Podcasts about Walkley

Marc Fennell is a Walkley-winning journalist and an AACTA-nominated filmmaker. He is the creator of the popular television series and podcast Stuff the British Stole on ABC Australia, BBC Select and CBC Canada. He has also hosted over 400 episodes of SBS's iconic nightly quiz, Mastermind. Marc has won awards, written books, hosted telly, and created podcasts and documentaries aplenty. Thank goodness he's a bad friend, is all we can say. In this episode, Marc talks about being a somewhat absent friend, nerds clinging to nerds, having a favourite child (everyone does), text and talk-only friends, a friend who vanished, and he discovers he was a rather big part of the OG Simply Marvellous podcast.CONTACTText - 0431 345 145Email - fwendspod@gmail.comMail - PO Box 24144, Melbourne, Vic, 3001RATE AND REVIEWOf course you've already subscribed or followed the show, now we'd love you to leave a rating and a review. In whatever podcast app you're in right now, just throw down the 5 stars. Will make our day, and help to get the podcast into more people's ears (which will ultimately mean even bigger name guests for you!)INSTAGRAMFwends PodGeorgia MooneyRhys NicholsonKyran NicholsonYOUTUBESoon (how soon we don't know) you will be able to watch clips of the show on YouTube, click through and hit subscribe now to get them the second they appear: Fwends Pod YouTubeSKIP AHEAD00:00 - Georgia, Kyran and Rhys catch up25:58 - Interview Hosted on Acast. See acast.com/privacy for more information.

The BEST Top Independent Music Artists & Singers from around the world: EDM, Indie Rock, Indie Pop, Hip Hop, R & B, Rap, reggae, Jazz, Country, Folk, & more...Hosted by DTongAdvertising & Sponsorship: http://goo.gl/ioP6HwGuaranteed Song Play & Promotion: http://goo.gl/4aD98wBROUGHT TO YOU BY:WAITING FOR MYSELF: An Inspirational Memoirhttps://bit.ly/43kp2jehttps://www.sayiampossible.comHarness Negative Thinkinghttps://www.amazon.com/dp/B0F1YS1R73The Provokers Podcasthttps://the-provokers-podcast.mailchimpsites.comAwakening: A Tricksters Moonhttps://a.co/d/fLo0FNESpeed Bumps by Vicki Paris Goodmanhttps://bit.ly/3FV2Dhihttps://www.tristinybell.comhttps://www.unlockedmp.comhttps://robertdarrolshanks.netCooking w/ The Godfatherhttps://bit.ly/3Z6ln75The Power of Believing in Godhttps://bit.ly/44qofPMThe 30 Day Wellness Resethttps://a.co/d/3GjH6jG Bitcoin For Everyonehttps://bit.ly/4cBzjeVViva Stripshttps://tinyurl.com/42cftz3vUpside w/ Dan Bowyer & Mads Jensenhttps://tinyurl.com/26zanjrzCreated: Time To Look by Jen Zaharihttps://tinyurl.com/n77hfr3aAlso New Music from:Euphor 'Paradise'Khaons 'Rock With Me'Glitzy 'Clover'Disintegration C.E. w/ a Triple PlayJenni 'Painful Riddle'Aubrie Elise 'One Day'Greyson Turner 'Half A Man'Benjamin Kohn 'Today'Kaiak 'The One And Only'Haednut 'Cheers To The End'Alexia Anne 'Villain in the making'DBreez2x 'Fost'Giuseppe Bonaccorso 'Interlude à la Folie'Jigsaw Da Don 'Well Up'Jenna Ra 'Electric Dreams'XWisdom 'Red Dots'Gagulam 'Redemption'Wetlook 'Pusher'Cactus Mac 'TumbleWeed'Saint Kon 'No Name'Nate Grooves 'Strongman'SammyGTree 'Talk To Me'Catch the show on iTunes, Spotify, iHeartRadio, PlayerFM, TuneIn, Soundcloud, & www.DTongRadio.comBecome a supporter of this podcast: https://www.spreaker.com/podcast/dtong-radio-indie-music-showcase--954466/support.

