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How do you build a creative life that spans music, writing, film, and spiritual practice? Alicia Jo Rabins talks about weaving multiple creative strands into a sustainable career and why the best advice for any creator might simply be: just make the thing. In the intro, backlist promotion strategy [Written Word Media]; Successful author business [Novel Marketing Podcast]; Alliance of Independent Authors Indie Author Bookstore; Bones of the Deep – J.F. Penn This podcast is sponsored by Kobo Writing Life, which helps authors self-publish and reach readers in global markets through the Kobo eco-system. You can also subscribe to the Kobo Writing Life podcast for interviews with successful indie authors. This show is also supported by my Patrons. Join my Community at Patreon.com/thecreativepenn Alicia Jo Rabins is an award-winning writer, musician, performer, as well as a Torah teacher and ritualist. She's the creator of Girls In Trouble, a feminist indie-folk song cycle about biblical women, and the award-winning film, A Kaddish for Bernie Madoff. Her latest book is a memoir, When We Are Born We Forget Everything. You can listen above or on your favorite podcast app or read the notes and links below. Here are the highlights, and the full transcript is below. Show Notes Building a sustainable multi-disciplinary creative career through teaching, performance, grants, and donations Trusting instinct in the early generative stages of creativity and separating generation from editing Adapting and reimagining religious and cultural source material through music, writing, and performance The challenges of transitioning from poetry to long-form prose memoir, including choosing a lens for your story Making an independent film on a shoestring budget without waiting for Hollywood's permission Finding your creative voice and building confidence by leaning into vulnerability and returning to the practice of making You can find Alicia at AliciaJo.com. Transcript of the interview with Alicia Jo Rabins Joanna: Alicia Jo Rabins is an award-winning writer, musician, performer, as well as a Torah teacher and ritualist. She's the creator of Girls In Trouble, a feminist indie-folk song cycle about biblical women, and the award-winning film, A Kaddish for Bernie Madoff. Her latest book is a memoir, When We Are Born We Forget Everything. So welcome to the show, Alicia. Alicia: Thank you so much. I'm delighted to be here. Joanna: There is so much we could talk about. But first up— Tell us a bit more about you and how you've woven so many strands of creativity into your life and career. Alicia: Yes, well, I am a maximalist. What happened in terms of my early life is that I started writing on my own, just extremely young. I'm one of those people who always loved writing, always processed the world and managed my emotions and came to understand myself through writing. So from a very young age, I felt really committed to writing. Then I had the good fortune that my mother saw a talk show about the Suzuki method of learning violin—when you start really young and learn by ear, which is modelled after language learning. It's so much less intellectual and much more instinctual, learning by copying. She was like, that looks like a cool thing. I was three years old at the time and she found out that there was a little local branch of our music conservatory that had a Suzuki violin programme. So when I was three and a half, getting close to four, she took me down and I started playing an extremely tiny violin. Joanna: Oh, cute! Alicia: Yes, and because it was part of this conservatory that was downtown, and we were just starting at the suburban branch where we lived, there was this path that I was able to follow. As I got more and more interested in violin, I could continue basically up through the conservatory level during high school. So I had a really fantastic music education without any pressure, without any expectations or professional goals. I just kept taking these classes and one thing led to another. I grew up being very immersed in both creative writing and music, and I think just having the gift of those two parts of my brain trained and stimulated and delighted so young really changed my brain in some ways. I'll always see the world through this creative lens, which I think I'm also just set up to do personally. Then the last step of my multi-practice career is that in college I got very interested in Jewish spirituality. I'm Jewish, but I didn't grow up very religious. I didn't grow up in a Jewish community really. So I knew some basics, but not a ton. In college I started to study it and also informally learned from other people I met. I ended up going on a pretty intense spiritual quest, going to Jerusalem and immersing myself after college for two years in traditional Jewish study and practice. So that became the third strand of the braid that had already been started with music and writing. Torah study, spiritual study, and teaching became the third, and they all interweave. The last thing I'll say is that because I work in both words and music, and naturally performance because of music, it began to branch a little bit into plays, theatre, and film, just because that's where the intersection of words, performance, and music is. So that's really what brought me into that, as opposed to any specific desire to work in film. It all happened very organically. Joanna: I love this. This is so cool. We are going to circle back to a lot of this, but I have to ask you— What about work for money at any point? How did this turn into more than just hobbies and lifestyle? Alicia: Yes, absolutely. Well, I'm very fortunate that I did not graduate college with loans because my parents were able to pay for college. That was a big privilege that I just want to name, because in the States that's often not the case. So that allowed me to need to support myself, but not also pay loans, which was a real gift. What happened was I went straight from college to that school in Jerusalem, and there I was on loans and scholarship, so I didn't have to worry yet about supporting myself. Then when I came back to the States, I actually found on Craigslist a job teaching remedial Hebrew. It was essentially teaching kids at a Jewish elementary school who either had learning differences or had just entered the school late and needed to be in a different Hebrew class than the other kids in their grade. That was my first experience of really teaching, and I just absolutely fell in love with it. Although in the end, my passion is much more for teaching the text and rituals and the wrestling with the concepts, as opposed to teaching language. So all these years, while doing performance and writing and all these things, I have been teaching Jewish studies. That has essentially supported me, I would say, between 50 and 70 per cent. Then the rest has been paid gigs as a musician, whether as a front person leading a project or as what we call a sideman, playing in someone else's band. Sometimes doing theatre performances, sometimes teaching workshops. That's how I've cobbled it together. I have not had a full-time job all these years and I have supported myself through both earned income and also grants and donations. I've really tried to cultivate a little bit of a donor base, and I took some workshops early on about how to welcome donations. So I definitely try to always welcome that as well. Joanna: That is so interesting that you took a workshop on how to welcome donations. Way back in, I think 2013, I said on this show, I just don't know if I can accept people giving to support the show. Then someone on the podcast challenged me and said, but people want to support creatives. That's when I started Patreon in 2014. It was when The Art of Asking by Amanda Palmer came out and— It was this realisation that people do want to support people. So I love that you said that. Alicia: It's not easy. It's still not easy for me, and I have to grit my teeth every time I even put in my end-of-year newsletter. I just say, just a reminder that part of what makes this possible is your generous donations, and I'm so grateful to you. It's not easy. I think some people enjoy fundraising. I certainly don't instinctively enjoy it, but I have learned to think of it exactly the way that you're saying. I mean, I love donating to support other people's projects. Sometimes it's the highlight of my day. If I'm having a bad day and someone asks for help, either to feed a family or to complete a creative project, I just feel like, okay, at least I can give $36 or $25 and feel like I did something positive in the last hour, even if my project is going terribly and I'm in a fight with my kid or something. So I have to keep in mind that it is actually a privilege to give as well as a privilege to receive. Joanna: Absolutely. So let's get back into your various creative projects. The first thing I wanted to ask you, because you do have so many different formats and forms of your creativity—how do you know when an idea that comes to you should be a song, or something you want to do as a performance, or written, or a film? Tell us a bit about your creative process. Because a lot of your projects are also longer-term. Alicia: Yes. It's funny, I love planning and in some ways I'm an extreme planner. I really drive people in my family bonkers with planning, like family vacations a year in advance. In terms of my creativity, I'm very planful towards goals, but in that early generative state, I am actually pure instinct. I don't think I ever sit down and say, “I have this idea, which genre would it match with?” It's more like I sit on my bed and pick up my guitar, which is where I love to do songwriting, just sitting on my bed cross-legged, and I pick up my guitar and something starts coming out. Then I just work with that kernel. So it's very nebulous at first, very innate, and I just follow that creative spirit. Often I don't even know what a project is, sometimes if it's a larger project, until a year or two in. Once things emerge and take shape, then my planning brain and my strategy brain can jump on it and say, “Okay, we need three more songs to fill out the album, and we need to plan the fundraising and the scheduling.” Then I might take more of an outside-in approach. At the beginning it's just all instinct. Joanna: So if you pick up your guitar, does that mean it always starts in music and then goes into writing? Or is that you only pick up a guitar if it's going to be musical? Alicia: I think I'm responding to what's inside me. It's almost like a need, as opposed to, “I'm going to sit down and work.” I mean, obviously I sit down and work a lot, but I think in that early stage of anything, it's more like my fingers are itching to play something, and so I sit down and pick up my guitar. Sometimes nothing comes out and sometimes the kernel of a song comes out. Or I'm at a café, and I often like to write when I'm feeling a little bit discombobulated, just to go into the complexity of things or use challenging emotions as fuel. I really do use it as a—I don't know if therapeutic is the word, but I think it maybe is. I write often, as I always have, as I said before, to understand what I'm thinking. Like Joan Didion said—to process difficult emotions, to let go of stuck places. So I think I create almost more out of a sense of just what I need in the moment. Sometimes it's just for fun. Sometimes picking up a guitar, I just have a moment so I sit down and mess around. Sometimes it's to help me struggle with something. It doesn't always start in music. That was a random example. I might sit down to write because I have an hour and I think, I haven't written in a while. Or I do have an informal daily writing thing where I'll try to generate one loose draft of something a day, even if it's only ten pages. I mean, sorry, ten words. Joanna: I was going to say! Alicia: No, no. Ten words. I'm sorry. It's often poetry, so it feels like a lot when it's ten words. I'll just sit down with no pressure, no goal, no intention to make anything specific. Just open the floodgates and see what comes out. That's where every single project of mine has started. Joanna: Yes, I do love that. Obviously, I'm a discovery writer and intuitive, same as you. I think very much this idea of, especially when you said you feel discombobulated, that's when you write. I almost feel like I need that. I'm not someone who writes every day. I don't do ten lines or whatever. It's that I'll feel that sense of pressure building up into “this is going to be something.” I will really only write or journal when that spills over into— “I now need to write and figure out what this is.” Alicia: Yes. It's almost a form of hunger. It feels to me similar to when you eat a great meal and then you're good for a while. You're not really thinking of it, and then it builds up, like you said, and then there's a need—at least the first half of creativity. I really separate my generation and my editing. So my generative practice is all openness, no critique, just this maybe therapeutic, maybe curious, wandering and seeing what happens. Then once I have a draft, my incisive editing mind is welcome back in, which has been shut out from that early process. So that's a really different experience. Those early stages of creativity are almost out of need more than obligation. Joanna: Well, just staying with that generative practice. Obviously you've mentioned your study of and practice of Jewish tradition and Jewish spirituality. Steven Pressfield in his books has talked about his prayer to the muse, and I've got on my wall here—I don't talk about this very often, actually — I have a muse picture, a painting of what I think of as a muse spirit in some form. So do you have any spiritual practices around your generative practice and that phase of coming up with ideas? Alicia: I love that question, and I wish I had a beautiful, intentional answer. My answer is no. I think I experience creativity as its own spiritual practice itself. I do love individual prayer and meditation and things like that, but for me those are more to address my specifically spiritual health and happiness and connectedness. I'm just a dive-in kind of person. As a musician, I have friends who have elaborate backstage rituals. I have to do certain things to take care of my voice, but even that, it's mostly vocal rest as opposed to actively doing things. There's a bit of an on/off switch for me. Joanna: That's interesting. Well, I do want to ask you about one of your projects, this collaboration with a high school on a musical performance, I Was a Desert: Songs of the Matriarchs, and also your Girls in Trouble songs about women in the Torah. On your website, I had a look at the school, the high school, and the musical performance. It was extraordinary. I was watching you in the school there and it's just such extraordinary work. It very much inspired me—not to do it myself, but it was just so wonderful. I do urge people to go to your website and just watch a few minutes of it. I'm inspired by elements of religion, Christian and Jewish, but I wondered if you've come up against any issues with adaptation—respecting your heritage but also reinventing it. How has this gone for you. Any advice for people who want to incorporate aspects of religion they love but are worried about responses? Alicia: Well, I have to say, coming from the Jewish tradition, that is a core practice of Judaism—reinterpreting our texts and traditions, wrestling with them, arguing with them, reimagining them. I don't know if you're familiar with Midrash, but just in case some of your listeners aren't sure I'll explain it. There's essentially an ancient form of fanfic called Midrash, which was the ancient rabbis, and we still do it today, taking a biblical story that seems to have some kind of gap or inconsistency or question in it and writing a story to fill that gap or recast the story in an interestingly different light. So we have this whole body of literature over thousands of years that are these alternate or added-on adventures, side quests of the biblical characters. What I'm doing from a Jewish perspective is very much in line with a traditional way of interacting with text. I've certainly never gotten any pushback, especially as I work in progressive Jewish communities. I think if I were in an extremely fundamentalist community, there would be a lot of different issues around gender and things like that. The interpretive process, even in those communities, is part of how we show respect for the text. When I was working with the high school—and I just want to call out the choir director, Ethan Chen, who has an incredible project where he brings in a different artist every two years to work with the choir, and they tend to have a different cultural focus each time. He invited me specifically to integrate my songwriting about biblical women with his amazing high school choir. I was really worried at first because most of them are not Jewish—very few of them, if any. I wanted to respect their spiritual paths and their religious heritages and not impose mine on them. So I spent a lot of time at the beginning saying, this project has religious source material, but essentially it is a creative reinterpretive project. I am not coming to you to bring the religious material to you. I'm coming to take the shared Hebrew Bible myths and then reinterpret those myths through a lens of how they might reflect our own personal struggles, because that's always my approach to these ancient stories. I wanted to really make that clear to the students. It was such a joy to work with them. Joanna: It's such an interesting project. Also, I find with musicians in general this idea of performance. You've written this thing—or this thing specifically with the school—and it doesn't exist again, right? You're not selling CDs of that, I presume. Whereas compared to a book, when we write a book, we can sell it forever. It doesn't exist as a performance generally for an author of a memoir or a novel. It carries on existing. So how does that feel, the performance idea versus the longer-lasting thing? I mean, I guess the video's there, but the performance itself happened. Alicia: I do know what you mean. Absolutely. We did, for that reason, record it professionally. We had the sound person record it and mix it, so it is available to stream. I'm not selling CDs, but it's out there on all the streaming services, if people want to listen. I do also have the scores, so if a choir wanted to sing it. The main point that you're making is so true. I think there's actually something very sacred about live performance—that we're all in the moment together and then the moment is over. I love the artefacts of the writing life. I love writing books. I love buying and reading books and having them around, and there's piles of them everywhere in this room I'm standing in. I feel like being on stage, or even teaching, is a very spiritual practice for me, because it's in some ways the most in-the-moment I ever am. The only thing that matters is what's happening right then in that room. It's fleeting as it goes. I'm working with the energy in the room while we're there. It's different every time because I'm different, the atmosphere is different, the people are different. There's no way to plan it. The kind of micro precision that we all try to bring to our editing—you can't do that. You can practice all you want and you should, but in the moment, who knows? A string breaks or there's loud sound coming from the other room. It is just one of those things. I love being reminded over and