Podcasts about technically

The AMA specifically states that the risk element concerns patient-management decisions made by the physician/QHP reporting the E/M service. It also emphasizes that surgical risk depends on the particular patient’s circumstances and risk factors as assessed by that physician. Terry discusses “pre-op clearance” visits today and their level of risk, along with the billing of 76937 controversy. Subscribe and Listen Find all of Terry’s official links in one place: https://www.terryfletcher.net/links The post Technically correct and pre-ops appeared first on Terry Fletcher Consulting, Inc..

Technically, the finder of valuables in GA is supposed to make efforts to find the true owner - but some wonder if the police shouldn't have better things to do. https://www.lehtoslaw.com

Questions That Aren't TECHNICALLY Rude, But Feel Rude full 503 Tue, 25 Aug 2026 14:03:51 +0000 eHUbnG6yDNQIYYBPfTDY3byJ0GpFQ34R rude,uncomfortable,rude questions,uncomfortable questions,music,society & culture,news Kramer & Jess On Demand Podcast rude,uncomfortable,rude questions,uncomfortable questions,music,society & culture,news Questions That Aren't TECHNICALLY Rude, But Feel Rude Highlights from the Kramer & Jess Show. 2024 © 2021 Audacy, Inc. Music Society & Culture News https://player.amperwavepodcasting.com?fe

Cam Ward and the Titans once again won a preseason game. But once again the starters struggled against back-ups in the first half. Did Ward show improvement? Did the offensive line regress? Did the receiving corp help their QB at all? What about the Titans defense? Drew Lock and the Seattle back-ups made multiple explosive plays against the starters. What does this all mean? Braden Gall and Paul Kuharsky talk Titans football.

Daniel Cormier IS BACK after UFC 329 made headlines with Paddy Pimblett, Max Holloway, and Gable Stevenson all facing potential money withheld because of jumping on the cage after their victories. Technically speaking, rules do not allow fighters to exit the cage after a victory, but DC argues that the emotion of a massive victory and given the stakes of all three of their fights, the rule NEEDS TO CHANGE. Paddy Pimblett had a nasty first-round submission of Benoit Saint-Denis, Max avenged a loss vs. Conor McGregor, and Gable made his UFC debut with an incredible knockout victory. Cormier talks about when he did that against Stipe Miocic after his KO win at UFC 226, and why speaking from experience, these fighters should be allowed to show their emotion in those big wins. #VolumeSee omnystudio.com/listener for privacy information.

What had you accomplished by 17? Not what dreams did you have, but what dreams had you already made come true? One thing I know for sure: You weren't the youngest person ever to complete the Bikepacking Triple Crown…unless your name is Cruz Blue. When I was 17, I spent most of my time skateboarding, avoiding homework, and chasing girls. Not exactly my finest years, but I'd argue my experience was probably more closely aligned with that of the average teenage boy than Cruz's was. Over the past year, Cruz has quietly been making a lot of noise in the bikepacking world. He has no social media, no blog, and no YouTube channel. He seems motivated almost entirely by a sense of adventure and what he calls youthful ignorance. So, unless you've been paying close attention, you may not have realized that a star was rising in Flagstaff, Arizona. Cruz comes from an adventurous family and grew up inspired to seek out adventures of his own. For him, racing is simply another form of adventure. He isn't particularly concerned with times, watts, records, or results—but he does place a premium on finishing. His only DNF came in 2025, when he attempted the Arizona Trail Race 800 as an individual time trial at just 16 years old. But let's back up a little. Cruz entered his first bikepacking race in 2024 at age 15. Just two short years later, he finds himself among an elite group of athletes credited with completing the Bikepacking Triple Crown. A brief history of his racing career: Age 15 Pinyons and Pines — 2d 15h 53m — 14th overall Age 16 AZTR 800 ITT — DNF Pinyons and Pines — 2d 7h 23m — 10th overall AZTR 800 ITT — 17d 7h 42m — Youngest solo AZTR 800 finisher Age 17 Pinyons and Pines — 3d 5h 19m — 17th overall Tour Divide — 19d 11h 6m Colorado Trail Race — 6d 17h 49m — Youngest-ever CTR finisher In less than 10 months, Cruz completed the Arizona Trail Race 800, Tour Divide, and Colorado Trail Race, becoming the youngest person ever credited with completing what we call the Bikepacking Triple Crown. Technically, the formal Triple Crown Challenge requires completing all three races within the same calendar year. Cruz completed his within a rolling one-year period. But the keepers of the records at Bikepacking.net officially list him as the youngest Triple Crown finisher, and who am I to argue!  The results, however, are only a small part of Cruz's story. The real story is Cruz himself – and it's his to tell. On today's episode, I have the privilege of getting to know one of our sport's youngest athletes, who has quietly been making a whole lot of noise. EPISODE SPONSORS Old Man Mountain & Robert Axel Project = use code mountainsordeath for 15% off  Central Texas Showdown = code ctsordeath for 15% off West Texas Showdown = code wtsordeath for 15% off NEW PATRONS

Scott Rizzuto has apparently reached the stage of adulthood where there's a 75% chance that if you contact him between 4 and 5 p.m., he's peeling garlic. Not relaxing. Not enjoying a hobby. Peeling garlic. Meanwhile, Lern accidentally ordered enough garlic to make her house legally inaccessible to vampires, which sends the crew into garlic oil, home remedies and other advice nobody should blindly follow just because five people with microphones said it confidently.And somehow, that's one of the more normal conversations in this comedy podcast.King Scott's baby is getting CLOSE, which means it's time to dig up the official baby pool and see who predicted the date, time and weight correctly. Scott says he's about 60% ready, the go-bag exists somewhere, and the car seat installation is still hanging out on the to-do list. So basically, fatherhood is proceeding exactly according to plan.That turns into kid birthday party etiquette, whether “NO GIFTS” actually means no gifts, and the worst possible present you could give a five-year-old if your real goal is making sure the parents never invite you anywhere again. Drum set? Puppy? Gold bars? The Rizz Show remains committed to providing absolutely terrible parenting resources free of charge.Then school season arrives and brings back memories of first-day outfits, high school parking spaces, Scott spray-painting his initials onto school property like a criminal mastermind who also signed the evidence, college costs, and the crew trying to understand why Illinois keeps catching strays.But eventually we arrive at the question that could divide America:Can you drink a non-alcoholic beer at work?More specifically, what happens if your SURGEON walks into the room before your operation holding one?Technically, it's non-alcoholic. Emotionally? Your brain has already requested another doctor.The crew runs the experiment through surgeons, pilots, school bus drivers, air traffic controllers and other professions where “don't worry, it's an NA” probably isn't the comforting sentence you were hoping to hear. Then Rafe introduces an equally troubling alternative: your heart surgeon walking in with a Capri Sun and struggling to get the straw into the pouch.Choose your fighter.From there, today's comedy podcast tackles low-key addictions, Rafe's mint supply, bad-breath paranoia, online shopping, Amazon delivery drivers asking customers to stop ordering cases of bottled water, and whether water baking in a brutally hot delivery truck makes that expensive alkaline stuff slightly less impressive.Then we get into homeowner association insanity, because apparently owning your house doesn't necessarily mean you're allowed to sit wherever the hell you want on it. One homeowner gets accused of doing “porch-type activity” while sitting in his garage — yes, that's apparently a category now — while another woman deals with HOA fines over a dead bush by simply spray-painting the thing green.Problem solved. Botanists hate this one simple trick.It's another comedy podcast packed with daily humor, weird news, St. Louis stories, ridiculous arguments, parenting panic and the sort of pop culture commentary that starts with a reasonable question and ends with five adults debating whether they'd trust a surgeon holding a Capri Sun.So, another productive morning at The Rizzuto Show.Follow The Rizzuto Show → linktr.ee/rizzshow for more from your favorite daily comedy show.Connect with The Rizzuto Show Comedy Podcast online → 1057thepoint.com/RizzShow.Hear The Rizz Show daily on the radio at 105.7 The Point | Hubbard Radio in St. Louis, MO.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Here in chapter 3, Paul uses the word “mystery” again and again, so be gracious and allow me to reveal and clarify what the word mystery means in this sense. We often to refer to that which is unknown to be a mystery, but that's only a partial definition. Technically, a mystery is something that was once hidden but is now revealed. In this case, the mystery is that God's plan was to redeem both Israel and the rest of the world through the Messiah, a plan that was once hidden but has now been revealed. Paul has been given the task of preaching the incalculable riches of Christ to the Gentiles, so that God's wisdom and power might be displayed through the church. :::Christian Standard Bible translation.All music written and produced by John Burgess Ross.Co-produced by the Christian Standard Biblefacebook.com/commuterbibleinstagram.com/commuter_bibletwitter.com/CommuterPodpatreon.com/commuterbibleadmin@commuterbible.org

