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How can upgrading your verbs transform flat writing into vivid, page-turning prose? Why do so many writing problems turn out to be verb problems — and how can you fix yours? Sarah Kaufman explores the art of the verb and shares practical tips for making your writing stronger, clearer, and more alive. In the intro, writing as a caregiver and grief [Stark Reflections; The Creative Penn episode]; Beyond Bookshops — Bulk Sales, Gifting and Alternative Distribution [Self-Publishing Advice]; list of money books; London walk along SouthBank; Bones of the Deep: AI-Assisted Artisan Author webinars. Today's show is sponsored by ProWritingAid, writing and editing software that goes way beyond just grammar and typo checking. With its detailed reports on how to improve your writing and integration with writing software, ProWritingAid will help you improve your book before you send it to an editor, agent or publisher. Check it out for free or get 15% off the premium edition at www.ProWritingAid.com/joanna This show is also supported by my Patrons. Join my Community at Patreon.com/thecreativepenn Sarah Kaufman is a Pulitzer Prize–winning critic, an award-winning author, and a writing teacher. Her latest book is Verb Your Enthusiasm: How to Master the Art of the Verb and Transform Your Writing. You can listen above or on your favorite podcast app or read the notes and links below. Here are the highlights and the full transcript is below. Show Notes Why verbs are the most versatile and underrated tool in a writer's toolkit How to replace flat, explanatory sentences with vivid, action-driven prose The power of physical and metaphorical verbs to show emotion instead of telling it When passive voice works, and when it's hiding something Balancing beautiful language with the demands of storytelling and deadlines How to broaden your writing expertise into a sustainable portfolio career You can find Sarah at SarahLKaufman.com. Transcript of the interview with Sarah Kaufman Jo: Sarah Kaufman is a Pulitzer Prize–winning critic, an award-winning author, and a writing teacher. Her latest book is Verb Your Enthusiasm: How to Master the Art of the Verb and Transform Your Writing. Welcome to the show, Sarah. Sarah: Thank you so much. I'm delighted to be with you. Jo: This is such a great topic, but first up— Tell us a bit more about you and how you got into writing. Sarah: I got into writing in a backwards way, I guess. The romantic, wonderful thing about writing is the freedom that it gives you, right? That's what we all think about—this freedom to address the world. Then the practical, wonderful thing about writing is developing a focal point, which I had to do in order to write in the first place. I'll explain a little bit about that. I became a dance critic, which is what I did at the Washington Post for 27 years, to have something to write about. That was necessary because, though I've always known that I wanted to be a writer ever since earliest childhood, I just didn't really find things to write about when it came time to actually try to make a living at it. As I was approaching leaving college as an English major, I was getting very anxious about what I was actually going to do, and I didn't have this burning desire to write about any certain thing. I happened to be working as a full-time secretary at a ballet school because I had been a ballet nerd all through my youth. I knew quite a bit about doing ballet, about the steps and about the lingo, so I was a suitable candidate to work at a ballet school. I was learning so much from the teachers there—who had all been professional dancers—about the aesthetics of ballet and how you shape the steps into art and into a performance. I was getting more and more interested in dance. One day the director took me out to lunch and she said, “You should write about dance.” I had seriously never considered that before, but she knew that I was an English major, that I wanted to write. She said, “Look, you know so much,” and she really encouraged me. So I said, “Well, okay, I'll give it a go,” because I had been reading dance criticism. I just started picking it apart and seeing how critics put their reviews together, called up a local paper, took on some freelance assignments, and did a lot of freelancing for years and eventually landed at the Washington Post. So the point I want to make is that I had that thing to write about. Now I had a focal point, and my books grew out of that. The first book I wrote is The Art of Grace: On Moving Well Through Life. That was an exploration of aspects of grace stemming from physical grace, which I knew about from dancers, and looking at connections there with social grace and spiritual grace. Then this verbs book likewise grew out of my work as a dance writer because my goal in writing about dance was to capture the experience of it. I didn't want to be a scholarly type of critic, though I do love that kind of criticism and I read it and learn so much from it, but I knew that was not going to be my style. I wanted more to primarily recreate the experience for the reader, as well as then coming in with analysis of it. I was just so fascinated by the look and the feel of what I was seeing on the stage. I wanted to be able to share that with the reader. So I had to lean on verbs to capture the action, and people occasionally would say, “Oh, you're so good with verbs, Sarah,” which I thought was kind of interesting. It's like, oh, so this is a strength I had developed. I didn't really realise it. Then that, coupled with my teaching experience, is what led me to think I have some things to talk about regarding verbs. I'd like to share with the world because, as a teacher, I often see that writing issues my students have are actually verb issues. They get into a corner with a lot of explanation or clauses on top of clauses, and they get lost. Where is the point that you want to make here? What is the meaning? What is it you want me to take away from your work? Well, if we pare that back and look at the verbs and try to get some direction in the sentences, that often brings clarity. Suddenly the student will say, “I was thinking more about adjectives and nouns. I didn't realise that verbs were really something to focus on.” I thought that would be an interesting challenge to bring that out. Jo: It's so fascinating. I love how your career has emerged and that you've leaned into different things. It has a kind of dance to it itself. We're going to come back to your career, but let's start with that, because you mentioned that with many of your students you are reading their work and you think, “Oh, we can fix this with some verbs.” Let's get into that because you talk about weeding and this verb-first editing process. Most of the listeners will have some kind of writing already—either they've got a lot of books or they've got a draft in progress. This is the kind of thing we struggle with: how do we make our work stronger? Talk about why you are so obsessed with verbs some tips for making our work stronger. Sarah: Yes, I am obsessed with verbs. I will cop to that. They're so interesting and I felt like they were a little underrated as a writing tool. Verbs, as we learned in school, drive your sentence forward. They're the engine. Really, I feel like they are the secret soul of language, because they're so versatile, they're so essential. First of all, they hold it all together. They're the only part of speech that in itself is a full sentence. You can have a full sentence that's a verb. “Watch.” “Look.” “Continue.” You could go on and on. That is a full grammatical sentence. You can't do that with any other part of speech. They're so essential. The word “verb” itself comes from the Latin verbum, which means “a word.” So verbs became that name for all words. Our literary ancestors understood this—that they're really the beginning and the end as far as words go. They can add to your work when you start thinking about verbs in this way, and you start thinking about how can I elevate my writing—well, verbs are very efficient and very evocative. They can add not only clarity to your work, but a kind of elegance. They can say so much in such a little amount of space. For example, say you have something like this: “The cook was facing the dinner rush, and so she decided to put together something quick and easy so no one would know how nervous and unprepared she was.” In that sentence, I'm doing a lot of explaining and describing. I'm just explaining to you the situation, but I haven't really brought it to life much. A better way to do it might be something like this—and you can see it comes a little bit more active: “The dinner rush pressed upon her. To hide her nerves, she whisked eggs and milk into omelettes, shredded parsley with her bare hands and flung it all onto plates like Jackson Pollock splashing his canvas.” I show you what her nerves and the pressure resulted in. I show that manifesting. Or you could even shorten it and just say: “Dinner rush loomed. She whisked and whipped, chopped and dripped and masked her nerves with glistening omelettes.” There are stylistic differences there, but it's just to give an example of how you can take something that, on the face of it, sure, it makes sense—it's perfectly fine as a sentence—but it just lies there. It's flat. Maybe it's not very exciting. It doesn't really move the story forward. You can bring it to life by showing us. You show us with the action. Jo: You haven't really specifically said what a verb is in that sentence you just had around “whisked” and all of those things. Those sentences were actually quite different in a lot of the different words you used. You didn't just swap out for stronger verbs. Could you just point out what the verbs were, in case people are confused about which words are which? Sarah: Right. Great. In the first, inferior example I have: “The cook was facing the dinner rush.” So then I amended it to: “The dinner rush pressed upon her.” I'm giving the dinner rush itself a verb—”press.” It weighed on her, it pressed on her. Also, in the third example—”the dinner rush loomed”—so that's even shorter. “Loom” is a wonderful verb. I love it because it conveys a sense of threat. That's what I mean by verbs being so efficient and evocative in one word. “A storm loomed.” “The dinner rush loomed.” You convey the emotion around the whole event. “To hide her nerves, she whisked eggs and milk into omelettes, shredded parsley.” So “hide”—she's hiding her nerves rather than just saying she felt nervous. You give it a little bit more action, you give her a little bit more character by saying she's doing this to hide her nerves. Then whisking the eggs, shredding the parsley, flinging it onto plates—that shows how she's being creative and surmounting this problem, right? Instead of simply describing—”So she decided to use her expertise and create a nice dinner”—you show that in motion with things like whisking and shredding and flinging it onto plates. That's an example of how you can slide in upgraded verbs to lend a sense of energy and life. Jo: I think this idea of motion is so great, and you tie this in a lot to your work. You've written a lot about physical action, and in the book there is a chapter on physical action. I think this is so important because many authors will say, “Use the word ‘said'” without thinking about dialogue within a pattern of action. Your chef there could say something as she flung the parsley on the plate, rather than “the chef said this.” Get moving as she flung the stuff onto the plate. The action verbs are so important. Could you talk a bit more about [action verbs] and the physical action side of it? Sarah: Yes, and that's so right. When you have a scene really rolling, you don't need to do so much explaining about the way a person says something with those dialogue tags. It's very interesting. I feel like words are alive—they're living, breathing things—and the more that we let them come to life on the page, the more you can draw your reader into the story. The reader gets a sense of that life and wants to come into the story with you. You've really created a scene that your reader feels immersed in. And that's so exciting as a reader to discover. Writing about movement is part of that. Of course writing is very vast—it's hard to say, “Well, you should always write about movement.” That would be silly. If we think about movement and action and action verbs as being effective not only for the actions that we see around us, but for inner actions—the subtle feelings, thinking, non-action, but internally what's going on—that's also space for effective verbs. For churning emotions, for metaphors about fright and what that feels like in the body. Or despair. Or regret. I have a lot of examples of that in the book. It's another beautiful use of verbs where, instead of explaining what someone is feeling, you can show it through metaphorical verbs and actual physical changes—things roiling inside the body. Jo: For example, someone in their draft has “she was afraid”— How could they make that much stronger and use a lot of those things you were just talking about? Sarah: That's an excellent question. Instead of “she was afraid,” you might say something like: “She felt her chest fill with ice, freezing her lungs and choking her breath, and her heart bashed around as if to tear itself from her body.” We could get very dramatic about it, but you can play with that. What I like to encourage readers to do is open their minds and open their imaginations. When you have a pretty standard phrase like “she was afraid” or “she felt too frightened to move”—well, put yourself in that position. What does that feel like? What does that really feel like inside when you're too frightened to move? Is it an icy feeling or is it a burning? Is it a numbness? And what