Podcasts about Specialist

In this episode, Ashutosh (Ash) K. Tewari, MD, Urologist and Prostate Cancer Specialist and Chairman of the Milton and Carroll Petrie Department of Urology at the Icahn School of Medicine at Mount Sinai, discusses the rise in prostate cancer cases, strategies to reduce treatment-related side effects, and how mobile units are expanding outreach to improve patient access and early detection.

Oregon is the leading producer of Christmas trees in the nation, accounting for about a third of all real Christmas trees sold in the U.S. Christmas tree farmers in Oregon grew more than 3 million Noble fir, Douglas fir and other Christmas tree varieties in 2023, the most recent year for which statistics are available.    Priya Rajarapu is an assistant professor in the college of forestry at OSU and the Christmas tree specialist at OSU Extension Service. In the past year, she has visited 20 Christmas tree farms in Oregon where she has offered advice, diagnosed diseased trees and confirmed infestations of bark beetles and other pests.    But the biggest threat Oregon’s roughly $120 million Christmas tree industry faces is climate change, according to Rajarapu. Extreme heat and drought can imperil the survival of Christmas trees, especially seedlings. Rajarapu has been studying mulch alternatives like compost that has been shown to boost the survival of seedlings during their first year.   Rajarapu joins us for more details about her work and why non-native varieties such as Nordmann and Turkish firs are gaining in popularity among both farmers and consumers.  

On this accredited episode of NP Pulse: The Voice of the Nurse Practitioner®️, join esteemed faculty as they discuss the complex and often misunderstood condition of vasculitis. Explore the diagnostic challenges and strategies to support effective management of this condition to better enhance your practice while serving your patients well. Upon successful completion of this podcast, you will be able to: Differentiate common presentations of vasculitis from more routine primary care conditions. Apply evidence-based clinical reasoning to determine when suspected vasculitis requires referral to a specialist. Develop an appropriate referral plan, including patient communication and necessary diagnostic workup prior to specialty evaluation. A participation code will be provided at the END of the podcast — make sure to write this code down. Once you have listened to the podcast and have the participation code, return to this activity in the AANP CE Center. Click on the "Next Steps" button of the activity and: Enter the participation code that was provided. Complete the activity evaluation. This will award your continuing education (CE) credit and certificate of completion. .97 CE will be available through Dec. 31, 2027. Podcast Resources: https://vasculitisfoundation.org/

In this episode, we're diving into the wild, confusing, head-spinning stories we hear from clients every single day—and how they connect directly to the lies and mixed messages addiction feeds families. If you've ever thought, “This just doesn't add up,” you're not wrong. Addiction creates chaos. It scrambles logic, twists timelines, and leaves loved ones feeling confused or blindsided. But there are patterns. We break down the most common “schemes” addiction uses—things like: Deflecting and redirecting Emotional baiting Fake promises and temporary “turnarounds.” Minimizing or rewriting events Most of these behaviors aren't intentional manipulation—they're survival strategies that keep the addiction cycle going. Once you can see the pattern, you can finally respond from a place of clarity instead of panic. If you're tired of feeling confused or constantly second-guessing yourself, this episode will help you understand what's really going on and how to move forward with confidence and calm. Additional Resources ☑️ Work 1:1 With a Specialist https://www.familyrecoveryacademy.online/consultations ☑️ Beyond Boundaries: Learn How to Set Limits That Actually Hold https://www.familyrecoveryacademy.online/beyond-boundaries-1

Before Jamie Haller launched her namesake shoe and apparel brand, she worked behind the scenes in the fashion industry in corporate retail. In the 2000s, she designed pieces for big brands of the era like Wet Seal, Guess, and Bebe. After learning the ins and outs of fashion production at a macro level, Haller left the corporate world to work for smaller brands where she had more creative control over her work, allowing her to hone her style as a designer. During the pandemic, she wanted to venture outside of what she knew and landed in a different realm of design: home renovation. Her eye for fashion translated well in the world of interiors, allowing her to gain clients quickly and make a name for herself in the space. Haller's love for trying new things also led her to a new category of fashion she hadn't yet conquered: shoes. In 2020, she launched her namesake shoe line and released her now-famous penny loafer style that has become an everyday staple for countless fashion insiders. She later returned to her roots when she expanded into apparel with a line she created with women like her in mind. Today, she's brought the many skills and talents she's acquired over the years together with her first storefront in Montecito, California, where you can shop her brand in an intimate space she designed herself.

The Roundtable Panel: a daily open discussion of issues in the news and beyond. Today's panelists are Specialist in Government and Public Services Healthcare Consulting Azmat Ahmad, The Empire Report's JP Miller, and Former Times-Union Associate Editor Mike Spain.

On this week's podcast, I speak with former Marine Specialist Chris Ghalayini. Chris joined the Australian Army in transport before transferring to a specialist role as a Marine Specialist. He served across East Timor, Iraq, and within a Special Operations Unit, living a career built on discipline, purpose, and service. Chris thought he would wear the uniform for life, but everything changed the day a back injury brought his journey to a sudden halt. It wasn't just the end of his military career; it was the start of a new battle he never saw coming. In this podcast, Chris shares his story in full. The highs of service. The deployments that grounded Chris for life. The pride of serving as a Marine Specialist in SOCOMD, one of the most adverse environments in the Defence Force. Chris also talks about the back injury that ended his career due to the pain he was suffering; it sent Chris into a dark place. After 6 doctors said no to operating on his back, the 7 th doctor was willing to operate. This gave Chris a new outlook on life. Unfortunately, after this operation, Chris suffered a stroke in early 2024 during his recovery, he was determined to live for his family. Chris discusses the medical separation and the transition that no soldier is ever truly prepared for. This isn't just a story about hardship. It's about rebuilding, redefining purpose. Finding strength outside the uniform, learning that sometimes the greatest comeback starts the moment life knocks you down. This is Chris's journey before, during, and after Defence. Chris is now an entrepreneur who is the managing director of Poseidon Seas Group, which specialises in the luxury yacht space. Chris now gives veterans and first Responders a way to transition after service and give them purpose again by giving them opportunities to work. Chris is still serving, just in a different uniform and a different way. This is raw, honest and a story of redemption. Presenter: Adam Blum Guest: Chris Ghalayini Editor: Kyle Watkins

The Teagasc Outlook 2026 Conference, which took place on December 2nd, is an event that brings together Teagasc specialists across the different sectors to review performance in 2025 and outlining the key expectations for 2026. Representing the pig sector was Michael McKeon, Specialist with Teagasc's Pig and Poultry Research and Knowledge Transfer Department with Michael presenting a detailed review of 2025, covering production, prices, costs, exports and profitability and the key factors shaping the year ahead. And for the latest episode of The Pig Edge, Michael joins Amy Quinn to unpack all of this, explaining what happened in 2025, the major trends influencing the sector and he shares his outlook for Irish pig production as we move into 2026.  For more episodes and information from the Pig Edge podcast go to:https://www.teagasc.ie/animals/pigs/the-pig-edge-podcast/ Produced on behalf of Teagasc by LastCastMedia.com 

Jenny interviews Christie Gage. Christie and Jenny discuss the importance and challenges of O&M and its vital role in the blind/low vision community. Christie has a bachelor's degree in Adapted Physical Education and Health, Adapted Physical Activity, Orientation and Mobility and Specialist, and Doctorate of Education in Special Education Leadership and Management.  She has worked as an O&M for 9 years, teaching blind and visually impaired youth how to access their school and community. Currently serving 24 school districts in the state of Kentucky, she is also a licensed TVI. She has been involved with Envision Blind Sports for 12 years, providing blind and visually impaired youth sport and recreation opportunities. She has also been a Lions Club member for over 5 years and is the recipient of many Lions' awards. Jenny, Cathy & Paige discuss trust and safety for children who are blind and low vision, including experiences with orientation and mobility services. They explore various aspects of providing O&M services, including the benefits of early cane introduction and the challenges of limited specialist availability, while sharing personal experiences and research findings.    Christie discusses her experience with Envision Blind Sports. More information is available at https://www.envisionblindsports.org   We love voicemail! Please leave us a message: https://www.speakpipe.com/FeelingThisLife   Children who are blind and low “Vision AND” have additional needs may receive early intervention services from multiple professionals.  A list of those services can be found  here.    Please give us your feedback using this survey link: ⁠⁠https://educationutah.co1.qualtrics.com/jfe/form/SV_39OmBvMih6MlgNw⁠⁠        Make a Donation to VIPS: ⁠⁠https://secure.vips.org/np/clients/vips/donation.jsp?forwardedFromSecureDomain=1&campaign=495⁠⁠       Follow us on Facebook @⁠Feelingthislifepodcast⁠ and Instagram @⁠Feelingthislife⁠    Email: ⁠⁠feelingthislife@vips.org⁠⁠ ⁠⁠⁠   ⁠⁠www.vips.org⁠    

This is an episode of The Specialist, your weekly dose of wonder. In The Specialist, explore the significance and journey of an extraordinary work through the eyes of those that know it best. On today's episode, an auction built overnight - Virgil Abloh's reimagining of the iconic Nike Air Force 1 for Louis Vuitton. The auction became a global phenomenon, with two hundred pairs sold exclusively through Sotheby's, attracting bidders from more than 50 countries. Brahm Wachter, Sotheby's Head of Modern Collectibles based in Los Angeles, orchestrated the sale. Further details about the episode subject. Learn more about your ad choices. Visit podcastchoices.com/adchoices

This Week on Toy Power Podcast; we once again have Canadian local: Colin Betts present in the studio!! Leaning on Colin's expertise around all things G.I. Joe; we are having another Fun round of THE TEAM! This round specifically targeting The Enemy: Cobra! Narrowing our selection even further, Toy characters released only between the years of 1982 & 1987. Highlighting the Classic Team tributes of: Leader, Muscle, Specialist, Wheelman & of course a Vehicle too. Voting on who makes the cut once all submissions are shouted out. Then we attack our next topic; Toy Catalogues! Another one of Colin's passion projects; & Ben presents him with his own small collection of only Two Australian Catalogues; that funnily enough Colin doesn't own!! A fun discussion around Catalogues in general & what makes them so appealing!Support the show: http://patreon.com/toypowerpodcastSee omnystudio.com/listener for privacy information.