over again of the truth that we really don't control what happens. The best that we can do is ride it, surf it, be in it, appreciate it, and then let it go. Joanna: I think maybe I get a glimpse of that when I speak professionally, but I'm far more in control in that situation than I guess you were with—I don't know how many—was it a hundred kids in that choir? It looked pretty big. Alicia: It was amazing. It was 130 kids. Yes. Joanna: 130 kids! I mean, it was magic listening to it. And yes, of course, showing my age there with buying a CD, aren't I? Alicia: Well, I do still sell some CDs of Girls in Trouble on tour, because I have a bunch of them and people still buy them. I'm always so grateful because it was an easier life for touring musicians when we could just bring CDs. Now we have to be very creative about our merch. Joanna: Yes, that's a good point because people are like, “Oh yes, I'll scan your QR code and stream it,” but you might not get the money for that for ages, and it might just be five cents or whatever. Alicia: Streaming is terrible for live musicians. I mean, I don't know if you know the site Bandcamp, but it's essentially self-publishing for musicians. Bandcamp is a great way around that, and a lot of independent musicians use it because that's a place you can upload your music and people can pay $8 for an album. They can stream it on there if they want, or they can download it and have it. But, yes, it's hard out there for touring musicians. Joanna: Yes, for sure. Well, let's come to the book then. Your memoir, When We Are Born We Forget Everything. Tell us about some of the challenges of a book as opposed to these other types of performances. Alicia: Well, I come out of poetry, so that was my first love. That's what I majored in in college. That's what my MFA is in. Poetry is famously short, and I'm not one of those long-form poets. I have been trained for many years to think in terms of a one-page arc, if at all. Arc isn't even really a word that we use in poetry. So to write a full-length prose book was really an incredible education. Writing it basically took ten years from writing to publication, so probably seven years of writing and editing. I felt like there was an MFA-equivalent process in the number of classes I took, books I read, and work that went into it. So that was one of my main joys and challenges, really learning on the job to write long-form prose coming out of poetry. How to keep the engine going, how to think about ending one chapter in a way that leaves you with some torque or momentum so that you want to go into the next chapter. How many characters is too many? Who gets names and who doesn't? Some of these things that are probably pretty basic for fiction writers were all very new to me. That was a big part of my process. Then, of course, poets don't usually have agents. So once it was done, I began to query agents. It was the normal sort of 39 rejections and then one agent who really understood what I was trying to do. She's incredible, and she was able to sell the book. The longevity of just working on something for that long—I have a lot of joy in that longevity—but it does sometimes feel like, is this ever going to happen, or am I on a fool's errand? Joanna: I guess, again, the difference with performance is you have a date for the performance and it's done then. I suppose once you get a contract, then for sure it has to be done. But memoir in particular, you do have to set boundaries, because of course your life continues, doesn't it? So what were the challenges in curating what went into the book? Because many people listening know memoir is very challenging in terms of how personal it can be. Alicia: Yes, and one thing I think is so fascinating about memoir is choosing which lens to put on your story, on your own story. I heard early on that the difference between autobiography and memoir is that autobiography tries to give a really comprehensive view of a life, and memoir is choosing one lens and telling the story of a life through that lens, which is such a beautiful creative concept. I knew early on that I wanted this to be primarily a spiritual memoir, and also somewhat of an artistic memoir, because my creativity and my spirituality are so intertwined. It started off being spiritual, and also about my musical life, and also about my writing life. In the end, I edited out the part about my writing life, because writing about writing was just too navel-gazing. So there's nothing in there about me coming of age as a writer, which used to be in there, but that whole thing got taken out. Now it's spiritual and musical. For me, it really helped to start with those focuses, because I knew there may be things that were hugely important in my life, absolutely foundational, that were not really going to be either mentioned or gone deeply into in the book. For example, my husband teases me a lot about how few pages and words he gets. He's very important in my life, but I actually met him when I was 29, and this book really mainly takes place in the years leading up to that. There's a little bit of winding down in the first few years of my thirties, but this is not a book about my life with him. He is mentioned in it. That story is in there. Having those kinds of limitations around the canvas—there's a quote, I forget if it was Miranda July, but somebody said something like, basically when you put a limitation on your project, that's when it starts to be a work of art. Whatever it is, if you say, “I'm taking this canvas and I'm using these colours,” that's when it really begins, that initial limitation. That was very helpful. Joanna: It's also the beauty of memoir, because of course you can write different memoirs at different times. You can write something about your writing life. You can write something else about your marriage and your family later on. That doesn't all have to be in one book. I think that's actually something I found interesting. And I would also say in my memoir, Pilgrimage, my husband is barely mentioned either. Alicia: Does he tease you too? Joanna: No, I think he's grateful. He is grateful for the privacy. Alicia: That's why I keep saying, you should be grateful! Joanna: Yes. You really should. Like, maybe stop talking now. Alicia: Yes, exactly. I know. Marriage, memoir—those words should strike fear into his heart. Joanna: They definitely should. But let's just come back. When I look at your career— You just seem such an independent creative, and so I wondered why you decided to work with a traditional publisher instead of being an independent. How are you finding it as someone who's not in charge of everything? Alicia: It's a great question. The origin story for this memoir is that I was actually reading poetry at a writing conference called Bread Loaf in the States. This was 16 years ago or something. I was giving a poetry reading and afterwards an agent, not my agent, came up to me and said, you know, you have a voice. You should try writing nonfiction because you could probably sell it. Back to your question about how I support myself, I am always really hustling to make a living. It's not like I have some separate well-paying job and the writing has no pressure on it. So my ears kind of perked up. I thought, wait, getting paid for writing? Because poetry is literally not in the world. It's just not a concept for poets. That's not why we write and it's not a possibility. So a little light turned on in my brain. I thought, wow, that could be a really interesting element to add to my income stream, and it would be flexible and it would be meaningful. For a few years I thought, what nonfiction could I write? And I came up with the idea of writing a book about biblical women from a more scholarly perspective, because I teach that material and I've studied it. I went to speak to another agent and she said, well, you could do that, but if you actually want to sell a book, it's going to have to be more of a trade book. So if you don't want an academic press, which wouldn't pay very much, you would have to have some kind of memoir-like stories in there to just sweeten it so it doesn't feel academic. So then I began writing a little bit of spiritual memoir. I thought, okay, well, I'll write about a few moments. Then once I started writing, I couldn't stop. The floodgates really opened. That's how it ended up being a spiritual memoir with interwoven stories of biblical women. It became a hybrid in that sense. I knew from the beginning that this project—for all my saying earlier that I never plan anything and only work on instinct, I was thinking as I said that, that cannot be true. This time, I actually thought, what if, instead of coming from this pure, heart-focused place of poetry, I began writing with the intention of potentially selling a book? The way my fiction writer friends talked about selling their books. So that was always in my mind. I knew I would continue writing poetry, continue publishing with small presses, continue putting my own music out there independently, but this was a bit of an experiment. What if I try to interface with the publishing world, in part for financial sustainability? And because I had a full draft before I queried, I never felt like anyone was telling me what to write. I can't imagine personally selling a book on proposal, because I do need that full capacity to just swerve, change directions, be responsive to what the project is teaching me. I can't imagine promising that I'll write something, because I never know what I'll write. But writing at least a very solid draft first, I'm always delighted to get notes and make polish and rewrite and make things better. I took care of that freedom in the first seven years of writing and then I interfaced with the agent and publisher. Joanna: I was going to say, given that it's taken you seven to ten years to do this and I can't imagine that you're suddenly a multimillionaire from this book. It probably hasn't fulfilled the hourly rate that perhaps you were thinking of in terms of being paid for your work. I think some people think that everyone's going to end up with the massive book deal that pays for the rest of their life. I guess this book does just fit into the rest of your portfolio career. Alicia: Yes. One of the benefits of these long arcs that I like to work on is, one of them—and probably the primary one—is that the project gets to unfold on its own time. I don't think I could have rushed it if I wanted. The other is that it never really stopped me from doing any of my other work. Joanna: Mm-hmm. Alicia: So it's not like, oh, I gave up months of my life and all I got was this advance or something. It's like, I was living my life and then when I had a little bit of writing time—and I will say, it impacted my poetry. I haven't written as much poetry because I was working on this. So it wasn't like I just added it on top of everything I was already doing, but it was a pleasure to just switch to prose for a while. It was just woven into my life. I appreciated having this side project where no one was waiting for it. There were no deadlines, there was no stress around it, because I always have performances to promote and due dates for all kinds of work. It was just this really lovely arena of slow growth and play. When I wanted a reader, I could do a swap with a writer friend, but no one was ever waiting for it on deadline. So there's actually a lot of pleasure in that. Then I will say, I think I've made more from selling this than my poetry. Probably close to ten times more than I've ever made from any of my poetry. So on a poetry scale, it's certainly not going to pay for my life, but it actually does make a true financial difference in a way that much of my other work is a little more bit by bit by bit. It's actually a different scale. Joanna: Well, that's really good. I'm glad to hear that. I also want to ask you, because you've done so many things, and— I'm fascinated by your independent film, A Kaddish for Bernie Madoff. I have only watched the trailer. You are in it, you wrote it, directed it, and it's also obviously got other people in, and it's fascinating. It's about this particular point in history. I've written quite a lot of screenplay adaptations of my novels, and I've had some various amounts of interest, but the whole film industry to me is just a complete nightmare, far bigger nightmare than the book industry. So I wonder if you could maybe talk about this, because it just seems like you made a film, which is so cool. Alicia: Oh yes, thank you. Joanna: And it won awards, yes, we should say. Alicia: Did we win awards? Yes. It really, for an extremely low-budget indie film, went far further than my team and I could ever have imagined. I will say I never intended to make a film. Like most of the best things in my life, it really happened by accident. When I was living in New York— I lived there for many years—the 2008 financial collapse happened and I happened to have an arts grant that gave a bunch of artists workspace, studio space, in essentially an abandoned building in the financial district. It was an empty floor of a building. The floor had been left by the previous tenant, and there's a nonprofit that takes unused real estate in the financial district and lets artists work in it for a while. So I was on Wall Street, which was very rare for me, but for this year I was working on Wall Street. Even though I was working on poems, the financial collapse happened around me, and I did get inspired by that to create a one-woman show, which was more of a theatre show. That was already a huge leap for me because I had no real theatre experience, but it was experimental and growing out of my poetry practice and my music. It was a musical one-woman show about the financial collapse from a spiritual perspective, apparently. So I performed that. I documented it, and then a friend who lives in Portland, Oregon, where I now live, said, “I'm a theatre producer, I'd like to produce it here.” So then I rewrote it and did a run here in Portland of that show. Essentially, I started to tour it a little bit, but I got tired of it. It was too much work and it never really paid very much, and I thought, this is impacting my life negatively. I just want to do a really good documentation of the show. So I wanted to hire a theatre documentarian to just document the show so that it didn't disappear, like you were saying before about live performance. But one of the people I talked to actually ended up being an artistic filmmaker, as opposed to a documentarian. She watched the archival footage, just a single camera of the show, and said, “I don't think you should do this again and film it with three cameras. I think you should make it into a feature film. And in fact, I think maybe I should direct it, because there's all this music in it and I also direct music videos.” We had this kind of mind meld. Joanna: Mm. Alicia: I never intended to make a film, but she is a visionary director and I had this piece of IP essentially, and all the music and the writing. We adapted it together. We did it here in Portland. We did all the fundraising ourselves. We did not interface with Hollywood really. I think that would be, I just can't imagine. I love Hollywood, but I'm not really connected, and I can't imagine waiting for someone to give us permission or a green light to make this. It was experimental and indie, so we just really did it on the cheap. We had an amazing producer who helped us figure out how to do it with the budget that we had. We worked really hard fundraising, crowdfunding, asking for donations, having parties to raise money, and then we just did it and put it out there. I think my main advice—and I hear this a lot on screenwriting podcasts—is just make the thing. Make something, as opposed to trying to get permission to make something. Because unless you're already in that system, it's going to be really hard to get permission to make it. Once you make something, that leads to something else, which leads to something else. So even if it's a very short thing, or even if it's filmed on your phone, just actually make the thing. That turned out to be the right thing for us. Joanna: Yes, I mean, I feel like that is what underpins us as independent creatives in general. As an independent author, I feel the same way. I'm never asking permission to put a book in the world. No, thank you. Alicia: Exactly. We have a vision and we do it. It's harder in some ways, but that liberation of being able to really fully create our vision without having to compromise it or wait for permission, I think it's such a beautiful thing. Joanna: Well, we're almost out of time, but I do want to ask you about creative confidence. Alicia: Hmm. Joanna: I feel I'm getting a lot of sense about this at the moment, with all the AI stuff that's happening. When you've been creating a long time, like you and I have, we know our voice and we can lean into our voice. We are creatively confident. We'll fail a lot, but we'll just push on and try things and see what happens. Newer creators are struggling with this kind of confidence. How do I know what is my voice? How do I know what I like? How do I lean into this? So give us some thoughts about how to find your voice and how to find that creative confidence if you don't feel you have it. Alicia: I love that. One thing I will say is that I always think whatever is arising is powerful material to create from. So if a lack of confidence is arising, that's a really powerful feeling to directly explore and not just try to ignore. Although sometimes one has to just ignore those feelings. But to actually explore that feeling, because AI can't have that, right? AI can't really feel a crisis of confidence, and humans can. So that's a gift that we have, those kinds of sensitivities. I think to go really deep into whatever is arising, including the sense that we don't have the right to be creating, or we're not good enough, or whatever it is. Then I always do come back to a quote. I think it might have been John Berryman, but I'm forgetting which poet said it. A younger poet said, “How will I ever know if I'm any good?” And this famous poet said something like—I'm paraphrasing—”You'll never know if you're any good. If you have to know, don't write.” That has been really liberating to me, actually. It sounds a little harsh, but it's been really liberating to just let go of a sense of “good enough.” There is no good enough. The great writers never know if they're good enough. Coming back to this idea of just making without permission—the practice of doing the thing is being a writer. Caring and trying to improve our craft, that's the best that we can have. There's never going to be a moment where we're like, yes, I've nailed this. I am truly a hundred per cent a writer and I have found my voice. Everything's always changing anyway. I would say, either go into those feelings or let those feelings be there. Give them a little tea. Tell them, okay, you're welcome to be here, but you don't get to drive the boat. And then return to the practice of making. Joanna: Absolutely. Great. So where can people find you and your books and everything you do online? Alicia: Everything is on my website, which is AliciaJo.com, and also on Instagram at @ohaliciajo. I'd love to say hello to anyone who's interested in similar topics. Joanna: Brilliant. Well, thanks so much for your time, Alicia. That was great. Alicia: Thank you. I love your podcast. I'm so grateful for all that you've given the writing world, Jo.The post Creative Confidence, Portfolio Careers, And Making Without Permission with Alicia Jo Rabins first appeared on The Creative Penn.

