Wilderness in 1984 Whiteface Only Common Approaches (all out and backs) Southeast approach from Ferncroft trailhead, Blueberry Ledge Trail & Rollins Trail out and back, 8.4 miles & 3150' Southwest approach from Whiteface Intervale Road, Flat Mountain Pond Trailhead, Flat Mountain Pond Trail, McCrillis Trail, & Rollins Trail out and back, 10.4 miles & 3450' North approach from the Kanc Highway, Downes Brook Trail, Kate Sleeper Trail, & Rollins Trail out and back, 12.6 mile and 2850' Winter notes: Ferncroft usually plowed out, Blueberry Ledge trail is the most popular route, most folks go out to Passaconaway and head down Dicey's Mill Trail. The upper portion of Blueberry Ledge (T25) has a ledge section that can be sketchy with ice, crampons might be needed in certain conditions.    Passaconaway Only Common Approaches: North approach, Oliverian Brook Trail, Passaconaway Cutoff, Square Ledge Trail, & Walden Trail out and back, 10 miles & 2900' (option to add 1.2 miles and 200' to loop over Square Ledge ex-52wav) South approach from Ferncroft, Dicey's Mill Trail out and back, 9.2 miles and 2900' Loops from Ferncroft using Dicey's Mill trail for Descent Old Mast Road, Walden Trail, & Dicey's Mill Trail, 9.4 miles and 3300' Wonalancet Range Trail, Walden Trail, & Dicey's Mill Trail, 9.8 & 3400'   Bagging Whiteface & Passconaway North from the Kanc, Oliverian Brook Trail, Passaconway Cutoff, Square Ledge Trail, Walden Trail, Dicey's Mill Trail to summit of Passaconaway, Rolling Trail out and back to summit of Whiteface, Kate Sleeper Trail, Downes Brook Trail, and 1 mile roadwalk on Kanc to Oliverian Brook trailhead loop, 15.5 miles and 3950' South from Ferncroft (by far the most common loop route), Blueberry Ledge Trail, Rollins Trail, Whiteface Summit, Rollins Trail to Dicey's Mill Trail out and back to Passconway Summit, back down Dicey's Mill Trail Lollipop loop, 12 miles and 4000' of gain. Winter, most people will use this route in winter to grab both peaks. Random notes: Worth mentioning, amazing trail system in the Wonalancet area/Sandwich Range Wilderness, lots of options. Paugus current 52wav, Square Ledge/Hibbard ex-52wav, Kelley Trail box canyon, good stuff. If you're ambitious go for a Sandwich Range Traverse with Whiteface/Passconaway/Tris with a carspot or roadwalk! Kate Sleeper trail across Sleepers is a super cool area, East Sleeper is a NEHH and both are NHHH peaks. Plenty of opportunity here to get off the beaten path and find some peace even on popular summer days (loop of square ledge/paugus back in Sept of ‘23).  

Send us a textDelta just posted blockbuster earnings, and it's not because more people are flying. Jenny Rae and Namaan unpack how Delta's $8B profit engine runs on premium seats, credit card partnerships, and a bet on wealthy travellers.They dive into what makes Delta's “premium economy” the most profitable cabin in the sky, why Buffett once got airlines wrong, and how rivals like United and Southwest are scrambling to catch up.Links mentioned in the episode:Fortune magazine articleDelta's latest 10-KEmail podcast@managementconsulted.com with your favorite margarita!Timestamps00:00 Delta Airlines: A Financial Overview03:31 Buffett's Airline Insights and Market Dynamics06:25 Premium Seats vs. Main Cabin: A Revenue Shift09:16 The Profitability of Premium Economy12:27 Delta's Financial Performance and Market Positioning16:34 Consumer Behavior and Airline Choices19:36 The Role of Technology in Airline Experience22:25 The Future of Airline Pricing and Customer SegmentationListen to the Market Outsiders podcast, the new daily show with the Management Consulted teamConnect With Management Consulted Schedule free 15min consultation with the MC Team. Watch the video version of the podcast on YouTube! Follow us on LinkedIn, Instagram, and TikTok for the latest updates and industry insights! Join an upcoming live event - case interviews demos, expert panels, and more. Email us (team@managementconsulted.com) with questions or feedback.

Gary and Shannon open the show celebrating the Dodgers' latest win, break down the Trump-led Gaza ceasefire, and dive into the storm systems bringing deep tropical “moisture” across the Southwest.But things take a sharp turn when Gary's Jeopardy question of the day sparks a full-on newsroom brawl over whether moisture is the same as humidity. Also: a tragic explosion in Tennessee, Nobel Prize snubs, and a few bruised egos from the Jeopardy group chat.

