Podcasts about Wedgwood

A guerra que ninguém ganhou e ninguém perdeu. Todo mundo ganhou e perdeu. Separe trinta minutos do seu dia e aprenda com o professor Vítor Soares (@profvitorsoares) sobre o que foi a Guerra dos Trinta Anos.-Se você quiser ter acesso a episódios exclusivos e quiser ajudar o História em Meia Hora a continuar de pé, clique no link: www.apoia.se/historiaemmeiahoraConheça o meu canal no YouTube, e assista o História em Dez Minutos!https://www.youtube.com/@profvitorsoaresOuça "Reinaldo Jaqueline", meu podcast de humor sobre cinema e TV:https://open.spotify.com/show/2MsTGRXkgN5k0gBBRDV4okCompre o livro "História em Meia Hora - Grandes Civilizações"!https://a.co/d/47ogz6QCompre meu primeiro livro-jogo de história do Brasil "O Porão":https://amzn.to/4a4HCO8Compre nossas camisas, moletons e muito mais coisas com temática História na Lolja!www.lolja.com.br/creators/historia-em-meia-hora/PIX e contato: historiaemmeiahora@gmail.comApresentação: Prof. Vítor Soares.Roteiro: Prof. Vítor Soares e Prof. Victor Alexandre (@profvictoralexandre)REFERÊNCIAS USADAS:- CROXTON, Derek. Westphalia: The Last Christian Peace. Palgrave Macmillan, 2013.- GRIMMELSHAUSEN, Hans Jakob Christoffel von. Simplicius Simplicissimus. 1668.- GROTIUS, Hugo. De Jure Belli ac Pacis (Sobre o Direito da Guerra e da Paz). Paris, 1625.- HAUSER, Arnold. A História Social da Arte e da Literatura. São Paulo: Martins Fontes, 2003.- PARKER, Geoffrey. The Thirty Years' War. London: Routledge, 1984.- TESCHKE, Benno. The Myth of 1648: Class, Geopolitics and the Making of Modern International Relations. London: Verso, 2003.- WEDGWOOD, C. V. The Thirty Years War. New York: New York Review Books, 1938.- WILSON, Peter H. Europe's Tragedy: A History of the Thirty Years War. London: Penguin Books, 2009.

Send us a textWhat does it mean to truly belong? Why does it matter so much? In this episode, Pastor Steve Carigon returns to explore the deep connection between love and belonging, especially for kids who have experienced trauma. Learn how creating spaces of acceptance and hospitality can transform lives, and why feeling seen, safe, and supported is essential at any age of life. Whether you're a caregiver, parent, or simply someone who wants to love others better, this conversation will inspire you to help others feel like they truly belong.View the artwork Steve referenced in this episode: Artwork photosFor more information on the podcast, please visit: https://www.wedgwood.org/podcast/For mental health resources, please vist: https://www.wedgwood.org/self-careTo learn more about Wedgwood, please visit: https://www.wedgwood.org/For podcast and/or Wedgwood merch, please visit: https://wcb.myprostores.com/Support the showDon't forget to subscribe to stay up-to-date on the latest episodes!

Wedgwood from Advisory Works about the habits and strategies that help construction leaders thrive. Logan shares how structured routines, family time, and tools help build mental wealth, and why discipline matters more than motivation.He also breaks down what strong business health and effective sales look like in today's climate: being coachable, calling issues out clearly, and treating sales as a process of helping, not hoping. If you're in construction and want practical ways to grow yourself and your business, this one's for you. Useful links:Advisory.WorksAdvisory Works Self-Assessment TooAdvisory Works resourcesBeyond Strategy AI – Strategy Execution Platform - https://www.beyondstrategy.aiConnect with Logan Wedgwood on LinkedIn or info@advisory.worksWhere else you can find usWebsite: https://www.masterbuilder.org.nz/Elevate Platform: http://elevate.masterbuilder.org.nzInstagram: https://www.instagram.com/masterbuildernz/Facebook: https://www.facebook.com/registeredmasterbuildersYouTube: https://www.youtube.com/channel/UCmh_9vl0pFf0zSB6N7RrVeg

Send us a textWhy are so many young people feeling alone in a connected world? Hillary sits down with Dr. Lisa Lowery and Kali Jackson-Dieleman to explore the rising loneliness among Gen Z. They discuss the impact of social media, the importance of validation over sympathy, and how small, consistent acts of empathy can make a big difference in helping people feel truly seen and heard. For more information on the podcast, please visit: https://www.wedgwood.org/podcast/For mental health resources, please vist: https://www.wedgwood.org/self-careTo learn more about Wedgwood, please visit: https://www.wedgwood.org/For podcast and/or Wedgwood merch, please visit: https://wcb.myprostores.com/Support the showDon't forget to subscribe to stay up-to-date on the latest episodes!