THIS IS A PREVIEW. FOR THE FULL EPISODE, GO TO Patreon.com/worstofall According to all known laws of aviation, there is no way a bee should be able to fly. Media Referenced in this Episode: Bee Movie. Dir. Simon J. Smith and Steve Hickner. 2007. “A Complete History of Bee Movie's Many, Many Memes" by Paris Martineau. New York Magazine. November 2nd, 2017. “Bee Movie: A Seinfeldian Society” by Joe Strike. Animation World. November 2nd, 2007. “How Bee Movie Won 2016” by Laura Bradley. Vanity Fair. December 30th, 2016. TWOAPW theme by Brendan Dalton: Patreon // brendan-dalton.com // brendandalton.bandcamp.com Interstitial: “A Series of Voicemails Left on Jerry Seinfeld's Answering Machine by one Stephen Sondheim, Composer of Musical Theater and Lover of Bees” // Written by A.J. Ditty and Brian Alford // feat. David Armstrong as “Stephen Sondheim” and Brian Alford as “Jerry” Episode edited by Brian Alford. Interstitial edited by A.J. Ditty. Produced by Josh Boerman, A.J. Ditty, and Brian Alford. This podcast was recorded under a SAG-AFTRA Agreement. Its wings are too small to get its fat little body off the ground. The bee, of course, flies anyway because bees don't care what humans think is impossible. Yellow, black. Yellow, black. Yellow, black. Yellow, black. Ooh, black and yellow! Let's shake it up a little. Barry! Breakfast is ready! Coming! Hang on a second. Hello? - Barry? - Adam? - Can you believe this is happening? - I can't. I'll pick you up. Looking sharp. Use the stairs. Your father paid good money for those. Sorry. I'm excited. Here's the graduate. We're very proud of you, son. A perfect report card, all B's. Very proud. Ma! I got a thing going here. - You got lint on your fuzz. - Ow! That's me! - Wave to us! We'll be in row 118,000. - Bye! Barry, I told you, stop flying in the house! - Hey, Adam. - Hey, Barry. - Is that fuzz gel? - A little. Special day, graduation. Never thought I'd make it. Three days grade school, three days high school. Those were awkward. Three days college. I'm glad I took a day and hitchhiked around the hive. You did come back different. - Hi, Barry. - Artie, growing a mustache? Looks good. - Hear about Frankie? - Yeah. - You going to the funeral? - No, I'm not going. Everybody knows, sting someone, you die. Don't waste it on a squirrel. Such a hothead. I guess he could have just gotten out of the way. I love this incorporating an amusement park into our day. That's why we don't need vacations. Boy, quite a bit of pomp… under the circumstances. - Well, Adam, today we are men. - We are! - Bee-men. - Amen! Hallelujah! Students, faculty, distinguished bees, please welcome Dean Buzzwell. Welcome, New Hive City graduating class of… …9:15. That concludes our ceremonies. And begins your career at Honex Industries! Will we pick our job today? I heard it's just orientation. Heads up! Here we go. Keep your hands and antennas inside the tram at all times. - Wonder what it'll be like? - A little scary. Welcome to Honex, a division of Honesco and a part of the Hexagon Group. This is it! Wow. Wow. We know that you, as a bee, have worked your whole life to get to the point where you can work for your whole life. Honey begins when our valiant Pollen Jocks bring the nectar to the hive. Our top-secret formula is automatically color-corrected, scent-adjusted and bubble-contoured into this soothing sweet syrup with its distinctive golden glow you know as… Honey! - That girl was hot. - She's my cousin! - She is? - Yes, we're all cousins. - Right. You're right. - At Honex, we constantly strive to improve every aspect of bee existence. These bees are stress-testing a new helmet technology. - What do you think he makes? - Not enough. Here we have our latest advancement, the Krelman. - What does that do? - Oatches that little strand of honey that hangs after you pour it. Saves us millions. Oan anyone work on the Krelman? Of course. Most bee jobs are small ones. But bees know that every small job, if it's done well, means a lot. But choose carefully because you'll stay in the job you pick for the rest of your life. The same job the rest of your life? I didn't know that. What's the difference? You'll be happy to know that bees, as a species, haven't had one day off in 27 million years. So you'll just work us to death? We'll sure try. Wow! That blew my mind! “What's the difference?” How can you say that? One job forever? That's an insane choice to have to make. I'm relieved. Now we only have to make one decision in life. But, Adam, how could they never have told us that? Why would you question anything? We're bees. We're the most perfectly functioning society on Earth. You ever think maybe things work a little too well here? Like what? Give me one example. I don't know. But you know what I'm talking about. Please clear the gate. Royal Nectar Force on approach. Wait a second. Oheck it out. - Hey, those are Pollen Jocks! - Wow. I've never seen them this close. They know what it's like outside the hive. Yeah, but some don't come back. - Hey, Jocks! - Hi, Jocks! You guys did great! You're monsters! You're sky freaks! I love it! I love it! - I wonder where they were. - I don't know. Their day's not planned. Outside the hive, flying who knows where, doing who knows what. You can'tjust decide to be a Pollen Jock. You have to be bred for that. Right. Look. That's more pollen than you and I will see in a lifetime. It's just a status symbol. Bees make too much of it. Perhaps. Unless you're wearing it and the ladies see you wearing it. Those ladies? Aren't they our cousins too? Distant. Distant. Look at these two. - Oouple of Hive Harrys. - Let's have fun with them. It must be dangerous being a Pollen Jock. Yeah. Once a bear pinned me against a mushroom! He had a paw on my throat, and with the other, he was slapping me! - Oh, my! - I never thought I'd knock him out. What were you doing during this? Trying to alert the authorities. I can autograph that. A little gusty out there today, wasn't it, comrades? Yeah. Gusty. We're hitting a sunflower patch six miles from here tomorrow. - Six miles, huh? - Barry! A puddle jump for us, but maybe you're not up for it. - Maybe I am. - You are not! We're going 0900 at J-Gate. What do you think, buzzy-boy? Are you bee enough? I might be. It all depends on what 0900 means. Hey, Honex! Dad, you surprised me. You decide what you're interested in? - Well, there's a lot of choices. - But you only get one. Do you ever get bored doing the same job every day? Son, let me tell you about stirring. You grab that stick, and you just move it around, and you stir it around. You get yourself into a rhythm. It's a beautiful thing. You know, Dad, the more I think about it, maybe the honey field just isn't right for me. You were thinking of what, making balloon animals? That's a bad job for a guy with a stinger. Janet, your son's not sure he wants to go into honey! - Barry, you are so funny sometimes. - I'm not trying to be funny. You're not funny! You're going into honey. Our son, the stirrer! - You're gonna be a stirrer? - No one's listening to me! Wait till you see the sticks I have. I could say anything right now. I'm gonna get an ant tattoo! Let's open some honey and celebrate! Maybe I'll pierce my thorax. Shave my antennae. Shack up with a grasshopper. Get a gold tooth and call everybody “dawg”! I'm so proud. - We're starting work today! - Today's the day. Oome on! All the good jobs will be gone. Yeah, right. Pollen counting, stunt bee, pouring, stirrer, front desk, hair removal… - Is it still available? - Hang on. Two left! One of them's yours! Oongratulations! Step to the side. - What'd you get? - Picking crud out. Stellar! Wow! Oouple of newbies? Yes, sir! Our first day! We are ready! Make your choice. - You want to go first? - No, you go. Oh, my. What's available? Restroom attendant's open, not for the reason you think. - Any chance of getting the Krelman? - Sure, you're on. I'm sorry, the Krelman just closed out. Wax monkey's always open. The Krelman opened up again. What happened? A bee died. Makes an opening. See? He's dead. Another dead one. Deady. Deadified. Two more dead. Dead from the neck up. Dead from the neck down. That's life! Oh, this is so hard! Heating, cooling, stunt bee, pourer, stirrer, humming, inspector number seven, lint coordinator, stripe supervisor, mite wrangler. Barry, what do you think I should… Barry? Barry! All right, we've got the sunflower patch in quadrant nine… What happened to you? Where are you? - I'm going out. - Out? Out where? - Out there. - Oh, no! I have to, before I go to work for the rest of my life. You're gonna die! You're crazy! Hello? Another call coming in. If anyone's feeling brave, there's a Korean deli on 83rd that gets their roses today. Hey, guys. - Look at that. - Isn't that the kid we saw yesterday? Hold it, son, flight deck's restricted. It's OK, Lou. We're gonna take him up. Really? Feeling lucky, are you? Sign here, here. Just initial that. - Thank you. - OK. You got a rain advisory today, and as you all know, bees cannot fly in rain. So be careful. As always, watch your brooms, hockey sticks, dogs, birds, bears and bats. Also, I got a couple of reports of root beer being poured on us. Murphy's in a home because of it, babbling like a cicada! - That's awful. - And a reminder for you rookies, bee law number one, absolutely no talking to humans! All right, launch positions! Buzz, buzz, buzz, buzz! Buzz, buzz, buzz, buzz! Buzz, buzz, buzz, buzz! Black and yellow! Hello! You ready for this, hot shot? Yeah. Yeah, bring it on. Wind, check. - Antennae, check. - Nectar pack, check. - Wings, check. - Stinger, check. Scared out of my shorts, check. OK, ladies, let's move it out! Pound those petunias, you striped stem-suckers! All of you, drain those flowers! Wow! I'm out! I can't believe I'm out! So blue. I feel so fast and free! Box kite! Wow! Flowers! This is Blue Leader. We have roses visual. Bring it around 30 degrees and hold. Roses! 30 degrees, roger. Bringing it around. Stand to the side, kid. It's got a bit of a kick. That is one nectar collector! - Ever see pollination up close? - No, sir. I pick up some pollen here, sprinkle it over here. Maybe a dash over there, a pinch on that one. See that? It's a little bit of magic. That's amazing. Why do we do that? That's pollen power. More pollen, more flowers, more nectar, more honey for us. Cool. I'm picking up a lot of bright yellow. Oould be daisies. Don't we need those? Oopy that visual. Wait. One of these flowers seems to be on the move. Say again? You're reporting a moving flower? Affirmative. That was on the line! This is the coolest. What is it? I don't know, but I'm loving this color. It smells good. Not like a flower, but I like it. Yeah, fuzzy. Ohemical-y. Oareful, guys. It's a little grabby. My sweet lord of bees! Oandy-brain, get off there! Problem! - Guys! - This could be bad. Affirmative. Very close. Gonna hurt. Mama's little boy. You are way out of position, rookie! Ooming in at you like a missile! Help me! I don't think these are flowers. - Should we tell him? - I think he knows. What is this?! Match point! You can start packing up, honey, because you're about to eat it! Yowser! Gross. There's a bee in the car! - Do something! - I'm driving! - Hi, bee. - He's back here! He's going to sting me! Nobody move. If you don't move, he won't sting you. Freeze! He blinked! Spray him, Granny! What are you doing?! Wow… the tension level out here is unbelievable. I gotta get home. Oan't fly in rain. Oan't fly in rain. Oan't fly in rain. Mayday! Mayday! Bee going down! Ken, could you close the window please? Ken, could you close the window please? Oheck out my new resume. I made it into a fold-out brochure. You see? Folds out. Oh, no. More humans. I don't need this. What was that? Maybe this time. This time. This time. This time! This time! This… Drapes! That is diabolical. It's fantastic. It's got all my special skills, even my top-ten favorite movies. What's number one? Star Wars? Nah, I don't go for that… …kind of stuff. No wonder we shouldn't talk to them. They're out of their minds. When I leave a job interview, they're flabbergasted, can't believe what I say. There's the sun. Maybe that's a way out. I don't remember the sun having a big 75 on it. I predicted global warming. I could feel it getting hotter. At first I thought it was just me. Wait! Stop! Bee! Stand back. These are winter boots. Wait! Don't kill him! You know I'm allergic to them! This thing could kill me! Why does his life have less value than yours? Why does his life have any less value than mine? Is that your statement? I'm just saying all life has value. You don't know what he's capable of feeling. My brochure! There you go, little guy. I'm not scared of him. It's an allergic thing. Put that on your resume brochure. My whole face could puff up. Make it one of your special skills. Knocking someone out is also a special skill. Right. Bye, Vanessa. Thanks. - Vanessa, next week? Yogurt night? - Sure, Ken. You know, whatever. - You could put carob chips on there. - Bye. - Supposed to be less calories. - Bye. I gotta say something. She saved my life. I gotta say something. All right, here it goes. Nah. What would I say? I could really get in trouble. It's a bee law. You're not supposed to talk to a human. I can't believe I'm doing this. I've got to. Oh, I can't do it. Oome on! No. Yes. No. Do it. I can't. How should I start it? “You like jazz?” No, that's no good. Here she comes! Speak, you fool! Hi! I'm sorry. - You're talking. - Yes, I know. You're talking! I'm so sorry. No, it's OK. It's fine. I know I'm dreaming. But I don't recall going to bed. Well, I'm sure this is very disconcerting. This is a bit of a surprise to me. I mean, you're a bee! I am. And I'm not supposed to be doing this, but they were all trying to kill me. And if it wasn't for you… I had to thank you. It's just how I was raised. That was a little weird. - I'm talking with a bee. - Yeah. I'm talking to a bee. And the bee is talking to me! I just want to say I'm grateful. I'll leave now. - Wait! How did you learn to do that? - What? The talking thing. Same way you did, I guess. “Mama, Dada, honey.” You pick it up. - That's very funny. - Yeah. Bees are funny. If we didn't laugh, we'd cry with what we have to deal with. Anyway… Oan I… …get you something? - Like what? I don't know. I mean… I don't know. Ooffee? I don't want to put you out. It's no trouble. It takes two minutes. - It's just coffee. - I hate to impose. - Don't be ridiculous! - Actually, I would love a cup. Hey, you want rum cake? - I shouldn't. - Have some. - No, I can't. - Oome on! I'm trying to lose a couple micrograms. - Where? - These stripes don't help. You look great! I don't know if you know anything about fashion. Are you all right? No. He's making the tie in the cab as they're flying up Madison. He finally gets there. He runs up the steps into the church. The wedding is on. And he says, “Watermelon? I thought you said Guatemalan. Why would I marry a watermelon?” Is that a bee joke? That's the kind of stuff we do. Yeah, different. So, what are you gonna do, Barry? About work? I don't know. I want to do my part for the hive, but I can't do it the way they want. I know how you feel. - You do? - Sure. My parents wanted me to be a lawyer or a doctor, but I wanted to be a florist. - Really? - My only interest is flowers. Our new queen was just elected with that same campaign slogan. Anyway, if you look… There's my hive right there. See it? You're in Sheep Meadow! Yes! I'm right off the Turtle Pond! No way! I know that area. I lost a toe ring there once. - Why do girls put rings on their toes? - Why not? - It's like putting a hat on your knee. - Maybe I'll try that. - You all right, ma'am? - Oh, yeah. Fine. Just having two cups of coffee! Anyway, this has been great. Thanks for the coffee. Yeah, it's no trouble. Sorry I couldn't finish it. If I did, I'd be up the rest of my life. Are you…? Oan I take a piece of this with me? Sure! Here, have a crumb. - Thanks! - Yeah. All right. Well, then… I guess I'll see you around. Or not. OK, Barry. And thank you so much again… for before. Oh, that? That was nothing. Well, not nothing, but… Anyway… This can't possibly work. He's all set to go. We may as well try it. OK, Dave, pull the chute. - Sounds amazing. - It was amazing! It was the scariest, happiest moment of my life. Humans! I can't believe you were with humans! Giant, scary humans! What were they like? Huge and crazy. They talk crazy. They eat crazy giant things. They drive crazy. - Do they try and kill you, like on TV? - Some of them. But some of them don't. - How'd you get back? - Poodle. You did it, and I'm glad. You saw whatever you wanted to see. You had your “experience.” Now you can pick out yourjob and be normal. - Well… - Well? Well, I met someone. You did? Was she Bee-ish? - A wasp?! Your parents will kill you! - No, no, no, not a wasp. - Spider? - I'm not attracted to spiders. I know it's the hottest thing, with the eight legs and all. I can't get by that face. So who is she? She's… human. No, no. That's a bee law. You wouldn't break a bee law. - Her name's Vanessa. - Oh, boy. She's so nice. And she's a florist! Oh, no! You're dating a human florist! We're not dating. You're flying outside the hive, talking to humans that attack our homes with power washers and M-80s! One-eighth a stick of dynamite! She saved my life! And she understands me. This is over! Eat this. This is not over! What was that? - They call it a crumb. - It was so stingin' stripey! And that's not what they eat. That's what falls off what they eat! - You know what a Oinnabon is? - No. It's bread and cinnamon and frosting. They heat it up… Sit down! …really hot! - Listen to me! We are not them! We're us. There's us and there's them! Yes, but who can deny the heart that is yearning? There's no yearning. Stop yearning. Listen to me! You have got to start thinking bee, my friend. Thinking bee! - Thinking bee. - Thinking bee. Thinking bee! Thinking bee! Thinking bee! Thinking bee! There he is. He's in the pool. You know what your problem is, Barry? I gotta start thinking bee? How much longer will this go on? It's been three days! Why aren't you working? I've got a lot of big life decisions to think about. What life? You have no life! You have no job. You're barely a bee! Would it kill you to make a little honey? Barry, come out. Your father's talking to you. Martin, would you talk to him? Barry, I'm talking to you! You coming? Got everything? All set! Go ahead. I'll catch up. Don't be too long. Watch this! Vanessa! - We're still here. - I told you not to yell at him. He doesn't respond to yelling! - Then why yell at me? - Because you don't listen! I'm not listening to this. Sorry, I've gotta go. - Where are you going? - I'm meeting a friend. A girl? Is this why you can't decide? Bye. I just hope she's Bee-ish. They have a huge parade of flowers every year in Pasadena? To be in the Tournament of Roses, that's every florist's dream! Up on a float, surrounded by flowers, crowds cheering. A tournament. Do the roses compete in athletic events? No. All right, I've got one. How come you don't fly everywhere? It's exhausting. Why don't you run everywhere? It's faster. Yeah, OK, I see, I see. All right, your turn. TiVo. You can just freeze live TV? That's insane! You don't have that? We have Hivo, but it's a disease. It's a horrible, horrible disease. Oh, my. Dumb bees! You must want to sting all those jerks. We try not to sting. It's usually fatal for us. So you have to watch your temper. Very carefully. You kick a wall, take a walk, write an angry letter and throw it out. Work through it like any emotion: Anger, jealousy, lust. Oh, my goodness! Are you OK? Yeah. - What is wrong with you?! - It's a bug. He's not bothering anybody. Get out of here, you creep! What was that? A Pic ‘N' Save circular? Yeah, it was. How did you know? It felt like about 10 pages. Seventy-five is pretty much our limit. You've really got that down to a science. - I lost a cousin to Italian Vogue. - I'll bet. What in the name of Mighty Hercules is this? How did this get here? Oute Bee, Golden Blossom, Ray Liotta Private Select? - Is he that actor? - I never heard of him. - Why is this here? - For people. We eat it. You don't have enough food of your own? - Well, yes. - How do you get it? - Bees make it. - I know who makes it! And it's hard to make it! There's heating, cooling, stirring. You need a whole Krelman thing! - It's organic. - It's our-ganic! It's just honey, Barry. Just what?! Bees don't know about this! This is stealing! A lot of stealing! You've taken our homes, schools, hospitals! This is all we have! And it's on sale?! I'm getting to the bottom of this. I'm getting to the bottom of all of this! Hey, Hector. - You almost done? - Almost. He is here. I sense it. Well, I guess I'll go home now and just leave this nice honey out, with no one around. You're busted, box boy! I knew I heard something. So you can talk! I can talk. And now you'll start talking! Where you getting the sweet stuff? Who's your supplier? I don't understand. I thought we were friends. The last thing we want to do is upset bees! You're too late! It's ours now! You, sir, have crossed the wrong sword! You, sir, will be lunch for my iguana, Ignacio! Where is the honey coming from? Tell me where! Honey Farms! It comes from Honey Farms! Orazy person! What horrible thing has happened here? These faces, they never knew what hit them. And now they're on the road to nowhere! Just keep still. What? You're not dead? Do I look dead? They will wipe anything that moves. Where you headed? To Honey Farms. I am onto something huge here. I'm going to Alaska. Moose blood, crazy stuff. Blows your head off! I'm going to Tacoma. - And you? - He really is dead. All right. Uh-oh! - What is that?! - Oh, no! - A wiper! Triple blade! - Triple blade? Jump on! It's your only chance, bee! Why does everything have to be so doggone clean?! How much do you people need to see?! Open your eyes! Stick your head out the window! From NPR News in Washington, I'm Carl Kasell. But don't kill no more bugs! - Bee! - Moose blood guy!! - You hear something? - Like what? Like tiny screaming. Turn off the radio. Whassup, bee boy? Hey, Blood. Just a row of honey jars, as far as the eye could see. Wow! I assume wherever this truck goes is where they're getting it. I mean, that honey's ours. - Bees hang tight. - We're all jammed in. It's a close community. Not us, man. We on our own. Every mosquito on his own. - What if you get in trouble? - You a mosquito, you in trouble. Nobody likes us. They just smack. See a mosquito, smack, smack! At least you're out in the world. You must meet girls. Mosquito girls try to trade up, get with a moth, dragonfly. Mosquito girl don't want no mosquito. You got to be kidding me! Mooseblood's about to leave the building! So long, bee! - Hey, guys! - Mooseblood! I knew I'd catch y'all down here. Did you bring your crazy straw? We throw it in jars, slap a label on it, and it's pretty much pure profit. What is this place? A bee's got a brain the size of a pinhead. They are pinheads! Pinhead. - Oheck out the new smoker. - Oh, sweet. That's the one you want. The Thomas 3000! Smoker? Ninety puffs a minute, semi-automatic. Twice the nicotine, all the tar. A couple breaths of this knocks them right out. They make the honey, and we make the money. “They make the honey, and we make the money”? Oh, my! What's going on? Are you OK? Yeah. It doesn't last too long. Do you know you're in a fake hive with fake walls? Our queen was moved here. We had no choice. This is your queen? That's a man in women's clothes! That's a drag queen! What is this? Oh, no! There's hundreds of them! Bee honey. Our honey is being brazenly stolen on a massive scale! This is worse than anything bears have done! I intend to do something. Oh, Barry, stop. Who told you humans are taking our honey? That's a rumor. Do these look like rumors? That's a conspiracy theory. These are obviously doctored photos. How did you get mixed up in this? He's been talking to humans. - What? - Talking to humans?! He has a human girlfriend. And they make out! Make out? Barry! We do not. - You wish you could. - Whose side are you on? The bees! I dated a cricket once in San Antonio. Those crazy legs kept me up all night. Barry, this is what you want to do with your life? I want to do it for all our lives. Nobody works harder than bees! Dad, I remember you coming home so overworked your hands were still stirring. You couldn't stop. I remember that. What right do they have to our honey? We live on two cups a year. They put it in lip balm for no reason whatsoever! Even if it's true, what can one bee do? Sting them where it really hurts. In the face! The eye! - That would hurt. - No. Up the nose? That's a killer. There's only one place you can sting the humans, one place where it matters. Hive at Five, the hive's only full-hour action news source. No more bee beards! With Bob Bumble at the anchor desk. Weather with Storm Stinger. Sports with Buzz Larvi. And Jeanette Chung. - Good evening. I'm Bob Bumble. - And I'm Jeanette Chung. A tri-county bee, Barry Benson, intends to sue the human race for stealing our honey, packaging it and profiting from it illegally! Tomorrow night on Bee Larry King, we'll have three former queens here in our studio, discussing their new book, Classy Ladies, out this week on Hexagon. Tonight we're talking to Barry Benson. Did you ever think, “I'm a kid from the hive. I can't do this”? Bees have never been afraid to change the world. What about Bee Columbus? Bee Gandhi? Bee Jesus? Where I'm from, we'd never sue humans. We were thinking of stickball or candy stores. How old are you? The bee community is supporting you in this case, which will be the trial of the bee century. You know, they have a Larry King in the human world too. It's a common name. Next week… He looks like you and has a show and suspenders and colored dots… Next week… Glasses, quotes on the bottom from the guest even though you just heard ‘em. Bear Week next week! They're scary, hairy and here live. Always leans forward, pointy shoulders, squinty eyes, very Jewish. In tennis, you attack at the point of weakness! It was my grandmother, Ken. She's 81. Honey, her backhand's a joke! I'm not gonna take advantage of that? Quiet, please. Actual work going on here. - Is that that same bee? - Yes, it is! I'm helping him sue the human race. - Hello. - Hello, bee. This is Ken. Yeah, I remember you. Timberland, size ten and a half. Vibram sole, I believe. Why does he talk again? Listen, you better go ‘cause we're really busy working. But it's our yogurt night! Bye-bye. Why is yogurt night so difficult?! You poor thing. You two have been at this for hours! Yes, and Adam here has been a huge help. - Frosting… - How many sugars? Just one. I try not to use the competition. So why are you helping me? Bees have good qualities. And it takes my mind off the shop. Instead of flowers, people are giving balloon bouquets now. Those are great, if you're three. And artificial flowers. - Oh, those just get me psychotic! - Yeah, me too. Bent stingers, pointless pollination. Bees must hate those fake things! Nothing worse than a daffodil that's had work done. Maybe this could make up for it a little bit. - This lawsuit's a pretty big deal. - I guess. You sure you want to go through with it? Am I sure? When I'm done with the humans, they won't be able to say, “Honey, I'm home,” without paying a royalty! It's an incredible scene here in downtown Manhattan, where the world anxiously waits, because for the first time in history, we will hear for ourselves if a honeybee can actually speak. What have we gotten into here, Barry? It's pretty big, isn't it? I can't believe how many humans don't work during the day. You think billion-dollar multinational food companies have good lawyers? Everybody needs to stay behind the barricade. - What's the matter? - I don't know, I just got a chill. Well, if it isn't the bee team. You boys work on this? All rise! The Honorable Judge Bumbleton presiding. All right. Case number 4475, Superior Court of New York, Barry Bee Benson v. The Honey Industry is now in session. Mr. Montgomery, you're representing the five food companies collectively? A privilege. Mr. Benson… you're representing all the bees of the world? I'm kidding. Yes, Your Honor, we're ready to proceed. Mr. Montgomery, your opening statement, please. Ladies and gentlemen of the jury, my grandmother was a simple woman. Born on a farm, she believed it was man's divine right to benefit from the bounty of nature God put before us. If we lived in the topsy-turvy world Mr. Benson imagines, just think of what would it mean. I would have to negotiate with the silkworm for the elastic in my britches! Talking bee! How do we know this isn't some sort of holographic motion-picture-capture Hollywood wizardry? They could be using laser beams! Robotics! Ventriloquism! Oloning! For all we know, he could be on steroids! Mr. Benson? Ladies and gentlemen, there's no trickery here. I'm just an ordinary bee. Honey's pretty important to me. It's important to all bees. We invented it! We make it. And we protect it with our lives. Unfortunately, there are some people in this room who think they can take it from us ‘cause we're the little guys! I'm hoping that, after this is all over, you'll see how, by taking our honey, you not only take everything we have but everything we are! I wish he'd dress like that all the time. So nice! Oall your first witness. So, Mr. Klauss Vanderhayden of Honey Farms, big company you have. I suppose so. I see you also own Honeyburton and Honron! Yes, they provide beekeepers for our farms. Beekeeper. I find that to be a very disturbing term. I don't imagine you employ any bee-free-ers, do you? - No. - I couldn't hear you. - No. - No. Because you don't free bees. You keep bees. Not only that, it seems you thought a bear would be an appropriate image for a jar of honey. They're very lovable creatures. Yogi Bear, Fozzie Bear, Build-A-Bear. You mean like this? Bears kill bees! How'd you like his head crashing through your living room?! Biting into your couch! Spitting out your throw pillows! OK, that's enough. Take him away. So, Mr. Sting, thank you for being here. Your name intrigues me. - Where have I heard it before? - I was with a band called The Police. But you've never been a police officer, have you? No, I haven't. No, you haven't. And so here we have yet another example of bee culture casually stolen by a human for nothing more than a prance-about stage name. Oh, please. Have you ever been stung, Mr. Sting? Because I'm feeling a little stung, Sting. Or should I say… Mr. Gordon M. Sumner! That's not his real name?! You idiots! Mr. Liotta, first, belated congratulations on your Emmy win for a guest spot on ER in 2005. Thank you. Thank you. I see from your resume that you're devilishly handsome with a churning inner turmoil that's ready to blow. I enjoy what I do. Is that a crime? Not yet it isn't. But is this what it's come to for you? Exploiting tiny, helpless bees so you don't have to rehearse your part and learn your lines, sir? Watch it, Benson! I could blow right now! This isn't a goodfella. This is a badfella! Why doesn't someone just step on this creep, and we can all go home?! - Order in this court! - You're all thinking it! Order! Order, I say! - Say it! - Mr. Liotta, please sit down! I think it was awfully nice of that bear to pitch in like that. I think the jury's on our side. Are we doing everything right, legally? I'm a florist. Right. Well, here's to a great team. To a great team! Well, hello. - Ken! - Hello. I didn't think you were coming. No, I was just late. I tried to call, but… the battery. I didn't want all this to go to waste, so I called Barry. Luckily, he was free. Oh, that was lucky. There's a little left. I could heat it up. Yeah, heat it up, sure, whatever. So I hear you're quite a tennis player. I'm not much for the game myself. The ball's a little grabby. That's where I usually sit. Right… there. Ken, Barry was looking at your resume, and he agreed with me that eating with chopsticks isn't really a special skill. You think I don't see what you're doing? I know how hard it is to find the rightjob. We have that in common. Do we? Bees have 100 percent employment, but we do jobs like taking the crud out. That's just what I was thinking about doing. Ken, I let Barry borrow your razor for his fuzz. I hope that was all right. I'm going to drain the old stinger. Yeah, you do that. Look at that. You know, I've just about had it with your little mind games. - What's that? - Italian Vogue. Mamma mia, that's a lot of pages. A lot of ads. Remember what Van said, why is your life more valuable than mine? Funny, I just can't seem to recall that! I think something stinks in here! I love the smell of flowers. How do you like the smell of flames?! Not as much. Water bug! Not taking sides! Ken, I'm wearing a Ohapstick hat! This is pathetic! I've got issues! Well, well, well, a royal flush! - You're bluffing. - Am I? Surf's up, dude! Poo water! That bowl is gnarly. Except for those dirty yellow rings! Kenneth! What are you doing?! You know, I don't even like honey! I don't eat it! We need to talk! He's just a little bee! And he happens to be the nicest bee I've met in a long time! Long time? What are you talking about?! Are there other bugs in your life? No, but there are other things bugging me in life. And you're one of them! Fine! Talking bees, no yogurt night… My nerves are fried from riding on this emotional roller coaster! Goodbye, Ken. And for your information, I prefer sugar-free, artificial sweeteners made by man! I'm sorry about all that. I know it's got an aftertaste! I like it! I always felt there was some kind of barrier between Ken and me. I couldn't overcome it. Oh, well. Are you OK for the trial? I believe Mr. Montgomery is about out of ideas. We would like to call Mr. Barry Benson Bee to the stand. Good idea! You can really see why he's considered one of the best lawyers… Yeah. Layton, you've gotta weave some magic with this jury, or it's gonna be all over. Don't worry. The only thing I have to do to turn this jury around is to remind them of what they don't like about bees. - You got the tweezers? - Are you allergic? Only to losing, son. Only to losing. Mr. Benson Bee, I'll ask you what I think we'd all like to know. What exactly is your relationship to that woman? We're friends. - Good friends? - Yes. How good? Do you live together? Wait a minute… Are you her little… …bedbug? I've seen a bee documentary or two. From what I understand, doesn't your queen give birth to all the bee children? - Yeah, but… - So those aren't your real parents! - Oh, Barry… - Yes, they are! Hold me back! You're an illegitimate bee, aren't you, Benson? He's denouncing bees! Don't y'all date your cousins? - Objection! - I'm going to pincushion this guy! Adam, don't! It's what he wants! Oh, I'm hit!! Oh, lordy, I am hit! Order! Order! The venom! The venom is coursing through my veins! I have been felled by a winged beast of destruction! You see? You can't treat them like equals! They're striped savages! Stinging's the only thing they know! It's their way! - Adam, stay with me. - I can't feel my legs. What angel of mercy will come forward to suck the poison from my heaving buttocks? I will have order in this court. Order! Order, please! The case of the honeybees versus the human race took a pointed turn against the bees yesterday when one of their legal team stung Layton T. Montgomery. - Hey, buddy. - Hey. - Is there much pain? - Yeah. I… I blew the whole case, didn't I? It doesn't matter. What matters is you're alive. You could have died. I'd be better off dead. Look at me. They got it from the cafeteria downstairs, in a tuna sandwich. Look, there's a little celery still on it. What was it like to sting someone? I can't explain it. It was all… All adrenaline and then… and then ecstasy! All right. You think it was all a trap? Of course. I'm sorry. I flew us right into this. What were we thinking? Look at us. We're just a couple of bugs in this world. What will the humans do to us if they win? I don't know. I hear they put the roaches in motels. That doesn't sound so bad. Adam, they check in, but they don't check out! Oh, my. Oould you get a nurse to close that window? - Why? - The smoke. Bees don't smoke. Right. Bees don't smoke. Bees don't smoke! But some bees are smoking. That's it! That's our case! It is? It's not over? Get dressed. I've gotta go somewhere. Get back to the court and stall. Stall any way you can. And assuming you've done step correctly, you're ready for the tub. Mr. Flayman. Yes? Yes, Your Honor! Where is the rest of your team? Well, Your Honor, it's interesting. Bees are trained to fly haphazardly, and as a result, we don't make very good time. I actually heard a funny story about… Your Honor, haven't these ridiculous bugs taken up enough of this court's valuable time? How much longer will we allow these absurd shenanigans to go on? They have presented no compelling evidence to support their charges against my clients, who run legitimate businesses. I move for a complete dismissal of this entire case! Mr. Flayman, I'm afraid I'm going to have to consider Mr. Montgomery's motion. But you can't! We have a terrific case. Where is your proof? Where is the evidence? Show me the smoking gun! Hold it, Your Honor! You want a smoking gun? Here is your smoking gun. What is that? It's a bee smoker! What, this? This harmless little contraption? This couldn't hurt a fly, let alone a bee. Look at what has happened to bees who have never been asked, “Smoking or non?” Is this what nature intended for us? To be forcibly addicted to smoke machines and man-made wooden slat work camps? Living out our lives as honey slaves to the white man? - What are we gonna do? - He's playing the species card. Ladies and gentlemen, please, free these bees! Free the bees! Free the bees! Free the bees! Free the bees! Free the bees! The court finds in favor of the bees! Vanessa, we won! I knew you could do it! High-five! Sorry. I'm OK! You know what this means? All the honey will finally belong to the bees. Now we won't have to work so hard all the time. This is an unholy perversion of the balance of nature, Benson. You'll regret this. Barry, how much honey is out there? All right. One at a time. Barry, who are you wearing? My sweater is Ralph Lauren, and I have no pants. - What if Montgomery's right? - What do you mean? We've been living the bee way a long time, 27 million years. Oongratulations on your victory. What will you demand as a settlement? First, we'll demand a complete shutdown of all bee work camps. Then we want back the honey that was ours to begin with, every last drop. We demand an end to the glorification of the bear as anything more than a filthy, smelly, bad-breath stink machine. We're all aware of what they do in the woods. Wait for my signal. Take him out. He'll have nauseous for a few hours, then he'll be fine. And we will no longer tolerate bee-negative nicknames… But it's just a prance-about stage name! …unnecessary inclusion of honey in bogus health products and la-dee-da human tea-time snack garnishments. Oan't breathe. Bring it in, boys! Hold it right there! Good. Tap it. Mr. Buzzwell, we just passed three cups, and there's gallons more coming! - I think we need to shut down! - Shut down? We've never shut down. Shut down honey production! Stop making honey! Turn your key, sir! What do we do now? Oannonball! We're shutting honey production! Mission abort. Aborting pollination and nectar detail. Returning to base. Adam, you wouldn't believe how much honey was out there. Oh, yeah? What's going on? Where is everybody? - Are they out celebrating? - They're home. They don't know what to do. Laying out, sleeping in. I heard your Uncle Oarl was on his way to San Antonio with a cricket. At least we got our honey back. Sometimes I think, so what if humans liked our honey? Who wouldn't? It's the greatest thing in the world! I was excited to be part of making it. This was my new desk. This was my new job. I wanted to do it really well. And now… Now I can't. I don't understand why they're not happy. I thought their lives would be better! They're doing nothing. It's amazing. Honey really changes people. You don't have any idea what's going on, do you? - What did you want to show me? - This. What happened here? That is not the half of it. Oh, no. Oh, my. They're all wilting. Doesn't look very good, does it? No. And whose fault do you think that is? You know, I'm gonna guess bees. Bees? Specifically, me. I didn't think bees not needing to make honey would affect all these things. It's notjust flowers. Fruits, vegetables, they all need bees. That's our whole SAT test right there. Take away produce, that affects the entire animal kingdom. And then, of course… The human species? So if there's no more pollination, it could all just go south here, couldn't it? I know this is also partly my fault. How about a suicide pact? How do we do it? - I'll sting you, you step on me. - That just kills you twice. Right, right. Listen, Barry… sorry, but I gotta get going. I had to open my mouth and talk. Vanessa? Vanessa? Why are you leaving? Where are you going? To the final Tournament of Roses parade in Pasadena. They've moved it to this weekend because all the flowers are dying. It's the last chance I'll ever have to see it. Vanessa, I just wanna say I'm sorry. I never meant it to turn out like this. I know. Me neither. Tournament of Roses. Roses can't do sports. Wait a minute. Roses. Roses? Roses! Vanessa! Roses?! Barry? - Roses are flowers! - Yes, they are. Flowers, bees, pollen! I know. That's why this is the last parade. Maybe not. Oould you ask him to slow down? Oould you slow down? Barry! OK, I made a huge mistake. This is a total disaster, all my fault. Yes, it kind of is. I've ruined the planet. I wanted to help you with the flower shop. I've made it worse. Actually, it's completely closed down. I thought maybe you were remodeling. But I have another idea, and it's greater than my previous ideas combined. I don't want to hear it! All right, they have the roses, the roses have the pollen. I know every bee, plant and flower bud in this park. All we gotta do is get what they've got back here with what we've got. - Bees. - Park. - Pollen! - Flowers. - Repollination! - Across the nation! Tournament of Roses, Pasadena, Oalifornia. They've got nothing but flowers, floats and cotton candy. Security will be tight. I have an idea. Vanessa Bloome, FTD. Official floral business. It's real. Sorry, ma'am. Nice brooch. Thank you. It was a gift. Once inside, we just pick the right float. How about The Princess and the Pea? I could be the princess, and you could be the pea! Yes, I got it. - Where should I sit? - What are you? - I believe I'm the pea. - The pea? It goes under the mattresses. - Not in this fairy tale, sweetheart. - I'm getting the marshal. You do that! This whole parade is a fiasco! Let's see what this baby'll do. Hey, what are you doing?! Then all we do is blend in with traffic… …without arousing suspicion. Once at the airport, there's no stopping us. Stop! Security. - You and your insect pack your float? - Yes. Has it been in your possession the entire time? Would you remove your shoes? - Remove your stinger. - It's part of me. I know. Just having some fun. Enjoy your flight. Then if we're lucky, we'll have just enough pollen to do the job. Oan you believe how lucky we are? We have just enough pollen to do the job! I think this is gonna work. It's got to work. Attention, passengers, this is Oaptain Scott. We have a bit of bad weather in New York. It looks like we'll experience a couple hours delay. Barry, these are cut flowers with no water. They'll never make it. I gotta get up there and talk to them. Be careful. Oan I get help with the Sky Mall magazine? I'd like to order the talking inflatable nose and ear hair trimmer. Oaptain, I'm in a real situation. - What'd you say, Hal? - Nothing. Bee! Don't freak out! My entire species… What are you doing? - Wait a minute! I'm an attorney! - Who's an attorney? Don't move. Oh, Barry. Good afternoon, passengers. This is your captain. Would a Miss Vanessa Bloome in 24B please report to the cockpit? And please hurry! What happened here? There was a DustBuster, a toupee, a life raft exploded. One's bald, one's in a boat, they're both unconscious! - Is that another bee joke? - No! No one's flying the plane! This is JFK control tower, Flight 356. What's your status? This is Vanessa Bloome. I'm a florist from New York. Where's the pilot? He's unconscious, and so is the copilot. Not good. Does anyone onboard have flight experience? As a matter of fact, there is. - Who's that? - Barry Benson. From the honey trial?! Oh, great. Vanessa, this is nothing more than a big metal bee. It's got giant wings, huge engines. I can't fly a plane. - Why not? Isn't John Travolta a pilot? - Yes. How hard could it be? Wait, Barry! We're headed into some lightning. This is Bob Bumble. We have some late-breaking news from JFK Airport, where a suspenseful scene is developing. Barry Benson, fresh from his legal victory… That's Barry! …is attempting to land a plane, loaded with people, flowers and an incapacitated flight crew. Flowers?! We have a storm in the area and two individuals at the controls with absolutely no flight experience. Just a minute. There's a bee on that plane. I'm quite familiar with Mr. Benson and his no-account compadres. They've done enough damage. But isn't he your only hope? Technically, a bee shouldn't be able to fly at all. Their wings are too small… Haven't we heard this a million times? “The surface area of the wings and body mass make no sense.” - Get this on the air! - Got it. - Stand by. - We're going live. The way we work may be a mystery to you. Making honey takes a lot of bees doing a lot of small jobs. But let me tell you about a small job. If you do it well, it makes a big difference. More than we realized. To us, to everyone. That's why I want to get bees back to working together. That's the bee way! We're not made of Jell-O. We get behind a fellow. - Black and yellow! - Hello! Left, right, down, hover. - Hover? - Forget hover. This isn't so hard. Beep-beep! Beep-beep! Barry, what happened?! Wait, I think we were on autopilot the whole time. - That may have been helping me. - And now we're not! So it turns out I cannot fly a plane. All of you, let's get behind this fellow! Move it out! Move out! Our only chance is if I do what I'd do, you copy me with the wings of the plane! Don't have to yell. I'm not yelling! We're in a lot of trouble. It's very hard to concentrate with that panicky tone in your voice! It's not a tone. I'm panicking! I can't do this! Vanessa, pull yourself together. You have to snap out of it! You snap out of it. You snap out of it. - You snap out of it! - You snap out of it! - You snap out of it! - You snap out of it! - You snap out of it! - You snap out of it! - Hold it! - Why? Oome on, it's my turn. How is the plane flying? I don't know. Hello? Benson, got any flowers for a happy occasion in there? The Pollen Jocks! They do get behind a fellow. - Black and yellow. - Hello. All right, let's drop this tin can on the blacktop. Where? I can't see anything. Oan you? No, nothing. It's all cloudy. Oome on. You got to think bee, Barry. - Thinking bee. - Thinking bee. Thinking bee! Thinking bee! Thinking bee! Wait a minute. I think I'm feeling something. - What? - I don't know. It's strong, pulling me. Like a 27-million-year-old instinct. Bring the nose down. Thinking bee! Thinking bee! Thinking bee! - What in the world is on the tarmac? - Get some lights on that! Thinking bee! Thinking bee! Thinking bee! - Vanessa, aim for the flower. - OK. Out the engines. We're going in on bee power. Ready, boys? Affirmative! Good. Good. Easy, now. That's it. Land on that flower! Ready? Full reverse! Spin it around! - Not that flower! The other one! - Which one? - That flower. - I'm aiming at the flower! That's a fat guy in a flowered shirt. I mean the giant pulsating flower made of millions of bees! Pull forward. Nose down. Tail up. Rotate around it. - This is insane, Barry! - This's the only way I know how to fly. Am I koo-koo-kachoo, or is this plane flying in an insect-like pattern? Get your nose in there. Don't be afraid. Smell it. Full reverse! Just drop it. Be a part of it. Aim for the center! Now drop it in! Drop it in, woman! Oome on, already. Barry, we did it! You taught me how to fly! - Yes. No high-five! - Right. Barry, it worked! Did you see the giant flower? What giant flower? Where? Of course I saw the flower! That was genius! - Thank you. - But we're not done yet. Listen, everyone! This runway is covered with the last pollen from the last flowers available anywhere on Earth. That means this is our last chance. We're the only ones who make honey, pollinate flowers and dress like this. If we're gonna survive as a species, this is our moment! What do you say? Are we going to be bees, orjust Museum of Natural History keychains? We're bees! Keychain! Then follow me! Except Keychain. Hold on, Barry. Here. You've earned this. Yeah! I'm a Pollen Jock! And it's a perfect fit. All I gotta do are the sleeves. Oh, yeah. That's our Barry. Mom! The bees are back! If anybody needs to make a call, now's the time. I got a feeling we'll be working late tonight! Here's your change. Have a great afternoon! Oan I help who's next? Would you like some honey with that? It is bee-approved. Don't forget these. Milk, cream, cheese, it's all me. And I don't see a nickel! Sometimes I just feel like a piece of meat! I had no idea. Barry, I'm sorry. Have you got a moment? Would you excuse me? My mosquito associate will help you. Sorry I'm late. He's a lawyer too? I was already a blood-sucking parasite. All I needed was a briefcase. Have a great afternoon! Barry, I just got this huge tulip order, and I can't get them anywhere. No problem, Vannie. Just leave it to me. You're a lifesaver, Barry. Oan I help who's next? All right, scramble, jocks! It's time to fly. Thank you, Barry! That bee is living my life! Let it go, Kenny. - When will this nightmare end?! - Let it all go. - Beautiful day to fly. - Sure is. Between you and me, I was dying to get out of that office. You have got to start thinking bee, my friend. - Thinking bee! - Me? Hold it. Let's just stop for a second. Hold it. I'm sorry. I'm sorry, everyone. Can we stop here? I'm not making a major life decision during a production number! All right. Take ten, everybody. Wrap it up, guys. I had virtually no rehearsal for that.

Former CIA Chief Wellbeing Officer Jennifer Posa discussed why workforce wellbeing is a strategic driver of mission success. She drew on her experience building the CIA's first agency-wide wellbeing strategy to explain why leaders should focus on creating "readiness," not just resilience, to help employees perform in high-pressure, unpredictable environments.  She outlined the four pillars of readiness, purpose, security, strength and culture, and shared practical strategies organizations can use to improve performance, strengthen leadership and build healthier, more resilient teams in an era of constant change.

This week, we bounce from questionable kindergarten teaching techniques and a tour through old movies to a pile of upcoming sci-fi and superhero projects. Then, in Future or Now, AI gives hurricane forecasters a potentially huge advantage, NASA pulls off another bit of engineering wizardry to keep Voyager 2 alive, and the cast of The Pitt boldly goes where plenty of actors have gone before. Real Life Steven is officially over summer. Heat, summer schedules, summer in general—it's time to move on. Meanwhile, Ben has been watching OLD MOVIES, including Kindergarten Cop. Ben calls it an "exceptional film," but watching Arnold Schwarzenegger take control of a classroom in 2026 raises some questions. How would Detective John Kimble's teaching methods stack up against modern school employee safety training? How many policies would he violate before lunch? And perhaps most unsettling: just how old are all those kindergarteners today? That sends us down the inevitable road of examining an old movie through the lens of people who now have entirely too much experience with how schools actually operate. Steven also has a pile of upcoming genre television and movie news to talk about. Neuromancer is headed to Apple TV, while Blade Runner 2099 is coming as a limited series on Prime Video. San Diego Comic-Con also brought news about Ghost Rider and Black Panther 3, along with more X-Men casting news involving Cyclops, Emma Frost, Beast, and Professor X. Trailer Links: Neuromancer: Watch on YouTube Blade Runner 2099: Watch on YouTube Devon has been doing some family movie watching, working through the Jumanji movies and eventually arriving at Zathura. Technically part of the larger Jumanji family, Zathura doesn't quite live up to its predecessor. It doesn't help that Dax Shepard's character has to exist in the shadow of Robin Williams, which leads to the assessment that Shepard comes across as "a block of wood" by comparison. Things get considerably darker with The Long Walk, based on Stephen King's novel originally published under his Richard Bachman pseudonym. Devon found the adaptation interesting and well done—but extremely bleak. That conversation somehow takes a detour through Time Runner before eventually landing on Hokum and its supernatural layer. Future or Now AI Gets Better at Predicting Hurricanes Ben brings us a potentially enormous development in weather forecasting. Google DeepMind's WeatherNext AI system has demonstrated an ability to improve hurricane forecasts, potentially giving forecasters and emergency planners an additional day of warning. The system predicts both storm tracks and intensity and can rapidly generate thousands of possible scenarios. During Hurricane Melissa, it reportedly identified major intensification earlier than conventional forecasting models. That's potentially life-saving extra time for communities preparing for a major storm. But there's an interesting wrinkle: like many sophisticated AI systems, exactly how the model reaches some of its conclusions isn't always clear to the scientists using it. That makes WeatherNext another fascinating example of AI producing useful results while simultaneously raising questions about how much we need to understand a system before we're comfortable relying on it. And despite the improvement in modeling, humans aren't leaving the process. Meteorologists still have to interpret the information, communicate uncertainty, and turn forecasts into useful warnings for the public. Read the Ars Technica report on DeepMind's hurricane forecasting breakthrough This Week in Space: Voyager's "Big Bang" Nearly half a century after leaving Earth, Voyager 2 is still going, and NASA engineers are once again finding creative ways to keep it alive. In an operation nicknamed the "Big Bang," engineers simultaneously shut down power-hungry hardware and transitioned to lower-power alternatives while carefully keeping the spacecraft warm enough to survive. Voyager's dwindling power supply has forced NASA to make increasingly difficult decisions about which systems can remain operational, making every additional bit of usable energy precious. It's another remarkable chapter in a mission launched in 1977 that is still returning scientific data from interstellar space. Read more about the Voyager 2 operation at ScienceDaily Explore NASA's Voyager mission And while we're talking about space, we check back in on New Asgard and ask the important question: is Devon still going to space? The Pitt Goes to Star Trek Finally, there's an unusual crossover coming for fans of The Pitt and Star Trek. Noah Wyle and members of The Pitt cast are participating in a Star Trek table read benefiting the Writers Guild Foundation. It's not a new Trek series and it's not some bizarre medical-drama crossover episode—but it is an opportunity to hear a completely different cast tackle Star Trek material while supporting the foundation's programs. Read more about The Pitt cast's Star Trek table read at TrekMovie   From aging action comedies to AI-powered hurricane forecasts and a spacecraft that refuses to die, this week is a reminder that the future has a funny way of colliding with the past. Join us next time for more science, sci-fi, and whatever unexpected detours we stumble into along the way.