EP166 Interview With Mark & Simon From Elinchrom UK I sit down with Mark Cheatham and Simon Burfoot from Elinchrom UK to talk about the two words that matter most when you work with light: accuracy and consistency. We dig into flash vs. continuous, shaping light (not just adding it), why reliable gear shortens your workflow, and Elinchrom's new LED 100 C—including evenly filling big softboxes and that handy internal battery. We also wander into AI: threats, tools, and why authenticity still carries the highest value.   Links: Elinchrom UK store/info: https://elinchrom.co.uk/ LED 100 C product page: https://elinchrom.co.uk/elinchrom-led-100-c Rotalux Deep Octa / strips: https://elinchrom.co.uk/elinchrom-rotalux-deep-octabox-100cm-softbox/ My workshop dates: https://masteringportraitphotography.com/workshops-and-mentoring/ Transcript: Paul: as quite a lot of, you know, I've had a love affair with Elinchrom Lighting for the past 20 something years. In fact, I'm sitting with one of the original secondhand lights I bought from the Flash Center 21 years ago in London. And on top of that, you couldn't ask for a nicer set of guys in the UK to deal with. So I'm sitting here about to talk to Simon and Mark from Elinchrom uk. I'm Paul and this is the Mastering Portrait Photography podcast. Paul: So before we get any further, tell me a little bit about who you are, each of you and the team from Elinchrom UK Mark: After you, Simon. Simon: Thank you very much, mark. Mark: That's fine. Simon: I'm, Simon Burfoot. I have, been in the industry now for longer than I care to think. 35 years almost to the, to the day. Always been in the industry even before I left school because my father was a photographer and a lighting tutor, working for various manufacturers I was always into photography, and when he started the whole lighting journey. I got on it with him, and was learning from a very young age. Did my first wedding at 16 years old. Had a Saturday job which turned into a full-time job in a retail camera shop. By the time I was 18, I was managing my own camera shop, in a little town in the Cotswolds called Cirencester. My dad always told me that to be a photographic rep in the industry, you needed to see it from all angles, to get the experience. So I ended up, working in retail, moving over to a framing company. Finishing off in a prolab, hand printing, wedding photographers pictures, processing E6 and C41, hand correcting big prints for framing for, for customers, which was really interesting and I really enjoyed it. And then ended up working for a company called Leeds Photo Visual, I was a Southwest sales guy for them. Then I moved to KJP before it became, what we know now as Wex, and got all of the customers back that I'd stolen for them for Leeds. And then really sort of started my career progressing through, and then started to work with Elinchrom, on the lighting side. Used Elinchrom way before I started working with them. I like you a bit of a love affair. I'd used lots of different lights and, just loved the quality of the light that the Elinchrom system produced. And that's down to a number of factors that I could bore you with, but it's the quality of the gear, the consistency in terms of color, and exposure. Shooting film was very important to have that consistency because we didn't have Photoshop to help us out afterwards. It was a learning journey, but I, I hit my goal after being a wedding photographer and a portrait photographer in my spare time, working towards getting out on the road, meeting people and being involved in the industry, which I love. And I think it's something that I'm scared of leaving 'cause I dunno anything else. It's a wonderful industry. It has its quirks, its, downfalls at points, but actually it's a really good group of people and everyone kind of, gets on and we all love working with each other. So we're friends rather than colleagues. Paul: I hesitate to ask, given the length of that answer, to cut Simon: You did ask. Mark: I know. Paul: a short story Mark: was wondering if I was gonna get a go. Paul: I was waiting to get to end into the podcast and I was about to sign off. Mark: So, hi Mark Cheatham, sales director for Elinchrom uk this is where it gets a little bit scary because me and Simon have probably known each other for 10 years, yet our journeys in the industry are remarkably similar. I went to college, did photography, left college, went to work at commercial photographers and hand printers. I was a hand printer, mainly black and white, anything from six by four to eight foot by four foot panels, which are horrible when you're deving in a dish. But we did it. Paul: To the generation now, deving in a dish doesn't mean anything. Simon: No, it doesn't. Mark: And, and when you're doing a eight foot by four foot print and you've got it, you're wearing most of the chemistry. You went home stinking every night. I was working in retail. As a Saturday lad and then got promoted from the Saturday lad to the manager and went to run a camera shop in a little town in the Lake District called Kendall. I stayed there for nine years. I left there, went on the road working for a brand called Olympus, where I did 10 years, I moved to Pentax, which became Rico Pentax. I did 10 years there. I've been in the industry all my life. Like Simon, I love the industry. I did go out the industry for 18 months where I went into the wonderful world of high end commercial vr, selling to blue light military, that sort of thing. And then came back. One of the, original members of Elinchrom uk. I don't do as much photography as Simon I take photos every day, probably too many looking at my Apple storage. I do shoot and I like shooting now and again, but I'm not a constant shooter like you guys i'm not a professional shooter, but when you spent 30 odd years in the industry, and part of that, I basically run the, the medium format business for Pentax. So 645D, 645Z. Yeah, it was a great time. I love the industry and, everything about it. So, yeah, that's it Paul: Obviously both of you at some point put your heads together and decided Elinchrom UK was the future. What triggered that and why do you think gimme your sales pitch for Elinchrom for a moment and then we can discuss the various merits. Simon: The sales pitch for Elinchrom is fairly straightforward. It's a nice, affordable system that does exactly what most photographers would like. We sell a lot of our modifiers, so soft boxes and things like that to other users, of Prophoto, Broncolor. Anybody else? Because actually the quality of the light that comes out the front of our diffusion material and our specular surfaces on the soft boxes is, is a lot, lot more superior than, than most. A lot more superior. A lot more Mark: A lot more superior. Paul: more superior. Simon: I'm trying to Paul: Superior. Simon: It's superior. And I think Paul, you'll agree, Paul: it's a lot more, Simon: You've used different manufacturers over the years and, I think the quality of light speaks for itself. As a photographer I want consistency. Beautiful light and the effects that the Elinchrom system gives me, I've tried other soft boxes. If you want a big contrasty, not so kind light, then use a cheaper soft box. If I've got a big tattoo guy full of piercings you're gonna put some contrasty light to create some ambience. Maybe the system for that isn't good enough, but for your standard portrait photographer in a studio, I don't think you can beat the light. Mark: I think the two key words for Elinchrom products are accuracy and consistency. And that's what, as a portrait photographer, you should be striving for, you don't want your equipment to lengthen your workflow or make your job harder in post-production. If you're using Elinchrom lights with Elinchrom soft boxes or Elinchrom modifiers, you know that you're gonna get accuracy and consistency. Which generally makes your job easier. Paul: I think there's a bit that neither of you, I don't think you've quite covered, and it's the bit of the puzzle that makes you want to use whatever is the tool of your trade. I mean, I worked with musicians, I grew up around orchestras. Watching people who utterly adore the instrument that's in their hand. It makes 'em wanna play it. If you own the instrument that you love to play, whether it's a drum kit a trumpet a violin or a piano, you will play it and get the very best out of your talent with it. It's just a joy to pick it up and use it for all the little tiny things I think it's the bit you've missed in your descriptions of it is the utter passion that people that use it have for it. Mark: I think one of the things I learned from my time in retail, which was obviously going back, a long way, even before digital cameras One of the things I learned from retail, I was in retail long before digital cameras, retail was a busier time. People would come and genuinely ask for advice. So yes, someone would come in and what's the best camera for this? Or what's the best camera for that? Honestly there is still no answer to that. All the kit was good then all the kit is good now. You might get four or five different SLRs out. And the one they'd pick at the end was the one that they felt most comfortable with and had the best connection with. When you are using something every day, every other day, however it might be, it becomes part of you. I'm a F1 fan, if you love the world of F1, you know that an F1 car, the driver doesn't sit in an F1 car, they become part of the F1 car. When you are using the same equipment day in, day out, you don't have to think about what button to press, what dial to to turn. You do it. And that, I think that's the difference between using something you genuinely love and get on with and using something because that's what you've got. And maybe that's a difference you genuinely love and get on with Elinchrom lights. So yes, they're given amazing output and I know there's, little things that you'd love to see improved on them, but that's not the light output. Paul: But the thing is, I mean, I've never, I've never heard the F1 analogy, but it's not a bad one. When you talk about these drivers and their cars and you are right, they're sort of symbiotic, so let's talk a little bit about why we use flash. So from the photographers listening who are just setting out, and that's an awful lot of our audience. I think broadly speaking, there are two roads or three roads, if you include available light if you're a portrait photographer. So there's available light. There's continuous light, and then there's strobes flash or whatever you wanna call it. Of course, there's, hybrid modeling and all sorts of things, but those are broadly the three ways that you're gonna light your scene or your subject. Why flash? What is it about that instantaneous pulse of light from a xenon tube that so appealing to photographers? Simon: I think there's a few reasons. The available light is lovely if you can control it, and by that I mean knowing how to use your camera, and control the ambient light. My experience of using available light, if you do it wrong, it can be quite flat and uninteresting. If you've got a bright, hot, sunny day, it can be harder to control than if it's a nice overcast day. But then the overcast day will provide you with some nice soft, flat lighting. Continuous light is obviously got its uses and there's a lot of people out there using it because what they see is what they get. The way I look at continuous light is you are adding to the ambient light, adding more daylight to the daylight you've already got, which isn't a problem, but you need to control that light onto the subject to make the subject look more interesting. So a no shadow, a chin shadow to show that that subject is three dimensional. There are very big limitations with LED because generally it's very unshapable. By that I mean the light is a very linear light. Light travels in straight lines anyway, but with a flash, we can shape the light, and that's why there's different shapes and sizes of modifiers, but it's very difficult to shape correctly -an LED array, the flash for me, gives me creativity. So with my flash, I get a sharper image to start with. I can put the shadows and the light exactly where I want and use the edge of a massive soft box, rather than the center if I'm using a flash gun or a constant light. It allows me to choose how much or how little contrast I put through that light, to create different dynamics in the image. It allows me to be more creative. I can kill the ambient light with flash rather than adding to it. I can change how much ambient I bring into my flash exposure. I've got a lot more control, and I'm not talking about TTL, I'm talking about full manual control of using the modifier, the flash, and me telling the camera what I want it to do, rather than the camera telling me what it thinks is right. Which generally 99% of the time is wrong. It's given me a beautiful, average exposure, but if I wanted to kill the sun behind the subject, well it's not gonna do that. It's gonna give me an average of everything. Whereas Flash will just give me that extra opportunity to be a lot more creative and have a lot more control over my picture. I've got quite a big saying in my workshops. I think a decent flash image is an image where it looks like flash wasn't used. As a flash photographer, Paul, I expect you probably agree with me, anyone can take a flash image. The control of light is important because anybody can light an image, but to light the subject within the image and control the environmental constraints, is the key to it and the most technical part of it. Mark: You've got to take your camera off P for professional to do that. You've got to turn it off p for professional and get it in manual mode. And that gives you the control Paul: Well, you say that, We have to at some point. Address the fact that AI is not just coming, it's sitting here in our studios all the time, and we are only a heartbeat away from P for professional, meaning AI analyzed and creating magic. I don't doubt for a minute. I mean, right now you're right, but not Mark: Well, at some point it will be integrated into the camera Paul: Of course it will. Mark: If you use an iPhone or any other phone, you know, we are using AI as phone photographers, your snapshots. You take your kids, your dogs, whatever they are highly modified images. Paul: Yeah. But in a lot of the modern cameras, there's AI behind the scenes, for instance, on the focusing Mark: Yeah. Paul: While we've, we are on that, we were on that thread. Let's put us back on that thread for a second. What's coming down the line with, all lighting and camera craft with ai. What are you guys seeing that maybe we're not Simon: in terms of flash technology or light technology? Paul: Alright. I mean, so I mean there's, I guess there's two angles, isn't there? What are the lights gonna do that use ai? What are the controllers gonna do, that uses ai, but more importantly, how will it hold its own in a world where I can hit a button and say, I want rebrand lighting on that face. I can do that today. Mark: Yeah. Simon: I'm not sure the lighting industry is anywhere near producing anything that is gonna give what a piece of software can give, because there's a lot more factors involved. There's what size light it is, what position that light is in, how high that light is, how low that light is. And I think the software we've all heard and played with Evoto we were talking about earlier, I was very skeptical and dubious about it to start with as everybody would be. I'm a Photoshop Lightroom user, have been for, many years. And I did some editing, in EEvoto with my five free credits to start with, three edits in, I bought some credits because I thought, actually this is very, very good. I'll never use it for lighting i'd like to think I can get that right myself. However, if somebody gives you a, a very flat image of a family outside and say, well, could you make this better for me? Well, guess what? I can do whatever you like to it. Is it gonna attack the photographer that's trying to earn a living? I think there's always a need for people to take real photographs and family photographs. I think as photographers, we need to embrace it as an aid to speed up our workflow. I don't think it will fully take over the art of photography because it's a different thing. It's not your work. It's a computer generated AI piece of work in my head. Therefore, who's responsible for that image? Who owns