verbs might help with that? Is it thrashing? Is it raging? Is it paralysing? How can that type of expressiveness fill in the picture and make it palpable to the reader—what it's like to be in the room with this person? Jo: Do you recommend using a thesaurus? I try to do this myself, and I often use Power Thesaurus, which I just find so useful, because as writers, when we are writing novels or books in a similar genre, we often reach for the same words. Are you a big thesaurus user? Sarah: I am a huge thesaurus user. I have a stack of actual book-type thesauri, but I do like, as you mentioned, Power Thesaurus. I like OneLook, which is an interesting resource. I think it's OneLook.com and you can go in the other way—you can use it as a thesaurus, but you can also use it to find one verb that combines a couple of words. Like “walk clumsily,” for example. You could put that into OneLook and it would come up with lists and lists. And among them might be “hobble” and “limp” and other words to say what a weak verb plus an adverb can say. Online resources are wonderful. I like Merriam-Webster.com—that's what I rely on a lot. Cambridge too. A thesaurus is wonderful. Now, the caution with the thesaurus, however, is that I would like to urge people to be mindful about just swapping in one word for another, or one verb for another, because even though they may appear in the same groupings, there are going to be subtle differences among them. I find it fascinating to really investigate the subtle difference between, say, “limp” and “hobble” and “stumble.” Those all mean slightly different things. So the finishing tip is just to make sure the word you choose is going to be right for the context. Jo: And also perhaps the audience. I mean, you are a Pulitzer Prize–winning critic, which is amazing, and you were writing for an audience who wanted dance pieces. The audience for dancing in terms of the words you would use—I'm not really into it myself, but I would know the word “pirouette.” I imagine there's a ton of words that you would know and use in your writing that wouldn't be so relevant for a wider audience. So we have to think about the audience as well. Sarah: Yes, absolutely. We want to be very thoughtful in our choice of words. If you distilled my book down to one single message, it is to think carefully. Not in the first draft, perhaps, and certainly not when we're speaking, because we speak so spontaneously. But in writing, where you put your thoughts down and then—hopefully, if you're not under too much deadline pressure—you can come back, give it another look, shape it, refine it, and really make sure that you've chosen your words with care. I feel like that's really what writing is all about—communicating one mind to another through this magnificent medium of language. Language is intentional, and having that intention in mind about what you want to share and what you want to communicate and how you want your readers to approach your work—well, that's up to you. That's the freedom I hope to be able to present to people who check out my book: here are some ways, here are some suggestions, here are some techniques and tips for issues that can arise. Really, once you've taken these in, I hope to fire your imagination and inspire you with being able to communicate what it is that you really have inside that you want to share. Jo: I think it is a book for falling in love with the joy of words again. You did mention deadlines, though, and the pressure. Especially for those of us who write genre fiction series, which is a lot of people listening, sometimes we might feel that we don't have the time for that. Do our readers appreciate it, or do they want story first? Sometimes is it too much? Where do you come down on balancing getting story over words? How long can we spend on finding beautiful words when we are writing another 70,000-word book? Sarah: I think that's an excellent point. I think story comes first. That's probably what first drives you to your desk—telling a story. Although it may not. The realities of writing are so vast and unlimited that it's very hard to come out with rules, and I don't write about rules. I really want to give suggestions and examples and insights, but I do think that story is absolutely tops. And that's the power of verbs, in fact. They can help us tell the stories with clarity and with efficiency. I do want to make sure that I'm being clear. I'm not advocating that before you ever sit down and write, or you write one sentence, you then go back and check every single word, because that wouldn't make any sense at all. The idea is to free yourself, free your imagination. These are ways to open your imagination up that maybe you haven't thought about before. But storytelling is primary, and the way that you tell it is going to be individual to every writer. It's useful to bear in mind that there are a lot of avenues one can take in terms of creating a scene or building a character and even evoking the landscape and the atmosphere, and we can look at verbs to help us do that. Jo: One of the biggest problems, I think, especially for new writers, is the passive voice versus more active voice. Can you give some examples of passive voice? Often in editing we're told to get rid of passive voice, but of course you do need it sometimes. Sarah: Yes. There's understandably a lot of confusion about passive voice. Just to have a tiny tidbit of grammar nerdery here: the voice of a verb refers to a very specific construction. It doesn't simply mean that the writer is expressing something in a boring way or taking on a dull subject. The voice of the verb tells you how it relates to the subject of the sentence. When the subject does the action—when it's doing the verb—then you have a verb in the active voice. But when the subject of the sentence is receiving the action, then it needs a verb in the passive voice. Here's an example. If I said, “Hey, Jo, guess what? My grandmother walked on the moon.” That's active voice. “My grandmother walked on the moon”—it's interesting, right? But if I said, “Hey, Jo, guess what? The moon was walked on.” You might be left thinking, “What? What am I supposed to take away from that? Is there more to the story?” “The moon was walked on”—well, that's the passive voice construction. There's no subject who did the walking. I haven't told you, and yet the subject was actually pretty important. My grandmother was the one who walked on the moon. So that's the frustration that often comes when we read the passive voice. We don't know the full story, and we might suspect: are they hiding something? Do they not really know who did the thing? It brings up a lot of questions. Especially in official situations. The classic example is “mistakes were made.” Officials love to say that because it puts nobody on the hook. Nobody is responsible. “Mistakes were made.” Well, who were they made by? They're not telling us. I heard this just recently, by one of the representatives here. This phrase is still being used: “Mistakes were made.” I think most people understand there's a bit of obfuscation. There is something being hidden. Now, there are times when the passive voice is perfectly fine. It's not necessary to say who did the action. If you say, “Joe Blow was arrested and charged with murder,” you pretty much have the full thing there. You don't need to say, “The police arrested him. The prosecutor filed the paperwork.” It's kind of assumed. If you just want to get to the point—he was arrested and charged with murder—that's sufficient. Maybe further down in the story you'll explain the circumstances, but you don't need them right there. Or say, “Fires are still being reported throughout the region.” In a news story, that's perfectly fine. We just need to know that fires are still happening. We don't necessarily need to know who's reporting it. More details may come later in the story, but right then it's perfectly fine. In news reports, in historical situations when we're giving a history, in scientific data and scientific reports, you often see the passive voice. It can be a perfectly good and oftentimes even more efficient way to tell something, but you don't want to lean into it and overuse it because it becomes very dull. When you don't have someone doing an action, it becomes very dull. Jo: As you've mentioned the legal side of things, and I'm reading a lot of academic papers at the moment. I'm doing another master's degree, and goodness me, I feel like sometimes it's designed to turn you off. Sarah: You are exactly right. I've come to that feeling too, and especially in seeing student work, where I feel like there is so much of that in academic writing, which students are reading and digesting. It naturally comes out of them, and it's a kind of cycle that's hard to break. Jo: Do you think it's a form of hedging? “Mistakes were made”—or anything legal—you are hedging it so it can be ambiguous. Whereas a strong verb—and you mentioned “your grandmother walked on the moon”—you are really making it very clear. If you want to hedge things, then using passive voice might be more appropriate. If you want to make it stronger, the activeness is important. Sarah: Yes. And it makes such a difference. I discovered this in my own work. I would read other critics, for example, and I would think, “I feel like the piece I've just written is kind of flat. It doesn't really have the effect I want, doesn't have any zip.” I would go and read other critics—not just dance critics, but other critics. It's so useful to just read other people in any type of writing that you're doing. I advocate doing a lot of reading. I would see that the pieces that really touched me, that really inspired me, had a lot of active voice constructions. They're not turning things around passively, which I think, as a young critic, I may have been doing because I was a little bit afraid to take a stand. Jo: Mm. Sarah: I think I see that in student work, that sometimes we don't want to take a stand, and so we hedge. But writing is intentional, and readers can pick up on that hedging. If you don't intend to hedge—in many cases it can be perfectly appropriate to be fuzzy for an effect that you want, or something like that in the context—but if you are hedging and you're trying to get away with it, like you don't want anyone to notice that you don't really want to give an opinion on this matter, it's going to be very clear. So it's better to address something directly. Jo: And make it stronger. I also wanted to ask you more about the writing career, because I, perhaps like many people listening, was like, I didn't even know you could make a career as a dance critic. Now I know you are not at the Washington Post any more, and it's possible that that role no longer exists—like a lot of writing roles. How has your writing career changed over the years? Do you have these various aspects of a portfolio career? We often talk about multiple streams of income on this show and how, as writers, we can't necessarily rely on one thing. Sarah: Yes, exactly. It's true, there is no longer a dance critic at the Washington Post. The position was eliminated. It's a shame, and it's happening to critics in all fields, in all media organisations, sadly. That's where, for me at least, having that focal point was very key. A thing that I became comfortable writing about, that I could then spiral out and use the eyes and the brain that I had developed from writing about this certain focus for a while. Where can I take that? Oh, athletes. They also move. I began writing stories and pieces and essays about athletes that moved beautifully, beyond racking up statistics about winning. They were just gorgeous to look at, just so pleasurable to watch. I started writing about the body language of political candidates in debate situations and so forth. Using my focal point to then widen my lens, to mix a metaphor, I guess. Having that subject matter and then broadening it out beyond the limits of the actual subject matter, broadening it out imaginatively into where I could find other places to use this perspective. That was really key for me. Say you are writing historical fiction or you're writing thrillers. I would imagine that you would develop a kind of expertise in things that I would find very difficult. Suspense, maybe, or political or police procedure, or what exactly was the weaponry in seventeenth-century France. How can you take that expertise and use it either in an aesthetic way or an actual factual way to address other topics? I think there are so many people that would be interested in what writers who have knowledge and expertise in anything can then use to show us something that we've overlooked. Something we always thought we knew, but that really, when you look at it this way, is reminiscent of how the scabbard was used in seventeenth-century France—or whatever it is, in whatever way. People are craving a new perspective on something they've overlooked or taken for granted. And that's where writers who have a body of work, or are interested in pursuing a certain topic. That's the promise that they have. They can work towards being able to enlighten us on so many other things that maybe only have a tangential connection, but they can make that connection for us. Jo: Fantastic. Where can people find you and your books online? Sarah: I am at SarahLKaufman.com. That's my website. My books are available on any website or bookshop that you want to order them from. Verb Your Enthusiasm comes out April 28th. I am not much on social media at the moment, but I do enjoy hearing feedback from readers, and there are ways to do that on my website. Jo: Well, thanks so much for your time, Sarah. That was great. Sarah: Thank you very much. I've enjoyed it.The post Verb Your Enthusiasm: Transform Your Writing With Stronger Verbs With Sarah Kaufman first appeared on The Creative Penn.