States have become increasingly active participants in merger enforcement, often conducting independent analyses and, at times, intervening alongside federal agencies in high-profile cases. What goes into states' analyses and decisions to intervene? Anthony Mariano, Chief of the Antitrust Division at the Massachusetts Office of the Attorney General, speaks with Lexi Michaud and Anora Wang about how states approach merger enforcement in parallel with the DOJ and FTC, the importance of independent state scrutiny, and, using the HPE–Juniper transaction to guide the discussion, how the Tunney Act promotes transparency and public interest oversight of federal settlements. With special guest: Anthony Mariano, Antitrust Division Chief, Massachusetts Office of the Attorney General Hosted by: Lexi Michaud, Fried Frank and Anora Wang, Arnold & Porter

Let's Just Gaze at Each Other: The Science of Divine BlissThis class was presented by Rabbi YY Jacobson on Wednesday, 8 Adar, 5786, February 25, 2026, Parshas Tetzaveh, at Bais Medrash Ohr Chaim in Monsey, NY.View Source Sheets: https://portal.theyeshiva.net/api/source-sheets/9874

Audio edition coming soon.Israel and the United States are at war with Iran with the first strikes resulting in the death of the Islamic leader the Ayatollah Ali Khamenei with reports of as many as forty of the top leaders in Iran.  The Israeli Air Force conducts its largest-ever attack as over 200 aircraft strike 500 targets in Iran, and the US attacked over 900 sites in the first twelve hours.

Every state has a food its known for and on this episode we explore it!

In his weekly clinical update, Dr. Griffin and Vincent Racaniello discuss several states and the governor of Pennsylvania suing HHS over changes in the childhood vaccination schedule, the vaccine derived type 2 poliovirus outbreak in Pakistan and implications for the global withdrawal of the oral poliovirus vaccine, and the outbreak of Candida, then Dr. Griffin deep dives into recent statistics RSV, influenza and SARS-CoV-2 infections, the Wasterwater Scan dashboard, Johns Hopkins measles tracker, where to find PEMGARDA, how to access and pay for Paxlovid, when to use steroids for treating influenza, long COVID treatment center, where to go for answers to your long COVID questions, and contacting your federal government representative to stop the assault on science and biomedical research. Subscribe (free): Apple Podcasts, RSS, email Become a patron of TWiV! Links for this episode States vs RFK Jr and Bhattacharya: changes to the childhood vaccine schedule (Office of the Attorney General, California) Surgeon General Nominee Sidesteps Questions on Vaccines at Senate Hearing (NY Times) Unqualified failure in polio vaccine policy left thousands of kids paralyzed (Science) Clinical and Epidemiological Investigation of Vaccine-Derived Poliovirus Type 2 Outbreak in Pakistan During 2019–2021 (CID) Inactivated Polio Vaccine Must Be an Essential Part of Polio Eradication (CID) Wastewater for Candida auris: Wastewater (WasterWater Scan) Wastewater for measles (WasterWater Scan) Measles cases and outbreaks (CDC Rubeola) Big outbreak, bright lights…Measles Dashboard (South Carolina Department of Public Health) Utah Measles Dashboard (Utah Department of Health and Human Services) Tracking Measles Cases in the U.S. (Johns Hopkins) Measles vaccine recommendations from NYP (jpg) Weekly measles and rubella monitoring (Government of Canada) Measles (WHO) Get the FACTS about measles (NY State Department of Health) Measles (CDC Measles (Rubeola)) Measles vaccine (CDC Measles (Rubeola)) Presumptive evidence of measles immunity (CDC) Contraindications and precautions to measles vaccination (CDC) Adverse events associated with childhood vaccines: evidence bearing on causality (NLM) Measles Vaccination: Know the Facts (ISDA: Infectious Diseases Society of America) Deaths following vaccination: what does the evidence show (Vaccine) Influenza: Waste water scan for 11 pathogens (WastewaterSCan) US respiratory virus activity (CDC Respiratory Illnesses) Respiratory virus activity levels (CDC Respiratory Illnesses) Weekly surveillance report: cliff notes (CDC FluView) OPTION 2: XOFLUZA $50 Cash Pay Option (xofluza) RSV: Waste water scan for 11 pathogens (WastewaterSCan) Respiratory Diseases (Yale School of Public Health) US respiratory virus activity (CDC Respiratory Illnesses) RSV-Network (CDC Respiratory Syncytial virus Infection) Vaccines for Adults (CDC: Respiratory Syncytial Virus Infection (RSV)) Economic Analysis of Protein Subunit and mRNA RSV Vaccination in Adults aged 50-59 Years (CDC: ACIP) Respiratory Diseases (Yale School of Public Health) Waste water scan for 11 pathogens (WastewaterSCan) COVID-19 deaths (CDC) Respiratory Illnesses Data Channel (CDC: Respiratory Illnesses) COVID-19 national and regional trends (CDC) COVID-19 variant tracker (CDC) SARS-CoV-2 genomes galore (Nextstrain) COVID-19 vaccination status during pregnancy and preeclampsia risk: the pandemic-era cohort of the INTERCOVID consortium (eClinical Medicine) Where to get pemgarda (Pemgarda) EUAfor the pre-exposure prophylaxis of COVID-19 (INVIYD) Infusion center (Prime Fusions) CDC Quarantine guidelines (CDC) NIH COVID-19 treatment guidelines (NIH) Drug interaction checker (University of Liverpool) Help your eligible patients access PAXLOVID with the PAXCESS Patient Support Program (Pfizer Pro) Understanding Coverage Options (PAXCESS) Infectious Disease Society guidelines for treatment and management (ID Society) Molnupiravir safety and efficacy (JMV) Convalescent plasma recommendation for immunocompromised (ID Society) Use of corticosteroids in influenza-associated acute respiratory distress syndrome and severe pneumonia: a systemic review and meta-analysis(Scientific Reports) What to do when sick with a respiratory virus (CDC) Managing healthcare staffing shortages (CDC) Anticoagulationguidelines (hematology.org) Daniel Griffin's evidence based medical practices for long COVID (OFID) Long COVID hotline (Columbia : Columbia University Irving Medical Center) The answers: Long COVID Reaching out to US house representative Letters read on TWiV 1300 Dr. Griffin's COVID treatment summary (pdf) Timestamps by Jolene Ramsey. Thanks! Intro music is by Ronald Jenkees Send your questions for Dr. Griffin to daniel@microbe.tv Content in this podcast should not be construed as medical advice.

The Dreamcast Junkyard kicks off the year in style with the first DreamPod of 2026 – and we're diving into a subject we know is close to many Dreamcast fans' hearts: the magazines.Join Brian, Tom, James, Lozz and Lewis for a nostalgic deep dive into the world of Dreamcast mags. On the UK side, we explore the unique style and personalities of titles such as Official Dreamcast Magazine, DC-UK, Dreamcast Magazine (the unofficial one), Dreamcast Monthly, and the odd but fascinating kids mag Mr. Dreamcast. We also revisit Official Sega Saturn Magazine, which evolved into something of a proto-Dreamcast mag in its final issues.Heading over to the States, Brian compares the tone and editorial style of publications such as the US' own Official Dreamcast Magazine and Ziff Davis' quarterly DCM (Dreamcast Magazine), while Lozz takes us on a globe-trotting tour of international Dreamcast magazines, shining a light on lesser-known titles from beyond the UK and US.This episode features music from Pizza Hotline from his brand new Hot-N-Ready Remixes Delivered by Pizza Hotline [In 20 Minutes or Less] and his forthcoming Demo Disc 1 EP!Looking for more Dreamcast Junkyard goodness? You can check out our blog, join our community on Discord, follow us on Twitter, like our Facebook page, and subscribe to our YouTube channel. The outro music from episode 114 onwards was created by our friend Pizza Hotline! You can stream or purchase Pizza Hotline's latest album "Dream Select" on all major music platforms by clicking here.