Dying well We’re all going to die, but how we acknowledge death and dying is a very personal experience. Award-winning journalist and author Tracey Spicer and anthropologist Dr Hannah Gould explore etiquette, rites and traditions to find out what makes a ‘good death’. About the episode – brought to you by Australian Seniors. Join James Valentine for the sixth season of Life’s Booming: Dying to Know, our most unflinching yet. We’ll have the conversations that are hardest to have, ask the questions that are easy to ignore, and hear stories that will make you think differently about the one thing we’re all guaranteed to experience: Death. Featuring interviews with famous faces as well as experts in the space, we uncover what they know about what we can expect. There are hard truths, surprising discoveries, tears and even laughs. Nothing about death is off the table. Tracey Spicer AM is a Walkley award-winning journalist, author and broadcaster. And she's an ambassador for Dying With Dignity. A vocal campaigner and advocate for voluntary assisted dying (VAD), Tracey penned a letter to her mother following her painful death in 1999. Dr Hannah Gould is an anthropologist who works in the areas of death, religion and material culture. She recently appeared on SBS documentary: Ray Martin: The Last Goodbye. Hannah’s research spans new traditions and technologies of Buddhist death rites, the lifecycle of religious materials, and modern lifestyle movements. If you have any thoughts or questions and want to share your story to Life’s Booming, send us a voice note – lifesbooming@seniors.com.au Watch Life’s Booming on YouTube Listen to Life's Booming on Apple Podcasts Listen to Life's Booming on Spotify For more information visit seniors.com.au/podcast Produced by Medium Rare Content Agency, in conjunction with Ampel Disclaimer: Please be advised that this episode contains discussions about death, which may be triggering or upsetting for some listeners. Listener discretion is advised. If you are struggling with the loss of a loved one, please know that you are not alone and there are resources available. For additional support please contact Lifeline on 131 114 or Beyond Blue on 1300 224 636. TRANSCRIPT: James: We're all going to die. Happens to all of us. But how we acknowledge death and dying is of course a very personal experience. With our guest and our expert, we're going to explore the etiquette, the rites and traditions seen in Australia and around the world. Someone who knows a lot about the rites and traditions of death is Dr Hannah Gould, an anthropologist who works in the areas of death, religion and material culture. We're also going to be joined by Tracey Spicer, she’s a Walkley award-winning author, journalist and broadcaster. And she's an ambassador for Dying With Dignity. Tracey and Hannah, welcome. Thank you so much. Tracey: Hello. James: Thank you for coming. Hannah Gould. Hello. Thank you for coming. Hannah: Thank you. James: Fantastic. Let's talk death! Tracey: Why not? There'll be lots of fun. James: Do you laugh in the face of death? Hannah: What else can you do? I mean, look, you know. Lots of sadness, lots of joy, every single emotion is reasonable, surely. I mean, it's like the question, the ultimate question of philosophy, of history, of every discipline. Every response is valid. Not always useful, or helpful. James: Yeah. Yeah. Hannah: But valid. Tracey: Well, it's a universal topic of conversation and that's why I've always loved dark humour. Because you do have to laugh, otherwise what do you do? James: I also think it's, it is the ultimate joke that we are all going to die, but we live like we're not going to. We live every day as though it's just not going to happen at all. Tracey: Especially in Western society, I think other cultures have got it right and we're in such deep denial about it. It's detrimental to all of us. James: Yeah. Now this is your area of expertise really, is that do other cultures have it right? Hannah: Everyone does it differently. Right or wrong is kind of a difficult thing to judge. I think certainly there's a big thing called, like, the denial of death thesis, right. And, and people like Ernest Becker, a lot of different philosophers and anthropologists and cultural, you know, analysis have looked at Western culture and gone, Oh my gosh, we are so invested in denying death, right. And whether that's through denying death by religions that say you're going to live forever, like, you know, don't worry, it's not the end. You'll pop off to heaven or whatever it is. Or through, you know, great heroic myths. Yes, you'll die, but the nation will remember you forever. So, you know, you won't really die. You'll be a martyr. Or contemporary, you know. Yes, you'll die, but have you seen how great the shopping is? You know, we can just ignore, we can deny death by being on Instagram and, you know, consuming, right, so, I think Western culture in particular, the way we've organised our society, allows us to not think about death. James: And we've organised death to be somewhere else, usually now. To be in a hospital, to be in palliative care somewhere. And they may be good, but they're not, they're not in the cottage, are they? They're not next to, not in the bedroom. Hannah: Not in the bedroom. So, we know that, say, 70% of Australians wish to die at home. Only about 15% do. And that is a rate that is lower than all these other countries we like to compare ourselves. So Australians are more institutionalised in their death than places like Ireland, like New Zealand, the United States of America, even Canada. We tend, more than other countries, to die in institutions – aged care, hospitals, and hospices. James: Yeah, right, right. The other way in which we deny death is, or the other way in which other cultures have a different attitude to death, will be that it'll either be more accepting – we are all going to die, will be part of their every day – or they may have a notion of reincarnation and coming back, which means that that's a very different attitude to death, really, than a, than a heaven and a hell. Hannah: Yeah, it's not necessarily an end so much. I think that's kind of quite common in, say, you know, Buddhist or Hindu or other kind of dharmic religions, particularly Asian religions. And then, obviously, there's a lot of Asian religion that's part of Australian society, so that's also quite present in Australia. But we can also have a kind of more secular idea about that. You know, a lot of these, a lot of my mum's generation in particular, have kind of a green environmental kind of reincarnation model where she will say, well, I don't particularly believe in heaven, but I do believe I'm going to become compost. Food for worms, you know, I'll come back as a tree or a flower or a tomato plant, you know, and that's, that's a kind of reincarnation of like reintegration into the natural environment, as it were. So there are some kind of myths or stories we can tell ourselves that perhaps help us think about death more positively. James: I've got a, a friend of mine who'd be into her 80s has said, oh, funeral? Just put me up the top paddock, let the crows have a go. Tracey: Yeah. My dad wants to be buried in a cardboard box, and I think that's a wonderful idea. James: We all say that, don't we? That's a really common one as well. I hear that a lot on the radio. People will go, mate, just, I don't care, put me out with the, on the hard rubbish day. Hannah: In the paddock, whatever it is… James: …the paddock, that’s the same sort of thing I said. You know, like, do we really want that, do you think? Hannah: Oh, do we really want that? I do think Aussies are pretty pragmatic about death. I do think we have a certain streak in us that's kind of like, you know what, it's all a bit much fuss, it's all too much. You kind of even get these people who therefore say, don't have a funeral. You know, I really don't want to have a funeral. Please don't even, you know, no fuss. That can be kind of sad sometimes because I think it's some people kind of not acknowledging how many people love them and miss them. James: Yeah. Hannah: Um, but maybe it's also a bit of an Aussie humour, dry humour, that, that black humour again of kind of, you know, trying to laugh in the face of death. Why not? Tracey: I would agree, but then we all get sucked in when we're in the funeral home, and they show you the cardboard box, and then they show you the glossy one that's 10 or 20 thousand dollars, and you think, did I really love that person that much, or should I do it? So it all feeds into what you were talking about before, that consumerism and overcommercialisation. James: Well, I also think sometimes, I would think it's about weddings. Weddings and funerals, well, who's it actually for? Tracey: Yeah, yeah. Well it's a punctuation mark, isn't it? I'm a lifelong atheist, but Tracey: I do enjoy, it sounds terrible, going to those kind of ceremonies, whether it's a funeral or a wedding, because it's important to celebrate or commemorate these changes, these huge changes. James: I love the sharing of stories at a funeral. People start talking. Tracey: Well, you learn so much about someone's life that you may not have known. And also often they're rich for that dark humour. I'll never forget my grandmother's funeral, who I was incredibly close to. And my father's new girlfriend loved my grandmother. She was so distraught she tried to throw herself into the hole in the ground on top when she was throwing the dirt in and I thought, well, that's intense. James: That's good. Tracey: That's, I've never seen that before. That's a first. Hannah: Oh, I've seen that before. Tracey: Have you?! Hannah: I will say that, you know, when you attend enough funerals or attend enough cremations for professional reasons, um, as it were, you kind of see everything, every range of human emotions. Like, we, we kind of think, you know, all funerals are all happy families. A lot of unhappy families, a lot of punch ups at funerals, lots of, uh, mistresses coming out of the woodwork at funerals, conversions, religious, you know, more and more people have recorded messages from beyond the grave that they play at their funeral, or, uh, they've decided that we're having a dance party, or we're having some sort of festivity or an event. I mean, you can do anything these days with a funeral. James: Do you go to a lot, just to observe? Hannah: Yeah, I do my research. So I, I research in death and dying and I, I work at a crematorium and I attend funerals and I hang around with other people in the death care sector. James: Yeah. Hannah: And you do see everything. James: Why do you want to… Tracey: …What got you interested in this? It's your job and I'm just fascinated by it… James: …We'll, we'll, we'll, we'll both do it. I think you've done this sort of thing! So, yeah. Well then, then, why do you want to be around death? Hannah: Oh. I mean, personal and professional. Professional, I'm an anthropologist, and anthropologists want to know what brings us together, what makes us all human, but then also why we do it so differently. And there is nothing else. It is the question, right, it is the one thing we all experience, and yet we've all decided to do it in completely different ways, and completely different ways throughout history. And then, personally, my dad died, and I thought, gosh, what on earth is going on? I suddenly was given the catalogue, of funeral, of coffins, right. James: And you were young. Hannah: I was 22, 23 when my dad died. An age that was perfectly old and mature at the time, I thought. But looking back, obviously, it was incredibly young. But yeah, I suddenly got handed this catalogue of, of kind of coffins, and they all had these really naff names, like, you know, these rich mahoganies, and like, it was like paint colours. Someone had, someone somewhere had decided, these were the options, right, that you were, that this is what was going to represent my dad. And I just felt this massive disconnect and I thought, ‘Hang on, I've got to work out what's going on there.’ So now I spend my life in death, as it were. James: Yeah. I suppose, most of us would think being around death would be a very gloomy kind of thing to be, or way to spend your day. Hannah: It can be very gloomy. But oh my gosh, the gallows humour that those boys in the crem – the crematorium – tell, uh, you know. James: Is there a joke you can share? Hannah: Ooh. Um. Not a lot of them are safe for work or anywhere. James: Tracey, you were going to jump in and ask something there before. What were you going to ask? You know, fellow professional interviewer. Tracey: I really see a connection with you being 22 when your father died and I was 32 when my mother died. Hannah: Mm. Tracey: Even at 32 I felt like I wasn't ready for it. James: Right, no. Tracey: And especially because it happened so quickly. Mum was the linchpin for the family, you know, smart and funny and she could do anything. She was one of those early super women kind of role models. And then all of a sudden at the age of 51 she was diagnosed with pancreatic cancer with seven months to live and she lived seven months almost to the day. And it was blood and guts and gore. She was in agonising pain. My sister and I were injecting her with medication every day. We wanted her to die in the home. Tracey: But it got to the stage where we had to bring her to palliative care, and that's when we started having the conversations about voluntary assisted dying, because, um, Mum and Dad had always said, put me down like a dog. And again, it's one of those things that you think it's going to be easy at the time, but it's not. We talked to the doctor. The doctor said, I don't want to end up in jail. And my sister sat there with the morphine button. She pressed it so often she had a bruise on her thumb. James: Hmm, right Tracey: …we said, surely you can just increase the morphine, because Mum was having breakthrough pain. So everything was fine until she'd scream once an hour, and there was no way they could cap that. So it's cruel, right? It's cruel. I, I don't think there's any way they would have done it. We tried to have those conversations. James: …Yeah… Tracey: Which is why one night, because we were sleeping in a chair next to her overnight just to hold her hand when she was in pain, I picked up the pillow and I did try to put it over her face because I thought, what kind of daughter am I, to let her suffer? And then I stopped at the last minute and then I felt really ashamed of, you know, what a coward I am. Hannah: No, I was going to say the opposite. What an incredibly brave act to, to have so much love and compassion for this person and so much respect, what you knew her wishes would be, that you were willing to do that, you know, for, not – for her, not to her, for her, right? That's extraordinary. Tracey: It's lovely of you to say. James: Did she know what you were doing? Tracey: Oh no, she was out of it for about the previous two weeks, actually. In and out of it. And then she died in the next 24 hours anyway. So she was very, very close. And she'd had that kind of burst, you know, had that almost honeymoon period a couple of days beforehand where you think, Well, she seems like she's getting better and we've read about that, so we expected she was close. Hannah: …Yep, the final, the final burst… Tracey: Yeah. Is there a name for that? Hannah: You know, I don't know what it's called, but you know, that is when usually the palliative care doctors, the hospice workers will call up the family and say, guess what? They're up and about, they're talking, they're eating all of a sudden, and that's genuinely usually a sign that it's not going to be long. James: Wow, isn't that interesting. Hannah: It's the final burst of energy. One of the interesting things about the rise of voluntary assisted dying, of euthanasia, to speak more broadly in Australia, is it reflects this kind of cultural shift that we have about the importance of choice and control towards the end of our lives and how increasingly like that is becoming an important part of what we think about as a good death, right. Like I want to be able to control where I die and who I die with and when and the pain and suffering, right? And that hasn't always been the case, right, you know throughout history there's been periods of that. There's been periods of, ‘Leave it to God.’ Or there's also been periods of, ‘Yes, I must prepare. I have to write my final last note or poetry’, or whatever it is. But that's increasingly becoming important particularly for, we see within the baby boomer generation that they really want to, you know, have some sort of choice, and emphasis on choice. James: Well, I mean, I wonder whether a lot of it is a reaction to, um, the, the medical control over the end of our lives is so extreme that we can be kept alive for so long. And so, it's, it's, it's a reaction to that medical control, isn't it? To want to say, well, surely I can, we can, we can have both, can't we? You can either keep me alive or I don't want to be kept alive. Could you let me go? Hannah: It's one of the great paradoxes, they talk about this paradox of contemporary death and contemporary medicine, is that all of our interventions have increased, right. The medicalisation of death has meant that not only do we have pain control, but we can keep people alive for longer. You know, we have better medicines, drugs, palliative medicine is massively advanced. And yet, if we ask people, the quality of death and dying has not increased. James: Right… Hannah: …And if we look globally, more access to medicine doesn't necessarily correlate with a higher quality of death and dying. There's some correlation, like, do you actually have the drugs? Can you access, access them? But when it gets to kind of over a certain hurdle, just because you're dying in Australia versus dying in a country with no resources doesn't mean you're going to die better. James: What do you, what's a quality of death? How are we measuring that? What do you mean by that? Hannah: There's lots of things you can do to measure it and people try. So one of them is, you know, to ask, ask the family, to ask the dying person, to also ask the physician, did you think this was a good death? You know, how do we assess it? Because it's not just up to the dying person as well. Of course, it's also up to the family, right – How did you experience that death, that dying? It's a difficult thing to measure, right, because for some people death is never gonna be… You know, the words good death, bad death are kind of controversial now because it's like, oh my God, I have to try at everything else, do I also have to live up to a good death? Like, we can't make it good. Can we make it better? James: Yeah. What is a good death, Tracey? Tracey: I think this really intersects with, uh, competition. Everything's become a competition. And also quality of ageing. Hannah: Yes, yes… Tracey: …Because my darling dad, who's 84 and still hanging on after smoking and drinking himself almost to death when he was in his 50s – it's a miracle he's still alive. He has very close to zero quality of life. He's a lovely man, we love spending time with him, but he can barely walk. You know, where's the quality of life? So I've just written a book about artificial intelligence recently, so it worries me, that medtech space, that we're getting people to live longer, but there's no quality of life and also no quality of death. Hannah: There's this phenomenon we actually call, in scholarship, we call it prolonged dwindling. Tracey: Oh, which is so true, I love that. Hannah: What a term! But it's, it's… James: …Sounds like the worst Enya album ever… Tracey: …And it never ends… Hannah: …But yeah, it's, it's, there's exactly this thing, right. So it used to be, if you look at like the kind of time, it used to be that you'd either have a sudden illness, fall off a horse, through a sword, war, back in the day, and you, and then you would die, or you would have a, you know, a serious major illness, like a cancer or a heart attack, and then pretty soon after, you'd die, right? What we have now, what we tend to have now, is these kind of timelines towards the end of life of, you know, multiple hospitalisations, in and out of hospital, or you have something like Alzheimer's, right, where you have a very, very, very slow and long cognitive decline, potentially with very high care needs, so you're in hospital, you're in care for 20, 30 years, right? Which is unheard of previously, that you would need this level. So how we die is changing, and it's a completely different timeline. James: Yeah. Does… Tracey, let's just return to this moment when you started to perhaps really think about death. You know, you're confronting your mother's suffering, and you think about, you know, taking control of that, about doing something. Was that an impulse? Was it something that grew over time? Tracey: It was knowing my mother's character as being very forthright, and she was always in control, to speak to control. She would have liked me to try to control the situation. It was also, obviously, that you never want to see a loved one in suffering. But it taught all of us in the family a couple of important lessons. Dad’s now got an advance care directive that’s 28 pages long, so we know exactly what's going to happen. My husband and I still haven't done that, but we do talk to our kids who are aged 18 and 20 about this kind of stuff. I think part of that is my husband's a camera operator, I've been a long-time journalist, so in newsrooms, a very dark sense of humour, similar to the crematoriums, so we talk about death and dying an awful lot at home, but I think it's important to have those conversations and to prepare for a good enough death as much as you can. Tracey: I mean, what does a good enough death mean to you? Have you thought about that yourself? James: Yeah, well I have. I've had some, you know, health issues, had a cancer last year, and so that sort of thing, you know, you do start to confront it and think about it. I'm the fall asleep in the bed, you know, go to bed one night, don't wake up. Tracey: The classic. James: That's the classic. Give me the classic. I'm happy with the classic. Hannah: …Hopefully after you've just finished penning your magnum opus, surrounded by friends and family. James: The end, you know. For me to be onstage, I've just finished a searing saxophone solo, and everyone's just ‘Amazing! Unbelievable!’ Down you go. Something like I mean, sudden, seems to be, just immediate. Immediate and sudden, no suffering. Hannah: Well, that's the thing. Hannah: People always ask me, you know, do you fear death, are you afraid of death? And frankly, after studying it for this long, no, not at all. And I think in an odd way, there is some kind of horrific privilege of having at least one of your parents die young because all of a sudden, you do start thinking about all these things and you learn to live with death, even if you don't like it a lot of the time. I don't fear death, I do fear the prolonged dwindling. Right, like that, the kind of ageing poorly without support in a way that I can't make the controls, and and you know, can't make decisions. That's much more scary to me than death. Death is kind of a great mystery. James: Your interaction with your mother, Tracey, led you to looking at voluntary assisted dying. What did people say about it? What was the general, when you first started to talk about it, when you first started to campaign for it, what would people say? Tracey: What I noticed was a disconnect, that people in the community overwhelmingly supported this because they’d seen loved ones die. But in our parliaments, I saw there a lot of people, a higher percentage than the normal population, are quite religious in our parliaments. Hannah: …Completely unrepresentative... Tracey: …Unrepresentative. And so a lot of organised religions are pushing back against it and therefore there wasn't an appetite for change because of that. I think it took these wonderful lobby groups to get the politicians to listen and for them to realise that there was a groundswell of support. And also, of course, with the examples in the Netherlands and Oregon and Canada who have quite different laws to us. But very successful laws. You rarely see people, I think it's 99.9% successful – only a tiny amount of people who are abusing the legislation, tiny, tiny – but the rest of it, everyone overwhelmingly aligns with it. So it's done in a very ethical and proper kind of way. James: So do you feel as though when you first started talking about it, really, most people were on board? It wasn't something, it wasn't one of those things where we're really trying to, we had to convince people. Tracey: No, that's right, except for people who were particularly religious. Because, let's face it, everyone, pretty much, unless you're quite young, has had a loved one die, so this is something that affected everyone. James: Yeah. I suppose I was wondering. Like someone, some friend, the other day, you know, how have you been, blah, blah, blah. And he went, ‘oh, I had a weird thing yesterday, like, my uncle died’. And I went, ‘oh, that's sad’. And he said, ‘no, no, it was voluntary, he did the voluntary assisted death. He died yesterday afternoon at two o'clock’, you know. I went, ‘oh, wow, you know, you're there?’ ‘Yeah, we're all there, and, you know, it was great, we had a lovely morning with him. We had dinner the night before, and then it just all took place.’ I said, wow, how amazing. And what I was really struck by was what a normal conversation this was. It was a bit like saying, ‘we went to holiday in Queensland’. You know, like it was sort of, he wasn't describing some outlandish thing, you know, it was suddenly this thing, suddenly voluntary assisted dying was just part of the fabric of our, of our lives. You know, do you feel that that's happened in Australia? Tracey: I do feel it's become more normalised, to your point, over the last 20 years. But there's still a lot of academic debate about at what, at what point should you be able to do it. At the moment in Australia, it's overwhelmingly someone with a terminal illness. And it's done by themselves or their doctor, their practitioner. But there are people who want to bring it in for people who are elderly and, and suffering and don't want to live any longer, to support them there. So we're seeing, I guess, a fragmentation of the discussion and the arguments. And I'll be interested to see which way that goes down the track. There's a lot of debate about people, to your point earlier with Alzheimer's, people who have dementia. Hannah: Sensory pleasures. Like, people being able to taste and smell and touch and hug become really important at the end of life. Tracey: Oh, that reminds me of someone I know who did have a good death, who was my grandfather, Mum's father. He lived until 94, and I cared for him towards the end of his life. Our kids were little then, they were probably 7 and 8. And he had that burst, and they said, come on in, he'll die in the next couple of days. We brought in oysters, we brought in red wine. I brought in the kids because I think it was important for them to see that, and he had a good death within the next 24 hours. So it is possible. I think it's rare, but it's possible. James: Yeah, if you know what's happening. A lot of your speciality, Hannah, is in Buddhism. What do Buddhists make of voluntary assisted dying? Hannah: Well, I will say that Buddhism is a religion with over 500 million people in it. So it's kind of like asking, what are the Christians? James: …Right. Right. Hannah: …or what are the Western people think about voluntary assisted dying? So, a range of views. James: Range of views. Hannah: Really huge range of views. James: I suppose I was just wondering whether there was anything in the Buddhist canon as such or the Buddhist, you know, view that just went, no, let life take its course. That, you know, you must experience suffering, so therefore you must experience all life. Hannah: Well, suffering is pretty important to Buddhism, right? And suffering well, and learning to suffer well, is really important. So there are some Buddhists who would oppose voluntary assisted dying because there's a prohibition against killing, right? But most people in Buddhism will, say, weigh that prohibition against killing against, kind of, the experience of suffering, right, and lessening people's suffering. So certainly there are some Buddhists who would say, no, you know, we need to experience suffering and learn how to experience the suffering at the end of life. And that can be quite instructive. It's also why some Buddhists may, uh, deny pain medication and even, you know, deny anything that kind of clogs their mind, because they want to be conscious at the end of life. They want to experience it all, you know, see where their consciousness goes to the next reincarnation. But there's also a, you know, a massive Buddhist movement that has always kind of seen humanity on quite a similar level to animals, right, that we are all beings of this world, and therefore in the same way that we would, you know, have compassion for the suffering of a pet and, you know, euthanase a pet that's going through unavoidable suffering, with many Buddhists who would therefore support the euthanasia of a human being that's going through suffering, right, in the same way. Because humans are not particularly special, right, we're just another being in this world and we'd want to show the same compassion for both of those. James: Yeah, yeah. Hannah: Huge range of views. James: Yeah. Tracey, you said, you said you're an atheist. Does that mean, you know, once the final curtain falls, that's it? Tracey: Well, I'm one of those very open-minded atheists, James, who, if I am diagnosed with something, I fully am open to the opportunity of religion if I end up needing it at that time. And I imagine a lot of people do that. And if, if I do decide to do that, I would choose Buddhism. Hannah: There's actually a fascinating piece of research that just came out, Professor Manning, a religious studies scholar, and she looked at older atheists and what they think about the end of life. Because we tend to think, well, religious people have beliefs, but we don't really study atheists’ beliefs, right, we just think they all think nothing. But she actually found that there was kind of three different kind of world views or narratives that came out, that can be summarised as: lights out, recycling, or mystery. James: I'm all three. I'm all three. Hannah: So the first one is this idea, it's kind of like – death is like anesthesia, you just, that's it. You're at the end, you know, there's nothing, and it's often very biomedical, right. It's like sleep, but you don't dream, so it's more like anesthesia. You know, we've all, maybe all experienced that, and that's what these people believe, that that will be the end. The second one is recycling. So this is the food for worms idea, right, that yes, I will die, but my, you know… Carl Sagan: ‘We are all made of stardust’, right, we'll go back into the universe and one day I will be an oak tree or a, you know, something, quite, you know, a beautiful idea, which I, you know, I think I subscribe to that, I quite like that. And then the third one that they described around atheists was just mystery. That, for a certain group of people, who knows? And we can't ask anyone. And so that it was, it was almost kind of curiosity and excitement towards the end of life. So there are, yeah, you know, this is quite a great mystery, it's a great adventure, right, that we should all go on. James: Yeah, fantastic. We didn't talk much about, I suppose, the emotion we might feel around death at various points. You know, like, I've observed lots of conversations on the radio where my parents' generation, ‘stiff upper lip’... Hannah: …Stoicism… James: …‘How's she doing? Oh, very well.’ Which means she wasn't feeling anything at all. There's been no, you know, like, that's sort of how you're meant to feel. We now tend to be very emotional about death, you know, like it's, like it's part of our funeral rites, I suppose, to release that, to make sure we all howl. Hannah: Yeah, we have this kind of catharsis model of the funeral, right, which is this idea that, you know, you kind of, even if you might not want to, you go to the funeral and you cry it all out with other people and you have this communal experience of grief. And somehow that is helpful, if not entirely necessary for our long-term grief. But, you know, there's many cultures around the world where wailing is a big tradition, right, so that, you know, women physically throwing themselves at the coffin, howling, collectively crying. You know, it might be an extended period of wearing a certain colour, wearing black, you know, gathering together. Those kind of rituals can also be a way for people to process grief and emotion. You think of, particularly like, you know, in the Jewish tradition of sitting shiva, right, that after someone dies, you immediately gather, right, and there's an extended period of everyone sitting together and dedicated to experiencing grief together. That's quite different to our kind of one-day funeral a week or two after the person's died, and we all go back to our home. Hannah: And it kind of depends on, like, what kind of level of social ties that your cultural society engages in the funeral, right. Do you have a very small private funeral where it's only the immediate family who are the ones that are supposed to be grieving? Or is it everyone you knew in that society, and you have a responsibility to go and be there because you're part of a much larger social fabric, right. And that can be quite different – it can be a 300 or 400-person funeral. You know, one of the largest social groups in Australia is South Asian, Indian, Hindu migration, right? Often extremely large funerals, 300, 400 people in some cases, right, because there's a different expectation about who are the mourners, who is the congregation, who are the people that gather together and stand against death, as it were. Tracey: Another big difference seems to me, and I'd love to hear more about you on this, is the cultures that sit with the body for three days, or have the open coffin for viewing… James: …the body stays at home… Tracey: …of the body, or the body stays at home. Because my sister and I sat with Mum's body for as long as we were legally and practically allowed to in the hospital, which was hours and hours and hours. And when we told a lot of our Western friends, they said what an awful thing to do. But it was really lovely because it cemented the idea that she was actually gone. We told her stories. My sister and I laughed. We cried. It was actually incredibly therapeutic. Hannah: Yeah, and this is one of the difficulties, is people feel, because they have a lot of… People don't have a lot of information, right, so if you're lucky, very lucky, then you'll organise maybe one or two funerals during your whole life, right, and probably there'll be those for your parents, right. And you just don't have a lot of information because we don't talk about it. So you don't know what you're allowed to do. But you know, in all states and territories across Australia, you are allowed to be with that body for an extended period of time. You're allowed to bring that body home. You know, you can actively resist pressures from the hospital and the hospice and everyone else to get you out the door. You can say, no, I would like to be with this body for a bit longer. And as you say, there is also technologies that can allow you to bring the body into the home. I mean, the reason we call them funeral parlours is the front parlour of the house. That is the room where we used to display the body and be with the body and that still occurs in many cultures around the world. You know, it's difficult; it can be difficult. It's not always the right decision, you know, you have to think about your particular circumstances, but it is possible. James: Yeah. Well, thank you so much. Any final words? Tracey: Only that I think we should all choose our own funeral soundtrack. I've been doing that with a girlfriend lately. James: …What's she gone with? Tracey: …Because, you know… well, I've gone with Edith Piaf. Hannah:…Ah, classic… Tracey: …‘No Regrets’, of course. Absolute classic. And my friend is still choosing from five. But I think, otherwise someone else gets a choice, and they might choose something terrible. James: Yes, no, I think that's very important, get your, get your, get your funeral songs sorted out… Hannah: Catering, funeral songs… James: …the whole soundtrack, the catering you'd be concerned about, you want everyone to have something… Hannah: … delicious. James: …any special cheeses or wines you want? Hannah: French. Yeah, this is what we did for my dad as well. It was like red wine, good French cheese, baguettes, you know. If you're going to grieve, if you're going to cry, you need some sustenance to support you. Tracey: Comfort food. Hannah: Comfort food, exactly. James: Yeah, very nice. Tracey: Before we let you go, what's your funeral song? James: Do you mean, what do I want people to hear as the coffin's going out or something like that? I don't know if I've made that choice yet. I don't know. Hannah: Hard rock? Tracey: Jazz? Hannah: Pop? James: No, it'll be something jazz, I guess, or something in that tradition. It's probably none of the Frank songs. Tracey: Something majestic, though. James: So yeah, ‘Zadok the Priest’, Handel… Hannah: …Oh, I like that. Old school. James: …Something huge! I haven't decided. Yeah, it's, it's but you're right. Like everything, do it, put some effort into it, you know, and have all that stuff ready for your children, for those that are going to have to do it, a little folder somewhere. Tracey: You could play some of your television clips from over the years. James: Oh, I don't think so, Tracey. I think yours might have something like… Hannah: …a highlights reel… Tracey: …a showreel! James: Yeah, my showreel. No, let's not do that. It's largely children's television, Tracey. No one wants to see that. Tracey: That would be great at a funeral. James: I could conduct a – I'd like to conduct a beyond-the-grave talkback session, probably, talkback radio or something. That could be very fun. Hannah: People could all call in to your funeral. James: Oh, I love that! Tracey: Interactive funerals! James: It's a ‘simil’ funeral. It's being broadcast on the station and then people can call in with their tributes. Oh, that's good. Hannah: Anything is possible. James: That is good. Okay, we've got it. Thank you for helping me sort that out. Hannah: We've done it. James: Well, thanks so much to our guests, Dr Hannah Gould and Tracey Spicer. You've been listening to Season 6 of Life's Booming, Dying Well, brought to you by Australian Seniors. Please leave a review or tell someone about it. If you want more, head to seniors.com.au/podcast. May your life be booming. I'm James Valentine.See omnystudio.com/listener for privacy information.

