Podcasts about Suzuki

Dr. Wendy Suzuki reveals that 90% of people suffer from anxiety, but most are approaching it completely wrong. Instead of fighting or suppressing anxious feelings, she explains how anxiety is actually a protective mechanism that can be harnessed as fuel for action, courage, and personal transformation. Through her own journey of loss, she discovered that our greatest pain often leads to our deepest wisdom. From the neuroscience of love and social connection to practical tools like joy conditioning and micro flow, this episode offers a roadmap for turning your most uncomfortable emotions into superpowers. You'll learn how anxiety can build empathy, resilience, and flow states when you shift your relationship with it. This isn't about eliminating anxiety but about using its energy to propel you toward the life you want. Dr. Suzuki's books: Healthy Brain, Happy Life Good Anxiety In this episode you will: Learn the exact breathing technique and morning rituals that rewire your brain for peace and decrease chronic stress Discover how to transform everyday anxiety into actionable energy that drives you forward instead of holding you back Understand why social connection is the number one predictor of longevity and how to build meaningful relationships that heal anxiety Master the concept of joy conditioning to create positive neural pathways that counteract fear and worry Recognize the six superpowers hidden within your anxiety including resilience, empathy, and the ability to access flow states For more information go to https://lewishowes.com/1901 For more Greatness text PODCAST to +1 (614) 350-3960 Follow The Daily Motivation for essential highlights from The School of Greatness More SOG episodes we think you'll love: Lewis Howes [SOLO] Dr. Caroline Leaf Dr. Daniel Amen Get more from Lewis! Get my New York Times Bestselling book, Make Money Easy!Get The Greatness Mindset audiobook on SpotifyText Lewis AIYouTubeInstagramWebsiteTiktokFacebookX Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

El mercado de turismos arranca febrero de 2026 con fuerza: 97.082 nuevas matriculaciones, un 7,5% más que en el mismo mes del año pasado. Analizamos el liderazgo del SEAT Ibiza como modelo más vendido y debatimos qué hay detrás de su éxito sostenido. Además, profundizamos en el récord de OMODA & JAECOO, que con 2.887 matriculaciones y un crecimiento del 83,5% interanual consolida su ofensiva híbrida enchufable, impulsada por su tecnología SHS y modelos como el OMODA 5 SHS-H y el nuevo OMODA 7 SHS. También ponemos el foco en BYD, que encadena diez meses liderando el acumulado de enchufables en España y sitúa al BYD ATTO 2 como el enchufable más vendido del país. Hablamos también de la llegada de Geely a España, una de las grandes noticias del año. Analizamos su posicionamiento, qué modelos electrificados traerá en 2026 y qué estrategia seguirá en un mercado cada vez más competido y con fuerte presencia de marcas chinas. ¿Viene a competir en precio, en tecnología o en ambas? El coche del mes en la radio es el Renault 4 E-Tech. Más allá de repasar sus datos técnicos, abrimos debate sobre la brillante estrategia de Renault al recuperar iconos históricos para impulsar su gama eléctrica. El éxito del Renault 5 E-Tech demuestra que diseño, nostalgia y tecnología pueden ir de la mano en un momento en el que al coche eléctrico todavía le cuesta despegar. Recordamos también la historia del Renault 4 original, el mítico “Cuatro latas”, y reflexionamos sobre cómo la herencia puede ser clave en la transición energética. Comentamos además la presentación de la norma UNE 82509:2026, el primer marco en España para regular los instrumentos de medida remota de emisiones de los vehículos. Una herramienta que puede marcar un antes y un después en el control medioambiental y en la conversación pública sobre movilidad, especialmente en un contexto de expansión de las ZBE. En el espacio de Car and Driver, recordamos que la cabecera no es solo la revista del kiosco, sino también sus newsletters, y destacamos el “Electrodosier C&D”, un especial de 50 páginas publicado en el número 334 de Car and Driver España, donde se analizan hasta 40 modelos eléctricos con pruebas, datos y la opinión de expertos para entender el presente y el futuro inmediato del coche eléctrico en nuestro país. En Seguridad Vial con Hyundai escuchamos el audio del encuentro de radios escolares en el que alumnos de 11 y 12 años responden a una pregunta clave: ¿qué saben sobre la baliza V16? Un termómetro muy interesante para medir cómo cala la nueva normativa entre las generaciones más jóvenes. Analizamos también cómo es el primer eléctrico de Suzuki, el Suzuki eVitara. Repasamos todos sus datos técnicos, posicionamiento, autonomía y precios, y debatimos si este modelo puede convertirse en una alternativa real dentro del competido segmento SUV eléctrico. Abrimos un espacio de reflexión sobre el tratamiento de la información del motor en la prensa regional. Desde Alicante, analizamos cómo se vive el automóvil en una ciudad de tamaño medio, qué papel juegan concesionarios y publicidad local, cómo se perciben las marcas chinas y el coche eléctrico y qué impacto real están teniendo las ZBE fuera de las grandes capitales. En “Curiosidades muy curiosas”, Rubén Gómez nos lleva a Japón para recordar el pacto de caballeros de los 280 CV. Repasamos modelos míticos como el Nissan Skyline GT-R R32, el Toyota Supra o el Honda NSX y explicamos por qué marcas y Gobierno acordaron en 1989 limitar potencia y velocidad. También contamos cómo se rompió definitivamente el acuerdo con la llegada del Honda Legend y la escalada posterior que culminó en deportivos como el Nissan GT-R R35. Cerramos el programa con el Kia EV3, protagonista tras alzarse con el Premio ABC al Mejor Coche del Año 2026. Analizamos por qué este eléctrico está rompiendo moldes y qué representa dentro de la nueva generación de modelos que buscan democratizar la movilidad eléctrica en España. Esta semana en el podcast nos acompañan Antonio R. Vaquerizo, Fernando Rivas, Álex Moya, Jose Lagunar, Javier Quilón y Rubén Gómez, junto a dos invitados de excepción: Pedro Martín, director del Área de Motor del grupo Vocento, y Santos Patón, director y presentador de Start-Stop en AlacantíTV. Escúchanos en: www.podcastmotor.es Twitter: @AutoFmRadio Instagram: autofmradio Twitch: AutoFMPodcast Youtube: @AutoFM Contacto: info@autofm.es

durée : 00:05:25 - Le Bach du matin du mardi 03 mars 2026 - Nous écoutons ce matin le Gloria de la Messe brève en Fa majeur BWV 233 de Jean-Sébastien Bach, par le chef Masaaki Suzuki et l'ensemble Bach Collegium Japan. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