On this day in Portuguese history (7 May), the lower deck of the iconic 25 de Abril Bridge (formerly the Salazar Bridge) in Lisbon was officially inaugurated for rail traffic. Before this, the bridge only carried cars.The addition of the Fertagus train line revolutionised commuting between Lisbon and the South Bank – drastically cutting traffic and travel time.Carl asks: In what year did the first train finally cross the lower deck to Setúbal?✅ Drop your guess in the comments or join and guess at the Portugal Club for free

Brisbane is not building another Athens. The 2032 Olympics is reshaping Southeast Queensland right now, and the investors who understand ‘adaptive reuse' are already moving. In this episode, Mish Daniel breaks down where the real opportunity sits, why it is not next to the stadiums, and how to spot the grey area suburbs before the market does.The window is open. It will not stay that way. 01:14 - Brisbane 2032 is rewriting the Olympic rulebook and here is what that means for your portfolio03:47 - The Logan PCYC reveal and why multi-purpose design is the new measure of long-term property value05:56 - How Paris changed everything and where Brisbane stands against that gold standard right now08:08 - South Bank 2.0 is coming and industrial waterfront land is at the centre of it09:27 - The golden rings of opportunity sitting just outside the Olympic spotlight10:43 - The white elephant risk is still real and here is exactly how to spot it before you buy#Brisbane2032 #OlympicsProperty #CommercialPropertyAustralia #AdaptiveReuse #SoutheastQueensland #QueenslandProperty #PropertyInvestment #OlympicInfrastructure #CommercialRealEstate #PropertyPodcast #AustralianProperty #QueenslandDevelopment #SouthBank2 #NorthShoreHamilton #IndustrialProperty #PropertyInvestor #CommercialPropertyInvestment #LoganCity #MixedUseProperty #PropertyStrategy #CashFlowProperty #BuyersAgent #CommercialBuyersAgent #PropertyPortfolio #QueenslandGrowth #AdaptiveReuseProperty #PropertyMarket #RealEstateAustralia #OlympicLegacy #FortitudeValley #Woolloongabba #QueenslandRealEstate #PropertyEducation #InvestmentProperty #SmartInvesting #RealEstatePodcast #OlympicsDevelopment #UrbanRegeneration #CommercialProperty #PropertyTipsSHOW CREATED BY REVOLVE COMMERCIAL PROPERTY PODCASTHOSTED BY: Mish DanielPh: +61 401 313 573Website: ⁠www.revolvecommercial.com.au  ⁠Email: ⁠sales@revolvecommercial.com.au  ⁠YouTube: ⁠@mishdaniel-revolvecommercial⁠LinkedIn: ⁠www.linkedin.com/in/michelline-daniel-commercial⁠Facebook: ⁠www.facebook.com/revolvecommercial⁠Facebook Group: Revolve Commercial Group - ⁠www.facebook.com/groups/revolvecommercial⁠Instagram: ⁠@revolve.commercial⁠TikTok: ⁠@revolvecommercial⁠★ Free Tools & Resources for Commercial Property InvestorsGot questions about commercial real estate? Mish has answers.★ #Ask Mish Anything about CRE. Send your questions to: https://revolvecommercia.kartra.com/page/ama★ Unlock the Secrets of Commercial Property Due Diligence with our Exclusive Book!Check out the book here: https://revolvecommercia.kartra.com/page/ddbookUse Code: DD100 to get the book for free★ Book a call with Revolve Commercial: https://revolvecommercial.com.au/book-a-call/

Good morning. 75 years ago this weekend saw the Festival of Britain open to much fanfare. In 1951, cities were being rebuilt from the rubble of war, there were food shortages and rationing, and there was uncertainty in everyday life. But instead of retreating into itself and just focusing on the practicalities of post-war life, Britain decided to do something remarkable and celebrate itself. The Festival saw the SouthBank of the Thames in Central London transformed into a cultural and entertainment hub, much as it had been centuries earlier, and it left a lasting imprint, shaping modern British design, architecture, and public art for decades to come. But perhaps its most powerful legacy was in creating a shared collective national experience, a moment in time where people felt like belonged to something far greater than themselves. We've had glimpses of that more recently, and the London 2012 Olympics carried a similar energy. I vividly remember how, for those few weeks, there was a real sense of shared joy and excitement across the country, no matter who we were. The opening ceremony showed a Britain that reflected its modern identity, whimsical, eccentric, confident and diverse, with a keen sense of our history and an eye for what the future may hold. Collective moments like this matter, because they bring the nation together and remind us of who we are and who we can be. Sadly, that sense of togetherness is perhaps more fragile today. Differences feel more pronounced, more obvious than ever. Some seem more inclined to destroy rather than build bridges, and we have seen the horrible consequences of that this week in Golders Green. In the Sikh scriptures, one of the revered saints of the faith, Bhagat Kabir, says “When the difference between myself and others is removed, then wherever I look, I see only You, the Divine”. At a time of polarised communities both here and abroad, some minorities feel under threat, particularly when it's easier to withdraw into our own perspectives than it is to convene with those who may see the world differently. But if we look beyond those differences, I believe we are far stronger as a country than some – both inside and outside the UK - might give us credit for. 75 years ago, the Festival of Britain was special because of its spirit of hope and togetherness. Likewise with London 2012. They weren't times of perfect agreement, in fact far from it, but they remained moments of shared experience nonetheless because they celebrated us – every single one of us – in our United Kingdom.

Before bridges, before coaches, before passable roads, if you needed to get anywhere in Tudor London you needed him. The Thames waterman was licensed, badged, opinionated, and completely indispensable. In this episode we spend 24 hours on the river: shooting London Bridge, ferrying Shakespeare's audience to the South Bank, and watching the coaches arrive and take everything away. Plus: John Taylor, the Water Poet, who was furious about all of it and wrote pamphlets to prove it. Learn more about your ad choices. Visit megaphone.fm/adchoices

Brisbane’s iconic South Bank almost became a private housing estate before a visionary Premier stepped in; now, the city faces the exact same crossroads with the massive former Visy site. Melissa Buirchell from Kurilpa Futures warned that trading this "once-in-a-generation" public land for six mega-towers will leave a booming population without the green space it desperately needs.See omnystudio.com/listener for privacy information.

Two teenagers will be taken into custody following a targeted fire at a licensed venue on Southbank Boulevard early Friday morning.See omnystudio.com/listener for privacy information.

Two teenagers have been arrested following an arson attack in Southbank early Friday morning. See omnystudio.com/listener for privacy information.

Our reaction to the Round 7 Team List Tuesday updates and a big discussion about our trades this week.BEERS & BREAKEVENS SUPERCOACH LEAGUE CODE: 968952$5000 prize money - join today!Blue Wealth Property Links:Wealth Through Property23 April, Webinar, 6:30pm-7:30pmhttps://smart2.bluewealth.com.au/even...Rentvesting30 April, Webinar, 6.30pm – 7.30pmhttps://smart2.bluewealth.com.au/even...Melbourne Wealth Though Property live event for the Storm supporters -28 April, Crown Promenade, Southbank, 6:30pm-8:30pm - https://smart2.bluewealth.com.au/even...If you're interested in joining the show as a sponsor in 2026, reach out to the team at beersandbreakevens@gmail.comJoin the Ru Crew for exclusive SC content and even more NRL content in 2026: / rugbyleagueguru Become an SC Playbook Subscriber today: https://scplaybook.com.au/subscribe Hosted on Acast. See acast.com/privacy for more information.

Welcome to Decomposed Radio show 909.... I mean 99! As the climbing and techno scenes continue to expand, merge and dissolve into one another, we're featuring another dedicated exponent of both lifestyles.... Slam Dunc aka Duncan Campbell. After years of enjoying the music from the dancefloor, he's pitched headfirst into his DJ destiny and along with Decomposed favourite Flostate and Matt Bateman (who we'll defo be pinning down for a mix too!) has gone full send in organising a series of nights and events sharing their joint vision of how a proper techno night should be, drawing from extensive experiences of both grassroots and big professional parties. So for show 099, expect a refined blend of machine made 303 acid, ravey techno and deeper darker beats inspired by multiple pilgrimages to Berlin. If you like what you hear, defintely get yourself along to "Dissolve" this coming Friday 17th of April with Flostate, St.Jude, Rosie Glow and Slam Dunc all on the lineup. South Bank warehouse is the place to be for this epic slice of Berlin meets Sheffield. Doors open 9pm and the scenes push on until 6am. Tickets are available on Resident Advisor and on the door on the night, but if I were you I'd book a space in advance! So that's enough chopsing off from me. Get stuck in for Slam Dunc on Decomposed Radio show 099. Get some!!!!

Our reaction to the Round 6 Team List Tuesday updates and a big discussion about our trades this week.BEERS & BREAKEVENS SUPERCOACH LEAGUE CODE: 968952$5000 prize money - join today!Blue Wealth Property Links:Buying a property with your Super8 April, Webinar, 6:30pm-7:30pmhttps://smart2.bluewealth.com.au/even... Wealth Through Property23 April, Webinar, 6:30pm-7:30pmhttps://smart2.bluewealth.com.au/even...Rentvesting30 April, Webinar, 6.30pm – 7.30pmhttps://smart2.bluewealth.com.au/even...Melbourne Wealth Though Property live event for the Storm supporters -28 April, Crown Promenade, Southbank, 6:30pm-8:30pm - https://smart2.bluewealth.com.au/even...If you're interested in joining the show as a sponsor in 2026, reach out to the team at beersandbreakevens@gmail.comJoin the Ru Crew for exclusive SC content and even more NRL content in 2026: / rugbyleagueguru Become an SC Playbook Subscriber today: https://scplaybook.com.au/subscribe Hosted on Acast. See acast.com/privacy for more information.