I gave a lecture about "Blending the Elements of Experiential Design" on Saturday, June 6, 2026 at Seattle XR in Seattle, Washington. (PDF of Slides]. At the end, I run through some examples of the types of interdisciplinary fusion that I see within the context of immersive storytelling and immersive art. This lecture also digs into the process-relational philosophical foundations, as well as how I'm gaining additional inspiration from Empedocles, Aristotle, and the Classical Quadrivium (Four Arts) of Math, Music, Geometry, and Astronomy. For my 30+ hours of coverage of Venice Immersive, then I apply this archetypal framework to help describe the context, quality, character, and story of each of these projects. You can see an overview of how I've been using this framework in this PDF on "Venice Immersive 2025 Archetypal Categorizations" https://www.youtube.com/watch?v=01M5NcOYzx0 One of goals of this talk was to further define the archetypal nature of the elements, and how I'm conceiving of them as a possibility space of design tradeoffs (C.S. Peirce's "Firstness"), but also as the concrete decisions that an experiential designer makes ("Secondness"), and then finally how these decisions are experienced more from a phenomenological experience as the audience as we feel, sense, act, and make sense of these experiences, and what they might mean ("Thirdness"). I do not actually dive into Peirce's concepts of Firstness, Secondness, or Thirdness in this specific talk, but I wanted to elaborate on these concepts in this write-up as these have been crucial concepts to help translate the overall abstract Firstness quality of my talk, and ground it into the Secondness of something that is a bit more practical and pragmatic. For Peirce, his semiology is grounded into a triune theory of actualization that goes from a non-Boolean possibility space as Firstness, and then grounds into a Boolean actualization of secondness, and then an interpretant mediates from the concreteness of the Secondness object back to the Firstness of the fundamental archetypal qualities or meaning. I find speculative philosopher James Bradley's summary of the Peirce's triune semiology to be the most easy to digest in his essay titled, "Beyond Hermeneutics: Peirce's Semiology as a Trinitarian Metaphysics of Communication." I can also recommend this article on "Peirce's Theory of Signs" from the The Stanford Encyclopedia of Philosophy for a comprehensive recap, and there's also this excellent YouTube series primer by Philosign's Markus Raninen titled The Basics of Semiotics. But here's Bradley's description of Firstness, Secondness, and Thirdness, which I find myself coming back to again and again. "Within the fundamental speculative triunity of activity, difference and order, or firstness, secondness and thirdness, semiology is an analysis of order or thirdness… Thirdness is analyzed as idea or sign, as the exchange of information between individual entities, and as interpretation; in other words, thirdness is itself a threefold of sign, object and interpretant. Here, sign occupies the position of firstness because it is the potentiality for interpretation; object occupies that of secondness because it is determinate; and the interpretant occupies that of thirdness because the interpretant has the sign-interpreting or sign-ordering role, and so has the status of a third. [24] Thus for Peirce semiology is the analysis of the triune relation of sign, object and interpretant." It's still a bit obtuse, and one way that I like to think about it is through the experience of communication. You have a possibility space of meaning you want to convey (Firstness of the sign/potential), then you choose specific words that convey that meaning (Secondness of the object), then someone listens to those words and phrases, and then connects those words back to a meaning space (Thirdness of the interpretant mediating between the two). For Peirce, each of the Firstness, Secondness, and Thirdness can also refer to themselves, like you can have a Firstness of Thirdness or Secondness of Firstness. It gets a little bit confusing, but I found the following graphic from Collected Essays in Speculative Philosophy (2021) by James Bradley and edited by Sean McGrath to be very useful. Within the context of immersive storytelling, then it's a semiotic process of communication of meaning where you're able to use all sorts of affordances from game design, literature, social dynamics and relations, music, film, lighting, architecture, dance, theme park design, sensory design, and embodiment. My Elemental Theory of Presence attempts to simplify this into the following: Fire Element of Active Presence: Interactivity, Agency, Game Design Air Element of Mental & Social Presence: Meaning, Semiotics, Language, Possibility, Form, Relationality Water Element of Emotional Presence: Experiential Processes, Story, Film, Music, Cycles, Time Earth Element of Environmental & Embodied Presence: Sensory, Immersive, Worldbuilding, Space I elaborate on the various philosophical frameworks that I'm leaning up within this talk that I gave on June 6, 2026, but since then I've been diving more into Peirce and his Triune Metaphysics and Semiology of Firstness, Secondness, and Thirdness, which has been a helpful framework as I've been applying the elements to my Venice Immersive Coverage and categorizing the elemental center of gravity for each of the nearly 40 projects that I covered. Again see this framework in this PDF on "Venice Immersive 2025 Archetypal Categorizations" to see how I have been thinking about each of these projects. I used this approach in the introductions for each of my podcast episodes from Venice (see the links down below). Firstness of Fire: Creativity, Novelty, Intention, Purpose, Goals, & Aristotle's Final Cause Secondness of Fire: Interactivity & Core Gameplay Loops Thirdness of Fire: Agency & Will For Active Presence Examples of Fire: Game Design, Locomotion Options: No Movement, Automatic movement, Teleportation, or free roaming. The LIVENESS of the Live, To what degree does the experience encourage the expression of will and agency? And to what degree does that alter how the narrative unfolds (narrative agency vs participatory interactive moments that customize and flavor the experience)? Adventure, Exploration, Creativity, Novelty, Freedom, Will, and Collective Action. System Dynamics, & iterative feedback loops Firstness of Air: Peirce's "Sign," Intended Meaning, Pattern & Form, Archetypal Possibility Spaces, Relationality, & Aristotle's Formal Cause Secondness of Air: Peirce's "Object" Within A Triadic Semiotic Process (i.e. a specific action, word, harmonic, or action that points to a larger meaning.) Thirdness of Air: Peirce's "Interpretant," Sensemaking Thoughts, Expectations, & Social Dynamics For Mental & Social Presence Examples of Air: Literature, Language, Semiotics, Communication, Symbols, Abstractions. Single Player vs Multi-Player, Suspension of Disbelief and Plausibility, Social Dynamics, Anticipation of the Future, Possibility Spaces, Types of Choices. Realms of Speculative Imagination, How is meaning communicated? Dialogue amongst characters, voice-over narration, environmental storytelling, non-verbal associative dream logic. Mental friction from puzzles. Rules & Mechanics. Use of certain types of AI and Conversational Interfaces with Virtual Beings Firstness of Water: Time, Cycles, Harmonics, Value, & Aristotle's "Material Cause" (in Whitehead's event ontology, then base reality is processes, relationships, and possibilities of value & not Substance) Secondness of Water: Experiential Processes That Provide Contrasts Thirdness of Water: Feelings for Emotional Presence Examples of Water: Cinematic Film Tradition, Music, Harmonics, Rhythm, Pacing, Editing, Contrasts, Emotion, Memory, Dreams, Images, Soul, Psyche, Symbols, Lighting, Mood, Collective Unconscious Firstness of Earth: Space, World, Context, & Aristotle's Efficient Cause Secondness of Earth: Environment & Worldbuilding With Situated Perspectives in that Context Thirdness of Earth: Sensory Perception & Sense of Place for Embodied & Environmental Presence Examples of Earth: Worldbuilding of a spatial context & culture. Architecture, Theater, Theme Park Design, Dance, Are you a ghost or an embodied character? Sensory Experience: Touch/Haptics, Hearing/Spatial Sound, Smells, Vision. Relation of Immersive Tech to Environment as either VR, MR, or AR. Virtual CGI vs Cinematic 180/360 Video, Again, check out this PDF on "Venice Immersive 2025 Archetypal Categorizations" to see how I've ranked nearly 40 projects from Venice Immersive 2025 on the relative elemental center of gravity. Some projects feel more like a cinematic immersive film, which would be a bit more biased towards the Water Element. Some projects are more focused on the experience of a world that was build, and more focused on the Earth Element. Some projects are asking you to Read a book together with other people, which is more focused on the Air Element. And then other more game-like experiences are focused on using interactions as their primary mode of engagement, and so they're more focused on the fire element. There are 64 total combinations of the elements in terms of the first, second, third, or four centers of gravity, and you can see the comprehensive visualization here: Technically, all four elements are always happening all at once all at the same time. However, in experiential design, then creators can emphasize and blend elements together. So I find that ranking the elements can be helpful in determining an overall center of gravity, and that looking at the first two centers of gravity can achieve a sufficient job of creating some ad hoc, immersive and "elemental genres....

We Like Shooting We Like Shooting - Ep 675 August 10, 2026 Presented by This episode of We Like Shooting is brought to you by: Foxtrot Mike (Code: WLSISLIFE) Medical Gear Outfitters (Code: WLSISLIFE) Night Fision (Code: WLSISLIFE) Rost Martin (Code: WLSISLIFE) Bowers Group (Code: WLS) Flatline Fiber Co (Code: WLS15) Otis Technology (Code: WELIKESHOOTING15) Guests: One Horse, @onehorseusa – https://theonehorse.com Giveaways!! GAW   Text Dear WLS or Reviews +1 743 500 2171 Public   Show Titles   Gear Chat One Horse One Horse Express Rifle and Pistol with Atrius FRS At One Horse, we believe the rifle on your shoulder should be as dependable as the hands that carry it…. TheOneHorse is an American firearms manufacturer based in Brownstown, Indiana, producing the One Horse Express series of rifles and pistols in .22LR and 5.56/.223 calibers. All models integrate the Atrius FRS system and are offered in various barrel lengths with M-LOK or quad rail configurations. Products are sold directly via the company website alongside parts and suppressors, with an emphasis on American-made reliability and no-compromise construction. Availability: Available for direct purchase on theonehorse.com with current pricing and dealer applications; waitlist option for select items Cost: $999.99–$1,299.99 (current listed prices; e.g. 16″ 5.56 rifle $999.99, 12″ .22LR pistol $1,299.99) Special: Integrated Atrius FRS system on all Express models combined with American-made construction in .22LR or 5.56/.223 with M-LOK or quad-rail handguards (Savage) Savage1r's Experience in the Spokane Complex Fires Savage1r's experience in the Spokane Complex Fires. Supplementary Research: Savage1r shared firsthand observations from the Spokane Complex Fires while discussing technical gear during a segment focused on equipment performance in active wildfire conditions. The Spokane Complex Fires burned over 44,000 acres in eastern Washington in 2024, involving multiple lightning-caused ignitions managed under unified command with significant use of aerial resources and ground crews. Gear topics in similar wildfire incidents often center on respiratory protection, thermal imaging, durable fabrics, and communication reliability under extreme heat and smoke. Theoutdoorwire One Horse To Launch Express 22 Rifle And Express 22 Pistol At Goals 2026 One Horse announced the Express 22 Rifle and Express 22 Pistol, two dedicated .22 LR AR-pattern firearms debuting at GOALS 2026. The rifle uses a 16.1-inch barrel and THRiL CCS stock, while the pistol uses a 12.1-inch barrel and stabilizing brace; both use serialized One Horse lowers, dedicated rimfire operating systems, THRiL RTG grips, and Atrius Development Group's three-position Forced Reset Selector. The platforms are intended for training, recreational shooting, and high-volume range use. Initial production will be sold directly to consumers, with pricing, ordering details, and shipping dates to be announced. Gun Fights Play the best Price Is Right-style GunBroker game on the internet. Gun Fights Live DisplayFollow the game, prices, and reveals as they happen.Open the live display BangRank A live cast ranking segment for anything and everything in the gun world, powered by questionable certainty, strong opinions, and audience voting. BangRank Live VotingScan or open the link to rank along with the show.https://welikeshooting.com/rank   Going Ballistic The Truth About Guns (Savage) Jensen v. ATF & Silencer Shop Foundation v. ATF – N.D. Texas Strikes Down NFA Registration Requirements for Suppressors, SBRs, SBSs, AOWs Gun-rights groups are celebrating a federal ruling striking down NFA registration requirements for suppressors, SBRs, SBSs and AOWs. U.S. District Judge James Wesley Hendrix (Northern District of Texas) ruled in *Jensen v. ATF* and *Silencer Shop Foundation v. ATF* that NFA registration, application, approval, and enforcement provisions for suppressors, short-barreled rifles (SBRs), short-barreled shotguns (SBSs), and any other weapons (AOWs) exceed Congress's powers once the associated tax was effectively zeroed out. Multiple gun-rights organizations hailed the decision as a major Second Amendment victory and a step toward dismantling the National Firearms Act. A seven-day stay expires August 12, 2026, with appeals likely to the Fifth Circuit; parallel SAF-backed cases remain pending. The Gist: Scope (who/what states are affected): Nationwide implications for owners and manufacturers of suppressors, SBRs, SBSs, and AOWs; ruling applies to enforcement of NFA registration requirements by ATF across the United States, though limited to the specific plaintiffs and likely to face immediate appeal. Impact: Decision holds that the NFA registration regime lacks constitutional basis without a tax, potentially invalidating core regulatory provisions; groups including FPC, GOA, and CCRKBA describe it as affirming the NFA's unconstitutionality and a historic win, with possible broader effect if upheld on appeal to the Fifth Circuit. – Bullet 3: Bottom Line: NFA registration and approval requirements for the listed items are struck down in this district-court ruling as exceeding congressional authority post-tax elimination; a short stay allows time for appeal, leaving the ultimate fate of the NFA provisions pending further litigation. Reviews Review: Alex W from California Review from Alex W Reviewing the cast as singers/bands. Shawn: Taylor Swift. Technically very good at what he does. But we hear so much of him that we all find ourselves wishing he would just go away once in a while. Nick: Nickelback. Honestly, we all thought he'd be dead by now. Nobody fully understands what keeps him going. But, somehow we all end up nodding along every time he comes on. Jeremy: Five Finger Death Punch. I really gotta explain this one? It's in the name. Savage: *insert random mumble rapper because I dont care enough to look one up* Nobody knows what he's saying. And wait, that's supposed to be music? Aaron: Kurt Cobain. Because, we can only hope. Review: Wes Sconsen from Wisconsin Blessings to all of you. Jeremy, go full stache. It's not creepy and you would make that shit look damn good. Sincerely, Wes Sconsen Review: Richard "Big Dick" Smoker from NJ Wrote by AI, with specific criteria by me. We Like Shooting is the podcast equivalent of discovering the group chat should've never been given microphones. Jeremy rocks a mustache that looks like it escaped a 1970s cop show and refuses to return to its natural habitat. Shawn somehow manages to host an entire podcast while carrying the weight of… well, let's just say gravity is doing him no favors. Nick has turned “I think I just trusted a fart” into a recurring personality trait. And Savage continues broadcasting from a state that seems determined to ban fun one regulation at a time. Despite all of that—or maybe because of it—the show is hilarious. You'll get firearms talk, gear reviews, industry news, and enough insults directed at each other to make you wonder why they're still friends. Nobody is safe, especially the hosts. If you want a squeaky-clean, HR-approved podcast, this ain't it. If you enjoy guns, sarcasm, and listening to grown men professionally bully each other for your entertainment, subscribe already. Richard “Big Dick” Smoker Before we let you go – Join Gun Owners of America We'd love if you supported the show, join Agency 171 at agency171.com. Lot's of prizes, rewards and kick ass swag. No matter how tough your battle is today, we want you here fight with us tomorrow. Don't struggle in silence, you can contact the suicide prevention line by dialing 988 from your phone. Remember – Always prefer Dangerous Freedom over peaceful slavery. We'll see you next time! Nick – @busbuiltsystems | Bus Built Systems Jeremy – @ret_actual | Rivers Edge Tactical Aaron – @machinegun_moses Savage – @savage1r Shawn – @dangerousfreedomyt | @camorado.cam | Camorado

This week on The Back of the Pack Podcast, we are celebrating a major milestone: 300 episodes of race reviews, community stories, road trips, charity conversations, bad decisions, emotional moments, and back-of-the-pack chaos. Technically, this is Episode 299, but with Episode 300 dropping Friday, we are taking this Monday episode to pause, look around, and talk about what this podcast has become since it started as a simple “I make the mistakes so you don't have to” running show. We look back at the race reviews that became the bread and butter of the show, the community organizations and race directors who gave us a chance, and the local running family that turned this podcast into something much bigger than one guy talking into an old microphone. From Rexy Run and Fighting Fentanyl to Run Liberty, Garmin Kansas City Marathon, Chasing Rabbits Run Club, Second Wind, and the growing cast of podcast mascots, this episode is a reminder that the stories around the miles often matter just as much as the miles themselves. We also dig into the numbers, including 201 race entries, more than 1,500 race miles, nearly 319 hours on course, 87 5Ks, 38 10Ks, 54 half marathons, 8 full marathons, and one wonderfully ridiculous Death by 5K. Along the way, we talk about the World Marathon Majors completed during the life of the podcast, the repeat races that have become recurring characters, the fastest times on the spreadsheet, the longest gaps between races, and why consistency matters in both podcasting and running. More than anything, this episode is a thank-you to the listeners, Patreon supporters, race directors, guests, volunteers, running friends, run club members, and everyone who has shared, watched, downloaded, commented, or told someone else about the show. Episode 300 is not the finish line, it is an aid station, and after we take inventory, refill the bottle, and eat something questionable, we are getting right back on the road toward Sydney, Rexy Run, race number 400, fall marathon season, and whatever comes next.

Over 10 million swings have now been captured on the Swing Coach app and one pattern dominates: the club sucked inside on the takeaway, then thrown steep and over the top coming down. Walk any driving range and you'll see this "sledgehammer" move everywhere. In this video we break down why it's so hard to play good golf from there, and exactly how to fix it — starting where it actually begins: the takeaway.We cover why we're "backswing teachers" (organize the backswing and the downswing largely fixes itself), why the pros' simpler moves — arms in front, a decent pivot, nothing too sideways — are the reason they can rely on them, and why chasing outliers like Jim Furyk is a losing bet. Then we walk through the real fix using Swing Coach's instant feedback: why your first true on-plane takeaway will feel like a "10 outside," why you have to push way past what feels right, how to get through the bad shots as your release pattern catches up, and the "parlor trick" of fixing a steep downswing without ever talking about the downswing.You can't afford a tour coach standing next to you every swing — but the app gives you that instant "too much / not enough" feedback so you can finally train your feel on your own.

Technically deficient with sub-standard content, but if a mindless rant on airports and Asian bar-girls is what you want, this is the episode for you.https://media.rss.com/theabusehour/feed.xmlopen.spotify.com/show/3LUIIaiw95X2sAbRJDK3oByoutube.com/@abusehourt.me/THEABUSEHOURbuymeacoffee.com/COFFEELONG

Erin tried to become a "better" speaker. She got the coach. Did the reps. Rehearsed the lines. Followed the advice. And then realized she may have accidentally polished the magic right out of herself. In this solo episode, Erin shares what happened when a huge speaking opportunity pushed her into full preparation mode, why over-rehearsing made her feel less connected on stage, and the old coaching advice that came back swinging: Trust your creative process. This one is for anyone who has ever tried to improve themselves and accidentally started sanding down the exact thing that made them stand out. In this episode you'll hear: -Why "best practices" are only useful if they actually work for you -How over-preparing can make you technically better but less you -Why Erin had to 50% Rule her own speaking proces -The difference between memorizing words and connecting to the message -Why your weird little way of doing things might be the whole damn point Book Erin to speak Ready to modernize your culture, liberate your leadership, and differentiate your business without sounding like every other company on LinkedIn? Bring Erin Hatzikostas in to show your team how authenticity can become an actual strategic advantage, not just another corporate buzzword. Book Erin to Speak If you'd like quick tangible tips and practical corporate career advice to level up your authentic leadership, download the 10 simple "plays" to stop selling out and start standing out at https://bauthenticinc.mykajabi.com/freebie If you like jammin' with us on the podcast, b sure to join us for more fun and inspiration! Follow Erin on LinkedIn or Instagram Take our simple, fun and insightful "What's your workplace superhero name?" quiz Unleash your Authentic Superpower with Erin's book, You Do You-ish Throw out half the playbook and start competing in a league of your own. Check out Erin's book, The 50% Rule. Work with Us Or just buy some fun, authentic, kick-ars merch here To connect with Erin and/or Nicole, email: hello@bauthenticinc.com DISCLAIMER: This episode is not explicit, though contains mild swearing that may be unsuitable for younger audiences. Tweetable Comments "Trust your creative process." "I spent more time searching for the words than searching for the feeling and the passion." "What's worked for you in the past actually might work in the future." "Constantly look for ways to improve without throwing away what makes you you." Trust Your Creative Process Editor's note: This transcript has been edited for clarity, length, and readability. In this solo episode, Erin Hatzikostas shares what happened when she followed traditional public speaking advice so closely that she lost some of the authenticity that made her effective. She explores over-preparation, creative confidence, the 50% Rule, and how to improve your work without abandoning the process that makes you uniquely good at it. When "Leveling Up" Starts to Change You Erin: Over the last nine months, I've gone through a journey that feels full circle, ironic, and maybe even a little hypocritical. Erin: I preach authenticity. In my second book, I talk about the 50% Rule: whenever you're doing something, keep some of what works, introduce something new, and throw out the pieces that feel inauthentic or simply do not fit you. Erin: I'm also a professional speaker. That's my main occupation, and last summer my speaking career was really starting to pick up steam. Then I was selected to speak at the International Association of Speaking Bureaus conference. These are the people who often help organizations find speakers for major events, so getting the chance to speak in front of them felt like a very big deal. Erin: There were almost 100 applicants, and only six of us were selected. Speaking can be a roller coaster. You are constantly trying to earn the next opportunity, even after you've had success. But this felt like one of those moments where I thought, "Okay, Erin. This is your chance. Get your act together." The Pressure to Rehearse Perfectly Erin: Around that same time, I had started working with a true speech and vocal coach, Darcy Webb. She was wonderful because she did not try to turn me into somebody else. She understood what made me, me, and helped bring more of that out. Erin: She helped me embrace the facial expressions I naturally make. She also told me to stop whispering. I insisted I was not whispering, but then I watched the recordings and realized, "Oh. That is a little weird." Erin: One of the biggest things she taught me was that I needed to rehearse. I needed to put in the hours, record myself, repeat the material, and get the words into my body. Erin: I resisted that advice for a long time. Then this huge speaking opportunity came along, and I only had 20 minutes. In the speaking world, shorter is often harder. You have to be more concise, make stronger choices, and communicate the point in less time. Erin: So I decided it was time to become the polished, mega-professional speaker I thought I was supposed to be. I rehearsed and rehearsed. Why Perfect Preparation Did Not Create a Perfect Performance Erin: I already had some baggage around over-rehearsing. When I did my TEDx talk in 2020, I practiced it so much that the delivery stopped feeling like me. I still love the content, but the performance felt too controlled. My passion did not fully come through. Erin: Still, I prepared heavily for the speakers bureau conference. I used some of my best material, knew what I wanted to say, and felt ready. Erin: Then the event came. I did not flop, but I did not knock it out of the park either. Erin: I am always trying to knock it out of the park, not because I think I work harder than everyone else or because I need people to tell me I'm great. I want to connect. I want people to feel something. That connection is what authenticity can create. Erin: At first, I found other things to blame. Someone after me absolutely crushed it. My necklace was jangling against the microphone. There were all these little details I could point to. Erin: But the deeper truth was that I had over-prepared. I was not fully in the moment with the people in front of me. I was delivering something polished, but I was not drawing from that conviction and energy that usually comes from deep inside me and pours into the audience. When Rehearsal Became the New Habit Erin: The confusing part was that I had also learned how to rehearse. So for the next several months, I kept doing it. Erin: I practiced for events in January, February, and March. I crafted catchy lines. I added new language. I made sure I could nail the material. Erin: The talks went well. I did not bomb. I created customized moments and found creative ways to make each speech feel specific to the audience. Erin: But something was missing. Erin: Usually, I can feel the connection in the room. You can see it in people's faces. You know when the audience does not want the experience to end. These events were successful on paper, but they did not feel the same. Erin: Then I spoke at an event in Chicago. I said everything I meant to say. I did not forget the important parts. Technically, I nailed it. But that thing I care about most still was not there. Words Versus Intent Erin: That was when I realized what over-preparing had taken away from me. Erin: My talks have structure. They are mapped into sections, and I know the points I want to make. I may have specific phrases or stories I want to land, but I have never needed every word written out. Erin: Before I became so focused on rehearsal, I spent more time thinking about the intent of each section. I would ask, "What am I really trying to get across here? What do I need these people to understand or feel?" Erin: Then I allowed myself the freedom to communicate that idea in the moment. Erin: That freedom gave me space to bring in something I heard earlier in the day, respond to the audience, interact more naturally, or follow a thought that came to me while I was speaking. Erin: When I over-rehearsed, I spent more time searching for the exact words than searching for the feeling, the purpose, and the passion behind them. Erin: I cannot do both equally well. Some people can. Actors can deliver rehearsed lines with incredible emotional depth. Some speakers can memorize every beat and still make it feel spontaneous. God bless them. That is a real skill. Erin: But it is not my skill. It is not where I bring the most value. "Why Don't You Trust Your Creative Process?" Erin: This brought me back to something my first executive coach taught me years ago when I was still in corporate. Erin: I was preparing a speech for a leadership event. I had planned the whole talk, but I had not figured out the ending. In my notes, I had essentially written, "And then some bada boom, bada bing ending." Erin: I went into our coaching session and confessed that I thought I had a major flaw. I told her, "I'm a great starter, but I'm not a great finisher. I worked on this talk for hours, and I still could not complete it." Erin: I expected her to give me techniques, hacks, or some process that would fix what I believed was broken. Erin: Instead, she stopped and asked, "Erin, are you typically successful?" Erin: I told her that I was not successful at everything, but yes, especially when it came to public speaking, I was usually better than average. Erin: Then she said, "Why don't you trust your creative process?" Erin: That question has stayed with me for more than eight years. Advice Is Not an Absolute Erin: People love to give advice in absolutes. Never start a conversation this way. Always prepare for an interview that way. Follow this formula to find your career path. Use these exact steps to become successful. Erin: My rule is this: be very cautious about advice that begins with "always" or "never." Erin: There is more information available than ever, and many people make money by selling certainty. They tell you they have the formula. But even excellent advice may not work exactly as prescribed for you. Erin: If you talked to 100 successful speakers, probably 99 of them would tell you that you have to do the reps, practice constantly, and rehearse until the material is locked in. Erin: That may work beautifully for those 99 people. It does not work that way for me. Erin: My mistake was not the rehearsal itself. My mistake was failing to apply my own 50% Rule. I accepted the advice as a total system instead of asking which parts would help me and which parts would erase something important. Improve Without Erasing What Makes You Good Erin: The answer is not to reject coaching, training, or preparation. I have learned so much from all of it. Erin: I am a stronger speaker now. I understand my voice better. I am more aware of my physical presence. I have new ways to customize talks and prepare meaningful openings. I am continuing to evolve. Erin: But I am no longer willing to give up the creative process that works for me. Erin: Now I prepare in my own way. I spend hours thinking, organizing stories, and deciding what each section needs to accomplish. I rehearse important pieces, but I do not force myself to say every sentence exactly the same way every time. Erin: I focus on the intent. I focus on the passion. I focus on the point I want to make and the people I want to reach. Erin: When I returned to that process for events in June and July, I could feel the difference. I felt like myself again. Trust the Evidence From Your Own Life Erin: I want the same for you. Erin: People will tell you how to run a meeting, answer interview questions, build a career, lead a team, create content, or prepare for a major opportunity. Learn from them. Borrow what makes you better. Stay open to coaching and improvement. Erin: But also trust the data from your own life. Erin: What has worked for you in the past may still work in the future. Your process may need to evolve, but evolution does not require you to throw away the qualities that made you effective in the first place. Erin: Use the 50% Rule. Keep some of what works. Add new tools. Throw the pieces that do not fit into the trash. Erin: Constantly look for ways to improve without abandoning what makes you, you. Erin: Trust your creative process.

Chris Hand joins Dan, Joan, and Sam as Dan tries to figure his computer out | aired on Tuesday, August 4th, 2026 on Nashville's Morning News with Dan Mandis Produced by Samuel RutherfordSee omnystudio.com/listener for privacy information.