US President Donald Trump says National Guard Specialist Sarah Beckstrom has died after being shot in Washington DC on Wednesday; Firefighters in Hong Kong are battling for a second day to contain a deadly blaze at the Wang Fuk Court high-rise complex, where the death toll has climbed to 94; A Sydney police sergeant has been found guilty of dangerous driving causing the death of 16-year-old Indigenous teen Jai Kalani Wright; A world-first Australian clinical trial has found that the antidepressant sertraline can significantly reduce domestic violence reoffending among impulsive men; The AFLW grand final is set for Saturday, November 29, as North Melbourne and Brisbane face off for the third consecutive year. Support independent women's media CREDITS Host/Producer: Tahli Blackman Audio Production: Lu HillBecome a Mamamia subscriber: https://www.mamamia.com.au/subscribeSee omnystudio.com/listener for privacy information.

Send us a textLove veggies? Me, too. And so does my friend Tim Waters, regional vegetable specialist at WSU Extension.In this episode, you'll hear:What Extension isWhat it was like for Extension agents back in 1918How he solves problems—from insect ID to veggie pathogens to lightning strikes in fieldsOne cool journey from community college all the way to a PhDResources you can use:Check out WSU Extension yourself (or look up Extension near you)Learn more about WSU research farmsFind out how to a start a veggie garden yourselfSee some Prionid beetles and giant water bugsEven more giant water bugs! You won't believe how these guys breathe underwater and care for their eggs in this PBS Deep Look video As always, submit burning questions at askdruniverse.wsu.edu. Who knows where your questions will take us next.

I've worked with many bariatric surgeons over the years. Some are incredible in their thinking about the disease of obesity from a whole-person perspective… others seem only interested in the surgical procedure itself. When I was recently introduced to Dr. Jorge, I knew immediately that he is a rare breed of physician in the most incredible ways. Dr. Jorge works with patients who are interested in losing weight with tools such as surgery or medications and also with patients who are not interested in either a surgical procedure or any medications. He has ALL of his patients, regardless of how they opt to lose weight, have a psychological evaluation and encourages them to follow through with therapy if it is indicated. He is interested in each of his patients as whole people, understanding that their disease of obesity intersects with all areas of their lives. Enjoy the listen!The Weight Loss Winformation Podcast gives you essential psychological information to help you lose weight and more importantly, to help keep you at a healthy weight for your body! No matter how you are working to lose weight and no matter how much weight you want to lose, Weight Loss Winformation will keep you moving in a positive direction.Resources:·      BariAfterare: www.bariaftercare.com·      Connie Stapleton PhD website: www.conniestapletonphd.com·      BariAftercare website: https://www.conniestapletonphd.com/bariaftercare·      BariAftercare Facebook page (for members only): https://www.facebook.com/groups/BariAftercare·      Kevin Stephens: Your Bariatric Buddy   https://www.facebook.com/groups/yourbariatricbuddy/people·      Instagram: @ (Caleshia Haynes)·      Instagram: @therealbariboss (Tabitha Johnson)·      Instagram @drsusanmitchell (Dr. Susan Mitchell)·      Instagram: @lauraleepreston (Laura Preston)·      ProCare Vitamins (10% off with code ConnieStapleton)·      Rob DiMedio: https://www.busybariatrics.com/·      Dr. Joan Brugman: drjbrugman@outlook.com·      Dr. Susan Mitchell:·      https://www.facebook.com/DrSusanMitchell·      https://www.facebook.com/bariatricsurgerystrategies·       Dr. Jay Jorge

As the darkness in a dark room is gone when you turn on the lights, so the Glory of the Lord Jesus in your life keeps you safe from the darkness around you. Broadcast #6951To help support this podcast, please visit walkwiththeking.org/donate and select "Podcast" from the dropdown menuA transcript of this broadcast is available on our website here. To hear more from Bob Cook, you can find Walk With The King on Facebook or Instagram.

In this episode, I sit down with Charlene Gisele to unpack the deep roots of burnout and how it shapes our bodies, relationships, and emotional well-being. We talk about why burnout is rarely just about workload—it's often a reflection of old patterns, internalized expectations, and the ways we've learned to seek safety and validation. Charlene's perspective is both compassionate and grounded, reminding us that healing doesn't require abandoning ambition; it asks us to reorient it with presence and care.Charlene shares her powerful journey from being a high-performing lawyer driven by perfectionism to hitting a wall—and then choosing radical transformation. We explore how childhood experiences can wire us for over-responsibility and people-pleasing, and how hypnotherapy can help us reconnect to repressed emotions, unwind addictive coping behaviors, and build a more resilient inner foundation. The throughline is self-honesty: seeing the patterns that served us once but no longer do, and meeting them with skill instead of shame.We also dig into what a healthier relationship with work, love, and purpose looks like in real life: listening to the body's signals, setting boundaries without guilt, creating simple restoration rituals, and pursuing big goals from an aligned nervous system. The invitation is to keep your drive—and pair it with awareness, spiritual practice, and a values-led compass. Burnout recovery isn't about dimming your light; it's about directing it with balance, intention, and presence.[b]Chapters[/b]0:00 - Introduction with Burnout Expert Charlene Gisele2:30 - Charlene's Personal Connection to Burnout8:41 - From Lawyer to Spiritual Seeker9:43 - Balancing Work and Personal Life13:18 - Structuring Entrepreneurial Work Weeks16:22 - Evolving Work Relationships as an Entrepreneur22:19 - Addressing Work Addiction and Trauma28:16 - Restoring Sensuality Post-Burnout33:50 - Emotional Work and Men's Health40:02 - Natasha's Journey with Pregnancy and Leadership46:11 - Charlene on Financial Support and Resilience

In this episode, natural hair specialist and educator Kayli Nicole shares how she rebuilt her career from Texas to DC, created a waitlist before she ever arrived, and transformed her business through content, clarity, and courage.Her story is a masterclass in resilience, navigating debt, rebuilding financial confidence, and intentionally growing a client base.Follow/subscribe to be the first to know when new episodes are released. Like what you hear? Leave us a review!Key Takeaways:

This week we are joined by Dr Raelia Lew, a fertility specialist at Melbourne IVF. Her role in guiding prospective parents through their fertility journey has not only changed lives but also brought life (thousands, in fact) over the course of her career. Now she's here to answer your questions and debunk misconceptions around all things fertility. We cover everything from the significance of age, how egg retrieval works, endometriosis and PCOS, and the emotional considerations when it comes to egg freezing.You can also listen to her podcast 'Knocked Up' for more stories on fertility from real patients.Produced by Headon.agency

There's a whole narrative right now that “vibe coding is a bubble” and all the MRR from AI-built apps isn't real.In this episode, we chat with Jacob Klug, founder of the agency Creme, which specializes in building lovable MVPs on top of tools like Lovable and AI coding assistants. Jacob makes the case that most of the “AI apps are trash” discourse is really a skill issue, not a tool issue—and he breaks down the exact process his team uses to ship full platform-level apps in two-week sprints.We dig into how to scope and design software that doesn't look AI-generated, how to think about personal operating systems vs. SaaS, why ideas are getting worse even as tools get better, and how creators and agencies can turn niche domain expertise into real products.If you're an operator, marketer, or founder trying to figure out how to actually use AI coding tools (instead of just tweeting about them), this one's for you.GuestJacob Klug — founder of Creme, an agency building “lovable MVPs” and full-stack products with Lovable + AI tools; helps founders, startups & enterprises ship production apps in weeks without sacrificing UX.Guest LinksWebsite: https://www.creme.digital/LinkedIn: https://www.linkedin.com/in/jacob-klug-37b254156/X (Twitter): https://x.com/JacobsklugWhat You'll LearnWhy the “vibe coding is a bubble” take is mostly a skill and discipline problemHow Jacob's agency ships full startup-grade products using Lovable and AIThe PRD-first formula they use before ever opening a builderHow to decide when to build vs. when to buy software in 2025Why we're entering a wave of personal OSes and custom internal toolsHow to avoid shipping janky AI UI and make your app look intentionally designedThe mindset shift from “I could build anything” → “I will build this one specific thing”Why specializing in one AI tool (Lovable, Cursor, n8n, etc.) beats being “the AI guy”Tactical content and lead-gen plays for agencies on LinkedIn and YouTubeHow to learn AI tooling without getting paralyzed by the infinite possibilitiesTimestamps00:00 — Vibe coding: bubble or breakthrough?02:23 — Effective use of no-code tools05:23 — Stack and scoping for MVP development07:08 — Trends in personal software development10:33 — Personal projects: blood work analysis tool13:00 — Steps to start building custom software17:49 — Successful and unsuccessful product categories21:01 — Learning and adopting AI tools27:45 — Creator collaboration in software development32:14 — Lead generation strategies for AI-powered agenciesKey Topics & Ideas1. Bubble or Skill Issue?Why early no-code/AI apps looked jankyHow tools like Lovable increased automation from ~50% → ~85%The remaining 10–15% where real engineering still mattersMany failures come from non-devs skipping fundamentals2. How Creme Builds Lovable MVPsEvery project starts with a clear PRD (often drafted with ChatGPT)AI is used to tighten scope before buildingWhen Creme stays fully in Lovable vs. moving code to CursorUsing Lovable Cloud for hosting, database, and analytics3. Personal Operating Systems & Internal ToolsPeople replacing SaaS subscriptions with their own custom toolsIn a 20-person cohort, nearly everyone built workflow appsRise of the Personal OS: one system for life + workExample builds:Bloodwork tracker from PDF uploadsUnified messaging CRM (WhatsApp, Telegram, SMS, email)Automated 30-second sales briefings4. How to Learn AI Coding ToolsHalf the cohort hadn't built anything before startingMain blocker: overwhelm, not skillLearn core concepts: frontend vs. backend, auth, roles, securityBuild daily reps, focus on the next thing you need—not “all of AI”5. Designing Apps That Don't Look AI-GeneratedGood design is still the hardest and biggest edgeCreme process: build a /components library, define buttons/cards/inputs, assign stable IDsTools: Mobbin, Figma Community kits, 21st.devBest prompt: “Here's a screenshot → copy this.”6. What Works in Product IdeasMost of Creme's builds are full startup platforms, not micro-toolsAI makes shipping easier, but ideas are getting worse without depthReal advantage = domain expertise + niche problem + AI speed7. Creators x SoftwareCreators can now ship products without capitalJacob prefers retainers over equityAnalogy: Like creator brands—most fail, a few go huge8. Career Strategy: SpecializeFuture = verticalized expertise, not “AI generalists”Specialist lanes: Lovable, Cursor, n8n, automationBe the person for one tool + one market9. Content & Lead GenJacob's two rules for content: people are selfish and people are boredBuild content that teaches, sparks emotion, and creates curiosityPost ~5x/week, prioritize visual postsLong-term: YouTube deep dives for high-intent inboundSponsorToday's episode is brought to you by Graphed – an AI data analyst & BI platform.With Graphed you can:Connect data like GA4, Facebook Ads, HubSpot, Google Ads, Search Console, AmplitudeBuild interactive dashboards just by chatting (no Looker Studio/Tableau learning curve)Use it as your ETL + data warehouse + BI layer in one placeAsk:“Build me a stacked bar chart of new users vs. all users over time from GA4”…and Graphed just builds it for you.