Show Notes 0:00: Justin and Helen finally are able to talk about things they’ve been up to!…Well, Justin’s been up to finally watching the new season of Medalist now that it’s on Hulu and experienced paying to go to a theater for the first time since COVID-19 (all for Uma Musume: Beginning of a New Era). Helen on the other hand has finally watched Journal with Witch (2 episodes so far) like the rest of the cool people! The hosts then get ready to talk about the news over the past few weeks. And it begins with one of the worst anime/manga news that’s ever been covered on this podcast. News 6:13: Shogakukan’s Manga ONE editorial department issued a statement and an apology this past Friday regarding manga creator Shōichi Yamamoto, after the editorial department had allowed Yamamoto to publish a new manga on the service under a pen name after he had been arrested and convicted of a sex crime. The details are not only many but it also can be triggering. It’s fairly staggering, so you’ll want to check out Anime News Network and Strict Algorithm for all the details, but a quick summary: Shoichi Yamamoto returned as a writer for Joujin Kamen, with Eri Tsuruyoshi drawing the series in 2022, despite his arrest and conviction of a sex crime in 2020 and making sure the artist was not aware of Yamamoto’s past since he is now known as Hajime Ichiro. An editor for MangaOne was involved in this situation, even going so far as to try and strike a deal with the victim. Once details emerged this past Friday of how awful the crime was and that the publication covered it up, many manga artists — from those working for Shogakukan to those not working for them — were angry and for those working for Shogakukan demanded not only a proper response but to have their works removed from MangaOne. Then Saturday, Shogakukan announced they will set up an investigative committee that will include lawyers to clarify the facts of the situation. Both hosts discuss this horrifying scandal as they know it and what this ultimately says about Shogakukan (21:10) — and as Justin expected (26:48), more news would eventually emerge over time after the episode was recorded on Sunday, and yesterday, while continuing their internal investigation of MangaOne, Shogakukan revealed that Tatsuya Matsuki, the writer for act-age who was convinced of a sex crime in 2020 and dismissed from Shonen Jump with the cancellation of that manga, was hiding under the pen name of Miki Yatsunami while working on a manga on the service (Seisō no Shinri-shi). We at TheOASG send our apologies to the victim, Eri Tsuruyoshi, and those affected by this situation. 26:57: Media Do, considered the largest e-book distributor in Japan (and sold off their shares of MyAnimeList last year) has acquired Seven Seas Entertainment for US $80 million dollars. More details emerged since the two hosts talked about it on Sunday, and it was concerning to where Seven Seas had to put out a statement yesterday. Expect both hosts to again discuss more about this partnership in the next episode. 33:29: The two hosts discuss the “Ring Ring Live in Osaka” concert event put on by the Himitsu no AiPri staff was cancelled due to threats; Helen goes over Sho-Pro Books (Shogakukan-Shueisha Productions) announcing that its contract to publish Marvel Comics titles in Japanese will end on March 31; and Manga Mavericks Books now has a distribution deal with Pathway Book Service and with Gazelle Book Services Ltd for Europe so we’ll be able to see their print books on certain retailers soon. 39:27: The Gift-o’-Animation studio’s founder and former president Satoshi Mori passed way February 20 after battling an illness for some time; Talent agency Haikyō announced in February that voice actor Masaru Ikeda died on January 31; And Kodansha shared on their Instagram that Vertical publishing company’s co-founder and Kodansha USA Editorial Director Ioannis Mentzas passed away a few weeks ago. Licenses 41:55: Last episode the hosts talked about a bunch of companies licensing manga. This episode the two about more things getting licensed by companies, first with VIZ: Hyuganatsu, Minoji Kurata, & Touko Shino's The Apothecary Diaries: Maomao's Notes on the Inner Palace Kotoyama's Call of the Night: Paradise Arc Inio Asano's Heroes Shuzo Oshimi's Sound of a Blink Paru Itagaki's Witching Hour Glitch Productions and Gooseworx & Sakura's The Amazing Digital Circus Akihisa Maki & Miki Yatsubo's Albus Changes the World Asato Shima's The Seaside Where Dragon Boys Dwell Yori Katakura's Yakuza vs. Cat Esu Omori's Shiba Inu Rooms Agatha Christie & Aya Nikaidō's And Then There Were None Renka Misaki & Yūto Suzuki's Sakamoto Days: Assassin’s Blues LN 3-in-1 edition of Mizuho Kusanagi's Yona of the Dawn Soshichi Tonari's Horror Picture Book: Looking at Me, with illustrations by Junji Ito My Hero Academia Box Set 2 Jujutsu Kaisen Complete Box Set (Will also include Volume 0) Black Torch Complete Box Set One Piece Box Set 5: Wano to Egghead My Hero Academia: Ultra Artworks art book Dorohedoro Illustrations: Mud and Sludge art book The Studio Ghibli Chronicles book 46:10: Square Enix announced they’ve licensed the following works: Natsu Hyūga, Itsuki Nanao, & Touco Shino's The Apothecary Diaries: Xiaolan's Story Gyūnyūmugigohan's Boyish Girlfriend Mugimo's My Ex-Boyfriend Loves Boys’ Love! Yuo Yodogawa's Stalker Stalks Stalker sooncha's Yang Can’t Live Alone Shinichi Fukuda & Choboraunyopomi's My Dress-Up Darling XOXO! My Dress-Up Darling Season 2 Official Anime Fanbook Asaki Asagiri & selen's The Princess Groom 47:52: SuBLime had a couple announcements during their Valentine's Day event — Puling's Sunshine in Hades, Fumi Tsuyuhisa's Robin in the Veil of Night, & Natsuki Kizu's Given 10th Mix; meanwhile Seven Seas announced this during their Citrus Con panel that happened on Sunday that they’ve licensed IROHA MEGU's WOLFHOUND and two Hayate Kuku manga (STRANGER: A WESTERN BL & MARCHEN) 48:30: Michi Masaki's Tell Me, Dear Butler, Robico’s To Dusk and Twilight, & Jun Wakatsuki's Promise Me the Spotlight is now on K MANGA; Takumigraphics, the new spinoff imprint from Fantagraphics, has licensed Gengoroh Tagame's Do You Remember the South Island’s POW Camp? which shocked Helen; Tei Monaka & Komari Kuro's All-Rounder Maid Connie Ville has been licensed by new publisher Crossed Heart; and Eke Shimamizu's The Maid I Admire Looks Good with a Cigarette is now on Manga UP!. 49:30: Manga Mirai has a couple new additions to their service; The Lady version of Cells at Work! will be put in print by Kodansha; and the two hosts discuss Glacier Bay Books taking up what Matt Haasch wanted to do with Star Fruit Books as they announced they’ll be handling the publishing line moving forward. 54:56: MediaOCD and AnimEigo announced they’ve licensed Master of Martial Hearts & Sketchbook ~full color’S~, both expected to release this year. MediaOCD also announced the new round of titles it is adding to its store as part of the Discotek Deep Dives initiative (a good amount); meanwhile Discotek has a couple re-releases upcoming this year and a Patlabor OVA coming at some point; And finally, Sentai Filmworks has licensed Heavy Metal L-Gaim, which continues Sentai just out of nowhere licensing an older work. Streaming News 1:00:02: The Madoka Magica movie has a new release date, and you can hear the two hosts editorial thought process in this moment as they decide no matter what happens — if it screens in Japan or if it doesn’t — it will wind up in weird news somehow; Akane-Banashi will have people be able to see it, but at this moment, not on your typical anime services…which will be shocking for a Shonen Jump property. 1:02:59: We have some screenings going on in the US — Anime Central will screen the original anime Goodbye, Lara in May; Next week people will be able to watch a 4K restoration of Kiki’s Delivery Service; and Demon Slayer: Infinity Castle Part 1 will also see another screening, which leads Justin to wonder when he’ll watch it since Crunchyroll doesn’t want to stream it yet! 1:04:51: The Me and Robico film has been added to Crunchyroll; Hulu and Disney+ will stream the Rooster Fighter anime in a few weeks (will first debut on Toonami); and Hulu now has the HD versions of the Pretty Cure English dub on their service. 1:05:58: The Criterion Collection’s streaming service Criterion Channel announced will add Gunbuster: The Movie and the first season of Ghost in the Shell: Stand Alone Complex sometime in March; Hideaki Sorachi’s debut one-shot manga Dandelion is getting an anime series adaptation that will stream exclusively on Netflix starting in April; and that 18+ site Oceanveil (who also sometimes streams non-18+ anime) will stream in advance the English-subtitled first episode of Do You Like Big Girls? and Marika’s Love Meter Malfunction. Weird News 1:08:23: Pokémon’s 30th Anniversary is this year, and there’s lots of things going on with the franchise…starting with the original voice of Ash Ketchum (Satoshi in Japan) doing a Let’s Play in celebration and, well, the franchise sharing their 30th Anniversary logos. All 1,025 of them! 1:10:07: Let’s just say the highs and lows of Japan are covered in this section, from a very shirtless buff man as a hanger to an AI buddharoid. 1:12:34: Two of Japan’s famous properties — Crayon Shin-chan and Sazae-san — are gonna cross over; We got a story involving recent gold medalist and Olympic star Alysa Liu and how she has a Pochita! 1:15:41: And finally, apparently Amazon really wants to be a big player in the anime destination game, which we would take seriously except there’s no real sign that they’re actually serious about it at the moment! If there’s anything you’d like to share, please feel free to reach out to us on Twitter (@TheOASG) or comment below with your thoughts! The post TheOASG Podcast Episode 238: We Talk About The Shogakukan Scandal appeared first on TheOASG.

