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In this episode, Megan chats with Melissa about one of the most important—and often challenging—aspects of running a successful veterinary rehabilitation practice: knowing what to charge for your services.   They discuss the many factors that should be considered when setting your fees, including your skills, experience, overhead costs, and the value you provide to your clients. Melissa shares practical advice on pricing your services sustainably and explains why it is so important for new graduates to set their fees correctly from the start. Charging too little early on can make it difficult to increase your prices later and may impact the long-term success of your business.   This conversation is packed with valuable insights for vet rehabbers looking to build a profitable, sustainable practice while confidently charging what they are worth.   Learn more about Melissa Tompkins-Lewis: https://southcoastveterinarymanagementsolutions.com/ Bookmark the next Vet Rehab Summit: https://vetrehabsummit.com/ Learn more about Paw Prosper's special offer: https://pawprosper.com/OPH Learn more about Paw Prosper: https://pawprosper.com/ To learn about Onlinepethealth, watch a free webinar, or join any of our Facebook groups, click here: https://onlinepethealth.com/podcast

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In closing arguments of the federal corruption trial, prosecutors and the defense agreed on one thing: This case comes down to a question of greed in cannabis investing.

Philip Hensher and I discussed the history of the novel in Britain from Defoe to Hollinghurst. Philip is remarkably well-read and happy to share his real opinions. He can go from Swift to Fitzgerald on the turn of a pin, isn't shy about holding his ground, and has some very firm views. People who read novels are protected against becoming violent. Ideas are not important in most novels. Walter Scott isn't very good. Arnold Bennett is a top 20 novelist. Rachel Cusk has the best chance of being read in 100 years. That sort of thing. Here's one exchange where we disagreed about what a novel is.HENSHER: Oh, Henry, Henry, how can you kill a book like that? How can you—OLIVER: Look, you can't have Jane Austen without the Enlightenment, and you can't have George Eliot without the secularization of Jesus, and you can't have Tolstoy without all the slightly incredible things that he believed.HENSHER: No, let's not talk about Tolstoy.OLIVER: No, but the list goes on, right? Henry James even, who is often called a man of no ideas, he's an incredibly good liberal. He might be the best novelist about the liberal idea that one person should not be allowed to dominate over another, in private conditions rather than just government. These ideas are, in a way, they're the thing that distinguish those writers. Jane Austen knows how to observe and how to present because she's thinking about what it means underneath.HENSHER: I don't know. I don't know about that.OLIVER: I don't even think you can have Middlemarch without John Stuart Mill's political economy, in a way.HENSHER: Yes, that's probably true. But George Eliot's an unusual sort of novelist.Jane Austen, I mean, how do we know what did she—what did Jane Austen think about slavery in the boldest and most extreme form? I think we can deduce that she thought that people involved in the slave trade or who came near it, like Mrs. Elton, were not at all the sort of people that she would altogether like to hang out with. I think the same is true of Sir Thomas Bertram, and the weakness of his imagination is somehow tied in with the fact that he has a plantation where he doesn't really think about the people that it affects.But already we're into speculation. I don't know what we can really deduce about Jane Austen's idea, because she's such a polyphonic novelist that we don't find an idea being put forward without being able to find a character who's saying the exact opposite. And sometimes one side of the argument is eventually dismissed, but not always, I think.I said this at the conference we had a discussion with. I think that when you boil a novel down to its absolute irreducible essentials, I think what you have is not a proposal or a view of society or anything like that. It's Charles Pooter painting his bath red, or the moment in Ivy Compton-Burnett's Mother and Son when the son irrevocably falls out with his mother by telling her that he doesn't want to have sugar in his tea anymore.From the very beginning, novelists have said, “What I'm writing about, I'm writing about nothing, and this is the virtue of what I'm doing. I'm writing about the utter triviality of everyday life.” And that, for me, is the enchantment.OLIVER: Well, some novelists have said that.HENSHER: A lot.OLIVER: Samuel Richardson didn't say that. Samuel Richardson's quite an important exception.HENSHER: No, but people said it about Richardson.OLIVER: I don't think we—yes, but we can't believe it.HENSHER: People definitely said—no, I think we can.OLIVER: Pamela is a novel of ideas.HENSHER: Well, it's a novel that contains some ideas.OLIVER: Yes.TranscriptHENRY OLIVER: Today I am talking to Philip Hensher. Philip is a British novelist. He's written books like The Northern Clemency, King of the Badgers, The Emperor Waltz, and now he's got a new book, A History of the Novel in Britain, and you can see it there. It looks very pretty with Alice in Wonderland on the front.Philip, hello.PHILIP HENSHER: Hello, Henry.Novels Are for EveryoneOLIVER: Now, to begin with, tell me about your grandmothers.HENSHER: Oh, okay. Yes, well, I finished the book because—I kept my story out of it, largely. I thought that I should go back to a time when everybody read novels. It wasn't a specialist interest as it seems to be turning into. And I thought I would talk about my two grandmothers, both of whom left school when they were 14. They worked in very ordinary and hard jobs in factories all their lives, and they were passionate readers of novels.My paternal grandmother loved Dickens. She had a complete set of Dickens, which, I've discovered after some research, was issued as an offer by the Daily Express sometime in the 1930s. I've still got it, actually. I'm going to go and get a sample volume. It's terribly cheaply produced.OLIVER: Oh, I've got that set. That's great, yes.HENSHER: Yes. The publisher is otherwise only noted as a printer. The typeface is absolutely tiny.OLIVER: It's painful.HENSHER: It's painful to read. But she had it. She loved Dickens.My maternal grandmother, I don't have any of her books, I'm afraid. I would say that she loved stories of family lives, of people interacting with each other. She loved Catherine Cookson, a now slightly forgotten popular novelist of the 1950s, 1960s, 1970s. But she read an enormous amount. I mean, she must have read one or two novels a week, every week of her life.I think that the thing that has disappeared since my grandmothers' generation is the idea that everybody can read novels. They speak to everybody. They explore every part of life, potentially.What seems to be happening now, and I greatly regret it, is that it's passing into the property of expensively educated people, people who have gone to private schools, perhaps, have certainly gone to university. And the sort of reader like my grandmother, who read Bleak House with a lot of pleasure, seems to be disappearing.So that was one of the reasons why I wanted to write the book, to make the case for how wonderfully enjoyable novels are. They're not a duty, or they shouldn't be a duty. They should just be founded in pleasure, however complex that pleasure might be. And I wanted to finish the book by citing my two grandmothers, who were such great readers.OLIVER: And as well as inheriting that reading culture from them, you got a lot of that at your school, didn't you?HENSHER: Yes, I suppose I did. I think that it's hard for me to say because I was in at the beginning of a sort of curriculum change, where there was an idea that we ought to give the kids things that are relevant or are going to appeal to their social concerns. So, I mean, this is going back to the very early 1980s. My set novel for A-level was The Grapes of Wrath, a classic tale of victimhood, really. Classic approved message.And the thing was, I think what started me off as a passionate reader of novels was a sort of rebellious turn away from that sort of thing. I read Jane Austen off my own bat. I read a lot of Dickens before I left school—things that we weren't taught at all. And that's always been the sort of reader that I am, saying, “Oh, we're not supposed to be reading this,” you know? “It's not on the curriculum.”Parliament and ThatcherOLIVER: What was it like working in the House of Commons?HENSHER: It was fine. [laughter] It was a very unusual experience. I don't think it was a job that most people would've known existed. When people said to me, “Well, what do you actually do?” I used to say, “Well, you know the guys with wigs who sit in front of the Speaker? They're my bosses.” And it was a strange, ritualistic experience, and you were physically in the middle of all these political dramas.When I started work, I started work in the House of Commons the beginning of September—this is September 1990. And six weeks later, there was all the drama of Mrs. Thatcher being thrown out, which I saw physically very close up. I didn't have anything to do with it. You weren't aware of what really was going on, but you were there. And Mrs. Thatcher swept past you at crisis moments.And that's a very seductive place to be as a baby novelist, because novels are very often told by people occupying minor positions about the lives of the great. There's a mid-20th-century novelist called Alfred Duggan who made a career out of writing historical novels of the lives of Roman emperors as told by their servants.And I think that, actually, the novel that I eventually wrote about the fall of Mrs. Thatcher, Kitchen Venom, which has just been rereleased 30 years later by an American publisher, McNally Editions, as a neglected classic—I think that was very much one of those books. Somebody who saw these vast and world-changing events physically close up without really being an insider at all.OLIVER: Do you think you're more conservative than most other novelists today? Small c conservative. Or big c.HENSHER: No, I don't—I think that I've never been someone who fits in with the on dit, as it were. I don't think that I'm particularly bothered about what people think of what I might think. One of the least effective arguments to change somebody's mind, it always seems to me, is to say, “But most people think . . .” Most people are wrong about things.So yes, I do think that actually having a close connection with political figures—after Mrs Thatcher, I did get to know some cabinet ministers, mostly, for one historical reason or another, Conservative cabinet ministers. And then coming out from spending the day with them and going to some book launch in the '90s and having to listen to some member of the lumpen intelligentsia say, “Oh, these people are so evil.” I'm just going, you know, “Save the word for someone else.”So yes, I think that I have a kind of interest in some things that most literary people just aren't interested in at all. And I think I've come to conclusions of my own about some burning contemporary issues. I don't think of myself as conservative. I think of myself as a 19th-century liberal. But then again, I also think of Mrs. Thatcher as a 19th-century liberal.OLIVER: I was going to say.HENSHER: [laughs] I don't know where that leaves you.OLIVER: I was very struck in, I think it's something you wrote or an interview you gave, where you said that you were at a comprehensive school in Sheffield. And contrary to what we think was going on at the time, actually you had teachers who were quite pleased about Mrs. Thatcher getting elected. And in the age of bell-bottoms, people were going to Mahler concerts all the time. On that front, you have a different view of the way England was, as it were.HENSHER: Yes. It's partly true that those people have been flattened out of history. Eight years before the miners' strike, for instance, when Mrs. Thatcher did come to lead the Conservative Party, it wasn't actually apparent to most people that she was the embodiment of all evil. And I think that people realized that something must be done.There's a lot of retrospective reimagining of these things. I think the absolutely classic example is Mrs. Thatcher taking free milk away from, I think, seven to elevens. And this is always presented as a gesture of sheer evil. But I can tell you, as one of the children who drank the official milk, it was absolutely disgusting. It was delivered at 7:00 a.m., and then it sat there in the sun for four hours in the summer, and it was absolutely undrinkable. Nobody drank it. Absolutely nobody drank it. It was a complete waste of money.There might have been some point in giving people free milk in the 1940s when there was rationing, but by the 1970s, what was the point in the government buying you milk? It was frankly the job of your parents to buy milk. But we're returning to that position. And people seem to be assuming it's the job of the government to buy your children breakfast these days, but what do I know?Things changed later on, I would say. The mood in the North certainly altered when people saw that the economic basis of subsidy was going to be taken away and that the coal mines would close down, the steel industry would close down, and it would take a long time for these things to turn round. And I understand why people feel that, but it's completely wrong to project that backwards into the 1970s.The 18th-Century BattlegroundOLIVER: Now, you did your PhD about the 18th century. Why do you think that century is so much less popular than the 19th century, which seems to get all the attention? But in fact, the 18th century is in a way a much richer, more diverse period, aesthetically.HENSHER: Well, I don't really know, actually, because I got to the end of my PhD and I got my PhD, and after that, I have to say it took me a while to get back to it. It is interesting because it is the battleground between what people used to think literature ought to be, which was firmly rooted in the classics, and a sort of vernacular, raucous, popular form that's based in shocking things like the lives of criminals, pornography even. Rather extraordinary books explaining how people ought to behave to get on in society, how they should write letters.So it's a battleground between Alexander Pope, who I must say I do love, but a very kind of classical, perfect, absolutely glass-like surface; and then, people like Defoe, whose sentences just run on in a kind of chaotic way. It can't have been very obvious which of them was going to triumph, really. Whether it was going to be the epic poem in rhyming couplets, after Virgil, or whether it was going to be a 300-page scandalous narrative about a prostitute in London today. Or rather, the answer would've been obvious, but it would've been obvious and wrong. So, there you go.So yes, it is interesting. It is interesting. I think for me, the 19th century is more interesting simply because of the sheer abundance of material. There are plenty of books in the 18th century, but not the kind of colossal tidal wave of thousands and thousands of novels coming out, sometimes nearly a thousand novels in a single year as the tide rolls on. And that, as anyone who reads my book will appreciate, is actually the thing that I really love: a lot of books turning up.OLIVER: Did you study with John Mullan for that PhD?HENSHER: No. I knew him a little bit. He was a fellow in the college where I did it, and I used to pass the time of day with him in the courtyard. But no, I had a succession of supervisors, but not him.Judging the BookerOLIVER: I see. Now, you also judged the Booker Prize. How did that change your understanding of the way the literary world really works, as it were?HENSHER: Well, I quite enjoyed judging the Booker Prize. It's a very unusual experience because it's the only experience you're ever going to have of reading a lot of novels that are published at the same time. Even as books are being published, all sorts of filtering mechanisms are usually taking place.With that, I think I read 140, 150 novels, all of which were published in 2001. And when you do that, you see all sorts of tendencies that you hadn't really suspected. I remember that year, the thing that was extraordinarily common, to the point of being maybe a third or even 40 percent of the books submitted, were novels with a dual time scheme, where in the present day a woman is working in a library and she finds a box, and it's the love letters of Mary, Queen of Scots, and then back to Mary, Queen of Scots. I'm making it up. I can't remember.And I think the novels that kicked that off are certainly some very good novels. Ruth Prawer Jhabvala's Heat and Dust in the 1970s, or later on, Alan Hollinghurst's The Swimming-Pool Library and Antonia Byatt's Possession. But the sheer number that were imitating that structure was really extraordinary.The later insight that I had into a predominant obsession was when I judged the Giller Prize in Canada, and again, it was about 120, 130 novels. And this was about 10 years ago now. And it was predominantly tales by second-generation immigrants of historical stories of their parents' country of origin. There were a lot of those, and I think that's an admirable thing, so long as it doesn't overrun the rights of Bangladeshis, say, still living in Bangladesh to write their own stories which will be heard.It's an interesting thing, judging a big literary prize. I was very skeptical about the value of them. But that year, judging the Booker, I think we did a much better job than a lot of juries have done. We not only shortlisted Ian McEwan for his best novel, Peter Carey for his best novel, but Andrew Miller, excellent novel, Ali Smith's first novel, and who were the other two? Oh, David Mitchell's second novel, and Rachel Seiffert, a very talented novelist with a brilliant novel.Novels vs. SportOLIVER: How many novels do you read in an ordinary week?HENSHER: Oh, no idea. Three, four, five, something like that.OLIVER: So you're spending an awful lot of your time reading novels.HENSHER: Well, I don't know about that. [laughter] I'd say I'm probably reading a novel three or four hours a day, something like that. I am a pathologically fast reader. I don't want to go into it too much because it does sound insane.Remember that I've often wondered why someone like me manages to read so many books by most people's standards. And I've come to the conclusion it's because I have absolutely no interest in sport whatsoever. And it's surprising the number of people who—I mean, if you watch a football match, even if you watch it at home without the trouble of getting on a train and going there, a football match is 90 minutes, but there's half an hour in the middle; two hours.There's an hour of disquisition before; that's three hours. And there's an hour afterwards; that's four hours. Well, in four hours I can read a novel by Graham Greene. That's not a challenge. And I think that if you completely remove that from your life then, yes, you can get through a lot of novels, particularly if, like me, you absolutely love novels. It's never been anything but a sheer pleasure.Well, actually, I won't say never because there were one or two months, writing this book, when I knew I was going to have to get over a personal distaste and read a very prolific novelist in bulk who I knew I couldn't stand. I'm not going to say who they were; it's not fair. But I think you might be able to guess a couple of them.OLIVER: Did you know V.S. Naipaul?HENSHER: A little, yes.OLIVER: What was he like?HENSHER: If you said the right thing to him, he would respond intelligently and interestingly. If you weren't scared of him, that was better. I would guess that when he first met you, if he knew who you are by repute, as he happened to do with me because I was a book reviewer, he would say something borderline insulting. And if you absolutely didn't react to that, if you just kind of carried on talking to him in a respectful and interested way, then things were fine. Things were absolutely fine.Also, I think he was just a deeply interesting human being who had the knack, when he was bored, of saying something that would kick up a bit of a fuss. And I associate with that. I would say that many of my best friends are very much like that, just saying things to kick up a fuss. I wasn't any more than someone who just met him a handful of times. But I had the utmost respect for him, and I still do.OLIVER: Yes, he's one of the great writers in English, I think.HENSHER: Yes, I agree.Dominance of the NovelOLIVER: Why is the novel so dominant as a literary form?HENSHER: What, now? Is it?OLIVER: Well, there