Welcome to the Fundraising Everywhere Podcast, today, we've got something a little bit different for you.  To celebrate our upcoming Face-to-Face and Telephone Fundraising Conference coming up on Thursday 23rd April, we've decided to hand the mic over to our guest host Rory White in this special series of episodes called 'It Started On The Street'. Rory will be chatting to some brilliant leaders in the charity sector and beyond about their journeys since they started their careers as dialogue fundraisers. "If you've worked in fundraising, you've probably come across Danny McDonnell or at least heard his name. He's incredibly well known in the sector, with a fascinating story that starts in Manchester, where he worked as a club promoter in the music industry before discovering his passion for face-to-face fundraising. From there, Danny's journey took him overseas, working with international organisations, leading massive operations, and raising phenomenal amounts of money for good causes. He's someone who took a chance on himself, and it paid off, building a hugely successful career in the process. Danny is inspiring, motivational, and always a joy to talk to. Positive, energetic, and full of insights from his years in the field. I know you'll enjoy this conversation as much as I did." If you enjoyed this episode, don't forget to hit follow and enable notifications so you'll get notified to be first to hear of future podcast episodes. We'd love to see you back again! And thank you to our friends at JustGiving who make the Fundraising Everywhere Podcast possible.

More from author, cancer survivor and psychospiritual specialist David Maginley! Building on our conversation from last week, David and I continue to explore the impact of Medical Assistance in Dying in Canada. As he says, “This goes far beyond the hospital bed and goes to the heart of our culture.” I would agree – MAiD is huge topic for our time. I certainly don't have answers, but wow did I enjoy the depth of these conversations and David's book Early Exits: Spirituality, Mortality, and Meaning in an Age of Medical Assistance in Dying. For more information on Best Life Best Death please visit our website at ⁠⁠www.bestlifebestdeath.com⁠⁠Follow us on our social channels to receive pertinent and helpful resources on death, grieving, and more at:Facebook: ⁠⁠www.facebook.com/bestlifebestdeath⁠⁠Instagram: ⁠⁠www.instagram.com/bestlifebestdeath⁠⁠

You want powerful partners? Find ones who want you, not need you. Our latest Breaking Barriers dives into building confidence, mutual respect, and why great work speaks for itself.Subscribe for more insights and inspiration.

See omnystudio.com/listener for privacy information.

One of the country's most experienced wildfire experts is concerned over Fire and Emergency NZ's restructure plan.

See omnystudio.com/listener for privacy information.

Carl Tolbert, author of The 10 Immutable Laws of the Industrial Distribution Specialist and head engineer at Malloy Electric, joins The Kula Ring to discuss how industrial distribution is evolving in a world of consolidation, AI, and direct-to-customer manufacturing. He shares insights from interviews with 32 industry leaders and explains why value-added specialists are key to the survival of distributors, how brands can better collaborate with them, and what's next for the industrial supply chain.

A doctor’s choice to walk beside patients through their hardest moments comes from a calling to serve with both skill and heart. Dr. Angela Coscio’s love for people led her from lab research to breast cancer specialization, where she witnesses courage every day. At St. Luke’s, she finds purpose in connecting deeply with patients, guiding them through treatment with compassion and individualized care. Her story reflects teamwork, devotion, and the belief that every medical decision should be a true partnership. Support The Rose HERE. Subscribe to Let’s Talk About Your Breasts on Apple Podcasts, Spotify, iHeart, and wherever you get your podcasts. Key Questions Answered Did Dr. Coscio always want to be a doctor? What path did Dr. Coscio take to become a physician? What is the role of an oncologist? How does Dr. Coscio deliver a cancer diagnosis? Why did Dr. Coscio choose oncology as her specialty? What happens at a tumor board? What does being in a comprehensive cancer center like St. Luke’s mean for patients? Are cancer treatment options personalized? How does Dr. Coscio address questions about treatment options, such as chemotherapy vs. hormone therapy? How important is the caregiver's role in cancer treatment and recovery? Does Dr. Coscio encourage second opinions? What advice does Dr. Coscio have for young women facing breast cancer? How does Dr. Coscio support patients in communicating and preparing for doctor appointments? Timestamped Overview 05:06 Interpreter Self-Doubt in Spanish 07:37 Collaborative Patient Care Discussion 10:24 St. Luke's: Team & Care 16:23 Connections in Cancer Care 19:39 Chemotherapy Decision Based on Science 20:45 Engineering Mindset Meets Oncology 25:08 Key Questions for Cancer AppointmentsSee omnystudio.com/listener for privacy information.

Specialist outreach teacher, Stephanie Pye, has been trying to find the right way to get rid of the sand but no one seems to know how. Stephanie spoke to Corin Dann.

Dean Henry is a peptide specialist and expert who educates on the term which is trending globally. He joins Omar Al-Duri to explain exactly what it is and what benefits it has on the body. From how to what-Dean breaks down the exact details on the proteins and what his top 5 are. Listen to #Pulse95Radio in the UAE by tuning in on your radio (95.00 FM) or online on our website: www.pulse95radio.com ************************ Follow us on Social. www.facebook.com/pulse95radio www.twitter.com/pulse95radio www.instagram.com/pulse95radio www.soundcloud.com/pulse95radio  

Daugiau nei pusė Lietuvos gyventojų demografinę padėtį vertina blogai – rodo iniciatyvos „Auginu Lietuvą“ užsakymu atlikta „Spinter tyrimų“ apklausa. Pasak iniciatorių, mažėjantis gimstamumas, nepakankamas dėmesys neišnešiotų ar sergančių naujagimių priežiūrai bei šeimų palaikymui ilgainiui lemia visuomenės senėjimą, didina socialinės atskirties riziką, silpnina valstybės socialinę sistemą ir kelia grėsmę šalies saugumui. Reaguojant į šiuos iššūkius prezidentūroje šiandien vyks susitikimas „Auginu Europą 2025“, kuriame dalyvaus ir Europos pirmosios ponios.Seimo socialdemokratai siūlo naikinti Desovietizacijos komisiją, suteikiant teisę pačioms savivaldybėms priimti sprendimus dėl gatvių, aikščių pervadinimo ar paminklų nukėlimo. Pasak, socialdemokrato Dariaus Jakavičiaus komisija savo darbą jau yra atlikusi. Tuo metu konservatorius Arvydas Anušauskas sako, kad užbaigti desovietizacijos procesą norima pavesti tiems, kurie to darbo daug metų praktiškai nedarė. Ar reikia naikinti desovietizavijos komisiją?Seime šiandien vyks Lietuvos ir Vokietijos forumas. Čia bus aptariama Lietuvos ir Vokietijos lyderystė saugumo srityje, ypatingą dėmesį skiriant Vokietijos brigadai Lietuvoje.„Ryto garsuose“ - Prezidento vyriausias patarėjas, Nacionalinio saugumo grupės vadovas Deividas Matulionis.Jau beveik dvidešimt metų Šakių rajono Gelgaudiškio gyventojai susiduria su problema – centralizuotą šildymą tiekiančioje katilinėje kūrenama šiaudais. Jų pelenai nusėda ant rūbų, automobilių, gatvėse, namų kiemuose. Gyventojai sako, kad kvėpuoja užterštu oru. Šakių meras pripažįsta – problema žinoma, sprendimai yra, tačiau jie kol kas neįgyvendinti.Nors iki Kalėdų dar daugiau nei mėnuo, gyventojai jau pradeda ruoštis šventėms. Parduotuvėse pasirodė pirrmosios dekoracijos, advento kalendoriai ir dovanų idėjos. Prekybininkai pastebi, kad pirkėjai vis dažniau planuoja pirkinius iš anksto, tačiau bankai sako – ne visi tai daro finansiškai raštingai.Ved. Rūta Kupetytė

See omnystudio.com/listener for privacy information.

Amanda Fuso is from Brazil,Over the years, she's picked up many privacy skills.On the show, we will talk about how her career began,Amanda is now a Data Protection Specialist at Softplan!

Ready for a deep dive? You can't get much deeper than asking: What is the purpose of death? This episode is about Medical Assistance in Dying, yes, but that is only the avenue in for a next-level discussion. What are the psycho-spiritual dynamics around death? What does it mean that the ego dissolves? How does consciousness expand at the end of life? As a Chaplain, cancer survivor, and someone who has worked in palliative care for over 25 years, David Maginley has much to say. And I am – and hopefully you will be – an eager listener.For more information on Best Life Best Death please visit our website at ⁠⁠www.bestlifebestdeath.com⁠⁠Follow us on our social channels to receive pertinent and helpful resources on death, grieving, and more at:Facebook: ⁠⁠www.facebook.com/bestlifebestdeath⁠⁠Instagram: ⁠⁠www.instagram.com/bestlifebestdeath⁠⁠

In this episode, we answer a DM about new grads calling themselves 'specialists' right out of school. We share about what we think the standards are (or should be) to consider yourself a specialist in a specific client population, presenting concern, and/or modality. Join us on Patreon for bonus content at www.patreon.com/edgeofthecouch or share your thoughts and questions via DM on Instagram @edgeofthecouchpod, email at connect@edgeofthecouch.com, or voice note at speakpipe.com/edgeofthecouch.We have partnered with Janeapp, an all-in-one practice management software. You can learn more at Jane.app/mentalhealth. Or, if you are ready to get started, mention Edge of the Couch in the note during sign up.Alison McClearywww.alpenglowcounselling.com@alpenglow_counselling on InstagramJordan Pickellwww.jordanpickellcounselling.ca@jordanpickellcounselling on InstagramEdge of the Couchwww.edgeofthecouch.com@edgeofthecouchpod on Instagram

