The JournalFeed podcast for the week of Oct 17-21, 2022. These are summaries from just 2 of the 5 article we cover every week! For access to more, please visit JournalFeed.org for details about becoming a member. Peds MTP Spoon Feed: A transfusion threshold of 20 ml/kg of any blood product during the first hour of pediatric trauma resuscitation maximizes sensitivity and specificity for in-hospital mortality, need for intervention, and additional bleeding episodes and may identify children in need of massive transfusion. Tega-don't Spoon Feed Using Tegaderm™ during ocular ultrasound was associated with poorer image quality and had no effect on patient comfort. If you're using ocular ultrasound as a modality, consider if using a Tegaderm™ will get in the way of a good diagnosis.
This episode of The Imprint podcast, I sit down with Tega Akinola. We discuss how Tega started her journey into footwear design took place and how a hobby/passion became what it is today. Along with not having any of her original piece to what's next in-store for this budding designer. Host: Shernay La Touche Guest: Tega Akinola Music: Häzel Disclaimer: All views and opinions are that of the Imprint Collective and DO NOT reflect the views of any brands in affiliation. #theimprint #theimprintcollective #sneakerhead#theimprintpodcast #kicks #femalelead #sneakercollective#diversefemalesneakercollective #designer #sneakers#footwear #covid19 #theimprintconversation #sneakercareer#sneakerhistory #imprintexclusive #creative #lifeexperience#TegaAkinola
FEJMRČ! : fejmici.si Vaše težave: email@example.com Poljubna enkratna donacija na: https://tinyurl.com/y2uyljhm Mesečna finančna podpora možna na: 3€ - https://tinyurl.com/yxrkqgbc 5€ - https://tinyurl.com/y63643l5 8€ - https://tinyurl.com/y62ywkmt Motitelja: - Gašper Bergant https://www.gasperbergant.si https://www.instagram.com/gasper.bergant/ - Žan Papič https://www.zanpapic.si https://www.instagram.com/zanpapi/ Produkcija: warehousecollective https://www.warehousecollective.si Grafična podoba: Artex https://www.facebook.com/artextisk
What does co-creation look like in fashion? And how could brands genuinely collaborating with artisans help shift the imbalanced power dynamics in the fashion industry? That's what we're exploring in this episode with Niha Elety, a sustainable fashion advocate, designer, and the founder of Tega Collective.Hit play to join us as we go behind the scenes of Tega Collective, and find out why and how Niha created the brand. *****This episode was brought to you by Green Eco Dream, a sustainably-minded marketplace with eco-conscious alternatives for your health, home, beauty, and on-the-go needs.Check out Green Eco Dream's collection of low waste, low impact laundry essentials to help make your loved clothes last!***** FULL SHOW NOTES & TRANSCRIPT:https://www.consciouslifeandstyle.com/niha-elety-tega-collective RESOURCES MENTIONED:Tega Collective's feature in VogueEp.14 - The Importance of Cultural Sustainability in Fashion with Niha EletyEp.55 - How To Challenge Cultural Misappropriation with Monica Boța-MoisinCultural Intellectual Property Rights Initiative CONNECT WITH NIHA AND TEGA COLLECTIVE:Tega CollectiveInstagram - @tegacollectiveTiktok - @tegacollectiveNiha's IG CONNECT WITH ELIZABETH & CONSCIOUS STYLE:WebsiteInstagramPinterest SUBSCRIBE TO THE CONSCIOUS EDIThttps://www.consciouslifeandstyle.com/edit
O secretario xeral de TEGA, Guillermo Sánchez Fojo, anunciou que deixará a primeira liña política este mes, logo de 35 anos e tres meses de concelleiro. O anunciou ante as 700 persoas, entre militantes e simpatizantes de Terra Galega (TEGA), participaron na xornada de música, baile e xogos tradicionais vivida onte na área recreativa de Pedroso, en Narón. O xantar de confraternidade completou a Festa do Río, na que interviron o coordinador local da formación, Ibán Santalla; e a alcaldesa, Marián Ferreiro, que apelou á unidade «para seguir camiñando xuntos» no proxecto de TEGA.
Novo sezono oddaj Jezikanje začenjajo poligloti. Ljudje, ki obvladajo več jezikov. Prvi izmed njih je Richard Simcott, poliglotska referenca. Rodil se je v Angliji, živel po svetu in se ustalil v Makedoniji, kjer ima družino. Pravi, da se je v mladosti in odraslem življenju naučil veliko jezikov. Pri osmih letih se je njegov oče poročil s Tajko, že takrat je osvojil osnove, v osnovni šoli pa se je najprej naučil francosko. Ne mara vprašanja, koliko jezikov govori. Študiral pa jih je več kot 50. So ljudje, ki igrajo veliko inštrumentov ali ljudje, ki vedo vse o nogometu ali kakemu drugemu športu. Poznajo vse igralce v ekipi, vedo, kdo je zabil gol v kateri minuti tekme. Celo, koliko so stali njihovi prestopi v druge klube, skratka zapomnijo si številne podrobnosti. Tega sam ne bi bil nikoli sposoben. Velika večina ljudi torej nima takega znanja, enako velja zame in za moje znanje jezikov. A vendar vsi govorimo jezike, to nam je - ljudem - skupno. Jeziki so del življenja prav vsakega posameznika, pa če ga zanimajo ali ne. Mislim, da nisem bil še nikjer na svetu, kjer se ne bi pogovarjali o izgovarjavi, naglaševanju in narečjih: kako temu rečejo tam in tukaj. Ljudje, čeprav se aktivno ne zanimajo za jezike, se bodo o njih vseeno vedno pogovarjali. Naravno nas privlačijo, le da mene privlačijo še bolj! Richard Simcott
We talk to Wicked's own Elphaba, Jackie Burns!FULL TRANSCRIPT (unedited):0 (2s):Hello? Hello. Hello survivors. How I've missed you. I've missed talking to you boss. And I took quite a number of weeks off. Well, I did. She, she actually continued to record for at least one week while I was gone. And she's got a great interview. We've got a great interview coming up. She talked to Jackie burns, little Jackie burns on Broadway, wicked playing Elphaba. No big deal. Actually. She has a big deal and she's great. And so were all of you. I am heartened because even though we've taken all this time off, we've continued to grow our listenership.0 (47s):So thank you to you for listening, for continuing to listen for being a first-time listener. If you are thank you for being here, it's a privilege actually, to be able to have a platform to speak one's mind is truly a privilege. And one, I hope we do right by. We're going to be right back into the swing of things with interviews, regular weekly interviews in the fall. So stay tuned for that. And in the meantime, please enjoy this interview with Jackie burns and I'm Gina Kalichi3 (1m 34s):To theater school together. We survived it, but we didn't quite understand.0 (1m 38s):20 years later, we're digging deep talking to our guests about their experiences and trying to make sense of it all.3 (1m 43s):We survived theater school and you will too. Are we famous yet?2 (1m 56s):Here's the thing. Jackie burns. Congratulations. You survived theater school and you also survived this hellish trying to get you on. So squad quest squad cast, which we usually use is totally wonky this morning. And I was like, no, I, because I'm obsessed with you because I'd been researching you. I'm not a musical theater person, but I am one of these musical theater lovers that has so much reverie. And I think it is a sacred thing to sing and I don't really do it. And so I'm obsessed and you and I have the same birthday, October 4, 10, 4, buddy, ten four. So You're a little younger than me, five years, but that's okay.2 (2m 41s):I'm still, I'm super obsessed. And I also like I, when I watch, so I'm known for like going to high schools and middle schools and watching musical theater of people I'd have no connection to in what I was at when I was in Chicago, because I adore the art form and I don't do it, but I'm obsessed. So anyway, start, start from the beginning. You grew up in Connecticut. How, and then obviously you're a Broadway star. Are you back working in on Broadway? What's happening with you right now?5 (3m 13s):Oh my God. What is happening?2 (3m 15s):Yeah. I looked at your, I looked at all your profiles, but I want to hear it from you. Where are you post sort of pandemic. What is happening with your career? Tell us,5 (3m 27s):Oh God. Well like every musical theater theater,2 (3m 31s):Just say star, just say star, you are a star. You're a musical theater star. Like I understand for someone like I write for TV and I act sometimes, but like I musical theater people when I see them on stage, I'm like, I, the, the, the amount of brilliance it takes and dedication to, I have trouble on set, just moving my body and say, and you sing and move and dance and all the things. Okay. Okay. So what's happening with your career?5 (4m 2s):Oh my God. Well, first of all, Jen, I'm obsessed with you because I wish the rest of the world felt the same way about musical theater people because all of I'm most TV and film people are like, oh, you're not a real actor because you,2 (4m 13s):No, I would love to cast, listen, listen, what I mean? I would love to catch you and all your cohort when I do, because here's the thing. The body spatial awareness of musical theater folks, to know where they are in space translates onto set. So everyone listening, the 10,000 people that have downloaded this podcast that will continue to hire musical theater folks on television and film because they know bodies and bodies. It's not just a head people. So anyway, okay, go ahead. Sorry. I keep interrupting. I'm just like,5 (4m 46s):Nope. I love you. You're like making me feel so good about myself. But as every theater person, all we want to do is get on TV and film.2 (4m 55s):Oh, right. It's that's holds true for musical theater folks too. I assume that's where the dough is. Is that5 (5m 1s):That's where that money is. Because if you think about it, like once the theater show closes, we don't get a back end of it. So like, that's it. Your paycheck's done.2 (5m 9s):There's no residuals.5 (5m 10s):There's no residual.2 (5m 12s):Yeah. Okay. So, okay. So tell me what is happening now? You said you got your insurance back, which is5 (5m 17s):Paula that's hope. It's always helpful. I just did a new musical called a walk on the moon. That was based off the movie. No,2 (5m 27s):No,5 (5m 29s):No. I'll walk in the cloud. Like very similar. No,2 (5m 33s):She's dope. I like to5 (5m 34s):Have her with like Viggo, Mortensen, Schreiber. And when it was like back in the day, it's a good movie. Tony, Tony Goldwyn, like directed it and stuff. And he actually came and saw the musical. Did2 (5m 47s):He give you a compliment?5 (5m 49s):Yes, he was very nice. It was also like super handsome. You're like, hi,2 (5m 52s):I have heard. Yes.5 (5m 54s):You're just like, hello? Oh, you're married Ella and there's no, no, no, no, no. And my boyfriend's gonna listen to be like,2 (6m 6s):No, no, no. That's okay. That's okay.5 (6m 8s):No, he knows. He knows that I'm just joking. I'm just stroking on there. No. And then Pam gray wrote it. Who wrote the, who wrote the script as well? Yeah. And it's really good. And we just closed and they're hoping to bring it to Broadway. So fingers crossed. But the problem is, is that Broadway because it was closed for two years. All these shows have been trying to get theater. So that were like low man on the total whole cause it's like two years worth of shows trying to get to Broadway.2 (6m 37s):Correct.5 (6m 37s):So it's, and we're just like a little show rather than like a big show, so2 (6m 43s):Yeah. Yeah. Okay. Yeah. But still worked. You have worked post pandemic, which is a huge thing. Okay. So tell me, were you a kid? Who did you grow up? You grew up in Connecticut. I'm assuming, were you a kid? Like you were five and you were like, just ho like you knew you could sing or what, how did that go? How does that, how do you discover that you can freaking sing?5 (7m 6s):You're so cute. I'm going to like put your pocket. Your energy is like seven. I'm going to be a best friend now.2 (7m 13s):And we'll together. We'll try to, we'll try to have a television show. That's like, I know they did it kind of with glee, but like Glebe, like less sassy and more earnest.5 (7m 23s):Yes. I am interested Jen, get2 (7m 26s):And throwing some murders because I, I write a lot of murder. Yeah.5 (7m 29s):Oh, I love that. That's what2 (7m 31s):Musical murders. Great. Okay. So you, you were a kid and how did this happen? That you were like, dude, I can be on stage and sing.5 (7m 38s):I just like always was obsessed with it. Like, so I started dancing when I was three and then, but like I used to get on like the little like Hutch, you know, like the fireplace such as my stage and sing, sing to like Michael Jackson's thriller. And I just like, yeah. And I used to, when I used to go to dance, like as I got older, we drove like 45 minutes. My mom drove me very sweet to dance class. And I used to sing along with the radio and I was convinced that the DJ could hear me. And it was just like a matter of time before I got recording contract.2 (8m 9s):Listen, here's the thing about that is that yeah. Some people might think it's wacky, but what I think is that bill that shows that somewhere, you envisioned a world where people were listening to you and were going to pay you. And that it was going to be like, even though it was just a fantasy in a car, what it shows is that you had like a sort of an expansive mind as a kid, as a lot of, not every kid is doing, most kids are like, oh, I sound terrible. And I'm never going to make it out of this Podunk town. Like that's, that's where I was at. So you, you were you're on. Okay. And then, so the dancing and singing, and then what about the acting part? Like, cause you could have just been a singer and a dancer.5 (8m 47s):Totally. You know what this is going to be, I'm going to throw so much shade and2 (8m 52s):You5 (8m 52s):Can do it2 (8m 53s):Any way. You want shade, half shade, full shade, whatever you need.5 (8m 57s):I'm going to give full shade just because I think it's funny. But when I went to my dance school, brought us to New York the first time, even though I lived in Connecticut, which is super close to New York, like I live two hours from the city. We never went to the city. So I went to the city for my first time when I was like, I was 15 years old and we went and saw Greece with like Broadway. That was my first Broadway show that I ever saw. And it was with like, kind of was like Brooke shields, like Rosie O'Donnell like crazy. But I, I was kind of not impressed. I was like, wait, I could do this. Like I, you know, I coveted Broadway is like so big. So like that, that I, I realized I was like, everyone sounded really great and who was dancing really great.5 (9m 41s):But I was not impressed with the acting at that point. For some reason, I just kind of was like, oh, it felt very pantomimed me2 (9m 49s):Like presentational.5 (9m 50s):Yes. Yeah. Yes. Which sometimes it's like, and that's when I moved to LA, I lived in LA for like a hot second cause I did wicked in LA and then I met my managers at T grin, I think. Yes.2 (10m 2s):Yes. Oh yes, yes, yes, yes. Tikrit is amazing. Yes.5 (10m 5s):Yeah. He's amazing. And they were like, come move to LA and like, let's get you on TV and film. And then I moved there and then the pandemic happened and I was like, well2 (10m 12s):It was right then. Oh shit.5 (10m 14s):Yeah. I was there for like six months and it was great and it was fun. And like, but the thing that I realized is like, when I first got there and I started got into acting classes there, they were like, yo, you're a musical theater. So you only like color with like two of the crayons in your coloring box rather than all of them. Because you know, it's so far back. So you just have to like, you know, play to the back of the house and it's true. So many times you go see a show and it's like so broad and present presentation. It doesn't like bring, bring truthful. So that's2 (10m 43s):I think, no, I have to say it's like, I wish LA and I'm not, I I'm sure you went to amazing classes, but I wish so. I teach at the theater school at DePaul over zoom now that's where we went. Okay. So I teach there. And so the thing is, I wish we had a better language for saying that to people. So what, for me it is, is not, when I see musical theater actors on all it is, it's not so much for me that they have two colors. What it is is that they were exceptionally built for the, the thing they were doing. Right. And now they're doing something else. So you say like, okay, look, the dope thing about you is we know all that's in there.2 (11m 25s):It's just a matter of, of like super tweaking it and making it niche, niche nuanced. And it's a total teachable skill, which I'm sure they told you to like to oh yeah. Just is like, but the good news is I think I would, you know, I would more say you have all the colors, all the people that do musical theater have all the colors in there, or you wouldn't be able to go broad. And it's just a matter of pivoting to being a more like lasered focused situation. So anyway, all the musical theater people out there, I know we all have many all the colors, but it's true that there was also like in the arts and the late nineties where theater was Uber presentational, like, like, oh my gosh.2 (12m 8s):So you saw that and you were like, okay, I want to act, I could do this. And so then what did you do? Start taking classes or what happened as a kid?5 (12m 16s):So then that's, well, that's what I, I'm a year early from my grade. So I was going into college that next year. You know what I mean? So I just decided to just go to school for straight acting, just for acting rather than musical theater. Cause I felt like if you can sing, you can sing. Obviously you can always get better and stuff like that. But I was like, I really wanted to make sure that cause everything is from a storytelling place. Right. You know what I mean? It's like, so if, if you're a BA, if you know, so anyways, so that's why I went to2 (12m 41s):Wait a minute. So here's the thing about singing? Like, okay. So when you, how do you know like your small and you're doing like, you're standing on the hearth of your fireplace and doing your thing, but like how does one know like, oh shit, I can do this because here's my thing. Like I never tried because my sister was the singer in the family. So I just assumed that that was like, every family gets one and that was her thing later in life, look, I took classes and I'm, but I'm not like a, a hearth singer like yourself. Right. So, but how do you know, do people say to you I'm serious? Do people say to you, oh my gosh, Jackie, when you're young, do you remember people saying like, you can really fucking sing?2 (13m 24s):Not maybe not with the fucking, you know what I mean?5 (13m 26s):No, they said, yeah. They said, Jackie, you can fucking sing. And I was like six and I was like, oh my God, thank you so much. You know, what's so funny is that this now everyone's going to really know our age. When I was, when I was in elementary school, my mom made me do the, what is it called? The talent show. And I sang Peter pans. I won't grow up. She made me like various.2 (13m 56s):I love that. I'm glad she, but I also glad because that could lend itself to comedy. So that's good.5 (14m 2s):Oh. And she gave me all the like, like, like I won't grow up. I had, and she had like a thing like, oh, I don't want to wear a tie. Like she, like, all the parents made a big deal out of me and they wanted to throw a bake sale to send me to star search. It was hilarious. But then all the little girls that I was friends with all hated me after.2 (14m 23s):Well, see here's well, that5 (14m 25s):Was,2 (14m 25s):That happens. I'll I'll all the time, so. Okay. Okay. Okay. Okay. Did you go to star search first of all?5 (14m 32s):No. No. I was too busy, crying every day because I had no friends and wanting to like be homeschooled.2 (14m 37s):So yeah. Yeah. I hear you. I, I, here's the thing about that. It's like, I don't have kids and I'm never going to have kids that ship has sailed thankfully. And so I, it's interesting to think about kids and like, what is it? I wish what I wish. So what I wish never happens. And that's why I say, I wish, I wish that the kids had said, oh my gosh, Jackie, you can sing. Yes. You got attention. Teach us how to do it. Or maybe let's, let's collaborate together, but they're like six and nobody's going to fucking collaborate when they're six, maybe. But like, I wish it had been more collaborative because look, what if you had like put on a production together with the girls that, but instead they ostracize you a little bit.2 (15m 21s):So then did you keep your singing or were you like, fuck you, I'm going to sing anyway. How did that go?5 (15m 25s):Oh, and then, so then, so then I went to junior high and then I actually always said like that it was junior high and the chorus teacher made a big deal out of me. And I like won all these awards and like, got like, like whatever I got all these solos and stuff. And then the parents started complaining to the chorus teacher that why is this little girl getting all the solos and not our daughter's getting solos. So then,2 (15m 47s):Wow. So here's the thing like, look, look, look, I understand that we want things to be equal, but how about then, like if I ran in the world or even had a little part of it, this is what I would do, I would say all right. All right. All right. So Jackie can sing her ass off. She's amazing. But why don't we pivot and turn and also look at what makes little Emily and little Jane amazing. And, and, and, and