is no longer the same kind of reach or popularity for—there's no Addison, there's no poet, there's no . . . To me it seems like, for the common reader, as it were, it's all novels with a few other things. Whereas in the 18th century, it was lots of everything.HENSHER: Well, I don't know. I don't want to talk down my beloved form. It does seem to me that memoirs are very largely where it's at. Novels, to a very marked degree, get noticed much more if people can spin them as in some way memoiristic. And that's not a criticism at all.I was just thinking about this reading Rachel Cusk's new novel, Life of M. And I think Rachel is one of the authors with the best chance of being read in 50 or 100 years' time. I do think she's an absolutely marvelous novelist. But there's no question that there's more of a buzz around her when you can say, “Oh, well, this novel is based on her friendship with Emma Thompson,” or whoever the actress was—I've already forgotten—or “She's written a book about this and this. It's all based in her real life.”Those things have a tendency of fading away, but I think that it only seems to get through to people when we're talking about, “Is this real?” Like that guy that killed himself last week, is his memoir—I mean, if he'd written a novel to be published by Simon & Schuster, would we be talking about it to the same degree? It's not in the situation as the sonnet cycle. People are still reading novels, but I don't know that it's as dominant as all that.If it was, “Why was it dominant? Why was the novel form dominant?” I think actually it's to do with the omniscient voice. I think, from the beginning, the novel could go anywhere. It could take the reader by the hand, could lead them into places that they would never in a million years go. And from the invention of the railways—people commented about this a lot at the time—people were no longer limited to seeing their own class. They would be waiting on a railway station, and every class of society, it seemed, would be waiting there.But the challenges of a simple reader in finding out about the upper classes that they'd glimpse in these situations, or indeed a curious upper-class reader in finding out about the lives of the very poor carrying a chicken to market in a third-class carriage, in real life, that would be pretty limited. The novel could take you anywhere it wanted to go, and that, I think, is really never going to go away.I can see, even now, publishers are sharpening their claws, and they want to leap on any really talented novelist of, say, transgender lives now. They probably weren't very interested in that or hadn't thought about it until 20 years ago. Now it seems like a very current thing, and they're interested. They've been very interested for some time in Black British authors as well. They're not people who are trying to find a voice for those communities, necessarily, but probably just as powerfully finding an audience who wants to find out about the community without having to say, “Well, this is going to be our documentary discovery.” You can just imagine what it's like, and that's good enough.But who knows why things come into fashion, why they dominate, and why they disappear? The epic poem was the dominant form of the 17th century, and no one's really written one for about 300 years now.On Rachel CuskOLIVER: Who are the other best living British novelists?HENSHER: Oh, no, don't tempt me.OLIVER: No, you're not, no?HENSHER: No, I'm not going to be tempted.OLIVER: Can you give your argument for Rachel Cusk? Because I think she's dreadful.HENSHER: Do you?OLIVER: Yes, I think it's very boring. I find the Outline trilogy quite unreadable, actually.HENSHER: Oh, okay.OLIVER: On the first page, I thought, “Wow, this is so exciting. She's doing something really new.” And by halfway through the first book, I thought, “Well, it's over. She's done everything it can do. I can't take it anymore.”HENSHER: I think that what will keep her going is the unfailing beauty of her sentences. I think she has cadences like no other writer. That keeps people going. And what I really love about some of her books is that they are literally about nothing. I think The Country Life is an absolutely superb book, but what's it about, really? A girl goes to the country and falls out with her family. It's absolutely great.Yes, what is it? What are they about? I mean, but that's the thing. I don't think that you really find what's wonderful about novels by saying, “What are they about?” I thought the trilogy was just a wonderful bit of thread-spinning. And maybe it's just me, but those novels that consist of the gathering of one story after another, sometimes never coming to a conclusion, they work such a spell.And that's true about, not a novel, but One Thousand and One Nights; The Canterbury Tales; Calvino, If on a Winter's Night a Traveler; or in the same category, Elmore Leonard's Get Shorty, which I think is the great American novel of the last 50 years. And it's exactly that. It's a series of stories being told as one person tries to pitch a movie to another. It's absolutely glorious. And I think that the Cusk trilogy is very much like that.Long before Rachel's trilogy, I did have this plan to write a novel of storytelling, and it was going to be called Tales from the Pit. And actually, I signed a contract for it, and it was going to be stories told from one orchestral musician to another during the interminable performances of some long-running opera or other. But the thing that stopped me from writing it was that I discovered that Berlioz, the great composer and great writer, had written a book very similar, called Les soirées de l'orchestre. And I thought, “No, I'm not going to outdo Berlioz.”On Literary CriticsOLIVER: Who are the critics from whom you have learnt the most?HENSHER: Peter Garside, the great Regency critic. J. M. S. Tompkins, who wrote a superb book about 100 years ago about the popular novel after 1770 to about 1820. That's a superb book. John Sutherland I think is really good. I love his books solving problems in novels. George Saintsbury, end-of-the-19th-century critic who had the principle, “Read everything.” And I think that his books about the novel in particular are really—they can't be improved on. He was just so well read.OLIVER: Yes. What about more modern critics? That sort of ends a long time ago.HENSHER: I don't know. I don't know. I don't know that there are any critics writing—I mean, I don't describe myself as a critic. I'm just a book reviewer.OLIVER: Leavis, Carey, Hermione Lee?HENSHER: Oh, yes. I think Hermione is really a great biographer, and her life of Virginia Woolf was very good. Her life of Penelope Fitzgerald was better, and her life of Anita Brookner is exemplary. It really is.OLIVER: But the Fitzgerald book has no religion.HENSHER: Yes. I probably didn't notice that.OLIVER: Penelope Fitzgerald, she never talks about it, but it's all about God. And the book is quite secular and feminist in a way that I felt was perhaps more Hermione Lee than Penelope Fitzgerald, you know?HENSHER: Yes, that's a very good point. It's not something that I really pay attention to. You could make the case that there are all sorts of private parts of people's lives that are just closed to the investigator. Very few literary biographers talk seriously about sexual relations or about money, for instance. I don't really see why religion shouldn't be different. I don't know. I haven't really thought about that.Critics—I can't stand Leavis. I think he's wrong about everything. I do think he's wrong about everything, and I don't know what he means when he says, “This is life-enhancing.” I was like, “What does that mean,” you know? What does it mean? And people in Cambridge were always saying, “What does that sentence mean?” Who knows? Boy. And I think they must have said it to Leavis about five times a day. Who else? Suggest some names to me.OLIVER: I thought John Carey, The Intellectuals and the Masses.HENSHER: Yes, John Carey. Yes, that is a proper—OLIVER: It's a great book.HENSHER: That's a proper game changer, actually. And I don't see how you could disprove it. He's wrong—OLIVER: And the Dickens book, The Violent Effigy.HENSHER: Yes, that's brilliant. He's occasionally just wrong, but he's wrong in interesting ways. The Thackeray book writes off some great novels, in my view. The Intellectuals and the Masses, he's just wrong about George Moore. But on the whole, yes, he's a very good thing.Of course, John Carey was the last generation of critics to have a proper training in textual bibliography. So his editions of Milton, and especially the brilliant edition of the James Hogg Private Memoirs and Confessions of a Justified Sinner, they are a very good preparation for going through a work of literature and talking about every word of that work of literature.Two Thousand NovelsOLIVER: You read 2,000 novels in order to write your history of the novel.HENSHER: Oh, a lot more than that.OLIVER: Okay.HENSHER: A lot more than that. There's 2,000 novels that are talked about.OLIVER: In the bibliography.HENSHER: There are a lot more novels that I just didn't put in.OLIVER: Where did you get them all? You must have had trouble finding some of them.HENSHER: It's much easier now than it used to be. There's Gutenberg, of course. There's this wonderful publisher—I want to get to the bottom of it—an online publisher that will sell you the collected—what's it called? I don't know—will sell you the collected works of some very minor novelists for like 1.99. A couple weeks ago, I just bought all the novels of Rhoda Broughton for 1.99. So that was very useful.And there are various other online sources. There's the London Library, of course, for physical copies, which they still have a surprising number of things. They had a copy, for instance, of the very last three-volume novel to be published, which is a novel by George Gissing's brother, Algernon. I can't tell you how bad it is. Oh, god, it's absolutely atrocious. Anyway, they had a copy. So, yes, you sort of gather them here and there.I knew that a novel was seriously obscure when neither Gutenberg nor the HathiTrust websites or anybody else could come up with a copy. There's a novel from the 1790s that crops up in a lot of bibliographies and general surveys of 1790s novels by Charlotte Palmer. She's a woman called Charlotte Palmer. I don't know anything about her at all. And it's called It Is and It Is Not a Novel. It sounds fascinating, but I did notice that it's suddenly referred to for the first time in a study of 2013, and every single reference since then more or less repeats what that first commentator has said.I couldn't find a copy of it myself in any of the sources, and I did wonder. Jane Austen was a very keen reader of women writers of that period, and I did think, “Jane Austen couldn't possibly have heard of this writer and her book, because there's a character in Jane Austen called Charlotte Palmer.” She wouldn't have done that if she'd made that connection. It would be like giving a character the name Fanny Burney. So I'm sure that it does exist somewhere, but I couldn't track it down.OLIVER: And you excluded Ulysses.HENSHER: Yes. That was a really difficult one. I tormented myself over Ulysses, and I could justify including Joyce. Firstly, he always had a British passport. He never had an Irish passport or anything else, so you could base it on that.On the other hand, it was published in Paris. I do talk a little bit about Portrait of the Artist, which was published in London. It was published in Paris, and he never lived in Britain after leaving Ireland when it was still part of Britain. So, I mean, I couldn't not mention it at all.But I thought in the end, just from a literary politics sort of standpoint, I thought if I put Ulysses in, describing it as an example of the novel in Britain, that would kick off a fuss that I didn't feel passionate about defending. Oddly enough, I would've been more tempted to include Finnegans Wake, which I'm passionately fond of and which was, of course, published by Faber and Faber in 1939. But it made no sense to leave Ulysses out and include Finnegans Wake.Where the borders were drawn, who to include and who to leave out, it wasn't an easy decision. And on the whole, I did include people rather than exclude them. But Joyce is such a national figure in Ireland that I did think there would be a bit of a row if I started claiming him as a British novelist.On Penelope FitzgeraldOLIVER: You have a very nice suggestion in the back of the book for a Library of Britain, which would be a bit like the Library of America, but obviously we have a lot more to publish here.HENSHER: Yes, it would obviously be a lot better. [laughter]OLIVER: But I think you left Penelope Fitzgerald off your list of the people who should be first in line.HENSHER: Oh, did I? Oh, that wasn't deliberate. What a disaster.OLIVER: I wondered. I thought this must be—HENSHER: Oh, no, that was a cock-up.OLIVER: So you do want her in.HENSHER: Oh, yes. Yes, definitely. And the biographies as well.OLIVER: Because I think she's a great genius. Oh, the biographies are amazing, yes.HENSHER: Yes. Penelope was the last person in my life who I've been scared of. I'm not scared of many people, and probably in my adult life on the fingers of one hand, really. But Penelope, I was scared of, and I do not know why. I do not know why, because she was always unfailingly polite and civil. She just had a sort of level stare as though she was kind of assessing you, and she might at any point say something that you would carry with yourself for the rest of your life shuddering.And she never did. She never did. She was extremely nice, but I don't know. There was something very odd about Penelope. It was as if—do you know that description of the Greek Alexandrian poet Cavafy, that he was a gentleman that stood at right angles to the universe? She was like that. You met her at a party, and she'd stand there. She looked very much like the White Queen in Alice. She always had a kind of Sainsbury's plastic bag by the side of her, and she just seemed kind of detached from the party and from everyone.I think she liked solitude. I don't think the impression that she didn't quite want to be there was at all false. She was a one-off, Penelope, I think. And I know that people who worked with her—we shared an editor at one point, and she was one of those authors that inspired huge amounts of loyalty. I think the biographies are, in a way, even stranger than—The Knox Brothers, and the Charlotte Mew biography is incredible.OLIVER: It's crazy.HENSHER: It's incredible. It's absolutely incredible. I wish she'd—there were a couple of biographies that she wanted to write and didn't. She was going to write a biography of L. P. Hartley and gave it up because she discovered too much about L. P. Hartley's sex life, and Leslie Hartley's sister was still alive. She dropped that.And I think there was talk of a biography of M. R. James. The very last thing that Penelope published, almost, I have a responsibility for because Penguin Classics—Penguin Modern Classics, probably—were going to bring out a selection of M. R. James's short stories. And they asked me to write the introduction to them, and I said, “I will write the introduction to them, but only if Penelope refuses to.” So they went to Penelope, and she said yes. And I'm very proud of that.OLIVER: Yes, that's a great piece of writing as well. Right, I'm going to read out a quote from your book.HENSHER: Oh, Lord.Novel-Reading and MoralityOLIVER: Here we go. Quote: “If you had read more than one novel with attention, it would be impossible to bring a machete down upon the face of another human being without guessing what it would be like to be behind that face as the blade fell upon it. You would not do it.” End quote. Now, we just know that that's not true, isn't it? A lot of awful people have read novels and continued to do their thing.HENSHER: Well, I think those people are celebrities in the world of psychology. Isn't it interesting that concentration camp guards read Hölderlin's poems? They're extreme cases. Overwhelmingly, there is not much overlap between habitual readers of novels and the sort of people who carry machetes in the streets of London. That's definitely the case. I think that's beyond arguing.It might be the case that it's not 100 percent cure. You can't guarantee that if somebody has read Great Expectations with attention and love, that they won't go out afterwards and say, “All right, I've done that. He gets off with Estelle”—or alternatively, “He doesn't get off with Estelle,” according to which ending you read—“Now I'm going to go and chop some bugger's head off with my machete.” Well, it's conceivable, I suppose, but it's very, very unlikely.And I don't know what better protection we have against the idea that the next generation is going to be more prone to violence. If we could persuade everybody to read and engage with novels, then that would be a very, very good protection against the spread of violence. I'm sure that's right.OLIVER: So you do think that the novel is causing the moral improvement somehow? It's not just that civilized people, as it were, enjoy novels. There is some mechanism of change there?HENSHER: Yes, and by moral improvement, I mean the simple act of imagining what it's like to be somebody else. Not necessarily to pass judgment on those people, but to imagine what it's like to live another life. And that's the beginning of the human imagination, I think.Effects of Patronage on the NovelOLIVER: One of the main arguments of the book is that patrons, as you call them, had too much control over the novel, how it was priced, what form it took, whether it could talk about naughty things, et cetera. But the thing I actually enjoyed most about your book was, you were very good at showing how diverse and innovative the form has been, and how quickly and how cleverly novelists have responded to every new set of conditions, set of constraints.Isn't the truth somewhere between these two, that the patrons are also responding to real-world conditions, what the public will and won't stick? The mothers have never wanted the daughters to read books, so the books have to get around that somehow. Isn't everyone reacting to the real world, as it were? And the cold, dead hand of the patron isn't gripping quite as tightly as that, maybe.HENSHER: Well, I think that the argument is not that patrons exert too much power, but where they do exert too much power, it has, on the whole, a bad influence on the contents of the book. And patrons always assume that the readership is a uniform thing, that because they and their—Mudie in the 19th century, his 30,000 subscribers—because they wanted to read heartwarming tales in which nobody ever committed adultery, that nobody did.Now, clearly that was completely wrong because when George Moore in the 1880s wrote a marvelous novel called A Mummer's Wife, about a woman who runs off with her lover and becomes an alcoholic among a lot of actors—glorious, and they priced it at sixpence—Mudie's turned it down flat, of course, because “No one's going to read this book. Oh, our people don't want to read it.”Well, he was completely wrong. It went into six editions in two years priced at sixpence. And that actually has gone on. In the 1950s, Kingsley Amis was persuaded by his editor to take a word—I don't know what it was, maybe it was the word bugger—out of a novel because they said, “The Boots Lending Library won't buy it.”Now, I suspect that 10 years later, Kingsley Amis would have said, “Well, stuff Boots Lending Library; I'm going to sell to people who do want to read it.” Because only five years after he was told that, Penguin published Lady Chatterley's Lover after a very useful—useful from the point of view of publicity—obscenity trial. I have no idea whether Boots Library took Lady Chatterley's Lover. I rather suspect not. But it sold hundreds of thousands within days, and quite right too.The thing is that there may be a readership that likes one sort of novel, but there's also a sort of readership that likes another sort of novel, and patrons never want to admit that.Your second point, about the way that novels reach out to new areas, it's absolutely true. And it's quite striking, the sort of novels that very effectively reach out to explore unfamiliar bits of society. For instance, the working-class novels of the 1890s, which are often horrifically violent—Arthur Morrison's A Child of the Jago, I think one of the great 19th-century novels, but there's no doubt there's bits in it that have to be read with great revulsion. That was against everything that people thought the novel ought to be doing.Even if something was a bit less specific, if it was about a new or unfamiliar minority, then it could go against the patron's power. There's a very good example of a novel by the Jewish novelist Julia Frankau called Dr. Phillips. And it was one of the most enjoyable discoveries