Send us a textToday's guest is someone whose work sits right at the intersection of education, innovation, and human connection.Dr. Christine “Christy” Heid is a nursing educator, simulationist, innovator, and healthcare advocate with more than two decades of experience.As a Nursing Simulation Specialist, she brings an invaluable perspective as both a nurse educator and simulation expert who has personally experienced the challenges institutions face in preparing nurses for clinical practice. A recognized innovator in nursing education, she created the Heid ATE Guide for Clinical Teaching and Learning©, which is an Innovative, Progressive Tool to facilitate the Development of Clinical Judgment Skills for real-world nursing Practice. Brilliant.But wait, there's more. Christy has led a multi-site research project funded by an OADN Foundation Grant. She has held roles as a consultant, course developer, and faculty member, contributed to national committees, and published research on simulation and clinical judgment.In this episode, we talk about how simulation is transforming nursing education, what it really means to build clinical judgment, and why innovation is as much about empathy as it is about technology. Her work reminds us that innovation and empathy aren't opposites; they're partners.I wish, as a young nursing student in 1983, that Christy had been in my life. We didn't have simulations. We didn't have nursing simulation specialists. We had to practice on each other. Yeah, I'm not kidding. So we've come a long way and I was so happy to meet Christy.In the five minute snippet: Put on your boxing gloves. For Christy's bio, visit my website (link below).Contact The Conversing Nurse podcastInstagram: https://www.instagram.com/theconversingnursepodcast/Website: https://theconversingnursepodcast.comYour review is so important to this Indie podcaster! You can leave one here! https://theconversingnursepodcast.com/leave-me-a-reviewWould you like to be a guest on my podcast? Pitch me! https://theconversingnursepodcast.com/intake-formCheck out my guests' book recommendations! https://bookshop.org/shop/theconversingnursepodcast I've partnered with RNegade.pro! You can earn CE's just by listening to my podcast episodes! Check out my CE library here: https://rnegade.thinkific.com/collections/conversing-nurse-podcast Thanks for listening!

Welcome to Tuesday's Rugby Daily, I'm Cameron Hill.Coming up, an update from Ireland camp ahead of this weekend's visit of Australia to Dublin,After an impressive summer and Rugby Championship showing, what's gone wrong for the Wallabies this November?And Cullie Tucker leaves Connacht after a decade with the province, as the Ireland under-20s plan for the future.Rugby on Off The Ball with Bank of Ireland | #NeverStopCompeting

What do you do when you're over 50, comfortable in your career, and suddenly the world turns upside down? Meet Stacy Maly-Rodgers, who spent 20+ years in nonprofit management in St. Louis until COVID gave her the push she needed to tackle her bucket list - and on that list was becoming a pet groomer. Now she's found her calling as the go-to groomer for the dogs others won't touch at Three Tails Parlor and Pantry. In this episode, we are diving into midlife career pivots, working with difficult and anxious dogs, and how sometimes life's biggest disruptions lead to our most fulfilling chapters. You'll hear about:  ✅ Starting over at 50+ - why age can be your greatest asset  ✅ Fear Free certification and less restraint approach  ✅ Reading dog energy and adapting routines - doing what the dog allows, not forcing a checklist!  ✅ Communicating wins to pet parents and how that has changed everything Whether you're considering a midlife career change or looking to improve your approach with challenging dogs, Stacy proves that it's never too late to find your true calling - and that sometimes the most rewarding work requires patience, experience, and the willingness to do things differently. ABOUT STACY MALY-RODGERSLead Groomer & Services Manager at Three Tails Parlor and Pantry Stacy Maly-Rodgers discovered her true calling at age 50+ when she made the bold decision to leave her 20+ year career in nonprofit management and pursue pet grooming - something that had been on her bucket list for years. After COVID gave her the reflection time she needed, she started as a bather at PetSmart and worked her way through their academy program to become a certified groomer. Now serving as Lead Groomer and Services Manager at Three Tails Parlor and Pantry in Collinsville, Illinois, Stacy has found her specialty working with difficult and anxious dogs that other groomers struggle to handle. Her Fear Free certification and patient, low-restraint approach has transformed the grooming experience for dogs who previously required heavy sedation or couldn't be groomed at all. With four dogs at home and a lifelong love of animals, Stacy combines her management experience from her nonprofit career with her natural patience and intuitive understanding of canine behavior. Her approach focuses on building trust with both the dogs and their pet parents, celebrating small wins and progress rather than dwelling on challenges. Stacy's story proves that career changes at any age are possible, and that sometimes life's biggest disruptions lead to our most fulfilling chapters. She brings a unique perspective to the grooming industry, showing that maturity, patience, and life experience can be tremendous assets in working with animals. Transcript Show Notes

On Saturday, November 08, 2025, Hudson Mohawk Magazine Network Roaming Labor Correspondent Willie Terry attended the HVCC Pride of Our Nation and Pride of Our College Exhibition. There was a special exhibition set up by Professor Sonja Miller, a Psychology Instructor at HVCC, featuring her family, the Chandlers, and their military service. Willie had a chance to speak with her and family members about Specialist 4 Charles Chandler (Who was killed in Vietnam), Shelia C. Bugg, and other members who were in the military and on display at the college exhibition. This Labor segment is part one of two.

On Saturday, November 08, 2025, Hudson Mohawk Magazine Network Roaming Labor Correspondent Willie Terry attended the HVCC Pride of Our Nation, Pride of Our College Exhibition. There was a special exhibition set up by Professor Sonja Miller, a Psychology Instructor at HVCC, featuring her family, the Chandlers, and their military service. Willie had a chance to speak with her and family members about Specialist 4 Charles Chandler (Who was killed in Vietnam), Shelia C. Buggs, and other members who were in the military and on display at the college exhibition. This Labor segment is part two of two.