bolster that instead of trying to damp in Jackie's flame, like, it just doesn't make any sense to me. So like, I have this new phrase in Hollywood and people probably hate me. And when I go to meetings, I'm like, look, we have to collaborate or die.2 (16m 27s):Like that's where we're at agree. Right? Like adapt and collaborate or get the fuck out of the way. And people are like, oh, this crazy bitch. But here's the thing. The collaboration is going to be the only thing that saves us on our planet and in many ways. So wouldn't, it have been great. If they had said I should have my own POS podcast, that's just called wouldn't it have been great because I, I, I feel like I say that so much to people like, wouldn't it have been great if they, the parents had said, oh my God, like, Jackie's dope. But if Jackie can do it, that maybe means like my Susie can tap, dance her ass off or make pottery like a motherfucker. So like, let's focus on those things rather than dampening Jackie's, you know, it's so it's so such, such terrible behavior, but okay.2 (17m 10s):So junior high also, did you, were you like, oh shit. I can sing. And I'm amazing, but these people hate my guts or how did it?5 (17m 17s):Yeah. Yes. And then the caveat is when I went to high school, the junior high teacher told the high school teacher that I was like very special. And like, they should, she should put me in like senior prior. And then that teacher hated me and told me I was flat and told me, I sucked every day to the point I stopped singing. I just,2 (17m 37s):You know what that reminds me of wait, was it, was it a lady teacher? Okay. It reminds me of glee when it's a Dina and, and what's her name and you know, the one people like to talk shit about, I don't know her. Leah, Leah, Leah.5 (17m 55s):Yeah.2 (17m 55s):So they, that exact thing happens. And it's just, it's just, and maybe that's what happened. Maybe it's jealousy. Maybe it's maybe it's like, how dare someone be special? I never got to do the thing or whatever it is. It's not your, you were a kid. It was not your PR, even in high school, your problem to figure that out. So you stopped singing what? That now there's the real travesty, right?5 (18m 16s):Yeah. So then I stopped singing in choir. I would just like lip sync and she would still be like, oh, I hear is Jackie all layers, Jackie sound. It was horrible. Miss Hilton. I'll tell you to say it anyway. She was horrible to me. And then for college, you had to write, she, you had to get a letter of recommendation. And she told me she had nothing nice to say about me and she wouldn't write it. So then the guidance counselor, I had to write it for me. It was so that I could audition for schools.2 (18m 43s):Okay. That lady, that lady is whore. That's a horrible thing.5 (18m 47s):Yeah. I know. And then my brother, this is so funny. My brother, Kevin, my brother is seven years younger than me. And so when he went to high school, he had her too. And the first day of school went through and was like, Joey burns any relationship to Jackie burns. And he was like, yeah, that's my sister. And he was, she was like, yeah, she's still trying to make it on Broadway. And he was like, oh yeah, she's on Broadway in hair actually. And it shut her right up. And then all of a sudden she was like, oh, I've always knew she was going to make it. I was like,2 (19m 16s):Okay, here's the thing like, that is a sad, sad, human being. Like, if you are a teacher of youngsters and you cannot foster them in any way, then, then you, that is not the right fit for you. My friends. And also I I'm, well, it's, it's no shocker. I was a former, I'm a former therapist for, for people when they got up, I got out of prison. So like, all my bent is like on a psychological lens, but like a trauma lens, usually with this stuff. But it's like lady, I understand Ms. Whatever. Hilman, what's her name?5 (19m 50s):Hilton2 (19m 50s):Hilton. Ms. Hilton Paris Hilton. I understand if it was somehow related, I understand that you've got trauma that you haven't worked on, whatever, but that is not the children, the high high-schoolers responsibility, my friend, that is your responsibility. Just like it's my responsibility. And Jackie's responsibility to work on the shit that happened to us. So anyway, oh my God. Well, thank gosh for guidance counselors. I would have been like the guidance counselor. I would have been like,5 (20m 16s):She was the best. Yeah.2 (20m 18s):Ms. Fitzgerald. Thank you, Ms. Fitzgerald. Okay. So then you go to connect. You went to school in Connecticut, right?5 (20m 23s):Yeah. So then my parents were like, and then I, so I graduated when I was 17, so I, and I, because we're October. Yeah. And so what was the youngest class to get our drivers?2 (20m 35s):Yes, but like the best in terms of like, I got to college, I was 17. I was like, Hey, I'm young. And I'm got,5 (20m 41s):Say that same, same, but my so, but I didn't want to go to college. I was like, I'm just gonna move to New York and be a star. And my parents were like, yeah, you're 17. So no, you're not. And I was like, oh, okay. So I didn't put a lot of effort into looking into school. So I only audition for three schools, NYU boss' conservatory and Yukon. My parents were like, you should audition for the state school. Just, you know, whatever. Yeah.2 (21m 2s):It's also cheapest, cheaper, much cheaper. Right.5 (21m 5s):So, yeah. That's what, and that's what my parents said. They were like, listen, you can graduate. They're like, this is how much money we can afford. The rest is going to be loans and on you. They're like, so you're not graduating. And being a doctor like in going into like maybe a work, maybe what we think you'll work. My parents were always very supportive of me.2 (21m 22s):That's awesome.5 (21m 23s):So great. Yeah. They were never, they were, they weren't like, you need a backup plan. They were like, yeah, we think you'll make it. But they were like, you don't go. Right. So like, you know, they're like, you can graduate with a shit ton of debt or you can graduate basically debt free. And I chose to go to school debt free. I was like2 (21m 41s):So smart because let me tell you something. When the sheriff comes to your house, because you don't pay off your grad school loans, Jen Bosworth, Ramirez over here and says, you took out a private loan for your grad school in counseling psych, and you never paid it back. And so now we're here to collect. Literally the sheriff came to my house. I thought to myself, this was a poor choice that I, I did not need to take out this loan that I apparently, I mean, look, fit shit, happens for a reason. But what I'm saying is when I hear these stories, that people that chose to be debt free instead of go to Juilliard and take out $7,700,000 in debt or whatever, or in loans, I'm like, yes, because especially in this career, even if you are brilliant, and even if you are magical and are a star, you it's still, the paycheck is the paycheck right.2 (22m 29s):On Broadway. So, so good for you. Okay. So you up, well, how was your college experience, Jackie? Like, how would you say that was5 (22m 36s):Again also hilarious and the fact that, because I sang and I went to school for just straight acting, they all made fun of me for like sitting. They were like, oh, you want to do musical? That's not real acting. And I always left with laugh and be like, I'm going to actually work. So, you know,2 (22m 53s):Oh, people or any. Okay. So when I was on crew, I was on crew at DePaul theater school and we would do one musical a year, which I was never casting, but5 (23m 4s):Same thing we did one musical a year,2 (23m 6s):I guess. Were you the, I hope you were the fucking star everyone.5 (23m 9s):No. Sometimes no, because the grad actors would be the stars.2 (23m 14s):Oh my God. I bet they're kicking themselves. But anyway, okay. So I was crew and I was on makeup and I think Gina was too. And anyway, w I was on crew and I would literally, and it was into the woods, which is my favorite. And I would sit on the edge of the stage and Rapunzel, this woman, Jen, who was a Rapunzel and reposal, I would watch. And I would be like, oh my gosh. And Brockie, I think it was Brockie who did last midnight. And I just was be like, this is magic. So anyway, okay. So that was like me. And I would like miss my, my job because I would be listening and watching these musical theater people, I just would love, they were, I was like in love.2 (23m 54s):So anyway. Okay. So when you, you wouldn't be the star at Yukon5 (23m 58s):Sometimes, sometimes that like you, like, yeah. Towards the end, I started getting some starring work roles, which was great.2 (24m 4s):What was your favorite role at Yukon?5 (24m 11s):You know what I think it's, I think it was my favorite role. Cause I would never get cast in the real world was Joanna and Sweeney. Todd, because putting me in a bland blonde wig is it's a very unfortunate level. Oh, it's not good.2 (24m 24s):Okay. Okay. So you, Joanna is sweet. Sweet has a rough one.5 (24m 28s):Yeah. And also we love murder, but so like I'm not your quintessential ingenue and you know what I mean? Like, I don't have an ingenue look, you know,2 (24m 38s):You have more of like a fierce, like a fierce, like a warrior villain look.5 (24m 42s):Yeah. I'm a, I'm a Maleficent. I'm not an Elsa. You know what I mean? Like that's2 (24m 48s):Is what it is. It is what it is. I5 (24m 50s):Love it. Yeah.2 (24m 51s):I'm the crazy neighbor. I'm the crazy lady. I love it. I'll take it.5 (24m 56s):Yeah. Save. So it's like, I would never play that in the real world. So I loved that because it was a chance for me. Cause I never get to the icing can sing soprano. Nobody knows that like really well, like I actually prefer seas, but I don't ever sing soprano because,2 (25m 10s):Oh, I didn't understand that. Of course like the way the, the, the, the, the part is written. Yeah. The ingenue is probably our Sopranos.5 (25m 20s):Yeah. This is their soprano. And they're like the little blonde next door.2 (25m 23s):And the earthier grounded tone is more of the villainous to, or like the serious business tone. Okay. Very cool. Very cool. Okay. So also sweetened, I didn't know when I saw it, when I was younger, that what it was about and I saw it and I was like, what the fuck is going out? These meat pies, this is cannibalism. And it was crazy. Yeah. I love it now. Cause I write about that stuff, but like, I was like, why is this, why are they, why is he's cutting his throat? What's happening here. So anyway, I thought it was going to be like wizard of Oz. No, no, like, yeah. I didn't know. So. Okay. So you graduate and then are you like, fuck it, I'm moving to New York right away. Like how did this go?5 (26m 2s):Yeah. And then I moved out into New York to New York, with my best friend from college. We got randomly put together. She was not an actor. I didn't really hang out with any of the acting people. I like hung out with all normal people.2 (26m 13s):That's much better choice.5 (26m 16s):Yeah. And so, and even though going to school for straight acting, I wasn't around music, musical theater, people are a different energy, especially, it's a lot of, you know,2 (26m 26s):And he, you know, it's a lot, but it's also, I got to say like, it's a lot. And as I get older, I really appreciate it more because it's a way of sort of owning your space. But like when you were in high school and college and you sit in a restaurant next to a table of musical theater people, you're like, oh God, may I may lose it. So, yeah. Okay. So you graduate and you and your roommate from Yukon move into Manhattan or what, where do you go to5 (26m 50s):Yeah, we move it. Yeah. We, we lived together for 11 years actually. Yeah. Like we were like common law until I moved in with my ex-husband at the time. Like yeah. Like,2 (26m 60s):Yeah. Okay. And so what happens? You get an agent. How does this work for you? Jacqueline?5 (27m 4s):Yeah. It's so funny. So, well, I, I have such a random way. So I moved and I went to one audition.2 (27m 11s):What was it? Four, four. I5 (27m 12s):Don't even remember. I just remember I was at Chelsea studio. I don't even think that they2 (27m 17s):Do physical theater.5 (27m 18s):It was musical theater. And that was another thing because they didn't go to musical theater school. I didn't have like a2 (27m 23s):Book,5 (27m 25s):Like, so like, you know, I went to this, it was like a cattle call audition with like, you know, as non-union 8 million girls in a room2 (27m 33s):Shit. And they all had books and shit. I don't, I didn't even know what a book was. Cause I, until like last year I was like, she's like, I gotta refresh my book. I was like, yeah, just get a book, any book? And she's like, no girl. No. So, okay. So you show up there and how does it go? Are you nervous? Are you like, no, I can fucking sing. Fuck you.5 (27m 50s):No, I, I, I was there and I was waiting and everybody was wearing like the same dresses. It was like straight up like Jason, Robert Brown, you know, from last five years. And everybody's like talking about what they've done and dah, dah, dah, and their book and what they're going to sing. And I just had a panic attack and I left. I was like, Nope, I'm going. And I didn't audition for like two years. I just like lived in the city and like waitressed and like hung out with my friends. You know what I mean? It just was like a ridiculous,2 (28m 15s):Yeah. Living your life, like living your life. Like, you know what? I, I respect that. Like I, I, okay. The one, oh my God. The one audition girl I had. Oh my gosh. So I had to go to the lyric opera of Chicago because they were, they were, they were supposedly hiring non singers for like, or like just singers, but non, non opera singers for this, this thing that this big New York person was coming in the Merry widow of, I don't know. Yeah. Okay. Fine. So my agent's like, you got, I'm like, you know, I don't sing. They're like, no, no. They're just looking for people that can carry a tune or like, and I'm like, okay. But you know, and she's like, no, just go it's for this non more of an acting funny part.2 (28m 59s):And I'm like, okay, dude, like just learn 12 bars. So I, I learned the Cinderella stepsister song from Rogers and Hammerstein. Like why would a one out of eight? It's like a, it's like the ridiculous. Okay. So I go and I go into the bowels of the opera, the, the lyric opera where there's no cell reception. So I can't like text anyone and be like, I'm fucking in the wrong place. What the fuck? All the women come in, Jackie and they start and I hear them warming up and they're seeing opera opera. And I'm like, okay, okay. So I go to the bathroom, no reception. I'm trying to call my agent. Like I can't do this. And I go out and they're like, Jen, you're up? And I walk in.2 (29m 40s):Yeah, I'd walk in. And I hand my music to the piano player and he, and it's all these people. I never been to a musical theater audition, let alone an opera situation. And the guy on the panel just starts and I blacked out. I don't know what happened, Jackie. I didn't, I, I, I don't know what happened. It was awful. And I, I, like, I like left my body and they walk out and I'm like, and I walk out on the corner in Chicago downtown, and it just opens up. It starts pouring on me and I start crying on the corner and I call my agent. I'm like, I don't think it went so well. And then I tell them, anyway, I have no recollection of the, the, the audition.2 (30m 24s):Like I blacked out. So listen, I understand. And I couldn't sing and you could sing. And you were like, I'm out. So, so, okay. So you left and you for two years, you were a waitress and you were, you were kicking it with your friends. And then how did you work your way? Back in5 (30m 40s):My best friend came in with a backstage. She didn't even really know what it was. And she was like, you have to go to this audition today. Or you can't like hang out tonight. And I was like, she was like, come on, you didn't come. You didn't move here to be a waitress. And I was2 (30m 52s):Like, what was it for5 (30m 54s):Tokyo Disney in Japan?2 (30m 56s):Oh,5 (30m 57s):It was hilarious. And that, and I booked it. And that was my first job.2 (30m 60s):You went to Tokyo and you were worked at Disney.5 (31m 2s):Yeah. It was so fun. And they had this Broadway review. So I did this broad, they had this Broadway review show where I sang like mama rose and Avita. And like, it was hilarious. It was so fun. Yeah. It was so fun.2 (31m 15s):Did you do that Jackie?5 (31m 17s):Because nine months.2 (31m 19s):Oh my gosh.5 (31m 20s):So we2 (31m 21s):Did that. You make good money.5 (31m 23s):Yeah. It was great money. And then, and then I met this guy climbing, Mount Fuji, this Australian guy, and like fell in love. And so then I called my best friend, Rachel, who is just like the coolest person. And I was like, let's go to Australia. I also didn't like New York when I moved there, like, and she was like, okay. So like, we moved to Australia for like a year and like hung out there. And then I w we got kicked out cause our visa ran out, you know? And then, so then we came back to New York and I still hated New York. And I was like, Ugh,2 (31m 51s):What is your waving? And wait a minute. What you hate about it? Like, what did you not like about New York when you moved there?5 (31m 57s):Non-green you talk about Connecticut and the green light. And I live literally in2 (32m 1s):The middle of the middle of that,5 (32m 2s):On the shoreline, in the middle of nowhere, live in like a lake. It's all like, you know, it's like beautiful. And I'm a very outdoorsy girl. So it was just like, it was so ugly, concrete. It was so dirty. And I just was like, I missed the outdoors, you know what I mean? I miss like green. And so I just, I didn't, I just didn't like it, you know, now I love the city, but like, I just, I did not, it took me a while, but then I came back and I was like, that still don't want to be here. So I auditioned for a cruise ship and I got this. So then I went on a cruise ship and I was supposed to be there for nine months. And then four months into the cruise ship. I was like, what am I doing with my life? Like, I don't want to be like singing to old people, sleeping in the audience. Like, you know what I mean? So2 (32m 42s):Listen, it's old people. And then me, I go to those and I'm on the cruise. And I go to the musical reviews and I am like weeping in the audience and share5 (32m 53s): yeah.2 (32m 58s):Yeah. People sleeping. Yeah. No, I was like the one person and I know they were all asleep or like, or like snoring or like maybe a coma and like I, or like dead. And I was like, oh my God, this is the best thing. But I usually was alone in that. Okay. So you got off the cruise ship for months and you were like, Nope.5 (33m 15s):Yeah. And it was hilarious. Cause they, the lady, because with the way the cruise ship worked, like if you just leave, then you have to pay out your contract, which I did not want to do. Cause you, you know, so I was like, yeah, I'm having, I was like, I'm having, I said I was having episodes of like wanting to jump, you know what I mean? Cause like not seeing land for so long is like, and it was hilarious. Cause the lady totally knew the director knew I was lying. Her name's Natalie. And she was like, Jackie, she was like, if, if you say this, you'll never work on a cruise ship again, like you'll never get to come. And I was like, I'm okay with that.2 (33m 48s):So you got off.5 (33m 51s):So then I got off and2 (33m 53s):It's like a, it's like a psychological discharge kind of a5 (33m 55s):Situation. They don't want you to jump.2 (33m 58s):No, no, they don't want that.5 (33m 60s):No. And so then I'm moved back to the city and I was like, all right, I'm gonna audition. And, and so at that point I auditioned for this smokey Joe's yeah, yeah. I'd done like five smoking joints and this vector. Yeah. This, it was like one of my favorites. This cast director was like, Steven dandle is so nice. He was like, I want to help me call me the, after my audition. He was like, I think you're super talented. I want to help you. I want to help you get an agent. And I was like, okay. I was just very lucky. And so that's how I got my first agent. And then I had an audition for hair in the park, in Shakespeare, in the park and books that, so that, and I remember calling my parents when I got that. And I was like, this is, this is like the chicken before the egg type of thing, you know?5 (34m 41s):It's like, it's like, we love you, but you've never done probably before. So we can't give you a better show. And you're like, but how do I get a Broadway show? Unless you give me a Broadway show, you know what I mean? I was like, this is a game changer. And I knew, and it was great. And that's like kind of then from there on like2 (34m 56s):Here, was that, what year was that? The hair in the park here in the park.5 (35m 1s):I want to say it was it 2007.2 (35m 4s):Okay. Okay. Amazing.5 (35m 8s):Yeah. And it was great. And then while I was doing that in the park, all the girls in my dressing room were going in for this new show called rock of ages and, and, and my agents were small at the time, so they couldn't get me. I couldn't get in. And I was like, what the F I'm so right for this show. And then finally at the end I got an audition and there was one roll left the stage swing for like the dancer tracks. And I, at that point hadn't