the copyright to that image? We deal with photographers all the time who literally point a camera, take a picture and spend three hours editing it and tell everyone that, look at this. The software's really good and it's made you look good. I think AI is capable of doing that to an extent. In five years time, we'll look back at Evoto today and what it's producing and we'll think cracky. That was awful. It's like when you watch a high definition movie from the late 1990s, you look at it and it was amazing at the time, but you look at it now and you think, crikey, look at the quality of it. I dunno if we're that far ahead where we won't get to that point. The quality is there. I mean, how much better can you go than 4K, eight K minus, all that kind of stuff. I'm unsure, but I don't think the AI side of it. Is applicable to flash at this moment in time? I don't know. Mark: I think you're right. To look at the whole, photography in general. If you are a social photographer, family photographer, whatever it might be, you are genuinely capturing that moment in time that can't be replaced. If you are a product photographer, that's a different matter. I think there's more of a threat. I think I might be right in saying. I was looking, I think I saw it on, LinkedIn. There is a fashion brand in the UK at the moment that their entire catalog of clothing has been shot without models. When you look at it on the website, there's models in it. They shoot the clothing on mannequins and then everything else is AI generated they've been developing their own AI platform now for a number of years. Does the person care Who's buying a dress for 30 quid? Probably not, but if you are photographing somebody's wedding, graduation, some, you know, a genuine moment in someone's life, I think it'd be really wrong to use any sort of AI other than a little bit of post-production, which we know is now quite standard for many people in the industry. Paul: Yeah, the curiosity for me is I suspect as an industry, Guess just released a full AI model advert in, Vogue. Declared as AI generated an ai agency created it. Everything about it is ai. There's no real photography involved except in the learning side of it. And that's a logical extension of the fact we've been Photoshopping to such a degree that the end product no longer related to the input. And we've been doing that 25 years. I started on Photoshop version one, whatever that was, 30 years More than 33. So we've kind of worked our way into a corner where the only way out of it is to continue. There's no backtracking now. Mark: Yeah. Paul: I think the damage to the industry though, or the worry for the industry, I think you're both right. I think if you can feel it, touch it, be there, there will always be that importance. In fact, the provenance of authenticity. Is the high value ticket item now, Simon: Mm-hmm. Paul: because you, everything else is synthetic, you can trust nothing. We are literally probably months away from 90% of social media being generated by ai. AI is both the consumer and the generator of almost everything online Mark: Absolutely. Paul: Goodness knows where we go. You certainly can't trust anything you read. You can't trust anything you see, so authenticity, face-to-face will become, I think a high value item. Yeah. Mark: Yeah. Paul: I think one problem for us as an industry in terms of what the damage might be is that all those people that photograph nameless products or create books, you know, use photography and then compositing for, let's say a novel that's gone, stock libraries that's gone because they're faceless. Simon: Mm-hmm. Paul: there doesn't have to be authentic. A designer can type in half a dozen keywords. Into an AI engine and get what he needs. If he doesn't get what he needs, he does it again. All of those photographers who currently own Kit are gonna look around with what do we do now? And so for those of us who specialize in weddings and portraits and family events, our market stands every chance of being diluted, which has the knock on effect of all of us having to keep an eye on AI to stay ahead of all competitors, which has the next knock on effect, that we're all gonna lean into ai, which begs the question, what happens after Because that's what happened in the Photoshop world. You know, I'm kind of, I mean, genuinely cur, and this will be a running theme on the podcast forever, is kind of prodding it and taking barometer readings as to where are we going? Mark: Yeah. I mean, who's more at threat at the moment from this technology? Is it the photographer or is it the retouch? You know, we do forget that there are retouchers That is their, they're not photographers. Paul: I don't forget. They email me 3, 4, 5 times a day. Mark: a Simon: day, Mark: You know, a highly skilled retouch isn't cheap. They've honed their craft for many years using whatever software product they prefer to use. I think they're the ones at risk now more so than the photographer. And I think we sort of lose sight of that. Looking at it from a photographer's point of view, there is a whole industry behind photography that actually is being affected more so than you guys at the moment. Simon: Mm-hmm. Paul: Yeah, I think there's truth in that, but. It's not really important. Of course, it's really important to all of those people, but this is the digital revolution that we went through as film photographers, and probably what the Daguerreotype generators went through when Fox Tolbert invented the first transfer. Negative. You know, they are, there are always these epochs in our industry and it wipes out entire skillset. You know, I mean, when we went to digital before then, like you, I could dev in a tank. Yeah. You know, and really liked it. I like I see, I suspect I just like the solitude, Mark: the dark, Paul: red light in the dark Mark: yeah. Paul: Nobody will come in. Not now. Go away. Yeah. All that kind of stuff. But of course those skills have gone, has as, have access to the equipment. I think we're there again, this feels like to me a huge transition in the industry and for those who want to keep up, AI is the keeping up whether you like it or not. Mark: Yeah. And if you don't like it, we've seen it, we're in the middle of a massive resurgence in film photography, which is great for the industry, great for the retail industry, great for the film manufacturers, chemical manufacturers, everything. You know, simon, myself, you, you, we, we, our earliest photography, whether we were shooting with flash, natural light, we were film shooters and that planes back. And what digital did, from a camera point of view, is make it easier and more accessible for less skilled people. But it's true. You know, if you shot with a digital camera now that's got a dynamic range of 15 stops, you actually don't even need to have your exposure, that accurate Go and shoot with a slide film that's got dynamic range of less than one stop and see how good you are. It has made it easier. The technology, it will always make it. Easier, but it opens up new doors, it opens up new avenues to skilled people as well as unskilled people. If you want, I'm using the word unskilled again, I'm not being, a blanket phrase, but it's true. You can pick up a digital camera now and get results that same person shooting with a slide film 20 years ago would not get add software to that post-production, everything else. It's an industry that we've seen so many changes in over the 30 odd years that we've been in it, Simon: been Mark: continue Simon: at times. It exciting Mark: The dawn of digital photography to the masses. was amazing. I was working for Olympus at the time when digital really took off and for Olympus it was amazing. They made some amazing products. We did quite well out of it and people started enjoying photography that maybe hadn't enjoyed photography before. You know, people might laugh at, you know, you, you, you're at a wedding, you're shooting a really nice wedding pool and there's always a couple of guests there which have got equipment as good as yours. Better, better than yours. Yeah. Got Simon: jobs and they can afford it. Mark: They've got proper jobs. Their pitches aren't going to be as good as yours. They're the ones laughing at everyone shooting on their phone because they've spent six grand on their new. Camera. But if shooting on a phone gets people into photography and then next year they buy a camera and two years later they upgrade their camera and it gets them into the hobby of photography? That's great for everyone. Hobbyists are as essential, as professional photographers to the industry. In fact, to keep the manufacturers going, probably more so Simon: the hobbyists are a massive part. Even if they go out and spend six or seven or 8,000 pounds on a camera because they think it's gonna make them a better photographer. Who knows in two years time with the AI side, maybe it will. That old saying, Hey Mr, that's a nice camera. I bet it takes great pictures, may become true. We have people on the lighting courses, the workshops we run, the people I train and they're asking me, okay, what sessions are we gonna use? And I'm saying, okay, well we're gonna be a hundred ISO at 125th, F 5.6. Okay, well if I point my camera at the subject, it's telling me, yeah, but you need to put it onto manual. And you see the color drain out their faces. You've got a 6,000 pound camera and you've never taken it off 'P'. Mark: True story. Simon: And we see this all the time. It's like the whole TTL strobe manual flash system. The camera's telling you what it wants to show you, but that maybe is not what you want. There are people out there that will spend a fortune on equipment but actually you could take just as good a picture with a much smaller, cheaper device with an nice bit of glass on the front if you know what you're doing. And that goes back to what Mark was saying about shooting film and slide film and digital today. Paul: I, mean, you know, I don't want this to be an echo chamber, and so what I am really interested in though, is the way that AI will change what flash photography does. I'm curious as to where we are headed in that, specific vertical. How is AI going to help and influence our ability to create great lip photography using flash? Mark: I think, Paul: I love the fact the two guys side and looked at each other. Mark: I, Simon: it's a difficult question to answer. Mark: physical light, Simon: is a difficult question to answer because if you're Mark: talking about the physical delivery of light. Simon: Not gonna change. Mark: Now, The only thing I can even compare it to, if you think about how the light is delivered, is what's the nearest thing? What's gotta change? Modern headlamps on cars, going back to cars again, you know, a modern car are using these LED arrays and they will switch on and switch off different LEDs depending on the conditions in front of them. Anti dazzle, all this sort of stuff. You know, the modern expensive headlamp is an amazing technical piece of kit. It's not just one ball, but it's hundreds in some cases of little arrays. Will that come into flash? I don't know. Will you just be able to put a soft box in front of someone and it will shape the light in the future using a massive array. Right? I dunno it, Simon: there's been many companies tested these arrays, in terms of LED Flash, And I think to be honest, that's probably the nearest it's gonna get to an AI point of view is this LED Flash. Now there's an argument to say, what is flash if I walk into a living room and flick the light on, on off really quickly, is that a flash? Mark: No, that's a folock in Paul: me Mark: turn, big lights off. Paul: Yeah. Mark: So Simon: it, you, you might be able to get these arrays to flush on and off. But LED technology, in terms of how it works, it's quite slow. It's a diode, it takes a while for it to get to its correct brightness and it takes a while for it to turn off. To try and get an LED. To work as a flash. It, it's not an explosion in a gas field tube. It's a a, a lighter emitting diode that is, is coming on and turning off again. Will AI help that? Due to the nature of its design, I don't think it can. Mark: Me and s aren't invented an AI flash anytime soon by the looks of, we're Simon: it's very secret. Mark: We're just putting everyone off Paul, Simon: It's alright. Mark: just so they don't think Simon: Yeah, Mark: Oh, it's gonna be too much hard work and we'll sort it. Paul: It's definitely coming. I don't doubt for a minute that this is all coming because there's no one not looking at anything Simon: that makes perfect sense. Paul: Right now there's an explosion of invention because everybody's trying to find an angle on everything. Simon: Mm-hmm. Paul: The guys I feel the most for are the guys who spent millions, , on these big LED film backdrop walls. Simon: Yep. Mark: So you can Paul: a car onto a flight sim, rack, and then film the whole lot in front of an LED wall. Well, it was great. And there was a market for people filming those backdrops, and now of course that's all AI generated in the LED, but that's only today's technology. Tomorrow's is, you don't need the LED wall. That's here today. VEO3 and Flow already, I mean, I had to play with one the other day for one of our lighting diagrams and it animated the whole thing. Absolute genius. Simon: Mm-hmm. Paul: I still generated the original diagram. Mark: Yeah, Paul: Yeah, that's useful. There's some skill in there still for now, but, you gotta face the music that anything that isn't, I can touch it and prod it. AI's gonna do it. Mark: Absolutely. If you've ever seen the series Mandalorian go and watch the making of the Mandalorian and they are using those big LED walls, that is their backdrop. Yeah. And it's amazing how fast they shift from, you know, they can, they don't need to build a set. Yeah. They shift from scene to scene. Paul: Well, aI is now building the scenes. But tomorrow they won't need the LED wall. 'cause AI will put it in behind the actors. Mark: Yeah. Say after Paul: that you won't need the actors because they're being forced to sign away the rights so that AI can be used. And even those that are standing their ground and saying no, well, the actors saying Yes. Are the ones being hired. You know, in the end, AI is gonna touch all of it. And so I mean, it's things like, imagine walking into a studio. Let's ignore the LED thing for a minute, by the way, that's a temporary argument, Simon: I know you're talking about. Paul: about today's, Simon: You're about the. Mark: days Paul: LEDs, Simon: we're in, We're in very, very interesting times and. I'm excited for the future. I'm excited for the new generation of photographers that are coming in to see how they work with what happens. We've gone from fully analog to me selling IMACON drum scanners that were digitizing negatives and all the five four sheet almost a shoot of properties for an estate agent were all digitized on an hassle blood scanner. And then the digital camera comes out and you start using it. It was a Kodak camera, I think the first SLRI used, Paul: Yeah. Simon: and you get the results back and you think, oh my God, it looks like it's come out of a practica MTL five B. Mark: But Simon: then suddenly the technology just changes and changes and changes and suddenly it's running away with itself and where we are today. I mean, I, I didn't like digital to start with. It was too. It was too digital. It was too sharp. It didn't have the feel of film, but do you know what? We get used to it and the files that my digital mirrorless camera provide now and my Fuji GFX medium format are absolutely stunning. But the first thing I do is turn the sharpness down because they are generally over sharp. For a lovely, beautifully lit portrait or whatever that anybody takes, it just needs knocking back a bit. We were speaking about this earlier, I did some comparison edits from what I'd done manually in Photoshop to the Evoto. Do you know what the pre-selected edits are? Great. If you not the slider back from 10 to about six, you're there or thereabouts? More is not always good. Mark: I think when it comes to imagery in our daily lives, the one thing that drives what we expect to see is TV and most people's TVs, everything's turned up to a hundred. The color, the contrast, that was a bit of a shock originally from the film to digital, crossover. Everything went from being relatively natural to way over the top Just getting back to AI and how it's gonna affect people