Husky voice, Friday night whiskey, and a mountain of cheese from the book launch. In this episode I lift the lid on what really happens inside a print judging room. The rotation of five from a pool of seven. Silent scoring so no one nudges anyone else. How a challenge works, what the chair actually does, and why we start with impact, dive through craft, then finish on impact again to see what survives. Layout over composition, light as the whole game, and a final re-rank that flattens time drift so the right image actually wins. If you enjoy a peek behind the curtain, you will like this one. You can grab a signed copy of the new Mastering Portrait Photography at masteringportraitphotography.com and yes, I will scribble in it. If you already have the book, a quick Amazon review helps more than you know. Fancy sharpening your craft in person? Check the workshops page for new dates and come play with light at the studio.  The book: https://masteringportraitphotography.com/resource/signed-copy-mastering-portrait-photography-new-edition/ Workshops: https://masteringportraitphotography.com/workshops-and-mentoring/   Transcript [00:00:00]  Hey, one and all. How are you doing? Now? I'll be honest, I still have the remnants of a cold, and if you can hear that in my voice, I do apologize, I suppose you could call it slightly bluesy, but you can definitely hear that I'm ever so slightly husky. It's Friday night, it's eight 30, and I was, I've been waiting a week to record this podcast, hoping my voice would clear it hasn't, and so I've taken the opportunity having a glass of whiskey and just cracking on. So if you like the sound of a slightly bluesy voice, that's great. If you don't, I'm really sorry, but whichever, which way I'm Paul. And this is the Mastering Portrait Photography podcast. So it's been a busy month or two. You can always tell when it's busy [00:01:00] 'cause the podcasts. Get, don't really get delivered in quite the pace I would like. However, it really has been a busy couple of weeks the past few. Let me, I'm gonna draw your attention to it. The past couple of weeks, we've, there's a ton of stuff going on around us for a moment. I was up in Preston. I've been up in Preston twice over the past couple of weeks. The first one was working as a qualifications judge for the BIPP, the British Institute Professional photographers. Um. Which I love judging. I love judging. It's exhausting, but I love it. And that was qualifications, panels. Then last week was the launch. Of the updated edition of Mastering Portrait Photography, the book, which is where it all started, where Sarah Plata and I published this book that seems to have been incredibly popular. 50,000 copies translated from English into four other languages. Chinese, Korean, German. And Italian, do not ask me, do not ask me the logic on why the book is in those [00:02:00] particular languages. To be fair, we only found out about the Chinese and Korean when we were trying to get some marketing material together to talk about the new book Nobody had told us. I'm not even sure the publisher knew, to be honest. Uh, but we have found copies. We have a Chinese copy here in the studio. I'm still trying to get a Korean version. So if you are listening to this. Podcast in Korea. Please tell me how to get hold of a version in Korean because we'd love to complete the set. There's, in fact, there's two Italian versions. We knew about that. There's a German version we knew about that hardback version. It's great. It's really beautiful. Very I, like I, I don't live in Germany and I don't like to stereotyping entire nation, but the quality of the book is incredible. It's absolutely rock solid, properly engineered. Love it. We have a Chinese version here but the Korean version still alludes us. However, this week the new version, mastering portrait photography is out. And as you know, I, Sarah interviewed me for the podcast last week to talk about it. Well, it's out. We've had our launch party, uh, we invited everybody who [00:03:00] has featured in the book who, everybody, every picture in the book that we asked the person in it to come to the studio for a soiree. And it was brilliant. I've never seen so much cheese in all my life, and by I don't mean my speech, I mean actual cheese. We had a pile of it, still eating it. So it's been a week and I'm still eating the cheese. I dunno quite how, well, quite by how much we vacated, but probably by several kilos. Which I'm enjoying thoroughly. I've put on so much weight this week, it's unreal, but I'm enjoying the cheese. And then on Sunday we had an open day where we had set the studio out with some pictures from the book and some notes of the different people. Who featured and what I might do, actually, I'd, I wonder if I can do a visual podcast. I might do a visual podcast where I talk about those images, at some point on the website, on masteringportraitportraitphotography.com. I will do the story and the BTS and the production of every single image that's in the book, but it's gonna take me some [00:04:00] time. There's nearly 200 images in there. Um, and every one of them, bar one is a new image or is, is. It is, it is a new image in the book, and it has been taken in the 10 years or the decades subsequent to the first book, all bar one. Feel free to email me. Email me the image you think it might be. You'll probably guess it, but it's it's definitely in there. Um, and so it's been really busy. And then at the beginning of this week, I spent two days up in Preston again, judging again, but this time it was for the British Institute of Professional Photographers print Masters competition. Ah, what, what a joy. Six other judges and me, a chair of judges. Print handlers, the organizers. Ah, I mean, I've seen so many incredible images over those 48 hours, and in this podcast I want to talk a bit about how we do it, why we do it, what it feels like to do it, [00:05:00] because I'm not sure everybody understands that it's it, it's not stressful, but we do as judges, feel the pressure. We know that we are representing, on the one hand, the association as the arbiters of the quality of the curators of these competitions, but also we feel the pressure of the authors because we are there too. We also enter competitions and we really, really hope the judges pay attention, really investigate and interrogate the images that we've entered. And when, when you enter competitions, that heightens the pressure to do a good job for the authors who you are judging. So in this podcast, I'm gonna talk through some of the aspects of that. Forgive me if it sounds like I'm answering questions. It's because I wrote myself some questions. I wrote some [00:06:00] questions down to, how I structures the podcast usually, uh, the podcast rambles along, but this one I actually set out with a structure to it, so forgive me if it sounds like I'm answering questions. It's 'cause I'm answering my own questions. What does it feel like? How do you do it? Et cetera, et cetera. Anyway, I hope it's useful. Enjoy. And it gives you an insight into what it's like to be a competition judge. Okay. As you walk into the judging room. For me at least, it's mostly a sense of excitement. There's a degree of apprehension. There's a degree of tension, but mostly there's an adrenaline rush. Knowing that we're about to sit and view, assess, score these incredible images from photographers all over the world, and let's remember that every photographer when they enter a print competition, which is what I'm talking about primarily here. Every photographer [00:07:00] believes that print that category that year, could win. Nobody enters an image thinking that it doesn't stand a chance. Now you might do that modest thing of, I don't know, you know? Oh no, I don't. I I just chance my arm. No one enters a print they don't think has a chance of doing well. That just doesn't happen. It's too expensive. It takes too much time. And as judges. We are acutely aware of that. So when you walk into the room, lots of things are going in your on, in your heads. Primarily, you know, you are there to do a job. You are there to perform a task. You are going to put your analytical head on and assess a few hundred images over the next 48 hours. But as you walk in, there's a whole series of things. You, you are gonna assess the room. You see that your fellow judges, you're gonna see the print handlers. You're going to see the chair, you're gonna see the people [00:08:00] from whichever association it is who are organizing it, who or who have organized it. You'll see stacks of prints ready to be assessed. There's a whole series of things that happen. A lot of hugging. It's really lovely. This year the panel of judges, uh, had some people in it I haven't seen for quite a few years, and it was beyond lovely to see them. So there's all of that, but you, there's this underlying tension you are about to do. One of the things you love doing more than anything else in as part of your job. So there's the excitement of it and the joy of it, but there's always this gentle underlying tone of gravitas of just how serious it is. What we are doing. So there will be plenty of laughter, plenty of joy, but you never really take your eye off the task in hand. And that's how it feels as you go to take your seats on the judging [00:09:00] panel. So the most important thing, I think, anyway, and I was chair of qualifications and awards for the BIPP for a number of years, is that the whole room, everybody there is acting as a team. If you are not gonna pull as a team, it doesn't work. So there has to be safety, there has to be structure. There has to be a process and all of these things come together to provide a framework in which you assess and create the necessary scores and results for the association, for the photographers, for the contestants. So you take your seats, and typically in a room, there are gonna be five judges at any one time assessing an image. It's typically five. I've seen it done other ways, but a panel of judges is typically five. The reason we have five is at no point do all of the judges agree. [00:10:00] We'll go through this later in more detail, but the idea is that you have enough judges that you can have contention, you can have. Disagreements, but as a panel of judges, you'll come up with a score. So you'll have five judges sitting assessing an image at any one time. To the side of the room, there'll be two more judges typically. Usually we have a pool of seven, five judges working, two judges sitting out every 10 prints or 10 minutes or whatever the chair decides. They'll we'll rotate along one, so we'll all move along one seat and one of the spare judges will come in and sit on the end and one of the existing judges will step off. And we do that all day, just rotating along so that everybody judges, broadly speaking, the same number of images. Now, of course there is a degree of specialism in the room. If a panel has been well selected, there'll be specialists in each of the categories, but you can't have, let's say there's 15 categories. You [00:11:00] can't have five specialist judges per category. That's simply impractical. Um, you know, having, what's that, 75 judges in a room, just so that you can get through the 15 categories is. A logistics task, a cost. Even just having a room that big, full of judges doesn't work. So every judge is expected to be reasonably multi-talented, even if you don't shoot, for instance, landscapes. You have to have a working knowledge of what's required of a great landscape. Because our job as a panel isn't that each of us will spot all of the same characteristics in an image, all of the same defects, all of the same qualities. Each judge has been picked to bring their own. Sort of viewpoint, if you like, to the image. Some judges are super technical, some judges, it's all about the atmosphere. Some judges, it's all about the printing and there's every bit of image production is [00:12:00] covered by each of the individual specialisms of the judges. And so while there is a degree of specialism, there will be a landscape. Specialist in the room or someone who works in landscape, there will be plenty of portrait photographers, wedding photographers, commercial photographers. The idea is from those seven, we can cover all of those bases. So we have seven judges all at fellowship level, all highly skilled, all experienced. And then there's the chair. Now the chair's role is not to affect the actual score. The chair's role is to make sure the judges have considered everything that they should be considering. That's the Chair's job, is to make sure the judges stay fresh, keep an eye on the scores, keep an eye on the throughput. Make sure that every image and every author are given a. The time and consideration that they are due. What do I mean by that? Well, I just mean the photographers spent a lot of time and effort and [00:13:00] finance putting this print in front of us, and so it's really important that we as judges give it due consideration. The chair, that's their role is to make sure that's what really happens. So the process is pretty simple, really. We will take our seats as a panel of judges and when we are settled. The chair will ask for the print, one of the print handlers. There's normally a couple of print handlers in the room, one to put the image on, one to take the image off. The print handler will take the first image or the next image off the pile and place it in front of us on the light box. They will then check the print to make sure there's no visible or obvious dust marks, um, or anything, and give with an air blower or with the back of a a handling glove, or very gently take any dust spots away. They will then step back. Now, the way the judges are set, there are five seats in a gentle arc, usually around the light [00:14:00] box. The outer two judges, judges one and five will step into the light box and examine or interrogate the print carefully. They will take as much time as they need to ascertain what they believe the score for that image should be. They will then take their seats. The next two judges in, so let's say Judge two and four, they will step in to interrogate the print and do exactly the same thing. When they're ready, they'll step back and sit down. And then the middle judge, the final judge in seat three, they will step up and interrogate the print. And the reason we do it that way is that everybody gets to see the print thoroughly. Everybody gets to spend enough time. Examining the print. And at that point, when we all sit down, we all enter our scores onto whatever the system is we're using either using iPads or keypads. There's all sorts of ways of doing it, but what's really important is we do all of this in total silence and we don't really do it because we need to be able to [00:15:00] concentrate. Though that has happened, sort of distracting noises can play havoc. Um, we really do it so that we are not influencing any other judge. So there's no, oh, this is rubbish, or, oh, this is amazing. Or any of this stuff, because the idea is that each judge will come to their own independent score. We enter them, and then there's a process as to what happens next. So that's the process. If at some point a single judge when the image appears, says, I can't judge this for whatever reason, usually it's because they've seen the image before. I mean, there's one this week where I hadn't directly influenced the image. But the author had shown me how they'd done it, so they'd stepped me through the Photoshopping, the construction, the shooting, everything about the image. I knew the image really well, and so when the image appeared on the light box, I knew while I could judge it, it wasn't fair to the author or to the other [00:16:00] competitors that I should. So I raised my hand, checked in with the chair, chair, asked me what I wanted. I said, I need to step off this. I'm too familiar with the work for me to give this a cold read, an objective read. So I if, if possible, if there's another judge, could they just step in and score this one image for me? And that means it's fair for all of the contestants. So that's that bit of process when we come to our score. Let's assume the score's fine. Let's assume, I dunno, it gets an 82, which is usually a merit or a bronze, whatever the system is. The chair will log that, she'll say that image scored 82, which is the average of all five of us. She'll then check in with the scores and the panel of judges. He or she rather, uh, they, so they will look at us and go, are you all happy with that result? That's really important. Are you all happy? Would that result? Because that's the opportunity as judges for one of us, if we're not comfortable that the image is scored where we think it probably should. And [00:17:00] remember with five of you, if the score isn't what you think, you could be the one who's not got your eye in or you haven't spotted something, it might well be you, but it's your job as a judge to make sure if there's any doubt in your mind about the scoring of an image that. You ask for it to be assessed again, for there to be discussion for the team to do its job because it might be that the other members of the panel haven't seen something that you have or you haven't seen something that they have, that both of those can be true. So it's really important that you have a process and you have a strict process. And this is how it works. So the chair will say you are happy. One of the judges may say. No, I'm not happy or may say I would like to challenge that or may simply say, I think this warrants a discussion. I'm gonna start it off. And then there's a process for doing that. [00:18:00] So the judge who raises the challenge will start the dialogue and they'll start in whichever direction it is that they think the scoring is not quite right. They will start the dialogue that way. So let's say the score, the judge who's raising a challenge says the score feels a little low. What happens then is raise a challenge and that judge will discuss the image or talk to the image in a way that is positive and trying to raise the score. And they're gonna do that by drawing attention to the qualities that they feel the image has, that maybe they're worried the other judges haven't seen when they're done, the next judge depends, depending on the chair and how you do it. The next judge will take their turn and he goes all the way around with every judge having their say. And then it comes back to the originating judge who has the right of a rebuttal, which simply means to answer back. So depending on how the [00:19:00] dialogue has gone it may be that you say thank you to all of the judges. I'm glad you saw my point. It would be great if we could give this the score that I think this deserves. Similarly, you occasionally, and I did do one of these where I raised a challenge, um, where I felt an image hadn't scored, or the judges hadn't seen something that maybe I had seen in the image, and then very quickly realized that four judges had seen a defect that I hadn't. And so my challenge, it was not, it's never a waste of a challenge. It's never ever a waste because it's really important that every image is given the consideration it deserves. But at the end of the challenge that I raised, the scoring stayed exactly the same. I stayed, I said thank you to all of the judges for showing me some stuff that I hadn't noticed. And then we moved on. More often than not, the scores move as the judges say, oh, do you know what, you're right, there is something in this. Or, no, you're right. We've overinflated this because we saw things, but we missed these technical defects. It's those kinds of conversations. So that's a, a chair, that's a, a judge's [00:20:00] challenge. Yeah, this process also kicks in if there's a very wide score difference between the judge's scores, same process, but this time there's no rebuttal. Every judge simply gives their view starting with the highest judge and then working anywhere on the panel. Um, and then there's a rare one, which does happen which is a chair's challenge, and the chair has the right in, at least in the competitions that I judge, the chair has the right to say to the panel of judges. Could you just give this another consideration? I think there might be things you've missed or that feels like you're getting a little bit steady in your scoring. 'cause they, the chair of course, has got a log of all the scores and can see whether, you know, you're settling into like a 78, 79 or one judge is constantly outta kilter. The chair can see everything and so your job as the chair is to just, okay guys, listen, I think this image that you've just assessed. Possibly there's some things one way or the [00:21:00] other that you might need to take into consideration. It doesn't feel like you have. I'd like you to discuss this image and then just do a rescore. So those are the, those are the mechanisms. So in the room you've got five judges plus two judges who are there ready to step in when required either on the rotation or when someone recuses themself and steps out. Usually two print handlers and then usually there's at least one person or maybe more from the association, just doing things like making sure things are outta their boxes, that the scores are recorded on the back of the prints, they go back into boxes, there's no damage because these prints are worth quite a lot of money. And so, there's usually quite a few people in the room, but it's all done in silence and it's all done to this beautiful process of making sure it's organized, it's clear it's transparent, and we're working as one team to assess each image and give it the score that it deserves. so when the print arrives on the box. It has impact. Now, whether you like it or not, [00:22:00] whether you understand it or not, whether you can define it or not, the print has an impact. You're gonna see it, you're gonna react to it. How do you react to it? Is it visceral? Does your heart rate climb? Do you. Do you explore it? Do you want to explore it? Does it tell a clear story? And now is when you are judging a competition, typically the association or the organization who are running the competition will have a clear set of criteria. I mean, broadly speaking, things like lighting, posing layout or composition storytelling. Graphic design, print quality, if it's a print competition. These are the kinds of things that, um, we look for. And they're listed out in the competition guides that the entrant, the author will have known those when they submitted their print. And the judges know them when we're assessing them, so they're kind of coherent. Whatever it is that the, the entrance were told, that's what we're judging [00:23:00] to the most important. Is the emotional connection or the impact? It's typically called visual impact or just impact. What's really important about that is that it's very obvious, I think, to break images down into these constructed elements like complimentary colors or tonal range or centers of interest, but they don't really do anything except create. Your emotional reaction to the picture. Now, we do use language around these to assess the image, but what we're actually looking for is emotional impact. Pictures tell stories. Stories invoke emotions. It's the emotions we're really looking for. But the trick when you are judging is you start with the initial impact. Then you go in and you in real tiny detail, look at the image. Explore it, interrogate it, [00:24:00] enjoy it, maybe don't enjoy it. And you look at it in all of the different categories or different areas, criteria that you are, that the judges that the organization have set out. And then really, although it never gets listed twice, it should do, impact should also be listed as the last thing you look at as well. Because here's the process. You look at the image. There's an impact. You then in detail investigate, interrogate, enjoy the image. And then at the very end you ask yourself, what impact does it still have? And that's really important because the difference between those two gives you an idea of how much or how well the image is scoring in all of the other areas. If an image has massive impact when you, let's put 'em on the light box, and then you explore it and you [00:25:00] enjoy it, and you look at it under the light, and then at the end of it you're still feeling the same thing you did when it came on the light box, that's a pretty good indicator that all the criteria were met. If on the other hand, as you've explored the image, you've realized. There are errors in the production, or you can see Photoshopping problems or blown highlights or blocked blacks, or things are blurred where they should be sharp or you name it. It's these kinds of things. You know, the printing has got banding in the sky, which is a defect. You see dust spots from a camera sensor. These gradually whittle away your impact score because you go back to the end and you ask, what impact does the image now have? And I've heard judges use terms like at the end of the process, I thought that was gonna be amazing when it first arrived on the light box. I just loved the look of it from a distance, but when I stepped in, there were just too many things that [00:26:00] weren't quite right. And at the end of it, I just felt some would, sometimes I've heard the word disappointed you. So that's certainly how I feel. When an image has this beautiful impact and the hair stand up on the back of your neck and you just think, I cannot wait to step in and explore this image in detail. 'cause I tell you one thing, most authors don't own a light box. When you see a print on a beautiful light box, the, there's something about the quality. The way the print ESS is you actually get to see what a print should look like. So when you step in, you are really excited to see it. And if at the end of that process you're slightly disappointed because you found defects in the printing or problems with the focusing or Photoshop or whatever it is. You really are genuinely disappointed. So that's how you approach it. You approach it from this standpoint of a very emotional, a very emotional connection with the image to start with, and then you break [00:27:00] it down into its elements, whatever those elements are for the competition. And then at the end, you ask yourself really, does it still have the impact? I thought it would because if it does, well, in that case, it's done really, really well. one of the things that's really interesting about judging images is we, we draw out, we write out all of these criteria and. Every image has them really. I mean, well, I say that of course every image doesn't have them. If you are, if you're thinking about landscape or a picture of a shampoo bottle, it doesn't have posing, for instance, if that's one of your criteria. But typically there's a standard set of criteria and every image has them layout, color uh, photographic technique, et cetera. So if we look at let's say composition, let's talk about composition. Personally, I like to use the term layout rather than composition because it [00:28:00] feels a little bit more like a verb. You lay the image out, you have all of the bits, you lay them out. I like that because when we are teaching photography when we say to someone, right, what are all of the bits that you have in front of you? How are you gonna lay them out? It feels a lot more, to me, at least more logical than saying, how are you gonna compose the image? Because it allows. I think it allows the photographer to think in terms of each individual component rather than just the whole frame. So we are looking for how the image is constructed. Remember that every photographer really should think about an image. As telling a story, what's the story that you want somebody else? Somebody that you've never met. In this case a judge, but it could be a client or it could just be somebody where your work is being exhibited on a wall. What do you want them to look at? What do you want them to see? Where do you want that eye to go? And there are lots of tricks to [00:29:00] this, and one of them is layout or composition. So we've got through the initial impact, boom. And the excitement. And then you start to think, is the image balanced? I like to think of an image having a center of gravity. Some photographers will use center of interest, which is a slightly different thing, but I think an image has a center of gravity. The component parts of the image create balance. So you can have things right down in the edges of the frame, but you need something to balance it like a seesaw. You can't just. Throw in, throw parts of the puzzle around the frame. So you are looking for where do they land? And of course, as photographers, we talk about thirds, golden ratios, golden spirals, all of these terms. But what we are really looking for is does the image have a natural flow? Does it feel like everything's where it should be? Does your eye go to the bit that the author probably wanted you to look at? Have they been effective in their [00:30:00] storytelling? And by storytelling, I don't necessarily mean storytelling as in photojournalism or narrative rich photography. What I mean is what did they want you to see, and then did you go and see it? Separation? Is the background blurred? And let's say the, the subject is sharp. That's a typical device for making sure you look at the subject. Is the color of the background muted in a way that draws your attention? Again to whatever it is in the foreground. So layouts one of those tools. So we work our way around it and try and figure out does the positioning of all of the elements of the image does their positioning add or distract from the story? We think that author was trying to tell. Let's remember that it's not the judge's job to understand the story. It's the author's job to tell the story in a way that the judges can get it. Too often, you know, when I, when I've judged [00:31:00] a competition, someone will come and find me afterwards and say, did you understand what that was about? I was trying to say this, and it's like, well, I didn't see that, but that's not my fault. You know, it's, it's down to you to lead me pictorially to. Whatever it is you're trying to show. Same with all judges, all viewers, clients. It doesn't really matter. It's the author's job, not the judges. So at the end of that, you then move on to whatever's the next criteria. So you know, you assess these things bit by bit, and by the way, every judge will do it in a slightly different order. There'll be written down in an order. But each judge would approach it in a different manner. For me, typically it's about emotional connection more than anything else, it's about the emotion. I love that genuine, authentic connection of a person in the image. To me, the viewer. I will always go there if, if it's a portrait or a wedding or fashion image, if there's a person in it or a dog, I suppose, [00:32:00] then I will look for that authenticity, that, that visceral, it feels like they're looking at me or I'm having a dialogue with them. That's my particular hot button, but every judge has their room and that's how you approach it. So when it comes to a photograph in the end, you don't really have anything other than light when you think about it, right? That's, you pick up a camera, it's got a sensor, it's got film, it's got a lens on the front, and a shutter stopping light coming, or it goes through the lens, but the, the shutter stops it hitting a sensor. And at some point you commit light to be recorded. And it's the light that describes the image. There's nothing else. It's not something you can touch or hear, it's just light. And of course light is everything. I think, I think the term pho photography or photograph is a mix of a couple of words, and it's a relatively recent idea. I think [00:33:00] it was Victorian and it's, isn't it light and art photographic or photograph, um. So that's what it is. It's capturing light and creating a reaction from it. So the quality of light is possibly the most important thing. There is too much of it, and you're gonna have blown highlights, nasty white patches on your prints, too little of it. You're gonna have no detail in the shadows and a lot of noise or grain, whether it's film or whether it's off your sensor. And then there's the shape of the light. The color of the light, and it doesn't really matter whether it's portrait, wedding, landscape, product, avant garde, it's light that defines things. It's light that can break an image. So with portraiture, for instance, we tend to talk about. Sculpting or dimensionality of light. We tend to talk about the shape of the subject. We talk about flattering light. We talk about hard and soft light, and all of these things [00:34:00] mean something. This isn't the podcast to talk about those in detail, but that's what we're looking for. We are looking for has the light created a sense of shape, a sense of wonder, a sense of narrative. Does the lighting draw your eye towards the subject? And when you get to the subject, is it clear that the lighting is effective and by effective, usually as a portrait photographer anyway. I mean flattering. But you might be doing something with light that's counterintuitive, that's making the subject not flattered. That's maybe it's for a thriller style thing, or maybe it's dark and moody. Harsh, as long as in tune with the story as we are seeing it, then the lighting is assessed in that vein. So we've seen some incredible beauty shots over the past couple of days where the lighting sculpted the face. It had damaged ality, but it was soft. There were no hard shadows, there were no [00:35:00] blown highlights. The skin, it was clear that the texture of the skin, the light, it caught the texture. So we knew exactly what that would be. It had. Captured the shape. So the way the gens or shadows ripple around a body or a face tell you its shape. They haven't destroyed the shape. It's it's catch shape, but it hasn't unnecessarily sculpted scars or birthmarks or spots, you know? And that's how lighting works. So you look for this quality, you look for control, you look for the author, knowing what they're doing. With landscapes, typically it's, it is very rare, in my opinion, for a landscape. To get a good score if it isn't shot at one end of the day or the other. Why? Well, typically, at those points of the day, the light from the sun is almost horizontal. It rakes across the frame, and you get a certain quality to the way the shadows are thrown. The way the [00:36:00] light, sculpts hills, buildings, clouds, leaves, trees, the way it skips off water, whether it's at the beginning of the day or the end of the day. It's quite unusual though we do see them for an amazing photograph of escape to be taken at midday. But you can see how it could be if you have the sun directly overhead, because that has a quality all of its own. And you know, if when an author has gone to the effort of being in the right place to shoot vertical shadows with a direct overhead son, well maybe that's so deliberate that the, the judges will completely appreciate that and understand the story. So it's looking for these things and working out. Has the lighting been effective in telling the story? We think the author was trying to tell? Lighting is at the heart of it. So when we've been through every criteria, whatever they are, lighting, composition, color, narrative, et cetera, et cetera, et cetera, [00:37:00] we've assessed every image, hundreds of them. We've had challenges, we've had conversations. We have a big pile of prints that have made it over the line. To whatever is your particular association scoring, whether it's merit or bronze or whatever. The puzzle isn't quite complete at that stage because there is of course, a slight problem and that problem is time. So if you imagine judging a section of images might take a couple of hours to do 70 prints, 60, 70 prints might take longer than that. In fact, it might take the best part of an afternoon. During that time. There's every chance the scores will wander. And the most obvious time is if a category spans something like a lunch break. We try to make sure categories don't do that. We try to complete categories before going for a break. We always try to be continuous, but [00:38:00] you've still got fatigue. You've got the judges rotating. So all of these things are going on. It sometimes it depends what images come up in what order could conceivably affect the scoring. For instance there's an image that came up this year where I think probably I was the judge that felt the strongest about it. There was something about this particular image that needed talking about, and so when it came up and it was scores that I raised a challenge and my heart rate, the minute the print hit the stand, my heart rate climbed through the roof. It was. Something about it that just connected with me. And then when I explored the image on the lights, on the light box, to me, there was very little that was technically holding it back. There were a couple of bits, but nothing that I felt warranted a lower score. And so I raised a [00:39:00] challenge. I said my point, I went through it in detail. I asked the other judges to consider it. From my viewpoint, they gave their views as to why they hadn't. But each of them understood where I was coming from and unlike the challenge I talked about earlier where no one changed their mind on this one, they did on this one. They also saw things that I saw when we went through it. But at the end of the process, the image was got a higher score, which is great, but. I didn't feel that I could judge the next image fairly because whatever came in, my heart rate was still battering along after seeing this one particular image. And that happens sometimes. It's not common, but I felt I needed to step off the panel before the next image came up. Which I did in work, working with the chair and the team. I stepped off for a couple of prints before stepping back on [00:40:00] just to let my eye settle and let myself get back into the right zone. But during the day, the zone changes. The way you change your perception of the images, as the images come through is so imperceptible, imperceivable, imperceptible. One of those two words is so tiny that you don't notice if there's a slight drift. And so there's every opportunity for an image to score a couple of points lower or a couple of points higher than it possibly could have done. If it had been seen at another point in the day. Maybe it had been, maybe if the image was seen after a series of not so strong images, maybe it would get a higher score. Or of course, the other way round. Maybe after seeing a series of really, really powerful, impactful images that came up, maybe it scored be slightly diminished. Both of those can be true. And so it's really important that we redress that any possible imbalance and every competition I've ever done has a final round. And the [00:41:00] way this is done is that we take the highest scoring images, top five, top 10, depending on the competition, and we line them up. And all of the judges now, not just the judges who are the five on the panel, all seven judges. Get an opportunity to bring each image back onto a light box if they wish, if they haven't seen them already. Because remember, some of those images may not have been assessed by the, well. It cannot have been assessed by all seven of the judges, so there's always gonna be at least two judges who haven't seen that image or seeing it for the first time as a judge. So we bring them back, we look at them, and then we rank them using one of numerous voting mechanisms where we all vote on what we think are the best images and gradually whittle it down until we're left with a ranked order for that category. We have a winner, a second, a third, a fourth, sometimes all the way down to 10 in order, depending on the competition. And that's the fairest way of doing it, because it means, okay, during the judging, [00:42:00] that image got, I dunno, 87. But when we now baseline it against a couple of images that got 90 something, when we now look at it, we realize that that image probably should have got a 90 as well. We're not gonna rescore it, the score stands, but what we are gonna do is put it up into there and vote on it as to whether it actually, even though it got slightly lower, score, is the winning image for the category. And every competition does something similar just to redress any fluctuations to, to flatten out time. It takes time outta the equation because now for that category, all seven judges are judging the winner at the same time, and that's really important. We do that for all the categories, and then at the end of that process, we bring back all of the category winners and we vote on which one of those. Wins the competition. Now, not every competition has an overall winner, but for the one we've just done for the print masters, for the BIPP print masters, there is an overall winner. And so we set them all out [00:43:00] and we vote collectively as a winner on the winner. And then, oh, we rank them 1, 2, 3, 4, or whatever. Um, really we're only picking a winner, but we also have to have some safety nets because what happens if for instance. Somebody unearths a problem with an image. And this has happened, sadly, this has happened a couple of times in my career where a photographer has entered an image that's not compliant with the rules but hasn't declared it. And it's always heartbreaking when it does happen, but we have to have a backup. So we always rank one, two, and three. So that's some backups, and that's the process. That's how we finish everything off. We have finished, we've got all the categories judged, the category winners judged, and then the overall one, two, and three sorted as well. at the end of the process? I can't speak for every judge. I can speak for me, I feel, I think three things. Exhaustion. It's really hard to spend 48 hours or longer [00:44:00] assessing images one by one, by one by one, and making sure that you are present and paying attention to every detail of every image. And you're not doing an author or an image a disservice. You pay each image or you give each image, you pay each image the due attention it deserves. I feel exhilaration. There's something energizing about assessing images like this. I know it's hard to explain, but there's something in the process of being alongside some of the best photographers that you've ever met, some photographers that you admire more than any others, not just as photographers, but as human beings. The nicest people, the smartest people, the most experienced people, the most eloquent people. There's something in that. So there's this [00:45:00] exhilaration. You are exhausted, but there's an exhilaration to it. And then finally, and I don't know if every photographer feels this or every judge feels this, I do. Which is massively insecure, I think. Can't think of the right words for it. There must be one. But I come away, much like when you've been out on the beers and you worry about all the things you've said, it's the same process. There was that image I didn't give enough credit for. There was this image I was too generous on. There were the things I said in a challenge when it gets a little bit argumentative or challenging. 'cause the clues in the title, you know, maybe I pushed too hard, maybe I didn't push hard enough. There are images you've seen that you wished you'd taken and you feel like. I'm not good enough. There's an insecurity to it too, and those are the three things I think as you leave the room, it's truly [00:46:00] energizing. Paradoxically, it's truly exhausting, but it's also a little bit of a head mush in that you do tend to come, or I do tend to come away a little bit insecure about. All the things that have gone on over the two days prior, and I've done this a long time. I've been judging for, I dunno, 15, 16, 17 years. And I've got used to those feelings. I've got used to coming away worrying. I'm used to the sense of being an underachiever, I suppose, and it's a wonderful , set of emotions that I bring home. And every time I judge. I feel better for it. I feel more creative. I feel more driven. I feel more determined. I feel like my eyes have been opened to genres [00:47:00] of photography, for types of imagery, for styles of posing or studio work that I've never necessarily considered, and I absolutely adore it every single second. So at the end of that, I really hope I've described or created a picture of what it's like to be a judge for this one. I haven't tried to explain the things we saw that as photographers as authors, you should think about when you are entering. I'm gonna do that in a separate podcast. I've done so many of those, but this one was specifically like, what does it feel like to be a judge? Why do we do it? I mean, we do it for a million reasons. Mostly we do it because people helped us and it's our turn to help them. But every photographer has a different reason for doing it. It's the most joyful process. It's the most inspiring process and I hope you've got a little bit of that from the podcast. So [00:48:00] on that happy note, I'm gonna wrap up and I'm gonna go and finish my glass of whiskey which I'm quite excited about if I'm honest. 'cause I did, it's been sitting here beside me for an hour and I haven't drunk any of it. I do hope you're all doing well. I know winter is sort of clattering towards us and the evenings are getting darker, at least for my listeners in the north and the hemisphere. Don't forget. If you want more information on portrait photography or our workshops we've announced all of the upcoming dates or the next set of upcoming dates. Please head across to mastering portrait photography.com and go to the workshop section. I love our workshops and we've met so many. Just lovely people who've come to our studio. And we've loved being alongside them, talking with them, hopefully giving a bit of inspiration, certainly taking a little bit of inspiration, if I'm honest, because everyone turns up with ideas and conversations. Uh, we would love to see you there. The workshops are all are all there on the website and the workshop section. You can also, if you wish, buy a signed copy of the book from mastering portrait photography.com. Again, just go to the [00:49:00] shop and you'll see it there on the top. Amazon has them for sale too. It is great. Amazon typically sells them for less than we do, but we have a fixed price. We have to buy them from the wholesaler at a particular price, whereas Amazon can buy many, many more than we can, so they get a better deal if I'm honest. However, if you want my paw print in there, then you can order it from us and it's supports a photographer and it's really lovely to hear from you. When you do, uh, one thing, I'd love to ask anyone who has bought the updated edition of the book, if you are an Amazon customer. Please could you go on to amazon.com and leave us a review? It's really powerful when you do that, as long as it's a good review. If it's a rubbish review, just email me and tell me what I could have done differently, and I'll email you back and tell you, tell you why I didn't. But if it's a half decent review, a nice review. Please head over to Amazon. Look for mastering portrait photography, the new version of the book, and leave us a review. It's really important particularly in the first couple of [00:50:00] weeks that it's been on sale. Uh, it would be really, really helpful if you did that. And on that happy note, I wish you all well. I've grabbed my glass of whiskey and I'm gonna wrap up and whatever else you do. Until next time, be kind to yourself. Take care.   