of my reading. It's a story of murder and adultery in the upper-class Maida Vale Jewish Victorian life. I absolutely adored it. And the patrons wouldn't have touched it. They thought, “Oh, no one's going to read this.”But the novel is always going to give opportunities to people from communities that haven't had their voices heard. Women, from the start, could write and publish novels when they couldn't become doctors or lawyers or politicians. And people from ethnic minorities are heard surprisingly early in the history, and it's because readers wanted to hear about something new.And I think that's an absolutely thrilling development. And it's nothing to do with patrons either. It's invariably publishers who just think, “Well, let's try this thing out. Let's see whether we can find readership for what it's like to live on a remote farm in Africa.” Or going back to the 1880s, “Let's see if our readers want to find out what it's like to be a new immigrant off this boat called the Windrush.” One of the great novels of the 20th century emerged, Sam Selvon's The Lonely Londoners.It's always out of some sort of commercial desire just to try something out and see if there are readers there. It's a very effective mechanism for broadening participation in society, I think.The Role of IdeasOLIVER: What about the role of ideas? Isn't there an essential place for philosophy, theology, economics, all these other disciplines? The development of the novel is inseparable from these things. Not just people like George Eliot and Jane Austen, but there are ideas in every book, aren't there?HENSHER: Well, I think there are assumptions in every book. It depends what you mean by an idea, really. If you mean a philosophical proposition, then I would say no. There's also the problem that an idea, the justifiable quality of an idea, whether it's a good idea or whether it's a truthful idea, whether that has an impact on the quality of a novel. And it's quite hard to see that a novel that we agree with is necessarily going to be a better novel than a novel that's talking total nonsense from the ideas point of view.I think that there is a place for the proper Cambridge idea of a novel, a Cambridge idea of an idea in a novel. But I don't think it's essential. I've been thinking about this since we had this discussion at that conference. And I think that my main feeling about it is that we ought to admire novels for doing well what only the novel can do well. Those things are to sketch out lives, individual lives, however eccentric or idiosyncratic, to create the illusion of human beings, to listen to and convey the speech of individuals, and not necessarily to do what other forms of writing can do much better, which is to set out a case for one idea or another.Now, of course, that's oversimplifying the whole thing. But I must say that I can think of novels that I absolutely love, that no doubt have some kind of idea or assumption running through them. But I don't know that's really what I or anybody else reads a novel for. I mean, what are the ideas—I'm just looking at the shelf in front of me. What are the ideas in The Diary of a Nobody? Without a doubt, one of the greatest novels in British literature. What is the idea of The Diary of a Nobody?OLIVER: I think that novel is premised on a very clear and simple set of ideas about the British class system, and about what is acceptable to mock and what is acceptable to be the butt of satire. That novel now, in a way, isn't funny anymore because it's too mean. It's too cruel.HENSHER: Are you kidding me? Seriously?OLIVER: I find the first half funny, and by the end of it, I just think, “There's nothing actually wrong with this guy. Gosh.”HENSHER: No, there's nothing wrong with him at all.OLIVER: It's unbearable how mean they're being to him.HENSHER: It's absolutely adorable. Come on, Charles Pooter painting his bath red. [laughter] His son deciding that he's going to call himself Lupin.OLIVER: Yes, but it's not purely observational. It is what gives it its coherence and its organization. I mean, that is a very condensed novel. It's a remarkable achievement technically, to do so much in so little space. And that is because it is organized around a certain set of ideas about the British class system, which are largely no longer real.HENSHER: Oh, Henry, Henry, how can you kill a book like that? How can you—OLIVER: Look, you can't have Jane Austen without the Enlightenment, and you can't have George Eliot without the secularization of Jesus, and you can't have Tolstoy without all the slightly incredible things that he believed.HENSHER: No, let's not talk about Tolstoy.OLIVER: No, but the list goes on, right? Henry James even, who is often called a man of no ideas, he's an incredibly good liberal. He might be the best novelist about the liberal idea that one person should not be allowed to dominate over another, in private conditions rather than just government. These ideas are, in a way, they're the thing that distinguish those writers. Jane Austen knows how to observe and how to present because she's thinking about what it means underneath.HENSHER: I don't know. I don't know about that.OLIVER: I don't even think you can have Middlemarch without John Stuart Mill's political economy, in a way.HENSHER: Yes, that's probably true. But George Eliot's an unusual sort of novelist.Jane Austen, I mean, how do we know what did she—what did Jane Austen think about slavery in the boldest and most extreme form? I think we can deduce that she thought that people involved in the slave trade or who came near it, like Mrs. Elton, were not at all the sort of people that she would altogether like to hang out with. I think the same is true of Sir Thomas Bertram, and the weakness of his imagination is somehow tied in with the fact that he has a plantation where he doesn't really think about the people that it affects.But already we're into speculation. I don't know what we can really deduce about Jane Austen's idea, because she's such a polyphonic novelist that we don't find an idea being put forward without being able to find a character who's saying the exact opposite. And sometimes one side of the argument is eventually dismissed, but not always, I think.I said this at the conference we had a discussion with. I think that when you boil a novel down to its absolute irreducible essentials, I think what you have is not a proposal or a view of society or anything like that. It's Charles Pooter painting his bath red, or the moment in Ivy Compton-Burnett's Mother and Son when the son irrevocably falls out with his mother by telling her that he doesn't want to have sugar in his tea anymore.From the very beginning, novelists have said, “What I'm writing about, I'm writing about nothing, and this is the virtue of what I'm doing. I'm writing about the utter triviality of everyday life.” And that, for me, is the enchantment.OLIVER: Well, some novelists have said that.HENSHER: A lot.OLIVER: Samuel Richardson didn't say that. Samuel Richardson's quite an important exception.HENSHER: No, but people said it about Richardson.OLIVER: I don't think we—yes, but we can't believe it.HENSHER: People definitely said—no, I think we can.OLIVER: Pamela is a novel of ideas.HENSHER: Well, it's a novel that contains some ideas.OLIVER: Yes.HENSHER: Henry, I don't think we're going to agree on this. [laughter] I don't think we're going to agree on this. But if I want to read a book that sets out ideas, I do—I'm not a complete empty-headed flibbertigibbet. The other day I was reading one of my favorite books of ideas, which is The Presentation of Self in Everyday Life.And I do think that books of ideas have their place. And it's tempting to think, “Oh, I could transfer the insights of Erving Goffman into a fictional drama.” But you couldn't. You absolutely couldn't. It would rely much more on peculiar objects and observations that aren't laden with propositions.The Best English Novels for BeginnersOLIVER: One of the questions I get asked most often is from people who have not been bookish people. They're more on the science or practical side. They haven't read great novels since they were at school, and they want a list of five great English novels to get started. What's your list?HENSHER: Vanity Fair never failed. The Old Wives' Tale never failed. An Evelyn Waugh. Which Evelyn Waugh? I think Put Out More Flags, actually, because it's such a brilliantly funny novel. It's a very strange novel. But it's about a particular historical situation, which is often a kind of temptation.What else? I'm only recommending novels by men because I think it's men who have this problem, and I think that asking them straight off to read a particular feminine take on the world, sometimes you do hit just a blank wall. But I do think that they will get round to Mansfield Park or Daniel Deronda, my favorite Eliot.I think I would also suggest The Lonely Londoners, the Sam Selvon. I do think it's the most enchanting exercise in voice. And, how many is that? Is that four or five?OLIVER: I think that's four.HENSHER: Oh, what am I going to do, then? Oh, you've got to have a Dickens. Bleak House. I think actually there's a fallacy in people recommending novels to reluctant readers, which is, they always suggest something kind of easily digestible. But I think the way forward is to give something at its most intense and concentrated and just see if that counts. “This is what the novel really is like.”Oh, I know the other one. I mentioned it earlier, the James Hogg, Private Memoirs and Confessions of a Justified Sinner. Oh my god, that's a fantastic novel. I really do think that's good. Yes.OLIVER: And can you do the same for children's books?HENSHER: No.OLIVER: Fair enough.HENSHER: No, I'm 61 years old. “Would you like to read this book, little—?” No, no, no, thank you.Quick-Fire QuestionsOLIVER: Let's do a quick-fire round. I say the name of a novelist, and you give us your opinion. Short form.HENSHER: Oh, gosh. Oh, terrifying.OLIVER: That's all right. You'll do very well. Arnold Bennett.HENSHER: Underrated. Marvelous.OLIVER: Where should we start? And how good—HENSHER: The Old Wives' Tale. No, or The Card. The Card is a glorious novel. It's absolutely ludicrous; it's fantastic. The Old Wives' Tale is, I think, the greatest French novel in English. It's magnificent.OLIVER: When you say underrated, how good is he?HENSHER: Oh, top 20. Top 20 writers in English.OLIVER: Iris Murdoch.HENSHER: She's out of fashion at the moment, very much out of fashion at the moment, I think for reasons that were out of her control. It's impossible to tell at this point what is going to happen to a novelist like that. Is she going to carry on declining and drift out of our interest in the way that the novels of William De Morgan did? Or is she going to reach a bottom and then slide upwards?I must say that I loved Iris's novels to an incredible degree when I was 17. I could read them all day long. I think I must have read every single one of Iris Murdoch's novels between the ages of 17 and 20. And the moment when I came to London and saw Iris at a literary party was one of the most overwhelming of my life.What happened—weirdly, it was at a party in a secondhand bookshop in Clapham Old Town. Doesn't exist anymore. And she was just standing there looking around with great empty eyes. And then Woodrow Wyatt tottered in in a very noisy way and said, “Iris, Iris, what are we doing here? What is this place? What are we doing?” It was very strange.OLIVER: Walter Scott.HENSHER: The creation is immense. The achievement is overwhelming. And towards the end of the 19th century, a reaction set in, which was so powerful that it defined many of Scott's most characteristic stylistic features as the embodiment of bad writing. It's not his fault. I myself, I admit to sharing in that reaction. And he comes to me in flashes of sublimity. I think the first chapter of The Heart of Midlothian is one of the most impressive pieces of writing of the century.He did so much good for literature that it's hard to be dismissive about him altogether, and I wouldn't want to be. On the other hand, stylistically, he's so out of tune with what we regard as good writing that I thought in the end it would just ring a completely false note if I pretended that I didn't have problems with the style. So, you know, he's in a particular historical position. We're in a particular historical position. Who knows what that tells you about either of us, really?OLIVER: Alan Hollinghurst.HENSHER: Oh, who is my best friend, so yes, of course he's marvelous.OLIVER: Which one do you recommend?HENSHER: I absolutely love The Stranger's Child. I think that's such an innovative novel, and it's so clever and funny. But they're all simply marvelous. He's a marvelous novelist.OLIVER: That's the one I'm always pushing on people. It's heartbreaking. It's beautiful.HENSHER: Yes.OLIVER: It's clever. It's really wonderful.HENSHER: So clever. You're not going to trap me into saying rude things about darling Alan.Various ElizabethsOLIVER: No, no traps. No traps. Elizabeth Taylor.HENSHER: Great novelist. Great novelist. And central to her time in a way that I don't think anyone really appreciated until some time after she died. After she died, some organization or other gave her a posthumous award for a lifetime's achievement, and her husband, John, went to collect it. And he said in his acceptance speech, “What a shame you couldn't have said this while she was alive.” And it was absolutely right.As a handler of technical material, I don't think there's a novelist in the 20th century to surpass her. Just the way in which characters are introduced and interact, how the plot proceeds, the evocation of place, it is just the most extravagantly perfect technical handling.She's the novelist who, more than anything, I show to my students in Bath Spa. And it is astonishing how if you give them a page of Elizabeth Taylor, almost chosen at random, you can go through it inch by inch, word by word, and just emerge at the end absolutely astonished by the expertise of the handling. I think she's an absolutely marvelous novelist.OLIVER: Elizabeth Bowen.HENSHER: I think she went off. But those novels from To the North certainly to The Death of the Heart, and maybe even The Heat of the Day, are absolutely thrilling. Psychologically, she's an absolute whiz at seeing people, seeing into people's minds. She's better at children than almost anybody, and there are a lot of people writing about childhood in the 1930s.The Death of the Heart, I think, is her best novel, though The House in Paris runs it pretty close. The middle section, where the young heroine goes to the seaside to stay with a family that she doesn't really know and is followed by her cad of a boyfriend, is an absolutely stunning survey of uncertain behavior. And it's rarer than you think, actually, novelists writing about people behaving uncertainly for reasons that they don't quite understand.The Heat of the Day, it has superb things in it, but I would say that it falls slight victim to the tendency of the time to think that novelists ought to write about serious subjects of contemporary concern. Novels of ideas, Henry, I'm sorry to say. And she just wasn't that sort of novelist. When she's doing two people lying on the grass just talking about nothing much, it's marvelous. But when you creak it up into this plot about someone's a spy and—oh, Elizabeth, don't do it to me. Anyway, but that's just me. A lot of people absolutely love The Heat of the Day.OLIVER: Elizabeth Jenkins, Bowen's great friend.HENSHER: My knowledge of Elizabeth Jenkins that I can produce at short notice is The Tortoise and the Hare. And I think a lot of the same things that I said about Elizabeth Taylor are the same. It's a lovely classical style.I've often given people to look at the first page of The Tortoise and the Hare. I think it slightly suffers from the title, which makes the narrative seem a bit predetermined, but that's a minor sin. I would love to read some more Elizabeth Jenkins, actually. I know I read another one or two some time ago, but I've completely forgotten what they were called, so don't test me.OLIVER: The best ones are Dr. Gully, Honey, and Brightness, after The Tortoise and the Hare.HENSHER: Okay. Oh, that's interesting. Okay. I've got a bit of an allergy—you're going to disprove this immediately. I've got a bit of an allergy to novels, like Twitter profiles, which include the word doctor. [laughter]OLIVER: It's only called that because it's a historical novel.HENSHER: Yes, they are putting me off.OLIVER: Fair enough. Fair enough. Fair enough.HENSHER: I love Trollope, but I must say that when I reach out for Doctor Thorne, my hand—OLIVER: It's not the best.HENSHER: I don't know why. Why is it?OLIVER: Because relative to what actually happens, it's too long, and so you have to get through a lot of stuff that doesn't really do anything for the novel.HENSHER: No, I mean why is it the title that includes the word doctor is so off-putting?OLIVER: Oh, that I can't help you with.HENSHER: No, I can't help. Yes, I'm going to investigate to see if I can think of a novel with doctor in it.OLIVER: Jenkins is another one who's a superb biographer.HENSHER: Oh, yes.OLIVER: Her Jane Austen biography is amazing, really beautiful. Really incredible.HENSHER: Okay. All right. Okay.More NovelistsOLIVER: Martin Amis.HENSHER: Yes, I think he is great. I do think he was wonderful. There are some later novels where he slightly fell down because he wanted to say something solemn about a major political situation. But he went on being a very good novelist a lot longer than people assume. I remember when The Pregnant Widow came out, and I think The Pregnant Widow is an absolutely enchanting novel. It's just full of regret and grown-up thoughts, and, oh, I absolutely loved it.Oh, my Lord, you should have seen the reviews that it got. I think word just got round among young people that Martin was no good anymore. He's got the thing that his father had, of a brilliant ear for dialogue, and much more than his father, but sharing some of the same qualities. He had the air of being able to write a sentence that readers would remember. I'm sure that most people who like Martin Amis, if you said to them, “Give us a sentence from Martin Amis,” they'd be able to come up with one.OLIVER: And lastly, Jilly Cooper.HENSHER: Oh, yes. Do you know, people always roll their eyes when I say I don't see why Jilly Cooper shouldn't be the novelist from our time that survives in posterity. She's got a lot of the qualities that actually make for a good prospect of survival. Her characters sound distinct. You always know who's speaking. It's got a good social range. It's not about two retired actors sitting in a bedsit in Kentish Town. They're funny, which is always good. People love them.The first of the series of her long books—not the 1970s romances, though those are very enjoyable too—the earliest of them, Riders, published in 1986, never gone out of print. Now, there's not many novels from 1986 that are still going strong with large readership. They had large readerships even before the television drama. That's not the only reason. So I think, yes, I'd put my money on Jilly Cooper still to be read in 100 years' time, ahead of Julian Barnes.Final ThoughtsOLIVER: Last two questions. How do you think AI will change the novel?HENSHER: No idea. Absolutely no idea. I think that novel has found ways to take advantage of technology and change in society before. It will do so again. I'm a novelist myself, but my practice has been long formed. I don't think that I'm the person to ask this about.What you want to do is ask somebody like the brilliant student that I was just talking to, who's 22 years old, a student of mine who has been thinking about AI since he started his undergraduate degree. Those people, they will have it in their bones, and they will master it, I'm convinced. But my answer is worth less than nothing.OLIVER: What will you do next?HENSHER: Oh, I've retired. That's it. That's it. Glorious. I'm very happy.OLIVER: You're not going to set up the Library of Britain?HENSHER: No, no, I couldn't run that. Someone else can do that. No. I mean, it'd be nice if anyone took it seriously.OLIVER: I think it's a great idea.HENSHER: Yes, I think it's a great idea. I wouldn't have put it—but no, I'm going to retire now. I've spent 30 years publishing novels, and there's 12 novels, 2 volumes of short stories, and finishing with a history of my art form. I think that sounds like a nice, shapely career.I don't want to be writing novels about my idea of what the kids are like when I'm 75. I think that's absolutely a fatal idea. [laughter] Of course, I'm just saying that, and you never know when something's going to tempt. But at the moment, I think I'm going to retire.OLIVER: Very good. Philip Hensher, thank you very much.HENSHER: Pleasure. Thank you, Henry. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.commonreader.co.uk