The chief investigative reporter on her work exposing criminals and corruption, including former politician, Eddie Obeid and financial fraudster, Melissa Caddick.Kate McClymont is chief investigative reporter for The Sydney Morning Herald.She grew up on a farm in NSW, and during university, funded her start in Sydney by setting up a busking booth in Kings Cross.Passers-by would pay her to answer a question, have an argument, or verbally abuse them. Kate's start in crime reporting came from an early job writing for a gossip column. She was instructed to cover a wedding of a family member of known criminal figure, George Freeman.Kate compared the sequins in the bridal party's outfit to a bullet-proof vest, and received the first of many death threats throughout her career. She has won 10 Walkley awards for her work on the biggest crime and corruption cases in NSW.She has exposed the crimes of politician, Eddie Obeid, former Health Services Union boss, Michael Williamson and financial fraudster, Melissa Caddick, among many more.This episode of Conversations covers crime, corruption, true crime, Melissa Caddick, Eddie Obeid, corrupt politicians, investigative reporting, Walkley awards, Kings Cross, George Freeman, Minder, SMH, The Sydney Morning Herald, The Age, Fairfax, Nine.

Gerald Ridsdale, known as Australia’s most notorious paedophile priest, has died in prison, aged 90. Ridsdale was convicted eight separate times over the sexual abuse of 70 known victim survivors – with the most recent sentencing being in 2023. The impact of his abuse – on victim survivors, on the reputation of the church, and on Australian society – cannot be understated. Lucie Morris Marr is a Walkley-awarding winner investigative journalist, author and broadcaster – who's book Fallen: The inside story of the secret trial and conviction of Cardinal George Pell went into great detail on the abuse surrounding Ridsdale and his relationship to Pell. She joins Helen Smith on this episode of The Briefing to outline what those impacted by his violence are feeling on the day of his death. You can find Lucie's newest book, Processed, here. If anything in this episode has caused you distress, you can get help. Some numbers you can call include:1800 Respect National Helpline: 1800 737 732 Men's Referral Service: 1300 766 491Lifeline (24-hour crisis line): 131 114 Victims of Crime Helpline: 1800 819 817 Full Stop Australia: 1800 385 578 Follow The Briefing: TikTok: @listnrnewsroom Instagram: @listnrnewsroom @thebriefingpodcast YouTube: @LiSTNRnewsroom Facebook: @LiSTNR NewsroomSee omnystudio.com/listener for privacy information.

Richard Baker is one of Australia’s best investigative journalists, who has spent decades chasing stories. The Walkley award winning journo is the host of LiSTNR's Secrets We Keep: Pray Harder, which explores a secretive religious group in Geelong where every aspect of members’ lives are tightly controlled by their hardline pastor. In this chat with Antoinette Lattouf, Richard explains why he doesn't have any social media, what life is like as an investigative journalist, and how dangerous it is for whistle blowers in Australia. Weekend List TO TRY: Vouchers with your private health insurance TO WATCH: Hair Theory by Emma Chamberlain on YouTube TO READ: BBC article 'Being a starlet was difficult': How Shirley Temple saved a Hollywood studio from bankruptcy TO WATCH: Bad Sisters on Netflix Follow The Briefing:TikTok: @listnrnewsroomInstagram: @listnrnewsroom @thebriefingpodcast YouTube: @LiSTNRnewsroomFacebook: @LiSTNR NewsroomSee omnystudio.com/listener for privacy information.

Send me a messageToday's guest is the indomitable Catherine Fox. A woman of such immense fierceness, incisive analytical powers and a mastery of craft that has led to authoring or co-authoring six books. Catherine was awarded a Medal of the Order of Australia in 2022 for significant service to journalism, gender equality and diversity. Catherine's career is nothing short of phenomenal - beyond the books and order of Australia medal, she wrote for the Australian Financial Review for more than two decades, editing their Corporate Women column, was awarded a Walkley award for women's leadership in media in 2017. While at the AFR she helped to establish the 100 women of influence awards, and was named as one in 2018, has been a gender equality advisor to the Australian defence force and sits on the Australians investing in women board. Time with her was nothing short of an honour.Her latest book, Breaking the Boss Bias - How to Get More Women Into Leadership is an essential read. The reality check Catherine lays out in this book affected me, and it's something the men listening to this in particular would be well suited and recommended to go out and get immediately. The book struck me for two primary reasons: the first being how delusional progress on gender equality has been and remains in Australia and around the world. And secondly how relatable I found Catherine's work to be to every other realm of sustainability from climate inaction to biodiversity loss and species extinction to housing unaffordability and the degradation of trust in our society. Catherine's works paints a picture within a picture and it's a tormenting one. Never have so many been aware of and attempting to engage in any and all issues that would deliver more equitable and sustainable futures, yet the empirical evidence and data shows that slow gains hard ear have been and are slipping. This is depressing and dispiriting information, yet also necessary. Crisis and disaster - whether that is gender inequity, the climate, housing - can only be approached in my mind if there is a shared and collective appreciation of the truth. A reckoning that at its heart is about becoming and being honest with reality. Catherine's work for decades has been about exactly this, and it was enlightening and agitating to both read her book and to spend this time with her.Thank you for listening today, I appreciate it and don't take your precious time for granted.If you enjoyed this episode or any other, please offer a rating as the algorithms appreciate that type of interaction, share the show with friends, colleagues and on social media - tag me in with your comments - and subscribe.Today's show is delivered with Altiorem. Use the code FindingNature25 to get your first month free on their gold and platinum plans. Today's show is delivered with Gilay Estate. Add Finding Nature to your booking reservation for free food bundles.Thanks for listening. Follow Finding Nature on Instagram

اختارت الصحفية اللبنانية الأسترالية رفقا توما أن تنقل واقع الحياة اليومية للغزاويين لتقف أمام القصة الإنسانية خلف الخبر. رسائل قصيرة تبادلها صديقان جمعتهما غزة والموسيقى لتلقي ناهد فنانة فلسطينية مغتربة، تعيش في نيويورك وحمادة الذي يعيش في شمال غرب غزة فكانت هذا الإضاءة جديرة بأن تفوز بجائزة Walkley للابتكار في حفل توزيع الجوائز السنوي التاسع والستين للتميز في الصحافة عن قصة "مغادرة غزة" التفاعلية. كيف عانقت الانسان خلف الأحداث المتسارعة وما الذي رسمته هذه القصة في داخلها كصحفية مراسلة شابة من الشرق؟

Join us for an inspiring conversation with Marina Walkley, a resilient entrepreneur who's approaching a decade of running her own business. Born in Russia, Marina moved to New Zealand at 12 and later settled in Australia. She shares her remarkable journey of navigating a new language, school, and culture, all while building a successful business. In this episode, Marina opens up about: Her childhood in Russia and the challenges of relocating to a new country How she adapted to a new language, school, and culture in New Zealand and Australia The lessons she's learned from her entrepreneurial journey so far Her experiences as a woman in business and how she's overcome obstacles Her plans for the future and what's next for her business Don't miss this heartwarming episode with Marina Walkley, a true champion of determination, hard work, and entrepreneurial spirit!

In this week's episode we speak with Shanghai-born, Melbourne-based artist Badiucao, who explains what it's like to remain under suspicion and surveillance for his political artwork. Badiucao, a Walkley-award winning artist with The Age, speaks with opinion editor Patrick O'Neil about his early life in China, the kind of things that still happen to him here in Australia - and that strange time someone pretended to be him.See omnystudio.com/listener for privacy information.

From biker gangs to prison, Mahmood Fazal is a Walkley award-winning writer on a mission to advocate for the voices we don't hear. Hear his 2 part chat with Brent back in Season 2 of the ClinkSee omnystudio.com/listener for privacy information.

Leigh Sales is a multi Walkley award-winning journalist, author, tv presenter, podcaster and author - and incidentally also one of Chrissie's Queens. She joins Chrissie in this episode for a far-reaching chat about the art of being busy and remaining alive, public shaming and her latest baby (she has 2 human ones) - her new tv show The Assembly where 15 people with autism interview some of Australia's most beloved celebrities and nothing is off limits. How will she cope when the tables are turned? Take it all in, ChrissieCasters.See omnystudio.com/listener for privacy information.

One of the greatest racehorses of all time was euthanised after a short illness over the weekend. Australian thoroughbred Black Caviar was considered the world's best sprinter, clocking up 25 wins for 25 starts over a career spanning 2009 to 2013. But the champion died over the weekend, a few days before her 18th birthday and reportedly just hours after giving birth to her ninth foal. The death has sparked a conversation questioning the ethics of forcing retired racehorses to pretty much constantly be pregnant and giving birth until they die. Walkley-winning author and investigative journalist Lucie Morris-Marr met Black Caviar during her retirement. She joins Bension Siebert on this episode of The Briefing to share what she thinks following Black Caviars death. See omnystudio.com/listener for privacy information.

On this week's podcast, I speak with Television Journalist Amelia Adams. Amelia has been a journalist for more than 21 years; more than 14 of those with the 9 Network. Before joining the 60 Minutes team in 2022, she was Nine's Senior Foreign Correspondent in North America. Amelia's live reporting from the US Capitol during the January 6 insurrection saw her win two Kennedy Awards and a Walkley nomination. She has also reported from war zones in Ukraine and Iraq. Amelia covered the volatile final year of Donald Trump's presidency and led the 9News coverage of the unprecedented 2020 presidential election. She reported from the ‘Black Lives Matter' protests and the ‘Make America Great Again' rallies. She was Nine's London-based Europe and Middle East Correspondent, reporting on Brexit, the fall of Theresa May, and the 2019 UK election. In the Middle East, she covered the Turkish incursion into Syria and the US assassination of Iranian General Qasem Soleimani. She has reported directly from crisis zones around the world including the Fukushima nuclear disaster and the Christchurch earthquake. Over the years Amelia has also regularly filled in hosting the Today Show and Nine's 6 pm News. Amelia knows how to tell a story, share a story, and put words to paper. We spoke in depth of Amelia's love for all things military history, the balancing act of being a working Mum and traveling around the world for work and the dangers that reporters face on the frontline. Presenter: Adam Blum Guest: Amelia Adams Editor: Kyle Watkins Investigative Consultant: Adam Holloway

In an historic meeting of the minds, Walkley-winning journalist and documentary maker Marc Fennell steps into The Last Video Store. With season 2 of Marc's factual tv show STUFF THE BRITISH STOLE currently airing, we asked him to get back to his roots of film criticism to talk about some of his favourite films with Alexei.  Watch the full episode on YOUTUBE Follow ALEXEI TOLIOPOULOS on Letterboxd for all the rental combo lists. Here's Marc Fennell's film combo on Letterboxd.  Music & sounds by Rowan Dix Produced & Edited by Alex Jae and Xanon Murphy  Art by Hollow Bones Studio See omnystudio.com/listener for privacy information.

Not just the expert on North Korean cinema and hoax authors, Dr Anna Broinowski is one of Australia's greatest investigative documentarians. Her riveting works include FORBIDDEN LIE$, AIM HIGH IN CREATION and PAULINE HANSON: PLEASE EXPLAIN. Through these and more she's won a Walkley, 3 AFI/AACTAs, the Al Jazeera Golden Award and even a fricking WGA prize. Anna's latest work is her memoir DATSUN ANGEL: A true-story adventure inside the savage heart of 1980s Australia - “it's a feminist Mad Max on really bad 80s speed”.  Alexei's never had a bigger hero than his mentor Anna Broinowski so it's an honour to walk her through the shelves to pick out a rental combo of a recent Oscar-winning gothic oddity, a cult classic of experimental Danish documentary cinema and a North Korean Kaiju monster flick with the wildest backstory you've never heard + a staff pick recommendation from Alexei for all those looking for a great hoax. Watch the full video on YOUTUBEFollow ALEXEI TOLIOPOULOS on Letterboxd for all the rental combo lists. Here's Anna's rental combo list.  Music & sounds by Rowan Dix Produced & Edited by Alex Jae and Xanon Murphy  Art by Hollow Bones Studio See omnystudio.com/listener for privacy information.

Nick Walkley is Principal and UK President at global real estate advisory firm Avison Young. Prior to joining Avison Young in 2021, Nick was Chief Executive of Homes England, the UK Government's land, development, and housing investor. He led the creation and growth of the new Agency, responsible for the management/delivery of a diverse portfolio including the affordable homes programme, new towns, urban brownfield schemes, support to SMEs and infrastructure funding. He has served as Chief Executive of two London local authorities, with a focus on building high performing teams during periods of adversity and austerity, and as a seasoned leader, is passionate about fostering strong organisational culture driven by clear values.In all his roles, Nick has championed the power of urban regeneration and public-private partnership to improve peoples' everyday lives.  An advocate for the dynamism and vitality of cities, Nick is a firm believer that the best way to get to know a city is through its restaurants, bars, and record stores.

Today I have a super-interesting and informative conversation about how to interact more effectively with other human beings, with Kirk Docker. You can see all Kirk's links here.  Kirk is one of Australia's finest interviewers and storytellers. He is the co-creator and director of the ABC program You Can't Ask That, now in its 7th season. The show has been awarded Rose d'Or, AACTA and Walkley awards and is the most successful format in ABC history, selling to 32 territories, and broadcast in 9 different languages world wide. When it comes to the content he creates, no subject is off-topic. Kirk's interviewees range from ex-politicians to ice users to sexual assault survivors. He has a deep curiosity, compassion and playfulness that elicits honesty from his participants, many of whom have never sat in front of a camera before. Through thousands of hours of open dialogue, what's become absolutely clear to Kirk is that every human, no matter what they believe or how high their stature, share a core value: the desire to be understood. See omnystudio.com/listener for privacy information.