Today's guest is quite simply one of the most iconic voices in hip hop and R&B.She's the artist behind some of the biggest tracks of the early 2000s, including Who's That Girl, Let Me Blow Ya Mind with Gwen Stefani, and Gangsta Lovin'. These are songs that defined an era and still feel just as fresh today. It is of course, Eve.Born and raised in Philadelphia, Eve, rose to global fame as part of the legendary Ruff Ryders crew, working alongside names like DMX and Dr. Dre, before carving out her own hugely successful solo career. She became the third female rapper in history to have a number one album on the Billboard 200, won a Grammy, starred in film and television, and has remained one of the most respected and trailblazing women in the industry.But beyond the music, there's a whole other side to Eve, one shaped by travel. As she told me, she still feels like that “little girl from Philadelphia who got to see the world because of her music” . In this episode, we explore exactly how that journey has unfolded.I spoke to Eve a couple of weeks ago in person on the South Bank in London, in the beautiful Big Ben Balcony suite of the London Marriott County Hall, looking out over the houses of Parliament and Westminster Bridge. From childhood trips to the Jersey Shore, to falling in love with Jamaica, to building a life here in London, which she now calls home, I know you're going to love this one.Holly's Destination Recap: - Naturhotel Forsthofgut, Austria Eve's Destination Recap:Jersey Shore, USAKingston, Jamaica Bob Marley Beach, JamaicaNegril, JamaicaLondonIbiza Es Vedra, Ibiza New York, USASloveniaKasakhstan Colorado, USAOmanEve's Scorpion 25th Anniversary Edition (Red and Black Splatter, 2LP) is out now hereThis episode was recorded at the London Marriott Hotel County Hall.With thanks to…Airbnb - Your home might be worth more than you think. Find out how much at airbnb.co.uk/hostSaily - Download SAILY in your app store and use our code traveldiaries at checkout to get an exclusive 15% off your first purchaseIf you enjoyed this episode, please hit follow or subscribe wherever you're listening. It really helps the podcast grow, allows me to keep bringing you these incredible guests - and it means you're delivered a fresh dose of wanderlust each week And if you'd like a little more Travel Diaries in your life, you can find me on Instagram and TikTok @hollyrubenstein.Thanks so much for listening, and I'll see you next week. Hosted on Acast. See acast.com/privacy for more information.

Elephant and Castle, tucked beneath London's Southbank, is set for a major transformation. Long defined by its busy gyratory system and ageing brutalist buildings, the area is now at the centre of a £4 billion regeneration aiming to transform it into a desirable destination in its own right.In this episode, host Tamara Kormornick is joined by The Standard's business editor Jonathan Prynn to explore the development plans, the changes that are already in place, and whether this long-awaited “glow up” will be enough to attract visitors to the area. Hosted on Acast. See acast.com/privacy for more information.

Send us Fan MailPCL — Not the Only Game in TownPrime central London has dominated the conversation for decades. But the data tells a different story.In this episode, Farnaz Fazaipour reveals that prices in Kensington, Chelsea and Westminster have fallen 18% since 2015 — and that a new generation of buyers is rewriting the rules of what makes a prime London investment.The areas now outperforming: Camden, Kentish Town, Canary Wharf, Notting Hill, Shoreditch, and South Bank — prime adjacent postcodes with stronger growth momentum and better value.If you're holding property in PCL, or considering buying there, this episode will make you think twice.Chapters 0:00 Introduction 0:45 The 18% price drop in Kensington, Chelsea & Westminster 1:30 Why affordability is reshaping buyer priorities 2:15 The prime adjacent areas outperforming PCL 3:15 Where the intelligent money is moving 3:45 How to get tailored guidance

Our reaction to the Round 5 Team List Tuesday updates and a big discussion about our trades this week.BEERS & BREAKEVENS SUPERCOACH LEAGUE CODE: 968952$5000 prize money - join today!Blue Wealth Property Links:Buying a property with your Super8 April, Webinar, 6:30pm-7:30pmhttps://smart2.bluewealth.com.au/event/booking/2817?ref=NTQ4ODU=Wealth Through Property23 April, Webinar, 6:30pm-7:30pmhttps://smart2.bluewealth.com.au/event/booking/2818?ref=NTQ4ODU=Rentvesting30 April, Webinar, 6.30pm – 7.30pmhttps://smart2.bluewealth.com.au/event/booking/2822?ref=NTQ4ODU=Melbourne Wealth Though Property live event for the Storm supporters -28 April, Crown Promenade, Southbank, 6:30pm-8:30pm - https://smart2.bluewealth.com.au/event/booking/2816?ref=NTQ4ODU=If you're interested in joining the show as a sponsor in 2026, reach out to the team at beersandbreakevens@gmail.comJoin the Ru Crew for exclusive SC content and even more NRL content in 2026: https://www.patreon.com/c/RugbyLeagueGuruBecome an SC Playbook Subscriber today: https://scplaybook.com.au/subscribe Hosted on Acast. See acast.com/privacy for more information.

Our reaction to the Round 4 Team List Tuesday updates and a big discussion about our trades this week.BEERS & BREAKEVENS SUPERCOACH LEAGUE CODE: 968952$5000 prize money - join today!Blue Wealth Property Links:Buying a property with your Super8 April, Webinar, 6:30pm-7:30pmhttps://smart2.bluewealth.com.au/event/booking/2817?ref=NTQ4ODU= Wealth Through Property23 April, Webinar, 6:30pm-7:30pmhttps://smart2.bluewealth.com.au/event/booking/2818?ref=NTQ4ODU=Rentvesting30 April, Webinar, 6.30pm – 7.30pmhttps://smart2.bluewealth.com.au/event/booking/2822?ref=NTQ4ODU=Melbourne Wealth Though Property live event for the Storm supporters -28 April, Crown Promenade, Southbank, 6:30pm-8:30pm - https://smart2.bluewealth.com.au/event/booking/2816?ref=NTQ4ODU=If you're interested in joining the show as a sponsor in 2026, reach out to the team at beersandbreakevens@gmail.comJoin the Ru Crew for exclusive SC content and even more NRL content in 2026: https://www.patreon.com/c/RugbyLeagueGuruBecome an SC Playbook Subscriber today: https://scplaybook.com.au/subscribe Hosted on Acast. See acast.com/privacy for more information.

Our guest today is Steffan Blayney, the author of Health & Efficiency: Fatigue, the Science of Work, and the Making of the Working-Class Body. In Health & Efficiency, Blayney explores a new model of health that emerged in Britain between 1870 and 1939. Centered on the working body, organized around the concept of efficiency, and grounded in scientific understandings of human labor, scientists, politicians, and capitalists of the era believed that national economic productivity could be maximized by transforming the body of the worker into a machine. At the core of this approach was the conviction that worker productivity was intimately connected to worker health. Under this new "science of work," fatigue was seen as the ultimate pathology of the working-class body, reducing workers' capacity to perform continued physical or mental labor. As Steffan Blayney shows, the equation between health and efficiency did not go unchallenged. While biomedical and psychological experts sought to render the body measurable, governable, and intelligible, ordinary men and women found ways to resist the logics of productivity and efficiency imposed on them, and to articulate alternative perspectives on work, health, and the body. Steffan Blayney is a former Wellcome Trust Research Fellow at the University of Sheffield, where his work focused on the relations between health, the body, and society, and on histories of political activism in modern and contemporary Britain. He has taught at Birkbeck, Kent, and Sussex, was previously a member of the editorial team at History Workshop Online, and was a co-founder and organizer of History Acts - a radical history workshop and network connecting activists and historians. He also authored the book Long Live Southbank, which celebrates the history and culture of the Undercroft area of the South Bank - the oldest recognized and still existing skateboarding space in the world - and the community that has evolved there over the years. Today, he no longer works within the walls of academia; instead, he is out in the field as a labor organizer, utilizing his talents, knowledge, and expertise in his work with EQUITY, a performing arts and entertainment trade union based in London. My co-producer today is Drew Marczewski a student in the MA Program in Communication at Oakland University. 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

Our guest today is Steffan Blayney, the author of Health & Efficiency: Fatigue, the Science of Work, and the Making of the Working-Class Body. In Health & Efficiency, Blayney explores a new model of health that emerged in Britain between 1870 and 1939. Centered on the working body, organized around the concept of efficiency, and grounded in scientific understandings of human labor, scientists, politicians, and capitalists of the era believed that national economic productivity could be maximized by transforming the body of the worker into a machine. At the core of this approach was the conviction that worker productivity was intimately connected to worker health. Under this new "science of work," fatigue was seen as the ultimate pathology of the working-class body, reducing workers' capacity to perform continued physical or mental labor. As Steffan Blayney shows, the equation between health and efficiency did not go unchallenged. While biomedical and psychological experts sought to render the body measurable, governable, and intelligible, ordinary men and women found ways to resist the logics of productivity and efficiency imposed on them, and to articulate alternative perspectives on work, health, and the body. Steffan Blayney is a former Wellcome Trust Research Fellow at the University of Sheffield, where his work focused on the relations between health, the body, and society, and on histories of political activism in modern and contemporary Britain. He has taught at Birkbeck, Kent, and Sussex, was previously a member of the editorial team at History Workshop Online, and was a co-founder and organizer of History Acts - a radical history workshop and network connecting activists and historians. He also authored the book Long Live Southbank, which celebrates the history and culture of the Undercroft area of the South Bank - the oldest recognized and still existing skateboarding space in the world - and the community that has evolved there over the years. Today, he no longer works within the walls of academia; instead, he is out in the field as a labor organizer, utilizing his talents, knowledge, and expertise in his work with EQUITY, a performing arts and entertainment trade union based in London. My co-producer today is Drew Marczewski a student in the MA Program in Communication at Oakland University. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/medicine