like you and people that we work with day to day. I don't think we should be worried about that. We should be worried about the images we see on the news, not what we're seeing, hanging on people's walls and how they're gonna be affected by ai. That generally does affect everyone's daily life. Paul: Yeah, Mark: Yeah. But what Paul: people now ask me, for instance, I've photographed a couple head shots yesterday, and the one person had not ironed her blouse. And her first question was, can we sort that out in post? So this is the knock on effect people are becoming aware of what's possible. What's that? Nothing. Know, and the, the smooth clothing button in Evoto will get me quite a long way down that road and saves somebody picking up an eye and randomly, it's not me, it's now actually more work for me 'cause I shouldn't have to do it. But, you know, this is my point about the knock on effect. Our worlds are different. So I didn't really intend this to be just a great sort of circular conversation about AI cars and, future technology. It was more, I dunno, we ended up down there anyway. Simon: We went down a rabbit hole. Mark: A Paul: rabbit hole. Yeah Mark: was quite an interesting one. Simon: And I'm sorry if you've wasted your entire journey to work and we Paul: Yeah. Simon: Alright. It wasn't intended to be like that. Paul: I think it's a debate that we need to be having and there needs to be more discussion about it. Certainly for anybody that has a voice in the industry and people are listening to it because right now it might be a toddler of a technology, but it's growing faster than people realize. There is now a point in the written word online where AI is generating more than real people are generating, and AI is learning that. So AI is reading its own output. That's now beginning to happen in imagery and film and music. Simon: Well, even in Google results, you type in anything to a Google search bar. When it comes back to the results, the first section at the top is the AI generated version. And you know what, it's generally Paul: Yep. Simon: good and Paul: turn off all the rest of it now. So it's only ai. Simon: Not quite brave enough for that yet. No, not me. Mark: In terms Paul: of SEO for instance, you now need to tune it for large language models. You need to be giving. Google the LLM information you want it to learn so that you become part of that section on a website. And it, you know, this is where we are and it's happening at such a speed, every day I am learning something new about something else that's arriving. And I think TV and film is probably slightly ahead of the photography industry Mark: Yeah. Paul: The pressures on the costs are so big, Simon: Yes. Paul: Whereas the cost differential, I'm predicting our costs will actually go up, not down. Whereas in TV and film, the cost will come down dramatically. Mark: Absolutely. Simon: They are a horrifically high level anyway. That's Paul: I'm not disputing that, but I watched a demo of some new stuff online recently and they had a talking head and they literally typed in relight that with a kiss light here, hairlight there, Rembrandt variation on the front. And they did it off a flat picture and they can move the lights around as if you are moving lights. Yes. And that's there today. So that's coming our way too. And I still think the people who understand how to see light will have an advantage because you'll know when you've typed these words in that you've got it about right. It doesn't change the fact that it's going to be increasingly synthetic. The moment in the middle of it is real. We may well be asked to relight things, re clothe things that's already happening. Simon: Yeah. Paul: We get, can you just fill in my hairline? That's a fairly common one. Just removing a mole. Or removing two inches round a waist. This, we've been doing that forever. Simon: Mm-hmm. Paul: And so now it'll be done with keyword generation rather than, photoshop necessarily. Simon: I think you'll always have the people that embrace this, we can't ignore it as you rightly say. It's not going away. It's gonna get bigger, it's gonna feature more in our lives. I think there's gonna be three sets of people. It's gonna be the people like us generally on a daily basis. We're photographers or we're artists. We enjoy what we do. I enjoy correctly lighting somebody with the correct modifier properties to match light quality to get the best look and feel and the ambience of that image. And I enjoy the process of putting that together and then seeing the end result afterwards. I suppose that makes me an artist in, in, in loose terms. I think, you know, as, as, as a photographer, we are artists. You've then got another generation that are finding shortcuts. They're doing some of the job with their camera. They're making their image from an AI point of view. Does that make up an artist? I suppose it still does because they're creating their own art, but they have no interest 'cause they have no enjoyment in making that picture as good as it can be before you even hit the shutter. And then I think you've got other people, and us to an extent where you do what you need to do, you enjoy the process, you look at the images, and then you just finely tune it with a bit of AI or Photoshop retouching so I think there are different sets of people that will use AI to their advantage or completely ignore it. Mark: Yeah. I think you're right. And I think it comes down, I'm going to use another analogy here, you, you know, let's say you enjoy cooking. If you enjoy cooking, you're creating something. What's the alternative? You get a microwave meal. Well, Paul Simon: and Sarah do. Mark: No. Paul: Sarah does. Simon: We can't afford waitress. Mark: You might spend months creating your perfect risotto. You've got it right. You love it. Everyone else loves it. You share it around all your friends. Brilliant. Or you go to Waitrose, you buy one, put it three minutes in the microwave and it's done. That's yer AI I Imagery, isn't it? It's a microwave meal. Paul: There's a lot of microwave meals out there. And not that many people cook their own stuff and certainly not as many as used to. And there's a lesson. Simon: Is, Mark: but also, Simon: things have become easier Mark: there Simon: you go. Mark: I think what we also forget in the photographic industry and take the industry as a whole, and this is something I've experienced in the, in the working for manufacturers in that photography itself is, is a, is a huge hobby. There's lots of hobbyist photographers, but there's actually more people that do photography as part of another hobby, birdwatching, aviation, all that sort of thing. Anything, you know, the photography isn't the hobby, it's the birds that are the hobby, but they take photographs of, it's the planes that are the hobby, but they take photographs. They're the ones that actually keep the industry going and then they expand into other industries. They come on one of our workshops. You know, that's something that we're still and Simon still Absolutely. And yourself, educating photographers to do it right, to practice using the gear the right way, but the theory of it and getting it right. If anything that brings more people into wanting to learn to cook better, Paul: you Mark: have more chefs rather than people using microwave meals. Education's just so important. And when it comes to lighting, I wasn't competent in using flash. I'm still not, but having sat through Simon's course and other people's courses now for hundreds of times, I can light a scene sometimes, people are still gonna be hungry for education. I think some wills, some won't. If you wanna go and get that microwave risotto go and microwave u risotto. But there's always gonna be people that wanna learn how to do it properly, wanna learn from scratch, wanna learn the art of it. Creators and in a creative industry, we've got to embrace those people and bring more people into it and ensure there's more people on that journey of learning and upskilling and trying to do it properly. Um, and yes, if they use whatever technology at whatever stage in their journey, if they're getting enjoyment from it, what's it matter? Paul: Excellent. Mark: What a fine Paul: concluding statement. If they got enjoyment outta it. Yeah. Whatever. Excellent. Thank you, Mark, for your summing up. Simon: In conclusion, Paul: did that just come out your nose? What on earth. Mark: What Paul: what you can't see, dear Listener is the fact that Mark just spat his water everywhere, laughing at Si. It's been an interesting podcast. Anyway, I'm gonna drag this back onto topic for fear of it dissolving into three blokes having a pint. Mark: I think we should go for one. Simon: I think, Paul: I think we should know as well. Having said that with this conversation, maybe not. I was gonna ask you a little bit about, 'cause we've talked about strobes and the beauty of strobes, but of course Elinchrom still is more than that, and you've just launched a new LED light, so I know you like Strobe Simon. Now talk about the continuous light that also Elinchrom is producing. Simon: We have launched the Elinchrom LED 100 C. Those familiar with our Elinchrom One and Three OCF camera Flash system. It's basically a smaller unit, but still uses the OCF adapter. Elinchrom have put a lot of time into this. They've been looking at LED technology for many years, and I've been to the factory in Switzerland and seen different LED arrays being tested. The problem we had with LEDs is every single LED was different and put out a different color temperature. We're now manufacturing LEDs in batches, where they can all be matched. They all come from the same serial number batch. And the different colors of LED as well, 15 years ago, blue LEDs weren't even possible. You couldn't make a blue LED every other color, but not blue for some unknown reason. They've got the colors right now, they've got full RGB spectrum, which is perfectly accurate a 95 or 97 CRI index light. It's a true hundred watts, of light as well. From tosin through to past daylight and fully controllable like the CRO flash system in very accurate nth degrees. The LED array in the front of the, the LEDA hundred is one of the first shapeable, fully shapeable, LED arrays that I've come across and I've looked at lots. By shapeable, I mean you put it into a soft box, of any size and it's not gonna give you a hotspot in the middle, or it's not gonna light the first 12 inches of the middle of the soft box and leave the rest dark. I remember when we got the first LD and Mark got it before me And he said, I've put it onto a 70 centimeter soft box. And he said, I've taken a picture to the front. Look at this. And it was perfectly even from edge to edge. When I got it, I stuck it onto a 1 3 5 centimeter soft box and did the same and was absolutely blown away by how even it was from edge to edge. When I got my light meter out, if you remember what one of those is, uh, it, uh, it gave me a third of a stop different from the center to the outside edge. Now for an LED, that's brilliant. I mean, that's decent for a flash, but for an LED it's generally unheard of. So you can make the LED as big as you like. It's got all the special effects that some of the cheaper Chinese ones have got because people use that kind of thing. Apparently I have no idea what for. But it sits on its own in a market where there are very cheap and cheerful LEDs, that kind of do a job. And very expensive high-end LEDs that do a completely different job for the photographer that's gone hybrid and does a bit of shooting, but does a bit of video work. So, going into a solicitor's or an accountant's office where they want head shots, but also want a bit of talking head video for the MD or the CEO explaining about his company on the website. It's perfect. You can up the ISO and use the modeling lamp in generally the threes, the fives, the ones that we've got, the LEDs are brilliant. But actually the LED 100 will give you all your modifier that you've taken with you, you can use those. It's very small and light, with its own built-in battery and it will give you a very nice low iso. Talking head interview with a lovely big light source. And I've proved the point of how well it works and how nice it is at the price point it sits in. But it is our first journey into it. There will be others come in and there'll be an app control for it. And I think from an LED point of view, you're gonna say, I would say this, but actually it's one of the nicer ones I've used. And when you get yours, you can tell people exactly the same. Paul: Trust me, I will. Simon: Yes. Mark: I think Paul: very excited about it. Mark: I think the beauty of it as well is it's got an inbuilt battery. It'll give you up to 45 minutes on a full charge. You can plug it in and run it off the mains directly through the USB socket as well. But it means it's a truly portable light source. 45 minutes at a hundred watt and it's rated at a hundred watt actual light output. It's seems far in excess of that. When you actually, Simon: we had a photographer the other day who used it and he's used to using sort of 3, 2 50, 300 watt LEDs and he said put them side by side at full power. They were virtually comparable. Paul: That is certainly true, or in my case by lots. Simon: I seem to be surrounded Paul: by Elinchrom kit, Which is all good. So for anybody who's interested in buying one of these things, where'd you get them? How much are they? Simon: The LED itself, the singlehead unit is 499 inc VAT. If you want one with a charger, which sounds ridiculous, but there's always people who say, well, I don't want the charger. You can have one with a charger for 50 quid extra. So 549. The twin kit is just less than a thousand quid with chargers. And it comes in a very nice portable carry bag to, to carry them around in. Um, and, uh, yeah, available from all good photographic retailers, and, Ellen crom.co uk. Paul: Very good. So just to remind you beautiful people listening to this podcast, we only ever feature people and products, at least like this one where I've said, put a sales pitch in because I use it. It's only ever been about what we use here at the studio. I hate the idea of just being a renta-voice. You it. Mark: bought it. Paul: Yeah. That's true. You guys sold it to me. Mark: Yeah, Simon: if I gave you anything you'd tell everyone it was great. So if you buy it, no, I've bought Paul: Yeah. And then became an ambassador for you. As with everything here, I put my money where my mouth is, we will use it. We do use it. I'm really interested in the little LED light because I could have done with that the other night. It would've been perfect for a very particular need. So yes, I can highly recommend Elinchrom Fives and Threes if you're on a different system. The Rotalux, system of modifier is the best on the planet. Quick to set up, quick to take down. More importantly, the light that comes off them is just beautiful, whether it's a Godox, whether it's on a ProPhoto, which it was for me, or whether if you've really got your common sense about you on the front of an Elinchrom. And on that happy note and back to where we started, which is about lighting, I'm gonna say thanks to the guys. They came to the studio to fix a problem but it's always lovely to have them as guests here. Thank you, mark. Thank you Simon. Most importantly, you Elinchrom for creating Kit is just an absolute joy to use. If you've enjoyed the podcast, please head over to all your other episodes. Please subscribe and whatever is your podcast, play of choice, whether it's iTunes, Spotify, YouTube, or a other. After you head, if you head across to masteringportraitphotography.com the spiritual home of this, particular, podcast, I will put in the show notes all the little bits of detail and where to get these things. I'll get some links off the guys as to where to look for the kit. Thank you both. I dunno when I'll be seeing you again. I suspect it will be the Convention in January if I know the way these things go. Simon: We're not gonna get invited back, are we? Mark: Probably not. Enough. Paul: And I'm gonna get a mop and clean up that water. You've just sprayed all over the floor. What is going on? Simon: wish we'd video. That was a funny sun Mark: I just didn't expect it and never usually that sort of funny and quick, Simon: It's the funniest thing I've ever seen. Paul: On that happy note, whatever else is going on in your lives, be kind to yourself. Take care.