On this episode of The Federalist Radio Hour, John Hart, CEO of government transparency nonprofit Open the Books, joins Federalist Senior Elections Correspondent Matt Kittle to discuss ballooning Medicaid fraud in states like Pennsylvania and analyze the fight to expose the loopholes that lead to taxpayer-funded waste.Read more about Open the Book's role in exposing Medicaid fraud here and here.The Federalist Foundation is a nonprofit, and we depend entirely on our listeners and readers — not corporations. If you value fearless, independent journalism, please consider a tax-deductible gift today at TheFederalist.com/donate. Your support keeps us going.

Michael B. Jordan and Ryan Coogler talk road to Oscars; Midterm election threat; '50 States in 50 Weeks' visits Oregon Learn more about your ad choices. Visit podcastchoices.com/adchoices

On this episode of The Federalist Radio Hour, John Hart, CEO of government transparency nonprofit Open the Books, joins Federalist Senior Elections Correspondent Matt Kittle to discuss ballooning Medicaid fraud in states like Pennsylvania and analyze the fight to expose the loopholes that lead to taxpayer-funded waste. Read more about Open the Book's role in exposing […]

Millions of dollars allegedly misused in welfare programs. Illegal immigrants on voter rolls. And the Trump administration fights to get the data states refuse to share. Today on AmperWave Daily, we break down the latest updates from JD Vance's crackdown on welfare and voter fraud, and what it could mean for elections and taxpayers.

Michael B. Jordan and Ryan Coogler talk road to Oscars; Midterm election threat; '50 States in 50 Weeks' visits Oregon Learn more about your ad choices. Visit podcastchoices.com/adchoices

#321nd for 26rd February, 2026 or 3312! (33-Oh twelvenish)http://loosescrewsed.comJoin us on discord! And check out the merch store! PROMO CODEShttps://discord.gg/3Vfap47ReaSupport us on Patreon: https://www.patreon.com/LooseScrewsEDSquad Stuff:  Inara has had a refresh. With so many PMFs present in hundreds of systems, the Minor Factions pages have had a refresh. When you go to Systems or States, the systems are no longer all on one page which is unfortunate, as you have to turn pages to sift through There is a filter to edit out Trailblazer systems from OG worlds. BGS highlights - 2-26In 397 Systems - Controlling 118States - 7A, Qama - BoomSuccessful Expansion out of Ross 310Conflicts of Interest - BD+44 4389 - vs. ADI - Leave it be, it's an inadvertent Control War, NLTT 52560 - We want to winSystems needing a push (controlled systems below 40% Inf.)Alexandrinus - 26.9% - But 4 factions lockedMiola - 34.8%Medzisti - 39.4%Cephei Sector MC-V b2-2 - 39.4%PP Stuff: lifted with unspoken consent from KrugerFive on the LS discordIntroduce and interview KrugerFive!Update 2-26 from KrugerFiveCycle 69:Kaine had a massive week at the top spot. 18 new systems with a new fort and strongholdThis has been a strong week for a few names you don't see oftenWinters showed up this week at #2, not a lot of systems gained, but added 2 new strongholdsAntal as well with 2 new strongholdsOn the FDev board, Princess Aisling has a good week with 10 new systemsArcher after back to back weeks of big gains drops to last with Patreus, both with no systems gained.There is a new chart this week showing the rankings for just this cycle. Check it out!https://www.k5elite.com/Dev News: Kestrel Update - Lots of game updatesAudio updateshttps://www.elitedangerous.com/update-notesGalnet News: Galnet News | Elite Dangerous Community Site Core Dynamics Unveils Kestrel FighterOctober Consortium Agreement Signals End to HIP 87621 Enclave ConflictThe talks are also understood to have focused on shared scientific access to Radicoida unica and cooperation on research initiatives following the recent publication of promising genetic findings by Dr Casimir of the Holloway Bioscience Institute.Analysts suggest the arrangement had created space for diplomatic settlement rather than decisive military resolution, with no single power claiming majority control over the enclave.The rise of Lexi October and the growing influence of October Consortium since the discovery of Radicoida unica has not gone unnoticed, however, and Vox Galactica has confirmed that an interview with the Consortium's reclusive chief executive has been secured for an upcoming feature series.Discussion :The Kestrel might be the first hint of a new design playbook from Frontier - let's unpack what that means. (I'll give a short intro to tee this up - Roy)Community Corner :Family Feud charity event pitting Loose Screws against Lave Radio this Saturday the 28th at 20:00 UTC / 12:00 PSTShout-out to Scotty's Kestrel - Hydra “0” hits win

This week we're talking about that guy again… The 2nd episode focused on EDGUY in another edition of our “Grave Mistakes: They Shoulda Been Huge!!!”. A German power metal band that Kevin affectionately calls “Helloween Jr.”. This episode starts at the peak of their provocative power metal prowess and ends with their evolution to a hard-rocking power glam powerhouse. They did well in Europe and other parts of the world, but we think they Shoulda Been Huge in the States! This episode is rooted in our Should Have Been category. A German band that followed in the footsteps of Helloween, flying the flag of “Power Metal” from the late 90s to 2014. Unfortunately, they were never really recognized to the degree they deserve outside of Europe. We think they SHOULDA BEEEN HUGE… and we are ready to fly that banner proudly! Songs this week include: Edguy - “Mysteria” from Hellfire Club (2004) Edguy - “Superheroes” from Superheroes – EP (2005) Edguy - “Rocket Ride” from Rocket Ride (2006) Edguy - “Nine Lives” from Tinnitus Sanctus (2008) Edguy - “Lavatory Love Machine (Live)” from Fucking With Fire (Live In Sao Paolo 2006) (2009) Edguy - “Pandora's Box” from Age Of The Joker (2011) Edguy - “Love Tyger” from Space Police – Defenders Of The Crown (2014)   Buy cool stuff with our logo on it!:InObscuria Store Visit us: https://inobscuria.com/ https://www.facebook.com/InObscuria https://twitter.com/inobscuria https://www.instagram.com/inobscuria/ Check out Robert's amazing fire sculptures and metal workings here: http://flamewerx.com/ If you'd like to check out Kevin's band THE SWEAR, take a listen on all streaming services or pick up a digital copy of their latest release here: https://theswear.bandcamp.com/ If you want to hear Robert and Kevin's band from the late 90s – early 00s BIG JACK PNEUMATIC, check it out here: https://bigjackpnuematic.bandcamp.com/

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Hello world! You favorite podcast host Anthony here with another episode of 50 States of Terror - The American Cryptid Podcast. I know I'm late, but I had a really good excuse! Well I'm here with a quick episode about a new cryptid sighting that comes from San Antonio, Texas! Thank you all for listening and y'all be cool. Later y'all!Follow the show! Facebook: 50StatesofTerror Instagram: @50statesofterror Twitter: @50statesterror TikTok: @50sotpodcast YouTube: https://www.youtube.com/@50statesofterrorEmail: the50sot@gmail.comSupport the show!Patreon: www.patreon.com/50StatesofTerror Buy Me A Coffee: https://www.buymeacoffee.com/50sotpodcast Listener Advisory: LanguageSupport the show

Comprehensive coverage of the day's news with a focus on war and peace; social, environmental and economic justice. Image: Gage Skidmore (licensed under the Creative Commons Attribution-Share Alike 2.0 Generic license) Bill Clinton testifies didn't know of Epstein wrongdoing, Dems say Trump should testify next; Bernie Sanders calls for moratorium on energy-guzzling AI data centers “so democracy can catch up; California, dozen other states sue Trump administration over rollback of childhood vaccinations; February 27 in history: 1933 Reichstag fire blamed on communists, Hitler uses it to justify suspending civil liberties; Feb 27, 1951: 22nd Amendment limits presidents to 2 terms in office The post Bill Clinton testifies in Epstein investigation, Dems want Trump next; States sue Trump over childrens' vaccination rollbacks – February 27, 2026 appeared first on KPFA.

Host Brian Walsh takes up ImpactAlpha's top stories with editor David Bank and producer Isaac Silk. Up this week: As the Trump administration steps back from domestic policy, how states are taking the lead on clean energy, the ownership economy, and AI regulation (09:25); Why smaller funds are leading to bigger returns in Africa (); And, the pivots of Mast Reforestation, as it seeks to sell removal credits on the voluntary carbon markets (14:15).ImpactAlpha's ⁠Policy Corner coverage⁠.“⁠Aruwa Capital has the data to make the case for small investment funds⁠,” by Lucy Ngige“⁠From planting trees to burying them, Mast Reforestation follows the market for carbon credits⁠,” by Isaac Silk

Send a textJoin hosts Ben Kornell and guest host Peter Stiepleman, host of The Imperfect Leader, as they explore AI in schools, screen-time policy, math reform, higher ed disruption, and the future of assessment integrity.✨ Episode Highlights:[00:00:00] Peter Stiepleman on leading with “ed, not tech” when implementing AI in schools[00:06:33] Seattle-area student walkout over ChatGPT access sparks debate on AI in classrooms[00:08:11] 26 states advance phone bans and K–5 screen-time legislation[00:10:59] Khan Academy's failed India rollout shows implementation, not tools, drives impact[00:16:26] Whether global systems may leapfrog the U.S. in AI-powered education[00:18:38] AI-supported speech therapy and reading intervention free educators for human connection[00:20:55] Utah's math overhaul ignites debate over data science, calculus acceleration, and rigor[00:27:24] Rural districts innovate through regional collaboration and expanded course access[00:29:14] Higher ed faces declining endowments, enrollment pressure, and early college expansion[00:35:09] Anthropic co-founder argues AI will increase the value of humanities degreesPlus, special guest:[00:39:10] Brandon Smith, CEO of Integrity Advocate, on AI-driven cheating, proctoring reform, and protecting assessment integrity