Segundo podcast de la temporada y tres protagonistas de lujo. Los triatletas internacionales Marta Pintanel y Pelayo González y el presidente de la Federación Española de Triatlón, José Hidalgo. El madrileño Pelayo González nos cuenta sus primeros meses en el Team FETRI, a las órdenes de Javier Gómez Noya Víctor Benages, después de su gran temporada en 2025 y a unos días de competir en la primera prueba internacional del año, la Copa del Mundo de Lanzarote. A continuación, le toca el turno a la aragonesa Marta Pintanel, que estará en la línea de salida en la primera serie mundial del año, en Abu Dhabi, para participar tanto en la prueba individual como en la de relevos mixtos. Con ella hablamos de su gran evolución en el segmento de natación y los objetivos a corto y medio plazo. Y por último, cerramos el capítulo de este mes con el presidente de la Federación Española de Triatlón, José Hidalgo, con quién hacemos un rápido resumen a la temporada 2025 y nos adelanta todas las novedades para este 2026, con el acuerdo con Suzuki, motor del triatlón, el despegue del Hyatlon y Triurban, los Campeonatos de Europa de Tarragona y Banyoles y la Gran Final de Pontevedra… y mucho más! ¡Os esperamos! #somostriatlon

durée : 00:05:25 - Le Bach du matin du mardi 03 mars 2026 - Nous écoutons ce matin le Gloria de la Messe brève en Fa majeur BWV 233 de Jean-Sébastien Bach, par le chef Masaaki Suzuki et l'ensemble Bach Collegium Japan. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

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.

Dr. Wendy Suzuki is an American neuroscientist and a professor at the New York University Center for Neural Science. Her research centers on brain plasticity—the brain's power to change. Renowned for revealing how memory-critical circuits create and preserve long-term memories, she now investigates how aerobic exercise boosts learning, memory, and higher cognition. She is the author of Healthy Brain, Happy Life: A Personal Program to Activate Your Brain and Do Everything Better.In our conversation we discuss:(01:27) Why the Brain Is So Complex (Neuroscience Explained)(01:56) The Most Advanced Part of the Human Brain(02:47) The Prefrontal Cortex: The Brain's CEO(04:49) Social Media & Shrinking Attention Spans(06:14) Brain Plasticity: How Your Habits Rewire You(09:26) Why Focus Is Becoming Rare(10:16) AI & Critical Thinking: Are We Outsourcing Our Brains?(13:55) Struggle & Learning: How Neurons Grow(14:50) Why Mental Effort Strengthens the Brain(17:57) Cold Plunges, Resilience & the ACC(23:55) How to Improve Memory & Focus Naturally(27:18) Dopamine, Doomscrolling & Social Media Addiction(35:14) Stress, PTSD & How Stress Shrinks the Brain(36:42) Positive Thinking, Gratitude & Brain Health(40:47) Loneliness, Community & Mental Health(44:00) 5 Pillars of Brain Longevity(48:35) Why 8 Hours of Sleep Matters for Brain Health(52:04) Early Signs of Dementia & Memory Loss(55:15) Brain Testing, MRIs & Prevention(59:34) The 6th Brain Health Pillar: Lifelong Learning(1:01:29) AirPods, EMF & Brain Safety(1:03:19) Neuralink & The Future of Brain Implants(1:07:47) Wendy Suzuki's Work & ResourcesLearn more about Dr. Suzuki here:Website: https://www.wendysuzuki.com/"Healthy Brain Happy Life": https://a.co/d/02R5YTTEInstagram: https://www.instagram.com/wendy.suzuki?utm_source=ig_web_button_share_sheet&igsh=ZDNlZDc0MzIxNw==Listen to the full episode on Youtube: https://youtu.be/3XwSTvE9HqM

Before Thailand. Before marriage. Before starting over acrossoceans — there was a motorcycle and a decision.In this opening chapter, I share the moment I left Buffalo, packedtwo suitcases onto a 1983 Suzuki, and headed west towardCalifornia.Excited on the inhale… scared on the exhale.For more of the story, A New Sunrise: Finding Love and SecondChances in a Far Away Land by Scott Coons is available on Amazon.

The chief conductor of the Queensland Symphony Orchestra on the chair of spikes which accompanied his early musical career, and why he doesn't tone down his Italian self for work (R)During his Suzuki lessons in Turin, Italy, a young Umberto Clerici was sitting up straight on a chair full of spikes, lest his posture slip.Umberto chose the cello as his instrument, mainly because it wasn't the violin, which sounded like a cat in a washing machine when played by the older students in his neighbourhood.Throughout his career playing in orchestras around the world, Umberto has gone to great lengths to let the music filter through him, to embody the meaning behind the notes, to learn what the composer thought or felt.Today Umberto Clerici is the chief conductor of the Queensland Symphony Orchestra.To binge even more great episodes of the ‘Conversations podcast' with Richard Fidler and Sarah Kanowski go the ABC listen app (Australia) or wherever you get your podcasts. There you'll find hundreds of the best thought-provoking interviews with authors, writers, artists, politicians, singers, psychologists, musicians, and celebrities.

In this episode, host Jason Pritchard sits down with Tomohiro Fukuzawa, Founder and CEO of SkyDrive, to reflect on a landmark year for the Japanese eVTOL OEM and what's next in 2026. Tomohiro shares how 2025 marked a breakthrough year for SkyDrive, with hundreds of successful flight tests, large-scale public demo flights and more than 400 pre-orders for its SD-05 aircraft. A major highlight last year was showcasing the aircraft at the World Expo in Osaka, where more than one million visitors saw the aircraft up close, many for the first time. The conversation dives into the technology behind SkyDrive's compact, 12-rotor multicopter design, purpose-built for rooftop operations and short urban hops, as well as its progress toward simultaneous certification with Japan's JCAB and the Federal Aviation Administration. Tomohiro also discusses strategic partnerships, including manufacturing collaboration with Suzuki and operational partnerships across Japan, Southeast Asia, India, and the U.S. From alleviating traffic congestion in cities like Jakarta to transporting organs for urgent medical procedures, the episode explores compelling real-world use cases that highlight the aircraft's potential impact. Looking ahead, 2026 will focus on certification milestones, global market expansion, and further public demonstration flights to accelerate adoption.