Michelle Lane's family landscaping business has been around for 75 years. But when she Googled herself during a presentation at Belgard University… she found three reviews.In this episode of The Landscaper's Guide, Jack Jostes talks with Michelle about something even the most established landscape companies get wrong—and how to fix it—with better branding, smarter marketing, and a whole lot more Google reviews.

Does thought leadership belong only to bold personalities and charismatic speakers? Christina Wedgwood doesn't think so. In her book, "Better: A More Authentic Path for the Reluctant Thought Leader", Christina explores how deep thinkers, perfectionists, and even those uneasy about taking center stage can still powerfully shape ideas and conversations. In this conversation, Christina explains that thought leadership isn't about how loudly you speak—it's about clarity, simplicity, and authenticity. She argues that true impact comes from quiet, deliberate thinkers whose insights might otherwise go unnoticed. Christina reveals why "better" does not mean "louder," encouraging thought leaders to embrace their unique strengths rather than fitting into preconceived molds. Christina and Bill also delve into the emotional journey of creating thought leadership content. They discuss perfectionism and the common barrier of feeling "not ready yet," offering strategies to move past these hurdles and confidently share ideas. Christina emphasizes the importance of thinking partners—trusted individuals who challenge your thoughts and help refine your message. Drawing from her extensive experience coaching authors and developing thought leadership content, Christina shares valuable lessons from writing her own book. She reflects on the vulnerability required to bring deep, authentic ideas to an audience and provides insights into sustaining impactful thought leadership over time. Whether you're reluctant or ready to embrace your role, this episode offers practical advice for creating meaningful, enduring thought leadership. Three Key Takeaways: • Thought Leadership Isn't Only for Extroverts. Christina emphasizes that thought leadership isn't exclusive to big personalities who dominate stages. Her book, Better: A More Authentic Path for the Reluctant Thought Leader, opens doors for quieter, more introspective thinkers, perfectionists, and those hesitant to step into the spotlight, empowering them to share their meaningful ideas. • Better Does Not Equal Louder. Authentic and powerful thought leadership is not about being the loudest voice in the room. Instead, it's about clarity, simplicity, and genuine insight. Christina challenges the myth that louder equates to better, advocating instead for thoughtful reflection and deliberate expression as essential traits of true thought leadership. • Embrace Imperfection and Take Action. Many aspiring thought leaders delay sharing their ideas because they're waiting for perfection—one more book, another certification, or additional case studies. Christina advocates for getting your ideas out of your head and into the world, embracing vulnerability, and taking actionable steps even when conditions aren't "perfect." If you found our discussion on authentic thought leadership engaging, you might also appreciate our episode featuring Simon Leslie, CEO and Founder of Ink Global. In "An Authentic Voice in Thought Leadership," Simon shares how publishing his book, There Is No F in Sales, transformed his business and personal growth. He delves into the importance of using one's authentic voice in thought leadership and the unexpected opportunities that arise from it. Tune in to explore how embracing authenticity can amplify your impact in the thought leadership arena.

Send us a textHillary sits down with Jason Lheureux, Director of Residential Programs at Wedgwood, to discuss the impact a single trusted adult can have on a child's life. They explore how safe, supportive relationships build confidence, and how it helps kids navigate life's challenges.Jason shares real-life examples and practical ways that parents, mentors, teachers, and community members can step into this vital role. Whether you're a caregiver, educator, or simply someone who wants to make a difference, this conversation will inspire you to be that one trusted adult for a child in need.For more information on the podcast, please visit: https://www.wedgwood.org/podcast/For more information on The State of the Child Conference, please visit: www.wedgwood.org/sotcTo learn more about Wedgwood, please visit: https://www.wedgwood.org/For podcast and/or Wedgwood merch, please visit: https://wcb.myprostores.com/Support the showDon't forget to subscribe to stay up-to-date on the latest episodes!