Michelle Moore is a licensed Health and Life Insurance Agent, educator, and former Occupational Therapist with over two decades of experience helping others thrive. After facing personal loss and financial uncertainty, she discovered the power of annuities, life insurance, estate planning, and real estate syndications to create lasting income and generational wealth.Now, as the founder of Moore Family Wealth, Michelle empowers professionals, especially women, teachers, and caregivers, to protect what matters most and build financial security with clarity and confidence. She brings the heart of a teacher to every conversation, explaining complex concepts in simple, honest terms and creating personalized strategies for retirement, protection, and legacy.Michelle's mission is to help her clients retire not with fear, but with freedom knowing their money, their family, and their future are in capable, caring hands.Learn more: https://www.moorefamilywealth.com/Disclaimer: The content of this podcast is for informational and educational purposes only and does not constitute financial, legal, or tax advice.Michelle Moore is a licensed life and health insurance agent. Listening to or interacting with this podcast does not create an agent-client relationship. Any opinions shared are those of the host and guests and do not necessarily reflect the views of any affiliated organizations or companies. In accordance with Federal Trade Commission (FTC) guidelines, the host discloses any financial relationships or sponsorships with companies or carriers mentioned during the podcast. Listeners are encouraged to consult a qualified financial or insurance professional for personalized guidance. Arizona Department of Insurance and Financial Institutions (DIFI) requires licensed producers to comply with all advertising and disclosure standards. This podcast is intended to comply with those requirements and is for general educational purposes only.Influential Entrepreneurs with Mike Saundershttps://businessinnovatorsradio.com/influential-entrepreneurs-with-mike-saunders/Source: https://businessinnovatorsradio.com/interview-with-michelle-moore-founder-and-retirement-specialist-with-moore-family-wealth-discussing-building-your-retirement-paycheck

