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Listen and subscribe to Money Making Conversations on iHeartRadio, Apple Podcasts, Spotify, www.moneymakingconversations.com/subscribe/ or wherever you listen to podcasts. New Money Making Conversations episodes drop daily. I want to alert you, so you don’t miss out on expert analysis and insider perspectives from my guests who provide tips that can help you uplift the community, improve your financial planning, motivation, or advice on how to be a successful entrepreneur. Keep winning! Two-time Emmy and Three-time NAACP Image Award-winning, television Executive Producer Rushion McDonald interviewed Nandi Edouardo. Guest: Nandi EdouardoHost: Rushion McDonald (Money Making Conversations Masterclass)Focus: Education innovation, entrepreneurship, and building Simple View Academy (SVA) Nandi Edouardo, founder of Simple View Academy, shares her journey creating a charter school in Georgia designed to integrate entrepreneurship, financial literacy, and project-based learning into traditional education. Her mission centers on empowering students—especially Black and brown youth—to become creators, innovators, and financially literate leaders.

In this week's episode of the Black Girl Nerds podcast, we chat with the filmmakers behind the movie 'Kingston' which premiered at the 2026 Tribeca Film Festival. At the prestigious Kingston College, paths collide between a first generation student, the son of a billionaire, a noncommittal situationship, and a Chinese professor. The semester will shake the identity of each, and of the university itself. Carlos Key (Writer-Director) is a 24-year-old filmmaker based in New York. Spending early childhood in China and Chile, he gained an early fascination with languages and cross-cultural narratives. He continued to develop this passion through filmmaking in the following years, and pursued East Asian Studies with a focus on Chinese at Columbia University. Carlos and his now long-term creative partner Kalijah Rowe met in their Seattle high school film club. Over the past eight years the duo have collaborated on over a dozen short films, with multiple screened at festivals including SIFF and NFFTY. Their most recent projects were the short film MARRIED TO THE GAME and the featurette MEMORIES OF MEAT, where they honed their directorial style in a longer runtime format. Now, the best-friends-turned-co-directors have completed their first feature-length film KINGSTON, where they seek to capture the trials, tribulations, and general absurdity of their generation's college experience. Kalijah Rowe (Writer-Director) Kalijah Rowe is a 24-year-old filmmaker currently based in New York. After feeling limited at his film school in Seattle, he left to develop his style on his own terms. Producing numerous experimental shorts and music videos independently, he consistently found himself drawn to imagery with a surrealist texture as a tool for expressing what words could not. Kalijah and his now long-term creative partner Carlos Key met in their Seattle high school film club. Over the past eight years the duo have collaborated on over a dozen short films, with multiple screened at festivals including SIFF and NFFTY. Their most recent projects were the short film MARRIED TO THE GAME and the featurette MEMORIES OF MEAT, where they combined their individual strengths into a style that is both introspective but also kinetic. Now, the best-friends-turned-co-directors have completed their first feature-length film KINGSTON, where they seek to capture the trials, tribulations, and general absurdity of their generation's college experience. Jenna Shen (Writer-Producer) Jenna Shen is a Beijing-born filmmaker currently based in New York. She is a rising senior at Columbia University double majoring in English and Film. Her approach to filmmaking blends academic inquiry with socio-cultural awareness, with a particular focus in low budget independent, international, and arthouse cinema. EVERYTHING YOU DON'T KNOW, the first short film she co-wrote, directed, and edited in high school, has been viewed more than 40K times online and continues to spark conversations around public education in China. In New York, she has been involved in numerous thesis projects from schools such as SVA, NYU Tisch, and Columbia School of the Arts. Some of her recent credits include co-writing and producing KINGSTON (selected to compete in the U.S. Narrative Feature category at the 2026 Tribeca Festival) and co-producing MASQUERADE (a BAFTA-Yugo Short Film Commissioning Grant winner). PERFORMANCE, an experimental feature she assistant directed, is currently in post production. Host: Jamie Music by: Sammus Edited by: Jamie Broadnax Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Listen and subscribe to Money Making Conversations on iHeartRadio, Apple Podcasts, Spotify, www.moneymakingconversations.com/subscribe/ or wherever you listen to podcasts. New Money Making Conversations episodes drop daily. I want to alert you, so you don’t miss out on expert analysis and insider perspectives from my guests who provide tips that can help you uplift the community, improve your financial planning, motivation, or advice on how to be a successful entrepreneur. Keep winning! Two-time Emmy and Three-time NAACP Image Award-winning, television Executive Producer Rushion McDonald interviewed Nandi Edouardo. Guest: Nandi EdouardoHost: Rushion McDonald (Money Making Conversations Masterclass)Focus: Education innovation, entrepreneurship, and building Simple View Academy (SVA) Nandi Edouardo, founder of Simple View Academy, shares her journey creating a charter school in Georgia designed to integrate entrepreneurship, financial literacy, and project-based learning into traditional education. Her mission centers on empowering students—especially Black and brown youth—to become creators, innovators, and financially literate leaders.

Listen and subscribe to Money Making Conversations on iHeartRadio, Apple Podcasts, Spotify, www.moneymakingconversations.com/subscribe/ or wherever you listen to podcasts. New Money Making Conversations episodes drop daily. I want to alert you, so you don’t miss out on expert analysis and insider perspectives from my guests who provide tips that can help you uplift the community, improve your financial planning, motivation, or advice on how to be a successful entrepreneur. Keep winning! Two-time Emmy and Three-time NAACP Image Award-winning, television Executive Producer Rushion McDonald interviewed Nandi Edouardo. Guest: Nandi EdouardoHost: Rushion McDonald (Money Making Conversations Masterclass)Focus: Education innovation, entrepreneurship, and building Simple View Academy (SVA) Nandi Edouardo, founder of Simple View Academy, shares her journey creating a charter school in Georgia designed to integrate entrepreneurship, financial literacy, and project-based learning into traditional education. Her mission centers on empowering students—especially Black and brown youth—to become creators, innovators, and financially literate leaders.

Designers face challenges around education, certification, pay, and power, and in this episode, hosts Giulia Donatello and Lee-Sean Huang sit down with Benjie Wilhelm, Assistant Professor at ASU, Director of Strategic Initiatives at UCDA, and brand strategist "hellbent on making the world a better place," to name the elephant in the room and start talking about what it would actually take to fix it.In This EpisodeThe flattening of the profession. About 80% of designers today are self-taught or bootcamp-trained, while 90% of design work is freelance. Benjie argues this isn't just a workforce trend. It's a sign of a profession without a floor, and the consequences run from pay compression to ethical accountability gaps.Artists vs. tradespeople. Benjie's central provocation: designers need to stop identifying as artists and start thinking of themselves as tradespeople. An architect can't build a building that falls down. A plumber can't flood your house. But designers can build platforms that undermine democracy and currently face no professional consequences for doing so.The RGD model. Canada's Registered Graphic Designers designation began as a provincial act in Ontario when a group of designers organized, lobbied, and had their certification standards ratified. Benjie sees it as a repeatable model and has been studying it closely as a possible path for the US.Certification, unions, and collective action. AIGA's Professional Designer and Design Leader certifications are a start, but Benjie argues the industry needs something closer to a union model, where certification has legal weight, pay floors are enforced, and designers have the standing to say no to harmful work. He's been part of union campaigns at both Parsons and SVA."Your concerns are beneath me." During the SVA unionization campaign, one colleague dismissed the effort entirely because they could afford to treat teaching as charity work. Benjie uses this as a window into a deeper problem: a succession crisis in design, where prestige and platform stay concentrated in the same hands, and the people most affected by broken systems are the ones least able to fix them.The broken pipeline. The Federal Reserve Bank of St. Louis's Talent Disrupted report found that 52% of college graduates are underemployed at initial labor-market entry and that 45% remain underemployed 10 years later. Benjie sees this firsthand, teaching portfolio and professional practice at ASU, and refuses to pretend the path is clearer than it is.Resources Talent Disrupted report, Federal Reserve Bank of St. Louis - https://www.stlouisfed.org/open-vault/2025/aug/jobs-degrees-underemployed-college-graduates-haveRGD (Registered Graphic Designers of Ontario) - https://www.rgd.caAIGA Professional Designer & Design Leader Certifications - https://www.aiga.org/certificationJenn Stucker at BGSU - https://www.bgsu.edu/arts-and-sciences/school-of-art/faculty-staff/jenn-stucker.html Jenn Stucker on a 2024 episode of the show -  https://creators.spotify.com/pod/profile/aigadesign/episodes/Community-Engagement--Cultural-Change-with-Jenn-Stucker-e2lhodo Heated Rivalry on HBO Max - https://www.hbomax.com/shows/heated-rivalry/50cd4e99-04ee-427b-a3b4-da721ed05d9cCritical Form - https://www.instagram.com/critical_form/Benjie's Instagram - https://www.instagram.com/benjiewilhelm/ Benjie on Threads - https://www.threads.com/@benjiewilhelm  Benjie Wilhelm is a brand strategist "hellbent on making the world a better place" through design, with a decade of experience building brands for startups and nonprofits at the intersection of technology and collective well-being. He is an Assistant Professor of Design at Arizona State University, where he teaches portfolio and professional practice, and Director of Strategic Initiatives at UCDA, where he works on what a design association needs to look like now and in 10 years. 

Fabi umgibt sich auf seinem Ostschlenker nur mit tollen Menschen im Publikum und weiß fast gar nicht, welches das tollste war. Gerankt hat er es trotzdem mal. Der Berufsrentner hingegen empfindet Todesängste auf seiner Haus- und Hofstrecke beim Sporteln. Angetrieben von Marathon-Weltrekorden weiß er gar nicht, wohin mit seiner Motivation, als ihm ein unschuldiges, nach Nahrung Ausschau haltendes Wildschwein entgegenkommt. Doch mit der Routine von fast 50 Spielen bei den Alten Herren des SVA entkommt er der brenzligen Situation. Man muss mit Druck umgehen können. Eine Vorgehensweise, die sich unsere Koalition mal hätte abschauen sollen. Aber nein, da wird der Weg der direkten Konfrontation gesucht. Naja, was „Eierärsche“ so machen. Ach ja, der Bundeswal-Timmy liegt immer noch in der Bucht vor Poel – aber wie lange noch? Die Zeit weiß da vielleicht mehr… Eine Produktion von Flutlicht-Film in Zusammenarbeit mit AM|PM Du möchtest mehr über unsere Werbepartner erfahren? Hier findest du alle Infos & Rabatte: https://linktr.ee/SchlagUndFertig_Podcast Du möchtest Werbung in diesem Podcast schalten? Dann erfahre hier mehr über die Werbemöglichkeiten bei Seven.One Audio: https://linktr.ee/SchlagUndFertig_Podcast