Combined moisture from Priscilla and a newly-formed Tropical Storm Raymond will bring torrential downpours to parts of Mexico and the U.S. Southwest, with a risk of 4-8 inches of rain and life-threatening flash flooding. Also, a powerful tropical wind and rainstorm will unfold and bring days of coastal flooding, erosive surf, high winds and rain from the Carolinas to New England; Some areas may face impacts similar to a major nor'easter or hurricane. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Welcome back, travelers! One last time, pack your bags — we're heading west. Today, we'll visit the Southwest and the West. In the Southwest, we have: Arizona, New Mexico, Oklahoma, and Texas. And in the West, we have: Alaska, California, Colorado, Hawaii, Idaho, Montana, Nevada, Oregon, Utah, Washington, and Wyoming. That's fifteen states in total! Today, we'll take a closer look at Texas, Arizona, Colorado, California, Oregon, and Washington. Get the text here: 

In this episode of Flyover Film Country, the hosts discuss their viewing experiences of a recent film set in El Paso, exploring themes of revolution, generational change, and personal connections to the narrative. They reflect on audience reactions, the humor and pacing of the film, and PTA's unique directorial style, while also sharing their favorite movie snacks. In this engaging conversation, the hosts delve into the themes and performances of a film centered around the Christmas Adventures, exploring cultural critiques, character analyses, and the significance of community. They discuss standout performances, particularly that of Sensei, and speculate on the film's potential for awards recognition. The conversation also highlights the film's cinematic techniques and visual storytelling, emphasizing the importance of experiencing it on the big screen. Ultimately, the hosts reflect on the film's deeper messages about community and connection in today's world.