Chris talks educational seminars, cash budgets, interest rates, fuel prices, crop prices, and more on the WRAM Morning Show.

The Space Show Presents George Tyson, Tuesday, 7-28-26.The Space Show featured George Tyson, CEO of Orbital Construction Pioneers, discussing his company's concept for building large orbital structures using additive manufacturing with bio-based materials, primarily plant-based epoxies and fillers like hemp. He detailed the “First Step” project, which aims to create a rotating disk-shaped space station called Station 520, with initial construction relying on materials grown and processed in orbit. Tyson explained the current research phase, focusing on material testing and 3D printing technology, and mentioned partnerships such as with Exo Scientific for life support systems. The conversation covered technical aspects like structural design, launch costs, regulatory considerations, and the long-term goal of establishing an Earth-independent space economy. Tyson also introduced the Interplanetary Regen Network (IRN), a proposed consortium to collaborate on space development. The discussion included questions from co-host John Jossy and other participants about feasibility, timelines, and potential applications of the technology.George discussed his experience from 2005 when he participated in a space tourism assessment, finding that while there was public interest, it wasn't sufficient to support expensive space tourism flights. He advised companies like XCOR to focus on flying scientific experiments multiple times before sending them to the ISS, which XCOR had planned to implement before other issues arose. The discussion also covered current space tourism status, with John noting that Virgin is not doing well and Blue Origin has shifted focus, while SpaceX is doing some tourism but not much, and George expressing interest in stratosphere balloon rides as a more viable luxury tourism option.The group discussed their experiences with early television technology, particularly watching the Apollo landings on black and white TVs. They shared personal anecdotes about watching the moon landings in various locations, from hotel rooms to living rooms, and compared these experiences to modern large-screen TVs and electronic devices. The conversation also touched on advancements in electronics, including high-speed oscilloscopes, with Marshall sharing a story about purchasing a $250,000 oscilloscope for work at TI.George Tyson, CEO of Orbital Construction Pioneers, was our main guest. His large program focused on his flagship “First Step” project, which involves building Station 520 - a 320-meter diameter orbital station that will use additive manufacturing with biological materials grown in orbit to create panels and structures. The station will be constructed using about seven vehicles the size of Starship, with initial framework and plants lifted from Earth, and will serve as a manufacturing hub producing fresh water, oxygen, and food while processing waste products from customers.George talked about his company's development of plant-based biopoxy materials for space construction, explaining that they have tested various formulas including hemp for fillers and are working on 3D printing capabilities. The team discussed their plans for a disc-shaped space station (Station 520) with a 3-meter-thick wall structure that would be hollow with different gravity levels, though specific details about density and mass remain undetermined as they are still in research and testing phases. George outlined their approach to becoming Earth-independent through aquaponics and hydroponics systems that would process waste materials from other stations while providing oxygen, water, and food in exchange for technical support and resources.George explained their 3D printing process using hemp fibers, noting they currently chop fibers to quarter-inch lengths and mix with wood pulp as filler. When asked about launch costs, George indicated they expect costs to eventually reach around $100 per kilogram, similar to what was needed for space manufacturing in 2005, though initial costs will be higher. George confirmed they have experience dealing with regulatory bodies, having previously obtained space flight approval for a training course in 2006-2007, and expressed confidence in working with the FAA to navigate new regulatory challenges for their space manufacturing facility.George explained that his space development project is still in early stages, with ground testing planned before any FAA approvals will be needed. He described his background in mechanical engineering and NASA experience, which led him to form Black Sky Training and later explore 3D printing applications for space development. The team is researching the possibility of using plants for space construction, inspired by a DARPA proposal about growing structures in space.Our guest mentioned his recent presentation at ISDC, noting that while time constraints affected the full presentation, there was significant interest and engagement from attendees, leading to opportunities for further discussions. John Jossy introduced George to Daniel Tompkins and his project, Grow Mars, which involves self-replicating greenhouses using local resources for algae production and 3D printing. George expressed interest in collaborating with Tompkins and requested John share his contact information. George also shared that despite a board member's resignation, the organization is seeking new members to bring fresh perspectives and challenge existing assumptions.George explained the construction process for building a space station, describing how they would use a metal frame (called Stelimer) to create a structure that could be shipped from Earth, which would then be sheeted with the same material. He clarified that while current stations would use 3D printing within a framework, future stations would print beams and frames directly and confirmed that the 3D printers could operate in vacuum conditions without requiring gravity. The discussion also covered surface texture options for the 3D-printed materials, with George suggesting several methods including spray guns and specialized formulas for smoother finishes.George also shared plans for Station 520, emphasizing the importance of developing robotics for operations like sheeting and farming to minimize human involvement. He mentioned collaborating with Exo Scientific on a regenerative life support system and expressed interest in connecting with other private space station companies. George also noted that a revised business plan, including a clearer roadmap, would be published soon, potentially for submission to the ISDC business plan competition. John Jossy proposed collaborating on a blog post about space settlement progress, to which George agreed. The discussion concluded with George sharing ideas about large rotating space stations for long-duration missions, including concepts for growing food and raising animals.Special thanks to our sponsors:American Institute of Aeronautics and Astronautics, Helix Space in Luxembourg, Celestis Memorial Spaceflights, Astrox Corporation, Dr. Haym Benaroya of Rutgers University, The Space Settlement Progress Blog by John Jossy, The Atlantis Project, and Artless EntertainmentWe use Zoom phone numbers for program participation.For real time program participation, email Dr. Space at: drspace@thespaceshow.com for instructions and access.The Space Show is a non-profit 501C3 through its parent, One Giant Leap Foundation, Inc. To donate via Pay Pal, use:To donate with Zelle, use the email address: david@onegiantleapfoundation.org.If you prefer donating with a check, please make the check payable to One Giant Leap Foundation and mail to:One Giant Leap Foundation, 11035 Lavender Hill Drive Ste. 160-306 Las Vegas, NV 89135Upcoming Programs:Broadcast 4579 Zoom: Amir Notea, Shar Bahiri, Fred Simon | Friday 21 Aug 2026 930AM PTGuests: Amir Notea, Shar Bahiri, Fred SimonZoom: Our guests discuss the Israeli company Moonshot.space and moreBroadcast 450 Zoom: Open Lines Discussion | Sunday 23 Aug 2026 1200PM PTGuests: Dr. David LivingstonZoom: Open Lines Discussion. Join us if you can. Get full access to The Space Show-One Giant Leap Foundation at doctorspace.substack.com/subscribe