In this powerful episode of The Reformed Brotherhood, Tony and Jesse return to their parable series with an in-depth examination of the Laborers in the Vineyard from Matthew 20:1-16. This often-misunderstood parable confronts our natural inclination toward merit-based thinking and exposes the scandal of God's grace. The hosts unpack the covenantal language embedded in the text, particularly the workers' "grumbling"—a loaded term echoing Israel's wilderness rebellion. Through careful exegesis and theological reflection, they demonstrate how this parable dismantles religious entitlement while celebrating God's sovereign freedom to bestow mercy according to His purposes, not our calculations. The discussion offers fresh insights into grace, election, and the radical generosity that defines God's kingdom economy. Key Takeaways The parable operates on covenant logic, not economic fairness: The landowner's dealings with his workers reflect covenantal promise-keeping rather than marketplace transactions, establishing that God's relationship with His people is fundamentally gracious. "Grumbling" carries profound theological weight: The Greek word used for the workers' complaint is the same term in the Septuagint for Israel's wilderness rebellion—not mere dissatisfaction, but a covenantal accusation against God's faithfulness. Two types of workers represent two approaches to God: The first-hired workers who contracted for specific wages represent those relating to God through legal obligation and merit, while later workers who trusted the owner's promise represent faith-based relationship. The reversal of payment order is narratively essential: By paying the last workers first, the landowner deliberately exposes the merit-based assumptions of the first workers, forcing them to confront their entitlement. Grace doesn't negate justice—it transcends it: The landowner fulfills every contractual obligation while simultaneously exercising sovereign generosity beyond what is owed, demonstrating that mercy and justice coexist in God's character. The parable addresses the present kingdom, not just heaven: Because it includes grumbling and complaint, this parable describes life in God's kingdom now—the "already but not yet"—rather than the consummated state. Divine sovereignty in salvation is the theological climax: The landowner's declaration "Am I not allowed to do what I choose with what belongs to me?" directly addresses God's freedom in election and the scandal of unmerited grace. Key Ideas The Covenantal Nature of the Landowner's Dealings The parable's opening establishes a formal agreement between the landowner and the first workers: one denarius for a day's labor. This contractual arrangement is crucial for understanding what follows. Unlike marketplace haggling, this represents a covenant—the landowner binds himself to provide what he has promised. Tony emphasizes that even this initial contract is an act of condescension and grace, as the master had no obligation to employ anyone at all. As the day progresses, subsequent workers are hired with increasingly less formal agreements. By the third hour, the landowner promises only "whatever is right," and by the eleventh hour, no wage is even mentioned. These later workers enter the vineyard based entirely on the landowner's character and trustworthiness. This progression mirrors the movement from law to gospel—from contractual obligation to trusting promise. The theological implication is profound: those who relate to God based on His gracious word rather than calculated merit are actually in a more secure position than those who attempt to earn their standing through works. The Wilderness Echo: Grumbling as Covenant Violation The hosts make a critical exegetical observation about the Greek word for "grumbling" (γογγύζω) used in verse 11. This is not casual complaining but the identical term used throughout the Septuagint to describe Israel's covenant rebellion in the wilderness. When the workers grumble "upon receiving" their wages, they're not merely expressing disappointment about pay inequality—they're filing a covenant lawsuit against the master, accusing him of unfaithfulness. This connection to Numbers 16 and Exodus 16-17 is devastating. The Israelites' wilderness grumbling wasn't about logistics or comfort; it was fundamentally about doubting God's covenant fidelity. By employing this loaded terminology, Matthew signals that the first workers' complaint is nothing less than accusing God of covenant violation. The landowner's response ("Friend, I am doing you no wrong. Did you not agree with me for a denarius?") is a covenant defense—he has fulfilled his obligations precisely. The workers' real offense is not miscalculation but begrudging God's freedom to show mercy beyond what is contractually required. The "Evil Eye" and Begrudging God's Grace The final rhetorical question—"Or do you begrudge my generosity?"—contains another Jewish idiom often lost in translation. The Greek literally reads, "Is your eye evil because I am good?" This "evil eye" imagery appears throughout Scripture as a metaphor for envy, stinginess, and resentment toward another's blessing. The landowner's question cuts to the heart: are you cursing me for being generous? This directly parallels Jonah's response to Nineveh's salvation. Jonah had just experienced miraculous deliverance through the great fish, yet when God showed identical mercy to the Ninevites, Jonah's response was essentially, "I knew you were gracious—that's why I ran!" The parable exposes the same perverse logic: those who have received covenant mercy begrudging that same mercy extended to others. For the Pharisees listening to Jesus, this was an indictment of their resentment toward tax collectors and sinners receiving the kingdom. For Christians today, it challenges any sense of spiritual superiority based on how long we've been in the kingdom or how much we've sacrificed. Memorable Quotes Am I not allowed to do what I choose with what belongs to me? Or do you begrudge my generosity? That 'or' is a logical connector—either I'm not allowed to do what I want with my belongings, which is ridiculous, or if I am allowed, then you must be mad at me for being generous. Those are the only options. — Tony Arsenal The grumbling in the Old Testament in this context is a covenantal accusation. These workers aren't just complaining about not getting what they thought they would—they're questioning the veracity of the covenant that was made. — Tony Arsenal Most of us are this eleventh-hour call. It's much better to be in the place of that younger brother who comes in and repents than to be the older brother who is stubborn and finds some reason to come before God with self-righteous grievances. — Jesse Schwamb Full Episode Transcript [00:01:05] Jesse Schwamb: Welcome to episode 488 of the Reformer Brotherhood. I'm Jesse  [00:01:13] Tony Arsenal: and I am still Tony, and this is the podcast where Tony comes back. Hey brother.  [00:01:19] Jesse Schwamb: Hey brother. The band is back together again, man. It's reunited and boy, do you feel it? It feels good, doesn't  [00:01:26] Tony Arsenal: it? I do, I do. I'm excited to come back. It was nice to take a break. [00:01:29] Jesse Schwamb: Good.  [00:01:29] Tony Arsenal: I, uh, I've been, you know, texted with you a couple times. Just it was, I did my best to sort of not think about the podcast because that's sort of defeats the purpose of taking a break from something if you spend a lot of time thinking about it. Um, so I'm back. I'm refreshed. I'm ready to go.  [00:01:44] Break and Work Chaos [00:01:44] Tony Arsenal: I appreciate the listeners' patience. Uh, it's been sort of a weird, crazy busy time at work. Uh, there's a lot going on. I, I lost like. 60% of my staff in the course of like three weeks. And, um, I'm still kind of in the thick of it, but we're coming out of it. So took a little bit of time to just make sure that I was having a, an appropriate space to de-stress from that and take care of my family and attend to worship. And, um, it was really a, a blessing to have that. Uh, sort of sabbatical. Ironically, the sabbatical wars were going on at the same time on Twitter, and Jesse is blissfully unaware of that 'cause he's not involved in in the Twitter. That's true. Um, but yeah, just took a little break and it's kinda like overblown it, to call it a sabbatical. Like this is a podcast, it's a hobby, but, but it was nice to have, uh, a little bit of extra time, you know, couple hours extra week, uh, uh, each week of extra time to just decompress and, uh, play with the kids and spend time with my wife and clean the house a little bit, which was good.  [00:02:36] Jesse Schwamb: Yeah, it is always good to have a clean house. You look great. You seem refreshed. The voice sounds good, and I'm like, I don't know, in year seven or eight of my Twitter sabbatical, it's going great so far. I feel like I haven't missed a whole lot. The world still seems wild and I'm sure, or X, right? We gotta go X on this. It's  [00:02:53] Tony Arsenal: always Twitter. It's always gonna be Twitter. I don't care what Elon Musk  says.  [00:02:56] Jesse Schwamb: Yeah, I'm listen. I'm totally fine with that.  [00:02:58] Back to Parables [00:02:58] Jesse Schwamb: And I teased this in the last episode, but we can't be stopped. I mean, people should know this by now, we have an inexorable march through the parables of Jesus's true. That will not be stopped. We're always gonna come back until there are no more. And on this episode, we're gonna be hanging out in Matthew 20, talking about laborers in the Kingdom of Heaven.  [00:03:17] Tony Arsenal: Yeah. Yeah. I'm stoked. I'm, I'm, I'm excited to get back into it. I'm excited to get back into the word together with everybody. I'm excited to clear whatever that was on in my throat out  [00:03:27] Jesse Schwamb: emotion,  [00:03:27] Tony Arsenal: live on the air. Uh, but yeah, it'll be good. I'm, I'm stoked. I mean, I love this stuff and it's good to be back.  [00:03:32] Jesse Schwamb: Listen, you had the rest. Now let's talk about labor. So speaking of labor, it's, it's time for you to work up here, Tony. Are you affirming with or denying against on this episode?  [00:03:42] Tony Arsenal: Uh, I'm affirming something and I'm hopeful, uh, that just a little behind the scenes activity here. Jesse recorded episode 487, like an hour and a half ago. I have not yet listened to it, so I don't know if you did an affirmation and I I did. If you did. I hope it's not the same one.  [00:03:58] Jesse Schwamb: I did not. You're  [00:03:59] Tony Arsenal: safe. Uh, good. So I'm safe.  [00:04:01] Artemis II Hype [00:04:01] Tony Arsenal: So, um, I'm affirming the Artemis two mission. Um, oh, nice. Have you been, I mean, I know you're not on Twitter, but I'm sure there's news elsewhere. Uh, this amazing mission around the moon, um, for astronaut, for astronauts, I think, um, the furthest man space travel, um, since the Apollo program. Um. Pretty intense, pretty amazing pictures, right? The camera technologies amazing. Increased exponentially, uh, since we were there last. Um, this is ostensibly in preparation for an actual moon landing, which who knows when that will be? Um, but as far as I've seen, the mission was a resounding success. There was no right. I think they had, they ran into a few little hiccups early on with some technical things, but nothing crazy. I have not heard. Um, I know they did touch down and they did reentry. Um, I've not heard anything one way or another, but I'm assuming since I have not heard terrible, tragic news that they made it through, did they do the reentry? I'm really, apparently I'm not actually paying as much attention to this as I thought I was. I saw a lot of information about reentry, but I guess, I don't know for sure when that happened or is happening.  [00:05:05] Jesse Schwamb: I mean, by this point, when people listen to it, it'll be old news anyway, right? So  [00:05:09] Tony Arsenal: For sure. Yeah. And either, either it went terribly wrong and I'm gonna feel awful, or it went fine and I'm gonna feel a little silly for. Throwing a caveat that it went terribly wrong out there. But, um, it's cool. It's, it's amazing. I mean, I, I commented to my wife the other day and she's kinda like, yeah, maybe we should like, spend that money on people who are on the planet. I was like, okay, I can, I can buy that wisdom. But, um, there's something very cool and very Genesis, uh, one, ask Genesis one and two, ask about flying out into space and taking dominion over Yeah, for sure. Over a, a little ball of rock, uh, you know, uh, 25,000 miles away or whatever it is. Um. And, you know, I'm like an engineering nerd. I, I don't know anything about engineering, but I love watching YouTube videos that explain stuff like this. And  [00:05:52] Jesse Schwamb: me  [00:05:52] Tony Arsenal: too, all of the videos that have cropped up now about free return and how, like they're able to basically like do minimal burn on the thrusters to get into the right trajectory and then just like meet the moon in the place it's gonna be. And then the, you know, the moon's gravity captures it and whips it back around and then shoots it back towards Earth. And for the most part, they're able to do all of that with relatively minor, um, relatively minor energy output because they're just utilizing physics and gravity and math, um, to fly to the moon and come back. Yes. It's pretty crazy amazing. So, yeah. Amazing. And the photos of like the, the sort of like new versions of the Earthrise photos are really, really phenomenal. Um, they're crisp, they're clean, they're obviously like the best, the best actual pho photographic images we've had of the lunar surface. Um. And the, the far side of the lunar surface, which we get all sorts of like telescopic photos and things of this side of the lunar surface because it's tightly locked and is facing us at all times. We don't get a ton of really great photography of the far side of the moon, which is a big part of what this mission was, so,  [00:06:56] Jesse Schwamb: right.  [00:06:56] Tony Arsenal: Yeah. If you haven't seen the photos, I mean, they're out there, they're amazing. There will be even more available once we get back. You know, they, they're transmitting only the most stellar, amazing ones. Um, and, but they're taking, I'm sure thousands and thousands of photos and, um, so yeah, it's pretty cool. I'm affirming the Artemis two mission. Um. It's just amazing what, what people can do with common grace, you know? That's right. In insight into nature. Um, I don't know anything about the astronauts. I don't know anything about their religious faith or their spiritual life or anything like that. But, um, the people who design this, the people who fly it, they're just tapping into the truth that's present in God's creation. So good on them. Uh, either I'm glad they got home, wish they have a safe home coming, or something along those lines, I guess. I don't know.  [00:07:40] Jesse Schwamb: Yeah, you'll be happy to know that NASA is reporting that the four astronauts are an excellent condition after they landed in the Pacific Ocean. So  [00:07:47] Tony Arsenal: good.  [00:07:47] Jesse Schwamb: All, all appears to be well. And it says they have a giant SD card of pictures that's they've been taking. Yeah. And saving. I'm sure. They were just, they were just too big to send to over wifi.  [00:07:58] Tony Arsenal: Yeah. Like massive wideness. Yeah. I mean, I'm sure they have a ton that they didn't send because you know Right. Data rates to the moon are pretty high. Yeah.  [00:08:05] Jesse Schwamb: Ex. Yeah.  [00:08:05] Tony Arsenal: This economy is crazy. So  [00:08:07] Jesse Schwamb: Exactly. In this economy. Really In this economy. Yeah, exactly.  [00:08:11] Cosmic Worship Reflections [00:08:11] Jesse Schwamb: I think you're right. This is good. I haven't talked about this at all. It's hard not to get just stoked, even in the amateur way about the science, the technology, the physics of all this stuff, and then even the astronauts just being overwhelmed by what they're seeing. [00:08:24] Tony Arsenal: Mm-hmm.  [00:08:25] Jesse Schwamb: It's hard not to get pulled into that and think about the universe that God has created and find that there is something transcendent just, uh, by observing all of these things. Yeah. Like even casually, which I think shows, again, this is literally the, the heavens and the earth crying out for God, showing his immeasurable power and, you know, immortal nature. It's incredible that we can even see and be a part of some of these things. Just wild.  [00:08:49] Tony Arsenal: Yeah. Yeah, and I think it's crazy that they can get signals to the moon. I mean, I drive home from Dartmouth College and I go through half of the spot there, and I don't have a cell signal, but we can get images from the moon. Um, so yeah, it's great. It's great. Check it out if you haven't seen it. If you haven't heard about it, I don't know what you're doing. Uh, this is probably the largest major scientific advancement in our generation. Um, in terms of like big scale scientific enterprise projects. There's been a lot of really amazing technology that's been developed. But this is like the first big. Almost like risky kind of scientific,  [00:09:30] Jesse Schwamb: right?  [00:09:30] Tony Arsenal: I dunno. Gambit or I dunno, gamble that we've done in a long time. Big deal. I mean, big a lot. Deal of things. Deal. Nothing went wrong. Nothing ma major went wrong. Praise God that they all got back to the planet safely. Right. But, um, a lot of things could have gone wrong, uh, and they didn't. So check out the photos, check out the scientific data they're gonna get. I mean, I'm sure they've got all sorts of information about the way the, the, the space ship moved, all of that stuff. It's gonna be really interesting to see kind of how this all comes about.  [00:09:56] Jesse Schwamb: Get some worship on, right? Yeah. I mean this is what a one, a thing to be reminded about how big and how glorious God is. [00:10:01] Tony Arsenal: Yeah.  [00:10:01] Jesse Schwamb: And, and to realize, like you said, the risks of this exploration. And this is God again, creating all of this outta nothing. Why? Yeah. Just absolutely wild. Incredible.  [00:10:12] Tony Arsenal: Yeah. Yeah, for  [00:10:12] Jesse Schwamb: sure. Blown away.  [00:10:13] Tony Arsenal: Yeah. What about you, Jesse? What do you have for us?  [00:10:15] Bayes and Predictability [00:10:15] Jesse Schwamb: I got affirmation. It's equally nerdy, and actually this is as is always the case. This is why one of many reasons I miss you is it, it dovetails so nicely, so I'm affirming with a book. It's called Everything Is Predictable, how Esy and Statistics Explains the World. It's by a guy named Tom Chivers. I know this sounds super nerdy, but hear me out on this because Thomas Bayes, if you don't know this guy is first kind of like a wild and interesting guy, but this whole theory he put forward is super interesting. And this book is not like a mathematics book. It's like reads almost like a statistical thriller, which as it came outta my mouth, realized it was not maybe more ingratiating. I could have chosen better words than statistical thriller. But Thomas Bayes was alive in the 17 hundreds. And what's interesting to me at least about him, is he was an English statistician, who was a Presbyterian minister actually. He was a non-conformist and his, this whole theorem that he developed was actually published after his death. And the non-conformist part is super interesting. It's all in this book, even some of his different theological ideas. But because he was non-conformist, it basically meant like he couldn't learn. He was kicked out of all the English universities. He had to go to Scotland. Even all of that shaped how he came up with this particular theorem. But the gist of it is. Rather than treating like probabilities, as we think about it as this fixed frequency, you know, how many times does this thing occur? He argued and realized that it should represent a degree of belief and then you would update that belief rationally as new evidence comes in. And I know that sounds super quaint, but this is like what machine learning is based on medical diagnosis. A lot of like space travel is based on this in terms of understanding uncertainty and systems spam, all of that stuff. Here's an example, I think Tony, because we are, we have to carry forward with the top 50 medical podcast thing, right? We've got going on here. Lemme just give everybody an example of why you need this and why you automatically think this way. So. Statistics is really important, especially in medical testing. This was really prevalent in during COVID. So there's two ways that you can describe how a medical test performs you. You know this already, Tony, you're an expert. So one would be like sensitivity. So like how AIG  [00:12:19] Tony Arsenal: not an expert.  [00:12:20] Jesse Schwamb: Oh, you're definitely an expert in testing. Here we go. So one would be like sensitivity. How good is the test at catching people who are sick? So if you're sick, you, you want the test to identify that, that you're sick. That's sensitivity. So a test with a 99% sensitivity is gonna correctly identify 99 out of a hundred people who are truly sick. It always gonna miss one person. It's a false negative. The other half of that coin is something called specificity. So if sensitivity is all about catching the people who are sick, specificity is gonna say, how good is the test at clearing people who are not sick? And so a test with 99% specificity, you might have correctly guessed, is gonna identify or clear 99 out of a hundred healthy people. Now if you have a test. Both of those 99% sensitive and 99% specific, you might be thinking, that is the dream. That's exactly what I want. That that test is gonna be so precise and accurate. How could my intuition fail me? But this is the thing. It actually fails all the time, and here's why. Let's say that. You go out and you screen a group of people, a general population for a rare disease that affects one in a thousand people. One in a thousand people, rare disease. So if you screen 10,000 people from the general population, that means that truly only 10 of them are going to have the actual disease. I'm not gonna do all the math 'cause it'll, oh, this is already making for amazing podcasting. But here's the bottom line. That test, which sounds so good on the face, is going to identify 109 people as truly sick or truly having disease. But the problem is that only 10 of them actually have it. That means that only there's, it only has a success rate of 9%. There's only 9% chance you actually have the disease, but it's falsely identified. The short end of this is Bayes corrects that problem. He fixes it with his theorem so that we get to the right number of people. That's what's called like a base fallacy rate. It's not taking into account that really only 10 people should have this particular disease or this sickness. So I know that's sounds super nerdy, but so much of our lives are based on this. We have a prior belief or a prior set of things that we understand about the world. And then as evidence comes in, we refine that. That sounds so normal and normative, but it's revolutionary in this book actually. Bayes versus what's called like frequentist or frequent, um, probability is like hotly debated. People actually throw down over this theorem. So it's a really fun read. Go check out. Everything is predictable. Al Bayesian statistics explains our world. It really is for everybody. And then you can impress your friends with all the statistical pross you're gonna have when you're done reading it.  [00:14:56] Tony Arsenal: Like the medical administrator hat that I can't always take off is like, why would we screen 10,000 people? Are, are they all symptomatic? Are none of them symptomatic? But suppose it doesn't really  [00:15:08] Jesse Schwamb: matter for the example. That's a great, so generally what happens here is, let's say it's like some kind of rare form of cancer, unless you use Bayesian statistics, what you'll find is you'll get these false positive rates. So these tests do use Bayesian statistics. It corrects, in other words, for this problem. So there might be a lot of people that are gonna screen for this because if you, you wanna know if you have it, but you don't wanna get it wrong and say that you do. So this ensures his approach ensures that you get it. Right. It's wild. Fascinating stuff.  [00:15:34] Tony Arsenal: Yeah, and I would think actually, you know, there's probably, there's other mechanisms as well where they would, where they would sort of screen out. People that shouldn't be tested or help identify false negatives, false positives. Um, but yeah, that's, that's interesting. I probably won't read that book, but it sounds like an interesting read. I just don't have a lot of room on my A TBR shelf.  [00:15:55] Jesse Schwamb: Yeah, listen. That, that's fair.  [00:15:57] Goodreads DNF Update [00:15:57] Jesse Schwamb: By the way, here's like a, a side affirmation. I think you and I both share speaking like books and cataloging books. If you use Good Reads, good Reads. Right. Finally adding a list of the Do Not Did Not Finish book. That's fantastic. This, this might be an example for some people, so pick it up and even if you don't have a place for it, guess where you can put it on the did not finish list. Yeah. Good Reads.  [00:16:16] Tony Arsenal: That's finally, that's one of those like, like why didn't they add that 15 years ago? Kind of an updates and you get the email and they're like, we're so excited to introduce the did Not Finish thing. And we're like, yeah. Like of course. Like, duh. It's likes, like, we're proud to introduce that. Your keypad now has a zero on it.  [00:16:36] Jesse Schwamb: Right. So  [00:16:37] Tony Arsenal: yeah. I'm, I'm excited about the DNR, um, the DNF, um, I'm so excited. I can't even remember what it's called. Yeah. The shelf. But, uh, very, very useful. The DNR list  [00:16:47] Jesse Schwamb: is a diff it is a different list. Speaking of medical things, it's a different  [00:16:50] Tony Arsenal: list. Yeah. Yeah, that's definitely a different thing. Usually it's not a list. It's a list of one in most cases.  [00:16:56] Jesse Schwamb: Exactly,  [00:16:57] Tony Arsenal: yeah. You can't put other people on your  [00:17:00] Jesse Schwamb: DNR  [00:17:00] Tony Arsenal: This,  [00:17:00] Jesse Schwamb: I suppose. Yeah, I should clarify that. You can really, you can only really put yourself, or I suppose somebody for whom you have that kind of authority over on that list, but I was thinking that more from like a medical perspective, that somewhere there would be a database in which there might be a list of DNR. I don't know.  [00:17:15] Tony Arsenal: Yeah, maybe. I don't know. I'm not sure. Probably there was at some point, but I think with medical chart technology now, that's probably like a. A moot point. Yeah. They don't need to be able to like cross reference a master list anymore. They just look in the patient's electronic record. We're really like in the weeds here. You can tell it's been a while since I've, I've podcasted. I don't really remember how to do this.  [00:17:35] Jesse Schwamb: This is great.  [00:17:36] Segue to Matthew 20 [00:17:36] Jesse Schwamb: I think at this point we try to make some kind of awkward segue that is mildly successful. Again, probably has statistically like a 20 to 27% chance of being successful and really hitting the mark. Yeah. So do you have anything that's gonna move us into this?  [00:17:49] Tony Arsenal: Yeah, I mean, I feel like you've been podcasting for the last several weeks without me and I've been working hard and now I'm kind of coming in as Johnny come lately and we're gonna get paid the same amount so. Even though you've worked harder for longer and I'm coming in late to the game here. [00:18:03] Jesse Schwamb: Oh man. Ple loved ones. Please tell me you got that. Please tell me you got all of that. That's, that's what you show up for here. Yeah, that was  [00:18:10] Tony Arsenal: a deep cut.  [00:18:11] Jesse Schwamb: That, that was beautiful. And I think leads us right into Matthew 20. So I think we've got at least 16 verses to get through here. Maybe again, if we're gonna keep a statistical theme here, something about engineering and math, all that stuff, we'll let everybody else pick the over under and whether or not we're gonna get through this and how many verses that's going to be. But at this point, we might as well begin.  [00:18:32] Tony Arsenal: Yes. Yeah.  [00:18:33] Read the Parable [00:18:33] Tony Arsenal: I'll start by reading. Uh, we're here in Matthew chapter 20, the first 16 versus this is the parable of the laborers in the vineyard and it reads. For the Kingdom of Heaven is like a master of a house who went out early in the morning to hire laborer laborers for his vineyard. After agreeing with the laborers for a denarius a day, he sent them into the vineyard and going out about the third hour, he saw others standing idle in the marketplace. He said to them, you go into the vineyard too, and whatever is right, I will give you. So they went, going out again about the sixth hour and the ninth hour, he did the same. And about the 11th hour, he went out and found others standing. And he said to them, why do you stand here idle all day? They said to him, because no one has hired us. And he said to them, you go into the vineyard too. And when the evening came, the owner of the vineyard said to his foreman, call the laborers and pay them with their wages, beginning with the last up to the first. And when those hired about the 11th hour came, each of them received a denarius. Now, when those hired first came, they thought they would receive more, but each of them also received a denarius. And on receiving it, they grumbled at the master of the house saying, these last worked only one hour and you have made them equal to us who have borne the burden of the day and the scorching heat. And he replied to one of them, friend, I'm doing you no wrong. Did you not agree with me? For a denarius, take what belongs to you and go, I choose to give the last worker as I give to you. Am I not allowed to do what I choose with what belongs to me? Or do you beg, do you begrudge my generosity? So the last will be first and the first will be last. Now I just wanna head this off. I did bite my tongue earlier and I probably am lisping and this is like a running gag. We thought that we'd resolved it. Uh, so if you hear me stumble over my words a little bit, it's just, it's just the struggle bus today.  [00:20:24] Jesse Schwamb: Listen, this is the, these are like the real things we have to deal with when the podcasting, like the real threats, the real injuries. I appreciate you like working through it. Like you just get back up and you walk it off with your tongue.  [00:20:35] Tony Arsenal: Yeah, my, my, uh, my podcasting hiatus was actually just a recovery of the last time I bit my tongue. I just needed a couple weeks to, no, I'm just kidding.  [00:20:43] Jesse Schwamb: Yeah, we didn't wanna say.  [00:20:44] Tony Arsenal: Yeah.  [00:20:44] Kingdom Fairness and Grumbling [00:20:44] Tony Arsenal: So, Jesse, this is a, this is a parable that follows right on the heels, um, of kind of everything we've been talking about. And I think as we go through these parables and we look at them and we, we sort of pick them up and we look at the different facets of them, we sort of compare them to each other. We kind of, we kind of place them in their context really. They all have basically the same theme, right? Like they're all kind of circulating around these same topics. In this parable, it's circulating around this idea that, um, the, the owner of the vineyard, the master of the vineyard, is allowed to pay the people he employs whatever he wants. And as long as the payment that is due to an individual is received by that individual, then what other people receive and how they receive it and how hard they've worked and how hard they didn't work. That's really not germane to whether or not the, the laborer received a fair wage, uh, in the first place. Right. So we're, we're circling around themes of kind of fairness of, uh, of sort of resentment, I think for resentment at the master's generosity, which has been a big theme in previous ones. So this will be good for us to expand on. There's always little nuggets and kernels of things that are different from other parables, and then it's interesting to always see the ways that they kind of line up and, and tell us similar things.  [00:21:57] Jesse Schwamb: And this parable is unique to Matthew. Yeah. And it does function as this exposition or expansion of what Jesus says in chapter 19 where it says, but many who are first will be last. And the last first, which is repeated with this lovely like inverted emphasis in, at the end of this as you just read. So it belongs to this like interesting cluster of teacher teachings on discipleship and reward nature of the kingdom of God. And we've, we've spoken a lot about that. I think I was just reminded of this as you were, you were. Reading this, I feel like I remember this from some teaching, like this parable is kind of like a unique chiasm that's anchored on the landowner, sovereign generosity, which you brought up. And then there's the complaints of the first hired, which is mirrored by the late comers vulnerability. And then the landowners, two speeches which divide everything, kind of provide sandwich and the like, the theological climax. It does start in that really familiar way, which we've gotten accustomed to thinking about that introductory formula of the kingdom of heaven is like, and it signals of course that what follows is not gonna be a lesson in economics, but it's gonna use all this economic language as theological disclosure for how God's kingdom operates. And it starts again, like you said, with this master of the house, which to me seems. Pretty clearly like a, a God figure himself. Yeah. It's, that's kind of like a reoccurring mathian image. I think. So we've got this vineyard, which of course has all this symbolism, steeply rooted in Israel's covenant imagination and evokes God's people and his redemptive labor among them. So, man, now that I'm saying this all loud, is this thing like super pregnant with all kinds of like imagery and meaning?  [00:23:27] Tony Arsenal: Yeah. Yeah. And you know, it's, it's always good to remember, although parables have kind of some parables, most parables have sort of distinct discreet, symbolic elements where like, this represents that this represents that almost in an allegorical form. And, and in some cases, like purely in allegorical form, where it's like pilgrim's progress where each, each individual, each entity, each location each represents some sort of symbolic value. But we have to remember that when, when it says the parable of the kingdom of heaven is like the master of the house, it's not just like the master of the house. Yes. Right. It's like this whole scenario. Yes. It's, it's like. Blah, blah, blah, blah, blah. It's like everything that follows, it's like the entire, um, the entire paree here. That's what the Kingdom of Heaven is like. And one of the things that I think is striking about this is the kingdom of heaven is like some people complaining, like the people complaining about, some people are getting the same wage for less work. Um, that is part of what the Kingdom of Heaven is like. So I think we sometimes think of, of. The kingdom of heaven in, um, in the parables, we think of it as though God is just saying, this is what heaven is like. Right? Jesus Just saying like, this is what heaven is like, but the kingdom of heaven, that language is broader than what we normally would say, uh, is. We're thinking of heaven, like in the, the spiritual abode where God lives and the angels live. Um, where, where the departed saints are waiting for the resurrection, the kingdom of heaven is, is also inclusive of the, the sort of like. Time now between the victory of Christ on the cross and the consummation of the kingdom and the last day, the kingdom of heaven is inclusive of that time period too. And so this parable sort of situates us. I think it situates us in that pre consummated state where we're talking about what it's like to be a part of the kingdom of heaven here and now in our fallen state, but still solidly in the kingdom of heaven. 'cause there's not gonna be any complaining or grumbling about God's justice in God's fairness once we're in the final resurrected state. Right? Sure. Nobody's gonna be looking back and be like, yeah, you were way too gracious for that guy. Nobody's gonna be playing the Jonah part when we're all resurrected and we're worshiping for, for all time going forward. So this parable, because there are elements of. Dissatisfaction or elements of grumbling or complaining similar to like the, the parable of the prodigal son. There's this sun figure, the, the older sun figure who like is just a bonehead and doesn't get it. Well, that can't be talking about the people who are in the resurrection kingdom in the final kingdom. It's gotta be talking about people who are still awaiting the resurrection of the body and who are still not yet. Uh, and even in, in that parable, the, the older son doesn't even seem to be a figure who's, who's regener. Maybe he does become regener at some point in the future, but he doesn't seem to be. In, even in God's kingdom, he doesn't seem to be, even among God's people, he's consistently placed outside of the field. You don't even know he exists until Nick halfway through the parable. This is similar in that there are these workers, they're receiving their wages and some of them are, are outwardly dissatisfied and grumbling against the master of the house. Um, so I think if we think about parables as describing heaven rather than the kingdom of heaven, we can lose sight of, of what's actually being said in a lot of them. [00:26:50] Contracts Versus Grace [00:26:50] Jesse Schwamb: Yeah, that's really good stuff because it strikes me that there are like, strangely, two groups here mentioned, I, I find this really kind of fascinating. We, I think we should talk about this, like the first group has like the most formal agreement, it's almost a legal contract, right? Various was like a standard day laborers wage sufficient mostly for subsistence. And so that detail seems theologically loaded to me. These workers relate to the landowner on the basis of a contract and what is owed. And so their claim at the end of the day will be exactly that. They're owed something and they know it, and that sets up Then this contrast with a second group, which is mostly all about grace because by the time we get to that third hour, like. Approximately like 9:00 AM then we're beginning this pattern repeated at the sixth and the ninth hours. And crucially, for those workers who go out, go out and get recruited, there's no wage that's specified for them. Only the promise of like whatever is right. And so they enter the vineyard, not on the basis of a contract, but on the basis of like the owner's word and character. And that seems to be like more of a picture of trust and not, not calculation. Yeah. Separate than like the first group. And that marketplace, idleness, as I read this, doesn't imply like laziness because verse seven clarifies like they just had not been hired. Right? They were overworked, they were unemployed. They were marginalized. So it does set up, like you said, everything you just talked about, about the kind of this, I like that. Like the Jonah, the Jonah whiners or whatever, like yeah, they want to complain about this, right? There are, and there are two, two separate groups that have kind of been brought into the fold, not under different terms or pretenses, but differently. [00:28:17] Tony Arsenal: Yeah. And I think too, bear's saying, um. Although there are elements of parables that are very, very directly applicable. Mm. We shouldn't read this as though every, every specific thing in the parable is not a parable. Right. Right. I think we can look at this and we can go, you know, you can read this in a way where, oh yeah, there's some people actually earn their, earn their wage, they earn ary. Right. It's a fair contract. And they work all day and he says, well, I'm gonna give you what's right, what you, what I owe you.  [00:28:45] God Owes Nothing [00:28:45] Tony Arsenal: The reality is God doesn't owe any of us anything. Right? Right. He owes us wrath and judgment and destruction. And so even, even the people who are the hard workers in the kingdom of God don't merit and never could merit, um, to, in a certain sense, in a strict sense and stick with me before you send your, your angry emails in a real strict sense. Even Adam couldn't merit. What was, well, it was guaranteed to him, according to the Covenant of Works, God had to condescend to make the covenant of works in order for Adam to have any sort of fruition of his blessedness. So there there's no natural obligation, strict obligation that God has to reward the work of his creatures because nothing they could do could ever be sufficient enough to obligate him. So the, the obligation of himself, and that's, this is where I do think this is strong, the fact that he obligates himself to these workers to give them their denarius after a hard day's work  [00:29:37] Jesse Schwamb: exactly  [00:29:37] Tony Arsenal: is itself. A covenantal, um, contractual, yes. But I actually read this as sort of a covenantal thing and the, the strange part is that the people don't recognize the sort of semi gracious covenantal nature of this. Yes.  [00:29:50] Grace In The Hiring [00:29:50] Tony Arsenal: I think, um, you know, there have been times when I, where I've been unemployed, um, not for very long. Now, I know some people face unemployment for a lot longer than I ever have, but I know there was times where I was, I was looking for work and someone would say to me like, Hey, you know, my, my, my lawn needs to be mowed. Could you come over and I'll, I'll give you 25 bucks to mow my lawn. It's a small lawn. Um. That's a gracious act in most cases. Right, right. Um, yes, I'm performing a task. Yes, they're paying me, but they didn't have to offer me that work. They didn't have to offer me that job, especially when it's something that like they could have accomplished themselves. They could have just done it themselves. Um, so I think there's an element of that here, that there's, there's a condescension of the master to these workers, to these laborers who are not part of his household. These are not, they're not slaves. These are not people who are part of his household, who are regular employees. These are people that he goes out into the market to, to find and to hire. And as we see some of, some of these mark, like the difference between the ones that are hired and the ones that are not hired until later in the day, the parable's not super clear about what it is. Just that they're not hired, it doesn't say the lazy ones were left there. The ones were exactly, that were ugly or had like limp legs or like just couldn't cut it. It just says like there was some that didn't get hired. Um, so there's a gracious element of this, and that makes the recognition at the end or the lack of recognition at the end by these full day laborers, the, the sort of like recognition, this, this entitled ness, um, that actually makes it all the worst. It's like the people who are outwardly attached to the covenant of grace. Um, I know all the Baptists in our, our group, their heads just exploded, but like are outwardly attached to the covenant of grace, um, who wanna somehow complain about like the graciousness of the covenant of grace that they're outwardly attached to it. It's just sort of like a form of, of theological and temporary insanity, I think. And that's what we see on full display here.  [00:31:40] Jesse Schwamb: It's definitely all grace. You're right that nobody's gonna get injustice right in this parable. And I think that's definitely exemplified the further out you go in this hiring order. [00:31:49] Eleventh Hour Mercy [00:31:49] Jesse Schwamb: So by the time you get to 5:00 PM which is pretty extraordinary, right? Only really like one hour remains before sense, right? It's the end of the working day.  [00:31:56] Tony Arsenal: Yeah.  [00:31:56] Jesse Schwamb: You can imagine like these guys who are being hired at the hour probably can contribute very little in the last hour of the day, right? But this owner goes out and hires them and no agreement is stated whatsoever. It's just pure grace. The landowner's question, why do you stand here idle all day? I think to your point, underlies their vulnerability. They were not idle by choice, presumably. And so I think we rightly here in this, like a foreshadowing of those who are called the late in redemptive history, Gentile sinners, the seemingly least qualified for kingdom membership. All of that I think is at play and it's all, it's getting this lovely setup of all these groups to help us understand what that kingdom is actually like.  [00:32:33] Tony Arsenal: Yeah. Yeah.  [00:32:35] Reverse Payroll Setup [00:32:35] Tony Arsenal: And then we have this, um, this is where the sort of dramatic tension turns, right? The end of the day comes and, uh, the master calls the, the people that he brought last, right? He calls the people who'd only been there for an hour and he starts to go down the list of the people who, the people who were last, and the people who came in next. And the people who came in next, right? And the workers who had contracted at the beginning of the day. Um, they're watching this happen and they're kind of going, oh, this is gonna be good. Like, that guy's only been here for an hour and he got a denarius. You know, the logic is probably like, I'm gonna get 12 denarius, like I'm gonna go 12 days worth of work. Um, because I think there's an assumption on their part, um, that the master's fair that he is, he's providing an equitable wage. Um, of course the master is fair, but he's providing an equitable wage that's commensurate with the work delivered. A delivered, delivered, right? And that, that's the key to this parable.  [00:33:26] Merit Mindset Exposed [00:33:26] Tony Arsenal: I think the expectation that God. Helps those who help themselves. Right? God rewards those who put in the hard work. God. God provides blessing or salvation according to the merit provided by the one who's being saved. That perspective is what's on full display here. Yes. By the people who are, uh, the ones who contracted for the full day. They're not thinking about the covenant that they have with this person or the contract they have with this person. They're not thinking about the fact that they agreed to work for the day in order to earn a day's wage. They're thinking about how this actually is gonna work out great in their favor. They're looking at this as a strictly merit-based kind of a, a thing. And you would think that like when the, the one hour people come in, they get a denarius, and then the three hour people come in and they get a denarius. You'd think they would pick up on it at some point, but then in the course of the payroll, it doesn't seem that they do. They still get to the bottom of the list and think they're gonna get more compared to the other people who all got the same.  [00:34:22] Jesse Schwamb: Yeah, that display piece is critical to this. It is like complete setup. Like you can imagine he, the landowner calling everybody together at the end of the day and they're all standing around. Some of them are exhausted because they've again born all their work in the heat of the day on their backs. They're tired, they're dirty, maybe they're exhausted. And he starts in this reverse order. And by the way, we should note that there is something here that's beautiful in that the law, the landowner is law abiding because right evening payment is mandated in the Torah. So we see all this taking place as to fulfill the law in some ways. But the reversal of the order that last of first is like such deliberative and good narrative storytelling and staging, isn't it? 'cause it ensures that the first hired workers are going to witness the payment of those who work the least. And if without that order, if you just did it the other way around, the more a crisis of the parable disc like completely goes away.  [00:35:10] Tony Arsenal: Yeah.  [00:35:10] Jesse Schwamb: So this execution of the payment at the owner's will, it just shows that he has. He's completely independent. His sovereignty belong. The sovereignty belongs to the master alone. And so this 11th hour workers receiving a full day's wage for one hour of work, that's like an act of sheer generosity. It's not proportional justice. And I think as reform, people, maybe all of us at some point have had this conversation about predestination and justice and mercy. And again, really I think putting a crowbar between this idea that nobody is receiving injustice, but some are receiving mercy and grace. And here these first hired workers seeing this form, like you said, this expectation that they're gonna receive more, like you said, where that came from. Yeah, it's just them, right? It's purely manufactured in their own reasoning. It's not anchored in the covenantal promise and certainly not witnessed in the grace that they should be receive, like perceiving as the payments get doled out, like sequentially moving in their reverse order toward those who have worked the longest. But their expectation reveals that they have fundamentally misread like the landowner's character. They're still operating in the register of a contract and not grace.  [00:36:16] Tony Arsenal: Yeah. And you know, I think to sort of lock this covenant covenantal frame and sort of like lack of recognition of the covenant into place too, when you look at the language of this parable, um, and especially kind of what it's following up on, it's coming on the heels of this interaction with this rich, rich young ruler who comes in and he thinks that he's gonna earn eternal life by keeping the commandments. Um, and, and he, he has this outward sense or this outward display of pty. He's calling Jesus good. He's saying he, you know, he keeps the commandments, Jesus doesn't even disagree with him actually, that he has connect. Yes. You know, I think it's implied that, well, of course you haven't, but he, he still is graciously trying to like, convince this guy, no, you actually need to abandon your self righteousness and, and pursue and follow me. Um. But this is a parable where like other people are listening, right? There's other witnesses. This isn't like the rich young ruler came to him in the middle of the night, like Nicodemus. This is something that's happened on PO on in the public. So we can anticipate that the Pharisees and the Sadducees and the scribes and the lawyers were all aware of this. They may have been there, but they were at least aware of this happening. And I think there's some language in here that is actually directed at those people.  [00:37:30] Grumbling As Accusation [00:37:30] Tony Arsenal: And, and here's where it comes in, is you get to verse, um, we'll start reading again at verse nine. It says, when those hired about the 11th hour came, each of them received a denarius. Now, when those hired first came, so we're referring to the people who are hired at the beginning of the day. Now, when those who were hired first came, they thought they would receive more, but each of them also received a denarius and on receiving it, right? So this is as, this is, um, uh, just unbelievable as they're receiving the denarius on receiving it, they grumbled at the master of the house. Now, just the way that I read that and said the word grumbled tells you that that word is really important here. Yes. If you look at this Greek word. And you compare it to the, the word, the usage of this word in the, the, um, Sept. Yes. Which of course is the Greek translation of the Old Testament. This word most commonly appears in the wilderness wandering accounts. [00:38:22] Jesse Schwamb: Yes.  [00:38:23] Tony Arsenal: Right. And the, the primary sin of the Israelites during the wilderness wandering was grumbling against the Lord. And this grumbling against the Lord in that context is not just a general complaining, right. It's not just like a, a sort of like a, a general dissatisfaction or like murmuring. This isn't like water cooler frustration about your boss. The grumbling in the Old Testament in this context is a covenantal accusation, right. So this is tied to the, the accounts where Moses first is told to strike the rock, and he does so when the water comes out, and then second is told to speak to the rock, but he strikes it. I won't go into all the details, but the scene that's being, being displayed there is the people come, they accuse the Lord of abandoning them into the wilderness. And this scene where Moses is set up on the rock and he strikes the rock, that scene is a judicial scene. The people have filed a covenant accusation against the Lord, and in reality, it's the people who have been unfaithful. But the Lord standing in the place of the rock is the one who is struck, right? Jesus was the rock in the wilderness from which the water came. Paul says that in First Corinthians, right? So this language of grumbling in this is not just, they're not just complaining about the fact that they didn't get what they thought they were going to, they're questioning the veracity of the covenant that was made. So they're, they're still locked into this merit-based. This merit-based idea even more than it seemed at first, right? There's a logic to the idea that like, oh, if the, the master is actually paying a wage of one denarius for per hour, like there's a logic to that. But it's not just that they're saying, and this is, this explains the response of the master. It's not just that they're saying like, Hey, wait a second, like the wage rate that you're paying is not right. They're saying you have violated the terms of our covenant in the way that you have paid us. 'cause it's upon receiving it that they complain or they grumble and the master says more or less like, Hey. You agreed with me for one Denarius, I'm giving you what you've earned. I'm giving you what you agreed on. Why don't you take it and go. So the answer is not to try to justify why he is free to pay these other people more, or why he's free to pay these people a perceived less. The answer is, again, they're complaining against the covenant. He is bringing it back to the covenant saying, well, here's what the covenant relationship was. You work for the day. I give you Denarius. We're square here, we're on the same page. We've fulfilled our covenant obligations, and you've received your reward for that. So I, I think that's another thing we have to lock in here is this is not just a general idea of like unfairness that's being presented. This is not just a general idea that people are saying the master of the house is unfair. They're saying he's covenantal. Unfaithful. Right? That's a pretty big accusation.  [00:41:09] Jesse Schwamb: Yeah, that is, thank you by the way, for completely stealing the whole tugen thing from me. Like I was just going hot to Tugen to find that reference. And now all I can do is add to it. So that is from at least one of those occasions, a number 16, and I just wanna read the verse. This is 16 six. So Moses and Aaron said to all the sons of Israel at evening, you will know that Yahweh has brought you outta the land of Egypt. And in the morning you will see the glory of Yahweh for he hears your grumblings against Yahweh. And what we are that you grumble against us. So I'm totally with you. This is not subtle. The workers first complaint here, the first workers' complaint is like theologically serious. Uh, I think that's what you're hitting us on. Like it charges the owner with injustice. Right. And as I read it, the grievance has like two layers or two parts, I would say. One is this comparative part, which is basically saying, you made us equal to them. Right? And the second be like a meritorious part, they have worked harder and in worse conditions. And that's why they say things like, it's, it's all inflammatory language, isn't it? Like the scorching heat emphasizes like the real bodily cost and their complaint. I think if we're honest, it's not irrational, but it's spiritually revealing at least because Right, they believe their greater effort, mayors greater reward and they resent that grace shown to others. So like you said, they're bringing forward a very serious grievance and it's, it's not just like, Hey, we think maybe could you give us a bonus? Right. But that is a matter of faithfulness. And in fact, like as I'm looking at this tugen here, shout out to logos Bible software. And I'm saying that that verb that we're talking about in Exodus 16 is in the imperfect tense. So this is, they kept on grumbling and it is like an an echo of Israel's murmuring in the wilderness, which I presume like Matthew certainly had intentionally used there or had that view in part casting these workers as the same types of those who relate to God through entitlement rather than gratitude. So it's like insults upon insult here, but it is to emphasize this fact that it's no small accusation, it's not subtle, it's meant to be in your face. They're coming in hot with this and they're making a big deal about it.  [00:43:16] Tony Arsenal: Yeah, and again, I think like underscoring the covenantal nature of this is so key. And I think, you know, when we look at this, we really have to land that this is not just saying. Your wage structure is not right. 'cause and, and we gotta remember, they weren't there when the master went and made this bargain, or, you know, brought these other workers into the vineyard. They weren't there to hear what covenant or contract he did or didn't make. And as we've commented, they didn't, he didn't even make a covenant with them. He basically just said, I'm gonna put you to work and I'll pay you what's fair. I'll pay you what's right. Um, and they went, okay, you need the work and thank you. Like, I think, I think that's kind of like the, the scene here is they're standing there. They recognize they're not gonna get a wage for the day, especially these ones that he's coming in at the 11th hour, they're not gonna get a wage for the day. And as you said, these are subsistence workers. Right. These are people that if you don't get a wage, and this is the, the grounding of the Old Testament, um, the Old Testament command of, of paying at the end of the day is that if they don't get their wage, they're not gonna eat. They're not gonna have food, they're not gonna have the money they need to survive. Um, so he comes in and he basically says like. You don't have a job that's not gonna be good for you. I'll take care of you. I'll, I'll give you a job and I'll take care of you. And the ones who are complaining and grumbling, they have no line of sight to that process. That, that's right. They make a lot of assumptions about the, and this is, goes back to, um. The parable of the talents, which we haven't really talked about yet. The, the, there's a lot of assumptions about the nature of this master that the, the contracted or covenanted day laborers are making that don't turn out to be accurate. Right. They, they assume that he's working, as you've said, that he's working on this one-to-one, you know, quid pro quo. You do this, I do that kind of a, a methodology and he's actually operating on a basis of a much more. Basic, uh, grace principle. Uh, and again, even, even the principle of hiring these original workers and covenanting with them is gracious in the sense that he didn't have to hire them. Right. So, so all along the way they're, they're, it's like the epitome of looking a gift horse in the mouth.  [00:45:24] Jesse Schwamb: Yes.  [00:45:24] Tony Arsenal: They've been hired, and so yes, it is right for them to expect their, um, to expect their wage, whatever that wage might be. But they, they are misinterpreting the idea of what the wages are and how the wages are to be delivered. They're, they're applying, this is actually a lot like job's, friends, right? Their, their logic is not actually all that bad, but they have, they have missing parts of the picture that makes the logic. Apply differently in this particular situation. They think that this, this master works on a strict merit-based. You do X amount of work, you receive X amount of money. And this master is actually more functioning on this covenantal principle of, I'm gonna pay you what's right, regardless of what, what work you've done, which, what work is actually owed to you. And the master makes these, this agreement with these other workers to just say, go into the vineyard and then when the evening comes, I'll pay you. Right. Well, he intended to pay them what they needed to survive, regardless of how much work they provided. Right? So they're all, even though there's a formal contract to say these, this group works for the whole day and this group, you know, and, and they receive one day's labor, at the end of the day, he's graciously providing another day of survival for all of these people, for the work that they're, they're putting forward regardless of how much they actually contribute to his bottom line. [00:46:41] Owner Defends The Covenant [00:46:41] Jesse Schwamb: And we see that in verse 13, where the landowner gives his defense, you know, it says. He and he replied, friends, I'm doing you no wrong. Did you not agree with me for Denarius? Now the address, because now I'm deep in the Greek Tony. Here we go. So the address I'm seeing in, uh, again, shout out to Locus Bible software, it, this use of friend is not like the warm fellows, but like a more formal or distance term of address. It's used elsewhere in Matthew. But I think the point here is that the owner's first line of defense is this contractual point, which you're saying. I have not wronged you. He's kept his agreement precisely. No injustice has been done. And that's crucial. The owner doesn't re appreciate justice. He actually fulfills it. He obligates himself and he fulfills that obligation. And what the worker receives is exactly what was promised and exactly what is due. And so by the time he gets to verse 14 where he says, take what belongs to you, and go, I choose to give to this last worker as I give to you here. I think this is like the theological beating hide of this whole bad boy. Yeah.  [00:47:37] Jesse Schwamb: The landowner explicitly invokes his will, his sovereign freedom to do and to give as he pleases, which is exactly how God behaves. It's not a negation of justice, but this declaration of something beyond justice, it is grace. He exercises his freedom and generosity to those who had no claim, and the command, take what belongs to you and go is, is kind of like a world dismissal, like, like you were saying. Yeah. We're in the courtroom. He's like, I, I've ruled on this already. Like, bring Brian, bring your grievance. Here's my ruling. Take what you have and go. Their grumbling has revealed that they're not celebrating the kingdom. They're actually grieving it. So yeah, you know, I think original invocation of like Jonah is right on the money. It's basically like, are are you mad enough? Yeah, I'm mad enough to die. Like, how dare you give me, give me this great shade and then take it away from me. Yeah. And in some ways this is even worse because what they have been given has been that were promised to them, was given to them, and they get to retain and God says, go, or the landowner as God says, go now and take what is yours. Take what I've given to you graciously. But your point that like what supersedes that, the antecedent to all of that is still God's covenant keeping, covenant making promise, making, right? That sets the whole thing up. But I love this idea that, you know, I will choose, it's my desire, it's language of divine volition. And of course the reform theology, this single verb resonates with the entire doctrine of election. It's God's free, sovereign, and gracious will to bestow blessing without reference to merit, like praise his name.  [00:49:00] Tony Arsenal: Yeah. Yeah. And then we come to kind of the close of this parable, right? And this is, this reall