danced since I was 17, had been like, you know, almost 10 years. And I can tell you, I blew that, see dance so bad. Like everyone was going that one way. And I was one of those where it's like, there's no way I'm getting this, but I booked it because the music director fought for me and was like, no, I really want her voice.5 (35m 50s):Like I really want her. And so thankfully2 (35m 53s):We talk a lot about on this podcast and I just talk a lot about it in my consulting and stuff with my clients. It's like, here's the thing. Like, and, and, and tell me your thoughts on this. Like my, my, you know, my new sort of vision for things is look, and the people have told me this and I never listened because I was a fucking idiot. But like, like we're booking the room, we're not booking the job. Right. We're booking the people like that. We're booking our champions. We're making fans of our work everywhere we go. And we just don't know who our champions are going to be. So you might as well, like, just really try to, what is it like you're booking the room, right?2 (36m 35s):Like we're. Yeah. So, so you had these champions early on, not that you didn't have the talent and the fucking work ethic too, but you had champions like the guy who called the casting man who called you and told you, I want to help you. And like, and, and, and then the, the musical director on rock of ages, that's amazing. And I think, and I'm trying to sort of figure out like, and what are your thoughts on Why people want to champion certain people? Is it because that, I guess it's a leading question. What I think is that people are decent humans and they want to champion other decent humans, not just the talented voice or the stunning person, but like the decency inside the human something comes through.2 (37m 23s):Do you think that's, that has any validity to it or am I crazy?5 (37m 27s):No, I do think like you onset or in a, in a, in rehearsal, you're with these people for so many hours, if the person is talented, but they suck as a human, like who wants to be suck on sets with 16 hours or in a rehearsal room for eight hours? You know what I mean? Like,2 (37m 44s):I feel like you are one of those. And I would say yes, because I'm talking to you and I'm good with, I know people, but like what, what do you think it is about you? Like, I'm always talking about this to famous people and to stars and to like, what do you think it is about you that people want to work with?5 (38m 4s):I'm very I'm game to do anything. Like I I've no ego.2 (38m 9s):You're curious. You're humble. You have fond. It sounds like you have fun. You like that?5 (38m 15s):Yes. I think my biggest fault, like is that I am humble to a fault. So therefore I think we tell people how to treat us. So sometimes my humility will come across as a lack of confidence. And that's the problem. Cause you know, it's like, it's a lot of money there. Producers are putting on your shoulders and the person that comes in with the confidence that like, Hey, I'm amazing.2 (38m 39s):Let me tell you something. I'm five years older than you. And I'm just getting it. So I now can walk into a room and first excuse my language, but now I can walk into a room and I can swing my Dick. Yeah. I know I have done the work. I have seen what's out there and I know what I have to contribute and I'm also not. But I spent, and if you listen to it all in the podcast, you know, both Gina and I, we spent our twenties and even my thirties going pick me, choose me, love me on some level. Even if I wasn't saying that it was coming out somehow in rooms. Right. So nobody wants that.2 (39m 20s):Right? Like nobody, that's not, it's not even something it's not even about attractiveness. It's like not even attractive in like a human way. Right? Like in a working relationship kind of way. So now I walk in and I'm like, it's not that. And I think also like, and people say this all the time, like people mistake, humbleness for weakness all the time, but there's also something in us that's projecting this sort of smallness. Even if we're not saying it until now, like it took me until 40, like whatever to say, oh fuck, no, I've seen what's out there. And I know I belong and it's not constant. So do you feel like you're coming into that?5 (40m 1s):Yeah. I think that, I feel like I had figured it out like two years before the pandemic. I really kind of, you know what it was for me. I stood by for Idina Menzel and this show called if then on Broadway. And it was the height of her career. It was when frozen came out and she was on the Oscars. And like everybody she's like, you know, everyone was obsessed with her. They were coming to see her specifically in the show. They weren't coming to see the show. They were coming to see her standing by for her people were viscerally angry when I was on, you know what I mean? Because you know, they came to see like, people have flown in from me. I had this British woman yell at me because like she had flown in from England and to see a Dina and I was on and I was like, I'm sorry, like it's not my fault.5 (40m 45s):You know what I mean? Like, you know, so, but that gave me the comp and I had to like win the audience over, like, you know what I mean?2 (40m 54s):So they don't throw things at you, right?5 (40m 56s):Yeah. Like you could feel the shift. There was a song called what the fuck? And like, I always knew. I'd like, that's like, when I would get the audience, that's your2 (41m 3s):Side5 (41m 3s):Where they'd be like, okay, like it's not a Deena. Like, she's2 (41m 6s):Awesome.5 (41m 7s):But this girl, like, it's not like a terrible name. Right. You know what I mean? Like,2 (41m 12s):But that help, we can't help. But like this lady.5 (41m 14s):Yeah. Like, you know what I mean? Like she's at least like, not bad. So that gave me the confidence. Like I had gotten to the place where I was like, ma I believed in myself because it had to, because nobody else did. Right. So I had to like, be like, okay. And that's, I was in a really good place. And the same thing, like when I moved to LA, like I was doing really well, like getting into like producer session callbacks for like service. Like you don't get like, great. And then the pandemic happened and I'm slowly getting my mojo back. Because like, after having that two years, almost three years of like living in this void, this vacuum of self-tapes where you don't know what's going on, you know, like there's no creativity.2 (41m 51s):Yes.5 (41m 52s):That I'm slowly being like, okay, I do know what I'm doing.2 (41m 57s):Can you tell Tega right. Yes. I see you. And maybe I'll listen to this, send it to them. I feel like if I were an Tikosyn, you'd be like, okay, crazy bitch. You don't know what you're doing, but listen, if I were marketing, you I'd be like, she is the next Rene Russo meets. And I haven't figured out the meats part, but Like, I always have a meats, you know? And it's going to be someone, a little weirder. You know what I mean? Like my cause I always skew weird. So when I, so like, you are like, I can see it, but oh, you're the next Rene Russo. But with a fucking voice, how about that? That's how I would pitch you pitch you with a fucking voice to make the gods weep.2 (42m 38s):That's how I would pitch not a manager, but you know, and I haven't actually heard you sing, although you sang a little bit in, I write in this tape, I can tell, you can tell like musical theater and like people could really sing, even when they're like joking around. It's like, wow, the rest of us are like, what the fuck was that? When I mess around, I'm like, man, you're like, oh, it was just like a little bit like, whoa, what the fuck? So anyway, the point is, you're brilliant. And I could totally, I could see you being like the next bad-ass Rene Russo type. Who's like, you know, in the Thomas crown affair, like that kind of thing. That's how I would T grim5 (43m 14s):T grin. Listen, I tell him, tell him,2 (43m 16s):Tell him. And he's gonna be like, oh, that crazy bitch. So, okay. The thing is now. So we have about 10 minutes left and I want to focus on like, what are your dreams? Like, where do you want to be? What do you want to do? Where do you want to go?5 (43m 31s):So many good questions. I mean, I want to originate. I really just want to be originating roles. Okay.2 (43m 37s):Okay. Tell me more about what that means. Like, I don't even, we don't talk like that in Hollywood. So what does that mean?5 (43m 42s):Well, like, cause you know, Broadway shows, there's like a lot of long running shows, but like originated wicked. So they wrote the show for her. You know what I mean?2 (43m 52s):Okay. So this is great to know because a lot of us don't know this. Okay. So they write for the people. She did not audition for that or she did5 (44m 2s):No, she, no, she auditioned, but then once she got it. Yeah. So it's like all of a sudden if like, oh, you know, like,2 (44m 10s):Okay, I am that's okay. I have a dog I'm at my office, but I have a crazy dog named Doris. Who's insane. So don't worry.5 (44m 18s):I have a puppy. And she's like, she's hit her like, oh yeah. I've been2 (44m 22s):Grab her.5 (44m 24s):Can you come over here please? No. Okay. So yeah like, like with, if then they like, you know, like they changed so many keys for her to like find what is good for her, you know what I know? So that way this is done, but so, you know, I want to originate. I want to be at a place where I'm not replacing, you know, I want to be originating. So that way2 (44m 51s):Originating roles on Broadway.5 (44m 54s):Yes. And I really want to get into TV and film. I like want to be doing2 (44m 57s):So. So yeah. And I don't think there's any reason why not. And it's starting to pick up again. So like I would just put it out there that I, if I were you, I would give I'm giving you totally unsolicited advice To LA for another try another six months out here. And I feel like it's different. What I feel in LA right now. And it's why I moved from Chicago is that there is an expansiveness in Los Angeles that look, it can be full of garbage, of course. But there is an expansiveness and the people I'm meeting are like, especially the younger folks are like creating massive amounts of art and content.2 (45m 40s):And even I'm seeing theater out here and it's amazing. And also film and TV. So all I would say is, I think we're in an age where I, it does feel like in LA a lot of things and people listening like old, old timers listening are probably like, oh, shut up. But like, I do feel like we are coming to the end of where it's oversaturated with content from streamers and people are like, no, no, no, we don't need more. What we need is like very specific shows and movies that are, I think we're good. We're contracting a little bit, which is not bad. So it's going to be more for me anyway, like gritty, heartfelt, smaller stories, which I fucking adore.2 (46m 23s):So all I'm saying is come to LA and we'll be friends. That's what I'm saying, Come to my office and we can hang out and do all the things. But anyway, okay. So you want to do film and TV? Like what kind of roles? Like if I said to you, okay, magic wand. Here you go. Jackie, what kind of roles are you? I know you're like, so game to play anything, but like where do you think you'd really shine in television and film?5 (46m 48s):I think I'd really, that's a good, such a good, really good question. I think I am more of a, like of a quirkier than most people think I am. Do you know what I mean? Like a lot of people, especially like when I straightened my hair and like, they're like, oh, you're like a sexy, like, you know, and I'm like, I'm really kind of goofy and quirky.2 (47m 9s):Yeah. You're like more of an ally McBeal than a like Gina Gershon. Bad-ass like that you have a more quirky quirkiness to it.5 (47m 18s):Yes. And because I looked the way I looked people, I was just thinking about baddest, but I have a softness about me that I can't get rid of. Like I did just, there just is I, and so I am like the funny, but like also I'm going to tell you the truth. Cause I do have like, but in a, not in a, like, I'm going to cut your throat kind of way.2 (47m 38s):It's not aggressive. It's yeah. It's more like Ernest than that. There is an earnest quality.5 (47m 45s):Yeah. So I'm that? I just think like, you know, the best friend that's going to keep it real, but also as kind of a shit show and like, yeah,2 (47m 51s):Yeah, yeah. It's reminds me of like, you could, you could play a lot of things, but like you could play the partner of someone on television who like, who like keeps their partner in line, but it's also funny and sassy, but like is the, is the true north to somebody right. And earnest true north that's totally.5 (48m 15s):Yeah. Yes.2 (48m 17s):I feel like I should have a podcast where people come on and I like help market them.5 (48m 21s):I would, yes. I think that people wouldn't2 (48m 24s):Malarious, I'd be like, you're a real kind of Mike Shannon meats, you know, I don't know, John C. Riley type with a side of Ben Affleck or something like that. But anyway. Yeah. So, okay. So you want to do that and then are you auditioning right now for, is there what's happening on Broadway? What's happening off Broadway that you, that are you excited about? Anything what's happening? That you're excited about? Nothing. Okay, great.5 (48m 50s):I sadly to say it's kind of been really dry. Like I haven't had much additions and it's been a little like brutal.2 (49m 0s):Okay. Good to know. I mean, I look, look, it's better to be honest because here's the thing, like if we, and it also comes across, you know, that like if people come on this podcast or like, I'm talking to someone even in a party and they're like, it's fabulous. I mean, blah, blah, blah. And you're like, I don't buy this because I just don't buy it. My bullshit meter goes off. So it's been brutal. And I have to say like, it's been a really brutal for me too, but like in a, in a, in a, across the board. And I think this is a time. I mean, we're, I'm, I'm a triple Libra. So I have sun moon rising, all Libra, which means that I'm just a bonkers, but it also means I, we, I feel that we are in a huge transition time and as systems, whether that's Broadway, Hollywood, the government, whatever you believe, whatever systems as they sort of start to falter and fall in some ways, which is scary.2 (49m 55s):Cause it's, you know, I don't know. I have my thoughts about capitalism, but like systems are failing a little bit just because of the pandemic because of life, the climate, all this stuff, those of us in positions too are called to really come stand up and say, what do I want? How can I help? How can I be of service? And what do I really want to create? So it's like a beautiful time for artists to say, look, it's brutal too, but like there's opportunity in the brutality of like, wait a minute, who do I want to collaborate with? How do I want to collaborate? What kind of art do I want to make?2 (50m 35s):And what am I willing to do to make a living? And what am I not? And mostly for me, it's been about like, who do I want to align with? Who do I want to make, have partnerships with? And that to me is more important actually than the tasks I'm doing. It's like if I go into a writer's room and the, and the showrunners are fantastic and the writers are like we're crew and a team it's like, that would be I, and I'm all, I'm like totally putting this out into the universe. So I haven't been there yet. So like, I'm pre, but like, I can imagine that that is like more important to me than the actual dialogue or writing. Do you know what I mean?5 (51m 15s):Yes. I2 (51m 16s):Will work on whatever show, if the people in charge and the team are dope as hell, it's sort of not as important, what the it's still important, but it's not like it's more for me anyway. It's more the team, right? It's the team and who gets me and who I get. And at the end of the day, am I willing to go to bat for these people? And are they willing to go to bat for me versus it's like, again, it goes back to like collaboration versus, you know, like pick me, choose me, love me. And so that's what I wish for you is like, is like you find your next team of people that are like your champions that you can champion.2 (51m 57s):And then I think the project will sort of work itself out. Do you know what I mean?5 (52m 1s):Yeah, totally.2 (52m 2s):So listen, casting, listen, listen, people, Jackie burns. Bad-ass not just musical theater star, but musical theater star. And yeah. So what else is happening? Anything else you need to say, like to your, to people listening that they must to know about you or where you are in your life in the world? Because this is like, we talk a lot about in this podcast about legacy. Like I don't have kids, so I don't know. So a lot of people can have their legacy through their children and I don't have that. And I have an asshole dog that doesn't give a shit about legacy and she's not gonna do anything for legacy. So I, my legacy is like this part of it is this podcast, which is going to be around forever until the aliens, you know, whatever.2 (52m 46s):And so, or whoever's taking over, what do you want, what do you have anything to say for posterity? That's like going to be immortalized forever on in the cloud?5 (52m 59s):I think for me, I am, it's all about like work ethic. I am such a, I never take for, I never take for granted. Like a lot of people will talk about, and it's not to say that I don't get tired and I don't get like, there aren't times where I'm like, oh God, this is brutal. But there, it never leaves me in the fact that like, anytime I get to do a show and I get stressed out about, I am definitely, I deal with my own issues with perfection. Like, you know what I mean? Yeah. Like where, but it never leaves me that like, I am so lucky to get to do this. And I am so grateful for the audience. Like, it makes me want to cry. Like I like when people are like, oh, sometimes I go on autopilot where it's like, oh, it's the seventh show of the week. And it's like, but those people in that seven show or eights or a weekend spent so much money to come and see this show that I can't help, but give 180% every time I get out the gate because I am so appreciate.5 (53m 50s):Cause I know if they didn't come, we wouldn't have a job. And also there's like 8 million people that were up for this one role. And somehow I got it. And I'm not saying I wasn't talented enough for it because you know, we all are.2 (54m 4s):Yeah. But you got it. And it's your re there's like a responsibility and a stewardship of the, and a seriousness of the profession and the role and the, and the it's like sacred in a way. Like, it's a thing. I, I totally, I hear that. Okay.5 (54m 20s):I think it's so important. And I think it's so important to give, like, this is like, it's hilarious. Like I don't, unless I can do a certain note, like, unless if I can, if I can't take up a note consistently eight times a week, I won't do it because I don't think it's fair that like, oh, well I can do it like three times a week. So those special three peep, three shows, they get it. And then the other ones get my, like, you know, less than show, like regular show because like they all paid a crap ton of money. So like, for me, I don't know, it's a cuckoo thing. Like I'm not somebody who's like giving you a different vocal show every day, depending on how I feel. I am going to give you the, like, I want2 (54m 60s):You give your best all the time. If you're when possible. And when, and if, and you don't mess around with that, you like, don't try to manipulate what people are going to get. And I, you know, I did a solo show, which was the word, like I loved my solo show in New York, but I did a solo show about cancer. And I worked for Nick cage for years. So that's in my solo show. I have like this crazy life. I was a therapist, all the things. So yeah, I've had a crazy life, but the point is I did this solo show and one night there was one ticket sold, okay. One ticket. And I went to my friend and I was like mother fucker. And I said, I don't do I do this show for one person. And she said, listen to me, who are you not to do the show for one person?2 (55m 40s):What if that one person needs to hear what you have to say? Who are you not to do the show? And I did it. And I, I did the show and I hope they got something out of it. And I, but, but she just said like, that person needs to hear what you have to say. They, they, they need to, and who are you not to give it to them? If that's your gift to offer, you've got to give it. And I was like, oh, and it changed my sort of my idea of like what it means to be in collaboration with the audience and like it, I was like, oh right. One person matters. That matters, right? Like that matters the one person, even if it's one person that got a discount ticket in Idaho that flew it, they matter to see you in wicked or whatever.0 (56m 39s):If you liked what you heard today, please give us a positive five star review and subscribe and tell your friends. I survived. Theater school is an undeniable ink production. Jen Bosworth, Ramirez, and Gina are the co-hosts. This episode was produced, edited and sound mixed by Gina for more information about this podcast or other goings on of undeniable, Inc. Please visit our firstname.lastname@example.org. You can also follow us on Facebook, Instagram, and Twitter. Thank you.