Cette semaine, Max et Mathieu parlent avec Patrice Bergeron, Un segment du podcast La Poche Bleue.Abonne-toi à la chaîne, laisse un like et dis-nous en commentaire tes impressions sur le show. On veut te lire!--Pour collaborations ou toutes questions : info@lapochebleue.comFacebook: https://www.facebook.com/lapochebleueqc/ Instagram: https://www.instagram.com/lapochebleue TikTok: https://www.tiktok.com/@lapochebleue Twitter: https://twitter.com/lapochebleue Youtube : https://www.youtube.com/@LaPocheBleue​​Nos podcasts sont disponibles sur toutes les plateformes : https://linktr.ee/lapochebleue Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

In hierdie week se episode van Wiele2Wiele klim hulle agter die stuur van die Suzuki Grand Vitara en vat jou saam vir die rit. Dan skuif hulle aan vir 'n insiggewende gesprek met Boddy Ramagwede van die AA oor sy #SaferCarsForAfrica-veldog. Daarna gesels hulle met Arnold Olivier van AMID (Association of Motorcycle Industry Distributors) oor hoe sake in die motorfietsbedryf staan. Wiele2Wiele op Facebook · Wiele2Wiele op Maroela Media

Há registros de casos de trabalho escravo em todos os estados do Brasil. Nas grandes cidades, ele já foi flagrado em oficinas de costura, na construção civil e até em restaurantes. O problema está mais perto do que você pode imaginar. Neste episódio, baseado na vida e no trabalho da auditora fiscal do trabalho Giuliana Cassiano, vamos saber um pouco de casos de trabalho escravo em um restaurante, numa oficina de costura e numa boate. Essa história fala também dos desafios de conciliar o trabalho de resgate com as demandas da maternidade.Créditos:Idealização: Natália SuzukiRoteiro: Natália Suzuki, Lucia NascimentoEdição:  Natália SuzukiMontagem, sonorização, trilha sonora e mixagem: Victor OliveiraGravação: Estúdio da Repórter BrasilApoio: Laudes Foundation, Fundação Avina, Fundo Estadual de Erradicação do Trabalho Escravo do Mato Grosso

In this special episode, Kelly sits down with three successful private music studio owners to share real stories of studio growth, increased income, and sustainable teaching schedules. If you are a private music teacher looking to grow your studio, raise your rates, or transition from side income to full-time teaching, this episode offers practical insight and proven results.Jessica shares how building a strong Suzuki program became the foundation of her portfolio music career. By committing to a clear teaching philosophy and long-term vision, she transformed her private lessons from a side offering into a stable, intentional business. She explains how specializing in Suzuki instruction helped her attract aligned families, improve student retention, and create consistent revenue in her music studio.Ainur walks through her six-month studio transformation. After leaving her previous job to focus fully on studio growth, she implemented strategic marketing efforts and built relationships with local schools. She secured a school teaching position, added ideal students, and increased her enrollment.Lydia shares how she scaled her cello studio steadily and sustainably. She explains how transitioning to flat rate tuition created predictable income, reduced stress, and improved communication with families. Although raising prices and restructuring her studio felt intimidating at first, the shift gave her the clarity and confidence to grow. Lydia ultimately added 18 students, left her orchestra job, and built a private music studio that supports creative fulfillment, wedding gigs, and meaningful time off.This episode is ideal for private music teachers, Suzuki instructors, violin teachers, viola teachers, cello teachers, and studio owners who want to grow their music lesson business, increase monthly income, implement flat rate tuition, and build a sustainable teaching career.

Heute reden wir über ein Auto, das eine gewisse Charakterfestigkeit erfordert. Jeremy Clarkson empfahl all jenen, die ernsthaft darüber nachdenken, sich einen Suzuki X-90 zuzulegen einst, nur nachts damit zu fahren – damit sie in diesem Auto bloß nicht gesehen werden.Und in der Tat: Das SUV-Coupé, das Suzuki der Spaßgesellschaft als „Funster“ verkaufen wollte, ist bis heute eine einmalig-bizarre Laune der Auto-Evolution geblieben. Als Stufenheck-SUV mit Targadach und Spoiler-Theke auf dem Kofferraumdeckel wirkt der X-90 auf gusseiserne Allrad-Aficionados noch immer wie ein Scherzartikel.Ob das SUV-Coupé nach Baggy-Pants und gegelten Igel-Frisuren der nächste Mode-Trend der Neunziger sein könnte, der sein Comeback feiert – darüber diskutieren jetzt Frank Otero Molanes, Jens Seltrecht und Lukas Hambrecht.Executive Producer: Christoph Falke & Ruben Schulze-FröhlichProjektleitung: Lukas HambrechtSounddesign & Produktion: Fabian SchäfflerMarketing und Ansprechpartner: Bastian SchonauerCopyrights Cover: www.oldtimer-markt.de Hosted on Acast. See acast.com/privacy for more information.

Ricky Carmichael and Ryan Villopoto discuss all the action from the SMX World Championship round 7 in Arlington. They discussed Hunter Lawrence and Pierce Brown’s first win in their perspective classes. They also dive into the two big controversial events that have so many SMX fans fuming. Follow us on Instagram TitleTwoFour Watch us on the Motorsports on NBC YouTube (0:00) Welcome to Title 24.(1:02) We catch up with team Villopoto's amateur MX adventures.(2:04) Hunter Lawrence wins his first 450 Main Event!(7:55) The whoops were a big factor at Arlington.(11:46) 450 red cross flag controversy. (24:47) Information on 5.11 raffle to win a TRIUMPH TF 450- RC Edition motorcycle. (26:00) 250 red light controversy.(31:21) What should the AMA have do ne in this situation?(37:38) A conversation with the President of the Daytona International Speedway - Frank Kelleher.(52:38) Jeremy McGrath Holeshot King Challenge.(59:54) What changes in the track from last year will be this year? And could it affect the riders?(1:06:59) Why doesn’t Suzuki make an electric start?See omnystudio.com/listener for privacy information.

It's a heated debate every day… but no one drops the gloves. Get your daily diagnosis on the health of the Habs. The Habs Lunch with Sean Campbell and Mitch Gallo.

On this episode of The Steve Dangle Podcast, 00:00 Team USA wins gold over Team Canada 25:00 Team Canada advances to the semis 35:30 The Olympic refs are terrible 42:00 Suzuki's tying goal 55:00 Leafs fans hate Team Canada because Marner scored 1:08:00 Czechia coach COPE 1:15:00 USA beats Swden 1:29:15 Slovakia has been spectacular 1:41:00 Canada vs Finland 1:44:30 Edmonton puts Paul Coffey behind the bench 1:50:30 Is Jesse cursed? Visit this episode's sponsors: Celebrate Team Canada with Tims Team Canada Olympic Hockey Cards! Purchase Team Canada Olympic Trading Cards in person at participating Tim Hortons restaurants and through the Tims app. Head to http://fabletics.com/SDP and sign up as a VIP to get 80% off everything! Watch all episodes of The Steve Dangle Podcast here: https://www.youtube.com/playlist?list=PLLk7FZfwCEidkgWpSiHVkYT7HrIzLPXlY Watch clips of The Steve Dangle podcast here: https://www.youtube.com/playlist?list=PLLk7FZfwCEieOJuIrqWyZPWSIJtVMCbLz Buy SDP merch https://sdpnshop.ca/ Check out https://sdpn.ca/events to see The Steve Dangle Podcast live! Watch hockey with us! Live on YouTube: https://www.youtube.com/playlist?list=PLLk7FZfwCEifCTX0vkKEaGg9otrW4Zl2k Subscribe to the sdpn YouTube Channel: https://www.youtube.com/@sdpn?sub_confirmation=1Join Subscribe to SDP VIP!: YouTube: https://www.youtube.com/channel/UC0a0z05HiddEn7k6OGnDprg/join Apple Podcasts: https://apple.co/thestevedanglepodcast Spotify: https://podcasters.spotify.com/pod/show/sdpvip/subscribe - Follow us on Twitter: @Steve_Dangle, @AdamWylde, & @JesseBlake Follow us on Instagram: @SteveDangle, @AdamWylde, & @Jesse.Blake Join us on Discord: https://discord.com/invite/MtTmw9rrz7 For general inquiries email: info@sdpn.ca Reach out to https://www.sdpn.ca/sales to connect with our sales team and discuss the opportunity to integrate your brand within our content! Learn more about your ad choices. Visit megaphone.fm/adchoices