The IT'S ALL TRUE crew catch up with the one and only, Hedley Thomas. Hedley specialises in investigative reporting with an interest in legal issues, the judiciary, corruption and politics. He has won eight Walkley awards for his successful podcasts; some of which include, Shandee's Story, Shandee's Legacy, The Night Driver, The Teacher's Per, The Teacher's Trial and The Teacher's Accuser. He's an absolute master of his craft and a wonderful bloke who'll love getting to know more about, right here!See omnystudio.com/listener for privacy information.

The very special guest on Day 2 of the Gabba Test against the West Indies is the Walkley award winning journalist turned best selling author Trent Dalton. His story of a colourful upbringing in 1980s Brisbane - Boy Swallows Universe - is now a global hit on Netflix. He spoke the Quentin Hull about growing up loving cricket, the West Indian team of the 1980s and how he still has to pinch himself about what is happening in his life.

This is a "Shortcut" episode. It's a shortened version of this week's more detailed full episode, which is also available on our feed. Founded in 1972, "The 12 Tribes" presents itself as a welcoming religious sect. However, the accounts from those who have managed to escape tell a very different story.The group maintains global locations and communities, including two communities in NSW: Katoomba and Picton.Our guest for this episode is Tim Elliiott. Tim is Walkley nominated journalist who has been investigating and reporting on their activities since 2007. His podcast on The 12 Tribes "Inside The Tribe" won Best True Crime Podcast at the 2023 Australian Podcast Awards, and can be streamed wherever you get your podcasts.For Support: Lifeline  on 13 11 1413 YARN on 13 92 76 (24/7 crisis support phone line for Aboriginal and Torres Strait Islander peoples)1800RESPECT: 1800 737 732CREDITS:Host: Meshel Laurie. You can find her on Instagram Guest: Tim ElliottExecutive Producer/Editor: Matthew TankardThis episode contains an audio grab from A Current Affair GET IN TOUCH:Follow the show on Instagram @australiantruecrimepodcast and Facebook Email the show at team@smartfella.com.auBuild your pro podcast with The Audio CollegeSupport this show http://supporter.acast.com/australiantruecrime. Become a subscriber to Australian True Crime Plus here: https://plus.acast.com/s/australiantruecrime. Hosted on Acast. See acast.com/privacy for more information.

This is a "Shortcut" episode. It's a shortened version of this week's more detailed full episode, which is also available on our feed. Founded in 1972, "The 12 Tribes" presents itself as a welcoming religious sect. However, the accounts from those who have managed to escape tell a very different story.The group maintains global locations and communities, including two communities in NSW: Katoomba and Picton.Our guest for this episode is Tim Elliiott. Tim is Walkley nominated journalist who has been investigating and reporting on their activities since 2007. His podcast on The 12 Tribes "Inside The Tribe" won Best True Crime Podcast at the 2023 Australian Podcast Awards, and can be streamed wherever you get your podcasts.For Support: Lifeline  on 13 11 1413 YARN on 13 92 76 (24/7 crisis support phone line for Aboriginal and Torres Strait Islander peoples)1800RESPECT: 1800 737 732CREDITS:Host: Meshel Laurie. You can find her on Instagram Guest: Tim ElliottExecutive Producer/Editor: Matthew TankardThis episode contains an audio grab from A Current Affair GET IN TOUCH:Follow the show on Instagram @australiantruecrimepodcast and Facebook Email the show at team@smartfella.com.auBuild your pro podcast with The Audio CollegeSupport this show http://supporter.acast.com/australiantruecrime. Become a subscriber to Australian True Crime Plus here: https://plus.acast.com/s/australiantruecrime. Hosted on Acast. See acast.com/privacy for more information.

Hedley Thomas is a journalist and has won eight Walkley awards, the first for his investigations into the Australian Federal Police investigations of Dr Mohamed Haneef, and the second for the podcast 'The Teacher's Pet'. In 2023 he published 'The Teacher's Pet' the book, and in this episode Hedley takes the reader behind the scenes of the global podcast. You can read the transcript for this interview here.  About The Garret: Writers and the publishing industry Follow The Garret on Instagram, and perhaps follow our host Astrid Edwards there too.See omnystudio.com/listener for privacy information.

0:00:00 Introduction Richard Saunders 0:05:24 Bend Spoon 2023 Walkley winner Coulthart wins 2023 Bent Spoon for UFOs! Ross Coulthart, who has won five Walkley awards (including the top Gold Walkley) during his career as a journalist, can now add another prize to the list - the Australian Skeptics' Bent Spoon award. Also we report on some of the more positive awards. http://www.skeptics.com.au 0:11:44 Australian Skeptics Newsletter What skeptical news has caught the eye of Tim Mendham this week? Read by Adrienne Hill. http://www.skeptics.com.au 0:23:18 The upside of DOOMSDAY Report about a group promising salvation in the face of doom, and your very own Star Trek replicator! The claims of the creative society come straight out of science fiction. 0:32:42 Round Table - Part #3 Fraser Cain from Universe Today joins Brian Dunning from the Skeptoid podcast and Richard Saunders from the Skeptic Zone podcast to talk about the skeptical world and related issues. This week the three science communicators talk about what it feels like when we are wrong. https://www.universetoday.com https://skeptoid.com 0:41:44 Susan Gerbic - New Zealand Skeptics conference roundup. Susan is joined by Melanie Trecek-King as they discuss the highlights from the recent conference held in New Zealand. Also Sydney Skeptics in tne Pub https://www.meetup.com/Austskeptics 10 Years Ago The Skeptic Zone #267 - 2.December.2013 Welcome message from James Randi. Those at the 2013 Australian Skeptics National Convention were delighted to see James Randi on the big screen - Australian Skeptics Awards. Who were the winners of this year's awards? Find out with news from the convention - Dr Rachie Reports... This week Dr Rachie finds herself in Qatar where she is attending a conference on toxins. She tells us about the recent court case involving the Australian Vaccination Network (or soon be called... ?? Who know? Maybe you can think up a good name for them.) - A Week in Science - Maynard's Spooky Action... Interviews with delegates and guests at the Australian Skeptics Convention. This week Maynard chats to Ketan Joshi - Mr. X - Kevin Davies - Graham Wilson https://skepticzone.libsyn.com/the-skeptic-zone-267-2-dec-2013

There are many ways to challenge the AI juggernaut that has been unleashed on the world, but Tracey Spicer (multi-Walkley winning journalist, feminist) tackles it through a gender lens. In her latest book, Man-Made, she shows how the unresolved biases that exist in the world today are being fed into the emerging AI. The implications of this bigotry being embedded into our future are profound and could render any progressive work being done to address consent, pay gaps and so on moot. Tracey has won two prestigious Walkley Awards in recognition of her journalism work, was awarded the NSW Premier's Woman of the Year, accepted the Sydney Peace Prize with Tarana Burke for the Me Too Movement, and won the national award for Excellence in Women's Leadership. We talk about sexbot design, the significance of Siri et al being female, how our period tracker apps put us in danger and how she wrote this book with a crippling case of long covid.SHOW NOTESGet hold of Man-Made: How the bias of the past is being built into the futureCatch up on the Wild chat with ChatGPT expert and linguist Emily M. BenderTracey mentions good work being done by Andrew Leigh MPWe also talk about the work of Caroline Criado-Perez who you can follow on her Substack Invisible WomenIf you need to know a bit more about me… head to my "about" pageFor more such conversations subscribe to my Substack newsletter, it's where I interact the most!Get your copy of my book, This One Wild and Precious LifeLet's connect on Instagram Hosted on Acast. See acast.com/privacy for more information.