Michelle Moore is a licensed Health and Life Insurance Agent, educator, and former Occupational Therapist with over two decades of experience helping others thrive. After facing personal loss and financial uncertainty, she discovered the power of annuities, life insurance, estate planning, and real estate syndications to create lasting income and generational wealth.Now, as the founder of Moore Family Wealth, Michelle empowers professionals, especially women, teachers, and caregivers, to protect what matters most and build financial security with clarity and confidence. She brings the heart of a teacher to every conversation, explaining complex concepts in simple, honest terms and creating personalized strategies for retirement, protection, and legacy.Michelle's mission is to help her clients retire not with fear, but with freedom knowing their money, their family, and their future are in capable, caring hands.Learn more: https://www.moorefamilywealth.com/Disclaimer: The content of this podcast is for informational and educational purposes only and does not constitute financial, legal, or tax advice. Michelle Moore is a licensed life and health insurance agent. Listening to or interacting with this podcast does not create an agent-client relationship. Any opinions shared are those of the host and guests and do not necessarily reflect the views of any affiliated organizations or companies. In accordance with Federal Trade Commission (FTC) guidelines, the host discloses any financial relationships or sponsorships with companies or carriers mentioned during the podcast. Listeners are encouraged to consult a qualified financial or insurance professional for personalized guidance. Arizona Department of Insurance and Financial Institutions (DIFI) requires licensed producers to comply with all advertising and disclosure standards. This podcast is intended to comply with those requirements and is for general educational purposes only.Influential Entrepreneurs with Mike Saundershttps://businessinnovatorsradio.com/influential-entrepreneurs-with-mike-saunders/Source: https://businessinnovatorsradio.com/interview-with-michelle-moore-founder-and-retirement-specialist-with-moore-family-wealth-discussing-protecting-what-matters