A seven-year-old chooses the cello because “you get to sit,” and decades later becomes a sought-after pedagogue who reshapes how students think about practice, expression, and careers. That's the arc that The Cello Sherpa Podcast host, Joel Dallow, explores with cellist and educator Melissa Kraut, equal parts heart, humor, and hard-won clarity.We dive into the early thrill of playing by ear and the long road to loving theory, including candid stories about faking through parts and finally discovering how analysis deepens expression. Melissa explains why Suzuki training transformed her teaching, giving her a surgeon's eye for root causes: when an advanced player stalls, she can trace the issue to its origin and rebuild from first principles. Along the way, mentors like Alan Harris and Hans Jorgen Jensen model how systematic thinking liberates phrasing, color, and timing rather than boxing them in.The conversation widens to what it means to teach now. Melissa shares how raising a daughter on the spectrum reframed her communication: if the student can't demonstrate understanding, the language must change. She “takes the temperature” at every lesson, pairs high standards with genuine kindness, and treats misses as information instead of verdicts. We talk about the pressures of social media, the myth of perfection, and practical strategies for separating identity from outcome so players can do deep, focused work without self-punishment.Shifting from the Cleveland Institute of Music to the DePaul University School of Music, Melissa unpacks the differences between a pure conservatory and a conservatory mindset within a university. Chicago's rich ecosystem, symphonic partnerships, chamber culture, and a wider campus life, offers students fresh ways to grow. And for anyone wrestling with career decisions, Melissa's advice is grounding: start with a small “why,” let it evolve, and build your path step by step. Talent gets you moving; clarity, systems, and connection keep you climbing.If this resonates, follow the show, share it with a friend who needs a nudge, and leave a quick review to help others find us. What's your why right now?For more information on Melissa: https://www.melissakraut.com/You can also find Melissa on FacebookIf you are looking for in person/virtual cello lessons, or orchestral repertoire audition coachings, check out www.theCelloSherpa.comFollow us on Facebook, Instagram, Threads & YouTube: @theCelloSherpaFor more information on our sponsor: www.CLEAResources.com 

Hour 2 of the Big Show with Rusic and Rose is on demand! To kick off hour 2 the guys are joined by Big Show Team Canada Analyst and Media Superstar, Brent Krahn! Krahn breaks down Canada's narrow 4-3 victory over Czechia in the Quarterfinals of the Olympic Men's Hockey Tournament. Krahn touches on the play of Marner and Suzuki, the loss of Sidney Crosby, Jordan Binnington and much more!(25:17) Later on, we hear from an Australian reporter who may have had one too many. Then the guys are joined by Orthopedic Surgeon, Dr. Jason Werle to discuss what this years Hospital Home Lottery Show Home is supporting this year!The views and opinions expressed in this podcast are those of the hosts and guests and do not necessarily reflect the position of Rogers Media Inc. or any affiliate. Get full Flames games and great shows like Quick 60: The Stamps Show, Wranglers Watch and more ON DEMAND.

Big Show + with Shan Virjee and Connor Gronsdahl is on demand! The guys kick off the hour by breaking down Canada's Quarterfinal win over Czechia in overtime. They talk about the Marner winner, the Suzuki tip, the missed too many men call and more. Then, they ask the question: Was yesterday the best day of hockey ever? (33:41) Later on, Shan and Connor preview the Women's gold medal game between Canada and the USA later today. The views and opinions expressed in this podcast are those of the hosts and guests and do not necessarily reflect the position of Rogers Media Inc. or any affiliate. Get full Flames games and great shows like Quick 60: The Stamps Show, Wranglers Watch and more ON DEMAND.

Justin Cuthbert and Jesse Fuchs kick things off with Ailish Forfar (1:56) live from Milan! They break down a busy day of quarterfinals action across the men's hockey tournament and discuss her experience taking it all in from Canada House, the vibes when Mitch Marner got Canada into a spot in the semifinals, how Canada can rebound from Sidney Crosby's injury, and if we should expect to see him suit up again this week. Then, they discuss Canada's women's hockey team's gold medal matchup against Team USA and what Canada needs to do to defeat a powerhouse American side. Later, Justin and Jesse dive deeper into Canada's narrow victory over Czechia earlier today and break down the coaching decisions, Binnington's performance between the pipes, Suzuki and Marner's heroics, takeaways from Team USA's men's Hockey team heading into the semifinals, and much more.The views and opinions expressed in this podcast are those of the hosts and guests and do not necessarily reflect the position of Rogers Sports & Media or any affiliates.

Thing are weird in Heroes Three HQ, so welcome back to another Heroes Three Gaiden: Three is (Not) the End. This week, Matthew is joined by Jennifer and Joey to discuss pink film, nuns, and lack of subtley with School of the Holy Beast (1974), directed by Norifumi Suzuki. AKA The TransgressorFollow Jenn on Bluesky and LetterboxdFollow Joey on Bluesky and Pachinko Pop on LetterboxdFull cast and credits - IMDBFind us online - ⁠https://linktr.ee/Heroes3Podcast⁠Email us! - ⁠heroes3podcast@gmail.com⁠Check out some H3 art and merch! - ⁠https://www.teepublic.com/user/kf_carlito⁠ Timestamps(00:00) Intro(02:00) Movie Background(05:27) Quick Recap(07:40) Our Leading Lady, Yumi Takigawa(10:34) Highlights(33:29) Home releases for Suzuki's movies(36:10) Final Thoughts(38:51) Plugs and the end

Sur cet épisode de Le Sick Podcast, Anthony Martineau et Éric Bélanger se joignent à Éric Hoziel et Alexis Lavoie-Martel pour parler du match Canada-Tchéquie! De plus, commentaires en direct quelques minutes après la victoire du Canada avec votre animateur, Tony Marinaro! Learn more about your ad choices. Visit megaphone.fm/adchoices

Team Canada survives . Binnington stands tall. Suzuki responds . Marner scores game winner . Will Canada still win Gold with Bobano and Cam Stewart 

It's a heated debate every day… but no one drops the gloves. Get your daily diagnosis on the health of the Habs. The Habs Lunch with Sean Campbell and Mitch Gallo.

Matthes, Weege and Rarick get together to talk about Seattle 1993 which included Brian Swink's close second, talk about Swink's career, guys pushing the gate down, all the categories and then Marshall Plumb, who worked for Swink this night talks about Brian, Suzuki days, Rollerball and more.

Here at Oxley Bom, everyone knows that the thing we're most famous for are our 'charming' personalities. Like, we can promise we don't physically bite - but that's about the limit of what we can guarentee. So you'll understand when I say it is a great honor to have an actual returning guest to our show! Who is this dauntless fellow? Why, it's the awesome Livio Suppo! For those not in the know (or those who haven't listened to our interview two years ago) we should probably tell you that Livio is an actual real-life legend in the pit, leading teams for Ducati, Honda and Suzuki. Oh, and he worked with some small riders like Casey Stoner and Marc Marquez. I don't know, you might have heard of them...So get ready to hear some insights from our man on the inside – but be warned, because this week we're taking no prisoners! Want more? Visit our website or support us on Patreon. With big thanks as always to Brad Baloo from The Next Men and Gentleman's Dub Club for writing our theme song. Check out The Nextmen for more great music! 