Najlepše je zaspati ob pravljicah. To vedo številne generacije poslušalcev radijske oddaje Lahko noč, otroci! Na prvi šoslki dan v oddaji gostujejo Lahkonočnice, s katerimi bomo pet četrtkov v septembru poslušali nove slovenske pravljice o pomenu ponovne uporabe reči. Letošnji cikel otroke uči odgovornega odnosa do okolja in jih spodbuja k ponovni uporabi starih predmetov, oblačil in hrane. Prva v ciklu je pravljica Aksinja Kermauner: Jutranji piknik. V radijskem studiu 13 sta nam jo pričarala igralka Maja Končar in pianist Klemen Golner. »Ojej, vrata shrambe so bila ves čas odprta! In vse moje slastne hruške imajo tako čudno barvo!« Miška previdno ugrizne v rjavkasti sadež, se namrdne in naglo izpljune grižljaj. »Pfej in bljak in bruh!« Ogleda si police, na katerih je še pred tremi dnevi stalo čvrsto sadje, zdaj pa je tam le še skupina razmehčanih rjavih kupčkov. »Tega že ne bom jedla,« obupano razmišlja Miška. »Saj so verjetno še užitne. Ampak jaz ne maram mehkih stvari …« Pripovedovalka: Maja Končar. Glasbenik: Klemen Golner, klavir. Napovedovalec: Aleksander Golja. Maskerka: Polona Slabe Tonska in video izvedba: Grega Samar, Cole Moretti, Jernej Pogačnik, Matjaž Šercelj. Glasbeni producent: Anton Jurca. Režiserka: Špela Kravogel. Urednica oddaje: Alja Verbole. Koordinatorka otroških in mladinskih vsebin na Prvem: Špela Šebenik. Premierna izvedba v živo iz studia 13 Radia Slovenija.
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“It can be dangerous to assume that more data just equals more reality.”"Can AI open up new possibilities for thinking about intelligence and automation?" Could machine learning help us deal with vast amounts of data beyond human comprehension? Can these techniques produce a more robust representation of reality free of human judgement? Assistant professor at NYU, Artist and Environmental Engineer Tega Brain posed these crucial inquiries during The Conference 2022. Tega explored critical questions about the new approaches to environmental management that incorporate artificial intelligence. She stresses the dilemma of data-driven methods and planetary computing in addressing the climate crisis, exploring a range of case studies where data-driven methods have fallen short of their grand promises. Tega Brain shares some of her own projects to visualise these shortcomings in AI systems and reimagines alternatives for better understanding our changing climate.
Tokrat reklama pride tako kot reklame na TV-ju … kar nekje vmes, čist nepričakovano! Torej, gost še tretjič in zadnjič v tej trilogiji je Stric Bedanc Pižama, rojen: Boštjan Gorenc, ki pa v tem delu ne straši s Hapax legicami, ampak se … !!! BUM REKLAMA !!! naroči se na “A res, TEGA ne veš?” […]
Avtor recenzije: Marko Golja Bralec: Matjaž Romih Če odmislite zbirko Zbrana dela slovenskih pesnikov in pisateljev, v katero je bil uvrščen avtor, ki ne sodi vanjo, in je tako postal na prvi, goljufivi pogled klasik, je pot do takega priznanja včasih lahko dolga, zelo dolga, še zlasti pa to velja za prevedene avtorje. Raymond Chandler je lep primer. Klasik je bil že ob svoji smrti, zelo verjetno pa še prej. Pravzaprav je z vsakim svojim romanom in z večino filmov, posnetih po njegovih romanih, utrjeval ta status. Toda ali se morda spomnite, kdaj ste lahko prvič brali kak njegov roman v slovenščini? Se morda kdo spomni prevoda z naslovom Nevarna sestrica, ki je izšel leta 1966, ime avtorja pa je bilo natisnjeno Reimond Chaudler. Seveda, če pišeš krimiče, pišeš šund, šund pa je nekaj, kar je na obrobju družbe in zbranosti. S prevodom iz leta 1971 je Chandler končno postal Chandler vsaj po zapisu imena, toda anonimni prevajalec je naslov pisateljevega zadnjega romana Playback zelo svobodno prevedel kot Blodnjak. Seveda, če pišeš domnevni šund, ni pomembno, kdo te prevaja in kako te prevaja. Vse pa se spremeni v osemdesetih in v zgodnjih devetdeseti letih – takrat so izšli Chandlerjevi vrhunski romani Nikoli več na svidenje (s spremno besedo Slavoja Žižka), Sestrica in Zbogom, draga moja v prevodih Alenke Moder Saje, Ani Bitenc in Igorja Bratoža. Ste opazili razliko? Takrat so Chandlerja končno prevajali prevajalci iz prve lige, izhajal pa je pri uglednih založbah in ustrezno kontekstualiziran. Zakaj smo čakali trideset let na naslednji prevod Chandlerja, je težko vprašanje. So slovenske urednice in uredniki tri desetletja zbirali pogum za še en prevod? So tehtali pisateljev komercialni potencial? Še težje vprašanje je seveda, ali Chandler sodi v zbirko Moderni klasiki. Kot da se je dehierarhizacija literature dopolnila šele z izidom Chandlerja v zbirki z zvenečim imenom. Avtor, ki je na začetku svoje literarne poti med domačimi bralci vegetiral na knjižnem obrobju v površnih prevodih, se je zdaj končno znašel tam, kamor sodi. In to v odličnem prevodu Branka Gradišnika. (Mimogrede, njegove prevajalske opombe so vredne vašega branja med drugim zaradi erudicije, ki izvabi tudi kak nasmešek.) Gradišnik samozavestno prevaja pisateljeve domislice, jih ne mehča, tako da so Chandlerjeve prispodobe tudi v slovenščini žive, takšni (živi) pa so tudi protagonisti v slovenskem prevodu. Naj omenim le nekaj pisateljevih odlik: na začetku romana zasebni detektiv Philip Marlowe obišče ostarelega generala in milijonarja Sternwooda. Iz sekundarne literature je razvidno, da je podobo njegove graščine zasnoval na podlagi graščine milijonarja E. L. Dohenyja, toda čeprav je imel pred sabo konkretne zidove in stolpiče, Chandler vile ni opisal realistično, stvarno, kot fotografijo, ampak je v detektivov osebni pogled, njegovo pripoved vnašal simbolne pomene. Pravzaprav pisatelj to počne zelo dosledno. Pričakovali bi, na primer, da je primer preiskave, nekaj relativno premočrtnega. Toda pot, po kateri stopa Marlowe, se cepi in prepleta. Na tej poti se zgodi kar nekaj umorov. Toda četudi vam povem, da je Taylor ubil Geigerja, Lundgrenova Brodyja, Canino Jonesa in tako naprej, mi tega ne boste zamerili. Zakaj ne? Ker boste takoj ob branju ugotovili, da vprašanje, 'Kdo je moril', ni najpomembnejše vprašanje v romanu. Tega se je zavedal tudi Chandler in – ne verjamem da zaradi površnosti – enega umora sploh ni pojasnil. Si predstavljate pisca kriminalk, ki ne pojasni umora? Moral je biti res pogumen, predvsem pa je očitno stavil na druge karte: na značaj romanesknega junaka in na galerijo likov. Zato ne preseneča, da roman Veliki spanec vsebuje vrsto žanrskih likov, ki pa ne delujejo stereotipno – Chandlerjeva fatalka (usodovka mi zveni papirnato), je na primer fatalka in hkrati še kako ranjena. Marlowe je tako ali tako apoteoza protestantske etike. Do neke točke spoštuje prav sveta, še bolj pa svoj prav ter tako utrjuje prav sveta, ki je sicer dodobra razkrojen tudi zaradi precej razširjenega pohlepa. Je bila odločitev za izid Chandlerjevega romana Veliki spanec priznanje avtorju, ki si priznanje zasluži, ali založniška preračunljivost, ali kaj tretjega, je ta hip nepomembno vprašanje. Ali se Harold Bloom obrača v grobu ali ne, prav tako. Dejstvo pa je, da smo z vrhunskim prevodom Branka Gradišnika dobili enega boljših ameriških romanov o razkrajanju sveta s sredine 20. stoletja. Pripis: Na prevod čakajo še Chandlerjeva romana in njegove kratke zgodbe.
Ta opis se začne z reklamo: naroči se na “A res, TEGA ne veš?” YouTube kanal! … AMPAK se pa oddolži za to reklamo tako, da potem pride direktno k bistvu! V drugem delu trilogije ve gost Boštjan Gorenc – Pižama, ki Aleša in Sašota vpraša: “Kdo ali kaj je Hapax legomenon?” in onadva (spoiler […]
Verjamem, da je plezalna naveza sveta. Tega me je naučil moj mentor, ko sem bila še alpinistična tečajnica. Razumem pa tudi vprašanje, kako je lahko sveto nekaj, kar je na zemlji, kar je otipljivo, kar je mogoče povsem razumsko razložiti. Zakaj bi kdo dajal nečemu takemu tako velik, morda celo pretiran pomen? Gre za človeka, ki ju povezuje vrv. Potrebujeta jo zato, da varno preplezata steno ali kot včasih pravimo alpinistke in alpinisti, rešita problem. Eden pleza, drugi ga varuje. Če prvi pade, ga drugi zadrži. Ko prvi prepleza raztežaj ali dolžino vrvi, ki ju povezuje, drugi pripleza do njega in naprej nadaljuje kot prvi. Tako si pošteno in enakopravno razdelita naloge v želji, da bi dosegla rob stene. Stena je lahko zelo prijazna, lepa, ponuja navdihujoče razglede ali pa je nevarna. Nepredvidljiva in divja. Naveza mora biti pripravljena na vse. In vrv, ki je med soplezalcema, mora zadržati morebitni padec in ponujati varnost, brez katere si stene ne bi upala preplezati. Ali ni tako tudi v življenju? Znajdemo se pred težavami, ki jih sami ne moremo rešiti. Da jih lahko rešimo, moramo pogosto biti kot alpinisti – popolnoma moramo zaupati tistemu, ki drži drugi konec vrvi, in verjeti moramo, da bo vrv zdržala vse preizkušnje in morebitne padce. Naveza lahko deluje samo tako ali pa sploh ne. In vrv lahko razumemo vsak po svoje – vrv je lahko vera, lahko je ljubezen, lahko je hvaležnost, lahko je sreča, zaupanje ... Ali pa vse skupaj. Vrv je tisto, kar nas povezuje in zaradi česar zmoremo veliko več, kot bi zmogli, če je ne bi bilo. Zaupanje, zaradi katerega ima vrv smisel, pa je tisto, kar vse našteto povezuje v celoto, ki se ji reče naveza. Temu lahko rečemo tudi prijateljstvo, partnerstvo, starševstvo ali zaupanje v boga, da nam kljub vsem preizkušnjam hoče dobro. Naveza je življenje in življenje je naveza. Visoko v stenah ali v vsakdanjem življenju v dolini. Ko sem bila tečajnica, tega nisem ravno razumela. Danes trditev, da je naveza sveta, kot alpinistična inštruktorica poskušam pojasniti mladim iskalcem najlepših prehodov v stenah. Ker vem, da bodo navezo potrebovali tudi takrat, ko bodo v dolini. Morda je – tako kot jaz – ne bodo takoj razumeli. Vendar bodo prej ali slej spoznali njen pomen in takrat bodo tudi sami znali poiskati svetost v tistem, kar nas povezuje in dela naše življenje smiselno. V gorskih stenah ali pa v tistih drugih, nič manj strmih in nevarnih previsih, ki jih prinaša življenje.
Tako, pa je prva video trilogija zaklučena! Ni glih Star Wars ali pa Gospodar prstanov no, je pa video za zraven naših do sedaj samo zvokovnih podkastov … tako da smo ponosni! (OBVEZNA REKLAMA: naroči se na “A res, TEGA ne veš?” YouTube kanal!) … V zadnjem delu trilogije Matjaža Peklaja pa ve Sašo, ki […]
Gostja v studiu je dolgoletna IBCLC-svetovalka za dojenje Alenka Benedik: kakšna je zdaj dostopna sistemska podpora ter kakšna podpora neformalnih in nevladnih skupin? Pri nas je vsaj zadnjih 20 let dojenje od prvega dne otrokovega življenja vsaj deklarativno močno spodbujano, a izkušnje mladih mamic, kako to poteka v praksi, so zelo različne. Sploh tiste, ki se z dojenjem prvič srečujejo, lahko zmedejo kontradiktorni nasveti, ki jih dobivajo od medicinskega osebja, starejših sorodnic, prijateljic, različnih forumov in spletnih skupin. Ob Svetovnem dnevu dojenja nas med drugim zanima, kakšno spodbudo, podporo in dejansko pomoč so mlade mame lahko dobile v času, ko so bile zdravstvene ustanove težko dostopne in so bili zelo omejeni tudi družinski in prijateljski stiki, ki so včasih odločilni dejavnik podpore doječim mamam? Prva stopnja je, da se poklic in opravilo vsaj prizna. Po moji idealni predstavi, bi morala imeti vsaka institucija, kjer se srečujejo doječe matere in zdravstveno osebje, usposobljenega svetovalca za laktacijo in dojenje. Tega zdaj ni. prim. Andreja Tekauc Golob Gostji: - prim. Andreja Tekauc Golob, dr. med., specialistka pediatrije, s kliničnega oddelka za ginekologijo in perinatologijo UKC Maribor, - Alenka Benedik, dolgoletna IBCLC-svetovalka za dojenje in članica La Leche League Slovenija.
Zajec iz te pravljice je bil pa zelo močan, da je lahko starčka prinesel tako daleč. Kaj je starec doživel v gozdu nam pripoveduje litovska pravljica Še prej pa spoznajmo dve zanimivi stari besedi. Isteje so odprtina pred kuriščem kmečke peči, hištrna pa stanovanjski prostor za služabnike v velikih kmečkih hišah. Zlata ptica, Litovske pravljice, prevedla Marija Kmetova, Mladinska knjiga, Ljubljana, 1970, bere Nataša Holy
V 102. delu na sploh, ampak šele v 2. delu z videom (OBVEZNA REKLAMA: naroči se na “A res, TEGA ne veš?” YouTube kanal!) … vajeti prevzame trenutni gost Matjaž Peklaj, ki Sašotu in Alešu zastavi težko vprašanje: “Kdo ali kaj je Richard Garfield?” … klikneš, poslušaš, izveš! Ti je podkast všeč? Lahko ga podpreš […]
VOTE FOR US AS GUAP'S PODCAST OF THE YEAR - https://www.guapgala.com/voting Live Show Tickets - https://bit.ly/3NWNflE Join this channel to get access to perks: https://bit.ly/3nNTY6X MERCH - https://bit.ly/3yTI8P2 Follow us on socials: https://www.instagram.com/fredsantana/ https://www.instagram.com/temialchemy/ https://www.instagram.com/vpinthecut/ https://www.instagram.com/90sbabyshow/ Topics in this episode include:
Če pogledamo seznam najuspešnejših filmov v zadnjem desetletju, ki so v kinematografe prinesli največ denarja, kaj hitro opazimo rdečo nit: po večini gre za franšize, ki spadajo k blagovni znamki Marvel, DC Comics, Vojna zvezd in Transformerji. Prvi so ustvarili celotno filmsko vesolje, v katero zvesti oboževalci vstopajo ob ogledu filmov, TV- serij ali stripov. Občutek je, da bodo te franšize večne, a tudi one imajo svoj konec. Tega pa še ni pričakovati v kratkem. O skrivnosti uspeha predvsem Marvelove franšize, o hollywoodski obsedenosti z njimi, o tem, ali franšizna utrujenost res obstaja ali ne, pa v današnji Intelekti, ki jo je pripravila Tina Lamovšek.
Po starem izročilu naj bi bil evangelist Luka po poklicu zdravnik. Zato je tudi zelo pozoren na ozdravljenja, ki jih izvršuje rabi iz Nazareta. S temi dejanji se Jezus ne razodene samo kot velik prerok, ampak prav tako kot Mesija. Takšnega so namreč napovedovali preroki, da bodo ob njem slepi znova videli, nemi spregovorili in pohabljeni poskakovali od veselja. Toda v tem trenutku Luka pripoveduje, kako so tudi Jezusovi učenci bili deležni podobnih darov in nam sporoča, da so mesijanski časi že tukaj. Vendar je nekaj zanimivo: Jezus pošilja širši krog svojih učencev naokrog, kar 72 jih je, z nekim pogojem. Zahteva, da nimajo pri sebi denarja, potovalnih torb, odlične obutve, skratka, naj ne bodo zanimivi za zlikovce in roparje. Tudi naj ne jemljejo svojega poslanstva kot prijeten izlet ali sprehod, ko bodo na poti srečevali ljudi in jih vabili k prijetnem druženju, »piknikovanju« in pripovedovanju zanimivih zgodb. Njihov cilj mora ostati jasen: stopiti morajo v hiše in na trge ter povedati, da njihov učitelj, ki je mesija, prihaja. Tega so lahko veselijo vsi ljudje na svetu. In še neki tehten razlog je, da gredo njegovi učeni brez vsega po svetu. Velika nevarnost je namreč bila, da bi svoj uspeh oznanjevanja pripisali temu, kar imajo in kar znajo. Če prinašajo radost in zdravje, to ne počnejo iz svojih lastnih moči in vedenja, ampak zaradi neizmerne Božje darežljivosti. Le malo zatem Luka v Apostolskih delih pripoveduje, kako je Peter pri tempeljskih vratih ozdravil hromega. Neki Jeruzalemčan je bi prepričan, da ima Peter magično moč in je bil pripravljen od njega odkupiti to veščino. Toda Petrova moč ne prihaja iz njega, ampak od zgoraj. Vsekakor so morali apostoli ob vrnitvi priznati, da jim kljub njihovi nemoči in uboštvu nič ni manjkalo. Kristus svojim učencem prizna pravico, da so navdušeni in veseli svojih uspehov, saj so ozdravili celo duševne in duhovne bolezni, kar je bilo za tisti čas velika redkost. Toda njihovo največje veselje je vendarle nekje drugje, namreč, da so sami stopili v Božje veselje in darežljivost. Odslej bo Bog prek njih navzoč na Zemlji. Ob tej priložnosti Jezus daje naročilo svojim učencem za vse časa. Prizadevanje, da bi naredili še kaj dobrega, ne bo dovolj. Vse to je hvalevredno, toda največ, kar lahko storijo, je, da pustijo Božji dobroti, usmiljenju in odpuščanju, da se naselijo med ljudmi. Veseli naj bodo, da so oni znanilci teh večnih radosti, zdravja in veselja.