The new Rumps & Bumps jersey just dropped! Check out afterpartyinc.com. Its the return of our boy Champagne Eli! As he comes on after a two year hiatus. We talk about the last time he came on the podcast and he ended up where no one wants to be, find out how the ladies have been treating him plus Mark chimes in and Mark gives us the scoop on why he's still single. Follow us on social media @AaronScenesAfterParty

Will Peña and I will be talking about a variety of topics. Including, U of A sports, NFL & MLB playoffs, and Will has a special segment called "10 questions for Ron".

Listen to JCO's Art of Oncology article, "A Fight Bigger Than Myeloma” by Dr. Adeel Khan, an Assistant Professor of Medicine and Public Health at UT Southwestern. The article is followed by an interview with Dr. Adeel Khan and host Dr. Mikkael Sekeres. Dr. Khan shares the story of a patient whose multiple myeloma diagnosis and treatment serves as a reminder of the civil liberties progress we've made and that we have more to go. TRANSCRIPT Narrator: A Fighter Bigger Than Myeloma, by Adeel M. Khan, MD, MPH, MS  I met her during the early part of my clinical training in hematology/oncology. She was in her late 70s, dressed in a rust-colored cardigan and a headwrap with patterns that reminded me of Ghanaian kente cloth. Her eyes were sharp, her tone polite but direct. You could tell from the moment she spoke that she had lived a life where she had to advocate—for herself, for her family, for her place in rooms that were not always welcoming.  Her chart said “multiple myeloma, R-ISS II,” but it did not say that she had first come to an emergency room at least a year earlier complaining of back pain and fatigue and had been told it was probably arthritis or old age. It did not mention that she had seen three different doctors before someone ordered the laboratory tests that finally began to work up her anemia and increasingly compromised kidney function. It would take another trio of doctors to eventually order a magnetic resonance imaging whose ghostly lytic lesions led down the path to a bone marrow biopsy and her cancer diagnosis. When I brought this up gently during one of our early appointments, she looked at me and said, “They don't hear pain the same when it comes from someone like me.” As a Black woman from the Deep South, she had grown up learning how to navigate a health care system that did not always believe her. She told me stories about being dismissed, misdiagnosed, and interrupted. She was born into an era of structural violence where she would be ignored at best and mistreated at worst. She carried the weight of those moments, but she also carried strength, and clarity, and the kind of dignity that made people sit up straighter in their leather chairs when she entered the room. She was one of the most quietly revolutionary people I have ever known, having grown up during a time of civil rights activism. She had even taken part in bending Dr King's long arc of the moral universe toward justice and could share story upon story from her glory days. Her myeloma treatments were not easy. Chemotherapy rarely is. She shared that there were days when her body was tired of fighting, when her bones ached, her blood counts dropped, and her neuropathic pain throbbed. In the back of my mind, I thought how tragic it was that her delayed diagnosis added unnecessary complications and whether she too thought of that. She was fully mindful of the issues people with her skin color faced in our American healthcare system and society as a whole and revealed how that motivated her to carry forward. “If I don't take up space here,” she told me once, “then someone else like me won't either.” Over the course of our visits, I came to understand that she did not see her myeloma as the hardest fight of her life. Not by a long shot. Her primary struggle was centered on life in Birmingham in the 1950s where separate but equal was still the law of the land; her mother cleaned houses, her father worked odd jobs, and her own prospects were uncertain. She admired the writings of Richard Wright and Jean Toomer and was not shy in sharing her passions. One day, during a particularly tough visit—her disease had progressed and we were down to limited options—I found myself meandering. We went through the usual workup and discussions: laboratory test results, symptoms, and treatment options. I offered the prospect of clinical trials, but she shook her head gently and said, “I've done my time in experiments—I can't give myself to a system that gave my people so little.” I paused. It was the first hint of what would become a larger conversation—not just about medicine, but about history. She was well aware of the atrocities of the Tuskegee syphilis trials in her home state, the Kligman experiments on incarcerated Black men, and the forced sterilization of women of color. As dependent upon medicine as she was in her old age, it carried a bloody stain of dehumanizing racism that soured her against it. Outwardly, I had little in common with her. As a young South Asian man growing up in times more conscious of racial injustice, I was far removed from these historical crimes. Although I learned of them during my education, I did not internalize their impact on the patients in front of me in clinic. But through her I came to comprehend just how scarring and enduring these events can be and how they can rob someone of trust. And the truth is the health care system had not treated her well. She had personal stories of doctors who did not believe her pain, nurses who assumed she was uneducated,  and being passed over for better options, better care, and better answers. “But I kept showing up,” she said. “Because that's what we do. We show up even when we're not wanted.” Her stories to me were revelations. In her younger years, she had helped organize teachers at her school when they tried to fire a fellow Black teacher who seemingly spoke too loud in a meeting. She had lived through redlining, through the crack epidemic, through watching young Black men vanish into prisons, and still she rose every day and worked as a public school teacher for decades. She worked for a system that largely did not work for her. I came to admire that about her—that in simply living day-to-day life with plain dignity and acute awareness of society's issues, she promoted change by living it. “You want to talk about cancer?” she once said, half laughing. “Try walking into a bank in 1972 with a good credit score and a Black face. That's a disease this country still hasn't cured.” Curiously, she did not say these things with bitterness. Not even anger, really. Just clarity. Like someone who had long ago made peace with the truth, even if it was sharp. In clinic, she challenged my every assumption—about treatment tolerance, about compliance, about who is difficult, and who is “advocating.” And she taught me to look differently at the ways bias lingers in medicine. Not just in data or policies, but in subtle moments: the tone we use when explaining options, the hesitations in our tests and referrals, and the assumptions we may not even realize we are making. And she did not just expect good care—she demanded it. She told me early on, “Don't you treat me like I'm anything other than your mother.” That landed. And in seeing patients before me now, I remind myself to wonder who they were in their past lives, what baggage burdens them, and how it all shapes their perspectives. So from my view, she fought multiple myeloma with everything she had, but from hers, she fought something bigger: an entire system shaped by inequality. And ultimately, she made me better to realize that, not just as a doctor, but as a human being. In my years since knowing her, completing my training, and beginning my practice, I reflect on her grace. I think not just about her life, but what it means to practice medicine in a world that often forgets what patients carry with them into the clinic—generations of weight, of injustice, of strength. Mikkael Sekeres: Welcome back to JCO's Cancer Stories, The Art of Oncology. This ASCO podcast features intimate narratives and perspectives from authors exploring their experiences in oncology. I'm your host, Mikkael Sekeres. I'm Professor of Medicine and Chief of the Division of Hematology at the Sylvester Comprehensive Cancer Center, University of Miami. I am so happy that today we are joined by Adeel Khan, who's Assistant Professor of Medicine and Public Health at UT Southwestern in Dallas to talk about his Journal of Clinical Oncology article, “A Fight Bigger than Myeloma.” Our guest's disclosures will be linked in the transcript. Adeel, thank you so much for contributing to JCO and for joining us to discuss your article. Adeel Khan: Thank you so much for having me. It's a pleasure to be here. Mikkael Sekeres: Adeel, I don't want to be disingenuous to our readers by acting as if we've just met. You and I have known each other for a decade since you were still in your training. I wonder if for our listeners you can tell us a little bit about yourself, where are you from and and walk us through your career so far. Adeel Khan: More than happy to. So, I grew up mostly in Oklahoma, but I've sort of lived around in the Northeast and here in the Southwest where I am currently. I did college at the University of Oklahoma. I did medical school at the University of Michigan. I did residency with good fortune at the Cleveland Clinic where I happened to get to know you and have continued to know you since. I did my fellowship then in hematology oncology at Beth Israel Deaconess in the Harvard system and along the way of all that I did a Masters of Public Health at Harvard and a Masters of Science and Epidemiology at Columbia, and that pinball finally settled here to UT Southwestern here in Dallas which I am very happy to make my second home. Mikkael Sekeres: That's great. I will say just for our listeners you've been a superstar since the moment you were a resident. It's been a real treat for me to get to know you over the years. Adeel Khan: Thank you so much. Mikkael Sekeres: Can you tell us a little bit about your own story as a writer? You're a good writer. We get submissions from some really good writers every single week. It's a real privilege to be an editor for the Art of Oncology section and it's always reinvigorating to me to see how many good writers there are in medicine. How did you start your journey as a writer and how long have you been writing reflective narrative pieces? Adeel Khan: I would say if I went back to let's say high school, you know, people tend to be divided into kind of like the sciency types versus the literary arts types and you're kind of an either/or, you know, you didn't really have as much crossover then. But you know, I actually didn't mind when we had an essay due and I liked writing back then, and when I entered college I did a minor in English because I actually did enjoy that and I just liked the idea of being able to put your thoughts on paper in a way immortalizing them. Adeel Khan: And then as I sort of pursuing medicine more and more, publishing is really- it has all kinds of flavors to it and scientific publishing is obviously what has been emphasized, but you know, there's so many things to talk about within medicine. There's the science and the art of the field, and as I've moved along, I've written different pieces focusing really on patient stories and interactions. And I think my motivation has always been that as I have gotten particularly nowadays increasingly busy, I've had the fortune and misfortune of becoming more and more busy, it's easy to lose the opportunity to really connect with people that makes what we do meaningful. And so in those times when you know, and they can be rare, but when you really get to connect with someone in front of you who you're helping to care for, it's really refreshing and it's rejuvenating and I've tried to keep that with me as long as I can as I've gone through my journey. Mikkael Sekeres: There's a lot of jumping off points from what you just said, Adeel. I wonder if I can start with do you consider yourself an English major who's good at science or do you consider yourself a scientist who's a good writer? Adeel Khan: I think I'm too humble to say either. I think I was really a science major who just happened to like writing and reading and kept that as a part of myself. Mikkael Sekeres: Because I think there are a cadre of doctors who are actually English majors and have learned to turn science into storytelling and that's their entrée into science and medicine. I remember I talked for a while with David Scadden about this. He's a brilliant translational scientist who's based at Mass General who also teaches a writing course to the Harvard undergrads and who was an English major when he was an undergrad at Case Western. We've talked about this, about how there are people, I'll include myself in this, who just think different, who probably have these liberal arts brains and they figured out a way to convert science into a way a liberal arts person can understand it. Adeel Khan: Yeah, I mean narrative medicine has been I think around all along and it has only kind of been recently named as a field, but I mean it very much speaks to that that there's so much more than just G proteins in medicine. Mikkael Sekeres: I'm thrilled to hear that by the way. You mentioned you were an English minor. Are there particular writers who are an influence on you or can you talk about what's the most recent book or article you've read? Adeel Khan: Oh, that is a great question. Paulo Coelho is someone I've liked for a long time, The Alchemist. I really liked it because I read it after I had lived in Egypt. I lived in Egypt between college and med school as a study abroad program, and I had actually been to the Faiyum Oasis where the protagonist in that story ends up. And so it was just a fascinating story to me that I could trace some of the steps that are discussed in the book and it's so much- it's a story about self discovery which at that phase of life that I was in was you know, very much a theme of my own life. And so that's one that definitely stands out in my head. Mikkael Sekeres: Do you think reading pieces outside of medicine makes you a better scientist? Adeel Khan: I think absolutely. I think it makes you a better human being. In some ways I lament that so much of what I do reading now is so much just about what's in the field, what's new in myeloma, what's new in hematology oncology and I sort of miss the escape to reading other things and being able to pursue it. And even broader than just what a novel really offers. I mean, I grew up reading comic books too and I've always loved superheroes and fiction whether it's Star Wars and other things. And really they're just stories and the medium- there might be connotations whether it's a comic book or a or a novel, but they're just different mediums, but the fact that they're just stories is fundamental. I actually think to myself that it's so fascinating that the earliest piece of writing that we've really retained as human beings is we believe, the Epic of Gilgamesh, which is really a story of a superhero when you think about it, you know, and it's it's fiction, it's phantasmic in so many ways. But it speaks to how stories are just vital as people. Mikkael Sekeres: And what is it about graphic novels or my kids now of course call them graphic novels. We're not allowed to call them comic books. Adeel Khan: As they've been renamed, yeah. Mikkael Sekeres: What is it about graphic novels or comic books or the story of a hero that appeals to us in medicine? Adeel Khan: I think it's in some ways a parable of what we're doing. There's something so powerful and fundamental about this idea of good-evil and we can rename it in different ways, but that you're trying to overcome something that's an issue, an obstacle. And when you think about what we do in- particularly in oncology, that's very much what we're trying to do. We're trying to overcome an illness, a disease, to try to help the person in front of us. And it has different aspects to it. It could be someone pursuing something in a lab, it can be treating someone in front of you in clinic, but that simple dichotomy of there's something good about what you're doing because there's something bad in front of you is just the fundamental that runs through it all. Mikkael Sekeres: It's fascinating. I wonder if 30, 40, 50 years ago people would have said, “Oh, it's because the doctor is the hero,” but we don't view ourselves that way anymore. The patient is the hero. I love how you posit this as a good versus evil, the evil of course being cancer and the good everything that our patients do and that we try to to help to do to overcome that. Adeel Khan: For sure. Mikkael Sekeres: You wrote a really great essay about a woman who was a patient of yours. Can you tell me a little bit about what inspired you this time to make this connection and to write about this woman? Adeel Khan: Within the past year or so as I had been just really- the fortune and misfortune of getting busier, I lamented that I just wasn't able to spend as much time with patients in the way that I used to. One of the beauties of medical school and you know, to some degree residency and certainly fellowship is that you just have a little bit more time as a trainee, student and trainee where you can really bond with your patients I think a little bit more. And so in trying to kind of refresh my motivation, I was thinking about just kind of randomly some stories that I've kept in the back of my mind and this patient's story is one that stood out to me as I was recalling things. It was so fascinating to me because she had the disease which I now focus on. And the way that she viewed it and the way that she viewed it as a part of her life was just so different than what I think most people think of. And in that way it was very revitalizing that her focus in her life was part of a broader theme of the way that I think she viewed society. And this was just one piece of her own part of that much, much larger puzzle. Mikkael Sekeres: You really write lovingly about her and about how meaningful her context was in how you cared for her and what her experience was in the medical system. I wonder if I can read a little bit of what you wrote because it really did grab me as well. I'm going to start out by quoting you where you say, “Outwardly, I had little in common with her. As a young South Asian man growing up in times more conscious of racial injustice, I was far removed from these historical crimes. Though I learned of them during my education, I did not internalize their impact on the patients in front of me in clinic. But through her, I came to comprehend just how scarring and enduring these events can be and how they can rob someone of trust.” Wow, there's a lot there. Could you start with what was your perspective as a young South Asian man growing up in Oklahoma and what your view was of racial injustice compared to what her experience was of racial injustice? Adeel Khan: Yeah, I have to admit I don't know that I thought that much of it back then and I think that that's part of what it is. You know, being someone who was South Asian, I'm Pakistani, I have Indian roots, and coming into American history and as we learned about it there's so much about slavery and the theme of slavery unfortunately and and the struggles that enslaved peoples have. And you know, as a relatively recent immigrant, I didn't see myself in that narrative. I didn't see myself in that historical reality. But I knew about it intellectually, you know, I knew about the Tuskegee Syphilis Experiments, you know, I learned about all these things and and you learned about how atrocious so much of it is. But again, not being so directly connected, I did not put myself in that same role as someone to view it so close to myself. I will say it hit a little bit more after 9/11 when you know, I was randomly stopped at airport security a little bit more often in those days and again, I think that speaks to racial injustices, you know, I was certainly profiled looking back then, I've been held by TSA in the past, but even that is very minor compared to what African Americans have dealt with here. And this patient in just kind of sharing her tidbits during our time together, I was not directly asking her so much of this. She was really offering a lot of it to me as we would talk and she would be very generous in sharing parts of her story. And over time I kind of understood the broader narrative of her life. You know, it was clear how much of all that was actually in the forefront of her head. Adeel Khan: And I think she might have been a little bit more unique in the way that she kept it there, but she was hyper vigilant of issues of society and the roots that brought a given society to where it is here. I kind of got to know her, this is during the COVID pandemic and this was after the injustice of what happened to George Floyd and so it was a theme that I think people were talking about more and so I think she felt comfortable in saying really what was quite a bit that was stewing in the back of her head seemingly at all times. Mikkael Sekeres: It's so interesting you talk about what you endured after 9/11 as being, I'm going to quote you now, “minor” compared to what she's been through, but even a minor affront like that can really compromise your trust. You write about her, “As a Black woman from the deep South, she had grown up learning how to navigate a healthcare system that did not always believe her.” Can you expand on that a little bit? How is it that the healthcare system didn't believe her and what can we do going into interactions with patients from different backgrounds where we're incorporating that there's a compromise of trust and we have to make up for that? Adeel Khan: Yeah, and I think you know, it's so unfortunate that so many people have stories like this where, in her case really it was back pain that was her presenting symptom. This is long before she knew me. And she'd had the back pain for quite some time, but being an older woman, she was in her 70s at that time, she was not in phenomenal health for other reasons. It sounds like she was just kind of ignored, told that it was old age, tendon changes, she did not have meaningful imaging for some time. When she finally did after seeing a slew of different providers, that's when it was revealed like there's something more significant here. And then when you kind of piece that a little bit retrospectively and I think she certainly sensed this and I did when I- hindsight's always 20/20, when I looked through things, it's like, well, this probably could have been caught much earlier. It's just that no one really I think listened to what she was speaking to with her pain and the gravity that was actually behind it. And it just speaks to the fact that I think we have to be more thoughtful in what we take away from patients and not to ignore even small comments because they might be revealing of something much bigger behind them. Mikkael Sekeres: You quote her, you have some really great quotes in your essay where you just listen to what she says and transcribe it because what she says is very meaningful. And one of the quotes you provide from her is, “They don't hear pain the same when it comes from someone like me.” Wow. “When it comes from someone like me,” someone like her, how was it that people weren't hearing her description of pain, something that was different that was going on in her body and how can we be more attentive to people when they complain about things like pain? Adeel Khan: It's unfortunate that there's even known data to show how depending upon a patient's melanin content in their skin, how likely they are to get pain medications and what happens to them is different and this is an unfortunate example of that where I think she just wasn't heard properly. And so it wasn't addressed properly and she was not shy about saying that. I mean I think she sensed that. She was very clear in feeling that herself and in wanting to have better care, she was still prevented and hence why she had to go from provider to provider. Mikkael Sekeres: You've lived in a bunch of different places in the country. I mean, following your path, you've been in Oklahoma, you've been in Michigan, Ohio, Massachusetts, and now Texas. Do you think that we as providers have to have different levels of sensitivity depending on where in the country we're practicing and how some of our patients' trust in healthcare may have been compromised in those different parts of the country? Adeel Khan: I think absolutely. I mean this particular patient was from Alabama which has a heavy history that she was again very aware of and for those of us reading history books are also very aware of too. And it's interesting how, while the U.S. is in some ways- has some aspects that are monolithic, but it's very much not so. It's very patchy and people are different, you know, if I take one theme that we're talking about here is obviously racial injustice, but if you take something like obesity, you know, prevalence rates are very different throughout the country and attitudes surrounding it are also very different. And I think we do- ought to be mindful that in treating the patient in front of us, it's not done without context. And so how they view their illness and their situation is going to be different depending upon the state, depending upon the city, depending upon actually even the era that they grew up in. So I would say now, if you took actually a similar patient, but you put her in a very modern context post-year 2000, she's likely to have different feelings of the situation around her than someone who was born in this case in the 1940s. And that just speaks to the fact that circumstances change and we should be recognizing that as providers, even though it's not always easy to. Mikkael Sekeres: Well, it just emphasizes how very important it is to know the history of the place where we practice and how it's affected our patients' perceptions of healthcare and trust and being cared for, particularly now as there's such a movement to whitewash that history and eliminate it from major institutions like the Smithsonian. It has been such a pleasure to have Adeel Khan here. He is Assistant Professor of Medicine, Public Health at UT Southwestern in Dallas and wrote just a great JCO article called “A Fight Bigger Than Myeloma.” Adeel, thank you so much for submitting your article and for joining us today. Dr. Adeel Khan: Thank you so much for having me. It's been a pleasure. Mikkael Sekeres: If you've enjoyed this episode, consider sharing it with a friend or colleague or leave us a review. Your feedback and support helps us continue to have these important conversations. If you're looking for more episodes and context, follow our show on Apple, Spotify, or wherever you listen and explore more from ASCO at ASCO.org/podcasts. Until next time, this has been Mikkael Sekeres for JCO Cancer Stories: The Art of Oncology. The purpose of this podcast is to educate and to inform. This is not a substitute for professional medical care and is not intended for use in the diagnosis or treatment of individual conditions. Guests on this podcast express their own opinions, experience, and conclusions. Guest statements on the podcast do not express the opinions of ASCO. The mention of any product, service, organization, activity, or therapy should not be construed as an ASCO endorsement.   Show Notes Like, share and subscribe so you never miss an episode and leave a rating or review.  Guest Bio: Dr Adeel Khan is an Assistant Professor of Medicine and Public Health at UT Southwestern.