Knapp 570 Jugendliche oder junge Erwachsene unter 25 Jahren bekamen 2025 neu eine IV-Rente. Das sind so viele wie noch nie. Die meisten schafften wegen psychischer Probleme den Berufseinstieg nicht. Bei der Sozialversicherungsanstalt ist man besorgt. Weiter in der Sendung: · TI: Wegen eines Ammoniak-Unfalls in einer Salami-Fabrik mussten 100 Menschen evakuiert werden. · SG: Beim neuen Bundes-Asylzentrum gibt es weitere Verzögerungen - nach PFAS sind es Leitungen im Boden, die Probleme machen. · ZH: Die Zahl der jungen IV-BezügerInnen steigt - die SVA findet das alarmierend. · SZ: Die Pflege-Ausbildung für Geflüchtete ist ein Erfolg und wird weitergeführt.

Legendary photographer Greg Gorman gives a peek into his personal life, discussing his love for mixing unconventional dinner guests like Heidi Fleiss and David Bowie, his commitment to catch-and-release fishing, and how he now focuses on teaching a master thesis course at SVA and selling prints for his main income.Show Clip from The Paris Chong Show with Greg Gormanhttps://youtu.be/5fEyOXb3Of0https://www.theparischongshow.com

Celebrated photographer Greg Gorman sits down with Paris Chong to discuss his current work, which includes an unannounced two-volume set of books dedicated to David Bowie and Grace Jones, both of whom he photographed for many years. He also shares that he, Matthew Ralston, and Herb Ritts are planning an upcoming project and book with Fahey Klein Gallery, stemming from their time in the "School of LA". Gorman, who is represented by Fahey Klein, details his busy schedule, which includes teaching at SVA in New York and running portraiture workshops in Maine and Aspen, Colorado.Gorman offers a candid critique of the photography industry, explaining that he made a conscious choice to step back from commercial work around 2006/2007, feeling he had "been there, done that". He attributes this change to the rise of digital and AI, which allowed producers to hire "Greg Gorman lookalikes" for a fraction of the price and use editing to mimic his style. His focus throughout his career has been on creating a "connected portrait"—getting inside the person's head to capture "a sense of the soul of who that individual was". He is the only person John Waters trusts to photograph his corpse, famously joking that Gorman would know he'd "need proper time for hair and makeup".Beyond his iconic black and white photography—known for its harsh lighting, strong highlights, hard shadows, and sculptured look—Gorman recounts the legendary status of his eclectic Hollywood dinner parties. He describes mixing guests like Bette Midler, David Bowie, and John Waters with "a hustler from Santa Monica Boulevard" and the popular, but unexpected, presence of Heidi Fleiss. Gorman also shares his history with Studio 54 and his connection to the late photographer Francesco Scavullo.Show Notes:www.theparischongshow.com/episodes/greg-gorman-talks-new-book-projects-and-why-only-john-waters-trusts-him-to-photograph-his-corpseChapters:00:00 Show Intro and Guest00:43 New Books Bowie and Grace01:57 John Waters Quote Talk03:13 Leica Versus Sony Gear05:38 Travel Wine and Workshops07:46 Portrait Philosophy and Industry19:22 Factory Days Memories19:56 Studio 54 First Night20:10 Francesco Scavullo Fan Talk22:06 Favorite Photographers Ethics23:58 Legacy Foundation Iconic Warhol28:56 Travel Festivals Workshops Farewell

Friday 27 March 2026: This week's episode leans into a soulful, percussive space drifting between broken beat, house, jazz, and deeper club textures. It's one of those selections that came together quite naturally, starting in a more introspective place before opening out into something a bit more expansive and rhythm-led. Tracklist: Farah Audhali & Blue Lab Beats – Found You Nicholas Payton – Gold Dust Black Magic (feat. Esperanza Spalding & Karriem Riggins) Shy FX & King H – 100 The Twilite Tone – Ancestors and Angels Rejoicer – Further (With You) (feat. Nitai Hershkovits) Change – Got to Get Up Soul II Soul – African Dance Roy Ayers – Searching (Simen Sez Remix) Change – Heaven of My Life (Full Length Album Mix) Mak 10 – Find Someone Like You TXC – Nakupenda (Instrumental) Da Lata – Binti (Off-Centre Mix) Kai Alce – Strollin Thru Barcelona (Original Mix) Greymatter – Give Up (Never Gonna) (feat. Sophie Brown) Nu Sound Therapy – Beautiful People (FacePFB Mix) What's On (Stroud) Jazz Stroud 2026 9–12 April 2026 A multi-venue, town-wide celebration of new wave UK jazz, bringing together emerging artists, established names, and community energy across Stroud. Expect everything from intimate sets to late-night sessions across spaces like SVA and The Goods Shed.  → Find out more / tickets www.jazzstroud.org Holy Water (This Weekend) A staple in Stroud for good music and late-night energy — expect DJs, soulful selections, and a proper community feel. Always worth checking what's lined up across the weekend. → Check their socials for the latest listings Los Domingos @ The Prince Albert A regular all-day session rooted in global sounds, jazz, and tropical rhythms — usually stretching into a full Sunday journey with rotating selectors and guests.  → View what's on at The Prince Albert What's On: Art Exhibitions (Stroud This Weekend) The Yard Gallery A small but characterful space in the centre of Stroud, often hosting rotating exhibitions from local artists and makers. Expect an intimate setting with a mix of contemporary work and community-led programming. → Best to check in person or via socials for the current show

It's 1,043 days until the legally defined end of the 47th Presidency, but the merit of upcoming elections remains suspect. In the meantime, we're just setting money on fire in Iran, and Donald Trump is buying his staffers shitty shoes. Dance, clowns, dance! Other Titles Considered Profit is Malice Penis Gospel Taste the Hoof Special Show Links: Pentagon Tells Congress First Week of Iran War Cost More Than $11.3 Billion https://www.nytimes.com/2026/03/11/world/middleeast/iran-war-costs-pentagon.html?unlocked_article_code=1.SVA.vsUF.0KCfGdZalz4Y&smid=url-share Trump appoints Erika Kirk to Air Force Academy board to continue Charlie's 'legacy' https://www.detroitnews.com/story/news/politics/2026/03/11/trump-appoints-erika-kirk-to-air-force-academy-board-to-continue-charlies-legacy/89112095007/ Trump admin directs prisons to wean trans inmates off of hormone therapy in defiance of court order https://www.lgbtqnation.com/2026/03/admin-directs-prisons-to-wean-trans-inmates-off-of-hormone-therapy-in-defiance-of-court-order/ Lev Parnas, ex-member of Trump's ‘cult', runs for Congress as Florida Democrat https://www.theguardian.com/us-news/2026/mar/08/lev-parnas-ukraine-congress-florida

Happy Thursday, you pop culture junkies.  This week, we dive into the Timothée Chalamet "high art" discourse, the ongoing beef between fast-food giants, and a ten-year-old taking Paris by storm. Plus, we're revisiting the ‘90s through the lens of modern TV and questionable finance interviews. On This Week's Menu: • The Chalamet Controversy: We break down Timothée's recent comments regarding the ballet and opera. Was it a sincere and rare misstep or a moment where his true colors truly come out? We look at how the internet turned his low-brow take into a high-brow meme. • The Burger Wars Heat Up: Following the McDonald's CEO's "faux pas" last week, the "Burger CEOs" have entered the chat. We analyze their strategic responses and the surprising consumer trends emerging from the corporate shade. • The 4th Grade Prodigy: Meet Max Alexander. At just 10 years old, this Los Angeles native is the youngest designer at Paris Fashion Week. We discuss his meteoric rise and why the fashion elite are actually taking him seriously. • Interview Magazine's Finance Bro Era: We take a peek into the recent feature on "Finance Bros" and the... interesting fashion choices they showcased. Is it satire, or just a stark look at a certain tax bracket? • 90s Nostalgia & Love Story: The aesthetic of JFK Jr. and Carolyn Bessette-Kennedy is back in a big way. We also discuss Daryl Hannah's candid response to how she was portrayed in the hit show Love Story and why we can't stop looking backward. Daryl Hannah's OpEd in the NYT (gifted article): https://www.nytimes.com/2026/03/06/opinion/daryl-hannah-love-story-jfk-jr.html?unlocked_article_code=1.SVA.j39h.--K5DMnOXB7i&smid=nytcore-ios-share This week's newsletter: https://popculturemondays.com/2026/03/09/arias-on-pointe/

Dank «Kassensturz» kommt eine Frau jetzt doch noch zu ihrem Geld. Geld, das die Ausgleichskasse zunächst nicht auszahlen wollte, obschon sie selbst von einem Fehler sprach. Weitere Themen: Abflussreiniger im Test und Rubrik «Darf man das?». Behörden lenken ein: IV-Rentnerin erhält 20'000 Franken von der SVA Dank «Kassensturz» kommt eine IV-Rentnerin jetzt doch noch zu ihrem Geld. Geld, das die Ausgleichskasse des Kantons Zürich (SVA) zunächst nicht auszahlen wollte, obschon sie einen administrativen Fehler eingestanden hatte. Fachleute sprechen von einem richtungsweisenden Entscheid, und Politikerinnen fordern eine Gesetzesänderung. Abflussreiniger im Test: Der Gewinner ist vegan Was tun, wenn das Lavabo verstopft? «Kassensturz» lässt zehn Abflussreiniger im Labor testen. Das Ergebnis überrascht: Ein ökologisches Produkt bietet den Chemiekeulen die Stirn und reinigt Abflussrohre am besten. «Darf man das?»: Mit dem E-Trotti in die Fussgängerzone In der Serie «Darf man das?» beantwortet «Kassensturz» Rechtsfragen aus dem Alltag. Die Zuschauerinnen und Zuschauer können ihr Rechtsempfinden testen. Heute: Darf man mit dem Elektrotrottinett in die Fussgängerzone fahren? Mit «Kassensturz»-Juristin Gabriela Baumgartner.

V této epizodě EVOLVE Stories vítáme Svaťku Dohnalovou Svaťka se v Makru zaměřuje na vzdělávání a employer branding a přiblížíme si jejich velmi úspěšnou employer branding kampaň, která na trhu získala několik ocenění. Probereme, jak celou strategii postavili, jaké kanály zvolili, na koho zacílili a co jim to přineslo.

Dank «Kassensturz» kommt eine Frau jetzt doch noch zu ihrem Geld. Geld, das die Ausgleichskasse zunächst nicht auszahlen wollte, obschon sie selbst von einem Fehler sprach. Weitere Themen: Abflussreiniger im Test und Rubrik «Darf man das?». Behörden lenken ein: IV-Rentnerin erhält 20'000 Franken von der SVA Dank «Kassensturz» kommt eine IV-Rentnerin jetzt doch noch zu ihrem Geld. Geld, das die Ausgleichskasse des Kantons Zürich (SVA) zunächst nicht auszahlen wollte, obschon sie einen administrativen Fehler eingestanden hatte. Fachleute sprechen von einem richtungsweisenden Entscheid, und Politikerinnen fordern eine Gesetzesänderung. Abflussreiniger im Test: Der Gewinner ist vegan Was tun, wenn das Lavabo verstopft? «Kassensturz» lässt zehn Abflussreiniger im Labor testen. Das Ergebnis überrascht: Ein ökologisches Produkt bietet den Chemiekeulen die Stirn und reinigt Abflussrohre am besten. «Darf man das?»: Mit dem E-Trotti in die Fussgängerzone In der Serie «Darf man das?» beantwortet «Kassensturz» Rechtsfragen aus dem Alltag. Die Zuschauerinnen und Zuschauer können ihr Rechtsempfinden testen. Heute: Darf man mit dem Elektrotrottinett in die Fussgängerzone fahren? Mit «Kassensturz»-Juristin Gabriela Baumgartner.

Corresponded for years with disgraced financier A Beacon resident who is a well-known museum director resigned his position on Tuesday (Feb. 3) at the School of Visual Arts in New York City following the release of his correspondence over many years with Jeffrey Epstein. The emails between David Ross and Epstein, a financier who killed himself in jail in 2019 while facing federal sex trafficking charges, were among 3 million pages, 180,000 images and 2,000 videos released on Jan. 30 by the U.S. Department of Justice. The emails between the two men were first reported by ARTnews. Ross, who is the spouse of Peggy Ross, a former Beacon City Council member, was named chair of SVA's MFA Art Practice program in 2009. He had previously been director of the Institute of Contemporary Art in Boston, the Whitney Museum of American Art and the San Francisco Museum of Modern Art. Ross has long been active in the Beacon art scene. Five years ago, on an episode of the podcast Beaconites, he discussed the pandemic's effect on the art world and recalled an attempt to turn Beacon's historic brick buildings into art repositories. Epstein pleaded guilty in 2008 in Florida to felony charges of procuring a child for prostitution and soliciting a prostitute. He served 13 months in jail, with work release. Epstein had many powerful friends, including President Donald Trump and former President Bill Clinton, who agreed on Monday (Feb. 2) to testify before the House Oversight Committee about their relationship. Elon Musk, Andrew Mountbatten-Windsor, Richard Branson, Steve Bannon, Peter Attia and Steve Tisch, co-owner of the New York Giants, also knew Epstein. There is no evidence in the files of criminal wrongdoing by Ross. In a statement to The Current, he wrote: "The fact of the matter is that I continued to believe that his troubles were a function of his friendship with former President Clinton, and foolishly I continued to try to show friendship, until the truth of his crimes became apparent to me." In a longer statement to ARTnews, Ross said he met Epstein in the mid-1990s, when Ross was director of the Whitney. "I knew him as a wealthy patron and a collector, and it was part of my job to befriend people who had the capacity and interest in supporting the museum," Ross said. After Epstein was jailed in 2008, Ross said: "I emailed him to find out what the story was After Epstein was jailed in 2008, Ross said: "I emailed him to find out what the story was because this did not seem like the person I thought I knew. … He told me that he had been the subject of a political frame-up because of his support of former President Clinton. At the time, I believed he was telling me the truth." Ross continued, according to ARTnews: "When, years later, I read that he was being investigated again on the same charges, I reached out to him to show support. That was a terrible mistake of judgment. When the reality of his crimes became clear, I was mortified and remain ashamed that I fell for his lies. "Like many he supported with arts and education patronage, I profoundly regret that I was taken in by his story. I continue to be appalled by his crimes and remain deeply concerned for its many victims." The correspondence between Ross and Epstein was friendly. On July 22, 2009, the day Epstein was released from jail, Ross emailed Epstein "a welcome home! Glad the nightmare is over, Jeffrey. … It was an undeserved punishment foisted upon you by jealous creeps." In another email exchange, from October 2009, Epstein suggested he might fund an exhibit with images of minors; he suggested Statutory as the title. "Girls and boys ages 14-25 … where they look nothing like their true ages. Juvenile mug shots, Photoshop, makeup. Some people go to prison because they can't tell [their] true age. Controversial, fun. Maybe it should be a webpage, with hits tallied," Epstein wrote to Ross. "You are incredible," Ross replied. "This would be a very powerful and freaky book. Do y...