Dragi poslušalci, smo v delu leta, ko se bodo vse pogosteje pojavljale različne vrste vremena. Vroči dnevi in vročinske nevihte bodo del našega vsakdanjega življenja. Tega si ne želimo, saj naredijo veliko škode na naših poljih in imetju; ob počitnicah si prav tako nihče ne želi, da bi jim mir in počitek zmotila kakšna nevihta. A prav te grozljive naravne pojave so velikokrat doživljali prvi Jezusovi učenci. Veliko se jih je preživljalo z ribištvom, zato so bili še kako odvisni od vremena. In prav danes lahko beremo v evangeliju, kako je učence presenetila nevihta sredi mirne plovbe po morju. Učenci se prestrašeni trudijo, da bi rešili čoln, svoje imetje, a ob tem zagledajo zanje zelo nerazumljiv prizor. Jezus mirno spi na krmi. Pa se za hip postavimo v njihovo kožo: okoli nas divja strašen vihar, čoln premetavajo valovi, po najboljših močeh se ga trudimo umiriti in varno pripluti na obalo. Potem zagledamo Jezusa, Božjega Sina, kako spi. Zagotovo bi hitro podvomili, da je res Božji sin. Nato ga končno zbudimo in mu rečemo: »Gospod, reši nas, potapljamo se!« On pa okara našo nevero, nato pa pokaže svojo božansko naravo in pomiri vihar. In nastane popolna tišina. Tišina, ki je ni nihče pričakoval in je govorila močneje kot vsaka druga beseda. Kolikokrat se sami znajdemo v podobnem položaju. Okoli nas divjajo viharji, v katerih se utapljamo, ne vidimo izhoda, iščemo tišino. Naj bo to v službi, družini ali osebnem življenju. Vsak dan smo v skrbeh, kako se bomo znašli v težkih situacijah, ki nas čakajo, kako se bomo odzvali ob nepričakovanih dogodkih. Poskušamo se bojevati z našimi viharji po svojih najboljših močeh, vendar so pogosto močnejši. To nas lahko pripelje do nezadovoljstva, jeze ali celo nasilja. A v takih primerih imamo vedno dodatno možnost: Jezusa, ki čaka na krmi, čaka, da se bomo obrnili nanj in mu prepustili krmilo našega čolna. Če se mu prepustimo in mu zaupamo, da nas bo vodil po najboljši poti, četudi skozi strašne viharje, bomo varno dospeli na cilj, na obalo, na kateri sije sonce in vlada tišina. Zato vabim vsakega izmed vas, da se danes poskuša zavedati viharjev, ki divjajo v njegovi bližini, in z majhnim konkretnim dejanjem prispeva k umiritvi in tišini. To lahko storimo z lepo in spodbudno besedo, pohvalo, nasmehom ali z majhno pozornostjo do drugega, ki potrebuje ramo, na katero bi se lahko naslonil. Ob vem skupaj pa se zavedajmo, da je vsak majhen korak nasproti drugemu odgovor na božji klic k medsebojnemu razumevanju in slogi.
Spoštovani, živimo v obdobju, ko sprašujemo le: »Kako se počutiš?« Stalno sprašujemo po perifernem, nebistvenem, po občutkih, ker ne znamo več živeti objektivno. Naravnani smo afektivno, senzualno, namesto efektivno, realno. To je razlog, da iz vsakdanjika vztrajno izrivamo vprašanje trpljenja. Danes je težko zadovoljiti človeka, ker smo razvajeni in prenasičeni. Hitro se vsega naveličamo in iščemo novosti. Tudi Bog se nam zdi zastarel, zato pišemo njegovo ime na Božjo osmrtnico. Če bi bili modri, bi namesto rafala napadov proti njemu raje predvideli posledice takih odločitev. Težava je v tem, da je njegov obraz na križu popolnoma drugačen od klasične ideje popolnega Boga, ki ne more trpeti. A krščanski Bog Oče ni nem in oddaljen v svoji nedostopni presežnosti, ampak je v dometu človeškega trpljenja. Ko slišimo o njegovih bolečinah, moramo to razumeti kot trpljenje ljubezni. Bog je trpeči Bog, ker je ljubeči Bog. Križani Bog ni isto kot religijski, teološki, filozofski, psihološki ali sociološki Bog. Krščanski Bog je vedno križan in s tem resničen. Svetovno znani psihiater Carl Gustav Jung je nekoč pokazal podobo križa in rekel: »Pravkar prihajam iz Indije in tam se mi je to posvetilo. Na vzhodu se poskušajo znebiti trpljenja tako, da ga odmišljajo, na zahodu pa ga skušamo zatreti z mamili. Toda premagamo ga samo, če ga prenašamo. Tega se naučimo le pri Križanem Bogu.« Drži. Brez ljubezni je križ pretežek, brez križa pa je ljubezen votla. Šele od Kalvarije, znamenja božje ljubezni, lahko govorimo o pravi ljubezni. Vse do Kristusa je bil križ v poganstvu znamenje kazni za bogove, Božji Sin pa je na znamenju človeškega prekletstva umrl, da bi nas, prekletnike, odrešil. Do konca humanizirani Bog je prevzel nase vse človeško, tudi trpljenje, in vso odgovornost za stvarstvo. Stara Cerkev je učila, da tisto, kar ni prevzeto, ne more biti odkupljeno. Zato ne prečiščujmo podobe Boga, ker se mu taka spodobi, čeprav se nam zdi nedostojna in nora. Res je nemogoče pomisliti, da je umrl kot lopov, suženj, zmikavt in zločinec. A tudi to je dokaz njegove svobode. Prava ljubezen mora imeti možnost izbire, da v svoji svobodi tudi ne ljubi. In da je večja od obveze, dolžnosti. Svobodni Bog, ki je človeka ustvaril iz popolne ljubezni, ni imel izkušnje s tem, kako je biti človek. Zato se je učlovečil, to pa je najradikalnejši podvig. Zdaj Bog Oče v tem čudnem in hkrati čudežnem Jezusu ve, kaj pomeni trpeti in umreti. Njegova smrt je smrt smrti. Tako je krščanstvo zaradi svoje drugačnosti religija izhoda iz religije. Če odgovorim filozofsko, v trpečega Boga, ki z mano sočustvuje, verjamem zato, ker je to nesmiselno, absurdno – credo, quia absurdum. Kot je zapisal Tertulijan: »Božji Sin je bil križan; tega se ne sramujem zato, ker je to sramotno. Božji Sin je umrl; to je vredno verjetja zato, ker je noro. Bil je pokopan in je vstal od mrtvih; to je mogoče zato, ker je to nemogoče.«
Le zakaj bi se mučila, uboga nevesta? Motika je pretežka, metla prenerodna, prah bi ji lahko prišel v oko. Kaj pa kruh? Tega bi jedla, ja, ampak ... Angel Karaljičev, Bolgarske ljudske pravljice, prevedla Katja Spur, Obzorja Maribor, Maribor 1968, bere Nataša Holy
Headline News Metro TV Edisi 1072 kali ini membahas: Reshuffle Kabinet Indonesia Maju. Pekerjaan rumah para menteri baru. Kinerja ekspor impor bulan Mei 2022. Ridwan Kamil akan kembali bekerja besok. Tega, ayah mutilasi anak. Penggelapan belasan kendaraan.
Danes poteka opozorilna stavka novinarjev RTV Slovenija. Med ključnimi zahtevami stavke so novinarska, uredniška in institucionalna avtonomija, dogovor o kadrovski politiki, pogajanja o zvišanju najnižjih plač in vzpostavitev socialnega dialoga. Pogajanja z vodstvom se začenjajo jutri. Preostale novice: Programski svet RTV ni podprl Natalije Gorščak za direktorico televizije Slovenija. Predsednik Borut Pahor predlaga Roberta Goloba za mandatarja. Košarkarji Olimpije izgubili odločilno tekmo polfinala jadranske lige v Beogradu.
Na RTV poteka stavka novinarjev. Zahteve in razloge so stavkajoči podrobneje predstavili na shodu pred poslopjem RTV. Stavkajoči in drugi govorniki so poudarili, da je zdajšnje vodstvo RTV z Andrejem Grahom Whatmoughom na čelu povzročilo škodo javni televiziji in oddajam, ki jih je ukinilo ali prestavilo na drugi program. Nekateri drugi poudarki oddaje: - Nadaljujejo se koraki k oblikovanju nove vlade. Predsednik republike Borut Pahor je Roberta Goloba pričakovano predlagal za premierja. - Slovensko gospodarstvo je lani poslovalo izjemno uspešno, ugotavljajo na Ajpesu. Kot pojasnjuje direktorica Mojca Kunšek, se je čisti neto dobiček skoraj podvojil, čista izguba pa se je zmajšala za polovico. - Evropska komisija za možnost odstopanja od proračunskih pravil tudi v prihodnjem letu, v središču priporočil zmanjšanje odvisnosti od fosilnih goriv.
Alfred Kubin (1877 – 1959) nas s svojimi sanjsko-grotesknimi in misteriozno-fantastičnimi podobami popelje v svet nasilja, vojaškega uničenja in epidemije ter nam skozi umetnost pokaže, kako se zgodovina ponavlja. Tega izjemnega risarja, čigar delo s preloma 19. in 20 stoletja je zdaj predstavljeno na razstavi Izpovedi trpinčene duše v Leopoldovem muzeju na Dunaju, predstavlja kustos razstave in direktor muzeja Hans-Peter Wipplinger, ki je o njegovem delu med drugim povedal: "Pri Kubinu gre vedno za kombinacijo domišljije in resničnosti. Ko je Kubin ustvarjal, sanj ni neposredno prenašal v svoje delo, najprej jih je rekonstruiral, potem izčistil in nazadnje na novo razumsko sestavil na podlagi svojega vidika kompozicije in svojega vidika refleksije.""Ne vzemite mi strahu, prav ta je moj kapital."Alfred Kubin (1877 – 1959) nas s svojimi sanjsko-grotesknimi in misteriozno-fantastičnimi podobami popelje v svet nasilja, vojaškega uničenja in epidemije ter nam skozi umetnost pokaže, kako se zgodovina ponavlja. Tega izjemnega risarja, čigar delo s preloma 19. in 20 stoletja je zdaj predstavljeno na razstavi Izpovedi trpinčene duše v Leopoldovem muzeju na Dunaju, predstavlja kustos razstave in direktor muzeja Hans-Peter Wipplinger, ki je o njegovem delu med drugim povedal: "Pri Kubinu gre vedno za kombinacijo domišljije in resničnosti. Ko je Kubin ustvarjal, sanj ni neposredno prenašal v svoje delo, najprej jih je rekonstruiral, potem izčistil in nazadnje na novo razumsko sestavil na podlagi svojega vidika kompozicije in svojega vidika refleksije."
Z nastajajočo vlado se napovedujejo spremembe na številnih področjih, tudi v izobraževanju. Oblikovanje nove bele knjige za vzgojo in izobraževanje, brezplačna prehrana v osnovnih šolah in povečanje javnih sredstev za visoko šolstvo na 1,5 odstotka BDP-ja do leta 2026 - to je le nekaj poudarkov iz koalicijske pogodbe. Izobraževanje bo odslej v pristojnosti dveh resorjev - ministrstvo za vzgojo in šolstvo bo po napovedih vodila Amalija Žakelj, profesorica na pedagoški fakulteti Univerze na Primorskem; ministrstvo za visoko šolstvo, znanost in inovacije pa bo prevzel nekdanji rektor Univerze v Ljubljani Igor Papič. Druge teme oddaje: - Odpravo posledic industrijske nesreče v Kočevju bo spremljala posebna občinska komisija - Evropski zunanji ministri brez dogovora o šestem svežnju ukrepov proti Rusiji - Začenja se 75-ti filmski festival v Cannesu, ki ostaja zvest delom, namenjenim predvajanju v kinematografih
Kako si? je vprašanje, na katerega le stežka odgovorim. Že za to, da evidentiram čustva, ki jih naplavi jutro, je potreben napor. Če se osredotočim na vse, kar me še čaka do večera, postane še bolj zapleteno. Ko se naposled spomnim dnevnih novic, se zavem, da je na svetu, kjer se tudi ta hip pri belem dnevu dogajajo nočne more, neodgovorno počutiti se drugače kot razbolelo. Včasih vrnem žogico z brezizraznim »Pa ti?« ali s slovansko melanholičnim »Gre«, a v obeh takih primerih se počutim, kot bi izdala prijatelja. Največkrat zato sebi in sogovorniku zadam udarec nelagodja s predolgo trajajočo tišino. Avtomatizacija vsakdanje rutine je orodje preživetja in ni, da bi se ob vsakem »Kako si?« spuščali pregloboko pod gladino. A vendar se zdi, da to rutinsko vprašanje danes zveni drugače in zato kliče po drugačnem premisleku. Zdi se, da duh časa zaznamuje nekakšna umetna zareza med osebnim in javnim. Po njej hrumi hudournik pretirane opreznosti, ki podira vsak na hitro postavljen zasilni most. Skepticizem premoščamo s formalnostjo, osamljenost pa z vzporednim življenjem na družabnih omrežjih – a oboje na način motrenja drugega skozi gost filter lastnih interesov in frustracij. Če povemo s Frommom, je kdo smo zamenjal kaj smo. In kar smo v času izvotlenega potrošništva, brezštevilnih vojnih žarišč in migracijske problematike vzbuja v najboljšem primeru tesnobo. Vprašanje »Kako si?« doživljam kot poslednji trk na vrata, da se prepričamo, kdo je na drugi strani in kako je z njim. Je čuječ ali je otopel, se z vsemi štirimi drži tega sveta ali lebdi med nebom in zemljo, kot kdo, ki se ne znajde več. Kot nekakšen lakmusov papir razkrije, ali še obstaja del nas, kjer se družbene, biološke in svetovnonazorske vloge sesedejo vase in kjer se vzpostavlja polje zgolj človeškega. Tega določajo temeljne koordinate bivanja, ki veljajo za vse in v enaki meri. Tam smo vsi izgubljeni in vsi najdeni. Ni toliko pomembno, kako se odločimo odgovoriti, kot se mi zdi pomembno začutiti izziv, ki ga to preprosto vprašanje postavlja pred nas. V sodobnem času, ki si mora pot do primarne iskrenosti in zaupljivosti šele na novo izboriti, zadrega predolgo trajajoče tišine morda vendarle ni najslabši odgovor.
Balada Mafia Minyak Goreng, Oligarki Untung Rakyat Buntung Oleh. Tsuwaibah Al-Aslamiyah (Wakil RedPel NarasiPost.Com) Voice over talent: Yeni M NarasiPost.Com-Terciduk! Publik akhirnya tahu siapa pihak yang bertanggung jawab terhadap kelangkaan dan mahalnya minyak goreng di negeri kaya sawit ini. Namun, jangan senang dulu sebab penangkapan itu tak secara otomatis menurunkan harga minyak goreng. Diduga, masih ada kekuatan oligarki di dalam lingkaran istana yang belum terungkap. Belum lagi persoalan sistem saat ini yang menjadi akar masalah dari persoalan multidimensi yang merundung ibu pertiwi. Dilansir dari Katadata.com (20/4/2022) bahwa Kejagung telah menetapkan Dirjen Perdagangan Luar Negeri Kementerian Perdagangan (Dirjen PLN Kemendag) Indrasari Wisnu Wardhana sebagai tersangka kasus dugaan korupsi pemberian fasilitas ekspor Crude Palm Oil (CPO) dan produk turunannya yakni minyak goreng selama Januari 2021-Maret 2022. Persoalan minyak goreng ini memang tak bisa dianggap sepele, masyarakat sudah terlanjur terkuras uang, waktu, tenaga bahkan nyawanya demi memenuhi kebutuhan harian ini. Tega nian, penguasa yang seharusnya melayani rakyat justru berkhianat. Lancarkan urusan korporasi, namun bikin rakyat pucat pasi hingga mati. Lantas, siapa saja aktor di balik kasus minyak goreng ini? Betulkah penguasa negeri ini mengidap narcissictic megalomania? Solusi apa yang paling jitu atasi krisis minyak goreng ini? Naskah selengkapnya: https://narasipost.com/2022/04/26/balada-mafia-minyak-goreng-oligarki-untung-rakyat-buntung/ Terimakasih buat kalian yang sudah mendengarkan podcast ini, Follow us on: instagram: http://instagram.com/narasipost Facebook: https://www.facebook.com/narasi.post.9 Fanpage: Https://www.facebook.com/pg/narasipostmedia/posts/ Twitter: Http://twitter.com/narasipost
Poglavitni razlog, da sem postal pisatelj, pa bo vedno ostal Kopitar, saj mu na tem področju dolgujem - če že ne vse, vsaj veliko, zelo veliko. Tega plemenitega človeka je treba spoznati tako, kot sem ga spoznal sam, da bi mu lahko izkazali spoštovanje, ki si ga zasluži – kot znanstvenik in kot človek … je zapisal Vuk Karadžić. Brez Kopitarja mu verjetno ne bi uspela reforma srbskega jezika, saj Kopitar ni bil le Karadžićev osebni prijatelj in mecen, ampak ga je kot velika mednarodna avtoriteta zagovarjal pred kritikami, neposredno usmerjal in celo soustvarjal njegova dela. Dr. Luka Vidmar poudarja, da je bilo malo ljudi, ki jim je Kopitar izkazoval tako naklonjenost; kot je povedal, je imel Karadžića zares rad. O njem ni našel slabe besede, kar je bila za Kopitarja velika redkost, saj je bil neusmiljeno kritičen tudi do najtesnejših sodelavcev. V znamenje njunega prijateljstva in sodelovanja so v Beogradu in Ljubljani postavili spomenika. V srbski prestolnici stoji spomenik Jerneju Kopitarju, v Ljubljani pa Vuku Karadžiću.
The city of Rock Hill and the city of Tega Cay in South Carolina are both being sued by York County for reportedly failing to pay for services associated with sending inmates to the York County Detention Center, including not paying or reimbursing the county for housing its inmates. Attorneys representing York County believe this lawsuit is about the "dignity of local governments under Home Rule." In the lawsuit released Thursday, attorneys stated in June 2021 the two cities along with the city of Fort Mill, the town of Clover, and the city of York sent a joint letter to York County Council. In the letter, the municipalities said they would still send inmates to the detention center but had no plans to reimburse the county for the expenses associated with the inmates from the respected municipalities. READ MORE: https://www.wcnc.com/article/money/rock-hill-tega-cay-sued-york-county-failing-to-pay-detention-center-housing-inmates/275-1f0c38ca-6ac3-4f65-a432-7d52339f6850 Residents of a Fort Mill neighborhood are upset after several families reported receiving sewer bills for the month of March charging them $1,000 or even $2,000. Kevin Connolly has lived in Sutton Place for more than 10 years, and despite living alone with his wife and paying his bills on time, he was charged $2,139.39 in March. “They cannot convince me, they cannot show the technical data, to support that bill," Connolly said. "They can't." READ MORE: https://www.wcnc.com/article/news/local/fort-mill-neighborhood-reports-soaring-sewer-bill/275-30d95b5d-ee1f-44dd-9ddf-867f393e2bc0 Watch Wake Up Charlotte each weekday morning from 4:30 to 7 a.m. on WCNC Charlotte, and as always, join the conversation on social media using #WakeUpCLT!