On the practice of sitting, walking, becoming, and living as yourself, precisely where you are. (0:00) – Introduction and Guest Welcome (2:21) – Gru's Journey to Zen Practice (5:53) – Elena's Personal Reflections (12:18) – The Concept of "Becoming Yourself" (19:34) – The Role of Precepts and Ethical Practice (32:29) – The Importance of Confidence and Effort (37:46) – Conclusion and Gratitude This long-awaited new book from Shunryu Suzuki: Becoming Yourself: Teachings on the Zen Way of Life, edited by Jiryu Rutschman-Byler and Sojun Mel Weitsman, is one of my favorite books of 2025. Jiryu Rutschman-Byler is a Soto Zen Buddhist priest and teacher in the lineage of Shunryu Suzuki Roshi, with dharma transmission from Sojun Mel Weitsman. Jiryu has trained residentially in Zen temples since 1996, and currently serves as a co-Abbot of San Francisco Zen Center through his role as Abiding Abbot of Green Gulch Farm Zen Center. Shunryu Suzuki was one of the most influential spiritual teachers of the Twentieth Century and a founding father of Zen in America. Suzuki's Zen Mind, Beginner's Mind, first published in the U.S. in 1970, is considered one of the most important Buddhist books in modern history, and has been translated into more than thirty-five languages. A Japanese priest of the Sōtō lineage, Suzuki taught Buddhism in the United States from 1959 until his death in 1971. He was the founder of the San Francisco Zen Center and the Tassajara Zen Mountain Center. While contemporary Buddhist figures such as His Holiness The Dalai Lama, Thích Nhất Hạnh, and Pema Chödrön are more familiar to American audiences, Shunryu Suzuki was among the first Buddhist teachers with cultural influence in the West and was the first to establish a lasting practice community in the U.S. Importantly, the warmth, humor, and simplicity of Suzuki's teachings made Buddhism accessible. For decades, the San Francisco Zen Center has preserved an archive of Suzuki's original audio teachings, most of which have never been edited or published. Becoming Yourself: Teachings on the Zen Way of Life offers newly available teachings by Suzuki, exploring a practice he describes as fundamentally about "becoming yourself." Rather than offering a philosophy or even a set of techniques, Suzuki points to a way of being, and calls readers to the simple practice of zazen, or "just to sit," as the expression of a fulfilling life and grounded ethical orientation. Becoming Yourself is a result of the painstaking efforts of the Zen community over many years. Archiving, transcribing and interpreting Suzuki's intention clearly and accurately proved to be very challenging work. The final editor and compiler of the book is Jiryu Rutschman-Byler, a senior teacher and co-Abbot of the San Francisco Zen Center. As we learn in these pages, "becoming yourself" is not meant to be understood as an idea but rather tried out as a way of being. It is a practice of deeply connecting with how it feels to be alive in your surroundings, whether on a meditation cushion or not, and stepping forward from that connection. It is opening to your life, wherever you are, and finding right there a deep well of innate wisdom, compassion, and care.

On this episode of The Sick Podcast, Craig Button joins Tony Marinaro to discuss Team Canada's 5-0 win over Czechia, Jordan Binnington silencing his doubters, the Canadian stars showing up in a big way, Nick Suzuki leaves his mark on the game, Juraj Slafkovsky's progression since being drafted and much more! Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome to a Special Edition of the Two Man Power Trip with host John Poz, as he shares the Top 10 AJ Styles Matches in NJPW. Poz will talk about NJPW, Japan, Top 10 AJ Styles Matches in NJPW including Suzuki, Okada, Tanashashi, Naito, Ibushi, Nakamura, and so much more!Follow us on Twitter and IG @TwoManPowerTripStore - Teepublic.com/stores/TMPT

It's a heated debate every day… but no one drops the gloves. Get your daily diagnosis on the health of the Habs. The Habs Lunch with Sean Campbell and Mitch Gallo.

O Estado começou a fiscalizar denúncias de trabalho escravo somente em 1995.  Alguns dos piores casos aconteciam em carvoarias, onde trabalhadores, inclusive crianças, passam as suas vidas inteiras em  meio ao calor e a fuligem dos fornos. Na época, os resgates eram feitos com poucos recursos por agentes do Estado, que aprenderam a enfrentar o problema, na prática. Créditos: Idealização: Natália Suzuki Roteiro: Vitor Camargo Edição: Natália Suzuki e Lucia Nascimento Montagem, sonorização, trilha sonora e mixagem: Victor Oliveira Gravação: Estúdio da Repórter Brasil Apoio: Laudes Foundation, Fundação Avina, Fundo Estadual de Erradicação do Trabalho Escravo do Mato Grosso

The GM Guru Justin returns to go up against mainstay Dylan to see who can guess the top 5 budget off roaders from 5 years ago. Which SUV has gone up in value since then? Dylan bought a new budget off roader and it's a luxury british SUV. Justin got his eyes set on a Suzuki you probably forgot about. And I got my eyes set on another Montero, a generation I never owned. We talk 90's Jeeps, XJ, TJ, ZJ and YJ. Spring time is upon us which means it is off road season, which budget off roader would we buy?

In this episode, I sit down with drummer Kim Trammell for an honest, wide-ranging conversation about groove, identity, longevity, and finding your way back to joy in music. Kim is an intensely musical player whose feel, touch, and sound are unmistakable, and this conversation traces her path from early classical training to decades of professional drumming in Memphis and beyond. We talk about how her background in piano and orchestral percussion shaped her approach to the drum set, why timpani was such a formative instrument for her, and how classical technique translated naturally into tone, touch, and control on the kit.Kim shares her early musical story, starting with Suzuki piano at a young age, followed by rudimental snare drum training and a strong classical percussion education at the University of Memphis. She explains how she never took formal drum set lessons, instead transferring everything she learned in orchestral percussion into real-world playing situations. We talk about the importance of sound production, the influence of Fred Hinger's timpani approach, and why understanding how to pull sound from an instrument matters more than simply hitting it.A significant chapter of the conversation centers on Kim's years playing professionally in Memphis, including formative experiences on Beale Street and a pivotal five-year house gig at a casino in Tunica, Mississippi. Kim describes playing eight hours a day across constantly changing genres, learning how to truly listen, and developing pocket by following seasoned musicians who demanded restraint, patience, and deep time feel. She reflects on how those experiences reshaped her sense of groove, taught her how to place notes behind the beat, and forever changed how she hears music.We also dive into Kim's decision to step away from full-time performing and pursue a second career as a massage therapist. She speaks candidly about burnout, the physical toll of decades of drumming, and the emotional cost of turning music into a constant source of income. Kim explains how studying body mechanics and healing work transformed her relationship to her own body and helped her rediscover music as a source of joy rather than obligation. We talk about posture, self-care, and why musicians so often neglect their bodies until something breaks.The conversation turns deeply personal as Kim and I discuss sobriety, presence, and self-forgiveness. Kim shares her long journey of choosing sobriety, recognizing unhealthy patterns, and reclaiming clarity, health, and emotional honesty. We talk about how the music industry can normalize destructive habits, why change is frightening but necessary, and how being fully present is one of the greatest gifts musicians can give themselves and others.We also explore Kim's perspective on social media, identity, and self-worth. She reflects on joining Instagram later in life, why she shares music without chasing validation, and the dangers of tying personal value to views, likes, and algorithms. Kim speaks powerfully about separating self-worth from musical ability, encouraging younger musicians to protect their mental health and remember that music is something they do, not who they are.We close by talking about groove, pocket, bass, and drum relationships, favorite drummers, Memphis's rich musical legacy, and the importance of honoring the song above all else. This is a thoughtful, vulnerable, and profoundly human conversation about music, healing, and staying connected to what matters most.Thank you for listening. If you have questions, feedback, or ideas for the show, please email me at brad@thebandwichtapes.com.The theme song, "Playcation", was written by Mark Mundy.