Our guest today is Steffan Blayney, the author of Health & Efficiency: Fatigue, the Science of Work, and the Making of the Working-Class Body. In Health & Efficiency, Blayney explores a new model of health that emerged in Britain between 1870 and 1939. Centered on the working body, organized around the concept of efficiency, and grounded in scientific understandings of human labor, scientists, politicians, and capitalists of the era believed that national economic productivity could be maximized by transforming the body of the worker into a machine. At the core of this approach was the conviction that worker productivity was intimately connected to worker health. Under this new "science of work," fatigue was seen as the ultimate pathology of the working-class body, reducing workers' capacity to perform continued physical or mental labor. As Steffan Blayney shows, the equation between health and efficiency did not go unchallenged. While biomedical and psychological experts sought to render the body measurable, governable, and intelligible, ordinary men and women found ways to resist the logics of productivity and efficiency imposed on them, and to articulate alternative perspectives on work, health, and the body. Steffan Blayney is a former Wellcome Trust Research Fellow at the University of Sheffield, where his work focused on the relations between health, the body, and society, and on histories of political activism in modern and contemporary Britain. He has taught at Birkbeck, Kent, and Sussex, was previously a member of the editorial team at History Workshop Online, and was a co-founder and organizer of History Acts - a radical history workshop and network connecting activists and historians. He also authored the book Long Live Southbank, which celebrates the history and culture of the Undercroft area of the South Bank - the oldest recognized and still existing skateboarding space in the world - and the community that has evolved there over the years. Today, he no longer works within the walls of academia; instead, he is out in the field as a labor organizer, utilizing his talents, knowledge, and expertise in his work with EQUITY, a performing arts and entertainment trade union based in London. My co-producer today is Drew Marczewski a student in the MA Program in Communication at Oakland University. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/medicine

Our guest today is Steffan Blayney, the author of Health & Efficiency: Fatigue, the Science of Work, and the Making of the Working-Class Body. In Health & Efficiency, Blayney explores a new model of health that emerged in Britain between 1870 and 1939. Centered on the working body, organized around the concept of efficiency, and grounded in scientific understandings of human labor, scientists, politicians, and capitalists of the era believed that national economic productivity could be maximized by transforming the body of the worker into a machine. At the core of this approach was the conviction that worker productivity was intimately connected to worker health. Under this new "science of work," fatigue was seen as the ultimate pathology of the working-class body, reducing workers' capacity to perform continued physical or mental labor. As Steffan Blayney shows, the equation between health and efficiency did not go unchallenged. While biomedical and psychological experts sought to render the body measurable, governable, and intelligible, ordinary men and women found ways to resist the logics of productivity and efficiency imposed on them, and to articulate alternative perspectives on work, health, and the body. Steffan Blayney is a former Wellcome Trust Research Fellow at the University of Sheffield, where his work focused on the relations between health, the body, and society, and on histories of political activism in modern and contemporary Britain. He has taught at Birkbeck, Kent, and Sussex, was previously a member of the editorial team at History Workshop Online, and was a co-founder and organizer of History Acts - a radical history workshop and network connecting activists and historians. He also authored the book Long Live Southbank, which celebrates the history and culture of the Undercroft area of the South Bank - the oldest recognized and still existing skateboarding space in the world - and the community that has evolved there over the years. Today, he no longer works within the walls of academia; instead, he is out in the field as a labor organizer, utilizing his talents, knowledge, and expertise in his work with EQUITY, a performing arts and entertainment trade union based in London. My co-producer today is Drew Marczewski a student in the MA Program in Communication at Oakland University. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/european-studies

Our guest today is Steffan Blayney, the author of Health & Efficiency: Fatigue, the Science of Work, and the Making of the Working-Class Body. In Health & Efficiency, Blayney explores a new model of health that emerged in Britain between 1870 and 1939. Centered on the working body, organized around the concept of efficiency, and grounded in scientific understandings of human labor, scientists, politicians, and capitalists of the era believed that national economic productivity could be maximized by transforming the body of the worker into a machine. At the core of this approach was the conviction that worker productivity was intimately connected to worker health. Under this new "science of work," fatigue was seen as the ultimate pathology of the working-class body, reducing workers' capacity to perform continued physical or mental labor. As Steffan Blayney shows, the equation between health and efficiency did not go unchallenged. While biomedical and psychological experts sought to render the body measurable, governable, and intelligible, ordinary men and women found ways to resist the logics of productivity and efficiency imposed on them, and to articulate alternative perspectives on work, health, and the body. Steffan Blayney is a former Wellcome Trust Research Fellow at the University of Sheffield, where his work focused on the relations between health, the body, and society, and on histories of political activism in modern and contemporary Britain. He has taught at Birkbeck, Kent, and Sussex, was previously a member of the editorial team at History Workshop Online, and was a co-founder and organizer of History Acts - a radical history workshop and network connecting activists and historians. He also authored the book Long Live Southbank, which celebrates the history and culture of the Undercroft area of the South Bank - the oldest recognized and still existing skateboarding space in the world - and the community that has evolved there over the years. Today, he no longer works within the walls of academia; instead, he is out in the field as a labor organizer, utilizing his talents, knowledge, and expertise in his work with EQUITY, a performing arts and entertainment trade union based in London. My co-producer today is Drew Marczewski a student in the MA Program in Communication at Oakland University. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/science-technology-and-society

Our guest today is Steffan Blayney, the author of Health & Efficiency: Fatigue, the Science of Work, and the Making of the Working-Class Body. In Health & Efficiency, Blayney explores a new model of health that emerged in Britain between 1870 and 1939. Centered on the working body, organized around the concept of efficiency, and grounded in scientific understandings of human labor, scientists, politicians, and capitalists of the era believed that national economic productivity could be maximized by transforming the body of the worker into a machine. At the core of this approach was the conviction that worker productivity was intimately connected to worker health. Under this new "science of work," fatigue was seen as the ultimate pathology of the working-class body, reducing workers' capacity to perform continued physical or mental labor. As Steffan Blayney shows, the equation between health and efficiency did not go unchallenged. While biomedical and psychological experts sought to render the body measurable, governable, and intelligible, ordinary men and women found ways to resist the logics of productivity and efficiency imposed on them, and to articulate alternative perspectives on work, health, and the body. Steffan Blayney is a former Wellcome Trust Research Fellow at the University of Sheffield, where his work focused on the relations between health, the body, and society, and on histories of political activism in modern and contemporary Britain. He has taught at Birkbeck, Kent, and Sussex, was previously a member of the editorial team at History Workshop Online, and was a co-founder and organizer of History Acts - a radical history workshop and network connecting activists and historians. He also authored the book Long Live Southbank, which celebrates the history and culture of the Undercroft area of the South Bank - the oldest recognized and still existing skateboarding space in the world - and the community that has evolved there over the years. Today, he no longer works within the walls of academia; instead, he is out in the field as a labor organizer, utilizing his talents, knowledge, and expertise in his work with EQUITY, a performing arts and entertainment trade union based in London. My co-producer today is Drew Marczewski a student in the MA Program in Communication at Oakland University. Learn more about your ad choices. Visit megaphone.fm/adchoices

Our guest today is Steffan Blayney, the author of Health & Efficiency: Fatigue, the Science of Work, and the Making of the Working-Class Body. In Health & Efficiency, Blayney explores a new model of health that emerged in Britain between 1870 and 1939. Centered on the working body, organized around the concept of efficiency, and grounded in scientific understandings of human labor, scientists, politicians, and capitalists of the era believed that national economic productivity could be maximized by transforming the body of the worker into a machine. At the core of this approach was the conviction that worker productivity was intimately connected to worker health. Under this new "science of work," fatigue was seen as the ultimate pathology of the working-class body, reducing workers' capacity to perform continued physical or mental labor. As Steffan Blayney shows, the equation between health and efficiency did not go unchallenged. While biomedical and psychological experts sought to render the body measurable, governable, and intelligible, ordinary men and women found ways to resist the logics of productivity and efficiency imposed on them, and to articulate alternative perspectives on work, health, and the body. Steffan Blayney is a former Wellcome Trust Research Fellow at the University of Sheffield, where his work focused on the relations between health, the body, and society, and on histories of political activism in modern and contemporary Britain. He has taught at Birkbeck, Kent, and Sussex, was previously a member of the editorial team at History Workshop Online, and was a co-founder and organizer of History Acts - a radical history workshop and network connecting activists and historians. He also authored the book Long Live Southbank, which celebrates the history and culture of the Undercroft area of the South Bank - the oldest recognized and still existing skateboarding space in the world - and the community that has evolved there over the years. Today, he no longer works within the walls of academia; instead, he is out in the field as a labor organizer, utilizing his talents, knowledge, and expertise in his work with EQUITY, a performing arts and entertainment trade union based in London. My co-producer today is Drew Marczewski a student in the MA Program in Communication at Oakland University. Learn more about your ad choices. Visit megaphone.fm/adchoices

Our guest today is Steffan Blayney, the author of Health & Efficiency: Fatigue, the Science of Work, and the Making of the Working-Class Body. In Health & Efficiency, Blayney explores a new model of health that emerged in Britain between 1870 and 1939. Centered on the working body, organized around the concept of efficiency, and grounded in scientific understandings of human labor, scientists, politicians, and capitalists of the era believed that national economic productivity could be maximized by transforming the body of the worker into a machine. At the core of this approach was the conviction that worker productivity was intimately connected to worker health. Under this new "science of work," fatigue was seen as the ultimate pathology of the working-class body, reducing workers' capacity to perform continued physical or mental labor. As Steffan Blayney shows, the equation between health and efficiency did not go unchallenged. While biomedical and psychological experts sought to render the body measurable, governable, and intelligible, ordinary men and women found ways to resist the logics of productivity and efficiency imposed on them, and to articulate alternative perspectives on work, health, and the body. Steffan Blayney is a former Wellcome Trust Research Fellow at the University of Sheffield, where his work focused on the relations between health, the body, and society, and on histories of political activism in modern and contemporary Britain. He has taught at Birkbeck, Kent, and Sussex, was previously a member of the editorial team at History Workshop Online, and was a co-founder and organizer of History Acts - a radical history workshop and network connecting activists and historians. He also authored the book Long Live Southbank, which celebrates the history and culture of the Undercroft area of the South Bank - the oldest recognized and still existing skateboarding space in the world - and the community that has evolved there over the years. Today, he no longer works within the walls of academia; instead, he is out in the field as a labor organizer, utilizing his talents, knowledge, and expertise in his work with EQUITY, a performing arts and entertainment trade union based in London. My co-producer today is Drew Marczewski a student in the MA Program in Communication at Oakland University. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/british-studies