JP Rende and Kat Raio Rende are a husband and wife songwriting team and founders of Earworm Music. JP and Kat write and produce music for kids television, animation, film, and commercials. They won an Emmy for their song "Friends with a Penguin" sung by Billy Porter on Sesame Street. They've produced music for various shows including Gabby's Dollhouse, Baby Shark's Big Show, Barbie's Dreamhouse Adventure, and more. JP and Kat shared details about their unique collaboration, allowing them time to work together and separately. They gave a glimpse into how the process of writing specifically for kids and how scripts, pitches, and deadlines all play a significant part in their work. Listen on Apple, Spotify, Google, YouTube Show Notes: Earworm Music - https://www.earwormny.com/ "Friends with a Penguin" - https://youtu.be/derxRN-ZkMI Mrs. Doubtfire Recut as a Horror Film - https://youtu.be/U71P5FKFqfg Social Story Songs with Brian and Chris - http://www.socialstorysongs.com/ Brian Funk Website - https://brianfunk.com Music Production Club - https://brianfunk.com/mpc  5-Minute Music Producer - https://brianfunk.com/book Intro Music Made with 16-Bit Ableton Live Pack - https://brianfunk.com/blog/16-bit Music Production Podcast - https://brianfunk.com/podcast Save 25% on Ableton Live Packs at my store with the code: PODCAST - https://brianfunk.com/store This episode was edited by Animus Invidious of PerforModule - https://performodule.com/ Thank you for listening.  Please review the Music Production Podcast on your favorite podcast provider! And don't forget to visit my site https://BrianFunk.com for music production tutorials, videos, and sound packs. Brian Funk Episode Transcript: Brian Funk: Hello everybody and welcome to the Music Production Podcast. I'm your host, Brian Funk. And on today's show, I have JP Rendy and Cat Rayo Rendy of Earworm Music and they do a lot of cool stuff. Congratulations, first of all, they just won an Emmy for the song, Friends With a Penguin that they wrote for Billy Porter. That was, what a catchy song and fun. Great job guys, JP Rende: Thank Brian Funk: congrats. JP Rende: you, Kat Raio Rende: Thanks. JP Rende: thank you, thank you. Brian Funk: They write for Sesame Street, Gabby's Dollhouse, Princess Power, Baby Shark's Big Show, Barbie's Dreamhouse Adventure. There's a long list of stuff they do. They do a lot of work for kids in animated TV and film commercials. I love the Charmin, Shiny Hiny song they have. That Kat Raio Rende: Ha Brian Funk: was Kat Raio Rende: ha Brian Funk: great. Kat Raio Rende: ha. JP Rende: Hahaha Brian Funk: A lot of fun. Kat, you've sang with Alicia Keys, Mary J. Blige, Usher, Ray Charles. A lot of really impressive stuff. You guys are doing great work and it sounds like you're having fun. You've married your music and your lives together. So Kat Raio Rende: Yeah. Brian Funk: it's a really unique combination and I'm very excited to talk to you guys. I had a lot of fun digging into your catalog a bit, getting ready for the show. JP Rende: Sweet, thank Brian Funk: Welcome. JP Rende: you. Kat Raio Rende: Thanks. Brian Funk: So, first of all, congratulations on the Emmy. That's great. JP Rende: Oh, thank you. Brian Funk: That must've JP Rende: Yeah, Brian Funk: been JP Rende: that Brian Funk: a real JP Rende: was Brian Funk: treat. JP Rende: really fun. That was a really fun night. Kat Raio Rende: That was a wild time. JP Rende: Yeah, we didn't think we were gonna win, honestly, because we've been nominated before and it's really a crap shoot. You never know. You really never know how the cards fall. And I remember the first time that we went out to the ceremony, maybe it's just a little bit of arrogance. Of course we got this. We got this. Brian Funk: Hehehe Kat Raio Rende: This is JP Rende: It's Kat Raio Rende: Sesame Street. JP Rende: a great song. Ah, we lost. And it felt so bad. It felt, you know, I'm gonna give it real. A lot of people are like, oh, it doesn't matter. It felt bad to lose. So when we got nominated again, we went out with like, hey, it's probably not gonna happen. Let's just have a great time. And we were up against a Ben Folds song. And it was a really good song. Like, Ben Folds, I don't know you, but I wanna know you and you're fantastic. It was called Kat Raio Rende: little things. JP Rende: The Little Things Charlie Brown. It was for Charlie Brown's special. So I Brian Funk: Oh JP Rende: was Brian Funk: wow. JP Rende: like, he's gonna win, it's all good. And then when Jojo Siwa called Friends With a Penguin, we were shocked. Like, full on that meme with Taylor Swift like this. We were totally shocked and it was a really fun thing. And you know, the song, as silly as it can come across on the surface, has a much deeper meaning about, you know, just say hi to somebody that's different than you and you can become friends and don't be afraid of anything that's dissimilar because that's how we learn from each other. Brian Funk: Is that the Emmy behind you, Kat? I see. Kat Raio Rende: I know, I was trying to cover it up because I don't want it to look like a douche. I'm sorry, I don't want it to look like a jerk, but Brian Funk: No, that's great. Kat Raio Rende: yeah. Brian Funk: You should Kat Raio Rende: So. Brian Funk: have that proudly displayed. Kat Raio Rende: Ah ha Brian Funk: Yeah, Kat Raio Rende: ha! Brian Funk: that's awesome. JP Rende: Yeah, sorry, I have one too. It's not in my studio. I gave it to my parents. And partially I was like, you know what? I'm just gonna look at that and become complacent. So I always gotta stay hungry, so. Brian Funk: Yeah, yeah, right. That's a big part of it. You know, you mentioned being silly. And this is like something I kind of wanted to talk to you guys about because there's, I think, a different mindset that goes into writing songs like this compared to like being an artist. You know what I mean? Like Kat Raio Rende: Yes. Brian Funk: a serious artist. So just to give you a sense of where I'm coming from with this. I have my serious artist side, Kat Raio Rende: Hehehe Brian Funk: where I write my songs and stuff. But a few years back with a friend of mine, we wrote songs kind of directed for kids with special needs, specifically autism, for social behavior stuff. And it's called social story songs. And that's something that's often used to help teach proper behavior in places, restaurants, how to interact with people. We had a song similar. to the concept of yours, the perfect greeting for who I'm meeting. So it just teaches JP Rende: Oh Brian Funk: you Kat Raio Rende: Yes! Brian Funk: how JP Rende: wow. Brian Funk: to say hello and stuff. But what I found with that was it was very liberating to write in that way where you didn't have to be so artistic about everything and so serious about it. I had a lot of fun with that. And I wanted to ask you guys a little bit about just that mindset and that way of writing and getting free to be silly with it a little bit and have fun with the songwriting process. Kat Raio Rende: That is the most fun that I think that you can possibly have, especially when it comes to like, I'm neurodivergent and like writing from that perspective and writing, there's like that is a really great, it's a really good place to come from, but also like a really great way to like get all of that out. You know, like you said, like being an artist, I started off as an artist and And it's just not as much fun. It's so much fun writing for like to be silly. And like, you know, there are some artists that do it now. And there's, especially for like, you know, they're for kids movies, but like the recent Barbie movie had a song by Lizzo that I thought was so funny. Like it started off as, I did not write it, but it was a song that was. the first time it came around, it was very serious and happy. And the second time around, it started getting panicked because Barbie was changing as a person. And, JP Rende: Poiler alert. Kat Raio Rende: spoiler alert, sorry. But it's so fun to write like that because like, as writing for kids and knowing their parents are also watching it, it's so fun to like, add adult content in it. Like, we wrote a song for Baby Shark's big show called call me Billiom and where Billiom, Baby Shark's best friend, was trying to be an adult and he said I'm not William now from now on call me Billiom and then the song is like this very serious like rap song and there was like a funny little I don't know if it's an Easter egg but for the adults where it's like I have a cute sign in my living room that says live splash love I'm Billiom it's like You can get to the parents, the silly side of the parents. It brings out the silly side of the parents too. And it's so fun to like add like, I love puns, adding Brian Funk: Uh... Kat Raio Rende: puns and I dream of fish puns. But it's so fun to add, I JP Rende: True Kat Raio Rende: do. JP Rende: story. Kat Raio Rende: I wake up in the middle of the night and like, JP, I'll be right back, I gotta go. Sometimes I'll like go hide Brian Funk: Thanks Kat Raio Rende: in Brian Funk: for Kat Raio Rende: the Brian Funk: watching! Kat Raio Rende: laundry room and just like write, you know, write things down or sing into the voice recorder. But. There's nothing like, I think of it as like neurodivergent writing, but it's just you get to write what you actually want to write, whereas everything else has to be in this like serious box and Brian Funk: Hmm. Kat Raio Rende: kids music you just do, like kids think like that and they enjoy it, so I really love it the most. Brian Funk: It's something I've taken to my artist side too. You know, playing in a band when we're trying to come up with music, a lot of times it does start out kind of silly and it's gibberish or blabbering or just placeholder lyrics. But being free enough to do that has opened the door to actually get into some of those other areas too. And I find Kat Raio Rende: Oh yeah. Brian Funk: it's something I encourage people to do is like. Don't be afraid to be silly. Don't be afraid to make bad music. And I try to remember that with myself because a lot of times things that might not seem like my masterpiece after I work on it for a little while starts to come together a little bit Kat Raio Rende: Mm-hmm. Brian Funk: when I'm not so judgmental about it. Kat Raio Rende: Oh, it'd be so nice to add that into it. Like Primus and Macklemore and Eminem and who else? There's some artists that really do it well. Brian Funk: Yeah. JP Rende: Harry Grip. Kat Raio Rende: Well, Perry Grip is a kid's artist, but JP Rende: Yeah, but Kat Raio Rende: he's JP Rende: he's Kat Raio Rende: like JP Rende: amazing. Kat Raio Rende: the king. Brian Funk: Yeah, and you mentioned too, I guess, the concept of just capturing ideas whenever you get them at the moment. So you're jumping out of bed. I think that's such a smart thing to do because I think they disappear so fast. Kat Raio Rende: I JP Rende: Yeah, Kat Raio Rende: mean, JP Rende: have Kat Raio Rende: sometimes, JP Rende: you, have you, oh sorry Kit. Kat Raio Rende: I was just gonna say sometimes, the whole song is there. Sometimes we'll read a brief when we get a song, and we will read a brief at night, or in the afternoon on a Sunday, and then wake up on a Sunday morning at two o'clock and be like, here, here's this, and there's the whole song. Or the main idea of the song usually comes in the middle of the night. And it's JP Rende: Yeah. Kat Raio Rende: so much fun because it's like you didn't write, I didn't, you know, like your subconscious writes it and you're like, that's a good idea, subconscious. Thank you. Brian Funk: Thanks for watching! JP Rende: Well, mine is sometimes I write the most amazing songs in my dreams and then like I wake up and they're fucking horrible. But in your dreams, like they're the greatest song ever. You're like, oh my God, I'm gonna Brian Funk: Yeah. JP Rende: change the world with this song and then you have all these accolades and people are singing your song and then you wake up and you hum a tune, you're like, what is that? So, but fortunately, cats middle of the night stuff is always. Brian Funk: Well, I think Kat Raio Rende: Most Brian Funk: it's Kat Raio Rende: of Brian Funk: important Kat Raio Rende: the time. Brian Funk: that you're comfortable with letting that stuff in. Even if it is, it turns out to be bad. Just let the music in or let it out, however you want to look at it. And Kat Raio Rende: You know what, Brian Funk: then Kat Raio Rende: writing, Brian Funk: later, judge. Kat Raio Rende: yeah, writing lyrics too. The way that I personally write lyrics is I'll write, and it goes for ideas in general. Even if you have really bad ideas, you kind of have to like. Expel them first so I'll write all the worst stuff and knowing it's not going to be possible knowing that like if you're writing for a specific character who's an octopus and you really need to change it, you know, it's and it's an octopus specific Line and it's definitely not going to work for them. You write it out anyway, and then Once you get all the bad, you know, once you get all the stuff that doesn't work out first, you know you have it like for some reason it just sticks in your brain until you let it, until you're like, okay, I'll give you some attention, you know, write it down, and now after that's done, the other stuff comes to mind for whatever reason. You know, you put your bad rhyme down, you put your... It's not like you have it as a placeholder either. You just literally have to like write it on a piece of paper, write it on a, you know, a Word document. And then... once you've given it the attention that it needed, it goes away and leaves room for other things, I think. Brian Funk: Last weekend we had a party at my house and it's like this thing we do once... JP Rende: Thanks for the invite, Brian. Kat Raio Rende: Hahaha! Brian Funk: Yeah, I'm JP Rende: Ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha Brian Funk: kind of sad because you guys aren't that far away. Kat Raio Rende: hehe Brian Funk: But we have just music outside, so we just set up drums and guitars Kat Raio Rende: Yeah. Brian Funk: and stuff. And there's a lot of jamming that happens. And it's very spontaneous, but... Sometimes you want to try to develop it a little bit and you sing a little bit and you just sort of have to be okay with whatever fits whatever works and just get stuff out and Sometimes the thing that might even have felt silly or dumb in the beginning starts to actually make sense and work That and I think that freedom That you give yourself to be okay with that Is so important because then if then the good stuff can come out without getting kind of gate-kept, you know, before it had a chance. JP Rende: For sure. I think that you really hit the nail on the head is you can't be afraid to write shit. You can't, you know? And what that can do is you gotta get that bad stuff out of you before the good stuff can come. And self-judgment is...we all suffer from it many times. And I commend you for doing that at a party, because I know that like... even in our studios, Cat's studio's not far from mine, but when we're each kind of like messing around with stuff, we really don't want the other person hearing it, just because Kat Raio Rende: Yeah. JP Rende: it's not that they're gonna judge it. I think Cat knows the way that I write and I know the way she writes, but it's just the fact that I wanna be able to get out all the kinks that I'm feeling, and I feel as though that... there's a bit of a show-off-ness when somebody else is hearing it. Brian Funk: Right. JP Rende: We're professionals, right? So we have to conduct ourselves as quote unquote professionals, so it's like we play the wrong chord in front of somebody else and they're like, you know a six is a minor, right? But Kat Raio Rende: Ha ha JP Rende: you Kat Raio Rende: ha! JP Rende: mess up and you play a major and you're like, oh no, I didn't do that. But when you're by yourself and you don't judge, then fun stuff can happen. So. Brian Funk: Hmm. JP Rende: I do think it's important to not be afraid to just mess around and make it sound like crap because for all you know the next time that you go sit down and write, one little nugget of that crap session could make the song that you're working on now. Brilliant. Kat Raio Rende: Wanna hear something, JB? That I've never JP Rende: Short. Kat Raio Rende: told you? I mean, it's not whatever. But the reason why I don't like to hear, for you to hear what I'm doing is because I think you're gonna like it. And I'm like, I'm not, it's not done, it's not done. So I think that like, you know, my first thing tends to be pretty, depending JP Rende: Oh, here it Kat Raio Rende: on JP Rende: comes. Kat Raio Rende: where it's coming from. JP Rende: Here it comes. I Kat Raio Rende: What? Brian Funk: Thank you. Kat Raio Rende: What do you think I was gonna say? JP Rende: thought you were gonna say like, my first thing tends to be really, really good, but it's not good enough for me. So I don't... Ha ha Kat Raio Rende: No, JP Rende: ha. Kat Raio Rende: no, it just like, it's just like a rough thing. And sometimes it's like a little bit simple or something. Sometimes like, my memory is kind of, I can't always access it. And sometimes I'll write something that I'm like, oh, this might be close to something I've worked on before, or sometimes like something I've written before. And, or it's like, you know, it's like, for lack of a better term, it's like derivative of my own stuff, I guess? And so I'll be like, I can't do, I want to do something new on this. Like I want to change, like there was, there's, there was a song we were working on yesterday for Baby Shark's Big Show and it was like this wacky, like really out there, like chord change that didn't belong because two characters who don't get along were trying to, were finding out that they were friends. And um, it, I, It was really out there and I'm like, this part is good. I don't want him to hear that because it's not actually finished. But the other chords were like so much the same and the same and the same. So I knew the rhythm was good. I knew the production was good. It was really good. I knew that you were going to like it, Jay. But I knew there was more to go and I knew it was going to be like, keep it. And that's what happened. JP Rende: Yeah. Kat Raio Rende: And I was like, oh, but you know, we did end up keeping it. And usually when he says stuff like that, it is the right, it was the right thing to do. So that's something that like, we tend to kind of hear, when we hear it undone, the other person will, either JP will pair it down for me or I will do something on his tracks. Brian Funk: Right, nice. You know, it's interesting, you guys, your situation, right? Cause you are partners in the music and you're married too. JP Rende: Mm-hmm. Brian Funk: And it's often, those are often comparisons that are made when you're in a band. It's like being married to a couple of people or all these relationships. And so much happens, I mean, within a relationship, but then within a musical relationship, and sometimes they affect the other relationship, you know? JP Rende: Absolutely. Brian Funk: but it seems like you guys have figured out some ways to make that work. And one of the maybe interesting things that's going on right now for people that are watching, they might be able to tell, but you guys are in the same building, right? Same house, Kat Raio Rende: Oh yeah. Brian Funk: but JP Rende: Mm-hmm. Brian Funk: different spaces. You have your own separate space for that, JP Rende: 100%. Kat Raio Rende: Yeah. Brian Funk: for your work. JP Rende: We learned this a long time ago. We do our best work together, but when we're actually like in a co-writing session, we both tend to be a little bit headstrong on our ideas and sometimes that affects the music in a negative way. So we found that part of our process that really works is that if we get a brief for, you know, we get hired to do something is that we'll come together for a very short while and say, okay, what are we thinking here? Okay, I'm thinking X, Y, and Z, and I'm thinking, okay, that's cool. And we do the collaboration there before we even get to an instrument, anything. And then it's like, okay, once we kind of settle on, let's say, okay, we're gonna do an up tempo that kind of has like something that sounds like this, the kind of pantomime or sing something with a drum beat that's like, th Kat Raio Rende: Mm-hmm. JP Rende: I'll add stuff, she'll sing some ideas, I'll sing some ideas, and then before we know it, we have a cohesive track and song, but then Kat is the last person, not the last person to touch it, because I do the mixing, but the last creative, so once she's singing it, she could be like, hmm, you know what, this idea really wasn't good, and just be like, hey. Do you mind if I try this? And sometimes I'm like, yeah. And sometimes I'm like, no. No, Kat Raio Rende: Hehehehehehe JP Rende: you may not. You may do it exactly the way I did it because I like it. And then we fight, and then we fight some more, then we argue, then we realize that I'm wrong and she realizes that she's wrong. We find somewhere, sometimes it's in the middle and then sometimes it's like, you know what, Kat? You're absolutely right. And that's it. So that's our process. It's not the most... Kat Raio Rende: collaborative? No, it is JP Rende: No, Kat Raio Rende: collaborative. JP Rende: no, it's not the most cohesive, but I think that it helps us and it helps save our personal life as well, because in the very beginning, we would argue in the studio, before we were married, before we were even dating, Kat Raio Rende: Yeah. JP Rende: and then it'd be like, well, I don't wanna see you for a while, I'm mad Brian Funk: Mm-hmm. JP Rende: at you, whatever. So we found that within our professional life to kind of keep it there. And then, you know, once we go upstairs and we're with our kids, it's like, you know, we'll still talk about it and we'll still sing, but the kind of negotiations are over at that Kat Raio Rende: Yeah, JP Rende: point. Kat Raio Rende: and it allows us to like show instead of tell. Like instead of being like, I want it to sound like X, Y, Z, and then they have their own idea of what it could be because it could be anything. Like we're trust. People trust us now, thank God. It allows us to show each other instead of having to tell them about it, which we'll never say. If you're like, I wanna marry these two styles that are crazy, the other person will be like, that's terrible. But if we have the right idea, it will end up working out. And also, on a side note, we're very serious, at least I am very serious about like, when work ends, we try not to talk about work. because if you're spending nearly all your time with someone, because don't forget, we go out with our friends and we go on dates and a lot of our time is spent together. We were like, okay, nine o'clock, I'm gonna go. and I'm gonna be on my room, you're gonna be on your room, and we can, you know, you have to knock before entering the whole thing. It has to be very separate so that the two of us can feel like we're not, like we're coming home from work or going Brian Funk: Mm-hmm. Kat Raio Rende: to work because it's, you know, just a staircase down instead of having to even leave the house, which is a wild Brian Funk: Right. Kat Raio Rende: thing. Brian Funk: Yeah. And it's hard enough on your own even to divide that kind of labor, especially when you're not clocking in Kat Raio Rende: Yeah. Brian Funk: every JP Rende: Mmm. Brian Funk: day, or you have the kind of job where it follows you, where you can take the work home or, you know, you can think about your music all day long, all night long Kat Raio Rende: Yeah. Brian Funk: to have those lines are really important. JP Rende: Well, what I find that's pretty awesome about our job is that we have deadlines. And deadlines, I think, are really, really important. Before we did this, you know, Cat was doing the artist thing, and I was doing the songwriter producer thing, and just writing songs and hoping people would buy them or pick them up and sing them or whatever, but there was no deadline. Like, I could take months on a song if I wanted to. And I feel as though that having deadlines helps us get fully involved in the project and then finishing it and on to the next one. And I find that helps creativity, creatively, for me at least, kind of be all in it and then boom, it's like a conveyor belt. It's off and the next one comes. So good, bad, or ugly, that project is at least until we either get feedback or whatever, is off the plate and we can kind of start fresh. So it's kind of like, I guess, is it Tiger Woods? I don't know, somebody's saying like, you can't, don't worry about the last shot you did, worry about the one you're doing now. Kat Raio Rende: Mm. JP Rende: And that's how I take the music. Kat Raio Rende: Especially pitching, because there's so much pitching involved. Even, JP Rende: Oh yeah. Kat Raio Rende: you know, we know all our peers who are at the top of their game still have to pitch. JP Rende: Yeah, I hate pitching. Kat Raio Rende: It's a wild thing. JP Rende: It's the worst. Kat Raio Rende: Like after you write it, it's none of your business. And you have to just like, that one's done. JP Rende: Mm-hmm. Kat Raio Rende: No matter what it does. Brian Funk: Can you take us through the process of a project, a song? You know, you mentioned a pitch, a brief, then the deadline, of course. JP Rende: Sure. Brian Funk: What does that look like and what is the general timeframe? Or maybe it depends on the project. JP Rende: It really depends on the project, really. Like we also work on jingles, and sometimes that's 24 hours. So something will come in, and like the Charmin, for instance, hey, and you know, we're gonna do these toilet songs. And a Brian Funk: Thanks JP Rende: lot Brian Funk: for watching! JP Rende: of times when it comes to jingles, the lyrics are already written, so we just kind of gotta make something out of it. But let me give you a, like in the... television world is a brief will come in. Well, do you want a pitch? They're very similar. Do you want a pitch or let's say we have the job and we're just working on the brief? Brian Funk: Can you do both? Cause JP Rende: Sure. Brian Funk: that JP Rende: They're Brian Funk: sounds JP Rende: very, Brian Funk: pretty JP Rende: very similar, Brian Funk: interesting. JP Rende: whereas, Brian Funk: Yeah. JP Rende: well, I'll do a pitch first. So we'll get an email from a network that, let's say Disney, we were just, got one last week. And it'll say, okay, here's the premise of the show, we're looking for a theme song, it's gotta be within 30 seconds to a minute long, it has to incorporate the kind of premise, sometimes they'll say we want the name of the show within the song, sometimes they will say we don't want the name of the show in the song, then they will give us references. And this is where, Kat Raio Rende: Hmm JP Rende: you know, I really dislike pitching is because the references are so bizarre sometimes and they don't make any sense. And I understand where they're coming from because I think that, you know, in a perfect world, it would be like, oh my God, we're gonna have like, you know, a Dua Lipa beat with a ska, you know, horn section, and then what we're gonna do is like, you know that like, really cool filtered guitar that Third Eye Blind used on their second record? We wanna have that in there with like, lyrics like Lizzo. Now, it sounds awesome, but it's nearly impossible to do. Brian Funk: Right. JP Rende: And sometimes people... people hit it, you know, but. Kat Raio Rende: I am gonna interrupt and just say that like, and sometimes the references, as they are for anyone are subjective. So like what Brian Funk: Hmm. Kat Raio Rende: I, as the show runner, might like about a specific song, might be different than what you might like. And so