Allie Galloway, Senior Director, Global Events and Experiential Marketing at Yahoo, joins Amanda Ma, CEO and Founder of Innovate Marketing Group, to talk about designing memorable brand activations, leading inspired teams, and staying ahead in experiential marketing. Tune in now and get inspired to reimagine your next event.About the guest:As a Director of Events on the Yahoo Events and Experiential team, Allie Galloway is a passionate and energetic leader with a career built around elevating global brand experiences that drive revenue growth and foster brand affinity. Allie was named to BizBash 500: 2021's Most Influential Event Professionals & Event Marketers' 35 Under 35 Experiential Marketing's Next Generation in 2018. Most recently, she was a finalist for The Drum Awards B2B for Best Internal Company Event: 2021 For the Win Sales Conference and Most Innovative or Creative Use of Content: Yahoo's New Kind of NewFront, and won Best Reimagined Event Experience for BizBash Event Style Awards 2020 for her work on Build It: WFH Edition.   From building multi-million dollar conferences to producing XR videos, Allie's experience spans a wide range of events in the entertainment and technology industries. Before joining AOL in 2015, Allie worked for Sony Music Entertainment, creating bespoke meet & greet and intimate live performance sessions for A-list talent across the Southwest.   Allie received her BA in Creative Writing from California State University, Long Beach, and resides in Boulder, CO with her husband, two children, and golden retriever.Follow Allie on LinkedIn!EventUp is brought to you by Innovate Marketing Group. An award-winning Corporate Event and Experiential Marketing Agency based in Los Angeles, California. Creating Nationwide Immersive Event Experiences to help brands connect with people. Learn more here!At Innovate Marketing Group, we've curated a collection of free resources designed to help you elevate your events and marketing efforts. Whether you're planning a company retreat or navigating the latest event trends, our tools, reports, and checklists are here to support your success and keep you at the forefront of innovation. Access them here!Follow us!Find us on ⁠⁠LinkedIn and Instagram and catch our latest episodes on the EventUp Podcast!