Erin tried to become a "better" speaker. She got the coach. Did the reps. Rehearsed the lines. Followed the advice. And then realized she may have accidentally polished the magic right out of herself. In this solo episode, Erin shares what happened when a huge speaking opportunity pushed her into full preparation mode, why over-rehearsing made her feel less connected on stage, and the old coaching advice that came back swinging: Trust your creative process. This one is for anyone who has ever tried to improve themselves and accidentally started sanding down the exact thing that made them stand out. In this episode you'll hear: -Why "best practices" are only useful if they actually work for you -How over-preparing can make you technically better but less you -Why Erin had to 50% Rule her own speaking proces -The difference between memorizing words and connecting to the message -Why your weird little way of doing things might be the whole damn point Book Erin to speak Ready to modernize your culture, liberate your leadership, and differentiate your business without sounding like every other company on LinkedIn? Bring Erin Hatzikostas in to show your team how authenticity can become an actual strategic advantage, not just another corporate buzzword. Book Erin to Speak If you'd like quick tangible tips and practical corporate career advice to level up your authentic leadership, download the 10 simple "plays" to stop selling out and start standing out at https://bauthenticinc.mykajabi.com/freebie If you like jammin' with us on the podcast, b sure to join us for more fun and inspiration! Follow Erin on LinkedIn or Instagram Take our simple, fun and insightful "What's your workplace superhero name?" quiz Unleash your Authentic Superpower with Erin's book, You Do You-ish Throw out half the playbook and start competing in a league of your own. Check out Erin's book, The 50% Rule. Work with Us Or just buy some fun, authentic, kick-ars merch here To connect with Erin and/or Nicole, email: hello@bauthenticinc.com DISCLAIMER: This episode is not explicit, though contains mild swearing that may be unsuitable for younger audiences. Tweetable Comments "Trust your creative process." "I spent more time searching for the words than searching for the feeling and the passion." "What's worked for you in the past actually might work in the future." "Constantly look for ways to improve without throwing away what makes you you." Trust Your Creative Process Editor's note: This transcript has been edited for clarity, length, and readability. In this solo episode, Erin Hatzikostas shares what happened when she followed traditional public speaking advice so closely that she lost some of the authenticity that made her effective. She explores over-preparation, creative confidence, the 50% Rule, and how to improve your work without abandoning the process that makes you uniquely good at it. When "Leveling Up" Starts to Change You Erin: Over the last nine months, I've gone through a journey that feels full circle, ironic, and maybe even a little hypocritical. Erin: I preach authenticity. In my second book, I talk about the 50% Rule: whenever you're doing something, keep some of what works, introduce something new, and throw out the pieces that feel inauthentic or simply do not fit you. Erin: I'm also a professional speaker. That's my main occupation, and last summer my speaking career was really starting to pick up steam. Then I was selected to speak at the International Association of Speaking Bureaus conference. These are the people who often help organizations find speakers for major events, so getting the chance to speak in front of them felt like a very big deal. Erin: There were almost 100 applicants, and only six of us were selected. Speaking can be a roller coaster. You are constantly trying to earn the next opportunity, even after you've had success. But this felt like one of those moments where I thought, "Okay, Erin. This is your chance. Get your act together." The Pressure to Rehearse Perfectly Erin: Around that same time, I had started working with a true speech and vocal coach, Darcy Webb. She was wonderful because she did not try to turn me into somebody else. She understood what made me, me, and helped bring more of that out. Erin: She helped me embrace the facial expressions I naturally make. She also told me to stop whispering. I insisted I was not whispering, but then I watched the recordings and realized, "Oh. That is a little weird." Erin: One of the biggest things she taught me was that I needed to rehearse. I needed to put in the hours, record myself, repeat the material, and get the words into my body. Erin: I resisted that advice for a long time. Then this huge speaking opportunity came along, and I only had 20 minutes. In the speaking world, shorter is often harder. You have to be more concise, make stronger choices, and communicate the point in less time. Erin: So I decided it was time to become the polished, mega-professional speaker I thought I was supposed to be. I rehearsed and rehearsed. Why Perfect Preparation Did Not Create a Perfect Performance Erin: I already had some baggage around over-rehearsing. When I did my TEDx talk in 2020, I practiced it so much that the delivery stopped feeling like me. I still love the content, but the performance felt too controlled. My passion did not fully come through. Erin: Still, I prepared heavily for the speakers bureau conference. I used some of my best material, knew what I wanted to say, and felt ready. Erin: Then the event came. I did not flop, but I did not knock it out of the park either. Erin: I am always trying to knock it out of the park, not because I think I work harder than everyone else or because I need people to tell me I'm great. I want to connect. I want people to feel something. That connection is what authenticity can create. Erin: At first, I found other things to blame. Someone after me absolutely crushed it. My necklace was jangling against the microphone. There were all these little details I could point to. Erin: But the deeper truth was that I had over-prepared. I was not fully in the moment with the people in front of me. I was delivering something polished, but I was not drawing from that conviction and energy that usually comes from deep inside me and pours into the audience. When Rehearsal Became the New Habit Erin: The confusing part was that I had also learned how to rehearse. So for the next several months, I kept doing it. Erin: I practiced for events in January, February, and March. I crafted catchy lines. I added new language. I made sure I could nail the material. Erin: The talks went well. I did not bomb. I created customized moments and found creative ways to make each speech feel specific to the audience. Erin: But something was missing. Erin: Usually, I can feel the connection in the room. You can see it in people's faces. You know when the audience does not want the experience to end. These events were successful on paper, but they did not feel the same. Erin: Then I spoke at an event in Chicago. I said everything I meant to say. I did not forget the important parts. Technically, I nailed it. But that thing I care about most still was not there. Words Versus Intent Erin: That was when I realized what over-preparing had taken away from me. Erin: My talks have structure. They are mapped into sections, and I know the points I want to make. I may have specific phrases or stories I want to land, but I have never needed every word written out. Erin: Before I became so focused on rehearsal, I spent more time thinking about the intent of each section. I would ask, "What am I really trying to get across here? What do I need these people to understand or feel?" Erin: Then I allowed myself the freedom to communicate that idea in the moment. Erin: That freedom gave me space to bring in something I heard earlier in the day, respond to the audience, interact more naturally, or follow a thought that came to me while I was speaking. Erin: When I over-rehearsed, I spent more time searching for the exact words than searching for the feeling, the purpose, and the passion behind them. Erin: I cannot do both equally well. Some people can. Actors can deliver rehearsed lines with incredible emotional depth. Some speakers can memorize every beat and still make it feel spontaneous. God bless them. That is a real skill. Erin: But it is not my skill. It is not where I bring the most value. "Why Don't You Trust Your Creative Process?" Erin: This brought me back to something my first executive coach taught me years ago when I was still in corporate. Erin: I was preparing a speech for a leadership event. I had planned the whole talk, but I had not figured out the ending. In my notes, I had essentially written, "And then some bada boom, bada bing ending." Erin: I went into our coaching session and confessed that I thought I had a major flaw. I told her, "I'm a great starter, but I'm not a great finisher. I worked on this talk for hours, and I still could not complete it." Erin: I expected her to give me techniques, hacks, or some process that would fix what I believed was broken. Erin: Instead, she stopped and asked, "Erin, are you typically successful?" Erin: I told her that I was not successful at everything, but yes, especially when it came to public speaking, I was usually better than average. Erin: Then she said, "Why don't you trust your creative process?" Erin: That question has stayed with me for more than eight years. Advice Is Not an Absolute Erin: People love to give advice in absolutes. Never start a conversation this way. Always prepare for an interview that way. Follow this formula to find your career path. Use these exact steps to become successful. Erin: My rule is this: be very cautious about advice that begins with "always" or "never." Erin: There is more information available than ever, and many people make money by selling certainty. They tell you they have the formula. But even excellent advice may not work exactly as prescribed for you. Erin: If you talked to 100 successful speakers, probably 99 of them would tell you that you have to do the reps, practice constantly, and rehearse until the material is locked in. Erin: That may work beautifully for those 99 people. It does not work that way for me. Erin: My mistake was not the rehearsal itself. My mistake was failing to apply my own 50% Rule. I accepted the advice as a total system instead of asking which parts would help me and which parts would erase something important. Improve Without Erasing What Makes You Good Erin: The answer is not to reject coaching, training, or preparation. I have learned so much from all of it. Erin: I am a stronger speaker now. I understand my voice better. I am more aware of my physical presence. I have new ways to customize talks and prepare meaningful openings. I am continuing to evolve. Erin: But I am no longer willing to give up the creative process that works for me. Erin: Now I prepare in my own way. I spend hours thinking, organizing stories, and deciding what each section needs to accomplish. I rehearse important pieces, but I do not force myself to say every sentence exactly the same way every time. Erin: I focus on the intent. I focus on the passion. I focus on the point I want to make and the people I want to reach. Erin: When I returned to that process for events in June and July, I could feel the difference. I felt like myself again. Trust the Evidence From Your Own Life Erin: I want the same for you. Erin: People will tell you how to run a meeting, answer interview questions, build a career, lead a team, create content, or prepare for a major opportunity. Learn from them. Borrow what makes you better. Stay open to coaching and improvement. Erin: But also trust the data from your own life. Erin: What has worked for you in the past may still work in the future. Your process may need to evolve, but evolution does not require you to throw away the qualities that made you effective in the first place. Erin: Use the 50% Rule. Keep some of what works. Add new tools. Throw the pieces that do not fit into the trash. Erin: Constantly look for ways to improve without abandoning what makes you, you. Erin: Trust your creative process.

What's the lowest amount the IRS will settle for through an Offer in Compromise?Technically, there is no universal minimum settlement amount. In rare cases, the IRS may accept an extremely small offer—even just a few dollars. But that does not mean everyone can settle their tax debt for next to nothing.The amount the IRS may accept generally depends on your income, expenses, assets, and overall ability to pay. In this video, I explain how the IRS calculates an Offer in Compromise, why some taxpayers qualify for very low settlements, and what determines whether an offer will actually be accepted.If you owe the IRS and want professional help reviewing your options, visit:https://choicetaxrelief.com/Choice Tax Relief helps individuals and businesses resolve IRS tax debt and catch up on unfiled tax returns.#IRS #TaxDebt #OfferInCompromise #TaxRelief

Before he was a two-time World Series champion and four-time All-Star, Pepper Martin was jumping freight trains to spring training to save a dime. After he retired, he was choking out an umpire in Havana. In between: smoke bombs disguised as a fire emergency, a painting crew that wasn't hired to paint, a hospital room cowboy band concert nobody asked for, a stint running an Oklahoma City hockey team, and a batting line across two World Series that's still a Major League record today. Jeff traces the full career of Johnny Leonard Roosevelt "Pepper" Martin — the Wild Horse of the Osage — from a cotton farm in Temple, Oklahoma to a fistfight in Cuba, with stops at Comiskey Park, the Bellevue-Stratford Hotel (twice), and Branch Rickey's office.   Also in this episode: Jeff and Mark remember Blue Jays closer Duane Ward, who passed away at 62 during a reunion for Toronto's back-to-back championship teams. A position player picks up a two-RBI single off a catcher making his first career pitching appearance. Mets utility man Jose Iglesias/Canelita heads to Broadway for the Buena Vista Social Club musical. And Wax Pack Heroes returns with a batch of 1972 Topps cards sent in by a listener.   Topics: Pepper Martin, Wild Horse of the Osage, St. Louis Cardinals, Gas House Gang, 1931 World Series, 1934 World Series, Philadelphia Athletics, Connie Mack, Branch Rickey, Dizzy Dean, Leo Durocher, Frankie Frisch, Bellevue-Stratford Hotel, Mississippi Mudcats, Oklahoma City Warriors, Miami Sun Sox, Florida International League, Havana baseball history, Vallie Eaves, Duane Ward, Jose Iglesias, Buena Vista Social Club, 1972 Topps, Wax Pack Heroes   00:00 Cold Open Banter 01:31 Remembering Duane Ward 03:14 Pitcher Gets a Hit 05:41 Jose Iglesias Hits Broadway 08:32 Time Machine to Havana 11:17 Pepper Martin Revealed 12:28 From Oklahoma to the Cards 15:39 1931 Breakout World Series 16:46 Vaudeville and Sophomore Slump 21:07 Pranks and Gas House Gang 25:56 Barnstorming and Hospital Hijinks 27:50 Branch Rickey Lays Down Law 30:30 Final All Star and Mud Cats Band 32:23 Minor League Manager and 1944 Return 33:27 Pepper Martin Later Years 34:55 Freight Train To Spring 36:04 Clubhouse Legend Wrap 36:42 Wax Pack Heroes Begins 56:02 Scoreboard And Fan Poll 57:32 Outro And Socials   Connect With Us: YouTube: www.youtube.com/@twostrikenoise Twitch: https://www.twitch.tv/twostrikenoise BlueSky: @twostrikenoise.bsky.social Email: twostrikenoise@gmail.com   Support a Great Cause: Don't let your common cards collect dust! Donate them to help spark a child's interest in the game at http://commons4kids.org/.   #baseballhistory #mlb #baseball #BaseballCards #TwoStrikeNoise #popculture

We continue to look at the life and times of Uno no Sarara, aka Jito Tenno, female sovereign ruling in her own right.  We look at some of the places she traveled to as sovereign and, ultimately, what she did to ensure that her grandson would succeed her. For more, check our podcast blog page:  https://sengokudaimyo.com/podcast/episode-154 Rough Transcript Welcome to Sengoku Daimyo's Chronicles of Japan.  My name is Joshua and this is episode 154: Queen Uno no Sarara, Part II   Light drifted in from outside the grand audience hall.  It filtered through barred windows and screens, and glinted off of bright gold and bronze accents, as well as the polished stone floor.  Upon a raised dais, surrounded by curtains, sat the tennou, arrayed in all of his youthful majesty.  Before him were princes and high ranking nobles, dressed in their finest court clothing.  Rich brocades of silk and black gauze hats only added to the pomp and circumstance of the moment. The nobles bowed and brought out a small tray.  Upon it were seventeen scrolls, freshly made, representing the latest updates to the laws and punishments of the land.  The nobles presented the work they had overseen, the culmination of a year's effort to further bring into line the organization of the state.  Off to the side, behind a screen of her own, Uno no Sarara watched the proceedings.  She thought back on all that had happened to bring them to this point.  This glittering hall was a far cry from the plain wooden structures of the old Kiyomihara palace.  And while she had never visited them, she could only imagine that this must rival the courts on the continent.  Everything that she and her husband had worked and fought for—all of the battles  they had fought, and all of the friends and children they had lost—she watched as it all came to fruition. The court was never going to be entirely peaceful—there would always be those striving for wealth and power, however they could attain it—but at this moment she no doubt felt as confident as she ever had that her efforts hadn't been for naught.  No matter what happened from here, the State, and her line, would continue.   So let's recap: We started with Part I of Uno no Sarara's reign back in episode 152, and then last episode we took a bit of a detour to go more in depth on the history of Ise and of the worship of Amaterasu more generally.  We talked about how there is good reason to believe that Ise shrine's prominence—and even many of the stories about Amaterasu and her importance in the story of the royal family—were either created or at least emphasized during the reigns of Ohoama and Uno no Sarara.  We ended with a discussion of the Jingikan, the newly created government organization developed to deal with so-called "Kami Matters", formally bringing the administration various shrines under the administration of the State.  Specifically it seems to have focused on State sponsored rituals.  I have no doubt that they took charge of the rituals at court itself, and they were likely involved in the worship at Ise Shrine, as well as the shrines of Tatsuta and Hirose.  On the other hand, as with the spread of Buddhist temples, direct State control was likely limited, at least at this stage, likely focused on the most influential institutions. This episode I want to continue with Uno no Sarara's reign.  She continued to make her mark on the court, tweaking how things worked, especially around the concept of rank.  And then there were her various travels.  These were mostly to her palace in Yoshino, but several other journeys, including a tour of the land of Kii—modern Wakayama prefecture—as well as a visit to her half-sister, Royal Princess Asuka. For all of that, however, the entry in the Nihon Shoki ends with what was perhaps one of the most direct and unique things she did:  Ensuring a smooth transition of power to her grandchild, Prince Karu. And while in this episode we'll (spoiler alert) cover both this power transition and Uno no Sarara's eventual death, we won't be done with her reign and its impact after this episode.  After all, there is still a lot going on around this time, and multiple different threads to pull on.  I expect several more episodes to cover things, such as the creation of hunting and fishing preserves, Buddhist merit-making, crime and punishment, and more.  There are also a few more people to talk about, such as Kakinomoto no Hitormaro, the court poet, and Fujiwara no Fubito and the establishment of the Fujiwara family as we know it.    So let's take a look at Uno no Sarara and what she was up to. She was still very much putting her stamp on things, tweaking the codes and making edicts.  One of the more impactful edicts would seem to be one where she had the government officials and people of the Home provinces all divided into nine classes.  This seems to be introducing yet another rank system, though this one is a bit more technical than the ones that came before. For one thing, it divided everyone up into nine ranks.  To do this, the court were going to take a look at a period of up to 6 years for those who already had rank and up to 7 years for those who did not.  The court—presumably court appointed judges—would use that period to evaluate individuals and slot them into a new system of nine classes.  Those in the first four classes would be given cap-rank based on their individual merits, the services that they had performed, and the importance of their house.  There isn't really a mention about the other five classes, but as they were theoretically the lower classes of society, it may not have been quite so pertinent.  BTW, of the three things that they were using to determine cap-rank, that last one, the importance of the individual's house, strikes me as the nod to the fact that the Japanese had not yet gotten away from the idea of "kabane" type hierarchy.  Granted, it isn't like family was unimportant in the Tang court, the Japanese were just being much more blatant and direct about it. Once everyone was properly sorted into the appropriate cap-rank, new edicts were issued on the official court clothing, which we discussed in Episode 150, and if you check out the blogpost you should be able to see what that looked like. I would note that the cap-rank system would eventually go away and be replaced by a rank system also based on 9 ranks, which then were broken up into upper and lower and junior and senior, so very similar to what we see with cap-rank, with some slight changes.  Uno no Sarara continued to make tweaks to the system, while working on the various large scale projects of the reign.  She wasn't exactly a homebody, however.  As she did all of this, she was regularly taking trips away from the capital. For example, between 689 and 697 she took at least 30 trips to visit Yoshino, sometimes taking as many as five trips in a year.  These were often short—a couple of days and then back to the grind of the court.  However, that's all that we get.  Based on the dates, we can at least make a few inferences.  For one, she was going down in all seasons, so she really must have enjoyed it, and it doesn't seem like it was attached to any particular official date or ritual.  Perhaps it just got her away from the pressure of official life. Some of her travel appear to have been work trips.  Her travel to Ise, which we talked about in the previous episodes, as well as things like traveling to visit the Castle of Takayasu and also to inspect horses at the embankment of Wani-no-kami.  Those appear to have been both trips where she was keeping an eye on things. Other trips, however, provide fewer details.  Mostly we know where she went.  This included trips to Hatsuse, Kii, Takamiya, and Yonabari, in Uda.  We are also told she ascended the Peak of Tou no Mine and later that she made another journey out to the Futatsuki Palace—presumably at the same place.  And we also have a trip out to the country-house of Royal Princess Asuka. Now Hatsuse, Kii, and Uda are all places we've previously talked about.  They are all on the Kii peninsula.  Hatsuse—or Hase—and Yonabari, in Uda, are both due east of modern Sakurai, following the Yamato upriver and then branching off to the aptly named Yonabari river.  These areas are well-referenced in the rest of the Nihon Shoki.  "Kii" is a bit more ambiguous.  Kii refers to the entire land of Kii, or Kii no Kuni—by the way, if you are familiar with the Japanese bookseller "Ki-no-kuni-ya", that name directly references the land of Kii as the family who started it were from Wakayama in Kii, where they served under the Kishu—or Kii—branch of the Tokugawa family during the Edo period.  That said, there were others who also used the name "Kinokuni" as a locative name as well, and you will occasionally see it here or there, even outside of the famous bookstore. The land of Kii is basically all of the southern Kii peninsula.  On the west side, it starts at roughly Wakayama, and includes the mountainous regions south of the Nara basin, wrapping around to the east side of the peninsula, to just south of Ise.  Today it is split between Wakayama prefecture and parts of Mie prefecture, including the towns of Kihoku—literally "Northern Kii"—and Taiki—"Big Kii".  Today, "Taiki" is part of the Watarai district, Watarai being the name of the location where Ise shrine was located.  So you can see that Kii basically included everything from one side of the peninsula to the other. Most of the time, though, I would generally assume that travel to Kii is a reference to the nearby area of Wakayama, especially as there are other references to that area in the form of hunting and fishing restrictions, which we'll discuss more fully in a later episode. This particular trip to Kii sounds like it was a bit of a longer trip, incorporating several locations.  We know that it took roughly eleven days—about a week and a half.  That's enough time to do quite a bit of sightseeing.  In fact, shortly before leaving, Uno no Sarara says that she is going on a "tour" of the land of Kii, and as such the land-tax and poll-tax for Kii would not be collected for a year, since, instead, they were expected to support her visit so that she could travel in appropriate style and so that temporary palaces could be made available for her use.  Kii is an interesting place for Uno no Sarara to visit.  It is mentioned occasionally throughout the chronicles, and its position puts it squarely in Yamato's sphere of influence.  At the same time, its mountainous nature means that it was never quite as populated as regions like the Nara basin or the Kawachi plains, where the large, flat areas were better suited to wet rice paddy agriculture.  In Kii, there are only a few areas really suitable for supporting large populations through agriculture alone, and even today the mountains make travel and construction in the area more difficult, so you don't have the highly concentrated population centers as in other regions.  The area around modern Wakayama city provides some of the best land for agriculture, with some other coastal regions as well. But it is mountains that Kii is known for, and the mountains often have spiritual significance.  Mt. Koya, or Koyasan, would be found in 805 as the center of Shingon Buddhism, but well before that you have the Kumano shrines, also known as the Kumano Sanzan—the three mountains of Kumano. There is a lot of evidence that worship at the three mountains of Kumano was heavily influenced by Buddhism and Buddhist traditions, but that this was a later influence on areas that were already important spiritual sites well before Buddhism arrived in the archipelago.  The exact nature of worship is debated, but the area was important, with "Kumano" once treated as its own land, overseen by the Kumano Kuni no Miyatsuko.  The deities of Kumano and the area more generally features in the Nihon Shoki in the legendary stories of Iware Biko, aka Jimmu Tenno. The Kumano shrines are, ultimately, a series of shrines in the Kumano region, roughly 20-40 kilometers from each other.  There are three main shrines—Kumano Hongu Taisha, Kumano Hayatama Taisha, and Kumano Nachi Taisha—known as the three mountains.  There are numerous other shrines as well.  There are three main deities worshipped, but then also another nine that are considered important as well, for at least twelve kami.  The three main kami – Kumano Musubi no Ohokami, Hayatama no Ohokami, and Ketsumi Mikoto Ohokami – are also considered to be manifestations of Izanami, Izanagi, and Susano'o.  Izanami and Izanagi are famously the progenitor kami of the archipelago, while Susano'o is the storm and ocean deity said to be the rambunctious and troublesome brother to Amaterasu Ohokami.   It is quite likely that the connection with these other kami—who feature prominently in the later stories, was actually a later addition.  Similarly, around the 9th century, the Kumano shrines were heavily influenced by Buddhism, which often co-opted indigenous kami worship by associating the native kami with incarnations of Buddhist figures.  In this case:  Thousand-armed Kannon, Yakushi—or the Medicine—Buddha, and Amithabha.  I must say that associating Amithaba—or Amida—with Susano'o seems like a bold move.  The deity who tossed a backwards flayed colt into Amaterasu's weaving hut is also the Buddha who made the promise that all who call on his name would find their way to the western pure land? I guess. Together, the kami of Kumano are known as the Kumano Gongen, and there is a pilgrimage trail, even today, that leads between the various shrines and peaks, as well as various temple complexes in the area. There is one other interesting connection with Kumano shrines, and that is the fact that there is a Kumano Taisha up in the Izumo region.  Today, they claim that despite the names being identical, there are no actual ties between Kumano Taisha and the Kumano Sanzan.  The Kumano Taisha of Izumo is actually considered the Ichinomiya, or most important shrine, of Izumo—even more important than the famous Izumo shrine, itself.  It lies 30 minutes south of modern Matsue, and enshrines a kami known as Kushi-mikenu-no-Mikoto, said to be another name for none other than the famous Susano'o. Kumano Taisha claims to have been first mentioned in the Nihon Shoki back in the time of Takara Hime, aka Saimei Tennou, in an entry from 659, though that entry simply states that the Izumo no Miyatsuko was to repair the shrine of the "Itsuki" kami, and doesn't specifically mention Kumano Taisha by name.  There is an entry attributed to the Izumo fudoki, which claims a shrine was located on Mt. Kumano, identified with modern day Tenguyama.  And then, Kumano Taisha appears in the Engi Shiki in the 10th century.  Suffice it to say, there are many different ways that this can be interpreted. Scholars have attempted to look into the potential connections between Kumano Taisha in Izumo and the Kumano Gongen of Wakayama, but it does not appear that there is a fully formed consensus.  I would note that we certainly see various important worship centers branching out throughout the archipelago, setting up branches elsewhere, and we also see the association of various local kami with other, more famous kami, making the claim that they are simply another name for the same entity.  This would appear to be one way to bring different groups into communion with each other, as it were, and helping to gloss over the potential difficulties found in diverse belief and worship practices. As a side note, there is at least one other Kumano Taisha of note, found up in the Tohoku region.  It claims to be the "Ise of Tohoku", with a focus on Izanami and Izanagi.  It seems to claim a founding around the early 9th century at the Tenno's request.  Given that, I think we can ignore it for our current discussion. To bring this all back around, it is unclear if Uno no Sarara's tour of Wakayama included the Kumano shrines at this time.  Certainly Kumano would play an important role in the legends and stories that the court was putting together, but what structures were in place at this point in the story are unclear.  Her tour may have focused much more on the area around modern Wakayama.  Her tour of the area took a total of eleven days, which is more than enough time to have seen a fair bit of the area, and certainly would have been enough time to get down to the Kumano region, but we don't have any clear details that I see to say exactly what happened. Still, I do find it interesting to look at the juxtaposition of the Kumano shrine story with that of Ise.  Both took on some aspects of the official stories of the founding of Japan and appear to have been important shrines for the court to some extent, and both the trip to Ise and the trip to Kumano were events such that local taxes were commuted for a time to help pay for the royal visit. But whereas Ise would go on to reject the merging of Buddhism with local kami worship, Kumano appears to have embraced it.  Kumano worship took on a highly syncretic character, with Buddhism and Kami worship becoming inextricably intertwined, maintaining that character even today, despite numerous historical attempts to extricate the two from each other. Ultimately, Ise shrine would take pride of place as the national shrine of the royal family, but I can't help but wonder what would have happened if Kumano had been more ascendant. Getting back to our discussion of Uno no Sarara's various peregrinations:  we also have what appear to be two trips up to Tou-no-mine—the modern pronunciation for the name which Aston transliterates as "Tamu no Mine".  This is the peak where, about forty years earlier, Takara Hime is said to have built a circular enclosure and called "Futa-tsuki" or two "Tsuki" trees palace.  It was also known as "Ama-tsu-miya", the Heavenly Palace.  The modern Tou-no-mine is a mountain to the southeast of Asuka, however, there is also a theory that the Tou-no-mine and Futa-tsuki palace were actually on a small hill just due east of the Kiyomihara palace site.  This is where we find walls, the Sakafune-ishi stone, and other examples of work from the time when the Futa-tsuki palace would have been built. That said, to get to Tou-no-mine, we are told it was a two day trip—one day out and one day back.  That said, it wouldn't have all been spent traveling.  In fact, Tou-no-mine, today, is under two hours walking distance.  The site by the palace is much closer, and the entry for going to the Futatsuski is only mentioned on a single day.  So none of that is particularly helpful, in my opinion.  Ultimately, we know that it was a location near Asuka and that it was associated with Takara Hime, the last female sovereign in her own right—even though her reign was arguably run largely by her son, Crown Prince Naka no Oe. Speaking of whom, Naka no Oe was not only the father of Uno no Sarara, but also of Royal Princess Asuka.  So when Uno no Sarara went to Asuka's country house, also known as the Denso or Tadokoro, she was actually going to pay a visit on her own half-sister.  By the way, "country-house" is the Aston translation.  A more direct translation might be something like "Field Place".  It was a private estate belonging to powerful families, such as the local elites—or in this case the royal family.  It is a rare glimpse into the living conditions of those royal princes and princesses who were not resident in the palace itself.  I do find it interesting that it specifically identifies the royal princess and not some male relative or husband—and Uno no Sarara isn't really noted as visiting a lot of family members all over the place.  I've seen a suggestion that Asuka may have been married to Prince Osakabe, one of Temmu's sons, but if so it is interesting that Uno no Sarara goes to visit *her* house and not *his* house. Princess Asuka is not mentioned much, but given this and a few other things—including being mentioned in the Man'yoshu in connection with a poem by the famous Kakinomoto no Hitomaro—she seemed to be someone important, even though we don't have a lot of information on what that looked like at the time. And with that, we've covered most of Uno no Sarara's travels.  We discussed her near-constant trips to Yoshino, then there were official visits to inspect the fortifications and horses.  Granted, that latter duty was also done just at the palace, in Asuka, so it wasn't necessarily terribly special.  There was her expedition to Ise, which we discussed in a previous episode, and then down to tour the land of Kii.  There were short jaunts out to Hatsuse and Yonabari.  And the largely unexplained visits to Tou-no-mine and the enigmatic Futa-tsuki palace.  Finally, there was a note about her calling on her half-sister, Princess Asuka. So that was what Uno no Sarara was doing when she wasn't at the court.  Otherwise, whether it was in the Asuka Kiyomihara palace or in the new Fujiwara Palace, she was dealing with the business of the state.  Much of what is recorded are fairly common things—banquets, archery competitions, and similar events that are interesting in aggregate, perhaps, but maybe not so helpful in figuring out the larger trends that were occurring at the time.  There were edicts and changes, but we can talk about those separately.  There were natural disasters, as well. Overall, she spent eleven years on the throne, from 686 to 697.  In that time, she finished much of the work started by her husband, put her own stamp on the new government, and, perhaps most importantly, she set up her grandson for success.  It is worth nothing that Uno no Sarara's posthumous regnal name is Jitou Tennou, and while that was probably not something she chose for herself, it may give us some insight into how the Chroniclers viewed her.  Remember that the brothers, Naka no Oe and Ohoama, were given the names "Tenji" and "Temmu", respectively.  Tenji is "Heavenly Wisdom", and he is counted as the brains behind the Great Change, the Taika reforms, and much of the shape that the state took from 645 onwards.  Temmu is something like "Heavenly Warrior".  The victor of the Jinshin no Ran was remembered for his military strategy, even though that was really only a small part of his overall reign.  The characters of Jitou's posthumous title are two characters.  The first, "Ji", means "to hold" or "to have".  The other character is "tou" and generally means "relationship" or "to control".  It can also refer to unification. This is often considered to mean that her role was seen as continuing to hold the throne and continue the work of her husband and his line, his progeny.  In this case, that means strengthening the state that Ohoama had built, following through on his national projects, and ultimately ensuring that the throne passed seamlessly to Ohoama's grandson, ensuring that his line would continue.  Of course, it probably should be noted that of course it was also her own bloodline that she was continuing as well, something that would become important in later years. And it is easy for us to look at this as simply editorializing by the Chroniclers, who were, after all, trying to craft a national narrative as well as record the history.  In many ways the use of these posthumous titles allowed them to do that—to summarize an entire reign into something that could be easily remembered.  And yet, based on the actions that she has taken, there certainly seems to be something to this description of Uno no Sarara and her motivations. We saw, early on, how she cleared the way for her own son, Crown Prince Kusakabe, getting rid of his potential rival for the throne, Prince Ohotsu, and thus potentially averting another conflict at the start of the reign.  But then Kusakabe died, leaving her with his young son, and while placing a young infant on the throne might have become a thing in later centuries, that precedent had not quite been set just yet.  Even as it was, Uno no Sarara likely had some concept that she could not know how many years she would get.  A decade on the throne was nothing to sneeze at, and many sovereigns had much less.  And so, beyond setting up the structure of government that her grandson would inherit, she also had a few more things to ensure.  She would want him to be old enough to be taken seriously, and she would need to make sure that there were no other claimants that could complicate matters.  There was only one other serious candidate that fit that description, and that was Prince Takechi. Remember, Prince Takechi was Ohoama's eldest son.  He was also a maternal descendant of the Munakata, meaning that he didn't have the double-royal imprimatur that was presumably required to take the throne as the sovereign.  And yet, Uno no Sarara was no doubt savvy enough to understand that those kinds of traditions changed quickly and easily in the past, as long as one had the right political backing. At the same time, Uno no Sarara appears to have leaned heavily on Prince Takechi's support.  It was a risk, but his support for her efforts would help her do what she needed to do.  Not only that, but if anything did happen to the young Prince Karu, Prince Takechi was the next in line.  He was also the Dajou Daijin—the most powerful court position short of Uno no Sarara herself.  For many reasons, it would have been difficult if the Queen felt she needed to take him out of the picture. Perhaps then it was fortuitous that in 696 the issue resolved itself, when Royal Prince Takechi passed away. This was no doubt a sad event, and yet it also may have set things in motion.  Prince Karu had been born in 683, so he was fourteen years old—still quite young, but old enough.  He was also surrounded by supporters, including his own mother, widow to the late Prince Kusakabe, Royal Princess Abe. While it isn't mentioned in the Nihon Shoki, we get a glimpse of how all this was planned in the Kaifuso, published in 751.  There, in an entry for Prince Kadono, a son of Prince Ohotomo, we are told that after Prince Takechi's death, Prince Kadono met with Uno no Sarara and others and suggested a course of action.  He encourage Uno no Sarara to pass on the kingdom to Prince Karu, despite his youth.  If true, this is quite the statement from someone whose own father was killed in the Jinshin no Ran, which brought Ohoama and Uno no Sarara to power in the first place.  It appears as though she heeded his advice, setting up what would come next over the following year. And so it is from the year after Prince Takechi's death that we start to really see entries focused on Prince Karu.  In the second month of 697, for instance, we see that Tahema no Mabito no Kunimi was appointed to be Prince Karu's tutor.  Likewise we see Michi no Mabito no Atomi and Kose no Ason no Ahamochi appointed as director and assistant director of the Spring Palace—the palace for the Crown Prince, the Heir Apparent.  Interestingly, Aston notes that the Nihon Shoki never actually gives an entry for when Prince Karu was named Heir Apparent—it just seems to be assumed. Ten days after the new directors were appointed, a public great-congregation was held at the Crown Prince's palace—here called the Eastern Palace, and I'll admit I'm not sure if "Eastern Palace" and "Spring Palace" were different names for the same place or what.  I assume these were all part of the newly built Fujiwara Palace, though the most important part is the implications for Prince Karu.  He was being introduced to the court, it seems, with a large congregation at his residence where the court would be expected to acknowledge his position as the crown prince and heir apparent. Three months later, we are told that Uno no Sarara grew ill.  The Ministers and various government officials made votive images of the Buddha in an attempt to make merit and help her to recover.  While she would recover from whatever illness she experienced, I suspect that this was something of a wake-up call.  Uno no Sarara was in her early 50s, and she wasn't getting any younger.  She also lived at a time where she had to realize that many others hadn't made it as far, and perhaps her illness made her realize that if she was going to do something, she had better do it sooner, rather than later.  And so, just a little more than a month later, on the first day of the 8th month, Uno no Sarara abdicated the throne in favor of her grandchild, Prince Karu, soon to become the next Tennou. This isn't the first time we've seen an abdication in the history of Yamato, but it is perhaps the first time we've seen it quite like this.  When Takara Hime abdicated, I think we can agree that it was largely under duress.  She had just seen her son lead a bloody coup against the most powerful court nobles, and that really does seem to have shaken her.  No such bloody struggle was happening here, however.  In fact, there is plenty to suggest that avoiding a bloody struggle was exactly Uno no Sarara's point.  By overseeing Prince Karu's ascension while she was still around, Queen Uno no Sarara maintained significant control over the process. Part of this rested on the fact that when she retired from the position of Tennou she didn't just become some commoner or retreat to the position of Queen Mother or Dowager Queen or something similar.  Instead, she took on a new titled:  Retired Sovereign, or Dajou-Tennou.  Technically this means that her own title was something like "Greater Sovereign", compared to Karu's "sovereign".  This position was new, and may not have even been fully formed at the time of the initial abdication.  Unlike when Takara Hime abdicated, effectively acknowledging that she wasn't actually in charge, Uno no Sarara was planning to remain an active force in government.  Her grandson would be set up as the formal sovereign, or Tennou.  He would be responsible for the rituals and ensuring everything was properly carried out, but his mother, the Dajou-Tennou, would have a tremendous amount of clout and control. By all accounts, this abdication and creation of the "Dajou-Tennou" position really does seem to have been specifically set up for this occasion, to ensure the smooth transition of power.  This way, when Uno no Sarara eventually did pass away, there would be no question about who was seated on the throne.  Given everything she had witnessed—from stories about her how her own father had come to power as well as the events of the Jinshin no Ran and then everything that happened in the aftermath of her own husband's death—I can understand why Uno no Sarara would have been pre-occupied with the idea of ensuring a smooth transition to the next sovereign.  She likely could not foresee how this new position would be used in the future, and yet it would become something of a staple in the politics of the Japanese court. Initially, retired sovereigns were typically doing so for reasons similar to Uno no Sarara—to ensure a smooth transition of power from one to the other and to ensure that the next tennou could be established to avoid instability.  However, it would become something even more.  After all, why wait until your heir is actually ready?  If you are going to be running things, anyway, why not remove yourself from the tedium of ritual while retaining your authority?  And in later centuries we see the tennou retiring younger, leaving younger and younger heirs to hold the actual throne.  There would also be a certain Buddhist aspect to it as well, allowing the retired tennou to be seen as a kind of Golden Wheel Turning Sovereign who was theoretically beyond the material cares of the day to day.  The retired sovereigns would be referred to as "In", which is likely a reference to the suffix given to their compounds, rather than the common "Miya" or "Gu".  And so the government under these retired sovereigns would become known as the Insei, or government by cloistered sovereigns, but that system was still in the future.  For now, we are just seeing the seeds of what was to come, eventually. To understand this later phase of Uno no Sarara's life, we need to take our first few steps into a new source:  The Shoku Nihongi.  The Nihon Shoki ceases to describe anything after Uno no Sarara's abdication, and the official history of Prince Karu's reign—known to us as Monmu Tennou—is taken up by the Shoku Nihongi.  This is literally the continued Japanese history, and we'll talk about it in depth at some point.  For now, I would note that it was compiled in 797 – so literally a century after the last entry in the Nihon Shoki.  That said, it likely had much better records to go off of compared to the Nihon Shoki, though it was still likely compiled with a view that was still quite friendly towards the royal family and the position of the Tennou. And so, when Uno no Sarara largely disappears from the narrative, I don't know that we should assume that she had truly gone completely hands off.  After all, with everything we've seen, do we think that this is a woman who would just hand the reins over to a fourteen or fifteen year old boy?  And yet the first time she appears is in 701, when she is making a trip to her favorite vacation spot:  the Palace at Yoshino.  That said, there were some pretty big events that happened during this period, after her abdication and assumption of the title of Dajou-Tennou.  The biggest was the creation of the Taihou Code.  Once again, this will need a fuller treatment, but the Taihou Code was an update to the Kiyomihara code.  The Asuka-Kiyomihara code was 22 volumes, and focused on  the laws, the "ryou", but not necessarily the punishments, or "ritsu".  In contrast the Taihou code was 6 volumes of "ritsu" and 11 volumes of "ryou", for 17 volumes in total.  Unfortunately, we mostly have scraps of indications here and there, and the codes that came afterwards, which were each based on what came before.  For instance, we do know that they completely overhauled the rank system yet again.  Unlike the Kiyomihara  code, which took years to develop, the compilation of the Taiho code is ordered in 700 and completed by 701—likely because it was really more of an update and a compilation of what was already on the books. This was perhaps the most significant thing that happened while Uno no Sarara was still available to exert her influence.  Karu was still only about 19 years old at this point.  He would turn 20 the following year, 702.  That same year, Uno no Sarara would travel all the way out to Mikawa no Kuni, which is the eastern half of the modern prefecture of Aichi.  The royal procession, which started in the 10th month of 702, then made its way back through Owari a month later, and from there up to Mino, and then down to Ise and back through Iga.  The royal procession is first recorded on the 10th day of the 10th month and returned on the 25th day of the 11th month—a round-trip time of roughly 45 days.  Throughout we are told that various ranks and awards were given out to important individuals at each stop. Unfortunately, that trip may have taken a toll.  A few weeks later, on the 13th day of the 12th month, Uno no Sarara grew ill.  There was a great amnesty pronounced throughout the realm, and one hundred men took Buddhist vows on her behalf.  They even read the Sutra of Golden Light in the Home Provinces.  Alas, it was all to no avail.  Uno no Sarara passed away on the 22nd day of the 12th month—or January 13th in 703.  It was roughly six years from her abdication.  She would have died with at least some knowledge that the realm was largely in order.  Her grandson was on the  throne and had been ruling for the past six years.  He had attained the age of majority, and things seemed relatively stable.  There was even a new, grand, permanent capital city, just like on the continent. But that closes out the life of Uno no Sarara.  She lived in interesting times, experienced tremendous fortune and misfortune, and she put her indelible stamp on the state of Yamato and thus the future of Japan.  There is still more to go over in this period—we have interactions with the Emishi, updates to society, and various impacts to Buddhism.  We'll also take a look at some more important people from this period, including Kakinomoto no Hitomaru, the famous poet, and the poems of the Man'yoshu, and Fujiwara no Fubito, the son of Nakatomi no Kamatari and the one largely responsible for making the Fujiwara house the most influential house in the entire court. Until then if you like what we are doing, please tell your friends and feel free to rate us wherever you listen to podcasts.  If you feel the need to do more, and want to help us keep this going, we have information about how you can donate on Patreon or through our KoFi site, ko-fi.com/sengokudaimyo, or find the links over at our main website,  SengokuDaimyo.com/Podcast, where we will have some more discussion on topics from this episode. Also, feel free to reach out to our Sengoku Daimyo Facebook page.  You can also email us at the.sengoku.daimyo@gmail.com.  Thank you, also, to Ellen for their work editing the podcast. And that's all for now.  Thank you again, and I'll see you next episode on Sengoku Daimyo's Chronicles of Japan.