they'll be like, we really like this song. And sometimes they'll describe why they like it in an effort to really pinpoint it down. But sometimes you have to like, you know, especially if it's a very popular song, sometimes you have to be like, oh, that just means they want high energy. Brian Funk: Hmm. Kat Raio Rende: or like, you know, shake it off has been JP Rende: Oh, Cat, Kat Raio Rende: the JP Rende: I Kat Raio Rende: thing, JP Rende: was just about Kat Raio Rende: right? JP Rende: to play a game Kat Raio Rende: Or like, JP Rende: with you. I was like, Kat Raio Rende: Iconopop, JP Rende: all right, the Kat Raio Rende: shake JP Rende: first Kat Raio Rende: it off, JP Rende: song Kat Raio Rende: happy. JP Rende: that everybody always asks, I was gonna go one, two, three, and we were both gonna say Kat Raio Rende: Shake JP Rende: Shake Kat Raio Rende: it off. JP Rende: It Off. They love Shake It Off. They love that boom. Boom. Brian Funk: Right. JP Rende: Love Kat Raio Rende: Or JP Rende: it. Kat Raio Rende: like, and other times, the references are so, not obscure per se, but like so indie or so dark, which generally like doesn't work for kids stuff. And then the end product is never as indie or dark. It's just that like sometimes, and this is no disrespect to the showrunner, they don't want it to be dark or indie. They want it to have the show to have substance. I mean the song to have substance of some sort and so maybe you know that's how you're interpreting the fact that they have this like, you know, very slow song with very things that are very like off Inappropriate for a kid's song sometimes like and we only know this because we do it so much that that's not necessarily what they want They want a little bit of like a deeper vibe. That's JP Rende: Yeah, Kat Raio Rende: that's usually about it JP Rende: I think interpreting briefs is an art form in itself. Brian Funk: Hmm. JP Rende: Because again, it's not, you know, the showrunners and the network, they're not trying to make our life difficult. They're trying to get the best piece of music that, you know, conveys their idea of the show. And it's our job to kind of say, yeah, I get what you're saying, but I don't think that's exactly what you mean. Like Kat's saying. And sometimes it is, and a lot of times, you gotta just take a shot, and you gotta say, well, I don't know if they're really feeling it. I don't know if what they're asking for works. And again, sometimes we're right, and we'll win, and be like, okay, we had an instinct on what I think works for the show, and sometimes we're clearly wrong, and that's okay. I mean, that's all part of it, and I think that's where. the creativity lies within this kind of work is that we do have the freedom to choose or not to choose, Kat Raio Rende: Mm. Brian Funk: Mm-hmm. JP Rende: where otherwise we're just, you know. Kat Raio Rende: gonna be killed by AI. JP Rende: We're just cranking product down a conveyor belt, like just building cars, we're not. So we're able to kind of put our spin in what we do within those briefs. And again, sometimes it works and sometimes it doesn't, and that's just part of it. Brian Funk: So yeah, a lot of decoding. That happens in bands too. That happens Kat Raio Rende: Definitely. Brian Funk: especially when you're talking with people that aren't musicians. They'll say very abstract things. JP Rende: Well, Kat Raio Rende: Oh. JP Rende: that's one of the most difficult things is when we're getting feedback from non-musical people and they will always say, listen, I don't know music at all. And so anytime they'd be like, I'm like, okay, here it comes. And then it's just like, yeah, you're right. You don't know music at all. And Kat Raio Rende: Oh JP Rende: that, you know, but, you know, it's always really great when you're working with. a network that has a point music person because they're able to filter all the awesome ideas that's coming from the non-musical people and say, okay, I get it. I get what you want and I'm going to speak to the composers the way that I can convey that. So that's awesome. Kat Raio Rende: Yeah, it's very different working from a new show in a big network than a, you know, even a big show that's going to network or that is being developed. We really like working with new shows too. Brian Funk: Right, because you can craft that identity a Kat Raio Rende: Oh Brian Funk: bit, Kat Raio Rende: yeah. Brian Funk: I guess. Kat Raio Rende: Yeah, there's JP Rende: Mm-hmm. Brian Funk: Rather Kat Raio Rende: a little Brian Funk: than Kat Raio Rende: bit Brian Funk: trying Kat Raio Rende: more Brian Funk: to Kat Raio Rende: interpreting, Brian Funk: fit into it. Kat Raio Rende: but Brian Funk: Yeah. Kat Raio Rende: it's worth it. Brian Funk: Right. JP Rende: Definitely. Brian Funk: So that's a pitch. And JP Rende: Yeah. Brian Funk: that would mean basically you don't have the job yet. JP Rende: Oh no, Brian Funk: So they're kind of fishing around. JP Rende: that's the worst part about it. Again, I don't wanna be negative, but it's really, it's hard because you're putting all your effort into it. And again, actors have the same thing when they go on Kat Raio Rende: Yeah. JP Rende: the audition. Brian Funk: Yeah. JP Rende: This is part of the job and nobody likes it, but you can get... a real kind of sense of pride when you're able to crack that code and be like, look, Kat Raio Rende: Hehehe JP Rende: we gave you this and you love it and it works and it works on, you know, for the whole tone of the music of the series. So we really love that. Kat Raio Rende: Yeah, and a lot of times, sorry, a lot of times, if you've already had something that you really like that you could maybe reuse from something else, then you also have an opportunity to kind of like, I don't know how it is for you, but generally, we do this for a living and we really enjoy what we do as a job, but sometimes we have these other musical ideas that are. that we wouldn't maybe play with on our own, you know, if we have something or like if we just have the time to do a pitch, sometimes we'll do something really crazy and really out there just because like it's just another way to like flesh out what some idea that you that you have and a lot of times that works that does work because sometimes if you're getting five songs or more you're just going to pick something that jumps out to you. JP Rende: Yeah. Kat Raio Rende: And so a lot of times that's what works. JP Rende: Yeah, and now the... Kat Raio Rende: Assignzons? JP Rende: Assigned songs, thank you very much. Very, very similar except the pressure is kind of off because you know you have the job, but you know that there's always gonna be notes, there's always gonna be feedback. And sometimes it's great, actually I found that a lot of times the notes that come back are like, spot on, we're like, yes, I get that. Yes, our chorus takes too long to come in or this lyric just isn't really fitting, beautiful. But I do like the fact that we know we're gonna get a second shot. And a lot of times in pitching you don't get a second shot. It's like, yes, no. You've Brian Funk: Mm-hmm. JP Rende: done all the work, put all your heart and soul into this song, and then it's just like, sometimes it works for them, sometimes it doesn't. It really has nothing to do with your ability. It has nothing to do with that your music isn't good. It just wasn't working for, or what they, it just wasn't what... they had in mind and that's fine. But when you're assigned a song, if you do deliver something that isn't exactly what they have in mind, you get other chances to kind of revise it and kind of, I guess it becomes another collaborative process then with the network. And I think that's always, I love collaborating. So I find that it's kind of fun to collaborate with people that don't necessarily do exactly what you do. Kat Raio Rende: Mm. JP Rende: especially with script writers, collaborating with them is so much fun. Like Kat said, showrunners, which most of the time are also script writers. So yeah, it's a lot of fun. Brian Funk: How much time do you generally have to Kat Raio Rende: Hehehe Brian Funk: work on a song? JP Rende: Um, okay. So pitches and assigned songs are roughly about a week. You get about a week Kat Raio Rende: depending JP Rende: to Kat Raio Rende: on JP Rende: do Kat Raio Rende: what JP Rende: it. Kat Raio Rende: kind JP Rende: Depend, Kat Raio Rende: of a song JP Rende: depending Kat Raio Rende: it is JP Rende: on sometimes, Kat Raio Rende: and how JP Rende: you Kat Raio Rende: big JP Rende: know, Kat Raio Rende: it JP Rende: we've, Kat Raio Rende: is. JP Rende: we've been known to be the, the team that gets called on the ninth hour where Kat Raio Rende: Thanks for watching. JP Rende: they've gone through so many different like rounds and they're like, okay, JP and Kat, sadly, you have two days. Can you Kat Raio Rende: Yeah. JP Rende: do it? And we're always like, yes, yes. And, and that kind of like. puts a little pep in our step, because we're like, all right, let's get down to business. But generally, for television, it's usually about a week, sometimes two. That's with songs. Now with underscore, because we also do a lot of that, how that goes is we will get a animatic. which is basically like a storyboard and it'll be a couple scenes. Sometimes it's a whole episode and that's nuts, but most likely it's a few scenes, so there'll be like a real action scene, a kind of sentimental scene, maybe a comedic scene, and they're not gonna spot you. You're just gonna go for what you think is best for that. Now that's a... also a very, very tough ask because usually when we're spotting, when we're working on a show, the director is spotting us. So what that means is music spotting for those who don't know, we will watch the show or movie together and they'll say, okay, at time code. whatever, I need something, I need a hit here. So he's gonna open a door and slam it, so within the music I need to hear that. And then what I want you to do right after that, there's gonna be something lurking around the corner in a few seconds, so I want you to start giving me something that's a little bit foreboding, you know. And that's Kat Raio Rende: Thanks for watching. JP Rende: beautiful because they're telling you what they want. But then where the art comes in is like foreboding can mean a lot of different things. And depending on the project that you're working on, especially if you're doing animation, it can't sound like, you know, the inception soundtrack. Kat Raio Rende: Hehehehe JP Rende: It can't be the most like wildly dark thing. I don't care if there's a monster coming out. The Brian Funk: Alright. JP Rende: monster is gonna look like a silly little nothing. You can't have like real, or sometimes you can, but in my experience, they'll say things like foreboding or peril, but you gotta kind of read the room, as they say, like it's for children, Brian Funk: Right? JP Rende: a lot of times. Kat Raio Rende: That's interesting about the underscoring is like you're giving, you're kind of giving children the, when it comes to doing for children, you're giving them the emotion that's not being said, especially if it's one that's a little bit like higher level than they know. Like a lot of times we'll write, we'll write, there have been episodes of like Tab Time on YouTube where she gets into serious, Tab Time has Tab at the Brown. and she gets into serious concepts like death and separation JP Rende: Yeah. Kat Raio Rende: and when, and Sesame Street too, and when you write underscore or music for them, you're empathizing with the feelings that they can't put into words yet just developmentally. And it's nice because if you can't say it because it's just something that they just don't get it. you're still giving them something musically that they can feel. And that really helps, I think. JP Rende: Definitely. Brian Funk: Right, guiding them through the feelings. JP Rende: Yeah, and it's really nice to, as our company grows earworm, to be able to wear the different hats. I mean, we love writing songs. Like we started as song people and I think we'll always be song people first. But as the years progressed and we started doing more underscoring and sound design and it's just, that's a fun, fun job Brian Funk: Hmm. JP Rende: because Kat Raio Rende: Mm. JP Rende: you, like, You are building the tone of the whole show. Kat Raio Rende: Yeah. JP Rende: And like one of our really good friends and collaborators, P.T. Walkley, who is the main music guy for Gabby's Dollhouse and also Blue's Clues and You, his sound is just so amazing. And you can always tell when it's a P.T. cue or song and he created that sound for that show. And whenever we're lucky enough to be involved, what we're doing is bringing our sensibilities, but knowing that it's PT's world. So we have to be in that world. So that's a big responsibility on both parties, whether you're additional composer, which is what we are for Gabby's, or main composer, because it's, again, it's your world that you're creating. And... That's the most fun part when you're working on a show from the ground up, is that you're really helping shape the sound of the show. Kat Raio Rende: Mm. Brian Funk: Right, right. Yeah, very delicate thing. There's a video on YouTube I show my sampling class. Mrs. Doubtfire recast as a horror film, JP Rende: Oh Brian Funk: recut JP Rende: my Brian Funk: as JP Rende: god, Brian Funk: a horror film JP Rende: I Brian Funk: as JP Rende: love Brian Funk: a trailer. JP Rende: it. Kat Raio Rende: Oh yeah! JP Rende: I love it. Brian Funk: It's JP Rende: I Brian Funk: hysterical JP Rende: love that. Brian Funk: because Mrs. Doubtfire, fun loving family film, you change the music a little bit and it gets stalker, creepy vibes, you know, and it real JP Rende: 100%. Brian Funk: fast becomes... Kat Raio Rende: That's JP Rende: 100%, Kat Raio Rende: like a perfect JP Rende: and I love that. Kat Raio Rende: example. JP Rende: I love that because, you know, now that we're in a new time, I don't know if Mrs. Doubtfire would play well in this. It is a bit creepy, you Kat Raio Rende: Totally JP Rende: know, Kat Raio Rende: creepy. JP Rende: like a dad dressing up like an old woman just to see his kids because his wife doesn't want him. Like, it could be a horror movie. Brian Funk: Yeah, it's delicate. JP Rende: Actually, I think it would be a fucking amazing horror movie. Kat Raio Rende: Hehehehe JP Rende: Heh heh heh. Brian Funk: Yeah, it doesn't take much to change that. So it's a great example of how important the vibe and tone is. Kat Raio Rende: Definitely. Brian Funk: And JP Rende: Definitely. Brian Funk: I can only imagine, especially working with films and TV shows for kids, that's so important. JP Rende: Mm-hmm. Yeah, I would say, you know... B. The, I guess, kids and family kind of space that we find ourselves in most of the time, not all the time, but most of the time, it kind of has a really wide spectrum of stuff, and I love it. I really do love it, because we can be as silly sometimes and as serious, just like Cat was saying with Tab Time. We did just do an episode on death. where there is a song that we didn't write, but we had to produce and then do the underscore. And it's a real heartfelt song about missing somebody and it's important. So it's like, just because it lands in the kids and family space, doesn't mean that there isn't a depth there as well. So I think it's a great space to be in. Kat Raio Rende: Yeah, I think the depth comes from honoring what you're talking about. And that goes with like, not only the concepts, but like. like if we're doing like a celebrity song, also honoring their own their own styles. Like I think people would I think when you have a celebrity on a show and you're writing something that's not really that their style of song, it's it just doesn't come off even to the kids as authentic because they're like I listen to you know Cardi B or I listen to the Jones Brothers and that's not their style. So like. like when we did a song for Cardi B on Baby Shark's big show called Seaweed Sway, like it was a big task to write for her, first of all, on the show at all, like her being who she is, and like her being like on a bash, like I'm gonna say what I want, I'm gonna do what I want, and having like the hair history of like WAP and all that, it's like that stuff, to put her in this space could be just like a big. a big flop because if you wrote something that was childish for her or in the wrong genre but we had to make sure and same thing with Billy Porter. We had to make sure that the production that we did that was not by her producers or Billy Porter's producers, the production that we did for her or him was their style of production and even embodying and trying to empathize with their own writing style or their own... Lyric style or their own melodies is a big deal like you have to be authentic for kids in every single way like even there was a we did like a we did like a Hanukkah song once and a lot of the song like we my stepfather's Jewish and We've celebrated Hanukkah number of times, especially when our kids were born But like a lot of times the Hanukkah songs are like, we are celebrating Hanukkah and we're gonna put a mammonora. And like everything is so like, like you're talking at kids instead of coming from like a place of empathy. And so we wrote this really fun song. What was the name of the song? JP Rende: uh... a fish devil of lights Kat Raio Rende: Okay, JP Rende: because Kat Raio Rende: the JP Rende: of Kat Raio Rende: title, JP Rende: the Brian Funk: Hehehe Kat Raio Rende: the title notwithstanding, the song had to be like a JP Rende: I Kat Raio Rende: hey. JP Rende: don't think we wrote, I actually think that when we were assigned that song, they wanted it to be called that. I don't think we came up with that Kat Raio Rende: Oh yeah, JP Rende: title. Kat Raio Rende: we did not. JP Rende: No. I don't Kat Raio Rende: We JP Rende: think Kat Raio Rende: did not. JP Rende: we wrote that song. Kat Raio Rende: But, um, but, um, the song was from like a, hey, we've all been celebrating this and you can learn from us, but we're gonna tell you what it's, you know, we're not gonna tell you as a person who doesn't know anything about it, because if you celebrate Hanukkah, like, you know all that stuff. And Brian Funk: Mm-hmm. Kat Raio Rende: you learn, a lot of times I think that at least our kids like learn more not by talking at them, but talking about it in conversation, like, oh, this is what we're doing. And they pick up better when they feel like you're talking about something in a connected way versus like talking at them. JP Rende: Yeah, and actually, just to jump in, do you remember how when we first started Friends with a Penguin? This is a cool story. So we did our normal, like, hey, Billy Porter, cool. And with Sesame Street, we don't write the lyrics, we just write the music. So we got these lyrics, and again, on face value, it's like, what the hell is this? You know, but then you start to read into them and then you read the scripts and you're like, oh, okay, I get it. And I remember I was like, I got this, Cat. So I went into the studio and I started writing something and it was good, but it was not Billy Porter's, like it was not his sound at all. And I was like, yeah, but he could sing this and it would sound good doing it. Cat's like, yeah, that's true, but like Billy Porter is like larger than life. Kat Raio Rende: Yeah. JP Rende: So then she was like, all right, now I got this. So then I was like, okay, you're the boss. She took it and started adding the strings and the real fun things, and then that kind of inspired me. And we kind of went, it was a real cool collaborative effort, but if Cat didn't stop me from, I think it sounded, I think it started to sound like an Andy Grammer song, which is fine, like, and. Definitely Billy Porter's such a wonderful singer. He could do it, but is that Billy Porter? Absolutely not. And then when the video and he was wearing that awesome gown, it was just so cool. And that was Kat telling me to like, whoa, steady boy. You got it. You. Brian Funk: I think it's awesome that you guys do that. It must be such a fun creative challenge as well. Kat Raio Rende: It's definitely better than other jobs we could have had. Huh. Brian Funk: Right. JP Rende: Yeah, I always joke that like when, you know, I might have, you know, I would have to learn how to make a really cool cup of coffee at Starbucks, you know, if anything happened with this, because, you know, we just love it so much and we've just devoted so much of our time and energy into it and don't want to do anything else. Brian Funk: It's fantastic. You guys have had so much success with it. Great. Follow your dreams story, you know? And JP Rende: Definitely, Brian Funk: it's JP Rende: definitely. Brian Funk: really... JP Rende: And again, we're always learning and we're always trying to get better. By no means do I think that we are finished products. I think that we are work in progress. And, you know, like right now, it's a slow time for us with the rider strike and the sag strike and networks kind of cutting back. So... what we're doing is we're utilizing this time to kind of hone in our craft and always stay relevant. And just, it's a great time to kind of check where you're at and kind of project where you wanna be. And that's kind of part of the reason that like my Emmy I gave to my parents, cause I don't wanna look at that every day and just Kat Raio Rende: Hehehe JP Rende: be like, see, look what I accomplished, you know? It was a great accomplishment and I'm very proud of that, but I'm also looking to the future on the other wonderful projects that we will be involved in. Kat Raio Rende: And we are involved with. We have a number of projects. I don't know, can we talk about the, no, thank you. I was like, JP Rende: No, no, unfortunately we can't because, Kat Raio Rende: I just get to like, how do JP Rende: yeah. Kat Raio Rende: I do this? JP Rende: I mean, yeah, I'll tell, I can tell you, Brian, just don't put this in. We're gonna do the Baby Shark live show. We're gonna, we were hired to do the music for a live stage performance, but I don't know Brian Funk: Oh JP Rende: if Brian Funk: cool. JP Rende: it's been, I don't know if it's been announced or anything, so yeah. Kat Raio Rende: I was talking about the other JP Rende: What Kat Raio Rende: project. JP Rende: Barbie? Kat Raio Rende: No, 80. JP Rende: Oh, you know what? Actually, I wanna come back on your show, dude. Kat Raio Rende: haha JP Rende: I think this is Brian Funk: Yeah. JP Rende: awesome. We will talk about some of these other projects as well as they come out. This one is one that we're developing on our own. But no, it's not ready to be discussed yet. Brian Funk: Okay. Well, cool. We'll do a little wrap up then and then I'll trim this to fit nice. You guys have such a cool partnership both musically and as far as life goes. Earwormny.com is the website. Is there anywhere else you'd like to send people to check out your work? JP Rende: I believe my Insta is, my Instagram is also EarwormNY. Brian Funk: Mm-hmm. JP Rende: Is that correct, Kat? All Kat Raio Rende: Yep, AeroWorm JP Rende: right, Kat Raio Rende: NY. JP Rende: cool. EarwormNY. Brian Funk: Nice. JP Rende: I did have a TikTok for a minute Brian Funk: Thank you. JP Rende: and I was doing not music. I thought that I was gonna be the new Dave Portnoy of Serial, because Kat Raio Rende: I'm JP Rende: I love Serial. So Kat Raio Rende: sorry. JP Rende: I called myself the Serial Slayer. I think I stopped, I did a few things. So like, I would buy these like, junk cereals and I would be like, wow, cereal, and I would taste them and I would review them. But I haven't done that in a long time. And Kat Raio Rende: No, but you're very serious about cereal. JP Rende: I'm very serious about cereal. I love cereal. But I remember Kat, you know, this is part of our personal life. She's like, you know, maybe you should, you know, lay off on doing those reviews, you know? Kat Raio Rende: Okay, JP Rende: And I'm like. Kat Raio Rende: wait, no, my thing about it was not that part. It was the fact that we were opening a full box of cereal every, like every day, and it was always like junk cereal, but also like that we were wasting like the milk in the cereal because you can't eat that much cereal. JP Rende: Oh yeah, that was the whole stick. It was like, how Kat Raio Rende: Do you know JP Rende: fun Kat Raio Rende: how big his bowl was? JP Rende: would, it wouldn't be fun to just pour regular, so I would, I took a salad bowl, poured the entire box in, Kat Raio Rende: I'm gonna JP Rende: took Kat Raio Rende: go. JP Rende: all the milk, because Brian Funk: Right. JP Rende: it was the visual, like, you know, but Brian Funk: Yeah. JP Rende: yeah, turns out that having a successful YouTube channel or TikTok account or any sort of food review, it's very difficult. It's not as easy as it looks, as obviously you know with your show. Brian Funk: Well, maybe it's like a song title you can bank for later. Serious about cereal. JP Rende: Serious About Cereal, Brian Funk: All JP Rende: I Brian Funk: right, JP Rende: love Brian Funk: come JP Rende: that. Brian Funk: up. JP Rende: That's actually really good. That would Brian Funk: Yeah. JP Rende: be like a really fun, like just kids song. Cause like we write a lot of songs around the house with our kids all the time. Kat Raio Rende: Yeah. Brian Funk: Yeah. JP Rende: And I don't even want to call it writing because it's just stream of consciousness and it's just so much fun. And sometimes, actually we were going upstate this weekend, just Kat and I, and we were talking about that. I would really love to be part of a project where we could just come up with stream of consciousness songs and not have to worry about like production value or anything, it could just be like, just silly, silly stuff that just, you know, kind of makes you giggle. Like, I don't know who wrote, there was a show on Nickelodeon many years ago called Sanjay and Craig. I've never really Brian Funk: Yeah. JP Rende: watched the show, but I remember hearing the theme song and it was just like, Sanjay and Craig. They're in the best friends hall of fame. Sanjay, hey Craig. There is no best friends hall of fame. They lied, we made it up or something. Kat Raio Rende: I'm gonna go. JP Rende: And it was just the Brian Funk: Thanks for watching. JP Rende: most absurd thing. And again, the song itself is very catchy. I'm still singing it, but I don't remember it having to like, it wasn't like super slick production. It was just funny. So like Brian Funk: Right. JP Rende: out there, anybody wants really silly songs that just have. stream of consciousness, things, we are your people. Brian Funk: I love it. Kat Raio Rende: Sounds like a TikTok channel, Jade. Just saying. JP Rende: No, can't do it, can't do it. Brian Funk: Too much cereal in a bowl. JP Rende: too much cereal in a bowl. Brian Funk: You gotta make your choices. But hey, I know we're running late here, so we'll wrap it up. It was really awesome talking to you guys. JP Rendy and KatReyo Rendy. Check out EarwormNY.com. So much fun music on there. And congratulations on the Emmy. JP Rende: Thank you. Brian Funk: And I wish you all the best of luck, and hopefully we'll get to chat again soon. JP Rende: Definitely. Kat Raio Rende: Yeah. JP Rende: And next time, if you're ever playing live, we'd love to come and see you. Kat Raio Rende: Yeah. Brian Funk: Yeah, same. Yeah, we're not too far apart. So that'd Kat Raio Rende: Thanks. Brian Funk: be cool. Kat Raio Rende: Where are you? Brian Funk: Long Island. Kat Raio Rende: Wow, that's not Brian Funk: Yeah, Kat Raio Rende: far at all. Cool. Brian Funk: no, not at all. Cool. JP Rende: Awesome. Brian Funk: Thank you guys and thank you, JP Rende: Thanks man. Brian Funk: everyone, for listening. JP Rende: Be good. Kat Raio Rende: Thank you.