Doc is back from his journey to the Southwest, so it's time for a little Main Line action on TLDR! This episode, the guys discuss a pair of indie titles.(Main line begins at 39:19.)

The price of the Families Fly Free membership is going up very soon! Join now at the lowest price you will ever see membership again and get all the value I added in 2025, including a brand new app so help is just a tap away, at the current price. Now's the time to plan your family's 2026 travels and put traveling with your family back at the top of your to-do list. Learn more and join at FamiliesFlyFree.com/Join.

A massive fire at one of California's largest oil refineries is shaking up gas prices across the Southwest — with some areas already topping $4 per gallon. We break down what happened, why it matters, and how long prices could stay high.

The maestro of mileage, Scott McMurren joins us for a drink and a dish about Southwest Airlines announcing service, Alaska Airlines brilliant of purchasing Hawaiian Airlines. 

This month's episode of Brand New World was largely created during Fast Company's Innovation Festival, which was held in New York City in mid-September.    So, we're bringing you my interview with Bozoma Saint-John, former chief marketing or brand officer at companies including Netflix, Uber, and Beats by Dre—who also just happens to star on The Real Housewives of Beverly Hills. She's also the cohost of NBC's newest reality show On Brand with Jimmy Fallon, where 10 everyday people compete to have their advertising ideas actually used by major brands like Samsung, Dunkin', Southwest, Captain Morgan, and Therabody.    But first, I had the chance to tap into my inner pizza nerd and talk to founder Tom Gozney about content and design as pillars of his brand's success, how he's working to maintain the brand's culture amid international expansion, and more. (WHICH BRAND?)   Pizza and reality TV? Let's gooooo.

Winter will be here soon, and for Tucson, that means...well, what does that mean? With our milder winter weather, do we even need to worry about preparing for the colder part of the year? That's what we're talking today, as we tackle a listener question about winter home prep when we're not faced with blizzards and ice.If you have a home question or situation, get in touch!  Email us at thetradepros@doneritesvcs.com  or leave us a voicemail at 1-833-805-0167 and we may feature your question in a future episode. Need to call in a trade pro? At Done Rite Services, we can help you with your HVAC, plumbing, and electrical needs in Tucson, Arizona. Find out more at www.doneritesvcs.com.This episode was produced by Rachel Simpson Media. Learn more at www.rachelsimpson.media.

On this episode, we're thrilled to welcome University of Arizona running back Ismail Maudi to the podcast. We'll be talking to this incredible young man about what brought him to Tucson and the excitement of playing for the U of A.Following that, my amazing wife, Janay Arenas, is back to dive into a wide-ranging conversation on various topics.Catch the Southwest Flavor podcast live every Tuesday and Thursday at 9 AM (MST).

Danny Garcia bartended in the Midwest and the Southwest, and when Lady Jane came calling, he made his way to Denver to join the team. Now serving as the spot's assistant general manager, Danny talks about his love for rums and his current obsession with Billy Joel while not forgetting his childhood fascination with swing music and playing saxophone. He learned something from each space he worked at, and he brought all of that knowledge to the acclaimed Lady Jane program. 

Welcome to The Migration Report, a new weekly segment from the Upduck Podcast focused exclusively on Wisconsin duck hunting and waterfowl migration. Each episode brings firsthand updates from hunters and contributors across the state—covering the Northeast, Northwest, Southeast, and Southwest regions—to keep you informed on where the birds are flying and how conditions are changing. From early-season teal and local wood ducks to the arrival of northern mallards, divers, and geese, The Migration Report tracks the pulse of Wisconsin's waterfowl season. Tune in for insights on migration patterns, weather fronts, and habitat conditions that shape each week's hunts. Whether you're setting decoys in the Mississippi River bottoms or glassing a cattail marsh up north, The Migration Report is your go-to source for real-time updates across Wisconsin's flyways. For more information, check out the following links: Instagram Facebook More About the Upduck Podcast Wisconsin Waterfowl Association Learn more about your ad choices. Visit megaphone.fm/adchoices

On this episode of CounterPunch Radio, Joshua Frank and Erik Wallenberg talk with Leona Morgan about nuclear colonialism in the Southwest and beyond. Leona Morgan (Diné/Navajo) is an Indigenous community organizer who has been fighting nuclear colonialism since 2007. The Albuquerque-based activist co-founded and works with the Nuclear Issues Study Group and Diné No Nukes, More The post Ending Nuclear Colonialism w/ Leona Morgan appeared first on CounterPunch.org.

Today, The Garden Mixer is highjacked by two jetlagged women drinking way too much coffee and trying to pull themselves together to adequately describe the many sights, tastes, and eureka moments of nine days visiting gardens in Cornwall and the Southwest of England. From new naturalism and earthworks at Wildside, to the breathtaking views across Tresco Island, to extraordinary fairy tale hotels, the girls discuss special moments and numerous takeaways — both for their gardens at home, and for future visits to this very special area of the UK, often under-visited by American garden-trippers looking for “The Big Five.” (Though which gardens constitute “The Big Five” is still up for debate.)For the WHOLE story, this is an episode you'll particularly appreciate by following up on The Garden Mixer Youtube channel, where the video version is #jamfirst packed with photos and snark. (Even if Marianne insists it should be #creamfirst.)What the heck is she talking about? By the end of this episode, you'll not only know what clotted cream is, but you'll be well versed in the right way to layer it on a scone.At least according to Marianne.Plus, microscopes, dahlias, & unbelievably, Beavis and Butthead. All on this week's Garden Mixer.___________________Be sure to hit the subscribe button so we can keep you smiling while you hit the mess [your garden] out there.Full Show Notes at⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠The Garden Mixer Podcast's Substack⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠____________________Socials – Pick Your Platform:Follow us on Instagram⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠@thegardenmixer⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Indulge us on TikTok⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠@the.garden.mixer⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Spar with us on X⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠@gardenmixerpod⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠“French Bistro” theme by Adieu Adieu. License D0LZBINY30GGTBBW

Watch Us On YouTube! This week on Miles to Go, we break down several wild developments across the travel world alongside Julian Kheel of Points Path! Topics include: • Sweet biz-class deal to Africa—how we found it and why it was a no-brainer. • American Airlines joins the touchless TSA PreCheck game—what it is and why you should care. • Southwest's radical shift: introducing checked bag fees and removing same-day changes for elites. • Solo traveler surcharge? A few airlines rolled out (then pulled back) pricing that charges solo travelers more than pairs—here's what's really happening. • Listener Q&A: How much time do you actually need for an international connection? Plus: a lively NYC check-in, Spirit vs. JetBlue fares to Florida, Disney Cruise holiday discounts, Vegas hotel softness, and a quick update on Points Path. Get hydrated like Ed in Vegas with Nuun Use my Bilt Rewards link to sign-up and support the show! If you enjoy the podcast, I hope you'll take a moment to leave us a rating. That helps us grow our audience! If you're looking for a way to support the show, we'd love to have you join us in our Travel Slack Community.  Join me and other travel experts for informative conversations about the travel world, the best ways to use your miles and points, Zoom happy hours and exciting giveaways. Monthly access Annual access Personal consultation plus annual access We have witty, funny, sarcastic discussions about travel, for members only. My fellow travel experts are available to answer your questions and we host video chats multiple times per month. Follow Us! Instagram: https://www.instagram.com/milestogopodcast/ TikTok: https://www.tiktok.com/@milestogopodcast Ed Pizza: https://www.instagram.com/pizzainmotion/ Richard Kerr: https://www.instagram.com/kerrpoints/