Take 5 with Steven Travers and Special Guest Barry Tompkins We are broadcasting live from Atlanta, GA, with host Steven Travers, co-host Harper LeBel, and special guest Barry Tompkins. We are 100 Yards of Football. Live from Atlanta, Georgia. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

The following article of the Professional Services industry is: “As Traditional Consulting Fails ERP, Execution Models Gain Favor” by Javier Zarazua, VP of LatAm, Tompkins Ventures.

In this episode of Alaska's Political Pipeline, political reporter Wil Courtney interviews former state lawmaker and gubernatorial candidate Jonathan Kreiss-Tompkins. Kreiss-Tompkins speaks on why he's in the race for governor, how he plans to lead and what he thinks about the top policy issues going into the August primary.

Welcome to this episode of The New Warehouse Podcast, featuring Dr. Jim Tompkins, chairman and founder of Tompkins Ventures. The company connects businesses with an ecosystem of experts through flexible, results-based engagements. Tune in and hear Tompkins explain why artificial intelligence is moving beyond isolated tools and into enterprise design. Next, he outlines four stages of AI maturity and their implications for supply chain leaders. Tompkins closes with the data, cybersecurity, and leadership disciplines required to build an AI-enabled organization grounded in warehouse operational reality and practical business needs.Learn more about Pallite here.Learn more about Big Joe's AP44 here. Follow us on LinkedIn and YouTube.Support the show

Most print companies are running chaotic, legacy systems that limit growth - until Jason Tompkins reveals how a wild journey from software engineering to apparel printing turned into a trillion-dollar industry-shaking platform. Discover how identifying operational pain points first led him to build Fulfill Engine, a solution now transforming global printing operations and partnerships. This episode unlocks the behind-the-scenes truth about scaling print businesses in today's fast-paced e-commerce world. Jason shares how early chaos - think Frankenstein workflows, Spaghetti code, and manual bottlenecks- became the stepping stones to a data-driven infrastructure that supports multi-million-dollar volume growth. You'll discover how internal struggles with supply chains, automation, and product data inspired a software revolution with enormous ripple effects across the industry. We break down: the incredible power of partnerships, the importance of industry transparency, and the value of building solutions that serve your own pain first. Jason dives into how embracing AI, vibe coding, and continuous industry evolution opens new opportunities for decorators, suppliers, and brands alike. His insights show that understanding your operational leaks and data capabilities is key to future-proofing your business, whether you're a small shop or a scaling e-commerce empire. Why ignore these operational lessons at your peril? With global fulfillment expectations rising - think same-day shipping and regional on-demand printing - those who don't build resilient, automated workflows risk falling behind. This is your blueprint to scale smarter, strengthen partnerships, and unlock the next wave of innovation - before your competitors do. Perfect for print shop owners, ops managers, and industry innovators eager to future-proof their business - this episode offers a candid look into the real challenges and bold solutions shaping the industry's future. Want your print business to thrive in a connected, fast-moving world? Hit play now, and learn from a trailblazer who's building the software and partnerships to make it happen. Jason Tompkins is founder of Fulfill Engine, now part of Stalhs' and a recognized pioneer for transforming print operations with innovative software solutions. His journey from software engineer to industry disruptor highlights the importance of solving your own pain points first and how that insight sparks industry-wide change.   

Jesus does not stop at telling us to withhold judgment. He immediately follows that familiar command with a call to discernment, and the tension between those two ideas is at the heart of what it means to follow Him well. A critical spirit and true discernment are not the same thing, even though a critical spirit loves to disguise itself as one. If every judgment you make tears someone down, that is not discernment. True discernment is wisdom. It knows the difference between someone who is struggling and someone who is in settled, hardened rebellion against the truth. Grace without wisdom becomes carelessness, and wisdom without grace becomes cruelty. Jesus calls His followers to hold both at the same time. The gospel is the most precious thing a follower of Jesus carries. It is worth more than anything we could offer another person, and it deserves to be handled with both boldness and care. Sharing it with everyone, with patience and genuine love, is the starting point. The pattern we see in Paul's ministry is instructive. He invested eighteen months in Corinth before moving on, and only in the face of persistent, vicious hostility did he redirect his efforts. Stepping back from someone is reserved for rare, settled cases of scornful rejection, not a hard conversation or a single bad interaction. And when that moment does come, the heart check matters deeply. Stepping back with grief and trust in God is wisdom. Stepping back with a sense of superiority is pride. Perhaps the most important reminder in all of this is that every one of us was once on the other side of this equation. We were the ones treating what was holy as common. We were the ones who needed someone to be patient with us. Jesus did not shake the dust off His feet and walk away. He went all the way to the cross to bring the unclean in and call them His own. That reality should keep our discernment gracious and our wisdom humble. The goal is not to become gatekeepers of the gospel but to become wiser and more gracious people who carry it well.

Public education is often the subject of cultural consternation and controversy — so what does it look like to follow Jesus as a schoolteacher? In this episode, Bob Thune and Bethany Gilbert sit down with Courtney Tompkins, a high school math teacher, to discuss the joys and challenges of serving students in today's educational environment. Courtney shares how her faith shapes her work, the challenges of caring for students, the importance of Christian community in the workplace, and why ordinary faithfulness matters in the classroom.

Matthew 7 is not a permission slip to avoid accountability, nor is it a ban on all discernment. Jesus forbids the proud, habitual fault-finding spirit that quietly masquerades as zeal for truth. The log-and-speck illustration makes the point vividly: before addressing sin in someone else's life, honest self-examination must come first. The goal is never superiority or winning an argument. It is restoration, pursued with gentleness. The gospel is what makes this possible. Because Jesus stood in the place of the guilty and absorbed the judgment we deserved, we can approach others not as judges but as fellow sinners who have received grace. Look in the mirror before you look out the window. Church on The Way

Brad Tompkins talks about learnings from the community around VMUG connects and 9.1 sessions and topics. He covers the Virtual Event which is coming up on June 25th, with loads fo great sessions. He also covers the value of the community in the age of AI.

See the movie here: The Xenophobes https://watch.amazon.com/detail?gti=amzn1.dv.gti.c94da764-374d-439d-a9c7-1168dd8b815d Get your Xenophobes social media banners here:  lancerkind.com/the-xenophobes-latest-news About Kristen Tompkins Kirsten’s home page: https://www.kristentompkins.com/about About the movie: I've got some big news I've been waiting to share: my science fiction film THE XENOPHOBES is going to be available for rental on Amazon Prime Video starting March 6th. You can rent […]

Guest: Rosalind Y. Lewis TompkinsMinistry: Mothers in CrisisPositions: Founder and PresidentBook: God's Way; A Lifelong Journey to Everlasting Peace and JoyWebsite: hopeologistrosalind.com

On this episode, Heather brings the road dogs to the studio to give us all an in-depth recap of tour life. Andrew, Raymond, Christina and Heather reminisce about their favorite cities, toughest shows, the origin of Texas Tony and someone's reliance on Recticare. Episode Sponsors:Refresh your everyday with luxury you'll actually use. Head to Quince.com/absolutely for free shipping on your order and 365-day returns. Get 15% off Branch Basics with the code ABSOLUTELY at https://branchbasics.com/ABSOLUTELY #branchbasicspodOur listeners can buy one prescription pair and get 20% off additional pairs at WarbyParker.com/ABSOLUTELY — and using our link helps support the show. #WarbyParker #adStart your new morning ritual & get up to 43% off your @MUDWTR with code ABSOLUTELY at mudwtr.com/ABSOLUTELY! #mudwtrpodFor a limited time, Nutrafol is offering our listeners $10 off your first month's subscription and free shipping when you visit Nutrafol.com and enter promo code ABSOLUTELYNOT.Please note that this episode may contain paid endorsements and advertisements for products and services. Individuals on the show may have a direct or indirect financial interest in products or services referred to in this episode.Produced by Dear Media.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

On May 19, 2026, 914INC. proudly celebrated its 16th annual Wunderkinds Awards with a special cocktail reception at the Mamaroneck Beach & Yacht Club. This year's event honored 26 exceptional professionals under the age of 35 who were handpicked by the magazine's editors for their standout talent, innovative thinking, and meaningful contributions to the Westchester community. Featured in the May/June 2026 issue, these rising stars represent the future of the region's business landscape. A warm congratulations goes out to all of this year's honorees, along with a sincere thank you to the event sponsors who helped make this memorable celebration possible.Westchester Talk Radio host Joan Franzino Derick Ansah, Assistant Vice President and Wealth Advisor at Tompkins Financial Advisors, a sister company to Tompkins Bank. With over a decade of experience in private wealth planning, including a background working with Morgan Stanley and UBS, Derick focuses heavily on financial, investment, and trust and estate planning. He emphasizes the upcoming great wealth transfer and his desire to help families navigate legacy planning in the Westchester market.