Brought to you by the BISA Environment and Climate Politics Working Group. Globally, Black people are among the most affected by the climate crisis, despite contributing very little to it. For a long time, the crisis was portrayed as yet another injustice for Black people to care about, on top of the day-to-day oppression they face. In Black Climates: Notes on Race, Our Environment, and Visions for Equitable Futures (Chatto & Windus, 2025), Selina Nwulu reframes the crisis to encompass our disconnection from each other and the world around us. She argues that the root of climate change lies in historical colonial violence and ongoing exploitation, making it inherently racist. Nwulu, former Young People's Laureate for London, uses her poetic and skilful voice to directly address Black British readers who have been previously ignored in mainstream environmental conversations. She includes interviews with a wide range of creatives and campaigners to explore a variety of subjects, including air pollution, prison ecology, disability justice, migration, food, nature, community care, and radical imagination. This is an essential and empowering read for anyone who wants to fully understand the connections between Blackness and the climate crisis, providing the tools to envisage more equitable futures. Selina Nwulu is a well-known poet and her work has featured in Vogue, i-D and ES Magazine amongst others, and she has been commissioned by many different cultural institutions such as Southbank, Somerset House and Wellcome Trust. Selina was a Young Poet Laureate for London 2015-6, a prestigious award that recognizes talent and potential in the capital. Her debut chapbook, The Secrets I Let Slip, was published by Burning Eye Books in 2015 and is a Poetry Book Society recommendation. In 2019, she was shortlisted for the Brunel International African Poetry Prize and was a 2021 Arts Award Finalist for Environmental Writing. Pauline Heinrichs is a Lecturer in War Studies (Climate and Energy) at King's College London. Her research focuses climate and energy security. Pauline has worked with and led international teams in conflict and post-conflict countries such as Ukraine and the Baltic States, leading on qualitative methods and strategic narrative analysis. Pauline has also been a climate diplomacy professional working in foreign policy, and an international climate think tank. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-american-studies

Brought to you by the BISA Environment and Climate Politics Working Group. Globally, Black people are among the most affected by the climate crisis, despite contributing very little to it. For a long time, the crisis was portrayed as yet another injustice for Black people to care about, on top of the day-to-day oppression they face. In Black Climates: Notes on Race, Our Environment, and Visions for Equitable Futures (Chatto & Windus, 2025), Selina Nwulu reframes the crisis to encompass our disconnection from each other and the world around us. She argues that the root of climate change lies in historical colonial violence and ongoing exploitation, making it inherently racist. Nwulu, former Young People's Laureate for London, uses her poetic and skilful voice to directly address Black British readers who have been previously ignored in mainstream environmental conversations. She includes interviews with a wide range of creatives and campaigners to explore a variety of subjects, including air pollution, prison ecology, disability justice, migration, food, nature, community care, and radical imagination. This is an essential and empowering read for anyone who wants to fully understand the connections between Blackness and the climate crisis, providing the tools to envisage more equitable futures. Selina Nwulu is a well-known poet and her work has featured in Vogue, i-D and ES Magazine amongst others, and she has been commissioned by many different cultural institutions such as Southbank, Somerset House and Wellcome Trust. Selina was a Young Poet Laureate for London 2015-6, a prestigious award that recognizes talent and potential in the capital. Her debut chapbook, The Secrets I Let Slip, was published by Burning Eye Books in 2015 and is a Poetry Book Society recommendation. In 2019, she was shortlisted for the Brunel International African Poetry Prize and was a 2021 Arts Award Finalist for Environmental Writing. Pauline Heinrichs is a Lecturer in War Studies (Climate and Energy) at King's College London. Her research focuses climate and energy security. Pauline has worked with and led international teams in conflict and post-conflict countries such as Ukraine and the Baltic States, leading on qualitative methods and strategic narrative analysis. Pauline has also been a climate diplomacy professional working in foreign policy, and an international climate think tank. 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

Brought to you by the BISA Environment and Climate Politics Working Group. Globally, Black people are among the most affected by the climate crisis, despite contributing very little to it. For a long time, the crisis was portrayed as yet another injustice for Black people to care about, on top of the day-to-day oppression they face. In Black Climates: Notes on Race, Our Environment, and Visions for Equitable Futures (Chatto & Windus, 2025), Selina Nwulu reframes the crisis to encompass our disconnection from each other and the world around us. She argues that the root of climate change lies in historical colonial violence and ongoing exploitation, making it inherently racist. Nwulu, former Young People's Laureate for London, uses her poetic and skilful voice to directly address Black British readers who have been previously ignored in mainstream environmental conversations. She includes interviews with a wide range of creatives and campaigners to explore a variety of subjects, including air pollution, prison ecology, disability justice, migration, food, nature, community care, and radical imagination. This is an essential and empowering read for anyone who wants to fully understand the connections between Blackness and the climate crisis, providing the tools to envisage more equitable futures. Selina Nwulu is a well-known poet and her work has featured in Vogue, i-D and ES Magazine amongst others, and she has been commissioned by many different cultural institutions such as Southbank, Somerset House and Wellcome Trust. Selina was a Young Poet Laureate for London 2015-6, a prestigious award that recognizes talent and potential in the capital. Her debut chapbook, The Secrets I Let Slip, was published by Burning Eye Books in 2015 and is a Poetry Book Society recommendation. In 2019, she was shortlisted for the Brunel International African Poetry Prize and was a 2021 Arts Award Finalist for Environmental Writing. Pauline Heinrichs is a Lecturer in War Studies (Climate and Energy) at King's College London. Her research focuses climate and energy security. Pauline has worked with and led international teams in conflict and post-conflict countries such as Ukraine and the Baltic States, leading on qualitative methods and strategic narrative analysis. Pauline has also been a climate diplomacy professional working in foreign policy, and an international climate think tank. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/latin-american-studies

Brought to you by the BISA Environment and Climate Politics Working Group. Globally, Black people are among the most affected by the climate crisis, despite contributing very little to it. For a long time, the crisis was portrayed as yet another injustice for Black people to care about, on top of the day-to-day oppression they face. In Black Climates: Notes on Race, Our Environment, and Visions for Equitable Futures (Chatto & Windus, 2025), Selina Nwulu reframes the crisis to encompass our disconnection from each other and the world around us. She argues that the root of climate change lies in historical colonial violence and ongoing exploitation, making it inherently racist. Nwulu, former Young People's Laureate for London, uses her poetic and skilful voice to directly address Black British readers who have been previously ignored in mainstream environmental conversations. She includes interviews with a wide range of creatives and campaigners to explore a variety of subjects, including air pollution, prison ecology, disability justice, migration, food, nature, community care, and radical imagination. This is an essential and empowering read for anyone who wants to fully understand the connections between Blackness and the climate crisis, providing the tools to envisage more equitable futures. Selina Nwulu is a well-known poet and her work has featured in Vogue, i-D and ES Magazine amongst others, and she has been commissioned by many different cultural institutions such as Southbank, Somerset House and Wellcome Trust. Selina was a Young Poet Laureate for London 2015-6, a prestigious award that recognizes talent and potential in the capital. Her debut chapbook, The Secrets I Let Slip, was published by Burning Eye Books in 2015 and is a Poetry Book Society recommendation. In 2019, she was shortlisted for the Brunel International African Poetry Prize and was a 2021 Arts Award Finalist for Environmental Writing. Pauline Heinrichs is a Lecturer in War Studies (Climate and Energy) at King's College London. Her research focuses climate and energy security. Pauline has worked with and led international teams in conflict and post-conflict countries such as Ukraine and the Baltic States, leading on qualitative methods and strategic narrative analysis. Pauline has also been a climate diplomacy professional working in foreign policy, and an international climate think tank. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/caribbean-studies

Brought to you by the BISA Environment and Climate Politics Working Group. Globally, Black people are among the most affected by the climate crisis, despite contributing very little to it. For a long time, the crisis was portrayed as yet another injustice for Black people to care about, on top of the day-to-day oppression they face. In Black Climates: Notes on Race, Our Environment, and Visions for Equitable Futures (Chatto & Windus, 2025), Selina Nwulu reframes the crisis to encompass our disconnection from each other and the world around us. She argues that the root of climate change lies in historical colonial violence and ongoing exploitation, making it inherently racist. Nwulu, former Young People's Laureate for London, uses her poetic and skilful voice to directly address Black British readers who have been previously ignored in mainstream environmental conversations. She includes interviews with a wide range of creatives and campaigners to explore a variety of subjects, including air pollution, prison ecology, disability justice, migration, food, nature, community care, and radical imagination. This is an essential and empowering read for anyone who wants to fully understand the connections between Blackness and the climate crisis, providing the tools to envisage more equitable futures. Selina Nwulu is a well-known poet and her work has featured in Vogue, i-D and ES Magazine amongst others, and she has been commissioned by many different cultural institutions such as Southbank, Somerset House and Wellcome Trust. Selina was a Young Poet Laureate for London 2015-6, a prestigious award that recognizes talent and potential in the capital. Her debut chapbook, The Secrets I Let Slip, was published by Burning Eye Books in 2015 and is a Poetry Book Society recommendation. In 2019, she was shortlisted for the Brunel International African Poetry Prize and was a 2021 Arts Award Finalist for Environmental Writing. Pauline Heinrichs is a Lecturer in War Studies (Climate and Energy) at King's College London. Her research focuses climate and energy security. Pauline has worked with and led international teams in conflict and post-conflict countries such as Ukraine and the Baltic States, leading on qualitative methods and strategic narrative analysis. Pauline has also been a climate diplomacy professional working in foreign policy, and an international climate think tank. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-studies