RevisionThe surah* Al-Baqarah means the cow.* 286 ayat — the longest surah in the Quran.* Nicknamed the peak of the Quran (Sanam al-Quran).* Surah Al-Baqarah and Surah Ali Imran are twin surahs. If you read them, study them, memorise them and act on their lessons, they will come on the Day of Judgement as clouds — shade on a day when there is no shade except the shade of Allah.* The surah has nine parts. We are in Part 1: Types of People.Ayah 1 — Alif Lam MimWhat does it mean? There is a meaning, but we do not know it. Our answer is: Wallahu a'lam — Allah knows best.We may not know the meaning, but we can learn the wisdom behind it.1. It is a surprise call.The Prophet ﷺ was unlettered — he did not read or write. A person who does not read or write does not recite alphabets. So the fact that he recited letters was a surprise in itself.There is a second surprise. Listen to Arabs speaking their own language — they do not speak in tajweed. But the Prophet ﷺ recited Alif Lam Mim with full tajweed rules. A strange combination of letters, recited in a way no one spoke. It caught the audience's attention immediately.2. It is a challenge.Poetry was the highest art form of the Arabs at that time. When the Quran came, they refused to accept it was from God — they said Muhammad ﷺ made it up, or learned it from somewhere.So Allah opens with letters: Alif Lam Mim. Alif Lam Ra. Qaf. Ha Mim. Ya Sin. The same alphabet you have. Go and produce something like it.3. It is a gate of humility.There are things our minds can fully understand, and there are things beyond our minds. Before we can receive guidance, we have to accept that limit.Example: Why is Fajr two rak'ah, but Dhuhr and Asr are four? Fajr is at a quiet time when you have space; Dhuhr falls in a rushed 20-minute lunch break at school. Why not make them equal? Wallahu a'lam. We obey.Does “wallahu a'lam” mean we obey blindly? No. We arrive at obedience through reason:* The universe cannot exist without a creator.* That creator cannot himself be created — there must be an uncreated Creator.* A Creator who made a universe this complex and this beautiful must be wise.* When someone infinitely wiser than you tells you to do something — you do it.We accept Allah through revelation and through reason. Once that foundation is in place, obedience follows. That is the gate of humility.And we are still allowed to look for the wisdom. Two rak'ah at Fajr — you are fresh, you do not need much. Four at Dhuhr — you are hungry, tired, and about to become “hangry,” so you stop and reset. Four at Asr — before you carry your work stress home to your family, you offload it onto Allah first. Iyyaka na'budu wa iyyaka nasta'in — You alone we worship, and You alone we ask for help.Who are we asking? The Creator of everything. Next to Allah, how big is our problem? This is why a person of prayer can walk back to their problem and face it — you are not facing it alone.Ayah 2ذَٰلِكَ الْكِتَابُ لَا رَيْبَ ۛ فِيهِ ۛ هُدًى لِّلْمُتَّقِينَ“That is the Book, no doubt in it, guidance for the people of taqwa.”* Dhalika — that* al-Kitab — the Book* la rayba fihi — no doubt in it* hudan lil-muttaqin — guidance for the people of taqwaThe link to Al-Fatihah. In Al-Fatihah we made the du'a: Ihdinas-siratal mustaqim — guide us to the straight path. We asked for guidance. Allah answers immediately: the guidance is in this Book.Guidance for everyone, or only for some? In ayah 185 of this same surah, Allah says the Quran was sent down as guidance for all mankind. Here in ayah 2, it says guidance for the people of taqwa.The offer is open to everyone. The people of taqwa are the ones who take the offer up.New Material: What Is Taqwa?The literal meaningTaqwa comes from the root waw – qaf – ya, which carries the meaning of protection.Because taqwa also contains an element of fear, the literal meaning is: protective fear.Protective fear vs paralysing fear* Fire in the building. Protective fear: you get out. Paralysing fear: you freeze — or you film it for TikTok.* Exam next week. Protective fear: you start studying. Paralysing fear: “que sera sera” — you give up.* The difference. Protective fear moves you to act. Paralysing fear stops you from acting.Note on the snake example from class: standing still is the correct response to an Australian snake, because they are not hunting us — they bite out of fear when they feel threatened. That is a considered decision, not a freeze.Fear on its own is not enough. If you find out at 9pm that there is a test tomorrow morning and you decide there is no point trying, you are still afraid — but the fear has paralysed you.This is why taqwa needs the two wings we studied earlier: fear and love/hope. Without hope you will not move. Taqwa is not just fear — it is fear balanced by love.What are we protecting ourselves from?When Allah uses the word taqwa in the Quran, it means: protect yourself from Allah's anger and His punishment, and move towards His mercy and forgiveness.In practice: what Allah told you not to do — don't do it. What Allah told you to do — do it.Story time: Umar and Ubayy ibn Ka'bWho is Ubayy ibn Ka'b? One of the Companions the Prophet ﷺ named as the best reciters of the Quran — if you want to hear the Quran as Jibril brought it, listen to these people. When Umar ibn al-Khattab established Taraweeh in congregation, he appointed Ubayy as the first Taraweeh imam. Ubayy recited so long that the Companions would lean on the walls and pillars of the masjid, and the prayer would end just in time for a small meal before Fajr.The conversation:Umar ibn al-Khattab asked him, “What is taqwa?”Ubayy answered with a question: “Have you ever walked through a path full of thorns?”Umar said, “Yes.”“How did you do it?”Umar said, “I would lift my garment and walk carefully.”Ubayy said: “That is taqwa.”Arab dress is long and flowing. On a thorny path you gather it in, and you watch every step — so your clothes are not snagged and your feet are not cut.That is life. Every step, you are aware: Is this bringing me closer to Allah, or further away? Would Allah be pleased with this, or angry?The technical meaningLiteral meaning = the dictionary meaning.Technical meaning = the meaning in context.Example: the word site. Literally, a place. Say it to a builder and he means a construction site. Say it to a web developer and she means a website. Same word, different technical meaning depending on context.So for taqwa:* Literal: protective fear* Technical: mindfulness of AllahBeing constantly aware of whether something is beloved to Allah or disliked by Him, and whether a decision takes you towards Him or away from Him.A person of taqwa will be guided by the Quran, because that is where you find what Allah loves, what He dislikes, what He made obligatory and what He made forbidden.Ayah 3 — The Signs of TaqwaTaqwa is in the heart. The Prophet ﷺ said, “At-taqwa ha huna” — taqwa is here — pointing to the chest. You cannot display it. But it produces signs, and the signs can be seen.الَّذِينَ يُؤْمِنُونَ بِالْغَيْبِ وَيُقِيمُونَ الصَّلَاةَ وَمِمَّا رَزَقْنَاهُمْ يُنفِقُونَ“Those who believe in the unseen, establish the prayer, and spend out of what We have provided for them.”1. They believe in the unseen (yu'minuna bil-ghayb)Every pillar of iman involves something unseen:* Allah — we cannot see Him.* Angels — we cannot see them.* Books — we can hold a mushaf, but we did not see Jibril bring it down. That process is what makes it different from every other book.* Prophets — the Companions could see Muhammad ﷺ the man. What they could not see was him receiving revelation, and that is what made him a prophet.* Day of Judgement — not yet seen.* Divine decree (qadar) — never seen.Remember the three dimensions of the religion — the what, the why, and the how. Iman is the why: the root system. You do what you do because you believe Allah commanded it.2. They establish the prayer (yuqimunas-salah)Belief is invisible. Prayer is what that invisible belief looks like when it comes out.3. They spend from what Allah has given them (wa mimma razaqnahum yunfiqun)Not “what they earned” — what We have provided them. The wealth was never theirs to begin with.Next WeekWe continue with the details of ayah 3, and aim to reach ayah 5 — unless our guest speaker joins us, in which case Islamic Studies runs instead.Key Terms* Wallahu a'lam — Allah knows best* Taqwa — literally: protective fear. Technically: mindfulness of Allah* Muttaqin — the people of taqwa* Ghayb — the unseen* Sanam al-Quran — the peak of the QuranQuestions to Test Yourself* What does Al-Baqarah mean, and how many ayat does it have?* Give the three wisdoms behind Alif Lam Mim.* Translate ayah 2 into English.* What is the difference between protective fear and paralysing fear? Give one example of each.* What did Ubayy ibn Ka'b compare taqwa to?* What is the difference between a literal meaning and a technical meaning?* Name the three traits of the people of taqwa mentioned in ayah 3.* Why is belief in the Quran still “belief in the unseen” when you can hold a copy in your hands? This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.grounded.day/subscribe

Remember when we talked about the lumber exchange building selling for a dollar? Technically, that's not entirely accurate. Not that the truth is any better, really. And speaking of the truth, you probably also remember us talking about stand-up comedy being the last bastion of free speech. After podcasts, of course. We're a much newer genre, but we still feel like we deserve the bulk of the credit.Topics:Crowd work taking over comedy setsThe lumber exchange building is worthlessTim's Dr. Fauci controversy

2026 Show Notes Addendum   Our last chance to share this particular rerun on the anniversary of its release, we present to you - Chandlerfest: our only rerun ever to be so completely retooled. If we're being honest, this broadcast was so heavily amended that it should never have been categorized as a "rerun" episode, but as a Ch F "F-isode" - a thought that's been weighing on me since working on the Channel F finale and not having it appear, the rerun itself only comprises about 45 minutes of the nearly 2.5hr broadcast celebrating the life and music of St. Jodee and I's dear friend Chris on the occasion of what would've been his then 40th [now 47th] birthday. I felt it appropriate to share this one today. If you've already heard it, I hope you will enjoy this trip through the music of this singular individual. And if it's your first time hearing it, then I hope you will explore the man's back catalog even further. Lastly, the original show notes below reference a companion blogspot post with expanded content. Here's the link: https://nerdnoiseradio.blogspot.com/2019/07/nerd-noise-radio-reruns-presents.html   ----------------------   Original Show Notes:   ----------------------   Buried somewhere around the middle of this 2hr, 22min long, profoundly bittersweet, and deeply emotional tribute to my dear friend Chris Chandler on the occasion of what would've been his 40th birthday is a complete, and unmodified rerun of Nerd Noise Radio C1E10 (originally broadcast 05/22/2017) - which itself was originally intended as a tribute to Chris. The music block portion of C1E10 was produced on the day of his passing, 12/28/2016.   Technically, today's production is categorized as a rerun. But only 47 minutes of this 2hrs, 22mins are actually the rerun itself. The rest is a fresh production, brand new, and all dedicated to Chris. Come, hear his music, hear his story, and hear our hearts. Get acquainted with the man who meant so much to all of us, and whose passing still reverberates through our lives these more than 2 1/2 years later. Welcome one and all…..to Chandlerfest!   Greeting (Mark Chandler) - 00:00:00   Opener   Song - Artist - Album   Still Your Fool - Chris Chandler - Manifesto - 00:00:11   Chris Story pt. 1 - 00:03:26   Early Music Block 1   Song – Composer - Album   Waltz - Chris Chandler - Chris Chandler: 1979-2009 - 00:08:55 For the Moment - Chris Chandler - Ephemera - 00:13:19 Drag Me Down - Chris Chandler - Chris Chandler: 1979-2009 - 00:16:27   Chris Story pt. 2 / Mark Story -  00:19:51   (Mark Story - 00:27:14)   Early Music Block 2   Song – Composer - Album   The Ache - Chris Chandler - Under the Weather - 00:34:31 Effigy - Chris Chandler - Quod Sum Eris - 00:38:12 Eagle + Serpent - Chris Chandler - Ephemera - 00:41:37   Preface to Rerun - 00:45:34   C1E10 complete episode Rerun   C1E10 Tracklist   01: Intro - 00:56:21 02: Shinobi 3 - Genesis - Japonesque - Hirofumi Murasaki, Masayuki Nagao, Morihiko Akiyama - 00:58:16 03: Final Fantasy XIII - PS3 - The Vile Peaks - Masashi Hamauzu - 01:00:32 04: Trip World - Game Boy - Stage 2-2 - “Phase Out” - 01:03:19 05: Ninja Warriors - SNES - City - Hiroyuki Iwatsuki - 01:05:03 06: Quake 2 - PC - Quad Machine - Sonic Mayhem - 01:07:10 07: X-Men - Arcade - Ethnic Cave and Flame - The Konami Kukeiha Club - 01:10:42 08: Jumping Flash 2 - PS1 - Stage 1-2 - Takeo Miratsu - 01:13:16 09: Fushigi no Umi no Nadia - PCE - HES 12 - Shiro Sagisu - 01:14:54 10: Sim City - SNES - Capital - Soyo Oka - 01:16:52 11: Castlevania III - NES - Riddle - Konami Kukeiha Club - 01:19:14 12: Ai Chou Aniki - PC Engine - Stage 4-3 - Iwasaki Taku - 01:20:15 13: Star Wars: SOTE - N64 - Menu - Joel McNeely - 01:21:53 14: Super Meat Boy - PC/360 - Forest Funk - Danny Baronowsky - 01:22:54 15: Metroid Prime - GameCube - Metroid Prime Battle - Kenji Yamamoto and/or Kouichi Kyuma -  01:25:42 16: James Bond 007 - Genesis - Space Hop - Matt Furniss -  01:28:18 17: Tiny Toon Adventures: BBL - SNES - Space Opera -  Kazuhiko Uehara and/or Yukie Morimoto -  01:30:23 18: Chester Cheetah: TCTF - Genesis - To the Exit - Kaneko Sound Team - 01:33:06 19: Salamander - PC Engine - Crystal Forever - Konami Kukeiha Club - 01:36:02 20: Outro - 01:36:29   Debrief (St. John) - 01:42:57   Post Rerun Music Block   Song - Artist - Album   Etude Blanc - Chris Chandler - Ephemera - 01:45:44 Instrumental - Chris Chandler - Ephemera - 01:49:02 The Gathering Dark - Chris Chandler - Quod Sum Eris - 01:51:12 Nuns of Steel - Chris Chandler - Quod Sum Eris - 01:53:49 Cloud to Ground - Chris Chandler - Ephemera - 01:59:25 Ineffectual - Chris Chandler - Chris Chandler: 1979-2009 - 02:04:15   Gag Tracks Primer - 02:09:26   Song - Artist - Album   Hidden Track - Chris Chandler - Monochrome Dream - 02:10:25   Wrap-up - 02:12:48   Closer / Sign-off   End Credits - Ai Chou Aniki - PC Engine - Iwasaki Taku - 02:17:49   Mark Sign-off - 02:21:31   Incidental Music for Chris Story 1 - Sadness - Unlimited Saga - PS2 - Masashi Hamauzu - 00:03:26 Incidental Music for Chris Story 2 / Mark's Story - Zora's Domain: Day - LoZ: BotW - WiiU / Switch - c: Koji Kondo a: Yasuaki Iwata - 00:19:51 Incidental Music for Preface to Rerun - Build 4 - The Sims - PC - Jerry Martin and/or Marc Russo - 00:45:34 Incidental Music for Debrief - Perils of the Coral Reef - Ecco The Dolphin: Defender of the Future - Dreamcast - Tim Follin - 01:42:57 Incidental Music for Wrap Up - Whisper and Mantra - Secret of Mana - SNES - Hiroki Kikuta - 02:09:26 Incidental Music for Closer / Sign-off - To the Stars - Prune - iOS/Android/Windows - Kyle Preston - 02:12:48   See the corresponding Blogspot post at nerdnoiseradio.blogspot.com for expanded show notes.