Throughout its reign, the British Empire stole a lot of stuff. Today the Empire's loot sits in museums, galleries, private collections and burial sites with polite plaques. But its history is often messier than the plaques suggest. In each episode of this global smash hit podcast, Walkley award-winning journalist, author and genetic potluck, Marc Fennell, takes you on the wild, evocative, sometimes funny, often tragic adventure of how these stolen treasures got to where they live today. These objects will ultimately help us see the modern world - and ourselves - in a different light. This is a co-production between the ABC and CBC Canada. More episodes are available at: https://link.chtbl.com/aqZlF7l1

The Sounding Board is proudly supported by Drinkwise - if you're choosing to drink, choose to drinkwise. Our McCafe Interview Series is supported by McCafe. Win free McCafé coffee for a year on the MyMacca's app. 25 winners everyday. Ends 29th August 2023. Our guest on the podcast today is Nick McKenzie. Nick is one of the nation's most decorated investigative journalists, having been named Australian Journalist of the Year on four separate occasions. Over two decades, he has worked for the Australian Broadcasting Corporation's Four Corners program, Nine's 60 Minutes and The Sydney Morning Herald and The Age newspapers. His reporting spans politics, defence, foreign affairs, the criminal justice system, corporate crime and social affairs. He has been awarded the Walkley, Australia's highest journalism award, a record fourteen times. Nick's new book Crossing the Line is available now - you'll find more info HERE Thanks also to Pearlier T-shirts for supporting the show. Head to getpearler.com.au for more details. Send us an email anytime to thesoundingboard@sen.com.au. The Sounding Board is produced, engineered and edited by Jane Nield for SEN. Learn more about your ad choices. Visit megaphone.fm/adchoices

Told through the eyes of witnesses to the fall of Kabul, Walkley award-winning journalist Andrew Quilty's debut publication offers a remarkable record of this historic moment. August in Kabul: America's Last Days in Afghanistan (Bloomsbury, 2023) is the story of how America's longest mission came to an abrupt and humiliating end, told through the eyes of Afghans whose lives have been turned upside down: a young woman who harbors dreams of a university education; a presidential staffer who works desperately to hold things together as the government collapses around him; a prisoner in the notorious Bagram Prison who suddenly finds himself free when prison guards abandon their post. Andrew Quilty was one of a handful of Western journalists who stayed in Kabul as the city fell. This is his first-hand account of those dramatic final days. Andrew Quilty's photography career began in Sydney, in the year 2000, on the day his application to a university photo elective was rejected. He quit, and set off around Australia with a surfboard and a Nikon F3 that his uncle—also a photographer—had passed down. His work in Afghanistan has been published worldwide and garnered accolades including, in 2019, a World Press Photo, a Picture of the Year International award of excellence in the category of Photographer of the Year (POYI), and prior to that, a George Polk Award, three POYI awards, a Sony World Photography award and six Walkley Awards, including the Gold Walkley, the highest honor in Australian journalism. In 2016, a selection of his work from Afghanistan was exhibited at the Visa pour L'Image Festival of Photojournalism in Perpignan, France. He has travelled to two thirds of Afghanistan's 34 provinces and continues to document the country through pictures and, increasingly, the written word. Connor Christensen is a graduate student at the University of Chicago, pursuing both an MPP at the Harris School of Public Policy and an MA at the Center for Middle Eastern Studies. His work focuses on the reintegration process of veterans of the military and non-state armed groups in contexts spanning the US, Colombia, Afghanistan, Sierra Leone, and beyond. He is a staff writer for the Chicago Policy Review, director of projects and programs at Corioli Institute, and a contributing researcher at Trust After Betrayal. He welcomes collaboration, so feel free to reach out on LinkedIn or at his email, ctchristensen@uchicago.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Told through the eyes of witnesses to the fall of Kabul, Walkley award-winning journalist Andrew Quilty's debut publication offers a remarkable record of this historic moment. August in Kabul: America's Last Days in Afghanistan (Bloomsbury, 2023) is the story of how America's longest mission came to an abrupt and humiliating end, told through the eyes of Afghans whose lives have been turned upside down: a young woman who harbors dreams of a university education; a presidential staffer who works desperately to hold things together as the government collapses around him; a prisoner in the notorious Bagram Prison who suddenly finds himself free when prison guards abandon their post. Andrew Quilty was one of a handful of Western journalists who stayed in Kabul as the city fell. This is his first-hand account of those dramatic final days. Andrew Quilty's photography career began in Sydney, in the year 2000, on the day his application to a university photo elective was rejected. He quit, and set off around Australia with a surfboard and a Nikon F3 that his uncle—also a photographer—had passed down. His work in Afghanistan has been published worldwide and garnered accolades including, in 2019, a World Press Photo, a Picture of the Year International award of excellence in the category of Photographer of the Year (POYI), and prior to that, a George Polk Award, three POYI awards, a Sony World Photography award and six Walkley Awards, including the Gold Walkley, the highest honor in Australian journalism. In 2016, a selection of his work from Afghanistan was exhibited at the Visa pour L'Image Festival of Photojournalism in Perpignan, France. He has travelled to two thirds of Afghanistan's 34 provinces and continues to document the country through pictures and, increasingly, the written word. Connor Christensen is a graduate student at the University of Chicago, pursuing both an MPP at the Harris School of Public Policy and an MA at the Center for Middle Eastern Studies. His work focuses on the reintegration process of veterans of the military and non-state armed groups in contexts spanning the US, Colombia, Afghanistan, Sierra Leone, and beyond. He is a staff writer for the Chicago Policy Review, director of projects and programs at Corioli Institute, and a contributing researcher at Trust After Betrayal. He welcomes collaboration, so feel free to reach out on LinkedIn or at his email, ctchristensen@uchicago.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/military-history

Told through the eyes of witnesses to the fall of Kabul, Walkley award-winning journalist Andrew Quilty's debut publication offers a remarkable record of this historic moment. August in Kabul: America's Last Days in Afghanistan (Bloomsbury, 2023) is the story of how America's longest mission came to an abrupt and humiliating end, told through the eyes of Afghans whose lives have been turned upside down: a young woman who harbors dreams of a university education; a presidential staffer who works desperately to hold things together as the government collapses around him; a prisoner in the notorious Bagram Prison who suddenly finds himself free when prison guards abandon their post. Andrew Quilty was one of a handful of Western journalists who stayed in Kabul as the city fell. This is his first-hand account of those dramatic final days. Andrew Quilty's photography career began in Sydney, in the year 2000, on the day his application to a university photo elective was rejected. He quit, and set off around Australia with a surfboard and a Nikon F3 that his uncle—also a photographer—had passed down. His work in Afghanistan has been published worldwide and garnered accolades including, in 2019, a World Press Photo, a Picture of the Year International award of excellence in the category of Photographer of the Year (POYI), and prior to that, a George Polk Award, three POYI awards, a Sony World Photography award and six Walkley Awards, including the Gold Walkley, the highest honor in Australian journalism. In 2016, a selection of his work from Afghanistan was exhibited at the Visa pour L'Image Festival of Photojournalism in Perpignan, France. He has travelled to two thirds of Afghanistan's 34 provinces and continues to document the country through pictures and, increasingly, the written word. Connor Christensen is a graduate student at the University of Chicago, pursuing both an MPP at the Harris School of Public Policy and an MA at the Center for Middle Eastern Studies. His work focuses on the reintegration process of veterans of the military and non-state armed groups in contexts spanning the US, Colombia, Afghanistan, Sierra Leone, and beyond. He is a staff writer for the Chicago Policy Review, director of projects and programs at Corioli Institute, and a contributing researcher at Trust After Betrayal. He welcomes collaboration, so feel free to reach out on LinkedIn or at his email, ctchristensen@uchicago.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/middle-eastern-studies