Brought to you by the BISA Environment and Climate Politics Working Group. Globally, Black people are among the most affected by the climate crisis, despite contributing very little to it. For a long time, the crisis was portrayed as yet another injustice for Black people to care about, on top of the day-to-day oppression they face. In Black Climates: Notes on Race, Our Environment, and Visions for Equitable Futures (Chatto & Windus, 2025), Selina Nwulu reframes the crisis to encompass our disconnection from each other and the world around us. She argues that the root of climate change lies in historical colonial violence and ongoing exploitation, making it inherently racist. Nwulu, former Young People's Laureate for London, uses her poetic and skilful voice to directly address Black British readers who have been previously ignored in mainstream environmental conversations. She includes interviews with a wide range of creatives and campaigners to explore a variety of subjects, including air pollution, prison ecology, disability justice, migration, food, nature, community care, and radical imagination. This is an essential and empowering read for anyone who wants to fully understand the connections between Blackness and the climate crisis, providing the tools to envisage more equitable futures. Selina Nwulu is a well-known poet and her work has featured in Vogue, i-D and ES Magazine amongst others, and she has been commissioned by many different cultural institutions such as Southbank, Somerset House and Wellcome Trust. Selina was a Young Poet Laureate for London 2015-6, a prestigious award that recognizes talent and potential in the capital. Her debut chapbook, The Secrets I Let Slip, was published by Burning Eye Books in 2015 and is a Poetry Book Society recommendation. In 2019, she was shortlisted for the Brunel International African Poetry Prize and was a 2021 Arts Award Finalist for Environmental Writing. Pauline Heinrichs is a Lecturer in War Studies (Climate and Energy) at King's College London. Her research focuses climate and energy security. Pauline has worked with and led international teams in conflict and post-conflict countries such as Ukraine and the Baltic States, leading on qualitative methods and strategic narrative analysis. Pauline has also been a climate diplomacy professional working in foreign policy, and an international climate think tank. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/environmental-studies

Hazel Baker hosts a London History Podcast episode with author and Lambeth tour guide David Turnbull exploring the musical legacy of the 1951 Festival of Britain and how, 75 years on, music again anchors South Bank celebrations with Danny Boyle's “You Are Here.” They discuss the Royal Festival Hall's symbolic opening night and its British-focused programme, the festival's nationwide reach through choral competitions, mass singalongs and the HMS Campania tour, and the Arts Council's opera commissions and controversies, including Alan Bush's Wat Tyler. The conversation traces how the festival's optimism and internationalism helped shape later British sounds, spotlighting calypso's unofficial anthem by Lord Kitchener, the arrival of the Trinidad All Steel Percussion Orchestra, and popular dance culture at Battersea Pleasure Gardens, alongside details of Turnbull's limited-time walking tour.

This week on Pulse: Hot Topics, Louise and George break down…One of the biggest exits in Australian digital health history sees Sydney-founded telehealth company Eucalyptus acquired by U.S. platform Hims & Hers in a deal worth up to $1.6 billion, raising questions about the rise of global consumer health infrastructure and what it means for the future of care delivery. A cardiologist in Brussels places third in Anthropic's global Claude AI hackathon after building a patient follow-up tool in just seven days, highlighting how domain expertise combined with generative AI tools could dramatically accelerate healthcare innovation. A massive NHS trial of an AI-enabled “tricorder-style” stethoscope shows the technology can dramatically improve detection of heart failure and atrial fibrillation — but poor workflow integration meant many clinicians simply stopped using it. Finally, a curious new study finds emojis appearing in electronic health records, prompting a light-hearted but serious discussion about clinical documentation standards, data quality and what happens when modern communication habits collide with medical records.We are on tour!Charlotte Blease of #DrBot book fame and Louise are hitting the road together. The Sydney event was fantastic, it's not too late to catch the Melbourne book launch.Melbourne: Tuesday 10th March 6.30pm, Mary Martin Bookshop, Southbank. Get tickets hereVisit Pulse+IT.news to subscribe to breaking digital news, weekly newsletters and a rich treasure trove of archival material. People in the know, get their news from Pulse+IT – Your leading voice in digital health news.Follow us on LinkedIn Louise | George | Pulse+ITFollow us on BlueSky Louise | George | Pulse+ITSend us your questions pulsepod@pulseit.newsProduction by Octopod Productions | Ivan Juric

This week on Pulse: Hot Topics, Louise and George tackle big shifts in medicines safety and the accelerating global AI race in healthcare.Australia moves toward a National Medicines RecordThe Federal Government announces reforms requiring medicines prescribed via online platforms to be uploaded to My Health Record — including clinical context. With medication-related harm accounting for around 250,000 hospital admissions annually, is this the safety infrastructure Australia has needed for decades?AI predicts 130 diseases from one night of sleepA new Nature Medicine study claims a sleep foundation model trained on 585,000 hours of data can predict future risk of more than 130 diseases. Breakthrough preventative medicine — or promising science with important caveats.China's AI healthcare surgeChina's Ant Group health chatbot reaches 30 million monthly users, embedded inside Alipay's super-app ecosystem. Meanwhile, China announces a $2–3 billion national AI healthcare strategy targeting population-scale deployment by 2030. Are we witnessing two divergent AI healthcare futures — cautious and regulated versus centralised and scaled?We are on tour!Charlotte Blease of #DrBot book fame and Louise are hitting the road together. Come see them in person and get your booked signed by Charlotte!Sydney: Tuesday 3rd March 6pm, Gleebooks, Glebe. Get tickets hereMelbourne: Tuesday 10th March 6.30pm, Mary Martin Bookshop, Southbank. Get tickets hereResourcesDr Sara Riggare's Checklist and Resources for Meaningful Engagement of Patients LinkVisit Pulse+IT.news to subscribe to breaking digital news, weekly newsletters and a rich treasure trove of archival material. People in the know, get their news from Pulse+IT – Your leading voice in digital health news.Follow us on LinkedIn Louise | George | Pulse+ITFollow us on BlueSky Louise | George | Pulse+ITSend us your questions pulsepod@pulseit.newsProduction by Octopod Productions | Ivan Juric

Steve Leathers, of Transwestern Real Estate, joins JMN to share details about the property sale, what impact it may have on medical services and resources available, and how the property could grow.

French champagne, official Formula 1 driver Oscar Piastri merchandise and other luxury items have been seized, and a woman has been charged following reports parcels had been stolen from an apartment building in Southbank.See omnystudio.com/listener for privacy information.

Mudlarking is a hobby that's having a moment. The opportunity to take part in the painstaking, low-tech scrape through history draws thousands of people hoping to come face to face with the remnants of lives that came before them. But what can mudlarkers do that a trained archeologist cannot? This podcast takes you to the heart of London on the Southbank of the Thames River where there's mud, water — and possibility.Click here to see a collection of mudlarking finds.

Dr Louise Schaper and Dr George Margelis are back with part 2 of their discussion to unpack the biggest healthcare story of the moment: Big Tech's decisive move into generative AI for health.January alone saw major announcements from OpenAI, Anthropic and Amazon One Medical, signalling that healthcare is no longer a side experiment for AI companies — it's a core vertical.Today we will dive into enterprise impacts, predictions, and provide a practical to-do list for health leaders.We are on tour!Charlotte Blease of #DrBot book fame and Louise are hitting the road together. Come see them in person and get your booked signed by Charlotte!Sydney: Tuesday 3rd March 6pm, Gleebooks, Glebe. Get tickets hereMelbourne: Tuesday 10th March 6.30pm, Mary Martin Bookshop, Southbank. Get tickets hereVisit Pulse+IT.news to subscribe to breaking digital news, weekly newsletters and a rich treasure trove of archival material. People in the know, get their news from Pulse+IT – Your leading voice in digital health news.Follow us on LinkedIn Louise | George | Pulse+ITFollow us on BlueSky Louise | George | Pulse+ITSend us your questions pulsepod@pulseit.newsProduction by Octopod Productions | Ivan Juric

In this episode of Talking Architecture & Design, we're joined by Katrina Sedgwick, the inaugural Director and CEO of the Melbourne Arts Precinct Corporation (MAP Co), who is leading one of Australia's most ambitious cultural transformations – a $1.7 billion revitalisation connecting Federation Square through to Southbank.Sedgwick shares what it's like to build a new organisation while simultaneously delivering a project of national significance. Establishing MAP Co's culture, partnerships, and long-term vision has gone hand in hand with reshaping one of Melbourne's most important civic and artistic precincts.The redevelopment is deeply informed by the precinct's rich history and layered cultural identity. Rather than starting from scratch, the transformation celebrates heritage, architecture, and Melbourne's long-standing creative community, ensuring the precinct remains both respectful of its past and responsive to the future.At the heart of the project is Laak Boorndap, a new public garden designed as a place for gathering, reflection, and cultural expression. More than just a green space, it brings together nature, performance, and Indigenous storytelling to create a welcoming and meaningful environment for the city.Climate resilience is also central to the design, with landscaping, shade, and water-sensitive strategies helping prepare the precinct for Melbourne's changing conditions. First Peoples principles guide planting, artistic collaborations, and the ongoing care for Country, ensuring Indigenous knowledge and culture are embedded throughout the space.Drawing on her leadership experience at major cultural institutions such as ACMI and the Adelaide Film Festival, Sedgwick brings a collaborative and community-focused approach to this complex project. Balancing the needs of artists, organisations, visitors, and the wider public is key to creating a precinct that truly belongs to everyone.With Federation Square now under MAP Co's stewardship, the vision is for a connected cultural corridor where art, public life, and civic space come together. From major events to everyday moments of connection, the precinct is being shaped to inspire creativity and community for generations to come. 

Join Ian McMillan for a celebration of remarkable poets and poetry as he presents highlights of the annual T.S. Eliot Prize readings, recorded in front of an audience at London's Southbank.Ian was the host for the TS Eliot Prize readings at the Royal Festival Hall - where shortlisted poets read from their shortlisted collections in front of a packed audience.For this edition of The Verb Ian has selected poems featuring infinity pools, slush, shopping malls, family inheritances, the beaver, and lost keys - and tells us which collection scooped the prize of £25,000, awarded by the T.S.Eliot Foundation.The poets featured this year are: Gillian Allnutt, Isabelle Baafi, Catherine-Esther Cowie, Paul Farley, Vona Groarke, Sarah Howe, Nick Makoha, Tom Paulin, Natalie Shapero, and Karen Solie.