“Most businesses don't fail because of bad ideas…They fail because their teams can't execute when it counts.”In this episode of the Marketing Boost Solutions Podcast, Capt. Marco Torres sits down with  Darren Tompkins, Founder & CEO of Vader-Rey Companies, a leader forged in the Army and high-stakes oil & gas environments where pressure exposes everything.They break down the uncomfortable truth about leadership, hiring, and scaling: Most companies are built on weak standards, poor hiring decisions, and teams that look good on paper… but collapse under pressure.This conversation is about fixing that.No fluff. No theory. Just real execution.Connect with Darren:

Reference Material: Day 4 Privilege Against Self-Incrimination and Miranda DoctrineUnderstanding the Fifth Amendment's Protections in Police InterrogationsThis episode unpacks the complex landscape of the Fifth Amendment, focusing on the psychological battleground of police interrogations. It explores how constitutional protections evolved from physical boundaries to safeguarding the mind during coercive police practices, with case law illuminating critical concepts.Most people believe their Fifth Amendment rights protect their thoughts and words only inside courtroom walls—or in the blatant face of police brutality. But what if the real threat is happening behind the scenes, in the subtle, psychological traps police set during interrogation? This episode reveals how constitutional protections evolved from physical boundaries into a high-stakes mental battleground.We break down how the Fifth Amendment shields your mind—not just your body—by dissecting the origins of the privilege against self-incrimination, from oppressive English courts to modern police tactics. You'll discover why the Supreme Court declared police interrogations inherently coercive, and how that led to the creation of the Miranda warnings as a safeguard against psychological manipulation.We explore crucial questions: When does custody begin? How do courts differentiate between routine questions and genuine interrogation? What exactly constitutes an unambiguous request for a lawyer? You'll learn how nuanced circumstances—like a traffic stop or a secret conversation—can turn a routine encounter into a constitutional minefield. Plus, we analyze key cases like Rhode Island v. Innis and Berghaus v. Tompkins, revealing how the courts interpret seemingly simple actions that can dramatically alter your rights.Avoid costly mistakes—misunderstanding the rules of invocation and waiver can jeopardize your case. We examine the narrow loopholes police use—public safety exceptions, undercover agents, and the timing of rights "re-activation"—that threaten to erode your protections. Most importantly, we clarify the delicate balance courts strike between effective law enforcement and safeguarding human dignity in the face of psychological coercion.Whether you're a law student, legal professional, or just a concerned citizen wanting to understand your rights, this episode guides you through the invisible yet powerful rules governing police interrogations. Equip yourself with the knowledge to see through psychological tactics, recognize constitutional triggers, and understand the true limits of the Fifth Amendment in the modern age. This is essential listening for anyone eager to see beyond the surface and grasp the profound complexity of protecting the human mind from state coercion.In this episode:The origins of the privilege against self-incrimination rooted in English historyHow the modern understanding of custody and interrogation shapes Fifth Amendment protectionsThe significance of the Miranda warnings as a prophylactic safeguardDifferentiating custody from mere seizure using objective tests like Berkemer v. McCartyThe functional equivalent test to determine what constitutes interrogation, referencing Rhode Island v. InnisThe critical distinction between invoking rights and waiver, highlighted through Burghaus v. TompkinsThe importance of unambiguous requests for counsel under Edwards v. Arizona and the exceptionsWhen the protections reset: the Schatzer 14-day rule for returning to normal life after invocationEmergency exceptions, such as New York v. Quarles, and their limitsThe unique status of undercover agents in Illinois v. PerkinsThe fruit of the poisonous tree doctrine's limits as shown in United States v. PataneThe ongoing challenge of balancing police needs with constitutional safeguards

This week on The Warmup, we're covering:- College Park wins the 6A D2 Boys State Championship- Klein Cain wins the 6A D1 Boys State Championship- Kingwood wins 6A D2 Girls State Championship- Lake Creek wins 5A D2 Girls State Championship- Katy, Tompkins, and Taylor Baseball battling for top spot in 19-6A- Katy, Jordan, & Paetow Softball battling for top spot in 19-6A- Plus an interview with College Park Head Coach Mike Jaskowiak and much more!Allegro Marinade

Kenny Harper interviews Jack Tompkins of Pineapple Consulting about tracking the right business metrics and turning data into decision-driving insights through customized dashboards. Jack shares the origin of his company name, his mission helping business owners with thousands of dashboards, and how dashboards should start with clear goals and strategy rather than dumping in every possible metric. He explains common mistakes like over-tracking, outlines his process of identifying core KPIs and mapping data sources, and notes typical build timelines of about four to six weeks. Jack discusses pricing ranges, white-labeled dashboard partnerships that scale across many clients, and ways advisors can get client buy-in through samples. He also offers a simple starting approach using existing software dashboards or spreadsheets, and emphasizes prioritization and step-by-step execution for entrepreneurs. 00:00 Why Tracking Matters 00:28 Meet Dashboard Expert Jack 01:45 Pineapple Consulting Origin 03:16 From Dashboards to Decisions 05:22 Stop Tracking Everything 07:38 Goals First Dashboard Method 09:37 Build Timeline and Workflow 10:31 Pricing and ROI Breakdown 12:38 White Label Dashboard Scaling 17:11 DIY Starting Point Metrics 19:09 Where to Find Jack 20:04 Entrepreneur Prioritization Lesson 21:18 Final Call to Action

Navigating the Modern Staffing Landscape: Strategic Hiring with Darren TompkinsIn a recent episode of The Thoughtful Entrepreneur Podcast, host Josh Elledge sat down with Darren Tompkins, the CEO and Owner of Vader-Rey, to discuss the evolving dynamics of talent acquisition in a volatile global economy. As a multifaceted organization specializing in recruiting, engineering contract staffing, and virtual professional services, Vader-Rey operates at the intersection of local industry and global talent pools. Darren shares how his Houston-based firm leverages a lean, remote-first model to provide high-impact staffing solutions—ranging from C-suite executives to offshore virtual assistants—at a fraction of the traditional cost. This conversation is a masterclass for leaders seeking to build resilient, agile teams in an era defined by geopolitical shifts and rapid technological advancement.The Agile Staffing Revolution: Lean Models and Global Talent IntegrationThe traditional staffing agency model, often burdened by high-rise office overhead and rigid fee structures, is increasingly out of sync with the needs of modern SMBs. Darren Tompkins explains that Vader-Rey's success is built on a lean, remote infrastructure that allows the firm to pass significant cost savings directly to its clients, often charging fees far below the industry standard of 25–35%. By operating virtually, the company is not limited by geography, enabling them to source specialized engineering talent for complex oil and gas projects while simultaneously managing a robust "Vader-Rey Virtual" division. This global reach, particularly into talent hubs like the Philippines, provides business owners with high-quality administrative and marketing support that scales with their growth without the long-term liability of traditional domestic hires.Recruiting in 2026 requires more than just matching a resume to a job description; it requires a deep assessment of cultural fit and the strategic use of AI to cut through the noise. Darren emphasizes that while AI tools are essential for identifying top-tier candidates at speed, human oversight remains the final arbiter of quality. Hiring managers must look beyond technical skills to find "hidden talents" and personality traits that align with the company's long-term mission. This consultative approach is particularly vital in sectors like energy and construction, where external economic shocks—such as fluctuations in crude oil prices or supply chain disruptions—can shift hiring needs overnight. By maintaining an agile workforce that includes a mix of permanent staff, 1099 contractors, and virtual professionals, companies can pivot their operations without the friction of a bloated payroll.Building a resilient team also involves moving away from transactional vendor relationships and toward strategic partnerships. Darren's commitment to being the "point person" for all new client consultations reflects a broader philosophy of accountability and trust. For small to mid-sized business leaders, the goal should be to treat staffing as a continuous strategic function rather than a reactive emergency. This includes investing in employer branding, upskilling current teams in AI literacy, and tapping into underutilized talent pools like military veterans who bring innate discipline and adaptability to the private sector. When staffing is handled with this level of foresight, it transforms from a cost center into a primary engine for competitive advantage.About Darren TompkinsDarren Tompkins is the CEO and Owner of Vader-Rey, an innovative staffing and professional services firm based in Houston, Texas. With a background in project management and high-stakes recruiting, Darren has built a reputation for navigating the complex hiring cycles of the energy and technology sectors. He is an advocate for lean business operations and is dedicated to helping entrepreneurs scale their impact through a combination of domestic expertise and global virtual support.About Vader-ReyVader-Rey is a comprehensive human capital solutions provider offering permanent recruiting, engineering contract staffing, and virtual professional services. The firm operates with a remote-first philosophy, allowing them to provide elite talent acquisition services to industries such as oil and gas, construction, and marketing at highly competitive rates. Through their Vader-Rey Virtual division, they empower SMBs to optimize their operations with dedicated virtual assistants and specialized offshore professionals.Links Mentioned in This EpisodeVader-Rey Official Website: https://vaderrey.com/Darren Tompkins on LinkedIn: Connect with DarrenKey Episode HighlightsThe Lean Staffing Advantage: How reducing agency overhead allows Vader-Rey to offer high-quality recruiting at significantly lower fee percentages.Oil, Gas, and Geopolitics: Understanding how global commodity prices and supply chain issues directly impact local hiring cycles.The "Vader-Rey Virtual" Model: Leveraging dedicated offshore talent in the Philippines for appointment setting, admin, and marketing support.Hiring for Cultural Fit: Why personality assessments and values alignment are just as critical as technical engineering skills.Agility as a Strategy: Using a mix of 1099 contractors and project-based teams to weather economic volatility and maintain business momentum.ConclusionThe conversation with Darren Tompkins serves as a powerful reminder that the most successful teams of the future will be those that embrace flexibility over tradition. By integrating global virtual talent, leveraging AI-driven recruiting tools, and prioritizing strategic partnerships over transactional hires, business leaders can build resilient organizations capable of thriving in any economic climate.More from The Thoughtful Entrepreneur

OA1250 - A fall out of bed during a vacation in Delaware turned into a Supreme Court case, decided this term, that could have big implications for states' rights to limit tort suits… in federal court. Did Delaware take a good-faith precautionary measure to reduce frivolous medical malpractice lawsuits? Or did they put up an unfair barrier to plaintiffs who deserve restitution? Perhaps reasonable people can disagree on that. But in the rare circumstance you manage to bring that state tort case into a federal courtroom, SCOTUS ruled 9-0 that it's clear Delaware's rule is a step too far. (They can still do what they want in their own courts, but not here). How far-reaching will the consequences be? Legal reporting seems split! Come for the (brief, not too gory) medical drama, stay for the review of the Erie Doctrine so you can pass your Federal Civil Procedure class. A nice chill case where the world isn't burning down and the justices mostly act like normal respectful people. Berk v. Choy, 607 U.S. ___ (2026) Erie Railroad Co. v. Tompkins, 304 U.S. 64 (1938) Rules Enabling Act of 1934: 28 U.S.C. § 2071-2077 Federal Rules of Civil Procedure Robert Niles-Weed, A Sleeper Supreme Court Case Opens Door to More Frivolous Suits, Bloomberg Law, Mar. 3, 2026. Ronald Mann, Justices Reject State Limits on Malpractice Actions for Cases in Federal Court, SCOTUSblog, Jan. 21, 2026. Check out the OA Linktree for all the places to go and things to do!

"No cat should be euthanized because it tests positive for a virus—period." This episode is sponsored-in-part by Maddie's Fund, The Animal Rights Foundation, Reduce Surrenders with Feline Behavior Support Certification Workshop, and The Community Cat Clinic. Feline leukemia (FeLV) has long been one of the most misunderstood—and often feared—diagnoses in the cat world. In this eye-opening episode of the Community Cats Podcast, host Stacy LeBaron welcomes feline leukemia advocate and expert Margaret Tompkins to break down the myths, realities, and latest advancements surrounding this complex virus. Margaret shares her personal journey into the world of FeLV advocacy, sparked by a group of rescue kittens that changed her life. From there, she dives into the science behind feline leukemia, explaining how it differs from FIV, how it spreads, and why today's understanding of the disease is far more hopeful than it was just a few decades ago. Listeners will gain clarity on key topics such as progressive vs. regressive infections, the importance of spay/neuter in disease prevention, and whether testing is always necessary—especially in TNR (trap-neuter-return) programs. Margaret also tackles one of the most emotional questions caregivers face: what to do when a cat tests positive, and why euthanasia should not be the default response. The conversation also explores managing mixed households, vaccine advancements (including promising new mRNA technology), and how strong immune systems play a critical role in outcomes for FeLV-positive cats. Whether you're a rescuer, foster, veterinarian, or cat lover, this episode offers practical guidance, science-backed insights, and a much-needed shift in perspective. Feline leukemia is no longer a guaranteed death sentence—and with education, compassion, and proactive care, these cats can live meaningful, happy lives. Press Play Now For: The critical difference between FeLV and FIV—and why it matters How feline leukemia is actually transmitted (and common misconceptions) Why spay/neuter is the most powerful tool for disease prevention When testing is essential—and when it's not worth the cost Understanding progressive vs. regressive FeLV infections What to do if your vet suggests euthanasia after a positive test How to safely manage mixed households with FeLV-positive cats The latest breakthroughs in FeLV vaccines, including mRNA technology Why many FeLV-positive cats can live long, healthy lives Resources & Links Community Cats Podcast YouTube Library (FeLV Playlist) FIV/FeLV Positive Cats Facebook Group

Host Lewis Weiss interviews Jim Tompkins about his career path from industrial engineering academia and the Army to founding Tompkins Solutions and later launching Tompkins Ventures, a matchmaking firm that connects manufacturers with partners for logistics, procurement, technology, automation, AI, and organizational development, typically offering recommendations without consulting fees and earning a success fee when solutions are implemented. Tompkins discusses how manufacturers can focus on core competencies while outsourcing non-core functions, the challenges of maintaining quality in outsourcing, and VUCA (volatility, uncertainty, complexity, ambiguity) as the operating reality for global supply chains. He explains reshoring as a risk-mitigation hedge tied to adaptability, digital twins, scenario planning, AI, and automation, and outlines four factors for what to reshore: value density, demand volatility, IP sensitivity, and automation potential.   00:00 Welcome and Introductions 00:40 Tim's Career Origin Story 01:18 From Seminars to Global Supply Chain 02:56 Launching Tompkins Ventures 03:51 How Ventures Helps Manufacturers 04:42 No Fee Model Explained 06:19 Success Fees and Partner Network 07:45 Why Outside Expertise Matters 10:12 Virtual Companies and Outsourcing 11:07 Quality Control in Outsourcing 13:44 VUCA Defined for Supply Chains 17:10 Reshoring as Risk Mitigation 18:19 Surfing the Next Disruption Wave 22:25 Resilience Over Pure Efficiency 25:13 What to Reshore Four Criteria 26:59 Tariff Refunds Supreme Court Fallout 32:12 Wrap Up Contact and Subscribe Learn more about your ad choices. Visit megaphone.fm/adchoices