This Day in Legal History: Reichstag Fire DecreeOn February 27, 1933, the German parliament building, the Reichstag, was set ablaze in Berlin, an event that would alter the course of constitutional government in Germany. The fire broke out just weeks after Adolf Hitler had been appointed Chancellor. Dutch communist Marinus van der Lubbe was arrested at the scene, and Nazi officials quickly blamed a broader communist conspiracy. The next day, President Paul von Hindenburg signed the Reichstag Fire Decree at Hitler's urging.The decree suspended key civil liberties guaranteed under the Weimar Constitution, including freedom of speech, freedom of the press, the right of assembly, and protections against unlawful searches and detention. It also allowed the central government to override state authorities. In practical terms, the measure authorized indefinite detention without trial. Police power expanded dramatically, and political opponents were arrested in large numbers.Although framed as a temporary emergency response, the decree had no meaningful expiration. It became the legal foundation for dismantling democratic institutions in Germany. Courts largely failed to check the expanding authority of the executive branch. The event demonstrates how emergency powers, once normalized, can erode constitutional safeguards from within. The Reichstag Fire and its legal aftermath remain a lasting example of how constitutional systems can collapse through formally lawful measures rather than open revolution.Former President Bill Clinton is scheduled to give private testimony to the House Oversight Committee regarding his past association with Jeffrey Epstein. The closed-door session follows testimony from Hillary Clinton, who said she does not recall meeting Epstein and denied having information about his crimes. Bill Clinton previously flew on Epstein's plane multiple times after leaving office, and recently released Justice Department documents include photos of him with unidentified women. He has denied any misconduct and has expressed regret over his past association.Committee Chairman James Comer stated that neither Clinton is accused of wrongdoing but said they must address questions about Epstein's possible connections to their charitable foundation. The Clintons agreed to testify near their home in New York after lawmakers threatened contempt proceedings. Some Democrats supported compelling their testimony, while others criticized the inquiry as politically motivated.Democrats argue that Republicans are using the investigation to shield Donald Trump from scrutiny. They have called for Trump to be subpoenaed, noting that his name appears frequently in Epstein-related records and that he had social ties with Epstein before Epstein's 2008 conviction. Democrats also claim the Justice Department is withholding records involving allegations against Trump. The department has said it is reviewing the materials and has emphasized that released files contain unverified claims. Authorities have not charged Trump with any crimes related to Epstein. Epstein died in jail in 2019 while awaiting trial on federal sex-trafficking charges, and his death was ruled a suicide.Bill Clinton to give private testimony to Congress about Epstein | ReutersA federal judge has allowed construction of President Donald Trump's planned $400 million White House ballroom to continue, at least for now. U.S. District Judge Richard Leon denied a request from the National Trust for Historic Preservation to temporarily halt the project while its lawsuit moves forward. The group had sought a preliminary injunction to stop work, arguing that the administration failed to comply with federal laws, including obtaining congressional approval and conducting proper environmental review.Leon ruled that the preservationists had not met the legal standard required for such an emergency order. However, he indicated they may revise their complaint to better challenge the president's claimed statutory authority to proceed without Congress. The lawsuit contends that demolishing the historic East Wing and beginning construction violated federal restrictions on altering federal property in Washington, D.C. It also argues that the National Park Service should have completed a more detailed environmental impact statement before work began.The Trump administration maintains that the renovation fits within longstanding presidential authority over White House changes and serves public functions. Trump praised the ruling publicly and said the ballroom would symbolize national strength. The National Trust expressed disappointment but said it plans to amend its legal claims.The East Wing, originally built in 1902 and expanded in 1942, was demolished in October. The ballroom is part of broader renovations Trump has made since returning to office in 2025. Although construction is underway, no firm completion date has been announced.Trump's White House ballroom can move ahead for now, judge rules | ReutersPrediction-market company Kalshi has hired prominent Supreme Court advocate Neal Katyal to represent it in a series of disputes with state regulators. Katyal, a former acting U.S. solicitor general, appeared this week in a lawsuit Kalshi filed against Utah officials and is also handling similar cases in several other states. The company argues that its event-based trading contracts fall under the authority of the federal Commodity Futures Trading Commission, not state gambling regulators.States contend that platforms like Kalshi are effectively operating unlicensed sports-betting businesses. Other prediction-market operators, including Polymarket and Coinbase, are also fighting regulatory battles and have assembled experienced legal teams. The industry has grown rapidly, with tens of billions of dollars in trading volume last year, increasing scrutiny from state authorities.Kalshi bets on Neal Katyal in prediction market cases | ReutersNetflix has withdrawn its bid to acquire Warner Bros. Discovery after WBD's board determined that a competing offer from Paramount Skydance was superior. Netflix's co-CEOs said their proposed merger would have delivered value and likely cleared regulatory review, but matching Paramount's higher price no longer made financial sense. They described the deal as desirable at the right valuation, but not essential at any cost.Paramount's leadership welcomed WBD's decision, saying its proposal offers greater value and a clearer path to closing. To finalize the Paramount deal, a short match period must expire, Netflix's existing merger agreement must be terminated, and a definitive agreement between Paramount and WBD must be signed.Paramount recently raised its offer to $31 per share in cash, along with a quarterly ticking fee if the deal is not completed by a specified date. The proposal also includes a $7 billion regulatory termination fee if the transaction fails because of regulatory issues, as well as reimbursement of the $2.8 billion breakup fee WBD would owe Netflix upon ending their agreement. With Netflix stepping aside, Paramount is now positioned to complete the acquisition.Netflix Drops WBD Bid, Paving Way For Paramount Deal - Law360This week's closing theme is by Frédéric Chopin.This week's closing theme takes us to Chopin and his Piano Concerto No. 2 in F minor, a work that helped launch his international career. Although numbered second, it was actually the first of his two piano concertos to be written, composed in 1829 when he was just twenty. The concerto reflects Chopin's deep roots in the Polish Romantic tradition, while also revealing the poetic lyricism that would define his later solo piano works. Its sweeping first movement balances youthful brilliance with emotional intensity. The second movement, marked Larghetto, is intimate and expressive, often described as a musical love letter. The finale brings rhythmic energy and subtle references to Polish dance forms.The piece gained wider recognition when Chopin performed it during his Paris debut on February 27, 1832. That appearance introduced him to the influential musical circles of Paris and marked a turning point in his career. The concerto showcased not only his technical skill, but also his distinctive touch and refined musical voice. While later critics sometimes focused on the orchestration, the piano writing remains among the most elegant of the Romantic era. The work captures a young composer standing at the threshold of fame, blending vulnerability with confidence. As our closing theme this week, it reflects both artistic ambition and a historic February 27 connection that helped shape Chopin's legacy.Without further ado, Frédéric Chopin's Piano Concerto No. 2 in F minor, enjoy! This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.minimumcomp.com/subscribe

This week on The Trawl, Marina and Jemma sift through a news cycle that feels less like global politics and more like a lads' WhatsApp group with state power.In the US, the Epstein saga takes another disturbing turn as fresh reporting suggests dozens of pages have vanished from the public database — including material relating to allegations against Donald Trump. As questions swirl around the Department of Justice and potential cover-ups, Trump is busy raging about tariffs, lashing out at the Supreme Court, and assembling a “Board of Peace” that looks more like a billionaire protection racket.Back home, the BBC racks up not one but two eyebrow-raising moments — from by-election “impartiality” that looks anything but, to the BAFTAs fallout that reignites serious questions about racism, responsibility and who institutions are really shielding when things go wrong.Meanwhile, in a locker room in the States, Trump phones the victorious US men's hockey team and jokes about “having to” invite the women champions too — thankfully, the women respond with considerably more class (and a rather fabulous Vegas twist).Add in Tony Blair positioning himself as a global peacemaker while Gaza remains in ruins, rumblings of escalation with Iran, and yet another threat from within Trump's own supporter base, and the picture becomes clear: power is being hoarded, accountability is being dodged, and the gaslighting is relentless.It's dark. It's absurd. It's deeply unsettling. But as ever, Marina and Jemma find the clarity, the receipts, and the underrated internet gems that make it survivable.Buckle up, trawlers.Thank you for sharing and please do follow us @MarinaPurkiss @jemmaforte @TheTrawlPodcast Patreonhttps://patreon.com/TheTrawlPodcast Youtubehttps://www.youtube.com/@TheTrawl Twitterhttps://twitter.com/TheTrawlPodcastIf you've even mildly enjoyed The Trawl, you'll love the unfiltered, no-holds-barred extras from Jemma & Marina over on Patreon, including:• Exclusive episodes of The Trawl Goss – where Jemma and Marina spill backstage gossip, dive into their personal lives, and often forget the mic is on• Early access to The Trawl Meets…• Glorious ad-free episodesPlus, there's a bell-free community of over 3,300 legends sparking brilliant chat.And it's your way to support the pod which the ladies pour their hearts, souls (and occasional anxiety) into. All for your listening pleasure and reassurance that through this geopolitical s**tstorm… you're not alone.Come join the fun:https://www.patreon.com/TheTrawlPodcast?utm_campaign=creatorshare_creator Hosted on Acast. See acast.com/privacy for more information.

Jonathan Rodriguez arrived at Campbell from Puerto Rico, by way of Miami, in the fall of 2006 and by the time he graduated four years later was the first player in Fighting Camel history to score 2,000 points and grab 1,000 rebounds in a career.   A first-team all-state performer and state champion at Calusa Prep in Miami – "J-Rod" took a chance on a Campbell program that was in a building phase – literally and figuratively.   After playing on the Miami Tropics AAU team that sent six players to the Division I ranks, Rodriguez moved to Buies Creek and tiny Carter Gym – capacity 947 – to be a key figure in Coach Robbie Laing's fast-paced attack.   He played his first two years in tiny Carter Gym then his last two in Gore Arena as he helped a team go from a winless league record two years before his arrival to a conference regular season title in his senior year.   J-Rod was a Mid-Major Freshman All-American and four-time All-Conference performer who at the time of his graduation was one of only 101 players in Division I history to reach the 2000-point, 1000-rebound mark.   From there, he embarked on a professional career that has taken him all over the globe and earned a place on the Puerto Rican National team.   It's no surprise that J-Rod was inducted this year into the Campbell Athletics Hall of Fame.   In the next episode of Tales from the Creek, Jonathan Rodriguez chats with Stan Cole about moving to the States as a high school student, his path to Campbell, his professional career, and more.   Suggestions for future Tales from the Creek interview subjects are always welcome and may be sent to Stan Cole at cole@campbell.edu.

The Hidden Lightness with Jimmy Hinton – One of the most striking elements of Florida's model is the paradox that seems to defy conventional wisdom: taxes are being cut while tax revenues continue to climb. With no state income tax and a continued effort to reduce the overall tax burden, Florida has created an environment where businesses expand, entrepreneurs relocate, and...

Just kidding, sleepy picked these topics and had AI add some flavor. This is cool anyway:https://www.returnofthecaferacers.com/something-different/moto-morini-ti22-corsaro/?fbclid=IwY2xjawQEZkhleHRuA2FlbQIxMABicmlkETJ1V295MmFRRDVOQmU2VVBac3J0YwZhcHBfaWQQMjIyMDM5MTc4ODIwMDg5MgABHpamHGALvCgRkivbFcRjQka9PDRaCItlfBDu20z1GwguBnP55H1Nhju3w4ah_aem_-OMJ1omFY3eD_2K0g8jVKQ ClevelandMoto – Feb 2026 Industry Deep Dive(Loose Bullet Point Rundown – No Scripted Radio Stuff) 1) Federal Bill to Redefine “Motorcycle” (H.R. 3385)Source:https://powersportsbusiness.com/news/motorcycle/2026/02/19/bill-aims-to-redefine-motorcycles-leaving-slingshot-in-classification-limbo/Bullet Points:Proposed federal change to motorcycle definition.Could remove autocycles (like Polaris Slingshot) from “motorcycle” category.Would affect:Licensing requirementsHelmet lawsRegistration standardsFederal safety complianceMotorcycle Industry Council strongly opposing.States often mirror federal definitions → could trigger 50-state mess.Bigger question:Is this about safety?Or about protecting traditional motorcycle classification?Debate angle:Where do we draw the line between motorcycle, trike, and car-with-handlebars? 2) MotoGP Moving Australian GP to Adelaide Street Circuit (2027)Official Announcement:https://www.motogp.com/en/news/2026/02/19/motogp-to-roar-into-the-city-streets-of-adelaide-from-2027/874866Bullet Points:Australian GP leaving Phillip Island.Moving to downtown Adelaide street circuit.First premier-class MotoGP street race.340+ km/h bikes on city streets.Why This Is Huge:Phillip Island is iconic. Fast. Flowing. Dangerous in its own way.Street circuits = tighter, less runoff, concrete walls.F1-style spectacle move?Is this Liberty Media influence?Will riders push back?Safety vs spectacle debate.Discussion angle:Is MotoGP becoming entertainment-first like F1?Or is this just evolution? 3) Harley-Davidson Scaling Back ProductionSource:https://www.the-sun.com/motors/15938521/harley-davidson-decreasing-motorcycle-production/Bullet Points:Harley reportedly reducing motorcycle production.Shifting focus toward:PartsAccessoriesApparelAftermarket marginsHigher profit per customer vs per bike.Big Industry Questions:Are OEMs becoming lifestyle brands first?Is this supply chain caution?Is demand soft?Smart long-term profitability move?What does this mean for:Dealer floor spaceInventory flowUsed market valuesDebatSupport the showRemember folks...Ride Fast and Take Chances! check out our Youtube channel at https://www.youtube.com/c/ClevelandMoto

We are told that the Bill of Rights is the bedrock of our freedom, yet this same Bill of Rights ultimately has been used as a weapon against state sovereignty and against our individual rights.Original article: https://mises.org/mises-wire/bill-rights-against-states