Milk already feels tight across much of the U.S. That could be the setup for a perfect storm. Summer heat, warm nights, wildfire smoke and plant disruptions have pressured milk production and moved milk into unexpected places. Now, Class I bottlers are preparing for schools to reopen just as cheese plants, protein beverage manufacturers and other processors compete for the same milk solids. In this episode of The Milk Check, guest host Josh White and the Jacoby team break down what could make August, September and October especially interesting for dairy markets. We cover: How heat, smoke and limited nighttime cooling affected milk production Why school bottling demand could tighten the market further How the cybersecurity disruption temporarily increased condensed skim availability How conflict, Red Sea risk and higher freight costs are complicating dairy exports The dairy market is not moving in a straight line. But competition for milk solids is building, and the next few months could determine which product sectors get the milk they need. Listen to The Milk Check episode 103: The Perfect Storm for Milk Solids. Also available on: Amazon Music, Apple Podcasts, Spotify, and YouTube. Got questions? We'd love to hear them. Submit below, and we might answer it on the show. Ask The Milk Check Transcript: [Opening commercial] Josh White: [00:00:00] Coming up on the Milk Check. Jennifer S. Kuo: The Red Sea seems to be an issue now as well. Tyler Jokerst: Yeah. Josh, if the Houthis are getting involved, when you’re looking at Yemen that’s a direct effect on the Red Sea, which is the other half of that peninsula . And then it starts to limit the only access point that you can have into the Red Sea being through the Suez Canal. Josh White: ​In absence of our fearless leader, Ted we invite our audience to join us for one of our bi-weekly commercial meetings, where our group gets together and breaks down the market based on our individual disciplines. Today’s group is a fairly large one but we have members representing our fluid team, our ultrafiltered and cream team, cheese, butterfat, milk powder, and whey, which makes up our trading group.  We’re in the dog days of summer right now, schools are out, families are traveling. There’s people out of the office not making decisions. That’s happening both in the U.S. and in Europe. Let’s touch on current market, climate, what we’re experiencing, and then what we’re paying attention to or looking out for in 30 days time. Let’s start with where we’re at on the milk side of things. Greg, both you and Jared, have experienced a little turbulence over the past week or so with some milk movements. We’re just coming out of a big heat stretch. We’re on the cusp of the South starting to refill its bottling pipelines. What are you feeling and seeing right now, Greg? Greg Scheer: We’ve had some plant closures that have pushed milk around the Mideast, the Northeast, and, around the country. We have had a week or two of that. The first heat wave, back several weeks ago, hit the cows harder than expected, and I’m wondering if maybe that’s the age of the herd is a little older that maybe it hit them a little more. Usually, you have a heat wave, the cows recover some. Normal summer, they get another heat wave, and then, it hits them a little harder the second time or third time. Seems like the first heat wave hit the cows a little harder. I think production’s down just a little bit more than we expected or earlier than maybe a normal summer. Other than plant problems that push milk around, it feels tight. We get to next month, schools start up again or are about to, and bottlers start putting milk into the bottle for schools, then it’s gonna get really tight and could be tight through September, October when maybe production comes back a little bit and the pipeline gets filled, and then it levels off demand a little bit. It feels tight other than plant closures. It’s gonna get really tight in a month. And, we’ll see where it goes. But production does seems like it was hit harder. I’m just wondering if maybe the age of the herd may have a little bit to do with it. Josh White: It was also pretty warm nights for the Midwest. It’s pretty well documented that above 70s: tough on cows; below 70s: allows them to recover nicely. I’m in Gurnee, Illinois, which is Grand Rapids [00:03:00] latitude on the Michigan side. For us to get nights above 70 is rare. And we just went through a pretty good stretch where we had a lot of them. The entire Mideast and the Midwest, we went through a solid four or five days of pretty bad smoke. At least our area was bad enough that just walking outside to get your mail, you could taste it. So I can’t imagine that helped anything. Greg Scheer: How much it hurt is hard to quantify maybe, but definitely didn’t help things. Josh White: Are we still really talking about two different countries, more or less? California, everything seems to be fine. They’re running great. They’re just pumping out milk, and then the rest of the country where it feels a little tighter? Greg Scheer: That’s the sense I get everybody I talk to. Yes. You’ve got California on an island there just filling up their plants, and everybody else in a tighter feel, all the way from the Upper Midwest, Mideast, Northeast. And then as you mentioned, I do think the pull to the Southeast will be starting fairly soon as their production slows, and by mid-August when they’re bottling for schools it’ll really get tight. Josh White: Europe is also talking about some of the same things. Heat sounds like it’s impacted France the most. Germany’s been pretty resilient. Everything I’ve read or heard is that in the recent weeks, people have taken their milk production forecast for the remainder of the year down in Europe, and by a noteworthy amount. To be clear, I think most expect European milk production for 2026 to be higher than it was in 2025, but it’s been notably higher through June. And looking ahead, for them to be taking those numbers down to modest growth means that they’re expecting year-over-year numbers to be down the second half of the year. So Europe seems to be slowing its rate of growth. Curious to what that means going into 2027. We seem to be making good milk, and we’ve got plenty of ability to process it, but the rest of the world feels like it’s starting to slow its growth rate, and maybe start to slow down as we look ahead to 2027. Class I plants looking to start filling up a bit in the next two to four weeks. Jared, what’s that mean for you and your team and your products? Jared Miklasz: Yeah, moving over to the condensed and fluid skim side, the market has become noticeably longer over the past couple weeks, and the obvious driver there was the disruption that Fairlife experienced, which affected multiple plants across the country. With those plants still operating below full capacity following that cybersecurity event, milk that would have normally went into their UF and finished protein beverages has been redirected into balancing outlets which, in turn, made condensed skim much more available, and that increased availability was real. We saw a lot more local offers as a result. As operations normalize and those plants continue to ramp up, I would expect some of that excess product to be reabsorbed, although the timing remains still uncertain. Condensed skim has been tight for much of the year. Obviously, that’s been supported by the steady Demand from both Class II and III. And the strong nonfat demand has also kept skim solids competitive. As those dryers continue to pull available skim [00:06:00] away from the condensed markets school milk will also begin here, as Greg alluded to, which should move more milk back into the bottling programs and further reduce the amount of condensed skim available for manufacturing for these Q4 months. Moving over to the UF side of things, that continues to have the strongest long-term demand story. We’ve touched on it almost every podcast, but high-protein dairy appears to have real staying power. Demand is coming from athletes, consumers focused on weight management, older adults trying to maintain muscle. And that’s even beyond the folks using the GLP-1 medications who are told to prioritize protein. That demand also extends well beyond protein shakes. It’s into yogurt, lactose-reduced products, other nutritional beverages, other applications that require greater control over protein, lactose and total solids. But the other key part of that is the cheese, as that’s an important outlet for UF. As those butterfat levels in the farm milk continue to rise, high protein UF can help rebalance that cheese vat and improve yields. The challenge is that cheese makers are competing with higher value protein beverage and yogurt for that same UF supply. More UF capacity is expected to come online, though, here later this year and into ’27, but that does not necessarily mean that the market will become over-supplied. I think the key question is whether capacity grows faster than the demand. The category obviously remains strong, although that increased competition from a wider retail perspective and potential consolidation could eventually slow growth. But so far that demand has continued to outperform expectations. That strong UF demand also tightens the broader skim market because, obviously that milk is moving into UF and no longer available for condensed skim or nonfat. But, overall improving milk production should create more opportunities, particularly in the skim market. However, that strong demand has regional processing constraints and plant reliability all play key factors here long term. Josh White: So we’re probably not gonna be moving in a straight line here, right? As production responds, we’re trying to anticipate how demand continues to grow. We definitely know it’s in vogue. It seems structural, like that we would see more of these protein-enhanced consumer products coming online that are using liquid protein, as well as the popularity of the whey products and some of the others. But over the course of the next 30, 60 days, how are you feeling like that balances out? I heard you mention that we don’t really see a lot more UF coming on until maybe later in the year. In the meantime, if I’m mapping this out correctly, particularly in the eastern half of the country, we’re already snug milk. We have a lot of capacity for cheese that has been filling. We got hit with some heat, and we’re trying to digest the impact on milk production, but we believe there’s been some already in mid-July. And Class I’s gonna start to ramp up in August, and at the moment it feels to me like we’re gonna be competing pretty heavily in all of these sectors for the available milk solids that are out there, and it’s already snug [00:09:00] before the Class I starts to pull their share. Jared Miklasz: Yeah, it feels like a perfect storm here. Everyone’s competing for those solids in the back half of this year before that additional capacity comes online to meet some of that demand. And that competition’s been playing out all summer, but I think it’ll really heat up as we get into August and September, and October, and schools start ramping up, and all, everything aligns there. So I think it’ll be very interesting to see, if any product sectors get shorted.  On the protein beverage side they have shelves to make sure they stock and keep that space at the big box stores as well. So I think they’re gonna try to get their milk, but you alluded to it, these, investments on the cheese side, they’re gonna wanna keep those plants full. Jared Miklasz: So it’s gonna be interesting to watch. Josh White: June milk production was a little bit higher than maybe most expected, 2.3% for the country, if I read it right. But most of that heat impact has been in recent weeks, right? The recent three weeks, so since July. We’re looking at a milk production number that’s dated, but we’re experiencing a milk production climate right now that seems to be a little bit tighter for a variety of reasons. But probably one of the bigger one is normal seasonal summertime heat, but may be coming on a bit earlier than expected and a bit stronger than we’re used to at this point in time. We’ve had more headwinds in July. Let’s talk cream for a second. Butter is moving counter seasonally.  Overall, the market still feels heavy, but normally this time of year we wouldn’t be moving in the direction that we are. So let’s go with where everything starts. What’s happening on the cream side of things? Jared Miklasz: Yeah, fat remains tight, which has been, somewhat surprising given the amount of milk being separated for the high-protein beverages and all the value-added skim products that we just talked about. As those markets continue to grow, obviously that generates butterfat and that has to find a home. But based on that, I, I would’ve expected more cream to be available, but instead that market has continued to absorb it. Butter is currently trading in the 155 to 160 range, well below levels that we saw last year. And at those levels, cream is much easier for the manufacturers to use in ice cream, cultured dairy, cream cheese, and other Class II applications. It reduces that risk far as finished product and carrying less value. but part of that may be the manufacturers that, you know, adding that fat back into formulations after pulling back when butter prices were much higher. Lower fat cost obviously as far as the taste and texture can improve flavor and yield across the board for a range of products. Even with the stronger milk production and continued growth in the farm level butterfat I do not expect that the cream market is suddenly gonna become long, particularly during these summer months and with the heat that’s still on the horizon and pressure on both milk and volume and components. Over time, the additional milk and fat production should help bring the market back into better balance. But right now, it’s been long. That processing capacity will remain just as important as the total volume that’s being produced. Josh White: Is Class II performance still very strong this year? Jared Miklasz: It is, yeah. They’re the ones that are soaking up the majority of that fat right now. Josh White: Do we have a sense for if we had to try to measure the whole category, and I realize there’s a lot of products that go [00:12:00] into that category, it’s pretty difficult to paint the broad brush. But do we have a sense for are people looking at current markets as an opportunity to build structural inventory, or are they just moving that much more at the shelf? Jared Miklasz: I don’t have a good answer for that one, man. Josh White: Yeah, I don’t either. It’d be curious. ‘Cause if our Class II performance, we’ve seen just domestic performance in certain products look really well year to date. Like the amount of nonfat that’s been consumed domestically, the Class II numbers suggest that things are going really well in, in those markets. I’m just curious if consumer demand is up that much for some of these because maybe pricing promotions or other things, or if there’s been some structural stock building in anticipation of needs the rest of the year. Let’s move on. Let’s talk about cheese a bit. Cheese just made a pretty decent move higher. In Europe similar things, mozzarella prices have really started to move higher in Europe. And now all of a sudden with the U.S. moving higher and European cheddar quite a bit lower than the bounce they saw on their mozzarella, we’re not maybe in quite as an advantageous price position internationally as we were before. How do we see that playing out? Jeff Daanen: You just wonder the real effect is it gonna be for a month or two when we see what happens and how much cheese is out there. But there is cheese available. If you wanted extra loads, they are there. We’re pretty heavy in cheese. The only thing that we don’t have a lot of right now is mozzarella. A lot of that had to do with the World Cup, and there’s some plants that shut down for maintenance. Like Jared said, it was kinda like the perfect storm. plants shut down. People were eating a lot of pizza because of the World Cup, a lot of house parties and stuff like that. But in about another month we’ll be out of this, and there’ll be plenty of mozzarella available. Jennifer S. Kuo: Our price is a lot higher right now than compared to Europe. especially in the Middle East, and even in Asia still, so many people delayed what they would’ve normally ordered in Q2 and going into Q3 because of all the uncertainty, the much higher fuel costs. Everybody has depleted their inventory. And despite our higher prices, we are still getting many requests now still from the Middle East. Pricing really isn’t an issue. It’s just how soon can you ship, and how soon can you guarantee that it’ll get here? So price does not seem to be the barrier right now. Everybody has used their inventory, and they all need to restock. We have the supply. They’re willing to pay a little more. Europe hasn’t really been a conversation with any of our customers. They have not really tried to push back and say, “Europe is better priced right now.” But yeah, the demand is definitely there right now, despite the jump in our market recently. Josh White: Interesting. So it feels like the international demand’s there. The customer’s de-stocked. But at least for products other than mozzarella, we feel really heavy domestically. Is that still accurate? Jennifer S. Kuo: Yeah. Yes. Yeah. But we are seeing the demand in the Middle East is not just for mozzarella right now. It is more geared towards [00:15:00] cheddar. We are getting more inquiries for cheddar than mozzarella right now, which is good for us, both white and color. Tyler Jokerst: Obvious barriers there or risk can be tied around the current situation in Iran as well. Jennifer S. Kuo: The Red Sea seems to be an issue now as well. Tyler Jokerst: Yeah. Josh, you’re dealing with updated issues if the Houthis are getting involved, when you’re looking at Yemen that’s a direct effect on the Red Sea, which is the other half of that peninsula . And then it starts to limit the only access point that you can have into the Red Sea being through the Suez Canal. So it can create a major supply chain choke point for just anybody trying to get any kind of imports into the region. Josh White: Including Europe, right? Tyler Jokerst: Yeah, because, that tends to be a route that can cut down on transit times. So you can run into situations where you might have to go around the Cape of Good Hope to get where you need to get. So it can cause a lot of complications across the board. Josh White: So, you got an international market that does demand product. They’re not well covered, but we’re constantly fighting our ability to access and supply that demand. Same story two months later. Jennifer S. Kuo: Yeah, and freight has doubled, And that did not seem to be a barrier. Tyler Jokerst: Nope. Josh White: Demand seems resilient then, huh? Tyler Jokerst: Yeah, so I guess Josh, not being too familiar on the dairy side, still learning a lot I would imagine that means the price difference there is significant enough where historically logistics has been a major barrier for U.S. product getting international. I think that clearly the opportunities continue to make themselves clearer for international growth with U.S. dairy product. Josh White: If we could wave a wand and the conflict was over tomorrow, which is not likely, I understand that, do we think that customers are going to step in heavily and demand’s gonna feel strong at that moment because they’re not getting an adequate amount of product? Or have they been purchasing to be safe all along and trying to stay ahead of their needs? Jennifer S. Kuo: I think they’ve been trying to wait it out, and they keep thinking, “Oh, okay, it’s, the war is over, the war is over,” and it keeps restarting. I don’t think they have any inventory now. They wanna know how fast can you get it here and how much. Josh White: Specifically as it relates to the Iran conflict, where are we at in terms of demand destruction? Because when we started these conversations, and I think we had Cefetra on a call probably almost two months ago now, and we asked the question: how long does this have to go on before it goes into notable demand destruction within the region because people can’t import the raw materials they need to make the products that they consume? If price isn’t, really the barrier at the moment, it still is access to the supply. I think at that point in time we talked about August sort of being, like, the magic month to where if this lasts into August, we’re gonna start to really hurt dairy consumption within the region. Jennifer S. Kuo: I think that’s still the magical question we’re trying to find the answer to. Tyler Jokerst: The war is prolonging the situation. It could’ve happened by now, but that huge variable is not really giving us a good read. Josh White: Do we think the answer is gonna be universally the same between milk [00:18:00] powders, butterfat, and cheese, or is it different for different products? Jennifer S. Kuo: The answer’s the same because it’s availability. They’re all on the same boats, right? Yeah. You don’t ship cheese separately from powder separately from butter. I think it’s all just access based. Josh White: I’ll clarify the question. It’s less about the ability to get the product and more about at what point in the timeline when you can’t get it conveniently, do you start to have demand destruction on the consumer level? Because you can’t get the cheese, which you will find its way to retail, the butterfat, which is largely an ingredient for processed cheese applications and other things, the milk powders, which serve some of the same and some different manufacturing products. All three of them overlap each other like a chain, but the cheese is closest to consumer. The butterfat is very close to consumer as an ingredient making some of these processed cheese products and other things, milk powder is going into some of that, but then also as an ingredient maybe in other applications like bakery and some consumer packaged goods. If we get into August, which of those areas is most vulnerable? Is it the consumer products because they really are bringing it in just in time, they have to make what they make they’re considered more luxury type items that, you can cut from your diet if you can’t get it versus maybe something along the lines of manufactured products that they may have more deep inventories of, and they will run out, but they might not be running out until September or beyond. At this moment I don’t get the impression talking to European colleagues, talking within our own team in the different product categories, it doesn’t feel like material demand destruction yet. It seems like we’re still finding a way to get some product in, seems like they’re still willing to pay for product, seems like some stuff’s still happening. It’s just at some moment that will come to a head, I think. And we initially expected by August it would become a real problem that meant we’re going to be missing dairy demand out of that region. And we’re knocking on the door of August. Josh White: We’ll be right back after these messages. Diego Carvallo: I’m Diego Carballo with T.C. Jacoby & Co.. T.C. Jacoby & Co. specializes in international dairy markets. For new customers that haven’t done business with Jacoby, I would tell them that we can provide them with many of the powders, dairy products that they consume, not only with the physical product, but we can also help them mitigate their risk. We know dairy. We know the main players. We know the main providers for the whole value chain. We are one of the strongest players in the U.S. market because we have contact all the way from the farmer moving the liquid milk all the way to the end users that buy the end products. I am Diego Carballo with T.C. Jacoby & Co., and we bring dairy to the world. Josh White: Let’s shift gears. Diego, let’s talk a bit about nonfat dry milk, skim milk powder, and what’s happening, globally [00:21:00] there. Yesterday, we had a firm GDT. What does that tell you? Diego Carvallo: We’ve seen the market under heavy pressure, mainly in the U.S., which was the market that was the most expensive for the past I would say six months. It seems like the U.S. market is going back into a price range where we’re competitive internationally. And that had to happen because the U.S., as we’ve mentioned before, we need to export about two out of three loads that we manufacture in the U.S. for nonfat. And we were not competitive for a long period of time. Our prices were $400 to even $1,000 per metric ton higher than European prices. And now that we finally have plenty of availability we have to find a price where exports become competitive again. And that’s what’s happened. In the past few weeks, we’ve had a few additional factors that have added pressure to prices, and that’s what Jared mentioned on plant interruptions in the U.S. And that’s definitely shifted some skim milk concentrate and some products to the drying towers. And that’s adding a lot of pressure onto prices. We’re seeing more inventory, more product availability from the manufacturers. The market is looking for other outlets, and those outlets are in the Middle East, in Asia, and other places, maybe South America, where the cost of the freight has gone up to an extent where we’re paying probably twice what we used to pay. So the exports price has to come down so that we’re competitive again. We should find some support in the current levels. We’re close to the $1.40s and the physical offers are even lower than that especially for SMP. For SMP, we’re seeing offers close to the $1.35, which is ten cents under the current futures. And I think at that level, we’re starting to be competitive even with a more expensive freight rate. I think we should find support unless we start seeing Europe trend lower and New Zealand prices also trending lower, which hasn’t happened at this point. A lot of availability around and not too many customers looking for product at this moment. Josh White: Okay, on the whey product side, it is absolutely the definition of a summer market right now. I think after two quarters of prices constantly moving up for whey proteins, and the whey market trying to rebalance so many changes over the past year. Over the course of 2025 and into early 2026, we saw a lot of large sweet whey powder producers upgrade their facilities to higher protein WPC80 or WPI. At the same time, there was the commissioning of a very large sweet whey powder facility in Texas that is offsetting the production that we’ve lost, and that’s been a bit turbulent. And that just means that we’re exchanging approved brands for both domestic [00:24:00] customers and international customers for a new brand that needs to be approved. And so we’ve seen a trading range for sweet whey powder that’s been 60 to 70 cents for quite a while. But the actual spot market has seen a lot more basis volatility. New brands trying to buy their way into business, brands that remained that have legacy or approvals for perhaps Asian clientele in a market that seems to be pretty short right now, they’re getting bigger basis premiums. So sweet whey powder has been largely range-bound, but that doesn’t really tell the story. It’s been a big shift in who has the product and where that product can go. On the protein side that story’s pretty well-documented and well-reported at the moment. It is shockingly resilient. Diego mentioned that milk proteins are realizing the benefits of this health and wellness movement. Some of the current trade relationships might be supportive of milk proteins. Aside from that, we’re just seeing more demand, people formulating to it, buying more and using more of it. Jared talked about the UF side of things and how there’s just new demand creation in a lot of different categories from beverage to, some of the other Class II products. The whey category remains just on fire. It seems to be both products. Now, we had two quarters in a row where people were terrified they couldn’t get access to supply, and they watched pricing increase by 20-plus percent. Now we get into the summer and pricing hasn’t increased over the last few weeks, and that’s making some people nervous. You’ve got a lot of people out there that are like, “Oh, it’s not gonna continuously go up. does that mean this market’s going to crash?” It’s always possible, of course. These markets don’t move one-directionally. We should expect a retracement at some moment in time. But everything I read from the consumer demand aspect of it, I don’t see any cracks in the floor. What I see is we’ve moved pricing up so rapidly that now that people are going into the summer months and maybe taking some holidays, if they come back in August and need to replenish, this thing goes right back up. If they come into August and find out that the movements on the shelf at the grocery stores have slowed as much of a price increase we’ve seen, we should look out. So I’m not in either camp right now. I guess I’m a little bit more of the belief that the consumer profile seems to be growing, seems to be willing to pay the prices that we’ve seen. And every time we start to think that the GLP-1 catalyst will end or mature, the GLP-1 drug gets cheaper, you can take it in a different form, and a larger percentage of Americans are actively using the drug. I’m also starting to see the GLP-1 aspect of the protein market get reported in Europe more. We have to remember, the U.S. market is nowhere near mature and in terms of its adoption of GLP-1 as a weight loss tool, consumers are educating themselves at a rapid level, trying to understand what the right foods are, and dairy seems to be on the right side of that discussion. Whey protein maybe being the biggest beneficiary. Milk proteins, though, certainly [00:27:00] a beneficiary. And the rest of the world still can follow. So I don’t know. I remain pretty bullish protein overall, but I think it would be irresponsible to assume that this is a one-directional market, and that it’s just gonna resume an uptrend as we get past the summer slowdown that we’re experiencing in North America and Europe. We need to be aware of what some of the potential upside shocks could be to the market as the globe enters those months where we produce the least amount of milk. We should keep our eye on a few potential shocks. Not all to the upside, some to the downside but I think we’re vulnerable to see maybe a little bit of volatility in the months to come. Let’s go through the group as sort of kind of a fun round the table. Most important discussion or impactful thing in the past week that has your attention. So Tristan, let’s start with you. Tristan Suellentrop: One of the most notable developments is the continued shift towards milk proteins. As WPC80 and WPI prices remain expensive and a little bit more difficult to source, I’ve noticed more people are evaluating MPCs as a partial replacement which is creating stronger demand across the entire high proteins category.  Kait, how about you? Kait Holzschuh: There does seem to be a lot of demand for whey permeate and lactose abroad that you just don’t see in the U.S., so I find that kinda interesting. Josh White: Yeah, good point. We didn’t touch on that, but it started with lactose, and now it’s even cascaded to whey permeate. The amount of inquiries that we’ve received in the past couple weeks across all sectors: international feed sectors, international food sectors, domestic food, and domestic feed. There’s clearly it’s clearly a tight market. Great point. Thank you. Miguel? Miguel Aragón: It might be just isolated to Mexico, but there is a glut of cheese in Mexico. When we were in the $1.40s, probably, a lot of cheese made its way down there, and it has affected the market right now. With the prices now, the hope of the customers that we talk to is that things will level off. But right now, still a lot of cheese, a lot of cheap cheese in Mexico. It affects current business right now. And the second one is demand during World Cup was not as good as expected, and this comes from the Association of Supermarkets and Convenience Stores in Mexico. So two things that really caught my eye in the last two weeks. Josh White: How do we feel the same question would be answered in the U.S.? Do we think that the World Cup impact on demand was worse than, equal to, or better than expected? Jeff Daanen: I think it was better than expected. Because when this first came out, I didn’t think that it would impact a whole lot. But when it was all said and done, it just seems like the snack part of the cheese business really took off, along with pizzas. I think there were a lot of pizzas consumed. That’s why mozzarella’s really tight, and it probably will be for at least another month or so. Josh White: Jonathan? Jonathan B. Powers: Yeah, I think probably the most impactful thing is talking about WPC [00:30:00] 34 and nonfat. Nonfat and SMP hasn’t been readily available in the Midwest, and there’s a need for that protein range in the calf milk replacer world, and we’re starting to get a lot more conversations around stockpiles for those products. As we’ve discussed, WPC 34 is kind of a dying product. There’s not a lot of people that are making it anymore, and there seems to be a lot of companies, even in the food space, that are still very reliant on it and trying to satisfy the need for it when it isn’t necessarily available. We’ve had people reach out for permeating lactose. The volume of requests has been astonishing, honestly. Josh White: Manuel? Miguel Aragón: Where I have a lot of my focus is cheese in general. It just feels like there is something brewing right now. Technically, it’s entered a uptrend right now again and it’s still choppy, right? At least on the futures board. But it feels like there’s opportunities there and yeah. So I’m just soaking up everything I can hear about cheese right now and really try to get a feeling for the market there. Besides that, nonfat is just shaving off more and more. We basically broke the support we had for a long time now, so it really feels like it’s on another leg down. Yeah, we’re gonna see how that plays out. I personally also think we’re gonna find support in the 140s. We might test a little lower than that, but at some point, it should stall and become a little more stable. Josh White: Diego, based on what you said about S&P in the 130s and then what Manuel just said about the technical support and what that looks like, that kind of aligns, right? Because I think I heard you make the comment that as we, a 140 nonfat, you can make S&P cheaper for those that don’t really pay attention to the difference. Lactose is really tight, too. Do we think that there’s a connection to why the milk sugars are tight, and all of a sudden, we are seeing pricing that’s a little bit more SMP competitive globally? Diego Carvallo: I do think that there is, yeah. We made very little SMP for the first six months of the year because it wouldn’t make any sense to export when we’re $1,000 higher than European markets. Now that we’re competitive, it does make a lot of sense to make SMP, especially when protein is very high and you can take it down with a cheap product like lactose or milk permeate. It makes sense to find demand in other markets for the SMP. So I do think that the demand for the carbohydrates has picked up now that nonfat has become competitive again. ​ Josh White: For the benefit of everyone so we’re all talking the same language, nonfat dry milk and SMP are typically universally used in applications, but they’re very different products. What we call nonfat dry milk is an unstandardized product. That specification is a minimum protein percent of 34. But today’s productivity [00:33:00] of components in our milk supply, the average unstandardized protein level in nonfat dry milk is pushing 38 or more percent at least 37 and a half in most times. Now, the rest of the world standardizes their product, and they standardize to either one of two things: 32%, which is the old Codex, 34%, which I think is a little bit more common. Or at least it’s common out of the U.S. that we would standardize to 34%. When we say why would there be a connection between lactose and milk powder, you can add lactose or milk permeate to your nonfat supply to bring the protein down to a standard level. So when we stay standardized, that’s what we mean, where they’re basically bringing it to a 34% protein, most commonly out of the U.S., and then that allows us to compete for international business. Certain markets can use either, but certainly would, prefer a higher protein content at a competitive price. So when I mention our futures are at $1.40, that’s nonfat, and our average nonfat has a higher protein. So if we’re standardizing, that means that we can add this cheaper lactose or cheaper milk permeate to the volume, and that lowers the overall price. So the whole conversation there was more or less like, “Hey, are we making SMP now, and are we competing globally for international business? ‘Cause if we are, that also tells us at least we’re closer to finding a support price, finding some type of global support level for the product.” But you’ll hear us really start to break down the difference between SMP, nonfat dry milk. But many customers can use either. I wouldn’t say most, but many Okay. I, we covered a lot. Yara, any discussions over the past week that you that you feel were most interesting? Yara Morales: It’s a lot of inventory in Mexico, and the customer was offering me nonfat dry milk instead of buying. That was the most surprise, we know that since the price is going down so bad, and they have a lot of inventory with high prices. They have a contract that they have to take it. That’s hard for them. They are losing a lot of money. And the inquires, they looking for whey permeate. They are looking for lactose and proteins. But it’s hard to get the whey permeate and the lactose like you mentioned it. But this is the inquiry we have in Mexico so far, just protein basically because otherwise it’s difficult right now. Josh White: Yeah, agreed. Okay, all, I know it was an unusual discussion. Thanks for joining us today on the Milk Check. Mike Brown: For one part of the supply chain to be successful, everyone has to be. My superpower is practical application of data and analysis. I believe firmly that Jacoby’s success is because we help our suppliers and our buyers be successful. I’m Mike Brown, and I love working for T.C. [00:36:00] Jacoby and Co. because I get to help people Make their businesses more successful. ​

The Daily Shower Thoughts podcast is produced by Klassic Studios. [Promo] Check out the Daily Dad Jokes podcast here: https://dailydadjokespodcast.com/ [Promo] Like the soothing background music and Amalia's smooth calming voice? Then check out "Terra Vitae: A Daily Guided Meditation Podcast" here at our show page [Promo] The Daily Facts Podcast. Get smarter in less than 10 minutes a day. Pod links here Daily Facts website. [Promo] The Daily Life Pro Tips Podcast. Improve your life in less than 10 minutes a day. Pod links here Daily Life Pro Tips website. [Promo] Check out the Get Happy Headlines podcast by my friends, Stella and Mickey. It's a podcast dedicated to bringing you family friendly uplifting stories from around the world. Give it a listen, I know you will like it. Pod links here Get Happy Headlines website. Shower thoughts are sourced from reddit.com/r/showerthoughts Shower Thought credits: UnknownMight, udaasatma, minimumbeginningend, PlayfullyForgetf, TheRedditLifeChoseMe, NostraThomas1, onetrueuce, JetSetJers, sychox51, electriccroxford, pwood705, LieutenantChonkster, -Spydr-, Vast-Intention, MenInBlerg, Reasonable_Tale1248, Smigedon, Muddled_Melon, Heya_Andy, , MarinersFan28, MassiveAmountsOfPiss, left-of-the-jokers, eugebra, FaxTimeMachine, GrattiesOtherPlace, ManMadeOfMistakes, TNT1111 Podcast links: Spotify: https://open.spotify.com/show/3ZNciemLzVXc60uwnTRx2e Apple Podcasts: https://podcasts.apple.com/us/podcast/daily-shower-thoughts/id1634359309 Stitcher: https://www.stitcher.com/podcast/daily-dad-jokes/daily-shower-thoughts iHeart: https://iheart.com/podcast/99340139/ Amazon Music: https://music.amazon.com/podcasts/a5a434e9-da18-46a7-a434-0437ec49e1d2/daily-shower-thoughts Website: https://cms.megaphone.fm/channel/dailyshowerthoughts Social media links Facebook: https://www.facebook.com/DailyShowerThoughtsPodcast/ Twitter: https://twitter.com/DailyShowerPod Instagram: https://www.instagram.com/DailyShowerThoughtsPodcast/ TikTok: https://www.tiktok.com/@dailyshowerthoughtspod Learn more about your ad choices. Visit megaphone.fm/adchoices

Technically, you could call it fruit juice. While tomato juice often shoulders the burden…

Are you accidentally sending Google a spam signal without knowing it?Technically, the problem isn't the AI tool itself, it's what the AI learned SEO advice from.Most AI models build their SEO knowledge from blogs online, and a lot of those blogs are wrong.Keyword stuffing disguised as AI-generated adviceWhy AI delivers bad advice with total confidenceThe garbage in, garbage out principleWhat AI connectors could change going forwardThe fix isn't complicated, but it does mean learning to push back on AI instead of trusting it outright.Timestamps [0:00] Introduction [0:56] Reviewing student websites during onboarding [1:14] The spam signal students didn't know they created [1:38] Students blaming ChatGPT and Claude for the advice [2:08] Why AI isn't built as an SEO expert [2:42] The garbage in, garbage out principle [3:07] Why we trust AI even when it's wrong [3:37] How to push back on AI for better answers [4:43] What AI connectors could fix [6:09] The App Store comparison and where connectors are headed --Send me your AI/SEO questions!https://www.meredithshusband.com/podcast

EP152: The Stories We Tell Ourselves - How our mind quickly writes the script   It's been a while friend.  I have been doing a lot of thinking lately and I wanted someone to share my thinking with. Someone that can think along with me.  Because the power of thinking is huge. It's life changing and it comes from where you least expect it.  So here we are then. Technically episode 152, but a new chapter.    We don't need to have all the answers, but we do need to explore the ideas that shape our lives, so that in time, we can make sense of our paths.  Thanks for thinking along with me.   

When someone is committed to fidelity and their partner absolutely does not want sex—is there any hope? Technically, sexless is considered less than 10x a year—but for some people, there is no sex. Sometimes each partner still has desire but they don't know how to talk about it. They may even masturbate on their own but feel it's too complicated to share with their partner. Sometimes the sexual pursuer just gives up and becomes a sexual withdrawer. The danger of a sexless marriage is that the couple may not feel the love of or for their partner and become subject to the temptation of others. They may long for the sexual connection they shared in the beginning; George and Laurie share some ideas about how taking their clothes off again can be safer. Learn more about your ad choices. Visit megaphone.fm/adchoices

Hey UN•THERAPIST,We need your help UN•THERAPIZING something…Is there a difference between someone who says they can't make your event… and someone who says they're coming but never shows up?Technically, neither person came.But mentally… do y'all put them in the same category? Because there are certain people you really want in the room. So if you RSVP “yes” and don't show… what's next?Does no-show equal no more invites?!

The Daily Shower Thoughts podcast is produced by Klassic Studios. [Promo] Check out the Daily Dad Jokes podcast here: https://dailydadjokespodcast.com/ [Promo] Like the soothing background music and Amalia's smooth calming voice? Then check out "Terra Vitae: A Daily Guided Meditation Podcast" here at our show page [Promo] The Daily Facts Podcast. Get smarter in less than 10 minutes a day. Pod links here Daily Facts website. [Promo] The Daily Life Pro Tips Podcast. Improve your life in less than 10 minutes a day. Pod links here Daily Life Pro Tips website. [Promo] Check out the Get Happy Headlines podcast by my friends, Stella and Mickey. It's a podcast dedicated to bringing you family friendly uplifting stories from around the world. Give it a listen, I know you will like it. Pod links here Get Happy Headlines website. Shower thoughts are sourced from reddit.com/r/showerthoughts Shower Thought credits: jaydenkirtawn, seanthemonster, rayQuGR, baconlove31, suddenly_space_jam, mongolian_bedsheets, PaconianTimes, ioveri, hartmanjunk, mrstipez, IOTA_Tesla, neku-guy, Due_Responsibility59, JetSetJers, lordjosh255, The7footr, Yuyi7, thanyou, Havocfyw, , MentallyMusing, IlovePetrichor, Compliance-Manager, awesomehuder, Erikjb12, SomeGamerRisingUp, , CyberMushrooms Podcast links: Spotify: https://open.spotify.com/show/3ZNciemLzVXc60uwnTRx2e Apple Podcasts: https://podcasts.apple.com/us/podcast/daily-shower-thoughts/id1634359309 Stitcher: https://www.stitcher.com/podcast/daily-dad-jokes/daily-shower-thoughts iHeart: https://iheart.com/podcast/99340139/ Amazon Music: https://music.amazon.com/podcasts/a5a434e9-da18-46a7-a434-0437ec49e1d2/daily-shower-thoughts Website: https://cms.megaphone.fm/channel/dailyshowerthoughts Social media links Facebook: https://www.facebook.com/DailyShowerThoughtsPodcast/ Twitter: https://twitter.com/DailyShowerPod Instagram: https://www.instagram.com/DailyShowerThoughtsPodcast/ TikTok: https://www.tiktok.com/@dailyshowerthoughtspod Learn more about your ad choices. Visit megaphone.fm/adchoices

Back like it never left, Intertextual Experience welcomes Amabel Holland—designer, video essayist, author, and co-owner of Hollandspiele—for its forty-sixth episode. Amabel has been making my favorite board game media through her video essays, so this conversation is in conversation with those videos. While the title of the episode is “Episode of Six Video Essays,” technically only four wind up being explicitly chosen through this installment's game. With that being said, Amabel's nuanced responses connect to more than the selected six, weaving in various other essays (future ones as well), games, movies, and more media to explore the ways in which art can impact us, why preservation is important, and how being unique and filling different niches will push boundaries of what games can do or be even if it might not be the most commercially viable strategy. Additionally, there is discussion of immersive sims and the correct way to eat skittles, some very impressive word game play, and much more. This is not an episode to miss.Speaking of things you don't want to miss, check out following things from Amabel:Video EssaysHollandspiele WebsitePatreonBlueskyHere are the documents used in this episode: the reference document (serves as the games mentioned in this episode as well) and the word game itself. In order to not spoil too much, the sections of the episode are going to not have too many extra notes. Technically, you could cross reference the show notes, episode cover image, and the reference document to figure out what's being talked about within each section; it's a mini-puzzle in a sense. Regardless, each section is basically just the title of each video essay.Intro and State of the Video Essays (0:00)Should Board Games Be Frustrating (24:32)The general frame of the word game is described right at the beginning, and then it moves to frustration in some various games.Boxes: Selling, Framing, Meaning (44:42)[There is a small, fun, post-credit audio bit that was originally in this section.]Replay Value: Repetition, Ritual, and Improvement (57:07)Expanding Board Games (1:09:27)Wrap-up Questions (1:19:31)A text on Amabel's mind and things to look forward to from her!-----------------------------------------------------------------------------------------If you like this show, liking it on whatever platform you listen to and writing a review would mean so much! Furthermore, it's as independent as it gets, so any financial support would help with the subscriptions that make this project go smoothly.That can be done by "buying me a coffee" and/or buying a copy of my board game (I like it).All of my socials and support information can be found here: Intertextual Experience Linktree

There's a part of the interview process almost nobody thinks about.  The emails you send after the interview. Or throughout the hiring process. Or when you get an offer. Most job candidates assume email is the safest way to communicate. Technically, it's the riskiest. I've seen candidates try to rewrite an interview in a thank you note, send multiple follow-up emails, ask important questions over email, and even negotiate compensation. Oy! Here's the problem.  Email strips away nearly everything that makes communication effective. Your tone. Not to mention your charming personality. You can't explain what you mean. Or why you're asking what you're asking.  When you need to communicate something important, email is the worst tool. Today, let's identify the traps, avoid the mistakes, and make sure your emails help your candidacy instead of hurting it.  If you'd like to build a great career and lead a rewarding life, check out some of these other places where I share my teachings: 1. Check out the milewalk Academy, my coaching and training site, for freemiums and premiums. 2. I have hundreds of educational and inspirational videos on my YouTube Channel. 3. Grab any of my four books related to career development, interviewing, hiring, and goal setting. All can be found on my Amazon Author Page. 4. Follow me on Instagram, LinkedIn, Twitter (X), TikTok, Threads, and Facebook. 5. Stay in touch with me in your email inbox by joining my newsletter here! --Andy

Is a photo credit worth anything for SEO if the business won't link it?Technically, an unlinked mention isn't as valuable as a link, but it's a lot closer than people believed in the past.A leaked piece of Google's algorithm showed unlinked mentions carry real weight, and AI search tools are making that gap even smaller because AI struggles to follow links the way a person does.Why links have always mattered so much in SEOWhat the Google algorithm leak revealed about unlinked mentionsWhy AI is bad at following links but good at finding mentionsWhat makes a mention "authentic" versus "inauthentic"Photographers no longer need to hold out for a linked credit. An accurate, relevant mention is enough to move the needle, and asking for a link shouldn't be a dealbreaker anymore.Timestamps [0:00] Introduction [0:30] Why this episode matters for photographers [1:43] Why links have always mattered in SEO [3:18] What the leaked Google algorithm revealed about unlinked mentions [4:00] Why AI struggles to follow links the way people do [5:36] An example of AI failing to count blog articles [7:00] Google's role in creating the technology behind AI search [9:28] Why relevance matters for mentions and links [10:02] Authentic versus inauthentic mentions [11:53] Naming your business accurately in a mention --Send me your AI/SEO questions!https://www.meredithshusband.com/podcast

Homelessness ends with a home... Technically. But there's much more to it, and the path to live indoors is most always complicated. For many unhoused people, access to services is only half the battle. The other half is trust. Like the disappointment of overpromised services that don't deliver, inadequate shelter conditions, and just the accumulated trauma of life on the street. All that can leave people deeply skeptical of the outreach workers and programs meant to help them. So what does it actually take to build trust across that divide? One Oakland organization may have found a starting point: pets. KALW's Homelessness reporter Alastair Boone went to learn more. 