Today on the show I get to spend time with Koyoltzintli. She is an interdisciplinary artist and educator living in Ulster County, New York. She was raised on the Pacific coast and in the Andean mountains of Ecuador. Her work revolves around sound, ancestral technologies, ritual, and storytelling, blending collaborative processes with personal narratives. Nominated for the Prix Pictet in 2019 and 2023, her work has been exhibited at the National Portrait Gallery in Washington, DC, the United Nations, the Parrish Art Museum, Princeton University, the Aperture Foundation in NYC, and Paris Photo. She has had two solo shows at Miyako Yoshinaga Gallery and a solo show at Leila Greiche in 2023. Koyoltzintli has taught at CalArts, SVA, ICP, and CUNY. She has received multiple awards and fellowships, including at the Musée du Quai Branly in Paris, NYFA, We Women, the Latinx Artist Fellowship by the US Latinx Art Forum (USLAF), and most recently, the Anonymous Was a Woman award. Her first monograph, Other Stories, was published in 2017 by Autograph ABP. Her work was featured in the Native issue of Aperture Magazine (no. 240) and included in the book Latinx Photography in the United States by Elizabeth Ferrer, former chief curator at BRIC. She is part of Flow States – LA TRIENAL 2024, El Museo del Barrio's second large-scale survey of Latinx contemporary art.Koyoltzintli has performed at venues such as the Whitney Museum, Wave Hill, Socrates Park, Brooklyn Museum, and Queens Museum. Recently, she performed at Performance Space in NYC, curated by Guadalupe Maravilla, at Dia Chelsea for the closing event of Delcy Morelos' El Abrazo, and at Ann Street Gallery in Newburgh, NY.During our conversation, Koyo shares about her family, her childhood, how her travels with her father and the rooting into her ancestral lands with her mother helped to shape who she is today. We learn about her dear elders who she both photographed and studied with, and how they played a role in the work she does today with clay and indigenous sounds. While Koyo shares some of the stories of her days as a photojournalist, it would seem that we barely scratched the surface of all that flows from and through her. You can follow along with her offerings and creations by way of her website and social media. Stay tuned for details of an upcoming show in April! Here's the info on her Egg Cleansing Ritual at Spiral Mirror on February 16th.Here are your Full Moon vibes.Today's show was engineered by Ian Seda from Radiokingston.org.Our show music is from Shana Falana!Feel free to email me, say hello: she@iwantwhatshehas.org** Please: SUBSCRIBE to the pod and leave a REVIEW wherever you are listening, it helps other users FIND IThttp://iwantwhatshehas.org/podcastITUNES | SPOTIFYITUNES: https://itunes.apple.com/us/podcast/i-want-what-she-has/id1451648361?mt=2SPOTIFY:https://open.spotify.com/show/77pmJwS2q9vTywz7Uhiyff?si=G2eYCjLjT3KltgdfA6XXCAFollow:INSTAGRAM * https://www.instagram.com/iwantwhatshehaspodcast/FACEBOOK * https://www.facebook.com/iwantwhatshehaspodcast

Současný stav a budoucnost českého stavebnictví? Hlavním tématem je nezbytný přechod k maximální efektivitě, která spočívá v používání kvalitních materiálů snižujících nároky na drahou a nedostatkovou lidskou práci.Ondřej Svačina je spolumajitel a jednatel společnosti Meffert ČR, dceřiné společnosti Meffert AG. Ta představuje  jednoho z evropských lídrů v oblasti stavební chemie. Hlavními produkty jsou například interiérové a fasádní barvy, omítky a zateplovací systémy. Ondřej od nástupu v roce 2002 v Meffert prošel téměř všemi pracovními pozicemi. Prošel skladem, míchárnou, logistikou i obchodem, díky čemuž zná detailně procesy a chod celé společnosti.

Vůně skořice, hřebíčku a horkého ovoce na každém kroku – to je typická a neoddělitelná součást každého prosince ve Vídni. Svařené víno se podává v barevných keramických hrníčcích a většina stánků vypadá na první pohled podobně. Často ale vzniká z předpřipravené směsi. Poctivě se vaří ve stánku Manfreda Lepricha, který svařené víno vaří z vín vypěstovaných ve své oblasti už desítky let.

Vůně skořice, hřebíčku a horkého ovoce na každém kroku – to je typická a neoddělitelná součást každého prosince ve Vídni. Svařené víno se podává v barevných keramických hrníčcích a většina stánků vypadá na první pohled podobně. Často ale vzniká z předpřipravené směsi. Poctivě se vaří ve stánku Manfreda Lepricha, který svařené víno vaří z vín vypěstovaných ve své oblasti už desítky let. Všechny díly podcastu Zápisník zahraničních zpravodajů můžete pohodlně poslouchat v mobilní aplikaci mujRozhlas pro Android a iOS nebo na webu mujRozhlas.cz.

JP Morrison Lans decided to grow up to be an artist while visiting the Carole Laroche Gallery in Santa Fe New Mexico when she was eleven years old. Five years later the Tulsa Artist Coalition supported this dream for her when she was accepted for her first solo exhibition. Since then she has earned her BFA from the Kansas City Art Institute, co-owner a gallery, had her work purchased for the permanent collection of the Bundaberg Regional Gallery in Queensland Australia where she lived for two years and created immersive art installations for AHHA Tulsa, the Living Arts New Genre Festival, and the Oklahoma Visual Arts Coalition.  Morrison Lans has shows her work with M.A. Doran Gallery, Tulsa; Heron Arts, San Francisco; Keep Contemporary, Santa Fe; and 19 Karen, Gold Coast, Australia. She has been a resident artist at SVA, NY., Truro Art Center, MA., Rockland Woods, WA., the Vermont Studio Center and Quarantine in Menorca, Spain. Morrison Lans is a member of the international artist collective Teleportal.Gallery and is an inaugural member of the NYC Crit Club's Canopy Program. She and her child can typically be found experimenting with encaustic and lego, respectively, from their home studio in Tulsa, Oklahoma.Statement:I explore the relationship of body and psyche by combining figurative realism, symbolic objects and intuitive abstraction. These collected elements are metaphors for my experience of womanhood, motherhood, love, loss, self-preservation, panic, desire, and knowing. Through layers of color pencil I create translucent skin. The addition of gouache and encaustic allows me to comb sheens and dimensional shapes around my drawing, forming membranes and isolated objects which express the subject's emotional escapades. Often I use orientation dissonance –the inversion of the figure– to symbolize circumspection, surrender, gestation, and metamorphosis. I render hands frequently, they represent intention and action, also the mouth, tongue and teeth as gateways between the inner self and outer world. Through taste and touch, we experience intimacy and desire. This anatomy creates boundaries while also being an entry point. My work invites you to experience this same push pull of entering and observing from a distance.

In this episode of Filmmaking Conversations, host Damien Swaby speaks with Juli Berg, an accomplished film and television editor and post-producer whose creative path began in junior high school and evolved into a decades-long career in documentary, unscripted television, music videos, and independent film.Juli shares the early experiences that shaped her artistic identity, the unexpected moments that led her to the School of Visual Arts (SVA), and the pivotal decision to pursue filmmaking professionally.She explains how her early academic strengths intersected with her love for art, eventually leading her to earn a BFA in Film/TV from SVA—a choice that set the stage for a distinguished career in post-production.After graduating from SVA, Juli began her career as an assistant editor in the documentary world, working alongside legendary editors including Larry Silk, Lillian Benson, and Jonathan Oppenheim.Her first professional editing assignment—ABC's In Concert—merged two of her passions: music and picture editorial. Over the years, she has:Edited numerous short films screened at domestic and international festivalsDirected, produced, and edited a wide range of music videosServed for two years as an Avid editing instructor at SVA, helping develop the next generation of editorsBuilt a reputation as a self-sufficient editor and post-producer capable of managing narrative structure, pacing, and story architecture independentlyDelivered over 80 episodes and specials as Editor/Post-Producer on History Channel's long-running series American PickersJuli is passionate about honoring the work of everyone involved in the filmmaking chain. She approaches editorial storytelling as a form of writing—shaping raw footage into its best possible version while maintaining the integrity and intention of those who shot it.If you enjoyed this episode, please rate, review, and share the podcast. Follow Damien Swaby for more filmmaker interviews and insights into the craft and business of storytelling.Use Promo Code "FILMMAKINGSWABY" for all my deals or just click the link:25% Off More Labshttps://www.morelabs.com/discount/FILMMAKINGSWABY20% Off Strong Coffee Companyhttps://strongcoffeecompany.com/discount/FILMMAKINGSWABY15% Off Tusslehttps://www.tusslegear.com/discount/FILMMAKINGSWABY20% Off Eric Javitshttps://ericjavits.com/discount/FILMMAKINGSWABY25% Off Quantum Energy Squarehttps://quantumsquares.com/discount/FILMMAKINGSWABY20% Off Long Tablehttps://longtablepancakes.com/discount/FILMMAKINGSWABY20% Off HyperNaturalhttps://hypernaturalstyle.com/discount/FILMMAKINGSWABY20% Off wearplaygroundhttps://wearplayground.com/discount/FILMMAKINGSWABY15% Off STAND+https://www.standshoes.com/discount/FILMMAKINGSWABY10% Off Molly Bzhttps://mollybz.com/discount/FILMMAKINGSWABY41% Off Cozy Earthhttps://cozyearth.com/discount/FILMMAKINGSWABYX (Twitter): @DamienSwaby https://x.com/DamienSwaby/status/1864468655582437405Instagram: @filmmaker__damien_swaby. https://www.instagram.com/filmmaker__damien_swaby/?hl=en 

Das Stadtparlament senkt die Steuern um drei Prozentpunkte – trotz Unsicherheiten bei Unternehmenssteuern und geplanten grossen Investitionen. Linke Parteien wollten auf eine Steuersenkung verzichten, bürgerliche Lager hingegen noch stärker senken. Weitere Themen: · Einer IV-Rentnerin entgehen wegen eines Fehlers der Sozialversicherungsanstalt Zürich (SVA) rund 20'000 Franken. Beinahe 10 Jahre lang bekam sie deshalb eine zu tiefe Rente. Die SVA lehnt die vollständige Nachzahlung ab – mit Verweis auf die Verjährungsfrist. · Die ZSC Lions spielen im Achtelfinal-Heimspiel der Champions Hockey League ein 4:4-Unentschieden gegen KalPa Kuopio aus Finnland. Vor dem Spiel meldete der Klub, dass Verteidiger Christian Marti wegen einer Unterkörperverletzung rund sechs Wochen ausfällt.

Eine Schweizer IV-Bezügerin erhält während fast zehn Jahren weniger Geld ausbezahlt, als ihr zusteht. Doch die SVA will nur für fünf Jahre Nachzahlungen leisten. Weitere Themen: Blick hinter die Kulissen der Discountkette «Action» und Fertigbouillons im Test. SVA verweigert IV-Bezügerin 20'000 Franken Eine Schweizer IV-Bezügerin erhält während fast zehn Jahren weniger Geld ausbezahlt, als ihr zusteht. Doch die SVA will nur für fünf Jahre Nachzahlungen leisten – der Rest sei verjährt, heisst es. «Kassensturz» fragt nach: Wie ist es möglich, dass ein administrativer Fehler der Ausgleichskasse auf dem Buckel der Versicherten ausgetragen wird? Discountkette «Action»: Wer zahlt für die tiefen Preise? «Action» macht sich auf, die Schweiz zu erobern: Die Discountkette mit Sitz in den Niederlanden hat binnen weniger Monate bereits acht Filialen eröffnet – weitere sollen folgen. «Kassensturz» blickt hinter die Kulissen des Milliardenkonzerns und zeigt, wer den Preis für die günstigen Produkte bezahlt. Fertigbouillons auf dem Prüfteller: Viel Salz und wenig Gemüse Fertigbouillons sind praktisch – aber sind sie auch schmackhaft? «Kassensturz» lässt zwölf der meistverkauften Gemüsebouillons aus dem Detailhandel von geschulten Gaumen degustieren. Fazit: Am besten schmeckte eines der günstigsten Produkte im Test.

Eine IV-Bezügerin erhält fast 10 Jahre lang zu wenig Geld ausbezahlt. Nun will die SVA nur für 5 Jahre Nachzahlungen leisten. +++ Weiteres Thema: Dank kleiner Schlüsseltresore kommt die Feuerwehr im Notfall schneller in Mehrfamilienhäuser. Haben damit auch Einbrecher leichtes Spiel?

Molly Heintz grew up fascinated with Greek mythology, and eventually, fashion – drawn to enthralling storytelling and visual aesthetics. She carried this interest in Greek mythology over to studying archeology but when she became burned out in academia, she transitioned to work as a fashion editor, setting her on an entirely new careerpath. From there, she worked in marketing and communications, eventually co-founding Superscript and teaching at SVA, chairing the Masters of Arts in Design Research, Writing & Criticism program. Together with Steven Heller, she's co-edited The Education of a Design Writer to showcase exemplary design writing and share practical advice for writers. Molly makes a compelling case for why design writing is essential for the design process, and for understanding the world around us. Images and more from Molly Heintz on cleverpodcast.com!Special thanks to our sponsor! Wix Studio is a platform built for all web creators to design, develop, and manage exceptional web projects at scale.Clever is hosted & produced by Amy Devers, with editing by Mark Zurawinski, production assistance from Ilana Nevins and Anouchka Stephan, and music by El Ten Eleven.SUBSCRIBE - listen to Clever on any podcast app!SIGN UP - for our Substack for news, bonus content, new episode alertsVISIT - cleverpodcast.com for transcripts, images, and 200+ more episodesSAY HI! - on Instagram & LinkedIn @cleverpodcast @amydeversSpecial thanks to our sponsors!Wix Studio is a platform built for all web creators to design, develop, and manage exceptional web projects at scale.Future London Academy - If you're ready to grow your business, elevate your influence and become the leader the future needs, enroll now. Learn more: https://fla.wiki/4hQL1oR Hosted on Acast. See acast.com/privacy for more information.