Megan Orton is a Suzuki trained violin teacher, a parent, and owns Mindful Media where she shares about screen time and parenting and helps parents and caregivers make smart decisions about screen times in their homes.  We have a great conversation about how low efffort - high reward ativities like some kinds of screen time can make it hard to transition into more deeply focused work like music practice and some ideas to think about as you navigate screen time and music practice (or talk to families in your program who do).  Links in this Episode Find Megan Orton's Handouts and Website HERE Join Christine's March 7th Talk as an Individual or as a Studio Resources at SuzukiTriangle.com Connect with Christine on Instagram Request a Parent Talk, Presentation, or Book Club Discussion with Christine  TRANSCRIPT  

Richard Jaffe was a student at the San Francisco Zen Center for years. He went on to become a leading Buddhist scholar who has spent a lot of time in Japan and knows Buddhism and especially Soto Zen there thoroughly in Japanese. He's a professor of religion at Duke University retiring this or next year. His first book was Neither Monk nor Layman: Clerical Marriage in Modern Japanese Buddhism followed by collections of the writings of D.T. Suzuki. On Duke's site it says: Richard Jaffe specializes in the study of Buddhism in early modern and modern Japan. In particular he has focused his research and teaching on the transformations that took place in Japanese Buddhist practice in the nineteenth and twentieth centuries. Jaffe's current research centers on the role of D.T. Suzuki in the globalization of Japanese Buddhism in the twentieth century. He also has questions for me later on in this podcast,

Sur cet épisode de Le Sick Podcast, Éric Bélanger, Éric Hoziel et Anthony Martineau se joignent à Tony Marinaro! Learn more about your ad choices. Visit megaphone.fm/adchoices

The EU-India trade deal was partly a geopolitical statement, directed towards Trump. But what's actually in it? What were the toughest bits to agree, who gave up concessions, and what will the deal mean for the economies of India and the EU? Soumaya Keynes is back to chat to Nicolas Köhler-Suzuki, adviser for trade and economic security, Jacques Delors Institute, and Ajay Srivastava, founder of the Global Trade Research Initiative in Delhi, and a former trade negotiator. Subscribe to Soumaya's show on Apple, Spotify, Pocket Casts or wherever you listen.Further reading: EU and India seal trade pact to slash €4bn of tariffs on bloc's exportsIndian exporters seek new markets after Donald Trump's trade blitzEU leaders push to implement Mercosur trade pactPresented by Soumaya Keynes. Produced by Josh Gabert-Doyon, Manuela Saragosa is the executive producer. Original music and sound design by Breen Turner. The FT's global head of audio is Cheryl Brumley.Read a transcript of this episode on FT.com Hosted on Acast. See acast.com/privacy for more information.

(0:00) Welcome to Title 24.(4:53) Chase Sexton wins for the first time in his new team..(11:17) RV " and Eli is more of a Hammerhead"(16:36) Has not having Jett Lawerence race so far shown us just how good Hunter really is?(24:27) What does Webb need to do to get on the podium? Is it mental or could it be the bike?(33:12) Soundbites from Justin Cooper, Dylan Ferrandis, Jorge Prado, and Jason Anderson.(36:18) Is Anderson better in a Suzuki or Kawasaki? He looks more comfortable.(39:20) Haiden Deegan goes two in a row in a convincing win at Anaheim 2.(40:43) Michael Mosiman has back-to-back podiums.(43:14) Bad luck for Chance Hymas and Levi Kitchen go down on the first lap of the main.(47:42) McAdoo vs Ryder Difrancesco.(48:43) Is there anything Anstie or anybody else can do or is this just Deegan's to lose?(50:53) There was a crash resulting in a red flag during the SMX Next race.(1:01:25) During qualifying, I noticed the guys get stopped by an official when they go around the whoops. What is that for?(1:03:19) With the elimination of practice, do you think press day gives a handful for riders an advantage over those who don't get the time on track?(1:06:16) Would Ricky or RV would choose a gate on the inside of them over the condition of the rut out of the gate?(1:09:12) Who do you want to win the Super Bowl?(1:13:08) RC asks RV : "Would you ever let an opponent follow you during practice if you were doing a fast lap?" Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

JBL's title reign, John Cena's rise and The Undertaker's forgotten transition on '04 SmackDown. Simon Miller presents 9 Things You Learn Binge Watching Every WWE SmackDown From 2004...ENJOY!Follow us on Twitter:@SimonMiller316@WhatCultureWWEFor more awesome content, check out: whatculture.com/wwe Hosted on Acast. See acast.com/privacy for more information.

Send us a textBest bike in the world this weekworst bike in the world this weekSupport the showSend emails to contact@nocomotopodcast.com, it doesn't have to be important. Check out our Patreon Or join the Discord Check out these other awesome Motorcycle Podcasts Creative Riding- Our Sister Show on the Moto1 Podcast Network! Moto Hop - Our friends Matt and Missy make T shirts, stickers, and this quality podcast. They are quick to point out our inaccuracies. Thanks guys. Cleveland Moto - Probably the most knowledgeable group of riders with a podcast. When it comes to motorcycles anyway. You're Motorcycling Wrong - Remember Lemmy from Revzilla? Of course you do, you could never forget. He and his friends make this awesome show. Motorcycles and Misfits - A podcast starring Bagel

Send us a textBest bike in the world this weekworst bike in the world this weekSupport the showSend emails to contact@nocomotopodcast.com, it doesn't have to be important. Check out our Patreon Or join the Discord Check out these other awesome Motorcycle Podcasts Creative Riding- Our Sister Show on the Moto1 Podcast Network! Moto Hop - Our friends Matt and Missy make T shirts, stickers, and this quality podcast. They are quick to point out our inaccuracies. Thanks guys. Cleveland Moto - Probably the most knowledgeable group of riders with a podcast. When it comes to motorcycles anyway. You're Motorcycling Wrong - Remember Lemmy from Revzilla? Of course you do, you could never forget. He and his friends make this awesome show. Motorcycles and Misfits - A podcast starring Bagel

Mitch and Gleb start off the podcast year with some updates in the Dakar Race, FIM helmets, Suzuki models, and hopes for the motorcycle world in 2026.Buying Riding Gear? Use our affiliate link and help out the podcast https://imp.i104546.net/3eZdXdHelp us support the pod or buy us a coffee! https://www.buymeacoffee.com/tdtmotorcyclesSpecial thanks to Derek Brown for our new song and logo! Check out his stuff belowdb SPL links:https://www.dbspl.studio/https://www.instagram.com/db_spl_/Glenarvon:https://www.glenarvonmusic.comhttps://www.instagram.com/glenarvonmusic/------------------Send us your questions and comments totdtmotorcycles@gmail.comFollow Us: Instagram: @gleblapham @meech2dbeech YouTube: @gleblapham