Should you trade links with another business, or will it hurt your SEO?Technically, links are one of the most important ranking signals Google has, but not all links carry the same weight.The real issue isn't trading links occasionally, it's when link trading or low quality backlinks make up too large a share of your overall link profile.Reciprocal links and why Google treats them differently than natural linksWhen trading links with a colleague is normal versus a spam signalWhat toxic backlinks actually are, and why Semrush warnings are often overblownWhy manual link penalties rarely happen anymoreFocus on earning links naturally, and you won't need to worry about a handful of reciprocal links or an alarming Semrush report.Timestamps [0:00] Introduction [0:30] Reciprocal and toxic links overview [0:50] Reciprocal link question [1:35] Why links matter to Google [2:15] High school analogy [3:00] What counts as a reciprocal link [3:40] Reciprocal link networks and Google's rule change [5:15] Rule of thumb for reciprocal links [6:50] Toxic backlinks question [7:30] What makes a backlink toxic [8:50] Manual penalties and why they stopped --Send me your AI/SEO questions!https://www.meredithshusband.com/podcast

The show also highlighted Teyana Taylor’s response to criticism following her appearance with Jay-Z at Yankee Stadium, where she revealed that faulty in-ear monitors prevented her from hearing properly during her performance. Despite the technical difficulties, Taylor expressed gratitude for sharing the stage with one of hip-hop’s biggest icons in front of more than 40,000 fans. See omnystudio.com/listener for privacy information.

The Rickey Smiley Morning Show covered a wide range of headline-making stories, from global politics to celebrity buzz. The biggest news centered on President Trump’s warning that U.S. military strikes against Iran will continue until he decides “enough is enough,” with reports that U.S. forces have carried out multiple rounds of strikes targeting Iran’s military capabilities near the Strait of Hormuz while maintaining a naval blockade. The show also discussed growing rumors that Megan Thee Stallion and NBA star Klay Thompson may be finding their way back to each other after their highly publicized breakup, with reports suggesting Thompson has been working to rebuild trust through heartfelt gestures and apologies. In entertainment news, the cast dove into the viral conversation surrounding Beyoncé appearing to shave Jay-Z’s hair during his Yankee Stadium residency celebrating the anniversaries of Reasonable Doubt and The Blueprint. While some fans questioned whether the moment was symbolic or staged, reports indicate the haircut was part of a larger creative presentation tied to Jay-Z’s recent hair transformation and anniversary concerts. The show also highlighted Teyana Taylor’s response to criticism following her appearance with Jay-Z at Yankee Stadium, where she revealed that faulty in-ear monitors prevented her from hearing properly during her performance. Despite the technical difficulties, Taylor expressed gratitude for sharing the stage with one of hip-hop’s biggest icons in front of more than 40,000 fans. Website: https://www.urban1podcasts.com/rickey-smiley-morning-show See omnystudio.com/listener for privacy information.

Peter Hwang spent 28 years building six companies across six completely different industries. He survived the 2008 financial crisis, which wiped out a near-IPO a month before closing and left him with $3M in debt and a wife six months pregnant with their third child. He rebuilt from that. Then built again.In 2018 and 2019, two of his companies sold within 14 months of each other, an 8-figure and a 9-figure exit. He was 45. Technically retired, but then everything stopped.In this episode, Peter and I get into what was  driving him through 28 years of building, the fear, the proving, the  scarcity model he carried his whole life without naming it. We talk about what it felt like when the emails stopped and the urgency disappeared, why achieving everything he worked for left him feeling lonely and depressed, and how he eventually found his way back to building for a completely different reason.We also get into what separates founders who make it from those who get stuck, how his passion and purpose shifted across three distinct chapters of his life, and what his dad said when Peter finally gave him the one thing he actually wanted.This is a conversation about what happens when the outcome arrives and it doesn't feel the way you thought it would. If you've ever felt like you were chasing an external feeling of success and needed to rediscover your internal purpose, this one's for you._______(01:25) Growing up watching his parents' Baskin-Robbins(04:47) Why he knew he had to work for himself(06:07) What actually drove his early ambition(07:42) Starting Extreme Pita and his first exit at 24(10:43) Why he keeps building in completely different industries(12:53) Enwise: the near-IPO that collapsed in 2008(15:03) The email that changed everything(16:22) Who showed up when things fell apart(18:28) What Cindy said when he told her(20:32) What kept him going through two years of rebuilding(23:37) How Enwise led directly to Globalfaces(24:09) Running two companies simultaneously for seven years(32:01) What separates founders who make it from those who get stuck(37:07) Two exits in 14 months and the arrival fallacy(39:53) From 100 emails a day to three(41:52) How he found his way back to purpose(45:07) How passion and purpose shifted across three chapters(46:18) What his dad actually wanted(47:40) How building businesses built him as a person(53:47) What he hopes his kids take from watching himShow notes:Find show notes of each episode on ProfitLed.fm. Connect with our host:Follow Melissa on LinkedIn where she shares stories & lessons from her founder journey weekly.Connect with Melissa at melissakwan.com and subscribe to  'your founder next door', Melissa's weekly newsletter on what it's like to build a company without an abundance of resources and friends in high places.Follow @themelissakwan on Instagram and YouTube where she shares short videos of business advice and other truth-bomb sound bites.This podcast was brought to you by eWebinar:Find out how you can turn pre-recorded videos into interactive experiences with chat so you can run your demos, onboarding calls, and training sessions on autopilot, 24/7, without being there. Hop into a demo at eWebinar.com, no salesperson required.

https://youtu.be/31XywTpVWJ4 Robin Dimond, Founder and CEO of Fifth & Cor, is helping organizations tap into the growth of their people by developing future leaders, fostering meaningful relationships, and creating a culture where employees and clients grow together. Through a collaborative agency model built on trust, innovation, and continuous learning, Robin empowers organizations to adapt quickly while creating lasting success. In this conversation, Robin introduces her Grow Your People’s Lives in 5 Ways Framework—Health, Wealth, Spirituality, Friends & Family, and Mental Health. She explains why investing in the whole person creates stronger leaders, how requiring employees to train their replacements builds a sustainable leadership pipeline, and why every client engagement begins with a discovery process and strategic blueprint. Robin also explains how fostering innovation, embracing AI as a tool rather than a replacement for human judgment, and remaining agile help organizations thrive in today’s rapidly evolving business landscape. — Tap Into the Growth of Your People with Robin Dimond  Good day. Steve Preda here with the Management Blueprint, and today my guest is Robin Dimond, the Founder and CEO of Fifth & Cor, a marketing and innovation company harnessing the best tools to support brands, consumers, and communities. Robin, welcome to the show.  Thank you so much for having me, Steve. I appreciate it.  Well, it’s exciting to have you, and we already have some things in common that might or might not come up in the conversation. But what I’d like to ask you, which is kind of my favorite question on this show, is: What is your personal ‘Why’, and how are you manifesting it in Fifth & Cor? I think my personal why—I know what it is. My personal ‘Why’ is my legacy. And because I do not have children of my own, I get the great pleasure of being able to touch so many lives through employees, clients, and partners. So I get to live my ‘Why’ out every day. And I’m a little bit different than most CEOs. I’m looking for the next CEO to replace me. So I go in with the mindset of, “One of you will take my job one day,” and it makes me super happy. That’s my ‘Why’.  Wow. So what do you want to be when you grow up?  What I want to be when I grow up? Technically, I’d like to be the janitor. I believe in cleaning up the messes that are left, and I love that. I love the difficult clients. I love the difficult situations. And I think I’ll step down one day and be the support for somebody who’s currently on my team or the next person to join my team.  Wow. That is awesome. So you want to focus on the message as opposed to running the day-to-day, because that’s where your interests life and where you’re building your legacy.  Yes, I think that is. They call it a Chief Heart Officer in some places. It’s that person who makes sure that the message of the company, what it’s built on, and its foundation are seen all the way through. And that’s the part I love.  Yeah. So you’re a real visionary.  Yes.  So we’ll talk more about your vision, but what I want to ask you about is this podcast is really about frameworks. What we’re trying to do here is find unique frameworks, processes, structures, or ways of looking at the world that CEOs have come up with that could help audience members think about business through a different lens. So is there anything that comes to mind along those lines?  What we found that really works for us is when meeting somebody, we talk to them. Then we do a discovery to figure out if we're aligned, and we find that to be very helpfulShare on X whether it’s with people, partnerships, or clients. So that discovery process, to make sure we’re all on the same page, is so important. From there, we build out a blueprint for them, and then we present the blueprint as if we were the ones running the business. We want to make sure that we’re answering those questions.  We make sure that we’re doing that, and then we have checkpoints. So we sit with a blueprint, saying, “Okay, over the next 30, 60, and 90 days, what are our processes?” The thing that we do differently than most companies is you don’t get an account executive when you come to us. You get a team of people, and you’ll see all their faces all the time. So there is no miscommunication. If you hire us, you get a team. You’ll get a director who’s overseeing your strategy.  You’ll get a coordinator who’s on top of trends. You’ll get a public relations person. And you’ll get a project manager who oversees—we call them our handlers—because they oversee the project all the way through. It has made us successful, and it’s made our clients super successful.  I love it. Especially the blueprint part of it, because it kind of chimes with the framework. So is this your blueprint? How is it unique?  It is, because everyone told us, when you look at agencies or agency models—and we try not to refer to ourselves as that—an agency model will have one account executive, and that person goes back—I call them the man behind the curtain—because they go back and talk to everyone.  What we do is say, “Hey, you’ve hired us, and you’ve hired experts.” We put all of them copied on every email, on every call, working on strategy with your team. And that’s why some of our results are 10,000% growth on your platforms in only 90 days, because we can all work together as a team.  Wow. So that’s very interesting because it’s not an easy thing to pull off—  Nope. To have so many people work together. But maybe that’s the secret sauce here.  The secret sauce is you can’t even get promoted at this company if you don’t hire your replacement. So if you haven’t trained someone behind you, don’t come and ask me for a raise. Don’t ask for a promotion. You should come and say, “Hey, Morgan’s ready to move into my spot. This is how I got her here. I’m ready now to be promoted to the next role.” So we are building tiny leaders behind us who are building teams.  That’s such music to my ears. Yes, I mean, it’s all about leaders building a company, right?  Yes. I totally agree with that. So how do you do that? How do you even do that? Does it mean that any subject matter expert you hire has to be a leader first and foremost? You can’t have someone who just wants to be a specialist stay a specialist?  So I say, “If you’re not growing, you’re dying.” So it should be in some way. It starts in the interview process, and I think this is where a lot of CEOs miss. In the interview process, we start with those questions. Where do you see yourself? Who are the five people you surround yourself with? What do you bring to the table? Asking those very open-ended questions.  Where do you see yourself going? Some people are so honest, Steve. I’d love to bring you on interviews because they’re so honest. They’re like, “Oh, I want to go to law school.” I’m like, “Great. So your time here is going to be short. It’s going to be the next year. What are you going to do in that next year?” “I’m going to help you with contracts.” “Perfect. Okay, let’s get your portfolio looking better so you can go on to the next thing.”  Sometimes we’ll get a subject matter expert who is hyper-focused on public relations, but they say, “I want to be a creative director.” “Okay, great. So during your time here, what are you going to learn? What courses can we invest in you? What trips can we take you on?” So we work with people who have a growth plan of their own and are willing to be agile. That starts at the bottom and moves toward the top.Share on X  That’s genius. Working with people who have a growth plan. Because ultimately, if they don’t have a growth plan, then most likely they’re not going to grow, because you can’t just grow without a plan, right? If you don’t have a vision for growth, it’s not going to happen. Does it mean you’re flexible enough to adapt, to some degree, to these people with a growth plan so that you can share in the fruits of their growth?  Absolutely. We have people start in one section. So we have operations, growth, and delivery. We’ll have someone start in delivery and see that they’re so good at operations that we’ll move them, and then backfill their role. So we have people who move horizontally as well as vertically into different groups. I think that’s the part where you have to be open with your team. You have to say, “Hey, Steve, you’re not that great at creative.  You know that.” And you’re like, “Yes.” And I’m like, “But you are so amazing at operations. Let’s move you over there.” Or, “Steve, you’re such a great thought leader, and I’ve wanted to start a podcast. I’d like to bring you in. Let’s backfill your other role that you started with at our company.” So it’s having that open dialogue from day one and having the team be able to recognize where they’re strong and where they need to move.  I love it. Love it. So what are the challenges with this model?  So many. When I first started, I think I saw what was not working. Before, for you to get ahead, you had to… I spent my time in New York. You had to outpace that person. You had to kind of put the other person down so that you could get promoted. And I saw some negatives in that. This, I would say, is about being transparent and being vulnerable.  It’s also admitting where my mistakes lie or where my weaknesses are. I have dyslexia, so I should never proofread anything for anyone, truthfully. So it’s about being vulnerable. Sometimes that leads to not the greatest people coming into your company because you’re putting yourself out there with that vulnerability. But for every bad apple, there are 20 great apples out there. Yeah, I mean, this is beautiful. I always believe that in order to have people trust you, you kind of have to trust them first. That’s a fragile thing, and you have to put yourself out there. Okay, some people are going to take advantage of it, and you have to…  They are, and it happens. I think every business owner or any leader has to realize that that’s going to happen. But that’s going to happen in your dating life. That’s going to happen in relationships. It’s going to happen in partnerships. In business. It’s going to happen.  But the great part, and the great reward, is seeing someone else come alongside and take your business to the next level, or take your clients to the next level. I think it’s worth being vulnerable to gain that traction.  Yeah, because those people don’t want to work for A-holes, right? They want real people who treat them as equals in some ways because they’re also very talented people. So Robin, let me switch gears here and ask you: what drives growth in Fifth & Cor?  I think what drives growth is our innovation. And we're able to adapt very quickly. In a world where marketing is constantly changingShare on X and I don’t know what the correct term is, Steve, but I say “squished”—we’re getting pressure from the platforms, from social media changes and updates, all of that. We get changes in our coding.  We get changes and pressure from our clients. And we get industry changes. From Boomers to Millennials to Gen X, there’s constant change, so we have to be agile. In our industry, when I started, it was doing billboards. Design was a long process. Now, if we’re not adapting and changing every 30 to 60 days, we can’t keep up. So I can’t make a roadmap or a blueprint for our company three years out. TikTok was here one day.  It was gone the next day. Then it came back again. So planning and strategizing means being agile, being flexible, and being able to move around that for clients so that they don't lose their numbers. I think that's what's driving growth. We're extremely innovative, and we think quickly on our feet.Share on X Can you give me an example?  Yes. I would say the TikTok one is a huge one because we were like, “Clients, you’re about to lose TikTok. They’re warning it’s going to disappear.” Then the next day it was back. So we came up with complete strategies to get rid of it and then bring it back. The next is PR. Sometimes the world changes.  Unfortunately, September 11, we had some other things happen in the news that were really big. It was something where we had to go to our clients and say, “Look, we need a new plan. We need a change. We cannot be tone-deaf right now going into it.” I mean, that all happened, obviously, in September. It was a really rapid change in what was going on. Another example is Shopify went down last week, so all of our clients’ websites went down. There was nothing we were doing.  It was something outside of our control. But we sat there with our clients and said, “Okay, let’s ramp up your social. Let’s go live with some videos and talk about it. Let’s do a press release about how you didn’t lose sales during this time and how you’re going to bounce back.” So it’s constantly thinking on our feet. It’s constantly communicating with our clients and saying, “Look, this happened outside of our control—and yours. This is how we’re going to fix it.”  Yeah. That’s amazing. So how do you keep the team? We talked about how you’re attracting these A players to your business and being flexible to make sure that you tap into their desire to grow, and you grow with them—their way and your way, obviously. But how do you get all these stars to work together? So culture comes from the bottom up. It doesn’t come from me. That would be a dictatorship. So culture comes from the people we hire, and we let them run with new ideas, and they take ownership of those ideas. We did not have public relations four years ago. That was someone else’s idea, and now it’s one of our largest service lines. Project management is another one.  We were not ready to do project management, but people kept seeing our project managers, and they were like, “Well, can we just hire them? Can we just hire them to do this service?” They saw our projects through. So even if someone wasn’t using marketing, they were using our project managers for tech implementations, events, and marketing.  So we’ve created opportunities for people to grow with us. But if you come with us, we say you have to grow in five areas of your life. Health. We actually have a challenge right now, Steve, if you want to join it. It’s who can walk the most miles in June. So health is a challenge to make sure we focus on your health. Yeah.  And we have health-related activities—kayaking. It’s on my LinkedIn posts if you want to go look. We do wealth. We want to make sure you're debt-free. When you come to us, you don't have to be, but we want to make sure you're working with our CFO to become financially independent.Share on X If you’re going to buy a home, we want you to be financially responsible outside of our company.  So in case something does happen, you’re growing toward that. We want you to grow spiritually—whatever you believe your spiritual growth is. If that’s going outside and lying in the grass, if it’s going to your church, if it’s giving back to your community, there should be a spiritual challenge. We look at your family and friends. They don’t have to be blood relatives, but you should be intentional about what you’ve done for your family and friends to help them grow. Whether it’s a family dinner…  You’ll see my team posting about their family dinners on LinkedIn. You’ll see them talking about taking time to do activities with them. So we look at five areas of their lives, making sure they’re growing, and we have challenges to support that. And then mental is the last one. What books did you read? What courses did you take? What did you do to advance yourself?  And Steve, they hold me accountable. They’re like, “Did you finish that CEO book, or are you going to…?” I’m like, “Oh my gosh. Okay. Let me do it.” So it’s something our team can challenge. And if you don’t want to participate, that’s okay. But we’re probably not the company you should be joining.  That is amazing. So people really look after each other. You have this peer accountability going that makes sure everyone is healthy, gets out of their financial challenges, has a social network around them, and takes care of their mental health. That is amazing.  Isn’t that too much for a company to take on? That could be seen as a huge burden—that you worry about all those people in so many different ways, and then you worry about your clients, and you want to make sure your people work together. Doesn’t that become overwhelming sometimes?  I don’t have to work with my clients because I have the most amazing team. I work and focus on my team, and my team’s love and joy get passed on to our clients. It’s a pass-it-down, share-it kind of thing. When they’re happy, healthy, and financially wise, they take care of our clients better than I could ever. They know their birthdays. They know their activities. They know different things. We’re constantly monitoring that. I’m supposed to take care of our team.  Isn’t that something that… I don’t know if it was Jeff Bezos in the early days…  Back in his early days, he did say that. And I want to be focused on that. I want to be innovative. We reward innovation. If you come up with a new way of doing something, you can win prizes, bonuses, gift cards. It is always a challenge: how could you do something better? Someone solved something the other day that we couldn’t figure out for the past three years. I was like, “Open up your email. There’s a gift card in there.” We want to reward people. We want them to enjoy the bonuses of doing different things and thinking outside the box.  That’s very exciting. It sounds like you’re running a perfect business.  No, it’s not perfect. People are messy, and I want other business owners to see that. There are some days that I look at the day and I’m like, “Oof, this is a big one.” Or it’s saying goodbye to the people who don’t fit into that culture, who might be the bad apples. That’s hard.  Not every person we bring on is the right fit. Not every person wants to grow. Some people want to be button-pushers for the rest of their lives, and we might have missed that. Those are the challenging days. Some days, when you get super involved in people’s lives, it means you get super involved in life. Their health might diminish, and you have to step in and take over. We had somebody who fell backward and fractured their skull. Well, we had to keep going while they recovered. That whole part isn’t easy. It’s scary. There are some days I’m like, “What the heck am I doing, Steve?” I say that a lot. But looking back, it’s rewarding.  So Robin, what is one thing that you’re actively trying to figure out in your business?  Right now it’s where the industry is headed, and we’re actively, all day, every day, trying to figure that out. We are seeing the most innovation happen during these times, and keeping up with it is exhausting. To give you an example, the printing press came. The car came. Right now, it’s the next generation, who were born with one of these in their hand. Whether it’s AI that’s coming, or something else, every day there’s something new being released. So it’s, how do we adapt, but also not get burned out? That is the biggest thing I’m trying to solve right now.  Yeah.  So if anyone would like to help me, please email me. I’ll buy you cocktails or coffee. I’ll do either one, because that is exhausting for a business owner right now.  So what part of adapting is the risky part? Give me an example of adapting and risking burnout.  The burnout comes from trying to stay on top of what’s new every day, whether it’s a new platform that came out or whether it’s AI that’s going to replace all your marketing people. It’s about being flexible, but also being smart and not making too many decisions too quickly. Our advisory board is my backbone.  There are five advisors who pour into us, who are sounding boards and give as much time as possible. I think they’re the ones who keep me in line. I didn’t have them at first, so I would recommend getting a board of advisors that you really trust, that you can look at their lives, and they can show you where burnout could happen.Share on X  And if you had a magic wand and you could fix something inside your business, what would that be in the next 12 months?  If I had a magic wand and I could fix anything inside our business, I think I would fix the rate at which we’re growing, if that makes sense. We’re growing way faster than I thought, and my magic wand would be to have enough systems in place to keep up with it. Once we build a system, we outgrow that system, and I’m like, “Cheese and crackers, we’ve already outbuilt it.” So I think it would be staying on that hamster wheel, making sure we put more infrastructure in place. Yeah, and with AI, it’s a different kind of operating system for a company, isn’t it? It is.  AI needs to be used across everything. AI should be in your business. You should be using it. You should be leveraging it. But AI can’t replace people. I think that’s the biggest thing. It’s being able to adapt your team into AI-powered systems, while also having them use their judgment and their brains. They’re going back and checking it.  Yeah. You know what I’m wondering sometimes about AI is, yes, it is making us very productive. I can get a lot more done. But at the same time, I have to make a lot more decisions, so the cognitive load has increased.  My brain load never decreased with AI. I now have to solve problems faster, and I think that’s where people are missing it. People are like, “Well, my blogs will write themselves now.” I’m like, “Okay, but who’s putting in the content for your blogs?” Or, “Oh, it’s going to put this product on my website faster.” Okay, but who’s double-checking it?  Where’s the shipping going? Where are the numbers going? People need to think about the fact that we’re doing things way faster. And then there’s fatigue. We’re being exposed to things at the swipe of a finger. You can see six, seven, eight things happening, and that’s exhausting. What is happening to the mental load of decision-making? Yeah. And then at the same time, it’s not just that we have to make more decisions, but there’s more noise out in the market. So you’re out-competing… Okay, everyone else is more productive, so it’s just a war of… what’s the opposite of a war of attrition?  I don’t even know. I know what you’re talking about, but it’s like you have to be so intentional now. Yeah. It’s the war of overwhelm, basically. Yes. The war of overwhelm. Yeah, that’s wonderful. Okay, but let’s go back to Fifth & Cor. Basically, you’ve come out of your discovery with this blueprint, and then you have this team approach. These people are all fully self-realizing in the five areas of their lives, and they’re coming together, working together, and incorporating AI. So who is an ideal client that can really take advantage of everything you can do? Not just parts of it, but everything. What’s the ideal client for you?  I love that question. An ideal client is not an industry or a revenue number they have to have. An ideal client is someone who comes with a problem and is flexible and agile enough to let us come up with a solution. And they’re a true partner. We’ve had a client who’s been with us for four and a half years, all the way since our inception, and they’ve been able to roll with all the new changes.  They trust us. So it’s someone who is innovative in their business. They’re willing to be agile as they move. That is the perfect client. Revenue does not matter. You can have all the revenue in the world, but if you’re slow to adapt or you’re not willing to go with the times and the changes, that’s a problem. What we did pre-Covid does not work right now. The same things that worked six months ago don’t work now. So the ideal client must be someone who’s willing to be innovative, attract new ideas, and execute quickly.  Do you have a way to help your clients be more like that?  Yes. Even in our onboarding stakeholder session, before we do a discovery call and present the proposal, we talk to them about that. We help them get set up. We come up with SOPs so they have documented processes throughout the entire engagement. I always say, “In case we get hit by the lottery bus…”  That’s my way of saying, if we disappear tomorrow, you have systems in place so your business won’t need us. So we help them grow, and then we have checkpoints with them. “Okay, are we doing this? These are the results. This is what you trusted us with over the past 30 days. Here’s what we’re doing over the next 30 days.” So we’re constantly meeting with them and saying these things. The clients who don’t work out long-term are the ones who say, “No, we’ve always done it this way, and we’re going to keep doing it that way.”  Those are the ones where I’m like, “Well, why did you even call us? If you’ve always done it that way and you weren’t getting results, that’s the definition of insanity.” So it’s clients who are willing to move with us, move with the times, and are willing to bring in other teams. I love that. They’ll bring in their tech team, or they’ll bring in their logistics team, to sit there and say, “Okay, what are we doing, and how do we take it to the next level?” Love it. And you can only do this with A players because otherwise it would be very painful. Love it. So if you’re listening to this podcast and Robin Dimond explaining her business and how she’s putting her employees first and making sure they have a well-rounded life so they can live up to their potential inside the business, while also harnessing their own growth ideas, so you’re tapping into what they already want to do.  Then the clients are brought along, and the same thing happens to them. They’re inspired, they’re challenged to do better, and then you help them. So if you want to be a client who enjoys that kind of approach, then my question to you, Robin, is: where can they find you and your colleagues, and what should be their first step? Perfect. You can find us at fifthandcor.com. Fifth represents the five senses, and Cor is Latin for “heart.” So that’s the reason why we do everything—the heart behind our senses. So, fifthandcor.com, or you can find us on LinkedIn. You can personally reach out to me. It’s Robin Dimond. I’d love to connect with you. I already have 30,000 connections, so I’d love to do that and set up a meeting with you.  That’s fantastic. Both my parents were doctors. My dad passed away, but my mother is still a dermatologist, and my dad was a cardiologist. They had a company, and it was called Dermacor, which is basically the skin and the heart. I love that. Yeah. Well, now that we know we’re related… I feel like that’s just part of our story too.  Yeah, that’s a Central European idea, perhaps. So if you enjoyed this episode, obviously reach out to Fifth & Cor, find out more about what Robin and her team are up to, and stay tuned because every week I bring a wonderful entrepreneur like Robin who’s got great ideas, and you can try to steal their ideas. So thanks for coming, Robin, and thanks for listening.  Thank you. Important Links: Robin's LinkedIn Robin's  website