Discover how Violeta Encarnación balances freelancing, illustration, and creative evolution. She reflects on her journey from growing up in Cuba to becoming a book illustrator, her experience at SVA, and her shift into tattooing. Violeta opens up about the realities of freelancing, managing carpal tunnel syndrome, and honing her distinctive color palette. She also shares how nature inspires her work, the significance of personal connections in art, and her upcoming projects.  We talk with Violeta Encarnación, a freelance illustrator, about her creative journey and experiences in book illustration. She shares memories of growing up in Cuba, the impact of her artistic family, and her transition to life in the U.S. Violeta reflects on her time at SVA, her path into tattooing, and the lessons she has learned as a freelancer. She opens up about managing an unpredictable schedule, coping with carpal tunnel syndrome, and staying authentic in her work. Violeta also discusses her distinctive color palette, nature's influence on her art, and the role of personal connections in creative careers. Episode Highlights   Childhood experiences and cultural background. Learning a new language and adapting to a new culture. Book illustration involves collaboration, patience, and the ability to convey complex emotions through images. Developing a unique color palette takes time and experimentation, and it can be influenced by nature and personal experiences. Finding one's voice in art and maintaining personal connections are essential for success.   Chapters 00:00 - Introduction: A Collage of Moments Frozen in Time  02:45 - A Journey of Belonging: From Cuba to the U.S.  06:30 - The Language of Emotion: Finding Your Voice in a New Tongue  10:15 - Reclaiming Art as a Safe Space  13:05 - The Unexpected Path to Tattooing  17:01 - Illustrating a New Chapter: Breaking into Picture Books  22:30 - The Resilience of a First "No": Redrawing Her Way to a "Yes"  28:15 - Juggling the Freelance Life: Cash Flow and Creative Burnout  36:00 - A Journey with Color: From Fear to Harmony  42:50 - What's Next: Ceramics and Storytelling   Connect with Violeta: Follow Violeta on Instagram: https://www.instagram.com/_violeta.encarnacion_ Violeta's Website: https://www.violetaencarnacion.com/   Support the Show Website: http://www.martineseverin.comFollow on Instagram: @martine.severin | @thisishowwecreate_ Subscribe to the Newsletter: http://www.martineseverin.substack.com This is How We Create is produced by Martine Severin. This episode was edited by Daniel Espinosa.   Subscribe wherever you get your podcasts Leave a review Follow us on social media Share with fellow creatives  

Charles H. Traub is a photography legend. His accomplishments are vast. He taught my husband photography at SVA 25 years ago. I was grateful to have a chance to interview him (Charles H. Traub is the chair of the Photography, Video and Related Media department at the School of Visual Arts in New York City)—BUSY GUY), in conjunction with his solo exhibition, Something Funny in the STILLLIFE at the Dog House Gallery, which is a gallery I run to highlight funny artists such as Charles, housed in the offices of The Brooklyn Comedy Collective, 137 Montrose Ave., Brooklyn, NY. The show is up until Jan. 2, 2026. Gallery Hours: Monday-Wednesday, 1:00pm - 7:00pm. Sundays 12-6pm Since I am a pretend *shrink*, I wanted to talk to Charles about his life and emotional/creative development in relation to his work. After reading about Charles's family on his website, I was really curious to learn how his relationship with his father had a foundational role in Charles work as well as his relationships with mentors and students. It was really interesting to hear about, as a young man, Charles formed a lot of relationships with other older photographers, inspiring him to became an innovative leading educator and world-renowned photographer. A real treat was talking with Charles about the work he's making today. His face lights up with the childlike enthusiastic vibe thats as shiny and inspired as ever. Instagram: @charlestraub Charles Traub Bio Charles Traub Website

In this episode of Daring Creativity podcast Debbie Millman shares her transformative journey from a pivotal class with Milton Glaser to becoming one of the most influential voices in creative conversations. Through her 20-year podcasting career with Design Matters, ownership of Print Magazine, and leadership of the world's first Masters in Branding program at SVA, Millman reveals the power of writing your future, choosing courage over confidence, and redefining failure as simply giving up on yourself.The conversation explores her famous 10-year plan exercise that has changed countless lives, the evolution of deep listening skills, and her meticulous research process that unearths hidden gems from guests' histories. Millman discusses navigating different life decades, the involuntary nature of fear, and why AI cannot replace the soul of original creativity. She demonstrates how creating your own opportunities—rather than waiting to be chosen—can lead to extraordinary influence and meaningful work that spans decades.Key TakeawaysThe 10-year plan works: Writing a detailed essay about your future life from waking to sleeping can manifest remarkable changes, but requires genuine commitment and timeCourage trumps confidence: Confidence only comes from successful repetition of past experiences; courage is what you need to step into the unknown firstRedefine failure: The only real failure is giving up on yourself—everything else is just losing, which is part of the natural process of growthFear is involuntary: Our reptilian brain creates fear to protect us from uncertainty; we can't eliminate it but can control how we respond to itDeep listening is a skill: True listening means following your conversation partner rather than waiting for your turn to talk; preparation enables this flowResearch creates magic: Spending hours in "wormholes" of research allows you to meet guests wherever they want to go in conversationLife stages bring different challenges: Each decade has its focus—twenties for experimentation, thirties for establishment, forties for plateau-breaking, sixties for "if not now, when?"Create your own opportunities: Rather than waiting to be invited into the "best band," build your own stage and invite others to join youAI can't replace soul: While AI excels at combinatorial creativity and research assistance, original creative work still starts in human brains and heartsLongevity builds influence: Staying committed to work for decades allows you to evolve, improve, and eventually lead in ways that short-term thinking cannot achieve Daring Creativity. Daring Forever. Podcast with Radim Malinic Show questions or suggestions to desk@daringcreativity.com Latest books by Radim MalinicMindful Creative: How to understand and deal with the highs and lows of creative life, career and business Paperback and Kindle > https://amzn.to/4biTwFcFree audiobook (with Audible trial) > https://geni.us/free-audiobookSigned books https://novemberuniverse.co.ukLux Coffee Co. https://luxcoffee.co.uk/ (Use: PODCAST for 15% off)November Universe https://novemberuniverse.co.uk (Use: PODCAST for 10% off)

Design Beyond Silicon Valley features an exclusive panel from the Shapeshift Summit featuring Ruth Kikin-Gil, Responsible AI Strategist at Microsoft; Liz Danzico, VP of Design for Microsoft AI and Founding Chair of the MFA in Interaction Design at SVA; and Ellie Kemery, Principal AI User Research Lead at SAP Business AI, the panel examines how companies are realizing the potential of AI. The panel will explore how businesses are breaking out of Silicon Valley to consider AI's implementation and impact around the world. It is moderated by Kevin Bethune, CEO of dreams.design+life, and author of Nonlinear:Navigating Design with Curiosity and Conviction.Follow Design Observer on Instagram to keep up and see even more Design As content. A full transcript of the show can be found on our website. Subscribe to With Intent from the Institute of Design for even more bonus content from the Shapeshift Summit. Season three of Design As draws from recordings taken at the Shapeshift Summit hosted in Chicago in May 2025.

Steve DeFrank is a top New York painter with numerous one-person exhibitions and group exhibitions. His solo exhibitions include Clementine Gallery in New York, and the Clifford Smith Gallery in Boston. His group shows include the Smithsonian Institute's National Portrait Gallery and The National Arts Club in New York, and many others. His work has been reviewed in The New York Times, in The New Yorker, and many others. He's been a Visiting Artist at Cornell University, the Massachusetts College of Art, and he currently teaches at the School of Visual Arts in New York City, where he's taught sculpture, new media art, painting, drawing, and other courses. In this conversation, DeFrank shares his insights on teaching creativity and the artistic process. He emphasizes the importance of focusing on the journey of creativity rather than the end product, encouraging students to embrace uncertainty and anxiety as part of their artistic growth. DeFrank discusses the significance of developing an "artistic eye" and the challenges students face in learning to see and interpret the world around them. He reflects on the transformative experience of the foundation year for art students and the ongoing dialogue between the artist's hand and eye. This is a brilliant inside view of a process-oriented approach to art that values exploration and personal expression. For additional information: Steve's web site: https://www.stevedefrank.com/ The book Learning to See, with many quotations from Steve and from other SVA artists and designers: www.learningtosee.net  Music by license from SoundStripe: "Uptown Lovers Instrumental" by AFTERNOONZ "Miss Missy" by AFTERNOONZ "What's the Big Deal" by Ryan Saranich Copyright (c) 2025 Keith Sawyer

Sva writes in, asking whether stories of snakes being tamed by human milk have any grounding in science. James Tytko took on the question with the help of herpetologist Fortunate Mafeta Phaka, and Angela Julian of the Amphibian and Reptiles Group of the UK. Like this podcast? Please help us by supporting the Naked Scientists

How do the roles we observe as children shape the art we create as adults? In this conversation, I connect with painter and curator Yannie Gu, whose creative vision was formed by the women in her life in Shanghai.  Tune in to hear how Yannie leveraged the power of community to create an experimental pop-up gallery. Yannie offers a beautiful perspective on her use of color and the symbolism of flames in her work, creating a world where her characters are protected and powerful. This episode explores how our past, our passions, and our communities can intertwine to create a voice that is uniquely our own.   Chapters 00:00 - Introduction to Yannie Gu 00:51 - Growing Up in Shanghai 03:03 - From Professional Ballet to Visual Art 05:20 - Finding Her Voice and Community at SVA 07:10 - The Genesis of Museum 54: A Platform for Peers 12:20 - The Gaze in the Age of Technology 17:30 - Painting with Fire: The Symbolism of Flames and Color 23:45 - Balancing a Studio Practice with Commercial Work 30:40 - Capturing Ideas in the Notes App 32:00 - Final Reflections on the Creative Journey   Check out the full video interview on our YouTube channel! https://youtu.be/fgH4xiLL0v0   Connect with Yannie:   Follow Yannie on Instagram: https://www.instagram.com/yanixgu/?hl=en Yannie's Website: https://yannieyiyanggu.com/   Support the Show Website: www.martineseverin.com Follow on Instagram: @martine.severin | @thisishowwecreate_ Subscribe to the Newsletter: www.martineseverin.substack.com This is How We Create is produced by Martine Severin. This episode was edited by Santiago Cardona and Daniel Espinosa.   Subscribe wherever you get your podcasts Leave a review Follow us on social media Share with fellow creatives  

In this engaging episode of #StillServing, Rob Couture and co-host Brittany Dymond Murray sit down with Tammy Barlet, Jennifer Ross, and Kristina Keenan for a deep dive into the partnership between the VFW and Student Veterans of America (SVA). Together, they explore how SVA chapters support student veterans on campus, the impact of the GI Bill, and the opportunities created through the VFW–SVA Legislative Fellowship. From personal journeys to national advocacy, the conversation highlights how the next generation of veterans is shaping policy, building community, and carrying forward the VFW's legacy of service. From the campus lounge to Capitol Hill, today's student veterans are tomorrow's leaders — still learning, still leading, and still serving. Featured Guests: Tammy Barlet – Vice President, Government Affairs, Student Veterans of America; VFW Legacy Life Member (PA) Jennifer Ross – VFW–SVA Legislative Fellow Alum; VFW Life Member Kristina Keenan – Director, VFW National Legislative Service Brittany Dymond Murray – Co-host & Associate Director, VFW Public Affairs & Strategic Outreach Episode Highlights: 0:00 Welcome 2:15 Spotlight on Student Veterans of America and VFW partnership 4:54 Tammy Barlet's journey from student veteran to national advocate 10:01 What SVA chapters offer on campus vs. VFW posts in the community 13:43 SVA's 1,600+ chapters worldwide and their role in student success 18:33 The VFW–SVA Legislative Fellowship: purpose, process, and impact 20:19 Jennifer Ross shares her fellowship experience and advocacy on Guard/Reserve GI Bill parity 22:47 Application process, mentorship, and building a community action plan 25:18 Preparing student veterans to brief Congress alongside the VFW 27:02 Advocacy paths for introverts and extroverts alike 29:25 Fellowship open to all fields of study — passion drives impact 31:16 Balancing school, SVA, VFW, and fellowship commitments 1:06:54 Afghanistan War Commission session 1:08:27 Historic election of Carol Whitmore as the VFW's first female Commander-in-Chief 1:11:01 Good of the Order: Tammy on how SVA modeled claims clinics after the VFW convention 1:14:13 Kristina Keenan previews the upcoming Fall Legislative Conference and expanded grassroots advocacy 1:17:22 Call to action: Afghanistan veterans encouraged to share experiences with the Afghanistan War Commission   For more information or to continue the conversation, please visit: Veterans of Foreign Wars Website VFW Podcast Page @VFWHQ on Twitter VFW on Facebook @RobCoutureVFW on Facebook Call 1-888-JOIN-VFW Text “NEEDS” to 20222 to donate to the Unmet Needs Program. Today's VFW — Share Your #StillServing Story Sports Clips Help A Hero — Text HERO to 71777 to donate online

Svašta ćete u ovoj epizodi saznati - od toga kako je prošao Pixel 10 događaj, šta su večernji šou programi, ko je Džimi Felon, do toga kako izgleda digitalizacija nabavke lične karte u Srbiji. Glavna tema naravno su Google i njegov novi Pixel 10 koji je predstavljen na nov način, ne samo za Google, već i za njegove takmace. Da li zbog toga ili sveopšteg raspoloženja, ali je i šezdeset i šesto Sutra više tok šou nego nešto što bi se inače moglo čuti na talasima ovog podcasta. Hvala na slušanju!