Zdravo. Zi se v tokratnem PPP-ju* spomni na citat iz knjige in na nekaj velikega in rumenega. #gremovolit * PPP = predvolilno propagandni program. ;) Hvala ker nas poslušate, tudi če vabimo na volitve. Če se vam zdi, da je treba volit, povejte to še komu. Več ko nas bo, bolje bo za vse.
Pred aprilskimi državnozborskimi volitvami se uradno začenja volilna kampanja. Volilci, ki bodo na dan glasovanja, 24. aprila, začasno v tujini, lahko samo še danes do polnoči zahtevajo glasovanje po pošti ali na enem od diplomatsko-konzularnih predstavništev. Vlogo je treba oddati prek portala eUprava. Preostale novice: Pred enim mesecem se je začela ruska invazija na Ukrajino; voditelji članic Evropske unije, zveze Nato in skupine G7 v Bruslju o novih ukrepih proti Rusiji. Posledice vojne v Ukrajini zdaj tudi najpomembnejša skrb slovenskega gospodarstva, zlasti zaradi težav z dobavami surovin, pa tudi pesimizma kupcev. V Planici danes kvalifikacije za prvo, posamično tekmo finala sezone svetovnega pokala smučarjev skakalcev.
Today, we discuss the barriers Black Women face on the job and how to strategize an exit plan from a workplace that is no longer serving you. Dr. Tega will talk us through the red flags and thought process of making a career move/change successfully and start living a happy, whole, and healthy professional life. Dr. Tega Edwin is an award-winning career development researcher, educator, and speaker. She's the owner of Her Career Doctor, where she helps women who are unhappy at work get clear about who they are to find a fulfilling career and job search with confidence. Before starting her company, she worked as a career counselor for one of the largest career services centers in the nation. In addition to her work as a career counselor, Dr. Edwin currently uses her Ph.D. in Counselor Education as a professor to train future counselors in a large research university. Dr. Edwin is a licensed professional counselor, a nationally certified counselor, and a certified salary negotiation facilitator. Dr. Edwin has been able to use her training and 7+ years of experience to: Speak at national career development conferences Publish articles in national career development journals and magazines Develop her unique Flipped Triangle Model for Career Decision Making Live on purpose in a career path that she's thrived in for over seven years www.hercareerdoctor.com --- Send in a voice message: https://anchor.fm/invisiblewomen/message
2:35 to 3:50 “ My goal for mavins was “ 04:41 to 06:12“ If you don't have the mind to spend & not get your money back you can't run a label “ 10:33 to 11:33“ Tega is my blood 🩸 “ 13:42 to 15:30“ Dbanj was the catalyst that sparked the Don Jazzy everyone knows now “ 15:36 to 16:36 “ Wande coal is just a genius “ 17:13 to 18:13 “ Wande leaving hurt more because I acted out of character “ 18:43 to 17:43 “ The Roc-nation deal for Tiwa was a management deal “ 24:48 to 25:48 “ D-Prince ear 👂 for talent is mad, he found Rema & Ruger “ 25:48 to 26:48 “ Instagram is the new A&R space, it's where talent is mostly discovered “
Tega gets a job in the Netherlands and prepares to relocate, but before he leaves, Timi and Seyi have a quick discussion with him on things he'd miss when he leaves the country. Seyi also plans to travel as his new goal is to visit every country in the world
On this episode of Vibe With EdmundOris Podcast covering the 2nd game week of the 2021/2022 football season, Edmund is joined by co hosts Tega and Williams from his second podcast “The Viewing Center” and they discuss everything happening in the world of football; The Arsenal vs Chelsea game, Man United and Ole, Messi less Barcelona, and the rumors on Ronaldo wanting to leave Juventus. And in what is an intimate extra time talk, the guests pour their hearts out about the high and low time of their university days and medical school. FOLLOW Edmund Oris on Twitter & Instagram @EdmundOris Dr Williams on Twitter @ugbomehwilliams On IG @god_father_of_harlem_ Tega Odumu on Twitter & Instagram@hashtagtega Kindly use the hashtag #VibeWithEdmundOris when talking about the podcast online and don't forget to rate us on Apple Podcast and leave your honest review.
Aloha friends is Robert Stehlik. Thank you for tuning into another episode of the blue planet show. on the blue planet show. I interview Wingfoil athletes, designers and thought leaders. And I asked them questions, not just about wing foil equipment and technique, but I'm also trying to get to know them a little bit better, their background, what inspires them and how they live their best life. You can watch this show on YouTube for visual content, or you can also listen to it as a podcast on the go to search for the blue planet show on your favorite podcast. I haven't come out with a new blue planet show for awhile. It's cause I've been super busy. You might've heard that. We took over a new shop in Haleiwa on Oahu's north shore, formerly known as tropical rush. We just opened there and I've been super busy, getting everything set up. It's really exciting, but it also, it takes a lot of time. So I haven't had as much time for the YouTube channel and the blue planet show, but I've been waiting for a long time for Alex to come onto the show and he finally had some time to do it. So I got a great interview with him. Alex is nutty about wing foiling. He's coming out with GoFoil Wing foil boards and wings. And of course he plays such an important role in the development of the sport. He basically invented the foil that allowed Kai Lenny to do downwinders on a big long board. And basically kick-started this whole sport of foiling in the surf and now with wings. So thank you for that, Alex. And without further ado, this is the interview with Alex. All right, Alex Aguera. Thank you so much for joining me on the blue planet show. So how are you doing today? Doing great early in the morning, over here. How are you doing Robert? I'm good. Yeah. So I'm on here on a Oahu. You're on Maui, nine o'clock on a Wednesday. So yeah. So tell us, let's start a little bit with your background. Where did you grow up and how did he get into water sports and like early childhood to start from the very beginning? For getting into water sports, it started when I was let's see about 14. We went on a family vacation. I grew up in Clearwater, Florida, by the way. And. We went on a family vacation to the Virgin islands, British Virgin islands, and we're going to be on a sailboat and, do the bareboat charters where you travel around to each of the islands. And it's, it was just a fun, two week trip in the, in a place where we'd never been in places that were super clear water like that crazy, it was just fantastic. But anyway, the captain of our boat, we had hired a captain who would sail us around to the, for the first week. And then we were on our own. The second week, the the guy would put this wind surfer in the water at this one place where we first started called Soper Sol and Tortola. Any of, they would start sailing around with him and his other captain, buddy friend, on this funny looking sailing craft that, ended up being one of the original. Baja style windsurfers. So this would be for the original windsurfer was some of the first boards that oil swipes, or it may, and it looked like a big, giant, long board made out of a fiberglass. But anyway, when we got back to Florida after the chip, my dad wanted to check this out as a possible, get the kids doing this. Cause we were riding motorcycles and stuff at the time you wanted to get us off of motorcycles. So he calls up Hoyle Sweitzer, which was windsurfing international or whatever. They called themselves. At that time, this was really early. This is like 1975. And oil tells him, he goes, Hey, I'll sell you six of them and make you a dealer, so it was like, okay, we were the first dealer and in Florida and it all started from there. We started wind surfing right in 1975. And that's how I got into all these other sports that have evolved since then. Oh, that's so cool. Yeah. Foil Schweitzer is Zane Schweitzer's grandfather who basically invented the sport and had the patent and everything. Yeah. So your dad became the first either the first wind surf dealer in Florida. Yeah. Like district nine or whatever, what are they? I can't remember fleet nine or something, the, for the ninth, one in the United States. So that's when the books were still made out of wood and stuff like that. And the bowl we're still out of wood. There was a daggerboard was still out of wood. We hadn't progressed to, a composite looking white daggerboard yet. And we hadn't invented harnesses yet foot straps or anything. Okay. And then, okay. And then what happened next? After that, we Pursue to get better and better at wind surfing. And my dad started to be the distributor for the Southeast United States. And we were really in the winter and our whole life changed from, he was working at Honeywell, which is one of the firms down there in Florida. He was a engineer. And then he switched over to just going to be wind surfing. We're going to go all in, into this wind surfing thing. So from there, we add a whole bunch of people in Florida that we were the original Florida wind surfing crew. We called ourselves the fearless flying Floridians there for a couple of years. And it was a real close crew there in the Clearwater Sarasota area that we always raced against each other. And we just got better and better. And then pretty soon we were doing well in the national and world championships. Awesome. And then. How old were you when you did that kind of the racing and your first world championship? I guess? My first national championship was the following year. What Hoyle used to do back then was we would do these big district championships. There was like maybe five or six throughout United States and whoever had won their district championship would get a free trip to the nationals. So the nationals then following year in 76, I'm 15 years old, a win, a free airfare to Berkeley, California, where we're going to do the nationals. And I traded it in for money to buy a bus ticket and pay for my hotel when I'm over there. So just imagine you're 15 years old, you're traveling in a Greyhound bus, cross country. Get over there, you rent your own wind surfer back then they would have, rental packages where you just come in, rent your own gear and then raise. So at 15, that was quite an experience, to have my parents to be able to let me go, all the way across the country and do that all by yourself was, looking back at it now back then, seem oh, that's okay. I can do this. We'll look back at it. Now. I was like, God, I would never put my kids through that. But that was a fantastic Regata because. What happened was, so it was 76. We're at Berkeley. We had a lot of wind and stuff, but as first time I get to meet Mike waltz and Matt Sweitzer, who were like the gurus back then of windshield, because they had a thing called the windsurfing news, which was like a little paper back, like a magazine, the early wind surfing magazine was a paperback called wind surfing news. And it was always the swipe tours and like waltz and this and that. So we get over there, meet Matt and Mike can win or goes for his first championship with all the boys. And Robbie Nash does his first championship. All the boys, he, so little 12 year old blonde kid comes in from Kailua. So it was like, all of us got together for the first time at that time. And he was Robbie Nash is two years younger than you about, okay, so you were 14 and then there's someone even younger than you showing up. Yeah. Yeah, that was, how did you do in that? Oh, I got beat up. It was blowing really hard. And in Florida where I learned, I was just learning to race around and, barely get planing kind of conditions, which we have in Florida coming up to that summertime, you get to Berkeley, it's blowing 20 to 20 fives, sometimes gusting 30 and one of the races. And I don't think I got across the starting line. I got beat up. I was just rag dolling. Cause you only had one, one sail and it was pretty big. I probably weighed 125 pounds at the time. And I remember there was these divas, these sisters, the SWAT tech sisters. There was Susie and Martha and The girls just beat up on me. I was getting whooped up on by girls mad. It was like, oh, bad. It was, I was humbled when I went there, but watching some of the stuff that was just then evolving because Robbie had come over and he started doing this railroad thing, it's the first time any of us see a rail ride. And I was like, oh my God, what is that kid doing? Who is that kid? And then by the time, the week it ended max White's here. And I think Mike had picked it up and Ken were all doing railroads by the end of the week. They had figured it out. But when you first saw that, I was like, what the heck? That's something new. And then we did one of the, I think it was, could have been the very first freestyle event there. And. The guide who Dennis Davidson, who was one of the original Kailua windsurfers was putting a little teeny fin on his board. He was doing these super fast tax and stuff. And we were like, wow. And he ended up winning the very first freestyle. Oh. And then again, so that's awesome. And so then how did that progress it, you became a professional windsurfer, right? Yeah. That that was many years later in about 1980, started getting paid to do wind surfing races by wind surfing international and oil spikes or, and we would go over to Maui for the first time. We were going to do the Pan-Am world cup was a real big race. It was for high wind and it was in Kailua. And the first year I didn't go to, it was in 79. There wasn't any wind. So they had to race in Waikiki. The next year, oil flies us out. I spend six weeks on Maui practicing with Mike waltz. He had told me, Hey, you gotta come over here and see this place. If it blows all the time, he had just discovered Okinawa, within the last six months. And he goes, there's nobody around the wind's blowing all the time. There's waves. So my brother and I went over there and hung out with Mike for about six weeks. Then we went to Kailua to do the first real pan Emmerich's. It was blowing hard and it's like the windiest day you've ever been in Kailua now is what we experienced for a whole. And we were like, oh my God, this place is gnarly. We were scared to death coming from Florida and seeing that kind of stuff. And that was one of the very first, big, high wind regattas and wind surfing history. Wow. Cool. And you said your dad was an engineer at Honeywell. So did you ever get any like formal education as an engineer or any kind of like that kind of thing? Or is it, are you just all self-taught on the side? Yeah, on that side, it's been mostly self-taught. I went to, some business classes in community college after I got out of high school, but I moved over to Maui after that 1980 trip. I was like, oh, I'm selling everything. I'm moving to Maui. As soon as I can. It took me about a year and a half to be able to pull it off. Then I moved back in 1982 to become a professional. Nice. Yeah. And then, so how was that getting started on Maui in the eighties? That was something, it was great. We were, I don't know if Paya very well, but back then there was, it was hardly anybody in pyuria. There's no traffic light. We rented a place. It's right next to where mana foods is now, back then, there wasn't any model foods yet, but we rented a Quonset hut there. That is where they still store some of their, use it for storage of some of the stuff that the store. But anyway, there was at some time, six of us staying in this Quonset hut for 250 bucks a month rent. So we're all paying like 40 bucks a month rent and living in Maui, nobody around we're going to hokey every day and just having a blast, nobody around on the road, everybody you saw on the road was a windsurfer. You knew everybody. It's like now it's all tourist going by. Yeah. Molly has changed a lot. I lived there in the nineties or late eighties and early nineties. I lived in Peggy too, like really close over there. So I remember those days we lived in a basement apartment, which is super cheap, but yeah. And then driving old Molly cruisers rusted out cars, all that. And then, and then at that time, when surfing was developing really rapidly and changing and stuff. And did you start making equipment back then already? Or how did that, how did you get into business that business? I used to, I was sponsored by high-tech surf sports and Craig Masonville, who was the original guy for high-tech used to shape all of my boards. And we were riding the old asymmetrical, wind surfing boards that we used to ride at hook. I want a couple of the big contests that hook keep a riding those. And then I was always on the pro world tour for wind surfing. And eventually it was hard to get the boards that you wanted, because I had to start working for my French guys Tega and they were making me boards and then Craig was making me boards and it was hard to get boards on time sometimes through the high-tech factory. And I said, oh the heck with this, I'm going to try and start building boards myself. So in 1989 was probably the first time I was racing on one of my own boards. I remember racing in the Gorge and doing really well on that. And at the high-tech surf summer series I won a couple races on my own board and I was all proud. I was like, oh yeah, I might be able to do this. So that's how long ago I started. Yeah. Nice. So those are, slalom racing boards is, were your first boards you built? I got the first boys were slalom racing boards. The way boards is a little bit more technical cause it's easier to break those. So the first law and boards, I didn't have any sandwich on them. They were just covered with carbon and I had some elaborate process for stretching the cloth over it and wetting it all out and keeping the rock or shape, and then learn how to do vacuum bagging and sandwich construction after that. Yeah, I was working for hunt Hawaii in those days and he, we were, he was still building boards with using polyester as in, but then I guess at that time it would switched over to Potsie. So is that, what do you use the proxy or polio? My first boards from Masonville were always polyester. Then we started switching to a poxy in about 1985. I've got a slot onboard that Dave calling on, who was the laminator for high-tech back then we started experimenting with styrofoam and carbon fiber, and I raced the first one in 1985. I think it was. And that's where we're like, oh man, this is white, stiff and strong. And we're like, the lightness was just incredible compared to polyester. And I won the Gorge the second year in a row on that board. And I won the Japan world cup that year and in the spring on that court. But we learned a lot of things about, styrofoam construction goes back. We would just sink the boxes into the styrofoam. And then by the time I had finished the Japan race, my deck box had collapsed into the board. There was a big hollow spot inside. Okay. We were learning a whole new phone core and what to do with it. There was a lot of learning in that. Luckily the board stayed together until the race was over. Yeah. Classic. And then use like vacuum bagging and all that kind of stuff too, or just regular later. Yeah. When I started, I got my first vacuum bag bored by this guy, Gary efforting, who was a, you might remember him. He was the guy that made Hypertech in the Gorge and him and Keith notary would do these. They called it a clam sandwich or something where they were doing vacuum bagging. But Gary and I, he was a friend of mine because we all grew up in the same area in Clearwater, Florida. And he was showing, he made one of my original 12 foot long boards that we used to raise some world cup. And he was using this new aircraft technology called sandwich, construction. And he was the first guy that I saw doing sandwiches on boards. And slowly I learned how to do all of those process. A lot of it was trial and error, but eventually I was, I had retired from the pro wind surfing tour and started running the probe windsurfing tour. And then at the same time as being the race director, I started building boards for top guys like Kevin Pritchard and Mike abou Zionist. And those were all, they had to be super custom, super like sandwich boards. Wow. Okay. And then I guess when tiding came around, you got into kite surfing or yeah. W what happened there? The kite surfing, it was it was funny because we were sitting over here. We're all wind surfers. Layered was still a wind surfer. And he started playing with this kite and my other buddy maneuver Tom from France was starting to experiment with this kite thing and we'd see him at home Keepa. The guys were takeoff with these funny, real bars and all kinds of weird hiding stuff and start sailing this kite and go cruise down the coast, and ended up down at Kanawha or wherever. And I'm like, wow, that looks pretty interesting. What the heck is that? I didn't want to do it until somebody got back to the beach. They started out, I'm not really into this down winter and you're out there, on this thing, out in the blue water, with the, whatever could go wrong in palette around with the shark. So okay. If you could get back to where you started, that's what I finally started getting into it now. I don't know, in 97 or 98 or whatever, somebody was finally making it back. But what really got me into it was flash. Austin had moved over from Florida. He was lived in Daytona and he came over and he was this new kite guru guy. And I would watch him jump and he's 25 feet in the air and just hang in there and then come down real soft of flashy to have great Ky control. He still does. And I was just watching that going, wind surfing. If you jumped 25 feet in the air, you come down hard. I don't care what kind of stuff you're doing. It's that there's an impact. So I was like, I really want to do that. That's what really got me interested in kiting was watching flashed land softly. I'm like, okay, now I want to go boosting. So when you got into D did they still have those reels where you had two reel in the kite, if you get, if you drop it in the water. Yeah. Those guys were still using that, but I'm Brett lyrical and all those guys had their kite reels and I'm like, no, I'm not playing with that. Cut real. Does they look like you eat it? And then there's all this metal and stuff in your face. I started out with one of the two line whip, mocha kites, and then progressed to a two line Nash guy. And then eventually we started making four line kites and it got a little bit easier, those original to lion whip because, and stuff, they were all that was around, but they were a little bit dangerous. There was a lot of accidents in those early days. It took a while before at least five years before the kites got, safe enough to where, people weren't hurting themselves so bad anymore. Yeah. And then I guess around that same time the strap crew I guess layered and restaurant, all those guys started foiling, right? Torn, foiling and jaws and stuff like that. So when was the first time you tried foiling and how did you get into that? Foiling. I didn't try foiling until much later. Those guys were all into these BNN, bindings and strapped into this little board and everything weighed about 60 pounds. It seemed and big aluminum, mass and just super heavy. And then of course, these guys were real right. They were like, Hey, we're going to go to jobs. We're going to ride out or spread, it was like, you're all in, or you're not, and I'm like, they're like, Hey Alex, you got to try this. And I'm like, no way, man. I'm not going to be strapped into that tank and going over the falls. And that looks dangerous. But those guys there, they really were into it at the time. And we were all towing too at the time. With, our little tow strap boards. And I remember one day we were out at Spreckels mill and rush Randall is towing