Michelle Moore is a licensed Health and Life Insurance Agent, educator, and former Occupational Therapist with over two decades of experience helping others thrive. After facing personal loss and financial uncertainty, she discovered the power of annuities, life insurance, estate planning, and real estate syndications to create lasting income and generational wealth.Now, as the founder of Moore Family Wealth, Michelle empowers professionals, especially women, teachers, and caregivers, to protect what matters most and build financial security with clarity and confidence. She brings the heart of a teacher to every conversation, explaining complex concepts in simple, honest terms and creating personalized strategies for retirement, protection, and legacy.Michelle's mission is to help her clients retire not with fear, but with freedom knowing their money, their family, and their future are in capable, caring hands.Learn more: https://www.moorefamilywealth.com/Disclaimer: The content of this podcast is for informational and educational purposes only and does not constitute financial, legal, or tax advice.Michelle Moore is a licensed life and health insurance agent. Listening to or interacting with this podcast does not create an agent-client relationship. Any opinions shared are those of the host and guests and do not necessarily reflect the views of any affiliated organizations or companies. In accordance with Federal Trade Commission (FTC) guidelines, the host discloses any financial relationships or sponsorships with companies or carriers mentioned during the podcast. Listeners are encouraged to consult a qualified financial or insurance professional for personalized guidance. Arizona Department of Insurance and Financial Institutions (DIFI) requires licensed producers to comply with all advertising and disclosure standards. This podcast is intended to comply with those requirements and is for general educational purposes only.Influential Entrepreneurs with Mike Saundershttps://businessinnovatorsradio.com/influential-entrepreneurs-with-mike-saunders/Source: https://businessinnovatorsradio.com/interview-with-michelle-moore-founder-and-retirement-specialist-with-moore-family-wealth-discussing-building-your-retirement-paycheck

Michelle Moore is a licensed Health and Life Insurance Agent, educator, and former Occupational Therapist with over two decades of experience helping others thrive. After facing personal loss and financial uncertainty, she discovered the power of annuities, life insurance, estate planning, and real estate syndications to create lasting income and generational wealth.Now, as the founder of Moore Family Wealth, Michelle empowers professionals, especially women, teachers, and caregivers, to protect what matters most and build financial security with clarity and confidence. She brings the heart of a teacher to every conversation, explaining complex concepts in simple, honest terms and creating personalized strategies for retirement, protection, and legacy.Michelle's mission is to help her clients retire not with fear, but with freedom knowing their money, their family, and their future are in capable, caring hands.Learn more: https://www.moorefamilywealth.com/Disclaimer: The content of this podcast is for informational and educational purposes only and does not constitute financial, legal, or tax advice. Michelle Moore is a licensed life and health insurance agent. Listening to or interacting with this podcast does not create an agent-client relationship. Any opinions shared are those of the host and guests and do not necessarily reflect the views of any affiliated organizations or companies. In accordance with Federal Trade Commission (FTC) guidelines, the host discloses any financial relationships or sponsorships with companies or carriers mentioned during the podcast. Listeners are encouraged to consult a qualified financial or insurance professional for personalized guidance. Arizona Department of Insurance and Financial Institutions (DIFI) requires licensed producers to comply with all advertising and disclosure standards. This podcast is intended to comply with those requirements and is for general educational purposes only.Influential Entrepreneurs with Mike Saundershttps://businessinnovatorsradio.com/influential-entrepreneurs-with-mike-saunders/Source: https://businessinnovatorsradio.com/interview-with-michelle-moore-founder-and-retirement-specialist-with-moore-family-wealth-discussing-protecting-what-matters

Urinary tract infections — or UTIs — aren't the most glamorous topic, but they're incredibly important, and we just don't talk about them enough. If you've ever had one, you'll know how miserable they can be: the burning, the stinging, those endless trips to the loo, the pain, and that bone-crushing fatigue. They can really knock you sideways.For many women, UTIs become more common — and more stubborn — during perimenopause and menopause.In this episode, I'm joined by the brilliant Helen Lake, a specialist urology nurse, to help us understand why UTIs happen, why they mustn't be ignored, and what you can do about them — from medical treatments to nutrition and supplements.Helen explains everything you need to know about identifying, understanding, and managing UTIs — and hopefully banishing them for good. We cover the key symptoms, prevention strategies like staying hydrated and double-voiding, why test results aren't always conclusive, and when antibiotics are needed. We also look at the role of beneficial bacteria, cranberry and D-mannose, vaginal moisturisers, topical oestrogen, and how to advocate for yourself with your GP.If you've found this episode helpful, please share it with a friend who might benefit too. And if you love The Happy Menopause podcast, I'd be so grateful if you could leave a five-star rating and a quick review on Apple Podcasts — or wherever you like to listen.And don't forget to subscribe, so you don't miss out on upcoming episodes. These small steps make a huge difference to the algorithm, and help more women find the show.After all, every woman deserves to have a happy menopause.Check out the full Show Notes for this episode on my website www.well-well-well.co.uk/podcast, where you'll find all the relevant links and references for each guest. Learn how to build your own menopause diet to manage your symptoms with my book The Happy Menopause: Smart Nutrition to Help You Flourish. And if you're tired of feeling tired and grappling with brain fog, check out my new book: The Happy Menopause Guide to Energy; Nutrition to Rejuvenate Your Brain & Body. It's available in all the usual places.

Michelle Moore is a licensed Health and Life Insurance Agent, educator, and former Occupational Therapist with over two decades of experience helping others thrive. After facing personal loss and financial uncertainty, she discovered the power of annuities, life insurance, estate planning, and real estate syndications to create lasting income and generational wealth.Now, as the founder of Moore Family Wealth, Michelle empowers professionals, especially women, teachers, and caregivers, to protect what matters most and build financial security with clarity and confidence. She brings the heart of a teacher to every conversation, explaining complex concepts in simple, honest terms and creating personalized strategies for retirement, protection, and legacy.Michelle's mission is to help her clients retire not with fear, but with freedom knowing their money, their family, and their future are in capable, caring hands.Learn more: https://www.moorefamilywealth.com/Disclaimer: The content of this podcast is for informational and educational purposes only and does not constitute financial, legal, or tax advice. Michelle Moore is a licensed life and health insurance agent. Listening to or interacting with this podcast does not create an agent-client relationship. Any opinions shared are those of the host and guests and do not necessarily reflect the views of any affiliated organizations or companies. In accordance with Federal Trade Commission (FTC) guidelines, the host discloses any financial relationships or sponsorships with companies or carriers mentioned during the podcast. Listeners are encouraged to consult a qualified financial or insurance professional for personalized guidance. Arizona Department of Insurance and Financial Institutions (DIFI) requires licensed producers to comply with all advertising and disclosure standards. This podcast is intended to comply with those requirements and is for general educational purposes only.Influential Entrepreneurs with Mike Saundershttps://businessinnovatorsradio.com/influential-entrepreneurs-with-mike-saunders/Source: https://businessinnovatorsradio.com/interview-with-michelle-moore-founder-and-retirement-specialist-with-moore-family-wealth-discussing-the-retirement-mindset

In this episode of Dental Unfiltered, Matt Brown sits down with Dr. Todd Fleischman to unpack the vital relationship between general dentists and specialists. Together, they explore how trust, communication, and collaboration drive better patient outcomes — and why general dentists should act as the “quarterbacks” of care. The conversation also dives into how evolving dental technology and continuous learning are reshaping the modern dental landscape.

everyone is talking about the Full Beaver Supermoon!!!! an "expert" calls in to tell us more!See omnystudio.com/listener for privacy information.