What if better writing doesn't start with a prompt, but with what's already living in a child's mind? On this episode of The Brainy Moms Podcast, Dr. Amy and Sandy sit down with Andrew Pudewa, founder of the Institute for Excellence in Writing, to trace a surprising line from Suzuki violin training to strong language skills. Andrew shares how deep listening, memorized repertoire, and deliberate repetition lay the groundwork for fluent expression—whether you're bowing a cello or crafting a paragraph. Input shapes output: the richer the vocabulary and sentence patterns a child absorbs, the more creative and confident their writing becomes.We unpack the twin engines of memory and imagination and why they share the same neural real estate. That insight reframes everything from read-alouds to comprehension: prior knowledge often outweighs decoding when it comes to understanding, and books ask kids to co-create mental imagery word by word. Andrew contrasts that with today's “cartoons on steroids,” where hypervisual stimulation, thin language, and passive consumption blunt attention and displace inner pictures. The fix isn't anti-tech dogma; it's smarter sequencing—long-form stories first, screen adaptations second, and daily habits that favor focus over flicker.Then we tackle AI. Yes, modern tools can collect and polish at lightning speed, but only students who know the underlying process will use them well. Andrew argues for paper-first drafting to recruit more of the brain—motor planning, spatial processing, and the intuitive, artistic networks that spark better ideas. From there, we walk through his step-by-step method for transforming reluctant writers: start with short source texts, build keyword outlines, ask structured story questions, and move toward inventive writing that recombines known elements. Along the way, parents become coaches who prize process over product and help kids stack small wins into lasting confidence.If you wonder about about attention, language, handwriting, and how to raise resilient thinkers in an AI world, this conversation offers clear tools and a hopeful roadmap. Subscribe, share with a friend who's teaching a reluctant writer, and leave a review telling us one change you'll try this week. ABOUT US:The Brainy Moms is a parenting podcast hosted by cognitive psychologist Dr. Amy Moore and Sandy Zamalis. Dr. Amy and Sandy have conversations with experts in parenting, child development, education, homeschooling, psychology, mental health, and neuroscience. Listeners leave with tips and advice for helping parents and kids thrive. If you love us, add us to your playlist and follow us on social media! CONNECT WITH US:Website: www.TheBrainyMoms.com Email: BrainyMoms@gmail.com Social Media: @TheBrainyMoms Subscribe to our free monthly newsletter Visit our sponsor's website: www.LearningRx.com

In this Huberman Lab Essentials episode, my guest is Dr. Wendy Suzuki, PhD, a professor of neural science and psychology at New York University. We discuss simple, daily habits to improve focus, memory and overall cognitive performance. Dr. Suzuki explains how exercise directly enhances brain function—both the immediate benefits of a single workout and long-term support for cognitive health. We also discuss how meditation, verbal affirmations, sleep and other behavioral practices positively influence mood and stress regulation. Episode show notes: https://go.hubermanlab.com/7gTmlIR Join the Huberman Lab Neural Network Newsletter: https://www.hubermanlab.com/newsletter Thank you to our sponsors AG1: https://drinkag1.com/huberman BetterHelp: https://betterhelp.com/huberman Eight Sleep: https://eightsleep.com/huberman Timestamps (00:00:00) Wendy Suzuki (00:00:21) What Makes Moments Memorable? (00:02:24) Memory & Hippocampus, Imagination (00:05:35) Sponsor: BetterHelp (00:06:37) One-Trial Learning, Fear (00:08:10) Exercise Effects on Focus, Attention & Memory (00:12:31) Brain-Derived Neurotrophic Factor (BDNF) & Exercise (00:15:10) Sponsor: AG1 (00:16:55) Tools: Cardiovascular Exercise; 10-Minute Walk & Mood (00:18:43) How Exercise Increases BDNF (00:20:47) Adults, Neuron Growth, Hippocampus (00:22:51) Exercise Effects on Memory, Tool: Morning Exercise (00:26:08) Exercise & Long-term Effects on Cognition, Older Adults (00:27:56) Minimum Exercise For Cognitive Benefits (Adults, 30s-50s) (00:32:03) Sponsor: Eight Sleep (00:33:22) Increase Exercise For Greater Cognitive Benefits (00:35:30) Affirmations, Exercise, Mood, IntenSati (00:37:37) Meditation & Benefits, Tool: Brief Meditation (00:39:32) Tools to Improve Attention Disclaimer & Disclosures Learn more about your ad choices. Visit megaphone.fm/adchoices

The Hebrew word יד means hand, but also so much more. Let's find out its other meanings, idioms, and expressions Israelis often use. And what's yad2?  Guy gives us a hand with the lesson. Hear the All-Hebrew Episode on Patreon   New Words and Expressions: Yad, yadayim – Hand, hands – יד, ידיים Ten / tni li yad – Give me a hand – תן לי יד Ani lo rotse latet le-zeh yad – I don't want to collaborate with this – אני לא רוצה לתת לזה יד Bishvilech ha-yare'ach etslo ba-yadayim – For you the moon is in his hands – בשבילך הירח אצלו בידיים Ani yad rishona – I am the first owner of the car – אני יד ראשונה Eize yad ha-oto? – What ownership is the car? – איזה יד האוטו Oto yad rishona – First hand car – יד ראשונה Oto yad shniya – Second hand car – יד שנייה Al yedey – By – על ידי Al yedey mi? – By whom? – על ידי מי Al yedey David – By David – על ידי דויד Al yedey ha-yeled – By the child – על ידי הילד Leyad / Al yad – Near – ליד / על יד Ba-bayit leyad ha-mesila – At the house near the railroad tracks – בבית ליד המסילה  Rechev yadani – Manual car – רכב ידני Teivat hiloochim yadanit – Manual gearbox – תיבת הילוכים Suzuki swift yadanit – Manual Suzuki Swift – סוזוקי סוויפט ידנית Yadit, yadiyot – Handle, handles – ידית, ידיות Yadit ha-delet – The door handle – ידית הדלת Avodat yad – Handmade / handicraft – עבודת יד Lalechet Yad be yad – To walk hand in hand – ללכת יד ביד lilchots yadayim – To shake hands – ללחוץ ידיים Lechitsat yad – Handshake – לחיצת יד Lakachat et atsmecha bayadaim – Pull yourself together – לקחת את עצמך בידיים Leharim yadayim – Put your hands up – להרים ידיים Lo leharim yadayim – Don't give up – לא להרים ידיים Lishloach yadayim – To grope – לשלוח ידיים Im yad al halev – With hand on heart – עם יד על הלב   Playlist and Clips: The Idan Raichel Project – Bo'ee (lyrics) Lea Shabbat – Yare'ach Ba-shamaiym (lyrics) Yad2 Campaign Rivka Zohar – Ha-bayit leyad ha-mesila (lyrics) Teivat hiloochim yadanit – Manual gear Yadiyot – Handles Avodat Yad – Handmade Ofra Haza – Yad Be-Yad (lyrics) Ninet Tayeb – Be-sof Ha-olem (lyrics) Yehudit Ravits – Lakachta et Yadi be-Yadcha (lyrics)

(0:00) Welcome to Title 24.(2:15) The last week of the 2-week 2026 Dakar Rally is on its way.   #9 Ricky Brabec (USA) is now in 2nd in the bike division. (3:07) Does Eli “look better” on a KTM than a Yamaha?(11:31) Is there is merit to what Prado was talking about last year or is it just Chase being Chase? (20:29) RV and RC share their thoughts on the #1 plate Cooper Webb at Anaheim 1?(24:59) What about the Suzuki boys?(34:13) It's Max Anstie not Haiden Deegan that is going to have the red plate next week.(40:08) What do you think of Chance Hymas ripping it up on the starts?(43:12) Hey! First time SMX podium for RYDER DEFRANCESCO!(45:56) "And then the chef….Are we getting Wagyu or Hamburger Helper?" RV speaking about Levi Kithchen.(49:36) Did you see the McAdoo crash with Haiden Deegan?(54:46) Do you think track design was partly to blame for the Malcolm/Barcia incident?(1:05:10) What are your thoughts on riders wearing action cameras?  Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

In the last episode before Zack's triumphant return, Spurg and guest host Ari Henning celebrate the 40th anniversary of the Suzuki GSX-R by digging into its rise, fall, and rebirth as one of the most prolific motorcycles in the industry. The guys also dive into the challenge of finding a good used GSX-R and discuss the "Gixxer Bro" culture. Plus, stick around for a very special Engine Sound Guessing Game! Check out more from RevZilla: Common Tread: News, opinions, and written reviews RevZillaTV: Bike reviews, How-To's, and product videos