In this episode of the Real Estate Pros podcast, host Michelle Kesil interviews Nathan Gray, a real estate investor specializing in midterm, long-term, and Airbnb rentals. Nathan shares his journey of using VA loans to acquire properties across multiple states, emphasizing the importance of having a solid support team, effective lead generation strategies, and the lessons learned from his investing experiences. He also discusses the challenges faced by veterans in utilizing their VA loans and his commitment to educating and empowering them in real estate investing.   Professional Real Estate Investors - How we can help you: Investor Fuel Mastermind:  Learn more about the Investor Fuel Mastermind, including 100% deal financing, massive discounts from vendors and sponsors you're already using, our world class community of over 150 members, and SO much more here: http://www.investorfuel.com/apply   Investor Machine Marketing Partnership:  Are you looking for consistent, high quality lead generation? Investor Machine is America's #1 lead generation service professional investors. Investor Machine provides true 'white glove' support to help you build the perfect marketing plan, then we'll execute it for you…talking and working together on an ongoing basis to help you hit YOUR goals! Learn more here: http://www.investormachine.com   Coaching with Mike Hambright:  Interested in 1 on 1 coaching with Mike Hambright? Mike coaches entrepreneurs looking to level up, build coaching or service based businesses (Mike runs multiple 7 and 8 figure a year businesses), building a coaching program and more. Learn more here: https://investorfuel.com/coachingwithmike   Attend a Vacation/Mastermind Retreat with Mike Hambright: Interested in joining a "mini-mastermind" with Mike and his private clients on an upcoming "Retreat", either at locations like Cabo San Lucas, Napa, Park City ski trip, Yellowstone, or even at Mike's East Texas "Big H Ranch"? Learn more here: http://www.investorfuel.com/retreat   Property Insurance: Join the largest and most investor friendly property insurance provider in 2 minutes. Free to join, and insure all your flips and rentals within minutes! There is NO easier insurance provider on the planet (turn insurance on or off in 1 minute without talking to anyone!), and there's no 15-30% agent mark up through this platform!  Register here: https://myinvestorinsurance.com/   New Real Estate Investors - How we can work together: Investor Fuel Club (Coaching and Deal Partner Community): Looking to kickstart your real estate investing career? Join our one of a kind Coaching Community, Investor Fuel Club, where you'll get trained by some of the best real estate investors in America, and partner with them on deals! You don't need $ for deals…we'll partner with you and hold your hand along the way! Learn More here: http://www.investorfuel.com/club   —--------------------

Host Brian Walsh takes up ImpactAlpha's top stories with editor David Bank and producer Isaac Silk. Up this week: As the Trump administration steps back from domestic policy, how states are taking the lead on clean energy, the ownership economy, and AI regulation; Why smaller funds are leading to bigger returns in Africa; And, the pivots of Mast Reforestation, as it seeks to sell removal credits on the voluntary carbon markets.ImpactAlpha's Policy Corner coverage.“Aruwa Capital has the data to make the case for small investment funds,” by Lucy Ngige“From planting trees to burying them, Mast Reforestation follows the market for carbon credits,” by Isaac Silk

We are told that the Bill of Rights is the bedrock of our freedom, yet this same Bill of Rights ultimately has been used as a weapon against state sovereignty and against our individual rights.Original article: https://mises.org/mises-wire/bill-rights-against-states

Jeremy and Tim continue our mini-series on post-punk with a bit of 1978 scene-setting. Describing the inflationary crises, militant shop stewards and series of strikes in the UK and US, Jeremy paints a picture of the historic moment out of which a series of self-consciously anti-bourgeois bands were emerging. We hear about Jonny Rotten's metamorphosis into John Lydon, take a moment to reflect on some of Leeds' favourite sons the Gang of Four, and cross over to the Rust Belt to listen to an early track by Ohio's own Pere Ubu. Sticking in the States, Tim spends time talking about Talking Heads' second album More Songs About Buildings and Food, unleashes the Disco Clone, and enjoys the B52s Rock Lobster. Plus: Eno, Feminism, and the first ever thrift shop in NYC. Edited by Matt Huxley.Patreon.com/LoveMessagePodhttps://www.loveisthemessagepod.co.uk/Tracklist:Pere Ubu - The Modern Dance Public Image Ltd - Public Image Gang of Four - Damaged Goods Al Green - Take Me to the River Cristina - Disco Clone B52s - Rock Lobster Books:Bernard Gendron - Between Montmartre and the Mudd Club 

Alex and Amy are joined this week by NASCIO policy analyst Kalea Young-Gibson. We discuss vendor accountability, litigation trends and how states can reduce legal and operational risk as the DOJ final rule for accessibility of web content and mobil apps approaches.

This Day in Legal History: Grand Teton National ParkOn February 26, 1929, Congress officially established Grand Teton National Park, preserving one of the most striking mountain landscapes in the American West. While today the park is known for its natural beauty and wildlife, its creation was rooted in significant legal and political conflict. The legislation reflected a growing national commitment to conservation during the early twentieth century. At the same time, it sparked fierce opposition from local ranchers and residents who feared federal control over land they had long used for grazing and settlement. Many critics argued that expanding federal ownership infringed upon traditional property rights and state authority.The controversy centered on Congress's constitutional power to regulate and manage federal lands under the Property Clause. Supporters of the park maintained that the federal government had clear authority to preserve land for public use and environmental protection. Opponents viewed the move as an overreach that disrupted local economies and private land expectations. The debate highlighted tensions between national conservation goals and regional economic interests. It also illustrated how public land policy can serve as a testing ground for broader constitutional principles.Ultimately, the establishment of the park signaled an expanding federal role in environmental stewardship. It marked a shift toward long-term preservation over short-term private development. The legal battles surrounding the park foreshadowed future disputes over land use, resource management, and federal regulatory power. February 26, 1929, thus stands as a reminder that conservation law has often advanced through conflict as much as consensus.The Trump administration has filed a lawsuit against the University of California system, alleging that Jewish and Israeli employees at UCLA were subjected to an antisemitic hostile work environment. The complaint, brought by the Justice Department in Los Angeles, claims UCLA failed to respond adequately to discrimination complaints following the October 2023 Hamas-led attack on Israel. Federal officials argue that the university ignored or even enabled antisemitic conduct during a period marked by intense campus protests over the war in Gaza. The lawsuit seeks a court order requiring UCLA to investigate the allegations, improve anti-discrimination training, and pay unspecified damages to two professors who say they experienced antisemitism.This legal action is part of a broader effort by President Trump to challenge universities over pro-Palestinian protests, diversity programs, and other policies. The administration previously attempted to freeze significant federal funding for UCLA, though a judge ordered that funding restored. UCLA has responded by pointing to institutional reforms, including restructuring its civil rights office and launching initiatives aimed at combating antisemitism. Large demonstrations took place on campus in 2024, with protesters calling for divestment from companies linked to Israel and an end to U.S. support for the war in Gaza. Some demonstrators, including Jewish groups, have argued that criticism of Israeli policy is being wrongly labeled as antisemitism.The University of California system receives more than $17 billion annually in federal funding, heightening the stakes of the dispute. The administration has reached financial settlements in similar investigations involving other universities, prompting concerns among academic experts about the impact on academic freedom. Notably, the administration has not pursued comparable investigations into allegations of Islamophobia or anti-Palestinian discrimination.Trump administration alleges antisemitic work environment at UCLA | ReutersAttorneys general from 11 Republican-led states have asked the U.S. Department of Justice to closely examine Netflix's proposed $82.7 billion acquisition of studio and streaming assets from Warner Bros. The state officials argue that the deal could harm competition and weaken the United States' leadership in the film industry. In a letter to federal regulators, they urged careful scrutiny of how the merger might affect streaming subscribers and the theatrical movie market.Warner Bros. has accepted Netflix's offer, but its board is also weighing a competing proposal from Paramount Skydance, which has suggested that Netflix's bid may face greater antitrust challenges. The state attorneys general contend that combining the companies' assets could lead to excessive market concentration. They warn that reduced competition might result in higher prices, diminished service quality, and fewer innovative offerings for consumers.The officials emphasize that the entertainment industry is a significant part of the American economy and cultural influence, making regulatory oversight especially important. Their request signals potential legal and political resistance to the transaction as federal antitrust authorities evaluate the proposed merger.11 US States urge DOJ to thoroughly probe Netflix-Warner Bros. deal | ReutersSpain's competition regulator has determined that Apple and Amazon failed to promptly remove anti-competitive clauses from their distribution agreements, despite being ordered to do so. The watchdog, known as the CNMC, had fined the companies 194 million euros in 2023 and instructed them to immediately eliminate contract terms that limited the number of Apple resellers on Amazon's Spanish platform. Regulators said those provisions unfairly restricted competition and affected how rival products were promoted on the site.According to the CNMC, the companies did not fully comply with the cease-and-desist order until May 2025, well after the directive was issued. This delay could expose them to additional penalties. The regulator had also alleged that the agreements reduced advertising space for competing brands and blocked marketing efforts targeting Apple customers with alternative products.Both companies dispute the findings. Apple stated that it respects the regulator but disagrees with the ruling and maintains it has followed official instructions, emphasizing efforts to protect customers from counterfeit goods. Amazon likewise rejected the regulator's conclusions and said it plans to appeal, arguing that its business model depends on supporting third-party sellers, many of whom are small and medium-sized businesses. The original 2023 fine remains suspended while the case is under review by Spain's High Court.Apple and Amazon took too long to remove anti-competitive clauses, Spanish watchdog says | Reuters This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.minimumcomp.com/subscribe

The primary discussion in the episode centers on the increasing risk to data privacy posed by the adoption of artificial intelligence (AI) applications within SMB environments. Panelists highlighted the challenge of educating clients on how AI systems may access, process, and transmit sensitive information, sometimes integrating client data into broader training datasets owned by third parties. Specific emphasis was placed on the operational reality that data, once shared with AI models, may no longer be under the original owner's control. This development directly affects both regulatory compliance and client trust, especially for service providers tasked with protecting client environments. Supporting details referenced both technical and procedural countermeasures available to MSPs. Tools such as browser-based security assessments (e.g., Atacama), network analysis at the firewall, and Microsoft 365's built-in security features (Defender and Cloud App Security) were identified as practical resources for monitoring data flow and enforcing restrictions on AI integration. The approach recommended focuses on assessment-driven education—using tangible network data to demonstrate risks and capabilities, supporting MSPs in facilitating more accountable, informed decision-making among clients. Adjacent topics included a workforce transition in the MSP sector, driven by compliance and security requirements. The discussion referenced an industry demographic shift, with a substantive proportion of MSP owners above the age of 55, and many considering mergers or exits rather than evolving to meet new consulting, compliance, and productivity challenges introduced by AI. Additional coverage addressed the impact of AI and data center expansion on community resources (e.g., demands on electrical grids and water supply), as well as divergent organizational responses to emerging consumer technologies such as smart glasses.   Evolve or Exit -  Many MSP's are facing this reality https://mspglobal.com/blog/exit-or-evolve-msp-reinvention-cycle/ Browser based security assessment tool http://www.atakama.com   States moving to require AI to pay for its own electricity. https://www.perplexity.ai/page/states-move-to-shield-ratepaye-0_4v24YTRWGbech52eWGZw   Airforce ban meta glasses while army adopts them.  https://www.perplexity.ai/page/air-force-bans-meta-ai-glasses-KTBzW6_tQom3lJ6XuWNcZg Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Yiftach gives the King of Amon a history lesson to prove that the land belongs to the children of Israel