What's the difference between a bundle, a box set, an anthology, and a collection? How can being part of an anthology be creatively interesting and useful for marketing? With Jamie Ferguson In the intro, Amazon Kindle increases the 70% royalty share; audiobook marketing tips (Voices by InAudio); The Builder's Creed [Seth Godin]; Future Vision XPrize; Researching the dark side of travel [Anna Sayburn Lane]; Photos from Bruges @jfpennauthor; Bones of the Deep: A Thriller – J.F. Penn. Today's show is sponsored by Bookfunnel, the essential tool for your author business. Whether it's delivering your reader magnet, sending out advanced copies of your book, handing out ebooks at a conference, or fulfilling your digital sales to readers, BookFunnel does it all. Check it out at bookfunnel.com/thecreativepenn This show is also supported by my Patrons. Join my Community at Patreon.com/thecreativepenn Jamie Ferguson is a fiction and short story author, editor, and publisher, with over 20 anthologies and multiple ebook bundles through her own press. Her latest book for authors is Bundle Up! A Practical Guide to Anthologies and Box Sets That Sell. You can listen above or on your favorite podcast app or read the notes and links below. Here are the highlights and the full transcript is below. Show Notes The difference between bundles, box sets, anthologies, and collections Why a multi-author project means lots of people promoting the same book, not just you How to find and pitch for anthology opportunities, and what editors look for in a contributor Contracts, rights, and royalty splits explained for short fiction Why Kickstarter and special print editions are changing the anthology game Inkwren, the publishing management tool Jamie built for backlists and anthologies You can find Jamie at JamieFerguson.com. Transcript of the interview ith Jamie Ferguson Jo: Jamie Ferguson is a fiction and short story author, editor, and publisher, with over 20 anthologies and multiple ebook bundles through her own press. Her latest book for authors is Bundle Up! A Practical Guide to Anthologies and Box Sets That Sell. Just for context too, one of my short stories, “The Dark Queen”, is in the Amazing Monster Tales: Into the Briny Deep anthology. So I'm excited to talk about this today. Welcome to the show, Jamie. Jamie: Thanks for having me, Jo. Jo: Lots to talk about. But first up— Tell us a bit more about you and how you got into writing and self-publishing. Jamie: Well, I wanted to be a writer since I was at least six, maybe before then. So it was just something I always wanted to do, but I always did it on the side. I had a year, many years ago, where I was really busy with work, and I just felt like I didn't write anything the entire year, and I thought, “I'm going to give it up.” Then the next year—that was 2011—I started seeing more about self-publishing, and that really invigorated me and made me feel like, “No, why am I giving up something I've wanted to do since before I went to school?” So I got back into a novel I had worked on years before. I went to a writing workshop with Dean Wesley Smith up in Oregon, back in the day, and then I had my energy back. I've been writing ever since. Still on the side, unfortunately, but someday. Jo: Hopefully! Tell us a bit more about what kind of genres you write. Because balancing your own books with also doing these anthologies and things is quite difficult. Jamie: Yes, it definitely is. I'd say I primarily write contemporary fantasy, but I'll write anything in any genre if I'm really excited about it. I also have a soft spot for Westerns. They take a little more time because I like to research all the facts, but those are really fun to write. Creating anthologies on your own is actually quite a bit of work. One of the things I also do is work with two other authors, DeAnna Knippling and Tami Veldura, and create more anthologies with them. That's really fun because then we can each take a different piece. There's also always somebody to talk to, as opposed to doing it on your own. Jo: Let's start with the terminology, because I definitely struggled with this, and I think people still do. We've got bundles, we've got box sets, we've got anthologies, we've got collections—and are these in ebook, audiobook, or print? Can you start by explaining what all of these words actually mean? Jamie: Yes. In my book I actually use the term “multi-author collection” or “multi-author project”, because there are so many different permutations and it does get confusing. From my perspective, I think of a bundle as a collection. It could be a collection of ebooks. Technically it could be a collection of print books, although people generally use “box set” for that—but then a box set can also be a box set that's all ebooks. An anthology, I usually use for something that's a collection of short stories where there's an editor who's actually edited all the stories. I have had stories in anthologies where somebody didn't edit them, and they would technically be called a curator. So it is definitely confusing. I have not done anything with audio collections, but that certainly is another area that I actually think is pretty interesting. Jo: I also think that a single author… so I've done a short story collection, but an anthology is multiple authors. Is that right? Jamie: Yes. Jo: I think when I came into the indie space, there were a lot more multi-author… we all called them box sets back in the day, when it was just ebooks, right? And now we can actually do boxed sets with boxes through things like BookVault. So it feels like the term “box set” has also gone out of fashion. So if people listening are thinking of doing any of this, you do have to figure out what is the thing you might be signing up for. So let's talk about the multi-author projects, as that's where you specialise. What are the benefits for an author to be involved in a multi-author anthology project? Jamie: The biggest benefit is that you are one of multiple people promoting the same project, whether it's print or ebook or whatever. If I put out a short story collection on my own, I'm the one promoting it, and maybe I can get a couple of other people to write about it, but it's really just me. If I'm part of an anthology with 15 other authors, that's 15 other people who are promoting the same project. That's more newsletters, more Facebook posts, maybe something on their Patreons, whatever it is. You get more synergy, and you get more touch points with potential readers. Then hopefully that translates into sales as well. So that's definitely the biggest part of it—the promotion. Then I also personally really enjoy these types of collections because it's just fun to work with other people. There's a nice energy when everybody's like, “Oh, I put this in my newsletter, and I put this here, and I put this here,” and you feel like you're part of something bigger than just your own piece. Jo: What about the creative benefits? Especially with short stories, often people will write them for a collection or for an anthology project. Jamie: Yes. I've definitely written some stories that I never would have thought I'd write, because somebody I knew asked if I would be interested in being in their collection—whether it's an ebook bundle or a print anthology. So at least for me, that's been really fun. One of the ones that stands out is that I was asked to be in a dinosaur collection once, and I was like, “I don't write dinosaur stories.” And then I did. I set a dinosaur story in London, and it was really fun to write, and I never would have come up with that in a million years. Jo: Let's say we've got 12 authors. They've all written short stories, and now it's in this anthology. But what is the market for these kinds of things? Have you found that there is a readership for short story anthologies that carries over to the author's longer work? Jamie: There is. I like to think of it as: if I have a story in a collection or an anthology—whether it's one I'm editing or somebody else is editing—that's one more place for people to find me. A lot of times anthologies will take reprints as well, like your story. “The Dark Queen”—that was a reprint. We asked if you'd be interested in participating in the Amazing Monster Tales series. And I actually really like printing stories again that have already been published, because there are a lot of stories out there that can be hard to find. Or if it's an older book. I have one author I've known for, like, 30 years. I reprinted one of her stories that was originally published in, I think, 1999, and the anthology it was in was out of print. You couldn't find it, and it was a fantastic story. So it's fun to be able to give new life to those stories and give them more opportunities, and also just have more ways for people to find you. Jo: Yes, I definitely think it's a long game. I don't think appearing in a short story anthology in one particular month is going to mean that your whole back collection just sells, right? Jamie: No, definitely not. It's more about avenues to be found. I know there have been some anthologies that have made quite a bit of money, but in general you're probably not going to make as much money, but you will have those extra places for people to find you. Jo: I always feel like yes, there is maybe a small amount of money, but it is more about almost a marketing thing in itself. So let's say an author is listening and they're like, “Do you know, this sounds like a great idea.” How can they pitch for things like this? How do they find out about opportunities, or get noticed to be asked? And what are the expectations for them? Jamie: The biggest thing is networking. There used to be a couple of opportunities where you could make people aware that you had stories that you were interested in potentially having picked up for something. I'm not aware of anything like that now. When I create a collection, I have a mailing list that I send out, and it includes authors I've published before. It includes a couple of extra people who somehow found my mailing list. And I'll publish, like, “Here's what I'm doing.” There are also authors I've met at writing workshops. I've been able to read some of their work, I'll approach them and say, “Hey, I really liked such and such a story. Would you be interested in writing for this?” Then there are a couple of other websites, like Duotrope, and places that advertise markets and calls for submissions. Jo: Yes, I've found them also on small presses that do these kinds of projects. They often put up one call for submission a month or something, and you can write for their particular thing. In general, the short story markets are the places to keep an eye on. Jamie: Yes, definitely. Jo: If an author wants to pitch to have their story as part of an anthology, do you want to know things like platform, or is it just the story itself? Jamie: I personally look at the author's platform. I do make exceptions—there are actually two authors I've worked with a couple of times who don't have websites. They are people I know personally and they are very, very good writers, so I'll make an exception for things like that. But otherwise, if somebody submitted a story to me and I didn't know that person, I would check out their website, I would check out their social media, I would see what else they had done. Part of what you're doing when you're creating a collection is thinking not just about how you, as the person organising this, will promote the collection, but how the authors who are participating will help promote it as well. If it's somebody who has a lot of fans, even if they're not very active on social media, that can help a lot too. There are a lot of different factors, though. Jo: So then talk us through the project timeline. How long do things take, and what sort of involvement do the authors have along the way? Because it's a lot to juggle. Jamie: Yes, it is a lot to juggle. I can give you an example with the Monster Tales series. We'll come up with an idea, and we also like to try to get the artwork done early on in the process. We don't need it that soon, but it's really great to have that taken care of. We'll contact authors. I think for this one we used my mailing list, but we've also contacted a number of people individually that we know who write the style of stories we like. Then, as the submissions come in, we usually wait until we have a nice chunk of them to start going through, and then we'll pick some right away. Sometimes it'll be like, “Oh my gosh, of course we want this story,” and we'll wait to fill out the other slots. Then we'll negotiate sometimes. Sometimes it's like, “I want this story.” “Well, I want this other story.” And we have to figure out how the word count works. Once we finalise the stories, then usually what happens with that anthology is that DeAnna—who is a very, very good editor—will make the first editing pass, and then I'll make the second. And now Tami's involved, so Tami will make the third, and then we'll iterate. Once all three of us have gone through the first time, then we'll send the story back to the author for edits. So the most the author has to do for most of the process is just wait for us to edit their story, and then work on their edits and get them back. Then, once we get closer to launch, we'll give them information about what we're going to do. For example, we're going to launch the next issue with a Kickstarter. So our authors know that we have a Kickstarter coming, and we'll give them more information as we get closer to the actual launch date. Jo: So how long might an author expect before their work is out there? Jamie: It really varies. I've had some collections published very quickly—let's say a couple of months. Some have taken longer just because somebody ends up having some life issue and things get delayed. So I'd say ideally it would be more like three to nine months. Jo: Yes, I think… depending on the— Jamie: —collection and the complexity. Jo: Yes, exactly. Jo: And you did mention word count there. Just give us a range of what word count you like to get. Jamie: So these days I'm shooting for between 75,000 and 80,000 for the total word count for a collection. That includes the stories, but it also includes the opening, the introduction. For one we're working on now, we're going to have some interstitials, where we have little bits of things we're going to write in between each story. So that's the overall size of the collection. I'll keep track of the word count as the stories come in, and then as we edit the stories, sometimes they grow, sometimes they shrink. Sometimes that's a big enough difference where we're like, “Okay, we need one more story to fill it in.” But that's the target. Jo: And how much for each individual story? Jamie: That varies. I've done a bunch of different things. These days, what I'm advertising is between 3,000 and 8,000 words. I also always tell people: if you're outside this range on either side, just check with me, and if it's something that's really an excellent fit for the book, I'll make an exception. The one that's coming out, I think we have a 1,500- or 2,000-word story that was just amazingly perfect for what we wanted. There was another story, actually I think it was the issue that you were in, that was at least 12,000 words, but it also was a perfect fit for the theme. So I will make exceptions, but within reason. I wouldn't put a novella inside an anthology, because then you'd have a 22,000-word story next to a 3,000-word story, and I personally feel like that's really jarring for the reader. You don't want to go from something super short to something super long. It just doesn't feel like it flows well to me. Jo: No, absolutely. Jo: We'll come back to the making of it because you mentioned some really interesting things there. But just on the contractual side—a lot of indie authors don't necessarily do any publishing contracts for their work, unless it's signing the terms and conditions when uploading on Amazon or Kobo. So tell us a bit about the contract side. What rights are we talking about here? Any red lines in contracts around this kind of thing? Jamie: For contracts, I would recommend people read Kristine Kathryn Rusch's posts on this. She is way more informed about this than I ever will be, so when I have questions, I'll look at her posts. I've asked her a couple of questions. What we're doing for the Amazing Monster Tales… this is the first time that I've actually had authors sign contracts. Prior to this, I've used PubShare, which handles royalty splits and all of that, and that was really great. We want to do direct sales and Kickstarters and have lots of other options. So we did put together a contract this time. I'd have to pull it up, but I think we asked for first worldwide rights in English—I'm getting the terminology wrong here—but that was basically it. Jo: Or, I guess, reprint rights if the story's already been licensed. Jamie: Correct. We have two contract templates, one for original stories and one for reprints. We made sure to make that distinction, because it is definitely a distinction. In the book by Kristine Kathryn Rusch—it's called Closing the Deal… on Your Terms—I highly recommend that for anybody interested in learning more about contracts. Jo: Yes, that's great. And just for people listening: when you said you didn't have contracts before, you just used PubShare. So in that way, the author still retained the rights and you just split the royalties—it was more of a co-writing thing. Jamie: Correct. When you publish stories through PubShare, the author signs an agreement with PubShare, and then I, as the editor or organiser, would also sign a separate agreement. So each of us has an agreement with PubShare. We don't have agreements with each other, if that makes sense. Jo: Yes, so it's very different to move into Kickstarter. So tell us about what you're now moving into. Jamie: Well, Kickstarters are a new world for me personally. I have many friends who have had Kickstarters. I've supported Kickstarters. I watch them. But it's something where I'm very happy to have two partners who have done Kickstarters before. I'm not sure how many Tami's done—I think Tami's done the most at this point. So this is all new to me. But it's very exciting. At this point we have a backlist, so part of the plan, for the Monster series, is to offer issues one through four as part of the rewards when we launch issue number five. That's really exciting, because I never had a backlist like that before. Jo: Yes, and in fact the money is in the backlist, as ever, and those add-ons or bundles as part of Kickstarter are great. So are you going to do special print editions, or is it digital only? Jamie: We are talking about special print editions. You mentioned BookVault earlier—we've been looking at BookVault. Our other anthology series that hasn't come out yet will also launch with a Kickstarter. It's dragon-themed, and Tami actually did the cover work, which is beautiful. BookVault just gives you so many options that we never had before, so I'm very excited about that. Jo: Yes, I think it's a really good idea. I did gorgeous hardbacks for my solo author collection, so I think it's a great idea. So from the publisher side, let's come back to that. You've mentioned you have to write things like an introduction and interstitials, and you're trying to balance the stories. What are some of the other things that people might think about if they want to organise their own anthologies? Jamie: Oh gosh, where to start? There's the basic setting up of the anthology, so you have to define the table of contents. You might get a bunch of stories that are really awesome, and you might have to tell somebody who has a wonderful story—and maybe even who's a good friend of yours—that you're going to pass on it because their story doesn't fit with all the other stories. Every time I have to do that, I feel kind of bad. But being on this side, it's really interesting to see how you can tell which stories fit together and which don't. There's also the editing process, which can be a lot of work. Part of what I like about working with Tami and DeAnna is that DeAnna really loves editing. I feel like I'm a good editor, and I can do it, but for me it's more of a job. For DeAnna, she loves it, so she does the bulk of the editing, which is great. When I do it on my own, I feel like it's a task I have to do. There's lots of cat-herding. Sometimes people take a while to get their edits back. Sometimes they have life events, and you have to delay things because you're waiting on them. There are all the little tiny pieces of organising things—like, if you're reprinting stories, you need to make sure you get the copyright attribution correct. A lot of times I'll have to go and look up where something was originally published. An author might say, “Oh, it was published in this year,” and I'm like, “Okay, actually it was published in this other year, by this other publication first.” So I'm trying to be organised there. henT one of the things that very infrequently—I think it's only happened to me twice—every once in a while, you're in the middle of editing a story and you have to pass on it, even though you've already accepted it, because the editorial vision and the author vision for the story are not the same, and you can't reconcile that. Jo: I think that's really interesting, because so much of what you're talking about there—you mentioned vision—it's almost taste. You're saying which stories fit. It's not just a case of, I don't know, a pirate anthology and then picking 10 stories about pirates, right? You seem to be thinking about this in a more artistic way. So can you talk a bit more about that? How do you decide on a theme, and then how do you know that a story doesn't fit? Jamie: In the beginning, I was not this selective. In the beginning I'd say, for example, “Hey, I'm putting out a collection about fairies. Give me a fairy story,” and that was it. As I've edited the stories, it's become easier to see how things fit. So, for example, if I have 10 stories in an anthology and I have an 11th story, and they have different tones—let's say the 11th story is really funny and all the other stories are very serious—then that would be a fit thing. That's not necessarily taste; it's just that you don't want one funny story if everything else is really dark and scary or serious. As far as picking a theme, the theme could be very broad. With this dragon anthology we're working on, we decided we wanted it to be called A Hoard of Books. So the theme was: has to have dragons, has to have books, and that's pretty much it. And then we were like, “Let's just see what we get.” We were very surprised at what we got. We thought we'd have more serious stories, and it turned out most of them were very light-hearted and really fun. And we're like, “You know what? That actually changes the way we're looking at the whole series,” because we did not expect that. With the monster series, we'll pick a theme. So, for example, the next issue is Monsters in Love, and for those it's more like, let's just see what happens. Sometimes I'll have a more specific theme. The next anthology I'm publishing on my own is called Fairy Bargains, and I wanted people to obviously have fairies, but I wanted there to be something related to the mythology and lore of having a bargain with a fairy—and there's a lot of stuff about that. So for some things like that, when I put out a call, I'll provide information. I might say, “Here's a link to a Wikipedia article. Here's some mythology that might be helpful for you,” just because I want things to stick a little bit more to the theme itself. Whereas with Monsters in Love, there's a very wide range of stories, and that was very fun to work through. Jo: Oh, yes. There's a lot of monster, on the spicy side as well. But were you doing a clean Monsters in Love, as opposed to in lust? Jamie: Yes, this is a clean one. That's pretty funny. But boy, when you give authors the room for these types of things, you get all kinds of stories, and it is super fun to work with those collections. Jo: As you're talking, I definitely want to do more short stories. It's really interesting, because you can actually generally get paid more for a first print—first print rights on a short story—but I often want to just publish it myself. Then I was really happy to be in yours, because it was a reprint anyway. So I was like, well, there's absolutely nothing to lose if it goes in as a reprint. So these things can be really interesting. Talking of the finance from your side of things: you have a small press and you're doing this publishing yourself, but you're paying all these authors and doing a lot of work. So how does it work as the publisher, in terms of these anthologies, financially? Jamie: With the ones we've published so far, because we've gone through PubShare, it's been a royalty split. As the editors, we would take a percentage, and then we pay for the artwork, and of course all of our time. I think what we were doing there was saying 70% of the royalties would be split equally between all of the authors and the stories. So, for example, if I had a story as well, I would get part of the author split—the same percentage as everybody else in the collection—in addition to the editor split. For what we're doing now, we've changed this a little bit, and I believe we said 60% goes to the authors, and then we're going to keep a share of the proceeds for the business because we want to be able to pay for the artwork out of the business account. We want to pay for advertising, whatever we need to do—like setting up our store, or if we wanted to invest in anything, we want to be able to do that as the business, as opposed to it just being us doing this on our own. We're just trying to treat it a little bit differently. Jo: And I know it's so much work—a crazy amount of work. How many anthologies and books do you have to do in a year to make it worthwhile financially? Jamie: Oh, I don't know. I would say, unless you get an opportunity—like, for example, to have an anthology in a story bundle or something like that—you may not break even. But if you're going to do this, do it more for the marketing, do it more because you enjoy it. Now, going forward, I think that will change, because we are looking at Kickstarters, we are looking at direct sales. We're very motivated to try to make this more of a business thing than a fun side project. So, ask me in a year. Jo: Yes, hopefully more. I do think Kickstarter is great for short stories. I actually buy quite a few collections on Kickstarter. I think they're actually really hard to discover through, say, Amazon—it's a place that is quite hard to identify short stories. Whereas I've found I've bought collections on Kickstarter because there's so much more of a sales page—there's so much more rich media that tells me how I'm going to feel about the stuff. I've bought short story anthologies and collections from people I don't know. So I think it's a really good thing to do. There is an audience there. Jamie: Yes, definitely. And it does feel like the anthologies on Amazon don't sell as well—you don't make as much as you used to. I've been doing this for, well, gosh, 10 years now, and I feel like the sales numbers on Amazon in the past year were noticeably lower than they would have been six or eight years ago. So I am very excited about Kickstarter. Plus, Kickstarter just feels really fun. You're not just throwing your book up; you also have all the extra stuff with the page, you have the rewards, and it just feels really exciting. Jo: No, I agree. I really love it. I didn't do it for a long time, and now I just love it. Jo: So, staying with the publisher side of things— Any practical formatting and production tips? Because in these types of projects, all kinds of people just send you different stuff. Jamie: I have a style guide. So whether it's me or it's the group project, once all the edits are complete, I'll do a formatting pass, and I'll make sure I use curly quotes and the same em dash format and everything, just so everything in the book is formatted the same way. Every once in a while there's an author who has something particular that they want, and I can work around that, and that's fine. I also work with a lot of Canadian authors, and I'll let them keep their Canadian spellings. I don't think everybody does that, but I feel like that's their voice in a way, so I don't correct those. I might check some things there. I think the formatting is important—it makes things look better if everything has the same style. Then I use Vellum, which makes things really easy. I love Vellum. Because I publish so many authors at this point, I have a Vellum file where I store their biographies and their links, so when I publish a new anthology I'll just go grab, say, Jo's “about the author” page from that collection and put it into the new file. Then I also track when the last time was that I checked with the author about their biography. If it's been more than a year, I'll check in with them and say, “Hey, do you have an updated biography you want me to use? Here are your links—do you have any different links now?” So that makes it a lot easier from the formatting standpoint. Jo: And you mentioned Vellum—having done box sets on Vellum, you can just drag a whole book in there if you want to do a three-book box set, or three short stories, whatever. It's much easier to just drag things in, and it makes it easier to format. So I would say to people: you don't need to worry too much about that. There are lots of things that can help you. But even with doing the print stuff for the Kickstarter—people have opinions, don't they? So in terms of authors' opinions and managing—you mentioned herding cats—how do you manage all of that side of things? Jamie: I haven't actually had a lot of trouble with that. The authors I've worked with seem to feel like they gave me their story, and then once the edits are out of the way… I haven't had anybody have any issues with the covers. Usually they love the covers, especially for the Monster series. So, no problems there. Jo: Oh, that's good. Well, I would say a tip would be to make sure you're communicating, if you're somebody who's organising. So talk a bit about communication. Jamie: Communication is very important. What I try to do is send regular updates, especially if I'm in the middle of edits or working on something and I'm not ready to launch. I'll send an update email out to the authors and just say, “Here's what's going on, here's what the plan is.” Or if the plan has to change, if the launch date has to change for some reason, I'll let the authors know about that. Actually, with the upcoming Monsters in Love issue, we were originally not going to do a Kickstarter. That was a late decision, so I contacted all the authors and said, “We've changed our plans. We're going to launch this with a Kickstarter. Please confirm that you're okay with this.” One author was not comfortable with the Kickstarter idea, so he pulled his story, and then we found a replacement story for that. But I just feel like the communication piece is really essential. It's really important for the authors to know what's going on. Jo: Yes, absolutely. So, we've talked about how marketing is a good thing, in terms of there being lots of people marketing. How are you effectively marketing these kinds of books, as the premise is quite different to a single author project? Jamie: Right. There's the usual—write a release post, write posts on social. I do additional things, so I'll publish what I call a story spotlight for each story in the anthology. That's just where I talk a little bit about the story, I provide an excerpt, and then I provide the author's bio and links to find them. Those are really great, because they're very quick to put together. The hardest part is getting a short excerpt that shows enough about the story to be engaging. But that really isn't that much time, either. Then those are also nicely evergreen. I've actually searched for authors before, when I'm trying to research them for an interview, and I've found my own spotlight posts and my own interview posts with authors come up at the top of the list, which is kind of funny. I also do interviews with as many of the authors in a collection as are willing to participate. Sometimes people just don't have the time—I don't make this required—but I usually get 80 to 90% of the authors participating. So, for example, this year I'm in a couple of bundles on StoryBundle, and I'm doing interviews for people there. It's also really fun, and you're not paying for advertising—you're just creating something that the authors are excited about and they want to share. So it promotes the collection, but it also promotes the author, which I find really nice. It's a nice networking thing too, and I'm happy if someone wants to interview me. It's like free publicity for each person, in addition to the collection. Jo: I love that you've used the word “fun” quite a lot, which I find amazing. You're obviously a super collaborative person. I've co-written a number of books— I've been part of some collections, and I really think that there are two personalities. One is like me, where we really love the creation stuff and the publishing stuff, but we're hyper-controlling. And then someone like you—you're very collaborative, and you're doing such a great job. To people listening, I would say: if you're more like me, don't organise an anthology. What you want is Jamie, or somebody who actually finds it fun to organise a big group of authors. Jamie: Yes. It is definitely interesting working with other partners in this, because when I publish an anthology on my own, I make all the decisions. I pick the artwork, I pick the theme, I do everything, I decide the table of contents. But when you're working with other people, you do need to negotiate. So we've had a couple of times where it's like, “I want this story.” “Well, I want this other story, I don't like the story that you want.” And so we have to barter, in a way. Aside from that, it is nice, because you get to split up the tasks. I could focus on things like the organising—I do the Vellum files, I do the final cover and everything. For the Kickstarters, actually, Tami's got more expertise, so Tami's going to be working on the Kickstarters for our collections together. If I had to do all this on my own, it's a ton of work. It's a ton of work. So it is nice to split it up. Jo: And of course, one of the things is managing so many moving parts—and you've actually built a tool to manage all this. So tell us a bit about that tool, and how it might be useful for people with big backlists as well as anthologies. Jamie: I built what I think of as a publishing management application. The original idea is that, for years and years, I wanted a software tool that would do catalogue management, because I was managing my own catalogue, and I was also managing—at this point I've published at least 20 anthologies, so that's a lot of authors. Then last summer, I had an author who I'd published a number of times, who was going to, I think, WorldCon, and she asked if I could give her covers for five anthologies she'd been in, so that she could make some promotional material. I was like, “Oh, sure, I can do that.” And then I was like, “Well, wait a second—is this in Notion?”—because I started trying to use Notion last year—”or is it in a spreadsheet?” It turned out her information was in, like, three different places, and I had to work to pull it together. And then I was like, “You know what? That's it. I'm just going to finally write this application.” So Inkwren manages your stories. As an author, I can manage my stories—I can track which are published, which are drafts, which are just ideas. I can track my publications. From the publisher standpoint, it's really helpful, because I can track each anthology I've published and what I'm working on. I can track the edits, I can track the contracts. I can upload contract templates—so we talked earlier about the original and reprint contract templates that I use. I upload those, and they have placeholders in them. When I generate the actual contract, the author's name will replace the placeholder—I'll have the text “author name” in the contract template, and it'll get replaced by, like, “Joanna Penn” or whatever. So that saves a lot of time. Then I also added in task tracking, because I started to feel like, well, now all my stuff is in one place, but my tasks are somewhere else. So now I can associate tasks with a publication. For example, for the book I'm working on right now, I know which tasks I need to do for the cover, and which for the interior, and everything. I have a template of tasks. Then I can also track tasks related to promotions. For example, the story bundle I'm promoting right now, I have a task for each interview I'm doing with the authors, and I have a calendar view. I can see when I'm going to publish them and know that they're all spread out. It saves me so much time, and it's so much easier. Jo: I do think building tools when you actually need the tool yourself is very useful. Just say the name again, and spell it out for people. Jamie: It's Inkwren. My own personal publishing company is Blackbird Publishing, and I wanted something related to birds and writing. So I came up with Inkwren, which is I-N-K-W-R-E-N, and it's just inkwren.com. Jo: And it is available for other people to potentially buy and use? Jamie: Yes, it is. Jo: Well, I think that's super useful, because it's very hard when people are starting out and they think, “Oh, I've only got one book—why would I need any kind of tool to manage it?” But over the years, your backlist grows, especially with short stories. So I love that you've built this, and there's probably more that you can add over time as you expand the business yourself. So much potential. So we are at the end. Where can people find you and your books and everything you do online? Jamie: My author website is JamieFerguson.com. And then, obviously, I mentioned Inkwren earlier. My publishing company is BlackbirdPublishing.com. And then the projects I'm doing with Tami and DeAnna—we have a couple of websites, but the easiest way to find us is our press, which is BorogrovePress.com. Jo: Fantastic. Well, thanks so much for your time, Jamie. That was great. Jamie: Thanks, Joanna.The post Bundles, Box Sets and Anthologies With Jamie Ferguson first appeared on The Creative Penn.

It’s the 50th edition of Random Pursuit! Erika was too lazy to do anything that took extra work, so this is basically a regular episode. But we do have a new player — who even tried to study! Plus, it’s mostly Canadians — and all players who live in Commonwealth nations, so maybe we can call this a slightly belated Canada Day episode? Erika Ensign and Steven Schapansky with Annette Wierstra, Ben Rice McCarthy, Jesse Reid, Sandra Wong and Sarah Murphy.

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Technically, a digital podcast doesn't have physical media on the floor; however, I'm going to use some creative license and borrow this from the film industry. Gina was the producer of the Live team, and Alicia was our winter regular for years. When you put out a weekly show, you build deep friendships. While we […]

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Submit your question and we'll answer it in a future episode!Join our Patreon Community!https://www.patreon.com/badassbreastfeedingpodcastSPONSORSNursing Queen. Stylish nursing clothes that will make your life easier and that you'll want to wear long after your nursing days are over. Use promo code BADASS for 10% off your purchase at www.nursingqueen.com.Original Sprout. Original Sprout carries safe and effective styling, body and hair care products that are safe for babies and great for adults. Use code BADASS26 at www.originalsprout.com for 25% off of your purchase.Society does not appreciate the postpartum period for what it really is.  So much is happening during this time.  Listen in today as Dianne and Abby discuss the postpartum period, what to expect and some red flags to watch out for too.  If you are a new listener, we would love to hear from you.  Please consider leaving us a review on iTunes or sending us an email with your suggestions and comments to badassbreastfeedingpodcast@gmail.com.  You can also add your email to our list and have episodes sent right to your inbox!Things we talked about:The count down! Episodes 8 and 9 [10:50]Technically the first 6 weeks after delivery [12:27]The 4th Trimester [13:15]Pelvic floor [17:55]Cesarean recovery [19:32]Common physical changes [24:57]Changes in relationships [27:39]Identity changes [30:46]Red flags [34:43]Things we talked about or Episodes we think you should check out!https://badassbreastfeedingpodcast.com/episode/combination-feeding-breastmilk-or-formula/https://badassbreastfeedingpodcast.com/episode/post-weaning-depression/https://badassbreastfeedingpodcast.com/episode/starting-solids-while-breastfeeding/Set up your consultation with Diannehttps://badassbreastfeedingpodcast.com/consultations/  Check out Dianne's blog here:https://diannecassidyconsulting.com/milklytheblog/  Follow our Podcast:https://badassbreastfeedingpodcast.comHere is how you can connect with Dianne and Abby:AbbyTheuring ,https://www.thebadassbreastfeeder.comDianne Cassidy @diannecassidyibclc,  http://www.diannecassidyconsulting.comMusic we use:Music: Levels of Greatness from We Used to Paint Stars in the Sky (2012) courtesy of Scott Holmes at freemusicarchive.org/music/ScottHolmes