Told through the eyes of witnesses to the fall of Kabul, Walkley award-winning journalist Andrew Quilty's debut publication offers a remarkable record of this historic moment. August in Kabul: America's Last Days in Afghanistan (Bloomsbury, 2023) is the story of how America's longest mission came to an abrupt and humiliating end, told through the eyes of Afghans whose lives have been turned upside down: a young woman who harbors dreams of a university education; a presidential staffer who works desperately to hold things together as the government collapses around him; a prisoner in the notorious Bagram Prison who suddenly finds himself free when prison guards abandon their post. Andrew Quilty was one of a handful of Western journalists who stayed in Kabul as the city fell. This is his first-hand account of those dramatic final days. Andrew Quilty's photography career began in Sydney, in the year 2000, on the day his application to a university photo elective was rejected. He quit, and set off around Australia with a surfboard and a Nikon F3 that his uncle—also a photographer—had passed down. His work in Afghanistan has been published worldwide and garnered accolades including, in 2019, a World Press Photo, a Picture of the Year International award of excellence in the category of Photographer of the Year (POYI), and prior to that, a George Polk Award, three POYI awards, a Sony World Photography award and six Walkley Awards, including the Gold Walkley, the highest honor in Australian journalism. In 2016, a selection of his work from Afghanistan was exhibited at the Visa pour L'Image Festival of Photojournalism in Perpignan, France. He has travelled to two thirds of Afghanistan's 34 provinces and continues to document the country through pictures and, increasingly, the written word. Connor Christensen is a graduate student at the University of Chicago, pursuing both an MPP at the Harris School of Public Policy and an MA at the Center for Middle Eastern Studies. His work focuses on the reintegration process of veterans of the military and non-state armed groups in contexts spanning the US, Colombia, Afghanistan, Sierra Leone, and beyond. He is a staff writer for the Chicago Policy Review, director of projects and programs at Corioli Institute, and a contributing researcher at Trust After Betrayal. He welcomes collaboration, so feel free to reach out on LinkedIn or at his email, ctchristensen@uchicago.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

Told through the eyes of witnesses to the fall of Kabul, Walkley award-winning journalist Andrew Quilty's debut publication offers a remarkable record of this historic moment. August in Kabul: America's Last Days in Afghanistan (Bloomsbury, 2023) is the story of how America's longest mission came to an abrupt and humiliating end, told through the eyes of Afghans whose lives have been turned upside down: a young woman who harbors dreams of a university education; a presidential staffer who works desperately to hold things together as the government collapses around him; a prisoner in the notorious Bagram Prison who suddenly finds himself free when prison guards abandon their post. Andrew Quilty was one of a handful of Western journalists who stayed in Kabul as the city fell. This is his first-hand account of those dramatic final days. Andrew Quilty's photography career began in Sydney, in the year 2000, on the day his application to a university photo elective was rejected. He quit, and set off around Australia with a surfboard and a Nikon F3 that his uncle—also a photographer—had passed down. His work in Afghanistan has been published worldwide and garnered accolades including, in 2019, a World Press Photo, a Picture of the Year International award of excellence in the category of Photographer of the Year (POYI), and prior to that, a George Polk Award, three POYI awards, a Sony World Photography award and six Walkley Awards, including the Gold Walkley, the highest honor in Australian journalism. In 2016, a selection of his work from Afghanistan was exhibited at the Visa pour L'Image Festival of Photojournalism in Perpignan, France. He has travelled to two thirds of Afghanistan's 34 provinces and continues to document the country through pictures and, increasingly, the written word. Connor Christensen is a graduate student at the University of Chicago, pursuing both an MPP at the Harris School of Public Policy and an MA at the Center for Middle Eastern Studies. His work focuses on the reintegration process of veterans of the military and non-state armed groups in contexts spanning the US, Colombia, Afghanistan, Sierra Leone, and beyond. He is a staff writer for the Chicago Policy Review, director of projects and programs at Corioli Institute, and a contributing researcher at Trust After Betrayal. He welcomes collaboration, so feel free to reach out on LinkedIn or at his email, ctchristensen@uchicago.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/national-security

On today's episode, we speak with Nick McKenzie, an investigative journalist with The Age and The Sydney Morning Herald about his work with Chris Masters uncovering shocking alleged war crimes by former SAS soldier Ben Roberts-Smith – and the defamation case that followed. McKenzie, the winner of 14 Walkley awards, joins us to talk about criminals, victims and public-interest journalism as well as his new book Crossing The Line: The Explosive Inside Story Behind The Headlines, out June 28. Hosting this conversation is The Age senior writer and former investigations editor Michael Bachelard.Subscribe to The Age & SMH: https://subscribe.smh.com.au/See omnystudio.com/listener for privacy information.

On today's episode, we speak with Nick McKenzie, an investigative journalist with The Age and The Sydney Morning Herald about his work with Chris Masters uncovering shocking alleged war crimes by former SAS soldier Ben Roberts-Smith – and the defamation case that followed. McKenzie, the winner of 14 Walkley awards, joins us to talk about criminals, victims and public-interest journalism as well as his new book Crossing The Line: The Explosive Inside Story Behind The Headlines, out June 28. Hosting this conversation is The Age senior writer and former investigations editor Michael Bachelard.Subscribe to The Age & SMH: https://subscribe.smh.com.au/See omnystudio.com/listener for privacy information.

On today's episode, we speak with Nick McKenzie, an investigative journalist with The Age and The Sydney Morning Herald about his work with Chris Masters uncovering shocking alleged war crimes by former SAS soldier Ben Roberts-Smith – and the defamation case that followed. McKenzie, the winner of 14 Walkley awards, joins us to talk about criminals, victims and public-interest journalism as well as his new book Crossing The Line: The Explosive Inside Story Behind The Headlines, out June 28. Hosting this conversation is The Age senior writer and former investigations editor Michael Bachelard.See omnystudio.com/listener for privacy information.

Throughout its reign, the British Empire stole a lot of stuff. Today the Empire's loot sits in museums, galleries, private collections and burial sites with polite plaques. But its history is often messier than the plaques suggest. In each episode of this global smash hit podcast, Walkley award-winning journalist, author and genetic potluck, Marc Fennell, takes you on the wild, evocative, sometimes funny, often tragic adventure of how these stolen treasures got to where they live today. These objects will ultimately help us see the modern world — and ourselves — in a different light. This is a co-production of the ABC and CBC Podcasts.

Throughout its reign, the British Empire stole a lot of stuff. Today the Empire's loot sits in museums, galleries, private collections and burial sites with polite plaques. But its history is often messier than the plaques suggest. In each episode of this global smash hit podcast, Walkley award-winning journalist, author and genetic potluck, Marc Fennell, takes you on the wild, evocative, sometimes funny, often tragic adventure of how these stolen treasures got to where they live today. These objects will ultimately help us see the modern world — and ourselves — in a different light. This is a co-production of the ABC and CBC Podcasts.

In 2018, Walkley award-winning journalist, TV presenter and social commentator Jan Fran came round my place for a cup of tea. Tickets for the upcoming NTNNNNN live show in Newcastle (the last show we're doing for a while!) are here.Stay up to date on more upcoming shows by joining the mailing list here: Osher Günsberg - Better Than Yesterday Podcast | LinktreeAnything else? Come visit us on discord. Join the oshergünsberg Discord Server! Hosted on Acast. See acast.com/privacy for more information.

GUEST OVERVIEW: Michael West spent two decades working as a journalist, stockbroker, editor and finance commentator before striking out on his own in July 2016. After eight years as a commentator with The Australian and another eight years with the Sydney Morning Herald as a journalist and editor, Michael founded Michael West Media to focus on journalism of high public interest. particularly the rising power of corporations over democracy. West is a Walkley-award winner and Adjunct Professor at the University of Sydney's School of Social and Political Sciences.

Stan Grant is a proud Wiradjuri man and has written and spoken on indigenous issues for decades, he is a winner of a Peabody, Walkley and a DuPont for his excellence in journalism….and given the national conversation at the moment, and also overseas around the coronation of King Charles, it's the perfect time for a good chat with Stan. Stan's new book is called The Queen Is Dead and it's out this week digitally or in paperback wherever you get your books….See omnystudio.com/listener for privacy information.

A bonus episode with Walkley winning journalist Andrew Rule recorded when we chatted about his eulogy for his father (episode 44)  This episode is about Andrew's eulogy for Les Carlyon, a fellow legend of Australian journalism and writing. The speech was delivered on March 12th 2019 at Flemington racecourse, the home of Australian racing and the location for some of Carlyon's most beautiful writing. As Andrew says in the speech, he was the poet laureate of the turf.  Andrew Rule has a 'Life and Crimes' podcast and I was a guest talking footy rogues, 'Black sheep in footy boots'.  I read out a list of thank yous in this episode to people who have been 'super subscribers',(Beyond the $5 per month) either as 'founding members' at the newsletter or 'Standing Ovation' donors on Patreon  I'm also very grateful to every person who has helped me over these last two years to provide an income stream for this project.  Thanks also to those who are donors just through Paypal This episode is sponsored by DocPlay. Sign up here for 45 days free on the world's best documentary streaming site, then if you choose to continue, $7.99/m.  Tony's personal writing blog is Good one, Wilson! See omnystudio.com/listener for privacy information.

Tim Elliott is a senior writer at Good Weekend, the Saturday magazine for The Sydney Morning Herald and The Age, where he has won two Kennedy Awards and been nominated for a Walkley. His work has also appeared in London's The Financial Times, The Sunday Times, and The Australian. He has won multiple awards, including Best Feature at the Australian Magazine Awards and from the Australian Society of Magazine Editors. A 2014 Good Weekend story by Tim about his father's suicide generated one of the largest reader responses in the history of The Sydney Morning Herald and led to his book, Farewell to the Father, in 2016. His first book, The Bolivian Times, is an account of six months he spent working on an English-language newspaper in South America. His latest project is a nine-part true crime podcast called Inside the Tribe, about a Christian fundamentalist sect called the Twelve Tribes. Tim shares his insights from having completed a comprehensive investigation into the worldwide Christian fundamentalist group the Twelve Tribes. He relays to Rachel the inherent dangers in this sect's patriarchal teachings toward women, their fraudulent financial practices, and their horrific neglect and abuse of young children. Before You Go: Rachel explains the long-term damage that can be caused to those raised in high-control groups that discourage development of the self or any forms of individualism. If you have any tips or comments in regard to Tim's podcast or the group it covers feel free to email him at: insidethetribepod@gmail.com Follow Tim on social media: Twitter: @TimElliottSMH Instagram: @timelliottsmh Facebook: https://www.facebook.com/tim.elliott.927 Listen to Inside The Tribe here: https://podcasts.apple.com/au/podcast/inside-the-tribe/id1533629268 All of Rachel's video lectures are available for purchase here: rachelbernsteintherapy.com/webinar.html To help support the show monthly and get bonus episodes, shirts, and tote bags, please visit: www.patreon.com/indoctrination Prefer to support the IndoctriNation show with a one-time donation? Use this link: www.paypal.me/indoctrination Connect with us on Social Media: Twitter: twitter.com/_indoctrination Facebook: www.facebook.com/indoctrinationpodcast Tik Tok: www.tiktok.com/@indoctrinationpodcast Instagram: www.instagram.com/indoctrinationpodcast/ YouTube: www.youtube.com/rachelbernsteinlmft You can always help the show for free by leaving a rating on Spotify or a review on Apple/ iTunes. It really helps the visibility of the show!

Dr Waleed Aly has held a prime position behind The Project desk for nearly a decade, cementing himself as a household name in mainstream Australian television and winning a Walkley and a Gold Logie to boot.  Despite being a public figure, Waleed very rarely gives interviews, so the opportunity to hear some of his remarkable insight was one we couldn't pass up. On this episode of Something To Talk About, Waleed talks about some of his most controversial moments over the years and his future on the Project desk.  Tune into The Project six days a week, airing Sunday to Friday at 6.30pm on 10 and 10 Play.See omnystudio.com/listener for privacy information.

A titan of Australian reporting, Nance Haxton joins Clancy and Errol on The Betoota Advocate Podcast this week. Talking about her wild career chasing stories all around the country. From her Walkley award winning coverage of Woomera Detention Centre, to her historical reporting about the Queensland blackbirding trade. Haxton is now focusing her attention on ‘Water' - rivers, lakes and creeks. What do they mean to who? Who owns them? And who is exploiting them.See omnystudio.com/listener for privacy information.

Today in the Confessional, host Sandy Lowres chats with inspiring journalist and author, Jenny Valentish about writing, addictive behaviours and pushing yourself to your limits. Starting her Journalism career in London, her career in Australia began when she edited national music magazine Jmag (for the radio station Triple J) before taking the helm of Time Out Melbourne, sister mag to Time Out London. Now a freelance writer for publications including The Sydney Morning Herald, The Age, The Guardian, the ABC, The Saturday Paper and The Monthly, Jenny also teaches courses on memoir writing. Jenny is the author of Walkley-nominated research-memoir,Woman of Substances, which investigates the female experience of drugs and alcohol. It was published in the UK and US by Head of Zeus in 2018. Woman of Substances is considered to be a valuable resource by drug and alcohol professionals. After its publication Jenny was appointed as a board director of SMART Recovery Australia, a consultant for the University of NSW's National Drug and Alcohol Research Centre (NDARC), and an ambassador for BrainPark, a project of Monash University's Brain and Mental Health Laboratory.Her fourth book, Everything Harder Than Everyone Else: Why Some of Us Push Our Bodies to Extremes, was published in 2021. It's become a global hit with podcasts devoted to endurance and sport, and the audiobook version has excerpts from my interviews with the people profiled in each chapter.If that's not impressive enough, Jenny has also been an amateur Muay Thai fighter and has now started body building! You can follow Jenny Valentish, read her articles buy her books here:http://www.jennyvalentish.com/https://www.instagram.com/jennyvalentish_publichttps://www.facebook.com/jennyvalentishauthorandjournalist

One of the toughest things to do in the midst of running a youth outreach program is to change course - especially when it means re-training everyone involved. Despite the intense level of difficulty, however, Philip Walkley and Ally Velderman of Service Over Self in Memphis, TN knew they needed to make a change. They weren't equipped to walk with the kids they were working with through life. Hear how they made the jump to a trauma informed approach, the transformation that happened and the changes on staff on today's episode! Also don't forget to check out our friends Ryan & Rose! The team at Ryan & Rose have been big supporters of our work at Empowered to Connect for years. They make beautiful products for everyone in the family including pacifiers, pacifier clips, bottle holders, bags, journals and so much more and they've got an exclusive discount JUST FOR LISTENERS OF THE SHOW! Use code 'ETC20' at checkout to save 20% off your entire order with Ryan & Rose and help support an amazing company making a huge difference in the world! To learn more about ETC, check out empoweredtoconnect.org and follow us on Facebook, Instagram and YouTube!

One of the toughest things to do in the midst of running a youth outreach program is to change course - especially when it means re-training everyone involved. Despite the intense level of difficulty, however, Philip Walkley and Ally Velderman of Service Over Self in Memphis, TN knew they needed to make a change. They weren't equipped to walk with the kids they were working with through life. Hear how they made the jump to a trauma informed approach, the transformation that happened and the changes on staff on today's episode! Also don't forget to check out our friends Ryan & Rose! The team at Ryan & Rose have been big supporters of our work at Empowered to Connect for years. They make beautiful products for everyone in the family including pacifiers, pacifier clips, bottle holders, bags, journals and so much more and they've got an exclusive discount JUST FOR LISTENERS OF THE SHOW! Use code 'ETC20' at checkout to save 20% off your entire order with Ryan & Rose and help support an amazing company making a huge difference in the world! To learn more about ETC, check out empoweredtoconnect.org and follow us on Facebook, Instagram and YouTube!

Have you ever wandered around a museum and thought “How on Earth did all of this stuff get here?” You're not alone. Throughout its reign, the British Empire stole a lot of stuff. Today those objects are housed in genteel institutions across the UK and the world. They usually come with polite plaques. This podcast tells the stories about the not-so-polite history behind those looted objects. In Season Two, Walkley award-winning host Marc Fennell will take you to a temple, a tree, a lab, a paradise island, a crime scene and a stage. You'll uncover abductions, scandals and a murder investigation. Episode One out October 20. Season two of Stuff the British Stole is co-produced with CBC Podcasts.