This episode features a deep dive into a classic Philip Marlowe story, exploring themes of crime, memory, and deception. Discover how the detective unravels a complex case involving a woman's past, a missing picture, and a murder attempt, all set against the backdrop of Los Angeles and Vancouver.Most private detectives in Hollywood chase clues—Philip Marlo? He hunts secrets that could blow your mind. When a terrified woman drops into his life with a story of amnesia, ghostly threats, and a haunting past, Marlo realizes he's stumbled into a dark web of lies, murder, and a missed chance at hope. This isn't just another case—it's a high-stakes puzzle with deadly stakes, and every clue could mean the difference between life and death.You'll discover how a simple open window reveals a killer's twisted game. Marlo's relentless pursuit leads him through abandoned houses, underground clubs, and a chilling confrontation with a man hiding a deadly secret. We break down how details—like a missing photo, a suspicious cigarette stub, and a record heatwave—help piece together a story of betrayal and revenge. Alan Palmley, Margret Beazey, and the mysterious Tompkins aren't just characters—they're pieces in a deadly chess game Marlo must decode before it's too late.This episode is packed with gritty noir tactics and psychological twists that show how secrets buried deep can surface in the most brutal ways. We explore the importance of subtle clues—such as a halfway-up window or a forgotten photograph—that crack the case wide open. If you've ever wondered how a seasoned detective uses instinct and evidence to outsmart killers, this is your inside look. The stakes? A woman's life, a man's redemption, and a hard lesson in trust.Perfect for crime aficionados, noir lovers, or anyone facing the secrets lurking in their own lives. If you want to understand how intuition marries evidence in the shadowy world of detectives, don't miss this episode. The darkness hides many truths—will Marlo reveal them or get lost in its maze? Hit play and see how one open window can change everything.Philip Marlowe, crime fiction, detective story, Los Angeles, Vancouver, mystery, investigation, noir

Alex tells us all about Bill Tompkins and his life in the world of UFOs and Sexy Aliens in the second part of this two-parter.CHILLUMINATI is a weekly comedy podcast hosted by Mike Martin, Jesse Cox and Alex Faciane. Hold on to your tin-foil hats and traverse the realms of the mysterious, supernatural, spooky and sometimes truly horrible - and your third eye will never be the same!Subscribe to our Patreon to support us and for extra content like full video episodes, weekly Minisodes, exclusive art, and more at http://patreon.com/CHILLUMINATIPODMERCH: https://theyetee.com/chilluminatiThank you to our sponsors:Mint Mobile: Ready to stop paying more than you have to? New customers can make the switch today and for a limited time, get unlimited premium wireless for just $15 per month. Switch now at mintmobile.com/chill1-800 Contacts: Getting contacts doesn't have to be a hassle. Let One Eight Hundred Contacts get you the contact lenses you need right now.  Order online at 1800contacts.com or download the free 1-800 Contacts app today.  Mike Martin - http://www.youtube.com/@themoleculemindset Jesse Cox - http://www.youtube.com/jessecox Alex Faciane - https://www.youtube.com/@StarWarsOldCanonBookClub/Editor: DeanCutty Producer: Hilde @ https://bsky.app/profile/heksen.bsky.social Show Art: Studio Melectro @ http://www.instagram.com/studio_melectro Logo Design: Shawn JPB @ https://twitter.com/JetpackBragginSOURCES:"Selected by Extraterrestrials: My Life in the Top Secret World of UFOs" by Bill Tompkins.Links Mentioned:https://en.wikipedia.org/wiki/Lake_Isabella,_California https://explorekernville.com/whiskey-flat-days#section-cCOysjRLe https://bakersfieldnow.com/news/local/kernvilles-whiskey-flat-days-a-blast-from-the-past-festival-unearthing-golden-history https://www.vice.com/en/article/this-guy-paints-the-sex-he-allegedly-has-with-aliens/ https://youtu.be/-GJdVpUMLk8?si=h4K7_g2WW5dmvuvg https://www.theartblog.org/2019/12/david-huggins-an-uncommon-life-2/ https://www.theartblog.org/wp-content/uploaded/David-Huggins-first-time-04web.jpg https://projectcamelot.org/Alien_Digest_Vol_1.pdf https://arstechnica.com/science/2021/12/concerns-about-sexism-in-the-aerospace-industry-land-at-spacex/ https://iawa.org/news_manager.php?page=22119 https://digitalcommons.uri.edu/cgi/viewcontent.cgi?article=1181&context=jfs https://www.aircraftinteriorsinternational.com/industry-opinion/sexism-in-aerospace.html https://craftsmanshipmuseum.com/artisan/william-tompkins/

Geographer, researcher, author and innovator Scott Tompkins joins the show to discuss his amazing and ambitious project Mapping Bigfoot. Tracking sightings from as far back as the 1800's up until today, with incredible filters and features to get lost in the research, are just some of the things that make this groundbreaking project so incredible. Scott dives into the work that went into the project, the experiences he's had along the way and what may be coming quickly over the horizon. You can find the website BigfootMap here. Scott's book Marmalade's First Adventure can found here. You can find more on my stand-up schedule, short films and more at: ⁠⁠⁠⁠⁠⁠⁠⁠https://ryansingercomedy.com/⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠Commercial Free episodes here!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ SpectreVision Radio is a bespoke podcast network at the intersection between the arts and the uncanny, featuring a tapestry of shows exploring creativity, the esoteric, and the unknown. We're a community for creators and fans vibrating around common curiosities, shared interests and persistent passions. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this in-depth episode of Voices of Otolaryngology, Andrew J. Tompkins, MD, and Chair of the AAO-HNS Workforce and Socioeconomic Task Force, unpacks one of the most consequential topics facing the specialty today: workforce data and what it means for patient care, compensation, and access. Dr. Tompkins walks listeners through the origins of the Academy's workforce reports and explains how rigorous methodology, transparency, and member participation have shaped a series of publicly available reports used by otolaryngologists across the country. The discussion highlights trends in practice settings, compensation, gender disparities and call coverage, while emphasizing how these data can be used responsibly to inform decision-making and improve care delivery.

Did Nazi Germany receive advanced aerospace technology from extraterrestrial “reptilian” consultants?This week marks the 10th anniversary of the first video interview of William Tompkins originally recorded on Feb 25, 2016. In this explosive interview, Tompkins describes his role at Naval Air Station San Diego, where he claims to have delivered classified intelligence briefings gathered by U.S. Navy spies embedded inside Nazi Germany. According to Tompkins, the intelligence revealed:• Advanced Nazi UFO propulsion systems• Compartmentalized SS space programs• Massive underground and Antarctic bases• Reverse-engineering of exotic craft• Alleged reptilian extraterrestrial involvement• Claims of missions to the Moon, Mars, and beyondTompkins recounts delivering technical packages to major aerospace contractors including Lockheed, Douglas, Boeing, and research institutions like Caltech and Navy weapons centers.Were these programs the foundation of a hidden space race?Was Antarctica the true hub of a secret Nazi space program?And what did U.S. Naval Intelligence really know?Watch and decide for yourself.Like, share, and subscribe for more deep dives into classified history, secret space programs, and exopolitical revelations.Join Dr. Salla on Patreon for Early Releases, Webinar Perks and More.Visit https://Patreon.com/MichaelSalla/#NaziUFOs #SecretSpaceProgram #AntarcticaBase #WilliamTompkins #Reptilians #Exopolitics #HiddenHistory

This week (and next week) Alex tells us all about Bill Tompkins and his life in the world of UFOs.CHILLUMINATI is a weekly comedy podcast hosted by Mike Martin, Jesse Cox and Alex Faciane. Hold on to your tin-foil hats and traverse the realms of the mysterious, supernatural, spooky and sometimes truly horrible - and your third eye will never be the same!Subscribe to our Patreon to support us and for extra content like full video episodes, weekly Minisodes, exclusive art, and more at http://patreon.com/CHILLUMINATIPODMERCH: https://theyetee.com/chilluminatiThank you to our sponsors:Mars Men: for a limited time, our listeners get 50% offFOR LIFE, Free Shipping, AND 3 Free Gifts at Mars Men at Mengotomars.com!Mike Martin - http://www.youtube.com/@themoleculemindset Jesse Cox - http://www.youtube.com/jessecox Alex Faciane - https://www.youtube.com/@StarWarsOldCanonBookClub/Editor: DeanCutty Producer: Hilde @ https://bsky.app/profile/heksen.bsky.social Show Art: Studio Melectro @ http://www.instagram.com/studio_melectro Logo Design: Shawn JPB @ https://twitter.com/JetpackBragginSOURCES:"Selected by Extraterrestrials: My Life in the Top Secret World of UFOs" by Bill Tompkins.Links Mentioned:https://williamtompkins.org/background/https://copycateffect.blogspot.com/2017/08/Tompkins-obit.html

On this week's Talkhouse Podcast, we've got two women whose singing styles are similar in that they're both absolutely singular, unmistakable, and wonderfully out of step—just don't call it spoken-word. It's Florence Shaw of Dry Cleaning and Sue Tompkins of Life Without Buildings. As you'll hear in this chat, Dry Cleaning sort of fell together in London around 2017, when the three instrumentalists approached their friend Florence Shaw to add some vocals to the music they had been writing. It turned out that Shaw's approach—speaking dense, clearly crafted but never obvious words—slotted in perfectly with the sort of nervous-yet-precise songs they had been working on. By 2020, Dry Cleaning had signed with the venerated 4AD label and the next year released a debut album, New Long Leg, that earned comparisons to post-punk greats like Siouxsie and Sonic Youth. For their third studio album, Secret Love, Dry Cleaning worked with producer-slash-musician Cate Le Bon, and they stretched out a bit, mellowing the sharp corners a bit while Shaw experiments more with vocal melody than before. Check out “Cruise Ship Designer” from Secret Love right here. Another person that eagle-eared listeners have compared Florence Shaw to is Sue Tompkins of the legendary, kinda-lost Scottish band Life Without Buildings. Life Without Buildings only released one album, Any Other City, in their brief three-year run, but it had a focused impact. Shaw remembers hearing the record as a teen. “It blew my mind that you could free yourself from the pressure of making traditional sense in lyrics,” she told the website Hearing Things, before mentioning that she'd love to meet Tompkins one day and thank her. Well, with some recent activity on the Life Without Buildings front—Tompkins contributed vocals to a new Sleaford Mods song, and the band just announced a couple of reunion shows—it seemed like the perfect time to get them together. In this delightful chat, Tompkins and Shaw talk about the similar origins of their respective bands, how genuinely kind the dudes of Sleaford Mods are, and their understandable reticence about the term “spoken word.” They also chatted a bunch about the TV shows Dragons' Den and Eastenders, but we had to trim that in the interest of time. Trust me, it was great. Enjoy.  Thanks for listening to the Talkhouse Podcast, and thanks to Sue Tompkins and Florence Shaw for chatting. If you liked what you heard, please follow Talkhouse on your favorite podcasting platform and check out all the great stuff at Talkhouse.com. This episode was produced by Myron Kaplan, and the Talkhouse theme is composed and performed by the Range. See you next time! Find more illuminating podcasts on the ⁠⁠⁠Talkhouse Podcast Network⁠⁠⁠. Visit ⁠⁠⁠talkhouse.com⁠⁠⁠ to read essays, reviews, and more. Follow @talkhouse on ⁠⁠⁠Instagram⁠⁠⁠, ⁠⁠⁠Bluesky⁠⁠⁠, ⁠⁠⁠Twitter (X)⁠⁠⁠, ⁠⁠⁠Threads⁠⁠⁠, and ⁠⁠⁠Facebook⁠⁠⁠.

Amelia Earhart, Fearless Flyer, "The French Connection"Written by Liz HaraStarring Autumn Reeser as Amelia Earhart; Annie Savage as Abby Adams; Craig Cackowski and Paul F.Tompkins as Vikings; Mark Gagliardi and Keiko Agena as French people; Raymond Lee as DB Cooper; and Hal Lublin as the Newsreel Narrator.THE THRILLING ADVENTURE HOUR IS 100% INDEPENDENT.Want every episode and more, including never-released audio, ad free? Want exclusive videos, including rehearsal videos?To support the show and the people who make it, and to gain access to our complete back catalogue including never-released episodes (from as far back as 2005!), early access to the podcast, early access to tickets to our live shows, and more, join our Patreon community: https://www.patreon.com/thrillingadventurehourVisit our store for Beyond Belief concert film DVDs!Visit our video vault to stream a ton of live and live-to-Zoom TAH shows! Hosted on Acast. See acast.com/privacy for more information.

In 2025 the first VMUG Connect event was held in the US, and as it was a big success VMUG decided to repeat that formula in Amsterdam, Minneapolis, Toronto, Dallas and Orlando. I invited Brad Tompkins to the show to explain what these VMUG events are all about, and also provide some insights into the world of VMUG.I have the pleasure, and honor, to host a keynote session in Amsterdam at Connect in March. I hope to see all of you there. For more details on pricing, locations, and more, make sure to visit the VMUG Connect website. Also, if you are planning on attending, I would highly encourage you to book asap as we've seen Explore on Tour selling out everywhere...

The Disappearance of Christopher TompkinsBecome a supporter of this podcast: https://www.spreaker.com/podcast/missing-persons-mysteries--5624803/support.