Datacenter oder Besenkammer? Die IT im deutschen MittelstandViele Entwickler:innen und Techies leben in der Cloud-Native-Bubble – doch sieht die Realität des deutschen Mittelstands wirklich so modern aus? Die Antwort: eher selten. In dieser Episode sprechen wir mit Patrick Terlisten, Technik-Geschäftsführer eines klassischen IT-Systemhauses aus Köln. Es geht direkt in die Besenkammer des Mittelstands – dorthin, wo das Rechenzentrum oftmals noch ein Abstellraum und Cloud nur ein Modewort ist.Gemeinsam mit Patrick werfen wir einen ehrlichen Blick auf IT-Infrastruktur abseits von Start-ups: Wie sieht der Alltag zwischen Virtualisierung, Lizenzmodellen und Patchmanagement aus? Welche Rolle spielen „Shadow IT" und Software, für die es längst kein Dev-Team mehr gibt? Und wie kommt der Mittelstand, vom Sozialträger bis zum Maschinenbauer, eigentlich mit Themen wie Cloud, Open Source oder Security klar?Wir diskutieren, warum die Realität oft ganz anders ist als das Hochglanz-Image auf Tech-Konferenzen: Von Kabelsalat über Lizenzen im Abo-Wahnsinn bis hin zu der Frage, wie viel Handwerk tatsächlich noch in IT steckt – und warum klassische Systemhäuser heute genauso mit Entwickler:innen & DevOps zu tun bekommen wie die hippe Startup-Welt. Patrick gibt dabei nicht nur Einblicke in seinen Systemhaus-Alltag, sondern erzählt auch wie sich das IT-Handwerk in Zeiten von Cloud und Hyperscalern verändert.Bonus: IT-Handwerk ist Kabelziehen und Zunft – und Cable Porn bleibt eine Kunst für sich.Unsere aktuellen Werbepartner findest du auf https://engineeringkiosk.dev/partnersDas schnelle Feedback zur Episode:

Richard Shear is Founding Partner and Chief Creative Officer of Invōk Brands and a founding faculty member of SVA's Master's in Branding program. With a five-decade design career and a passion for visual history, he explores how global consumer culture shapes today's brands in his new book A History of Brands. This week on On Brand, he joins me to discuss the evolution of retail, the enduring impact of packaging, and why the future of branding begins with the past. About Richard Shear Richard is a founding faculty member of the Master's in Branding program at New York's School of Visual Arts and a Founding Partner and Chief Creative Officer of Invōk Brands. His 50-year design career has been influenced by a fascination with visual history, driven by a curiosity for the culture of consumer brands, and guided by rich experience in brand identity and package design. Richard's SVA course focuses on the origins, evolution, and current status of retail brands, building awareness of the rich legacy and growth of global consumer culture and its intrinsic connection to the evolution of visual history. What brand has made Richard smile recently? “That's easy,” Richard shared. “Barbie.” Specifically, Richard points to their newly released Barbie with Type 1 Diabetes. Connect with Richard on LinkedIn as well as the Invōk Brands and Branding at SVA websites. And check out Richard's new book A History of Brands wherever you like to shop. Listen and subscribe at  Apple Podcasts, Spotify, Amazon/Audible, Google Play, Stitcher, TuneIn, iHeart, YouTube, and RSS. Rate and review the show—If you like what you're hearing, be sure to head over to Apple Podcasts and click the 5-star button to rate the show. And, if you have a few extra seconds, write a couple of sentences and submit a review to help others find the show. Did you hear something you liked on this episode or another? Do you have a question you'd like our guests to answer? Let me know on Twitter using the hashtag #OnBrandPodcast and you may just hear your thoughts here on the show. On Brand is a part of the Marketing Podcast Network. Until next week, I'll see you on the Internet! Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode, Kiara Cristina Ventura sits down with multidisciplinary artist Kiarita within their debut solo exhibition home[body] at Hausen in Brooklyn to explore the delicate architecture of intimacy and queer eroticism. Set amid hidden paintings and altar-like assemblies inside found vintage furniture, the conversation touches on how safety and “chosen family” is woven through acts of communion. This dialogue delves into sensual textures, concepts around love & relationships, and the ways rest becomes resistance.About Kiarita:Born in Hackensack, NJ (1999) and based in Brooklyn, Kiarita is a Dominican artist working across painting and sculpture. In home[body]—curated by Usen Esiet (March 6 – August  31, 2025)—their “queering of the antique” and lush, tactile painting technique reveal sensuous moments within the found furniture. Inspired by Audre Lorde's "Uses of the Erotic, The Erotic as Power," the exhibition embraces eroticism “as a resource within each of us,” using intimacy and rest as tools of resistance. Kiarita holds a BFA in Visual & Critical Studies from SVA and is currently a Bronx AIM and New York Van Lier Trust Fellow. Their work has been honored by Rema Hort Mann Foundation and the Sylvia Lipson Allen Memorial Fund.Connect with Kiarita:scintillating.space | @sacralrise------This episode is part of PROCESSA TALKS, a podcast and curatorial series by Processa—a roving platform founded by Kiara Ventura that supports experimental exhibitions, conversations, and collaborations with Black and Brown artists.Learn more and check out our programs at: processa.artSupport the podcast and our physical space: processa.art/donateIntro audio credit (non-profit use) : yogic beats

Amelia Nash's journey from a small Canadian town to becoming a brand strategist in New York City is the epitome of non-linear creative exploration. Starting with dreams of being a French translator and drama teacher, Amelia's path took her through graphic design, marine biology aspirations, architecture firm work, insurance company design roles, freelance entrepreneurship during the pandemic, and ultimately to studying at SVA's prestigious Masters in Branding program.Her story is marked by a fearless approach to opportunity, consistently leaving situations where she felt capped in growth, and maintaining an attitude of "confetti in the wind" - throwing out applications and ideas to see what lands. From working as the sole designer at an architecture firm to building a successful branding studio during COVID-19, Amelia demonstrates how curiosity and courage can create unexpected opportunities.Now working as Brand and Marketing Manager at SVA's Masters in Branding program and as a senior staff writer for Print magazine, Amelia embodies the power of asking questions, embracing change, and refusing to settle for work that doesn't challenge her to grow.Key TakeawaysEmbrace non-linear paths - Your career doesn't need to follow a straight line; sometimes the most interesting journeys are like "confetti in the wind"Ask questions fearlessly - Being told you "ask too many questions" might be a sign you've outgrown your current environmentUse the one-day grief rule - Allow yourself to feel disappointment fully for one day, then move forward with renewed energyApply without high expectations - Submit applications and proposals as practice runs, removing pressure and fear of rejectionLeave when you hit your growth cap - Don't stay in positions where you can't evolve, even if they seem secureTurn disruption into opportunity - The pandemic became Amelia's launching pad for freelance success by helping others pivot their businessesLeverage curiosity as a career tool - Endless curiosity and quick boredom can be superpowers for finding new opportunitiesDon't overthink the outcome - Focus on trying rather than succeeding; most attempts won't work out, but that's not the pointListen for unexpected doors - A simple podcast mention led to SVA application and complete life transformationChoose growth over comfort - Repeatedly choosing uncertainty and challenge over stability led to increasingly fulfilling opportunities Daring Creativity. Daring Forever. Podcast with Radim Malinic Show questions or suggestions to desk@daringcreativity.com Latest books by Radim MalinicMindful Creative: How to understand and deal with the highs and lows of creative life, career and business Paperback and Kindle > https://amzn.to/4biTwFcFree audiobook (with Audible trial) > https://geni.us/free-audiobookSigned books https://novemberuniverse.co.ukLux Coffee Co. https://luxcoffee.co.uk/ (Use: PODCAST for 15% off)November Universe https://novemberuniverse.co.uk (Use: PODCAST for 10% off)

Warning: this episode speaks about autism and mental health. We remind listeners that the Graphic Support Group hosts are not medical professionals. Please listen with care and understanding.I met Able during my junior year as a passionate and painfully green design student. What I remember was that he was a tall, older guy who was simultaneously disarming for his height and earnestness. For a chronically detached art student, it was a breath of fresh air that I didn't know how to take in. Him and I only attended school together for one semester, but he's taken that education and gone very, very far. He's currently a Group Creative Director at Thought Matter in New York and previously worked at Noom, been a Creative Director at Deustch NY and LA, member of the AIGA NY board and taught at SVA. Over the years, Able and I have been in sporadic touch through past projects and social media. From a afar, he's defined persistence for me and I'm so glad we got to spend some time together on the podcast. Able bares all about the many obstacles he's overcome including a life threatening illness, financial precarity and mental health struggles. Through it all he's remained hopeful and grateful to be who he is. Able is a truly creative human being and I'm very fortunate to know him. I hope that his story can be of support for anyone. For me, it was yet another reminder of how much good there can be in the work we do and to not be tied up in the implications we can't always control. Check out some of the projects he's mentioned in the episode: his music as Kamuter, his partner Julia Parris' creative studio Analog is Heavy, his own work at WTF Studio and some of his collage works. Choose gratitude friends. Get full access to Graphic Support Group Podcast at graphicsupportgroup.substack.com/subscribe

⏰ Driiiing! Evooo, pa je prišel. Kratki, z Žiga Kos upava, da sladki. Ne, ni še nagrad za Prvo ligo Telemach 2024/25, tudi Vedeža še ne, vem, vem, imejte malo še razumevanja. Sva pa obdelala na hitro obe tekmi članske reprezentance. In podrobno zelo Zic, vabljeni tam k poslušanju.

Myggen innebär inte bara klåda. I takt med att klimatet blir varmare i Europa får vi allt fler invasiva myggarter som sprider farliga sjukdomar. En av dem invasiva arterna är tigermyggan, som faktiskt redan hittats i Sverige. Är det bara en tidsfråga innan vi blir riktigt sjuka av myggen? Och hur blir myggsommaren? Gäst: Anders Lindström, myggforskare på SVA. Programledare/producent: Jessica Johansson. Klipp från: Aftonbladet, TV4. Kontakt: podcast@aftonbladet.se

Steve Heller is arguably the world's best-known design educator, with over 200 books on graphic design, illustration, and political art. I interviewed him for my 2025 book Learning to See. His books include Design Literacy: Understanding Graphic Design; Teaching Graphic Design; and The Education of an Illustrator (with Marshall Arisman). He's spent most of his career at the School of Visual Arts in New York City, where he's now the Special Assistant to the President and the Co-Founder and Co-Chair Emeritus of the MFA Design Department. He's won numerous awards including Cooper-Hewitt's National Design Mind Award; Smithsonian Design Museum; National Endowment for the Arts; AIGA Medal for Lifetime Achievement; and many others. For 33 years, he was an art director at the New York Times and the New York Times Book Review. In this interview, he gives amazing insights about how to teach graphic design and illustration. For more information:  Steve Heller's web site Book: Teaching Graphic Design Book: The Education of an Illustrator Sawyer's book Learning to See Music by license from SoundStripe: "Uptown Lovers Instrumental" by AFTERNOONZ "Miss Missy" by AFTERNOONZ "What's the Big Deal" by Ryan Saranich Copyright (c) 2025 Keith Sawyer

Discover how Violeta Encarnación balances freelancing, illustration, and creative evolution. She reflects on her journey from growing up in Cuba to becoming a book illustrator, her experience at SVA, and her shift into tattooing. Violeta opens up about the realities of freelancing, managing carpal tunnel syndrome, and honing her distinctive color palette. She also shares how nature inspires her work, the significance of personal connections in art, and her upcoming projects.   Show Notes:    We talk with Violeta Encarnación, a freelance illustrator, about her creative journey and experiences in book illustration. She shares memories of growing up in Cuba, the impact of her artistic family, and her transition to life in the U.S. Violeta reflects on her time at SVA, her path into tattooing, and the lessons she has learned as a freelancer. She opens up about managing an unpredictable schedule, coping with carpal tunnel syndrome, and staying authentic in her work. Violeta also discusses her distinctive color palette, nature's influence on her art, and the role of personal connections in creative careers. Episode Highlights   Childhood experiences and cultural background. Learning a new language and adapting to a new culture. Book illustration involves collaboration, patience, and the ability to convey complex emotions through images. Developing a unique color palette takes time and experimentation, and it can be influenced by nature and personal experiences. Finding one's voice in art and maintaining personal connections are essential for success.   Chapters 00:00 Introduction to Violeta Encarnacion 02:55 Cultural Influences on Creativity 05:50 Journey from Cuba to the U.S. 08:48 Navigating Language Barriers 11:54 Artistic Development and Education 15:05 Tattooing and Its Impact on Art 17:50 Freelance Career and Illustration Work 21:01 Illustrating Children's Books 24:31 Navigating Relationships in Publishing 25:43 Surprising Lessons in Illustration 27:16 The Journey to Illustrating a Book 32:30 Understanding Project Timelines 36:14 Managing Cash Flow as a Freelancer 39:54 Developing a Unique Color Palette 46:28 Exciting Future Projects CONNECT WITH OUR GUEST: Website: Violeta Encarnacion  Instagram: Violeta  Support the Show Website: Martine SeverinFollow on Instagram: Martine | This Is How We CreateSubscribe to the Newsletter: Martine's Substack This is How We Create is produced by Martine Severin and edited by Santiago Cardona. Subscribe wherever you get your podcasts Leave a review Follow us on social media Share with fellow creatives  

Jimmy attended the Museum of Comic and Cartoon Art (MoCCA) Festival over the weekend. He got 5 interviews overall. In this episode, you'll hear his chat with Frances Jetter. They talked about her mixed media graphic novel AMALGAM: AN IMMIGRANT, HIS LABOR UNION, AND HIS AMERICAN FAMILY IN BROOKLYN, how she discovered her art style, what her grandfather accomplished, teaching at SVA and more. More interviews to come from MoCCA with Dani Diaz and Kazimir Lee.  Also, get a hold of us! Thanks for listening!

Welcome to Art is Awesome, the show where we talk with an artist or art worker with a connection to the San Francisco Bay Area. In this episode, Emily features Daisy Nam, the director and chief curator at the Wattis Institute of Contemporary Arts. Daisy discusses her journey from growing up in Los Angeles to her roles at prestigious institutions like NYU, Columbia, Harvard, and Marfa Ballroom. She shares insights on the significance of art spaces in cities, her love for art books, and memorable exhibitions, particularly the current 'Steady' sculpture show involving artists Esther Partegas and Michelle Lopez. Daisy highlights the unique aspects and challenges of working in the contemporary art world, emphasizing the importance of maintaining art spaces and building partnerships within the art community. Daisy also shares her personal experiences and perspectives on art and nature in Northern California.About Curator Daisy Nam:Daisy Nam is the director and curator of CCA Wattis Institute of Contemporary Art in San Francisco, which opens their new galleries on the expanded campus in Fall of 2024. Previously, she was at Ballroom Marfa, a contemporary art space dedicated to supporting artists through residencies, commissions, and exhibitions, first as the curator in 2020 and then the director and curator in 2022. From 2015–19, she was the assistant director at the Carpenter Center for the Visual Arts, Harvard University, managing the administration  and organizing programs, exhibitions, and publications. From 2008–2015, she produced seven seasons of talks, screenings, performances, and workshops as the assistant director of public programs at the School of the Arts, Columbia University.Curatorial residencies and fellowships include: Marcia Tucker Senior Research Fellow at the New Museum, New York (2020); Bellas Artes, Bataan, Philippines (2020); Surf Point in York, Maine (2019); Gwangju Biennale Foundation, Korea (2018). She holds a master's degree in Curatorial and Critical Studies from Columbia University and a bachelor's degree in Art History and Cinema Studies from New York University. She has taught at RISD, and lectured at Lesley University, Northeastern, SMFA/Tufts, SVA as a visiting critic. She co-edited a publication, Best! Letters from Asian Americans in the arts withPaper Monument in 2021.CLICK HERE to learn more about Daisy. CLICK HERE to connect to The Wattis InstituteCLICK HERE to get more info about the Wattis exhibition 'STEADY' --About Podcast Host Emily Wilson:Emily a writer in San Francisco, with work in outlets including Hyperallergic, Artforum, 48 Hills, the Daily Beast, California Magazine, Latino USA, and Women's Media Center. She often writes about the arts. For years, she taught adults getting their high school diplomas at City College of San Francisco.Follow Emily on Instagram: @PureEWilFollow Art Is Awesome on Instagram: @ArtIsAwesome_Podcast--CREDITS:Art Is Awesome is Hosted, Created & Executive Produced by Emily Wilson. Theme Music "Loopster" Courtesy of Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 LicenseThe Podcast is Co-Produced, Developed & Edited by Charlene Goto of @GoToProductions. For more info, visit Go-ToProductions.com

Artist Frances Jetter joins the show to talk about her amazing new book, AMALGAM: An Immigrant, His Labor Union, and His American Family in Brooklyn (Fantagraphics Underground). We talk about how the book both expanded and narrowed in scope during its 12-year process, how her grandfather's story bleeds out into American, Jewish and labor history, and how she integrated her trademark linocut prints with other media to create an unforgettable graphic narrative. We get into how the editorial illustration field changed over her career and why she moved toward artist's books and narrative art, why "illustrator" isn't a dirty word & why having her work out in the world is important, how we don't always see the resonances of our work when we're in the middle of it, how working with other materials and forms (like sculpture) rejuvenated her drawing, what she learned about storytelling in the making of AMALGAM, her family's political background and her awakening, how students have changed over her 40+ years teaching at SVA, and more. Follow Frances on Instagram • More info at our site • Support The Virtual Memories Show via Patreon or Paypal and via our e-newsletter