It's 2006. Tony Blair is the Prime Minister, George W. Bush the US President, the existence of global warming is still up for debate, and a couple of new websites come out of early test versions to open their doors to the world: YouTube and Facebook. Amid all this, in an office on London's South Bank, Mark Hedges takes a new job: Editor of Country Life magazine.Two decades later, Mark has passed an astonishing milestone: he has edited 1,000 issues of the weekly magazine, the only perfect-bound, weekly glossy magazine in Britain. That's 20 years of magnificent architecture, beautiful houses, exquisite gardens, breathtaking nature, pithy columnists, and lots and lots of dogs — to name but a small selection.It seemed only fitting, then, that we invite the boss back on to the Country Life Podcast. Mark speaks to James Fisher about his unusual route in to the world of magazines, the unflinching war veteran who taught him the hard way how to polish a headline, the incomparable experience of working alongside HM King Charles, Queen Camilla, The Princess Royal and Sir David Beckham on guest-edited issues of Country Life, and how magazines — and journalism in general — will still have a part to play in an AI-driven future. It's a fascinating episode which lifts the lid on what it's like to spend decades on a magazine that's become a national institution. We hope you enjoy it.EPISODE CREDITSHost: James FisherGuest: Mark HedgesEditor and producer: Toby KeelMusic: JuliusH via Pixabay Hosted on Acast. See acast.com/privacy for more information.

In this episode: Pub Quiz 1 Post-pod pubbing Deserter Stories Would Tour wrap up A Night in Noho Dirty Christmas A chat with Micky Pub & Beer News Shirker's latest Crisp News Drug News Other news Pub Quiz 2 AI Balls Book Corner Potato Corner Bum Dosser Social Media Scene

Nikheel Advani, chief operating officer and co-founder of Grace Bay Resorts, talks with James Shillinglaw of Insider Travel Report at this month's ILTM Cannes luxury show about his collection of spacious, luxury resorts in Turks and Caicos. Advani gives us an update on his flagship property, Grace Bay Club located on the famed Grace Bay Beach, and tells us about his newest resort, South Bank. For more information, visit www.gracebayresorts.com. All our Insider Travel Report video interviews are archived and available on our Youtube channel (youtube.com/insidertravelreport), and as podcasts with the same title on: Spotify, Pandora, Stitcher, PlayerFM, Listen Notes, Podchaser, TuneIn + Alexa, Podbean,  iHeartRadio,  Google, Amazon Music/Audible, Deezer, Podcast Addict, and iTunes Apple Podcasts, which supports Overcast, Pocket Cast, Castro and Castbox.

Blondey McCoy for Living Proof Radio. Full episode now on the Living Proof patreon. https://www.patreon.com/livingproofnewyorkBlondey McCoy is a British skateboarder and designer who grew up skating at London's South Bank, a space that played a significant role in shaping his style and way of approaching work.His work later expanded through a long-running partnership with Adidas, for which he designed a signature sneaker line known for its experimental details and clean, unmistakable aesthetic.He went on to establish THAMES MMXX., developing it from a personal art project into a full clothing and board company. While the brand carries hints of the city that raised him, its identity ultimately reflects Blondey's own vision.

Exploring Queensland, Australia: Brisbane Highlights, Hiking In The Glass House Mountains & Noosa ParadiseIn this episode, I take you through my eight-day adventure across Queensland after flying in from Vancouver—so expect heat, humidity, stories, and plenty of tips. I start off in Brisbane, where I break down how I navigated the city, the unbelievable 50-cent public transport system, the places I stayed, and all the cafés, restaurants and viewpoints that made the trip so memorable.I share my favourite Brisbane moments, from wandering along South Bank and relaxing at the city beach to heading up the Skydeck for those incredible 360° views. I also talk about my day trip to the Glass House Mountains—how to get there cheaply, what the Mount Ngungun hike was like, and why I nearly abseiled off a 40-metre cliff (but absolutely bottled it at the last second!).Then I head up the Sunshine Coast to revisit Noosa more than a decade after I first saw it—this time with money in my pocket. I chat through the coastal walk to Hell's Gates, spotting dolphins, hanging out on those stunning beaches, exploring Noosaville's cafés, and soaking up that paradise vibe that Noosa does so well.And of course, I couldn't be in Brisbane without going to the Ashes. I dive into the experience of watching England get absolutely battered at the Gabba, what it's like attending a day–night Test, and the special moment of seeing Joe Root finally score a hundred in Australia.Whether you're planning a trip to Brisbane, thinking about exploring Noosa, or just love hearing travel stories from the road, this episode is packed with tips, experiences and a few classic mishaps along the way.What I cover:Where I stayed in Brisbane & why it was great valueMy favourite cafés, restaurants and rooftop spotsWhat to do around South Bank & the CBDHow I reached the Glasshouse Mountains for only 50 centsHiking Mount Ngungun & my failed abseiling attemptMy full breakdown of Noosa: beaches, walks, cafés & transportWhat it's like attending an Ashes match at the GabbaDaily budgeting, weather tips & what to expect in summerWant to watch my Ashes Series on YouTube? Then head to my channel here to watch Day 1 (then watch the rest through to Day 4) - https://youtu.be/wfi1npmY0Vg?si=7mAW9GpKHmiaC4ckWant to travel with me to El Salvador? Click this link to hear more - https://podcasts.apple.com/ca/podcast/winging-it-podcast/id1559489384?i=1000734952340Click here to book - https://intrepid.wetravel.com/i/68fa168c8d157da799033142❤️ Support the ShowIf you enjoyed this episode, please rate and review on your favourite podcast app — it helps new listeners discover the show. And share this episode with a friend who loves adventure, travel and big ideas.Timestamps00:00 – Intro02:00 – Flying to Brisbane04:00 – Accommodation in Brisbane06:00 – Public Transport Hack08:00 – Brisbane CBD & Skydeck10:00 – South Bank13:00 – Food & Coffee Spots15:00 – Glasshouse Mountains18:00 – Abseil Attempt20:30 – Noosa Overview23:30 – Hell's Gates Walk25:30 – Noosaville28:00 – Getting Around30:00 – The Ashes at the Gabba34:00 – Budget & Costs37:00 – Final...

Currently starring as the wonderful rom-com duo of Beatrice and Benedick in the Melbourne Theatre Company's production of Much Ado About Nothing, Alison Bell and Fayssal Bazzi have both been on this podcast a number of times each - but this is the first time they've been on it together. They are two of the most delightful people you could ever hope to meet.Go and see Much Ado About Nothing which is on right now until the 20th of December in the Southbank theatre, Melbourne.Directed by Mark Wilsonhttps://www.mtc.com.au/plays-and-tickets/whats-on/season-2025/much-ado-about-nothing/Support this show http://supporter.acast.com/the-saturday-quiz. Hosted on Acast. See acast.com/privacy for more information.

London at Christmas (with Dave Groll)I am stepping in while Sascha takes a short break, and I am taking you on a glittering whirl through London's festive season. From what is open and what is closed over Christmas to the city's most magical light displays, I will help you plan a stress-free, sparkle-filled wander.In this episode, I cover:What is open vs. closed over ChristmasThe best Christmas lights and festive spots: Leadenhall Market, Belgravia, Bond Street, Covent Garden, Oxford Street, Carnaby Street, Southbank, The Shard, Marylebone Village, Regent Street, Old Spitalfields Market, and SohoHow to see it all on a Christmas lights bus tourA royal nod at Buckingham PalaceA grand day trip to Blenheim PalaceLinks & ContactChristmas Lights Bus Tour (in the show notes): https://guided.london/christmaslightstourQuestions or itinerary help? WhatsApp me at +44 7700 182299More London tips: seeyouin.london'Grab something warm, plug in, and let us chase the glow together. Hosted on Acast. See acast.com/privacy for more information.

Liam Keen and Jonny Drury bring you the latest episode of the E&S Wolves podcast - in association with University of Wolverhampton at The Halls. Liam and Jonny look back on a busy few days that has seen the late Burnley collapse, those scenes in front of the South Bank and a crazy EFL Cup tie with Chelsea. They look at what has gone wrong, how the second half against Chelsea may have given some Wolves fans some hope - and they answer the big question, can Vitor Pereira turn it around? Keen or Not Keen returns - and Liam answers some burning questions from you Wolves fans, before looking ahead to Saturday's trip to Fulham. Music from Poco Drom.

In Episode 12 of Season 6, Kurt Z rejoins a packed show where we break down a last-second loss, a spat between Vitor and fans in the South Bank, a confrontation in the parking lot between Jose Sa and fans, and Fosun receiving an offer to sell the club. Plus, a look ahead to a Carabao Cup fixture against Chelsea and next weekend's trip to Fulham. --- Follow the show on X @wlwpod, on YouTube @WholeLottaWolves and on Facebook. E-mail us at hello@wholelottawolves.com

RHLSTP Book Club #156 - Fires Which Burned Brightly - None of your tat this week on the book podcast with the genius that is Sebastian Faulks, but test one is how will he react to Richard's alternative title for this collection of essays that form a loose autobiography! Once we've over that hill, it's plain sailing as they discuss how much the world has changed in the last few decades, the ethics of sending an 8 year old to boarding school, the glory days of journalism and mental illness. Is Richard still in a dream that started 25 years ago? How much research goes into a book like Birdsong? What is the motivation for writing books continuing the stories of James Bond and Jeeves and Wooster (not in the same books!)? Plus a discussion of 20th century toilet paper.Sebastian Faulks is the author of Fires Which Burned Brightly: A Life in Progress (Hutchinson Heinemann £20, out now). He is appearing at the Southbank London Literature Festival on 29 October.Buy the book here - https://uk.bookshop.org/p/books/fires-which-burned-brightly-sebastian-faulks/7792168Get tickets to Sebastian's South Bank show on 29th October here https://www.southbankcentre.co.uk/whats-on/sebastian-faulks-fires-which-burned-brightly/SUPPORT THE SHOW!Watch our TWITCH CHANNELBecome a badger and see extra content at our WEBSITE See details of the RHLSTP TOUR DATES Buy DVDs and books from GO FASTER STRIPE Hosted on Acast. See acast.com/privacy for more information.

'The Diplomat' and ‘No Time To Die' star Rory Kinnear joins the show. Over lamb and English asparagus, Rory reflects on losing his father Roy Kinnear at a young age, and how he keeps his memory alive for his own children. He shares stories about his bond with Dame Judi Dench, honoring his late sister, and joining the 'Lord of the Rings' universe. This episode was recorded at Lasdun at the National Theatre on London's South Bank. Learn more about your ad choices. Visit podcastchoices.com/adchoices