Succession planning isn't just about paperwork—it's about trust, timing, and knowing when to let go. Susan Kussin Tompkins shares her 32-year journey at Kent Countryside Nursery & Landscaping, from unexpected tragedy to a proud, intentional transition. She discusses implementing Profit First across two revenue streams, using winter downtime strategically, and why starting succession conversations earlier make everything easier. This is real talk from a business owner who's preparing to watch her legacy thrive in the next generation's handsToday's Podcast is brought to you by Spartan Digital Marketing

Breaking down Chase's Method to his madness. Latitude Outdoors Website: https://www.latitudeoutdoors.com/ Save 15% off on your Next purchase by using the code methodpodcast Predator Camo website:  https://www.predatorcamo.com/ Save 20% off on your next purchase by using the code methodpodcast Learn more about your ad choices. Visit megaphone.fm/adchoices

What happens when you walk away from a high-profile, Emmy-winning career and decide to tell the truth—your truth—for the first time?In this powerful episode of I'm an Artist, Not a Salesman, host Luis Guzman sits down with Jamie Tompkins, a former Fox 13 Seattle news anchor turned truth-teller, survivor, and soon-to-be podcast host of Respectfully. Known for her poise in front of the camera, Jamie opens up about what was really happening behind the scenes: from the polished lights of broadcast journalism to the shadows of sexual harassment, burnout, and betrayal within a police department she once believed in.Jamie's story is more than a career pivot—it's a deep, unfiltered look at identity, trauma, strength, and what it really takes to reclaim your voice in a world that constantly tries to mute it.In this episode, we explore:Jamie's rise through the ranks of broadcast journalism and her decade-long career with Fox 13 SeattleThe intense public scrutiny and coded “feedback” women often face in the media industryHow being from New Jersey gave her the grit to push back against workplace culture that tried to flatten her personalityHer transition from the newsroom to working with the Seattle Police Department as Chief of Staff—and how that journey quickly unraveledThis is not just another career story. It's about:Toxic work environments and how they're often disguised as “opportunity”Gaslighting, sexual harassment, and how even in positions of power, women are forced to fight twice as hard to be taken seriouslyLeaving behind a life that looked glamorous on the outside but was quietly destroying her from withinCreative rebirth and why podcasting—on her own terms—was the outlet she didn't know she neededJamie shares the uncomfortable but necessary truth about why she walked away from it all, how she's healing through honesty, and what her upcoming podcast Respectfully will stand for. She reflects on therapy, fitness, family, and the radical act of saying no more—no more performance, no more compliance, no more pretending.What's especially striking is her clarity. Jamie doesn't speak in platitudes—she speaks from the grit of lived experience. She's unafraid to name names, call out hypocrisy, and discuss the ripple effect of trauma in professional and personal relationships. But this episode is not about bitterness. It's about freedom.Highlights include:Her early roots in musical theatre and how a chance opportunity turned into a decades-long careerHer surprising detour into police department leadership—and what she didn't see comingThe emotional toll of workplace harassment and the strength it took to walk awayFinding joy again in things like music, dogs, family holidays, and quiet momentsWhy going to the gym isn't just physical—it's mental survivalWhether you're a creative, a professional navigating burnout, or someone recovering from toxic environments, this episode will hit home. It's raw, it's real, and it's a reminder that sometimes, your second act is your best one yet.Want more from this episode? Here's how to stay connected:Follow the podcast on Spotify, Apple Podcasts, and YouTube by searching I'm an Artist, Not a SalesmanStay in the loop with host Luis Guzman on Instagram and TikTok: @ImAnArtistNotASalesmanLearn more about Jamie Tompkins and her upcoming podcast Respectfully by keeping an eye on her socials and future announcementsIf this episode resonated, share it with someone who needs to hear that it's never too late to start overYour story doesn't end at burnout. It starts when you take the mic back.

In this episode of The New Warehouse Podcast, Kevin sits down with Jim Tompkins, Chairman of Tompkins Ventures, to unpack what lies ahead for global supply chains. With decades of experience shaping logistics strategy, Tompkins brings a clear-eyed perspective on what 2025 revealed, and why 2026 will demand even greater adaptability. The conversation explores tariff volatility, political uncertainty, and the strategic shifts leaders must make to stay competitive. From reshoring decisions to procurement's expanding role, Tompkins explains why resilience is no longer optional. Find more information about our sponsors here: Peak Technologies, Masterplan Communications, TGW Logistics, YMX Logistics Follow us on LinkedIn and YouTube.Support the show

In this conversation, Jeremy Tompkins discusses the importance of persistence in the real estate industry, emphasizing that one must navigate through numerous rejections to find success. He highlights the significance of creating educational content and engaging with potential clients through social media, which requires time and dedication rather than significant financial investment. Tompkins shares his personal strategy of maintaining a structured content calendar to foster interaction and build traction in his audience.   Professional Real Estate Investors - How we can help you: Investor Fuel Mastermind:  Learn more about the Investor Fuel Mastermind, including 100% deal financing, massive discounts from vendors and sponsors you're already using, our world class community of over 150 members, and SO much more here: http://www.investorfuel.com/apply   Investor Machine Marketing Partnership:  Are you looking for consistent, high quality lead generation? Investor Machine is America's #1 lead generation service professional investors. Investor Machine provides true 'white glove' support to help you build the perfect marketing plan, then we'll execute it for you…talking and working together on an ongoing basis to help you hit YOUR goals! Learn more here: http://www.investormachine.com   Coaching with Mike Hambright:  Interested in 1 on 1 coaching with Mike Hambright? Mike coaches entrepreneurs looking to level up, build coaching or service based businesses (Mike runs multiple 7 and 8 figure a year businesses), building a coaching program and more. Learn more here: https://investorfuel.com/coachingwithmike   Attend a Vacation/Mastermind Retreat with Mike Hambright: Interested in joining a "mini-mastermind" with Mike and his private clients on an upcoming "Retreat", either at locations like Cabo San Lucas, Napa, Park City ski trip, Yellowstone, or even at Mike's East Texas "Big H Ranch"? Learn more here: http://www.investorfuel.com/retreat   Property Insurance: Join the largest and most investor friendly property insurance provider in 2 minutes. Free to join, and insure all your flips and rentals within minutes! There is NO easier insurance provider on the planet (turn insurance on or off in 1 minute without talking to anyone!), and there's no 15-30% agent mark up through this platform!  Register here: https://myinvestorinsurance.com/   New Real Estate Investors - How we can work together: Investor Fuel Club (Coaching and Deal Partner Community): Looking to kickstart your real estate investing career? Join our one of a kind Coaching Community, Investor Fuel Club, where you'll get trained by some of the best real estate investors in America, and partner with them on deals! You don't need $ for deals…we'll partner with you and hold your hand along the way! Learn More here: http://www.investorfuel.com/club   —--------------------

This is a very in depth conversation with Ben Gan's Crew Chief, Avery Tompkins, and their thoughts ans suggestions for crewing, not only a 200-mile event, but the Triple Crown of 200s. Thank you both for sharing so much!   Race/Crew Planning Templates - https://docs.google.com/spreadsheets/d/1p3tmFVMpZ9iPp2FOIGoSnLt2f_97ei9ErEcl6FHLChU/edit?usp=sharing Avery mentioned the Black Diamond Moji R+ light. That can be found here - https://blackdiamondequipment.com/products/moji-r-rechargeable-lantern  To connect with Avery - @prodessoravery on Instagram To connect with Ben - @dr_bentendo on Instagram   Aaron's information: My Socials, Channels, & Newsletter: https://www.facebook.com/MRRUNNINGPAINSCOACHING https://www.instagram.com/runningislifecoaching/ https://www.youtube.com/channel/UCQ6J512qA34z_N0KJSU4jfw https://www.strava.com/athletes/18431982  Email - coachsaft@gmail.com Thanks to all of you for listening! Please share the Podcast and please leave a review, rate, & subscribe if you haven't done so already! THANK YOU! Aaron Saft Running Is Life Coaching & Podcast  

THESE EPISODES WERE RECORDED 10 YEARS AGO, PLEASE FORGIVE US OUR TRESPASSESPaul F. Tompkins joins Guy and Tim for a watch of Sex and The City 2. The comedy and podcasting great has seen both movies and every episode of the TV show so watch out for some in depth knowledge about everyone's favourite franchise! The trio cover ground including the Cookie Monster, the oppressive use of fashion and Canterbury prop great Col Barrell (four caps for the ABs but no international matches). ENJOY! Part two to come soon...Support the boys on their modern-day adventures at twioat.substack.com Hosted on Acast. See acast.com/privacy for more information.

Amelia Earhart, Fearless Flyer, "Darkheart"Written by Heath CorsonStarring Autumn Reeser as Amelia Earhart; Annie Savage as Abby Adams; Paul F.Tompkins as Ekkhard; Busy Philipps as Amelia Darkheart; David Dastmalchian as John Wilkes Booth; and Hal Lublin as the Newsreel Narrator.2025 is our 20th anniversary! And we're celebrating by taking the show on the road for the first time in a decade.NY sold out, so we added a second night of very special shows. See "Our Favorite Episodes" and "WorkJuice Improv" on Sunday Oct 26 at the Bell House in Brooklyn!And there are still a few tickets remaining for our London late show. Get them before they're gone!All tickets and appearance information is at ThrillingAdventure.liveTHE THRILLING ADVENTURE HOUR IS 100% INDEPENDENT.Want every episode and more, including never-released audio, ad free? Want exclusive videos, including rehearsal videos?To support the show and the people who make it, and to gain access to our complete back catalogue including never-released episodes (from as far back as 2005!), early access to the podcast, early access to tickets to our live shows, and more, join our Patreon community: https://www.patreon.com/thrillingadventurehourVisit our store for Beyond Belief concert film DVDs!Visit our video vault to stream a ton of live and live-to-Zoom TAH shows!Produced by Ben Acker & Ben BlackerMusic by Jonathan DinersteinSound effects by Cayenne Chris ConroyPodcast produced and engineered by Jordan Katz Hosted on Acast. See acast.com/privacy for more information.

*Content Warning: childhood abuse, violent abuse of children, child sex abuse, grooming, psychological and physical violence, body-image abuse, cultic abuse, body dysmorphia, disordered eating.  *Free + Confidential Resources + Safety Tips:  somethingwaswrong.com/resources    *SWW S23 Theme Song & Artwork:  The S24 cover art is by the Amazing Sara Stewart Follow Something Was Wrong: Website: somethingwaswrong.com  IG: instagram.com/somethingwaswrongpodcast TikTok: tiktok.com/@somethingwaswrongpodcast  Follow Tiffany Reese: Website: tiffanyreese.me  IG: instagram.com/lookieboo *Sources  “About: Why We Do What We Do.” Turning Winds https://www.turningwinds.com/about-why-we-do-what-we-do/  Tompkins, Lucy, "Fox Guards Henhouse" in Montana Programs for Troubled Teens." Montana Department of Labor & Industry, January 22, 2019  https://archive.legmt.gov/bills/2019/Minutes/House/Exhibits/buh68a08.pdf   Titone, Julie, "Importing Troubled Teenagers Behavior Camps Become Big Business In Region." The Spokesman Review, June 2, 1996 https://www.spokesman.com/stories/1996/jun/02/importing-troubled-teenagers “Residential Treatment Centers for Teens from Idaho, located in Montana.” Turning Winds https://www.turningwinds.com/idaho/  “Seen N' Heard (July 2000).” Strugglingteens.com, July 1, 2000 https://strugglingteens.com/artman/publish/SnHJul00_000701.shtml  Kinnaird, Keith, "Settlement possible in Turning Winds lawsuit." Bonner County Daily Bee, March 1, 2008  https://bonnercountydailybee.com/news/2008/mar/01/ “State closes youth treatment center.” The Lewis Tribune, February 25, 2002 https://www.lmtribune.com/northwest/state-closes-youth-treatment-cente “Turning Winds New Perspectives.” Strugglingteens.com, April 23, 2004 https://strugglingteens.com/artman/publish/TurningWindsNP_040423.shtml  “Welcome to Glacier Mountain Academy.” Glacier Mountain Academy http://web.archive.org/web/20030731014815/http://www.aboutglaciermtn.com/ 

*Content Warning: childhood abuse, violent abuse of children, child sex abuse, grooming, psychological and physical violence, body-image abuse, cultic abuse, body dysmorphia, disordered eating.  *Free + Confidential Resources + Safety Tips:  somethingwaswrong.com/resources    *SWW S23 Theme Song & Artwork:  The S24 cover art is by the Amazing Sara Stewart Follow Something Was Wrong: Website: somethingwaswrong.com  IG: instagram.com/somethingwaswrongpodcast TikTok: tiktok.com/@somethingwaswrongpodcast  Follow Tiffany Reese: Website: tiffanyreese.me  IG: instagram.com/lookieboo *Sources  “About: Why We Do What We Do.” Turning Winds https://www.turningwinds.com/about-why-we-do-what-we-do/  Tompkins, Lucy, "Fox Guards Henhouse" in Montana Programs for Troubled Teens." Montana Department of Labor & Industry, January 22, 2019  https://archive.legmt.gov/bills/2019/Minutes/House/Exhibits/buh68a08.pdf   Titone, Julie, "Importing Troubled Teenagers Behavior Camps Become Big Business In Region." The Spokesman Review, June 2, 1996 https://www.spokesman.com/stories/1996/jun/02/importing-troubled-teenagers “Residential Treatment Centers for Teens from Idaho, located in Montana.” Turning Winds https://www.turningwinds.com/idaho/  “Seen N' Heard (July 2000).” Strugglingteens.com, July 1, 2000 https://strugglingteens.com/artman/publish/SnHJul00_000701.shtml  Kinnaird, Keith, "Settlement possible in Turning Winds lawsuit." Bonner County Daily Bee, March 1, 2008  https://bonnercountydailybee.com/news/2008/mar/01/ “State closes youth treatment center.” The Lewis Tribune, February 25, 2002 https://www.lmtribune.com/northwest/state-closes-youth-treatment-cente “Turning Winds New Perspectives.” Strugglingteens.com, April 23, 2004 https://strugglingteens.com/artman/publish/TurningWindsNP_040423.shtml  “Welcome to Glacier Mountain Academy.” Glacier Mountain Academy http://web.archive.org/web/20030731014815/http://www.aboutglaciermtn.com/ 

Mike Crawford of The Young Jurks shares his takes on Boston's Mayoral Race, the CCC audit, and Tompkins' not guilty extortion plea. Plus, Woke or Joke.  Visit the Howie Carr Radio Network website to access columns, podcasts, and other exclusive content.