Chris Cieslak, CEO of BladeBug, joins the show to discuss how their walking robot is making ultrasonic blade inspections faster and more accessible. They cover new horizontal scanning capabilities for lay down yards, blade root inspections for bushing defects, and plans to expand into North America in 2026. Sign up now for Uptime Tech News, our weekly newsletter on all things wind technology. This episode is sponsored by Weather Guard Lightning Tech. Learn more about Weather Guard’s StrikeTape Wind Turbine LPS retrofit. Follow the show on YouTube, Linkedin and visit Weather Guard on the web. And subscribe to Rosemary’s “Engineering with Rosie” YouTube channel here. Have a question we can answer on the show? Email us! Welcome to Uptime Spotlight, shining Light on Wind. Energy’s brightest innovators. This is the Progress Powering Tomorrow. Allen Hall: Chris, welcome back to the show.  Chris Cieslak: It’s great to be back. Thank you very much for having me on again.  Allen Hall: It’s great to see you in person, and a lot has been happening at Blade Bugs since the last time I saw Blade Bug in person. Yeah, the robot. It looks a lot different and it has really new capabilities.  Chris Cieslak: So we’ve continued to develop our ultrasonic, non-destructive testing capabilities of the blade bug robot. Um, but what we’ve now added to its capabilities is to do horizontal blade scans as well. So we’re able to do blades that are in lay down yards or blades that have come down for inspections as well as up tower. So we can do up tower, down tower inspections. We’re trying to capture. I guess the opportunity to inspect blades after transportation when they get delivered to site, to look [00:01:00] for any transport damage or anything that might have been missed in the factory inspections. And then we can do subsequent installation inspections as well to make sure there’s no mishandling damage on those blades. So yeah, we’ve been just refining what we can do with the NDT side of things and improving its capabilities  Joel Saxum: was that need driven from like market response and people say, Hey, we need, we need. We like the blade blood product. We like what you’re doing, but we need it here. Or do you guys just say like, Hey, this is the next, this is the next thing we can do. Why not?  Chris Cieslak: It was very much market response. We had a lot of inquiries this year from, um, OEMs, blade manufacturers across the board with issues within their blades that need to be inspected on the ground, up the tap, any which way they can. There there was no, um, rhyme or reason, which was better, but the fact that he wanted to improve the ability of it horizontally has led the. Sort of modifications that you’ve seen and now we’re doing like down tower, right? Blade scans. Yeah. A really fast breed. So  Joel Saxum: I think the, the important thing there is too is that because of the way the robot is built [00:02:00] now, when you see NDT in a factory, it’s this robot rolls along this perfectly flat concrete floor and it does this and it does that. But the way the robot is built, if a blade is sitting in a chair trailing edge up, or if it’s flap wise, any which way the robot can adapt to, right? And the idea is. We, we looked at it today and kind of the new cage and the new things you have around it with all the different encoders and for the heads and everything is you can collect data however is needed. If it’s rasterized, if there’s a vector, if there’s a line, if we go down a bond line, if we need to scan a two foot wide path down the middle of the top of the spa cap, we can do all those different things and all kinds of orientations. That’s a fantastic capability.  Chris Cieslak: Yeah, absolutely. And it, that’s again for the market needs. So we are able to scan maybe a meter wide in one sort of cord wise. Pass of that probe whilst walking in the span-wise direction. So we’re able to do that raster scan at various spacing. So if you’ve got a defect that you wanna find that maximum 20 mil, we’ll just have a 20 mil step [00:03:00] size between each scan. If you’ve got a bigger tolerance, we can have 50 mil, a hundred mil it, it’s so tuneable and it removes any of the variability that you get from a human to human operator doing that scanning. And this is all about. Repeatable, consistent high quality data that you can then use to make real informed decisions about the state of those blades and act upon it. So this is not about, um, an alternative to humans. It’s just a better, it’s just an evolution of how humans do it. We can just do it really quick and it’s probably, we, we say it’s like six times faster than a human, but actually we’re 10 times faster. We don’t need to do any of the mapping out of the blade, but it’s all encoded all that data. We know where the robot is as we walk. That’s all captured. And then you end up with really. Consistent data. It doesn’t matter who’s operating a robot, the robot will have those settings preset and you just walk down the blade, get that data, and then our subject matter experts, they’re offline, you know, they are in their offices, warm, cozy offices, reviewing data from multiple sources of robots. And it’s about, you know, improving that [00:04:00] efficiency of getting that report out to the customer and letting ’em know what’s wrong with their blades, actually,  Allen Hall: because that’s always been the drawback of, with NDT. Is that I think the engineers have always wanted to go do it. There’s been crush core transportation damage, which is sometimes hard to see. You can maybe see a little bit of a wobble on the blade service, but you’re not sure what’s underneath. Bond line’s always an issue for engineering, but the cost to take a person, fly them out to look at a spot on a blade is really expensive, especially someone who is qualified. Yeah, so the, the difference now with play bug is you can have the technology to do the scan. Much faster and do a lot of blades, which is what the de market demand is right now to do a lot of blades simultaneously and get the same level of data by the review, by the same expert just sitting somewhere else.  Chris Cieslak: Absolutely.  Joel Saxum: I think that the quality of data is a, it’s something to touch on here because when you send someone out to the field, it’s like if, if, if I go, if I go to the wall here and you go to the wall here and we both take a paintbrush, we paint a little bit [00:05:00] different, you’re probably gonna be better. You’re gonna be able to reach higher spots than I can.  Allen Hall: This is true.  Joel Saxum: That’s true. It’s the same thing with like an NDT process. Now you’re taking the variability of the technician out of it as well. So the data quality collection at the source, that’s what played bug ducts.  Allen Hall: Yeah,  Joel Saxum: that’s the robotic processes. That is making sure that if I scan this, whatever it may be, LM 48.7 and I do another one and another one and another one, I’m gonna get a consistent set of quality data and then it’s goes to analysis. We can make real decisions off.  Allen Hall: Well, I, I think in today’s world now, especially with transportation damage and warranties, that they’re trying to pick up a lot of things at two years in that they could have picked up free installation. Yeah. Or lifting of the blades. That world is changing very rapidly. I think a lot of operators are getting smarter about this, but they haven’t thought about where do we go find the tool.  Speaker: Yeah.  Allen Hall: And, and I know Joel knows that, Hey, it, it’s Chris at Blade Bug. You need to call him and get to the technology. But I think for a lot of [00:06:00] operators around the world, they haven’t thought about the cost They’re paying the warranty costs, they’re paying the insurance costs they’re paying because they don’t have the set of data. And it’s not tremendously expensive to go do. But now the capability is here. What is the market saying? Is it, is it coming back to you now and saying, okay, let’s go. We gotta, we gotta mobilize. We need 10 of these blade bugs out here to go, go take a scan. Where, where, where are we at today?  Chris Cieslak: We’ve hads. Validation this year that this is needed. And it’s a case of we just need to be around for when they come back round for that because the, the issues that we’re looking for, you know, it solves the problem of these new big 80 a hundred meter plus blades that have issues, which shouldn’t. Frankly exist like process manufacturer issues, but they are there. They need to be investigated. If you’re an asset only, you wanna know that. Do I have a blade that’s likely to fail compared to one which is, which is okay? And sort of focus on that and not essentially remove any uncertainty or worry that you have about your assets. ’cause you can see other [00:07:00] turbine blades falling. Um, so we are trying to solve that problem. But at the same time, end of warranty claims, if you’re gonna be taken over these blades and doing the maintenance yourself, you wanna know that what you are being given. It hasn’t gotten any nasties lurking inside that’s gonna bite you. Joel Saxum: Yeah.  Chris Cieslak: Very expensively in a few years down the line. And so you wanna be able to, you know, tick a box, go, actually these are fine. Well actually these are problems. I, you need to give me some money so I can perform remedial work on these blades. And then you end of life, you know, how hard have they lived? Can you do an assessment to go, actually you can sweat these assets for longer. So we, we kind of see ourselves being, you know, useful right now for the new blades, but actually throughout the value chain of a life of a blade. People need to start seeing that NDT ultrasonic being one of them. We are working on other forms of NDT as well, but there are ways of using it to just really remove a lot of uncertainty and potential risk for that. You’re gonna end up paying through the, you know, through the, the roof wall because you’ve underestimated something or you’ve missed something, which you could have captured with a, with a quick inspection.  Joel Saxum: To [00:08:00] me, NDT has been floating around there, but it just hasn’t been as accessible or easy. The knowledge hasn’t been there about it, but the what it can do for an operator. In de-risking their fleet is amazing. They just need to understand it and know it. But you guys with the robotic technology to me, are bringing NDT to the masses  Chris Cieslak: Yeah.  Joel Saxum: In a way that hasn’t been able to be done, done before  Chris Cieslak: that. And that that’s, we, we are trying to really just be able to roll it out at a way that you’re not limited to those limited experts in the composite NDT world. So we wanna work with them, with the C-N-C-C-I-C NDTs of this world because they are the expertise in composite. So being able to interpret those, those scams. Is not a quick thing to become proficient at. So we are like, okay, let’s work with these people, but let’s give them the best quality data, consistent data that we possibly can and let’s remove those barriers of those limited people so we can roll it out to the masses. Yeah, and we are that sort of next level of information where it isn’t just seen as like a nice to have, it’s like an essential to have, but just how [00:09:00] we see it now. It’s not NDT is no longer like, it’s the last thing that we would look at. It should be just part of the drones. It should inspection, be part of the internal crawlers regimes. Yeah, it’s just part of it. ’cause there isn’t one type of inspection that ticks all the boxes. There isn’t silver bullet of NDT. And so it’s just making sure that you use the right system for the right inspection type. And so it’s complementary to drones, it’s complimentary to the internal drones, uh, crawlers. It’s just the next level to give you certainty. Remove any, you know, if you see something indicated on a a on a photograph. That doesn’t tell you the true picture of what’s going on with the structure. So this is really about, okay, I’ve got an indication of something there. Let’s find out what that really is. And then with that information you can go, right, I know a repair schedule is gonna take this long. The downtime of that turbine’s gonna be this long and you can plan it in. ’cause everyone’s already got limited budgets, which I think why NDT hasn’t taken off as it should have done because nobody’s got money for more inspections. Right. Even though there is a money saving to be had long term, everyone is fighting [00:10:00] fires and you know, they’ve really got a limited inspection budget. Drone prices or drone inspections have come down. It’s sort, sort of rise to the bottom. But with that next value add to really add certainty to what you’re trying to inspect without, you know, you go to do a day repair and it ends up being three months or something like, well  Allen Hall: that’s the lightning,  Joel Saxum: right? Allen Hall: Yeah. Lightning is the, the one case where every time you start to scarf. The exterior of the blade, you’re not sure how deep that’s going and how expensive it is. Yeah, and it always amazes me when we talk to a customer and they’re started like, well, you know, it’s gonna be a foot wide scarf, and now we’re into 10 meters and now we’re on the inside. Yeah. And the outside. Why did you not do an NDT? It seems like money well spent Yeah. To do, especially if you have a, a quantity of them. And I think the quantity is a key now because in the US there’s 75,000 turbines worldwide, several hundred thousand turbines. The number of turbines is there. The number of problems is there. It makes more financial sense today than ever because drone [00:11:00]information has come down on cost. And the internal rovers though expensive has also come down on cost. NDT has also come down where it’s now available to the masses. Yeah. But it has been such a mental barrier. That barrier has to go away. If we’re going going to keep blades in operation for 25, 30 years, I  Joel Saxum: mean, we’re seeing no  Allen Hall: way you can do it  Joel Saxum: otherwise. We’re seeing serial defects. But the only way that you can inspect and or control them is with NDT now.  Allen Hall: Sure.  Joel Saxum: And if we would’ve been on this years ago, we wouldn’t have so many, what is our term? Blade liberations liberating  Chris Cieslak: blades.  Joel Saxum: Right, right.  Allen Hall: What about blade route? Can the robot get around the blade route and see for the bushings and the insert issues? Chris Cieslak: Yeah, so the robot can, we can walk circumferentially around that blade route and we can look for issues which are affecting thousands of blades. Especially in North America. Yeah.  Allen Hall: Oh yeah.  Chris Cieslak: So that is an area that is. You know, we are lucky that we’ve got, um, a warehouse full of blade samples or route down to tip, and we were able to sort of calibrate, verify, prove everything in our facility to [00:12:00] then take out to the field because that is just, you know, NDT of bushings is great, whether it’s ultrasonic or whether we’re using like CMS, uh, type systems as well. But we can really just say, okay, this is the area where the problem is. This needs to be resolved. And then, you know, we go to some of the companies that can resolve those issues with it. And this is really about played by being part of a group of technologies working together to give overall solutions  Allen Hall: because the robot’s not that big. It could be taken up tower relatively easily, put on the root of the blade, told to walk around it. You gotta scan now, you know. It’s a lot easier than trying to put a technician on ropes out there for sure.  Chris Cieslak: Yeah.  Allen Hall: And the speed up it.  Joel Saxum: So let’s talk about execution then for a second. When that goes to the field from you, someone says, Chris needs some help, what does it look like? How does it work?  Chris Cieslak: Once we get a call out, um, we’ll do a site assessment. We’ve got all our rams, everything in place. You know, we’ve been on turbines. We know the process of getting out there. We’re all GWO qualified and go to site and do their work. Um, for us, we can [00:13:00] turn up on site, unload the van, the robot is on a blade in less than an hour. Ready to inspect? Yep. Typically half an hour. You know, if we’ve been on that same turbine a number of times, it’s somewhere just like clockwork. You know, muscle memory comes in, you’ve got all those processes down, um, and then it’s just scanning. Our robot operator just presses a button and we just watch it perform scans. And as I said, you know, we are not necessarily the NDT experts. We obviously are very mindful of NDT and know what scans look like. But if there’s any issues, we have a styling, we dial in remote to our supplement expert, they can actually remotely take control, change the settings, parameters.  Allen Hall: Wow.  Chris Cieslak: And so they’re virtually present and that’s one of the beauties, you know, you don’t need to have people on site. You can have our general, um, robot techs to do the work, but you still have that comfort of knowing that the data is being overlooked if need be by those experts.  Joel Saxum: The next level, um, commercial evolution would be being able to lease the kit to someone and or have ISPs do it for [00:14:00] you guys kinda globally, or what is the thought  Chris Cieslak: there? Absolutely. So. Yeah, so we to, to really roll this out, we just wanna have people operate in the robots as if it’s like a drone. So drone inspection companies are a classic company that we see perfectly aligned with. You’ve got the sky specs of this world, you know, you’ve got drone operator, they do a scan, they can find something, put the robot up there and get that next level of information always straight away and feed that into their systems to give that insight into that customer. Um, you know, be it an OEM who’s got a small service team, they can all be trained up. You’ve got general turbine technicians. They’ve all got G We working at height. That’s all you need to operate the bay by road, but you don’t need to have the RAA level qualified people, which are in short supply anyway. Let them do the jobs that we are not gonna solve. They can do the big repairs we are taking away, you know, another problem for them, but giving them insights that make their job easier and more successful by removing any of those surprises when they’re gonna do that work.  Allen Hall: So what’s the plans for 2026 then? Chris Cieslak: 2026 for us is to pick up where 2025 should have ended. [00:15:00] So we were, we were meant to be in the States. Yeah. On some projects that got postponed until 26. So it’s really, for us North America is, um, what we’re really, as you said, there’s seven, 5,000 turbines there, but there’s also a lot of, um, turbines with known issues that we can help determine which blades are affected. And that involves blades on the ground, that involves blades, uh, that are flying. So. For us, we wanna get out to the states as soon as possible, so we’re working with some of the OEMs and, and essentially some of the asset owners.  Allen Hall: Chris, it’s so great to meet you in person and talk about the latest that’s happening. Thank you. With Blade Bug, if people need to get ahold of you or Blade Bug, how do they do that?  Chris Cieslak: I, I would say LinkedIn is probably the best place to find myself and also Blade Bug and contact us, um, through that.  Allen Hall: Alright, great. Thanks Chris for joining us and we will see you at the next. So hopefully in America, come to America sometime. We’d love to see you there.  Chris Cieslak: Thank you very [00:16:00] much.