around. It's pretty small for tow day. We like to tow it. It's eight foot plus, and have some fun and it's four feet occasionally. And you're waiting for a set, but rush is going around in circles, just on his foil, cruising around at least doing backflips, going out with this thing while he's getting pulled with the checks. And we're like, man, what the heck? Russia's having a lot more fun than we are. So that was one of the first times where I really looked at it and go, wow, this could be fun. But for me to actually get into it myself, I was kite foiling at the time I had start, this is a, it was a funny story because I had stopped kiting for like about five years, Jesse Richmond, who was the world champion at the time. And his brother, Sean, they were like the best or kiters on Maui. And Jesse goes, Hey, you got to start making some kite or some tight race boards for us. I'm getting beat by girls out on the course. We just started this tight racing thing. So Jesse got me into kiting again. So I built a few boards. Then I had to test them with those guys. And that's how I got back into kiting then. So this lasted for. Maybe three years of kite racing. That was the one that we had the big, three fins on it. And you're, racing up when, so then my buddy in Martha's vineyard, we started foiling back then they were riding all kinds of funky foils, but it was the early days of foils. Most of them came out of France back then and he goes, Alex, I need you to make me a kite foil board and I'll trade you this foil, you got to start getting into foiling and you I'll trade it for a board. So I did this with my buddy, Rob Douglas, he's the world speed record holder for kiting back in the day. And he goes, okay, we're going to do a trade. So that was my introduction into kite foiling. And he gave me this foil that he had already beat up. He weighs about 2 35 or breaks the heck out of everything. And it was all wobbly and I had to keep fixing it. I was breaking it and stuff, and that's how I got. My first initiation into foiling and how to build foils. Cause I was always fixing it. And then I started making my own wings, and that's that was, started me all into foiling. Yeah. And on those foils for kite, for them back then were tiny, right? Really small wings and really long mass and so on. Or is that kind of what you started on? That's what we all started on because back then it was the same thing with layered in those guys. We had these really thin foils cause we were only interested in speed. We wanted to go faster and faster. Nobody wanted to make something to go slower. So everything back then it was, they were small, they were thin, everything was like the fast race foils were less than, 13 millimeters thick. They were, 14 or 15 millimeters was a fat foil. So that's what that's what we used to do. Yeah. And then at, and did you, when you made your own fuzzy, like CNC of them out of G 10, or what kind of how did you make your own foil? Basically what I did in the beginning was I would take some existing foil that I had, and then I would reshape it and try to figure out how to make molds. So I was making molds and figuring out how to do that. It was a whole different process. I was used to building boards and sandwich, construction, vacuum bag now on a changed to, Hey, you got to learn how to make molds and make these wings. So it was a big learning curve. I've made a lot of mistakes. I burned up a lot of molds. I did all kinds of crazy stuff. It was just like learning to build boards. You've got, there's a big learning curve, but that's what I ended up doing. And I would take some of the wings that I got and that I wanted it bigger or smaller or whatever, and I would reshape them and then make molds off of them. And then when did you actually start your business? The gold foil business and started making foils to sell? Like when was that? Yeah, and I think for Gofoil, I probably was in maybe 2013 or 14. First I put the, a name on my kite foils. Then I went to Vietnam to have my buddies over there at kinetic T. I taught them how to build the foils and then I changed it to go for it. I had this idea I'm over there with the boys in Vietnam and it, they don't speak English, super well. So I'm telling them, what do you guys think about this name? It's like gold foil, just go for it. They'd were like, yeah, I don't get it. I had to go for by myself cause I couldn't get anybody to confirm that, Hey, that's a good idea at the time, but I got my buddies over there to make me the logos and stuff. And that's where I came up with. The name go foil was when I first went over to Vietnam and started putting it in production that's way before any of the foils that everybody knows as gold foil. Now. So the kinetic factory was making your first kite surfing. Foils. Yeah. So the ones in production at first, I was building it all here, custom and I started building boards and the foils over there at Connecticut. Okay. I'm gonna, I'm going to screen share a little bit here. And then at some point He made a foil for Kailani. And then he posted this video that kind of took, I guess now it has over 5 million views, which is just amazing. But can you tell us a little bit about the backstory behind, behind this and how that all came about? There's a long story behind that, if you want to go into it, the, we want to hear all about it. Okay. In the beginning, this was about maybe eight months prior to this Kai was riding my kite foils and we decided that we were going to put one of them on his one of his standup boards. So we put a Tuttle box and one of his, I think he had an eight foot standup order, 76 or something at the time. And we put the kite foil on it and he was going to go stand up foil. And I never really heard back from Kai about it. He comes back about six or eight months later and he goes, Hey Alex, we gotta redo that thing about going down, wind foiling again. And I go what happened with the first foil? And he goes it's dangerous and there's not enough lift. And it was really hard to ride and I'm like, okay let me think about it. And I'll try and come up with something. We'll try it again. So what ended up happening was I spent two weeks taking one of the old kite foils that I had that I really liked that had the most lift and I kept changing it. And adding on, I had this idea that we got to rethink all of this, that, thin foils is not what you need to get going under your own power. We need something that's going to be a slower foil that can lift up more weight, at a slow speed. And I'm thinking shoot, these big aircraft planes that are lifting tanks and stuff go by having bigger thicker wings and different foil sections. And I started trying to mimic that on one of my kite foils. So I would build it up Bondo and AB foam, reshape it and glass in and kept playing with it. And about two weeks before I finally said, okay, you've done enough remodeling here. Cause you're never going to get it. Perfect. You have a little bumps here or whatever, and you're like, okay, let's try. So I call up Kai or I sent him a text and Kai is oh, I'm in LA, I'm on my way to Europe. I'm doing the indoor in in Paris with Robbie. We're doing, it's a wind surfing indoor. Okay I'll try it out and see how it works. So I go down to sugar coat, which is here on Mallee, which is a kind of a bumpy funky way when it's fairly big. And it's like head high Peaky sets all over the place and kind of gnarly, for trying to foil for the first time I go out and say, what the heck I'm going for it. And actually Jeffrey and fin Spencer are in the water surfing and my dentist Barclays in the water. So we've got all these guys witnessing me going out there and trying to kill myself. So I go out big standup paddleboard, or what did you put the foil on? Yeah, I had made a board that was. I think it was eight, six or nine foot was my standup board. I put a total box in it about 24 inches from the tail and I'm thinking, okay, this should be good. Where I want to stand on. It will give me a little bit of lift. Cause I moved it forward compared to what I do on my kite foil. And I use the kite mass though, which is 38, 39 inches tall. I've got this new front wing, which ended up being the original Kaiwei. And so I put that on there, go out. I had a tail wing that I didn't like for kiting, cause it had too much lift. So I used that for the sup foil to cause I needed more or less. So I'm like, okay, I'll try that. See if it works, get out there. All of a sudden I rise up and I'm like, I got plenty of lift and then I roll over and I'm looking at these wings in my life because I'm on this giant mask, and it's just, I kept looking at the wings. After about five near misses of hitting that wing with my face. I go into the beach and I'm thinking to myself now I know what Kai's talking about now. I know why it's dangerous to the masters too tall. So I go back to the shop, cut the thing in half, I cut it down to 18 inches or something and go back to lower lowers it. the next day. And actually take my GoPro and film myself writing. I remember I went over an Eagle Ray or something that day got a nice video and I'm going like, at times almost 50 yards, I'm like, whoa, I could do this. And it was just like amazing. And a couple of my buddies were in the water and saw that fuck buck saw it and Jerry Rodriguez saw it. And these guys were just like, they couldn't believe it. They're like, oh my God, he's doing it. But anyway, is this on your YouTube channel? I put it in Facebook back then Facebook. I put it in Facebook. I've got it somewhere. I can find it. I don't think I ever put it in YouTube. I don't know. I might've. Yeah, but you go that far back, but yeah, I tagged Kai on it and then Kai saw it. He goes, oh, wow, man. I've got to try that as soon as I get back. So he was all stoked. And then when Kai came back, you put Khan on the same board, the same thing. And it's hard to describe right now. We take it for granted that, what are you watching Tom Brady? I couldn't believe that's ridiculous. But anyway while I'm a big fan of the Tampa bay Buccaneers, so he's brought it back to my town. So he's like my hero. He was always a hero for me, but now he's like a super hero, but anyway, Comes back jumps on the same equipment and it's hard. Describe the first time you see a guy who's foiling and he goes, past the peak goes way out to the left, comes back across the peak goes way over to the right and keeps going back and forth. And you're looking at them going, what the heck is he doing? It's just, it was mind boggling to see somebody do that for the first time. And I was like, oh my God, what the heck is going on here? Maybe we have something here. And, Kai is just a freak. He was just doing stuff that was, unbelievable at the time. And I was just like, oh, maybe I should make a patent out of this. This is it. It was just like a revelation seeing something like that for the first time. Yeah. And that, the first foil I got we jet my friend, Jeff Chang, and I'd tried it on a kite foil at first, be behind a jet ski and stuff. And we were really struggling in same thing. Like almost killed ourselves, falling into the foil and stuff like that. But then when we got the first Chi foil, that was like, oh, this is so much easier, but it's funny because at that time, the Chi foils seemed like a huge foil, but now it's actually a kind of a small foil. Most people start on a much bigger flow. Yeah, exactly. That's a really small foil. Now, getting back to the story, how that evolved to your video. Okay. Kai was just riding in the waves that sugarcoat doing this stuff. Henry Spencer took a video of him that was like the first time where you see this going crazy. And then he starts going. He goes, okay. We got to, I got to talk to Rob. We got to put this on one of my downwind boards because we tried it on my downwind board, the same board that we were riding in the surf, and I'd go out there with Kai. He has his 12, six, his regular, Nash board. We're paddling down. When I cannot get up to save my life, no way, especially on a Chi foil. So he goes, Hey, let me try that. Give it to Chi and Chi proceeds to get up like seven times on the way down to sugar coat, like immediately, even on that standup board. And I'm like, the kids are free. He just paddles his weight to strength ratio is just off the chart when he's battling. So he's all over the place. We get all the way down to sugarcoat. He takes off from the outside, which is like at least a hundred and 150 yards outside. And he cruises all the way into the beach and it was like, wow, this is something he spends the next week, trying to talk Robbie into being able to turn one of his Nash boards and put a total box in it. So I go, okay. We'll do that. Just keep talking to Robbie. See if you can pull it off. Eventually Robbie gives him the, okay. Okay. You're going to do it on that board and blah, blah, blah. So we put a tunnel box in at 48 inches. Cause Kai says, that's where I stand. I think that's going to be the good place to put the tunnel box. So we put it in there. I get this text he's down at the Harbor practicing and he goes, Houston, we have a problem. And then he goes on to describe that I'm going plenty, fast enough to get foiling, but the tail is hitting the water and I can't get up just because the total box is so far forward, his tail would drag and bring him down again. So he goes, okay, let's put a tunnel box at 24 inches. Like it is on the other board. And w we should be able to get up and I go why don't we just cut the tail off, and see about it. Like in this video, you can see how I cut the tail off of that board. Put like little diamonds. Yeah. So the next day he shows up at the shop with the board, I said, yeah, we'll put the fellow box. And he goes, Hey, I think you're right. Let's cut the tail off and just leave the total box where it is. That'll give me less bored after he thought about it overnight. And then within about two weeks, he makes this crazy video of him just jamming down the coast on this. And one of the, one of the scenes from the video that really caught my eye was Dave Kalama. And Jr is his cousin are in a two man canoe, which is two man Outrigger, which is the fastest boat. Usually in Maui the pattern and he goes right by them and it was just like, oh my God, what is going on there? It was just amazing. It was like, oh, we've got possibilities now. Yeah. They always screws. That's the dream to be able to just surf the open ocean swells and just be able to keep going indefinitely. And then something that layered had always talked about, we always played volleyball and we were always around together. We always played at Brett's house and layered would always talk about that going. I think we're going to be able to just cruise for miles down the coast on one of these foils. And then, like 10 or 15 years later this is what we. Yeah. That's amazing. And then, yeah. And then what happened after that? Pretty soon after that, Nash started making foils as well. So how did you feel about that? I did not feel super stoked about that. And it was like, Hey, we've got it. All right here. You could just, we could build it for you to put your logo on it and you can go from there and then I could make some money out of it. And Robby was, he's always, do it all yourself and keep it inside the company. And they wanted to do it all ourselves and Mickey, he had told me one day he goes out, he really going to be bummed if we do this all by ourselves, because Rodney wants to do it himself. And I'm like I'll be bombed, but we'll still be friends. And I guess you did, you did that with star boards for awhile, right? You put the Starboard's logo on or co-branded with Starboard's was starboard logos as well. We had done a lot of them were just go foil and a lot of them were starboard Gofoil. So there was both of them were branded at the same time for a while. There we were in the early days we were connected with starboard. And then you got a patent on the, on your foil design. So how come you never, did you ever try to enforce that? I Obviously like now there's so many companies making foils. Is there any way, like anything you ever were able to do with that patent or was it just not feasible? He never really pursued it. If there was a lawyer out there who wanted to pursue it, and work at his, work on his dime and then split it, 90, he takes 90% of the profits. We get. Then we could do something, but it's something where, you don't really want to jump into that game unless, it's financially feasible. We've got patents on the patent that all kinds of aspects of, the surf foiling and stand up for healing. And basically as being, a new thing and, thickness of foils being thicker than the norm and all of that. So there's a bunch of aspects to the patent, but we never really pursued that to where it gets expensive, and you'd rather, nobody wants to take that on, and get their own money. You would do a 90 10 split, huh? Split. Get that out there. That would do it. Oh, rate is 8% is royalties that all the companies should be paying you, they could get 90% of the 8%, but yeah, that's just one of those things in the beginning, we went for that patent to, it was like, wow this could really be something big. And is it a utility patent or did design patent, do you know? I'm not even sure which one it is. It's the more expensive ones and that's a utility patent. That means that, that means it doesn't have to be like, even if it's not an exact copy, if it's the same concept and yeah. Basically. Yeah. Yeah. That's what we went for. And we have a big time patent lawyer firm that did it, but it's hard to enforce, obviously you have to prove that it's and he was going to chase it, on their own diamond set of you paying for these lawyers because the lawyers and all that gets expensive, we've got the patent and the us China and. Australia, we didn't pursue the other countries because you got to pursue every country separately. And then how, and then how did you, did it evolve? Like I know in the early days, like everybody wanted to buy foils and there, you couldn't just couldn't get them, like you couldn't make them fast enough. And like, how did you ramp up production and what kind of issues did he run into? Yeah, you're in the early days, you, haven't a lot of problems with how to construct this and how to keep it from breaking in me. I always making wind surfers in the early days. I really hated warranties that will end up ruining your business. You do all of this work and then you got to give the guy another board or fixes board or whatever. So in the beginning, we didn't even want to put out the product till we were pretty sure that we weren't going to break it. So that stalls your production and stuff. And then once you do ramp it up to get, full on production going, then you end up, you have to watch out that things are evolving so fast to not make too much of the, something that might be outdated by the time you get it, because it takes a long time for these factories to build our stuff. What happened with us, which was unique with us is that my two brother-in-laws build canoes over in China. My one brother-in-law owns the factory because he got burned by some Chinese factory he was working with. So he decided to do his own us own Chinese factory. And then he got asked to jump through all the hoops to do that. But anyway, they were making the canoes. And he makes a bunch of different models that you see around in Hawaii and the manager of the factory, my other brother, a brother-in-law Michael Gamblin is my other sister's husband that owns the factory. He's the genius behind, put it all together. He's the guy that I do all the CAD work with and building the foils and the wings and stuff. He's really super smart. And he's, can pull all of this stuff together. It has the drive to do it where people go, oh, wait a minute. That's way overwhelming. I'm not going to do my own Chinese factory. That's going to be too many things to overcome. But anyway, what happened was I had been building stuff in Vietnam. And it was getting to where it was hard to get stuff out of Vietnam fast enough. And I was seeing that these foils you're going to need a lot of these are going to need thousands of these things, cause it's in hot demand. So I asked my brother-in-law Michael, Hey, do you want to start building these at your factory in China? And I showed him the video of Kai and the 5 million views. He's oh my God. He just went by Dave Kalama and junior on the two man. Okay. We're all in. Let's do it. And that's how it started. And now it's a whole family business and we build all of the main hydrofoils in China at his factory. So I guess in the beginning, like I remember the first one I got it started to crack right by the mass of base, like between the base and the Tableau box. And then also on the fuselage. That's, those were the main points where a lot of. You had a lot of issues, right? Yeah. You have issues like that in the beginning where there's a, it's a process of trying to get your carbon fiber loaded, just right. The direction ability or, you're 45 degree angles and how much materials in there and, the compression, there's a lot of issues that you had to overcome. I like the first one I got we got one from the factory in China comes over and we had all of the fiberglass or carbon aligned in the wrong direction. And I snapped the front wing right off writing, riding. All of a sudden my front wings gone. And it's just a matter of, you've got to have fibers going the right way and the 40 fives and everything to work perfectly, especially with prepregs is a whole different animal where there are layers and layers put together in the middle. Okay. So they're made as a union directly. Think of it as the strands are uni directional. Like these are the strands are the carbon. Each sheet is like this, you can align it like this or whatever. And you cut these all, put them in the wall in a certain way. So there was a lot of learning curves to get, not all right in the beginning and how much should be here and how much should be there. And where are the weak points and all that kind stuff. Yeah. We went through all that too. So very frustrating to get stuff back that just breaks, right? Yeah. I know. Warranties. Yeah. And then again, then, sorry. And then and then what happened then? The develop, what was the development after that? Like how did you ramp it up and become a global brand. In the beginning, it was easy because nobody else had any foils. So we were, we went globally right in the beginning. And we were selling shoes couple thousand or 3000 foils in those first couple of years, just because we were the only guys who had foils. So that was easy. So then we got around worldwide, fairly easy in the beginning, then it becomes harder and harder because you've got, 10 guys get in, want to make foils. And you've got 20 guys who come in and then you got 50 guys. You've got people you'd never even heard of or trying to build foils. And everybody wants to jump in on this bandwagon. It's like the early days of wind surfing or stand up, everybody jumped into the show to try and be. So that makes it harder. So you've got to, you've got to keep up really good quality. Don't you don't want warranties to come back to ruin the business, but at the same time, you're trying to make faster stuff or easier stuff or, whatever and try and keep progressing is the way we try to do it over here. Yeah. And then, so you got into more high aspect, foils and fast, faster designs, thinner foils, smaller for us and so on. What do you, what are you working on now? It's like your latest latest designs and what's, what do you see for the future? What we're going to do in the future is we're going to try and weave the last couple of years, we've gone into speed and try to get faster and faster, and we've made a bunch of. So the wings to go a lot faster because in the beginning, everybody was hitting on us going, oh, your oils