The Supreme Court ruled 6-3 last week that the International Economic Emergency Powers Act does not give the president authority to impose tariffs—Alito, Kavanaugh, and Thomas dissenting. The administration now scrambles to implement its tariff policies as appeals and new legislation proceed. Meanwhile, America counts its treasures as the Winter Olympics close out: 12 gold medals, one among them won by the daughter of a Chinese refugee to the States. Go us! Plus: the AI overlord of the 7,000-strong Roomba army, and more.Recommended:The Tariff Wears Two Hats: What the SCOTUS Majority OverlookedWatch with video on Youtube This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit claremontinstitute.substack.com/subscribe

John and Chris comment as they air Trump's State of the Union live as it happens. FORTUNATELY most of Trump's lies and vitriol has been flushed from this podcast. (YAY) As the speech ends, John speaks with Lurie Daniel Favors, Esq. who serves as Executive Director at a racial justice law center based in New York City. She is an author, activist and attorney with a longstanding commitment to racial and social justice. She also hosts the Lurie Daniel Favors Show on Sirius XM's Urban View Network, a national talk show that tackles issues of race, culture, gender, identity, politics and the law and you can also find her on the accompanying podcast, Lurie Breaks it Down. Then, closing it up, John welcomes back Ameshia Cross who is a democratic strategist for national, state, and local campaigns, a regular political commentator and contributor on MSN, NBC, BBC, SiriusXM, iHeart Radio, and more.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

The State of the Union Address is one of the most anticipated political events of the year. Of course, it's surrounded by tradition and ceremony. All three branches of the federal government gather in the House Chamber, the galleries pack with guests from every walk of life, the pundits gather their audiences, and the cameras all focus on one carefully crafted message from the leader of the free world.  But it's not just custom or tradition that gives rise to this historic event every year. It actually goes all the way back to the American founding, to the Constitution itself. Article II, Section 3, Clause 1 of the constitution reads as follows:  The President “shall from time to time give to the Congress Information of the State of the Union, and recommend to their Consideration such measures as he shall judge necessary and expedient.” George Washington, then, was the first to give an address to congress. His eventual successor, Thomas Jefferson, submitted his remarks in writing, which set a precendent of written States of the Union. Over a century later, in 1913, Woodrow Wilson restored the practice of giving the speech in person. And that custom has stood to this day.  Last night, we heard President Donald Trump give the first State of the Union address of his second term. The speech covered many of his accomplishments over the first year of this administration. Here to walk us through it is Dan West, Government Relations Director at Heritage Action for America.  --- Thoughts? Questions? Email us at: heritageexplains@heritage.org.  --- More from Heritage Action for America: https://heritageaction.com/ Dan West on X: https://x.com/Dan_J_West 

In 1985, MTV was in the thick of the rock revolution. You couldn't turn on the channel without seeing guys with big hair and loud guitars playing to sexy, scantily clad women, and Y&T's “Summertime Girls” was no exception. This long-running Bay Area band was well respected in the world of hard rock and had amassed legions of fans around the globe, yet they remained somewhat under the radar in the American mainstream. Although the band wrote “Summertime Girls” as a joke, their record label insisted they record it, a decision that initially seemed like a stroke of genius when the song became their most well-known hit in the States. It wasn't long, however, before a backlash set in, and the fiercely determined band was forced back to square one. This week, we're joined by Horror Movie Night's Scott Roger to dive into the life and times of Y&T, a prolific band that may have made one huge, albeit catchy, mistake. One Hit Thunder is brought to you by DistroKid, the ultimate partner for taking your music to the next level. Our listeners get 30% off your first YEAR with DistroKid by signing up at ⁠⁠⁠http://distrokid.com/vip/onehitthunder⁠⁠⁠ ⁠⁠⁠⁠Buy some Merch⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠Join our Patreon⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠Join our Facebook Group⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠Follow us on Instagram⁠ Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode Jim, Dean, Mark & Chris delve into the SEGA SG-1000, a system that didn't reach the shores of the UK or the States and had the misfortune of being released on the same day as the Nintendo Famicon in Japan. What did the guys think of the system and it's games? Tune in to find out! As always, thanks to all of our Patreon's who made this episode possible, we really appreciate your kind donations! Aaron Maupin Adam Hinde Andrew Gilmour Bitmap Soft Blake Brett Cane & Rinse Chris Atwill Chris O'Regan Christopher Bolton Clint Humphrey Darran Coles DrNoVocalCords Dylan D'Arch Forge Garry Heather Guto THreadbare Guy Simms Hans aka Mauppets4 Harvey Watson HeavyMetalDon Howard Price James Dunn Jim-OrbitsIT Jon Sheppard Jon Veal Lampton Worm Laurens Laurent Giroud Mal Woods Mark Bylund Martyn Jones Matthew Turner Mikes Vinage Tech Mitsoyama New Game Old Flame - Podcast Nick Lees Nik Patrick Fürst Paul Ashton Pete Rogers Plasticman Rhys Wynne Ricardo Engel Richard Hyde Robert Ilott Roger Swan Roushimsx Rune P Stephen James Thomas Scoffham Tim TJ Walker Looking for some MiSTer FPGA accessories? Give https://misterfpga.co.uk/ a visit and use the code retroasylum to gain a 6% discount. Want to find out about Steve's band, The Last Arcade? Check them out at https://thelastarcade.net/ Looking for some new games for your favourite retro system? Then checkout https://www.bitmapsoft.co.uk/ Help support the Retro Asylum by becoming a patron: https://www.patreon.com/retroasylum Retro Asylum on BlueSky: https://bsky.app/profile/theretroasylum.bsky.social Retro Asylum on Facebook: https://www.facebook.com/retroasylum/ Retro Asylum YouTube Channel: https://www.youtube.com/channel/UCfCC9rIvCKoW3mdbuCsB7Ag Retro Asylum on Instagram: https://www.instagram.com/the_retro_asylum/ Retro Asylum on Twitch:https://www.twitch.tv/theretroasylum Twitter: @theretroasylum Retro Asylum Merchandise: https://retroasylumstore.myspreadshop.co.uk/

These are the top states that lie the most! See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

The States Forum Journal | The Missing Liberal Story: https://www.statesforum.org/the-missing-liberal-story/ The States Forum Journal Substack | The Missing Liberal Story: https://statesforum.substack.com/p/the-missing-liberal-story NYT Article on The States Forum | https://www.nytimes.com/2025/07/10/us/politics/democrats-states-forum.html Today's episode is an audio essay adapted from Marshall's States Forum Journal piece: The Missing Liberal Story. In the essay, Marshall lays out his case for why he believes liberalism's most urgent task is to craft a compelling story that resonates with the electorate if there is any hope for changing our politics. The broader States Forum Journal issue focused on "Double Security" and features fourteen essays on federalism, democracy, and the role of states in safeguarding American governance.

Sean and Ryan talk about the US winning two golds, the NHL starting back up, and more.

Jerry's got clips of the "best ever" US men's hockey team on their return to the US. He also goes around the NBA, including the unveiling of the Pat Reilly statue and his take on NBA dress codes. Even some NFL & MLB news in there, too.

We kick off the hour with NFL talk as the Jets search for a quarterback, with Boomer exploring draft options, the need for veteran bridges, and potential trades. Jerry then updates us on Jack Hughes' return and Miami celebration, . We go around the NBA and play “Who's Laugh Is That?” before discussing Pat Riley's statue unveiling and his thoughts on casual attire. Finally, we look at the elite group of players with multiple statues.

Democrats can't exist without someone else's money. PLUS, Sue Liebel, Director of State Affairs for Susan B. Anthony Pro-Life America, tells Shaun about the crimes of coercion and murder being committed with mail-order abortion pills and the 21 States and 60 Congressmen who are fighting to stop it. And The Heritage Foundation's Dr. EJ Antoni discusses the disturbing number of RINOs in the GOP participating in the spending problem adding to our national debt, the eye-popping number of government fraud, and how the Democrat states already have their own tariffs in their insane amount of taxes. See omnystudio.com/listener for privacy information.

Olathe Police React to School Political Fight, Plus States Try to React to Schools Pushing Leftward | 2-24-26See omnystudio.com/listener for privacy information.

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Donate (no account necessary) | Subscribe (account required) Join Bryan Dean Wright, former CIA Operations Officer, as he dives into today's top stories shaping America and the world. In this Monday Headline Brief of The Wright Report, Bryan covers the U.S.-backed operation that killed El Mencho, leader of Mexico's most violent cartel, triggering nationwide retaliation and raising serious security concerns for Americans both abroad and at home. Bryan then reports major shifts across the Americas as Venezuela expels Cuban security forces under U.S. pressure, Canada caves to tariff threats over Gulfstream jet certifications, and the Supreme Court limits presidential tariff authority, forcing the White House to pivot fast. He also details the CIA's quiet removal of politicized intelligence reports, Susan Rice's warning of political retribution against Trump-aligned corporations, a major asylum work permit crackdown, English-only commercial driver testing, and new action against "chameleon" trucking companies. The episode closes with hopeful research out of Sweden showing that popular GLP-1 weight loss drugs may dramatically reduce alcohol cravings and relapse risk, adding to growing evidence that both medicine and faith play powerful roles in recovery.   "And you shall know the truth, and the truth shall make you free." - John 8:32     Keywords: February 23 2026 Wright Report, El Mencho killed Jalisco New Generation Cartel, US Mexico Special Forces operation, cartel retaliation Puerto Vallarta Guadalajara shelter in place, Trump Sheinbaum cooperation, Venezuela expels Cuban guards Delcy Rodriguez, Canada Gulfstream tariff pressure Georgia Wisconsin jobs, Supreme Court tariff ruling 15 percent global rate, CIA politicized intelligence reports removed, Susan Rice corporate retaliation threat Netflix board, asylum work permit freeze 14 years backlog, CDL English only rule trucking crackdown, chameleon carriers residential registrations, GLP-1 alcohol cravings semaglutide Ozempic Wegovy Mounjaro Sweden study