are outdated. They're so slow in this and that and blah, blah, blah. So then we worked on our speed. So now we've gotten to where we were like about the fastest foils out there. So now we want to try and get back to, without losing some of that, you'll have those lines of fast, easy foils to ride, but then something that is really easy to ride it, doesn't accelerate on the turn, something that's a little bit user-friendly for the intermediate type guys, the guys that are really advanced and ride. These are NL wings, which are super fast and, tourney and everything. But the the intermediate is get a little bit, shy away from that. It's we're going to make the GL is a really good one for winging it for the intermediate people, but I'm going to try for next year to make something that's super easy. So we're going to have a different line. We'll have three different lines, basically. So are you making a foil that's specifically designed for wing foiling or are they all all around foils for Steph prone, foiling, standup foiling and wink foiling, or depending on the size of the wing or like how, yeah. They all can cross over. So we're finding out that, you want one, that's supposed to be erasing foil. Okay. So we're thinking downwind or are racing for wings or or towing falls into that category. If you're in really big waves, you need some super fast and Then you have the other wings, like the NL, which are great for stand up. They're great for surfing the smaller ones, prone surfing, but they're really good for winging also. So it's funny how all of them, you can almost do every one of the sports on each one of those wings. It's just a different style of riding you have to do, or a different size riders, weight, might like the bigger wing where the smaller guys like, oh my God, I can't write that thing. I need a little tiny thing. But all of them seem to cross over. I can tow on, on different size waves on any of the wings I can wing on any of the wings. I need particular amount of, a lot of wind for the small toe wings, but on the Raceway. Like when I'm paddling downwind, a lot of the wings crossover to me, paddling downwind too. So there's, it's funny. They all have their moments and can crossover. Yeah. So I guess the same design just in different sizes works for different things. I guess when you're Don flooding, you probably needed a little bit more surface area, a bigger wing, to keep going. Yeah. Yeah, definitely. Cool. Yeah. And then how did you get into wink foiling? What I know you were one of the early wing furthers. You were on an ozone and stuff like that. Posting videos of you riding at lanes and stuff like that. So how did you get into that? A wing foiling started with the way it started over here was flash. Austin was always tightened down there with us and riding. Type foils and stuff just decided to put together this funky wing thing with some windsurfing battens and some old kite material and just put this whole thing together. And he goes, Alex, I need one of your foils. I think I can get distinct foiling. And I'm like, what are you talking about? He goes, yeah, I've been hiding down at the sewer plant, try and testing this thing. So get him a foil on it. He comes up there, we take pictures of them. These are the first things we see of the new of evolution of Wingfoot and where it started. So we kite and rode this thing at the same place where Ken winners, right next door to us, he does all of his kite testing there too. And then Ken saw him one day and he's oh my God, what is that? I'm going to put that in production. I'm going to build a couple of those and we'll start doing experimenting with it. So Ken takes it from there and puts the boom on it. Cause Ken's an old time windsurfer and he just liked the book. And the very first wings that I tried were kin winners, duotone wings. And that's how we first learned. Alan could, is got me down there one day. We were down there with Alan at canal and he goes here, go try it. And then I proceed to get up and cruise around. After about 10 minutes I was riding it pretty well. Cause I already had, was really good kite for her. So it was easy for me to learn, oh, I used to be a windsurfer and then my wife tried it and stuff. And then from there it was like, oh my God, this is fun. So the first year I went to the Gorge with, it was maybe three years ago and I was on a, do a tone. And then I got to try ozone for the first time they had a couple ozones there at the show and they gave me one of those. So then I was using the ozone and the duotone at the hatchery and just having a blast. I was like, oh my God, this is fun. It's like the early days of wind surfing. Where were you working? Everybody was super stoked and feeding off of each other. And it's just a bunch of fun between everybody and they're all talking about, Hey, what are you writing? What I'm I learned this, what should I do? I'm having problems with this. And it's like the whole same atmosphere of the early wind surfing days. Yeah. And people are very open about sharing their ideas and their knowledge and what they learned is pretty cool. That it's not as close hold as in some other disciplines, I think. Yeah. And then what, so what are the like behind see those two boards and like what is, what are you working on now? What are you latest products and yeah. Tell me what you're up to. Latest thing now is we'll be getting in our boards from the kinetic factory. I worked with the kinetic factory again that used to build my kite boards to start making a wing boards. Their full sandwich, Connecticut is known for making. Some of the best boards in the world, as far as the factory goes, they're super solid. They, anybody who's gotten any new Jimmy Lewis boards in the last five years knows that they're built very well. So we get a container of those come in. Yep. That you can see the they've all the boards and the first container will have a total and a plate. There's all kinds of foot straps placements. You can see that has a handle there in the middle. And just the typical things that you need to have on a wing board, as you could see how the volume of this is in a pretty volume forward on my boards. I like to have a lot of volume up forward when I'm winging, because we're going shorter and shorter board. And you have a tendency when you're standing up forward, the board goes underwater. So like you come down off the plane and then all of a sudden the front goes under. It does a summary. So as you can see some of these, can you show us yeah. Maybe pick one up and move that chair out of the way. I'd show us the shape a little bit. Yeah. Let's look here. This is 105 liter board is five, six, and you can see how we have a lot of thickness up in the front of here. Cause we get the five, six you get up forward. If you have the traditional theater noses that look really cool, they sink on their water. When you stand up here, basically we move the flotation of forward. It's a little bit bigger, fuller outline up forward as compared to the tail. So it's reverse of what a lot of the boards are. That bigger tails, a lot of float in the back. I like to have the full rotation of forward. We've gone shorter and shorter, and it's easier to stand on something when it's like that this one you can see has the traditional, like wind surfing style footsteps. This is 45 degrees here, and I have one strap in the back. I like to ride wind shift and style. It's really easy to switch your feet and stuff. You go from strap. A lot of people are coming from surfing background, have a problem with switching your feet. And so then you have foot straps that can go straight. Like you're just going to go one direction. So it has the answer it's for going riding with just one set or footsteps, or you've got the list surfing style where you can switch your feet and go forward and start to learn how to go both ways. Because if you get in a problem where you're trying to get up and really like when TOSA. You're crossed up on your bad tack. It's hard to get up like that. And it's hard to go up wind like that. So if you do get into light winds, it's easier to switch your feet better to learn in the beginning, because once you start going just tow side all the time, you never switch feet again. The deck is pretty much flat. Or do you have like concave in the deck? Any kind of, I don't like on caves so much. I want everything to be a flat platform for my feet and nothing weird. And I don't concave too, because. I'd rather, if you fall on it, I want it to be flat and not have a little bit of a rounded edge to hit your shins or your knees or whatever. I'd rather we're getting back on is easier on a slide deck. I find it. And you don't hit your elbow or whatever on that hitch. Yeah. Yeah. Like I used to ride on Connor. Baxter's, downwind board, he's got this big scoop out, all those star wars at the Umar and I'd fall on that thing. I'm like, oh my God. And he has whacked myself with this heavy concave. So it's cut that system. I don't like that. So I figure if it works, don't make it all fancy. Like the same thing with the bottom sheets are real flat so that it has an easier release to pop up when you're planning it real light. Is it a, if slat all the way to the nose and you have a little bit of convex in the nose, it was pretty much flat. The holes in soft rails, the rails in the back towards the tail of the board would have been, it's a little bit round here and you have a little bit of a kick in the last, behind your total box and your plates. And can you show that the profile, the contour, like you said, it's a little bit thinner in the tail than in the notes. No. They're about the same thickness, but now are thicker in the front and thinner and the thickness keep about the same thickness. So don't go crazy with, making a super sick. I don't like the way that feels when I'm winning. I want a lot of float up for, because most of the time on these short boards, like this board is my four, six. I tow with this and I wing with this and can kite with this also. But even with this board, it was one of the things too, when you're out of your boards you want the bone flow to be about the same so that when you sinking it, especially on sinker, it seems evenly because more of my boards, I have a pretty big it's a little bit thicker in the front than the back. And I float like this and I go down and it's hard when you're sinking like that. Not really far forward and concentrate on the nose going down. So there's all types of, trial and error and into figuring out what really feels good for me. Always made my own board so I can go ahead and, make a board that week and test it again. But I don't make custom boards anymore for other people, but the family still gets nice. Thanks for showing us that I'm going to show the screen share again real quick. Oh, sorry. Let me let me go back to that. So are you going to show your bottom here? You can see all of what the, oh, you got the measurement for where to place the foil and the bottom handle. Yeah, I guess guide there. So like you use your, this is how far you are from the tail and the measurements. And then if you like your plate in certain position, you remember what your number is to go, okay I like it at, seven inches or whatever it is for the plate title of course goes in just one place. When you got a, a nice. It's nice to have a handle on a wing board because getting in and out of the water is much more for me. And then on the deck, you don't have a handle though. So I don't like the handle on the deck because when I'm stepping all over the place and my toe gets in there, I've had a couple of problems with almost breaking my toe, like having all the dash. Yeah. But then I guess when you're carrying them without the foil attaches, it's off balance, but you can, I guess you can still carry with that bottom, but you could still carry it. It feels a little bit nose heavy, especially on the bigger six oh board, but you can always, the smaller words really. Yeah. Not that hard to carry it. Yeah. And I was going to show the different sizes you have available here. I guess you have a 46 by 44 liters, five oh, by 87 liters, five six by 106 liters and then 600 by 134 liters. So four different sizes. And when are those going to be available? Next week, I think container arrives next week could be the following week. I don't know how much we get stuck with, trucking and customs in Honolulu. It's already in Honolulu. So I'm just going through the, the process of getting it over here. Nice. And then, oh, I think I had this on here too. So tell us a little bit about the co also making your own wings now, right? Is that Craig, is this one of your prototypes? This is one of the prototypes. This is the actual version of the three. Which will it'll have stripes on it. It's got all the logos and stuff, and I moved the windows closer to the middle strut on the production style, but I've been using this thing since I want to say February or something, it's the the quality of it feels really good. I haven't stretched it out, and it hasn't blown apart. And I put it through some tail this day is probably, a regular 25 to 30 knots. And just imagine some of the days where we're 35 to 40 and I'm still using that week. So they're built super solid. And what I like about my wings is what we did was make the bladders a little bit bigger to make them stiffer. So when your sheet in with these things are not moving all over the place, like some of the wings, we got a little bit more of a, it feels like a windsurfing sail you shoot in, and it doesn't move all over the place. Yeah. And that makes them more powerful too, I'm, the Armstrong rings are like that, that they're really thick flatters, which make it more rigid and powerful. It seems yeah. It looks like you made the wing tips pretty squared off. So you have less of a wing span to, is that one of the things you were working on or, just maybe talk us through the different prototypes, you try it out and what you've learned from trying different things. We did with this is basically our, we call it our elliptical style. It's more of a standard style, but we do bring the wingtips closer together than some of the wings. Cause you'll notice how on, F1 or Armstrong have pretty long wingtips and you have a tendency to touch those in the water very easily. So my wing tips are broadened together a little bit more on that. Ellipticals. So you got a little bit more cord in the middle. So think of it as a longer strut in the middle shorter wingspan, just to make it easier to turn without touching your tips. Then we have a square model, which is the one that I was writing at home keep. Or the one day you might've seen that with the square model is better for really light wind so that when you're, you get on those bigger wings and you're having problems pumping, to get up. So they like you're, you just want to get foil, like that one, that's the square model. You see how that one's way more square than that elliptical style you just saw. This looks almost a little bit more like a, that slick wing at a new Ken winners. S duotone one. Yeah that closer to a slick, whether you score off the ball just so that what I like about this is I do a lot of windsurfing style wave riding, hurting like that. When I call it cheating in, you can keep the tip further up out of the water, but the main advantage of this one, forget all this hotdogs and stuff that I'm doing here is when it's really light. When you have problems pumping up to get onto a foil, it's a day where you're out. It's Hey, I wonder if I can get foiling today, and you go to the pump, and you keep touching your tip in the water and it stops the whole progression of trying to get up. You got to start all over again. So the square tips are made for that to where when you pump it, it's easier to pop up the foil and have a lot less problem of the wing tip touching while you're trying to accomplish them. That's the biggest advantage of these square model. So the square models are made in the bigger size. It's like a four or five, a five, five and a six, five. Yeah, I totally agree with that. And that's one of the things about some of the earlier designs is when, you think you could use a bigger size to get it going in lighter winds, but then then the wing tips were so wide that you couldn't really create a lot of power with it because of it has, because it's like the wingtips is drag and you can't really bring it vertical. You give you that forward power, this just lifts up, but you can't really get that forward momentum with it. That's where that, I think the square design makes a lot of sense. So you actually have two different wing designs or is it just by size or how does that work? You can wing styles, but it's by size where they convert over to the other ones. So by elliptical side, Those 2, 2, 2 7, 2 7 is like a main state here in Maui. Everybody, when they get lit up over here, the two seven is really nice. I ride the three, five, and then the four or five. So those are the ellipticals. You got 2, 2, 2 7, 3, 5, 4 or five. Now the square model, like you saw in that last video is a four or 5, 5, 5, and six five. So it's more towards the higher end because when I, those ones don't loft is easy. They're a little bit more unstable if you're just luffing and want to cruise down the coast and, hi, I win. So the medical ones, I like a little bit better for that. And my feedback from my riders that, you've got to get it, some of the intermediate and beginner riders, because feeling stuff that's different than you and they get on it all the way out. This elliptical is way easier for me to. In handled. But when you get into that day, when it's six to eight knots and you cannot get foiling, like even my wife, she was, didn't like the square model, having all kinds of problems with it. And I'm like, I put her out in it's fairly windy. Then we have one day where it's not very windy. She goes out with the four or five elliptical and she kept touching the tips and she's getting all upset. And I go, okay, here now try the square model. She goes, gets right up. She was like, oh, okay. Now I get fantastic. So those wings you have available now for sale, you have them on Maui. No those are all prototypes as everybody who are having problems, getting wings, those will probably show up in September. If we're lucky. I said, yeah, we're going to start building them in August and we're going to ship them in September, then. Nice. Oh, my shipping, do they have to go in a container or do I get a good rate to air freight them then what we won't know until we actually have the product and see how you take the ship. Yeah, let's talk about that a little bit. The whole pandemic thing and like what, how did it affect you and your business? I know shipping has been a nightmare, like getting stuff shipped in containers and stuff like that. But other than that, like how did the whole pandemic workout for you at Maui? The pandemic here on Maui, it was we're out in the, to where, there's not as many people over here, they shut down the islands, nobody was loud and, people didn't want to leave because they couldn't get back in type of thing. So I was in Florida when all this happened, we were doing a tour over there and demos all over the place. And then they're like, Hey, they're going to shut down the state. We got to fly back to. On a mad rush to get back home. And then I stayed there for a, since last March. No. Did I go anywhere? I think I went to a wahoo last month when they finally opened it up to where I could go without all kinds of tests and get my nose probed and everything. I went anywhere. Maui is they closed down the beaches. We're not allowed to go to canal hall. They closed it all down and that's where we were all winging it from. But you're allowed to go to the Harbor. So you go to the Harbor and what ended up happening was everybody had nothing to do and started learning how to go when they closed down the canoe guys, because the six man canoe, as you're too close to quarters and they wouldn't let them do a six man canoes and they have all the lessons and stuff from the teaching and races. So they closed down. Basically the canoes were. The wing foiling, and then the wing Oilers just took over. There was no trap boat, traffic, and all, there was a bunch of wing boilers and all of a sudden you've got kids and grandmas and old windsurfers who had, and wind surfed in 25 years coming back into the water. And it's, it was just crazy. There's some days there was 50 or 60 people down there and it's still going on down there now it's started a whole, a whinging. This COVID started a winging revolution on a big community down there. Yeah, that's awesome. And then more recently you had that you had a gold foil get together at that at a big house over there. And I know my friend, Derek, Thomas Saki went over there and stuff. And talk a little bit about that. That was great. We do this usually once a year, we have we rent we have a friends that have the access to the house down. Yeah. And he lets us go into it for a weekend or whatever we're trying to do. So we do go foil weekend and i
In today's episode, we speak with Dr. Tega Edwin, who received her Ph.D. in Counselor Education from Penn State University. She first worked as a school counselor and initially pursued a Ph.D. to become a district supervisor. Dr. Edwin kicks off our episode by telling us how she assessed her varying degrees of love for research, teaching, and service to determine whether she should pursue an academic position at an R1 or R2 institution. Next, she shares the power of black female mentorship and the importance of showing up as your full self as a black woman in academia. She even gives us some really honest thoughts on the pros and cons of long-distance marriages before telling us how she carves out time for both academic and entrepreneurial endeavors during her week. Tune in for an episode packed with valuable career insights, practical tidbits, and grounding reality checks. We hope you join us!Connect with Dr. Tega Edwin on Her Career Doctor, LinkedIn, Instagram, and Twitter.If you are a Black woman interested in joining the Cohort Sistas community or you're looking for more information on how to support or partner with Cohort Sistas, please visit our site at www.cohortsistas.com.Find us on Twitter and Instagram, and don't forget to follow the Cohort Sistas podcast, rate, and leave us a quick review wherever you're listening.
On this episode of Vibe With Edmund Oris, Edmund is joined by Tegaski and Dopeboi, two very big football fans and they do a very quick recap of the on going Euro 2020. They talk about Ronaldo brilliant brace and his now infamous coke and water incident, Italy's red hot form, Belgium and the Netherlands qualification to the next round while touching On Spain and England's struggles. They also talked briefly on their favorite performances so far, and previewed the game between the current World Champions France and the current European Champions Portugal. Dr Tega gives his thoughts on Christain Eriksen's heart breaking cardiac arrest that shocked millions around the world and Edmund wraps up the football part by giving us an update on Messi, Argentina and their Copa America conquest. They talk about FOOD and their favorite food combinations and the episode ends with Edmund telling listeners that the visuals of the podcast would now be available on his YouTube channel while thanking them for their constant supporting and for making Vibes With Edmund Oris Podcast the No 1 Football Podcast in Nigeria
Travel to Africa in this episode of the Strong Women. Better World podcast, to learn how Zambia's Diana Mutakafimbo (sports reporter, Zambia Daily Mail) and Nigeria's Tega Onojaife (sports producer and presenter, Smooth 98.1 FM Radio; Founder, Ladies in Sport Conference) translate the sports magic from live events to their audiences, kicking down cultural barriers all while sporting stylish kicks.