This week, Candace tells a harrowing story of the victims and survivors of the Wedgwood Baptist Church Shooting in Fort Worth, Texas in September of 1999. Instagram: @CousinsonCrimePodcast Email: CousinsonCrime@gmail.com Theme Music by AleXZavesa Join our new Patreon! https://www.patreon.com/CousinsOnCrime Check out our merch store! https://cousinsoncrime-shop.fourthwall.com/? Sources: https://www.wedgwoodbc.org/wedgwood-shooting.html https://fwtx.com/news/wedgwood-baptist-church-shooting-25-years/ https://www.findagrave.com/memorial/23861536/kristi-kathleen-beckel https://harold-hendrick.com/2009/03/16/browning-don/ https://mentalhealthconnection.org https://fortworthreport.org/2024/08/21/born-out-of-tragedy-mental-health-connection-builds-on-25-year-legacy-in-tarrant-county/ https://discipleallnations.org/members/wp-content/uploads/2017/12/NightofTragedyDawningofLight-1.pdf

Neil Brownsword is one of the most intriguing – and uncompromising – ceramic artists currently practicing in the UK. His work is inspired by the de-industrialisation of his home city, Stoke-on-Trent, and, appropriately enough, his career in ceramics began when he worked as an apprentice in the Wedgwood factory as a 16 year old in the mid 1980s. Subsequently, he went on to study at the University of Cardiff and the Royal College of Art. Neil's research examines the manufacturing histories of North Staffordshire's ceramic industry, and the effects globalisation has had upon people, place and traditional skills in recent decades. Over the years, he has won numerous awards and exhibited across the globe, while at the same time maintaining an important career in education. He is currently a professor of ceramics at the University of Staffordshire.In this episode we talk about: his latest show at the Crafts Study Centre in Farnham, Surrey; historical copying in the ceramics industry; inducing failure; working at Wedgwood on a YTS scheme; being good at art in school; creating his early, sexually-charged pieces; not selling pots; why his work changed radically at the turn of the century; escaping the ‘stranglehold' of narrative; becoming ‘a post-industrial factory manager'; bridling against ‘factory tourism'; putting industrial artisans on a cultural platform; investigating the ‘marginalised potential of the past'; and why it's important to safeguard rather than preserve skill.Support the show

Send us a textIn this Coffee Break Conversation episode, Dr. Dan Gowdy, President and CEO of Wedgwood Christian Services, shares his heart on what it means to lead with purpose and compassion. Drawing from his personal journey—including his education, missionary work, and extensive leadership experience—Dan emphasizes the power leadership in building empowered, engaged teams. He also discusses the importance of integrated mental and behavioral health care, reducing stigma, and increasing public awareness. Tune in to this inspiring conversation from an incredible leader!For more information on the podcast, please visit: https://www.wedgwood.org/podcast/To learn more about Wedgwood, please visit: https://www.wedgwood.org/To join the Wedgwood team, visit: www.wedgwood.org/join-our-team For podcast and/or Wedgwood merch, please visit: https://wcb.myprostores.com/Support the showDon't forget to subscribe to stay up-to-date on the latest episodes!

A lo largo de la historia los seres humanos han deseado capturar la realidad para inmortalizar un momento, el aspecto de una persona o el mundo que les rodea. Así nació la pintura, cuyos orígenes hay que buscarlos en el paleolítico. Pero la pintura tiene sus particularidades. Pasa por el tamiz del artista y que sea más o menos fidedigna depende de los consensos culturales de cada época y de la habilidad y el instrumental que emplee el pintor. En la pintura la imaginación juega un papel primordial, ya que se puede pintar lo que se desee. Es un modo un tanto libre de plasmar la realidad circundante y, como tal, puede estar sometido a todo tipo de alteraciones. El primer paso hacia la captura fiel del mundo exterior lo dio un químico alemán llamado Johann Heinrich Schulze a principios del siglo XVIII, en plena revolución científica. Schulze empleó una suspensión fotosensible para capturar imágenes temporales de letras, aunque sin conseguir conservarlas permanentemente. Décadas más tarde, y tras una serie de infructuosas pruebas, el británico Thomas Wedgwood intentó sin éxito fijar imágenes de manera permanente, creando fotogramas detallados pero efímeros. Schulze y Wedgwood habían conseguido la captura, pero no que ésta permaneciese. Los avances en la industria química permitieron al francés Nicéphore Niépce en 1826 fijar de forma indeleble la primera imagen captada por una cámara, aunque, eso sí, tras efectuar una exposición muy larga. Su colaboración con Louis Daguerre llevó al desarrollo del daguerrotipo en 1839, el primer método fotográfico comercialmente viable. Este proceso utilizaba una placa de plata yodada que reducía el tiempo de exposición a unos pocos minutos y ofrecía una claridad y detalle sin precedentes. Paralelamente, en Inglaterra, William Henry Fox Talbot inventó el calotipo, que permitía la creación de negativos de papel de los cuales se podían hacer múltiples copias positivas. Esto permitió abaratar el proceso y hacerlo más accesible. La competencia entre estos dos métodos iniciales impulsó más innovaciones, como el proceso de colodión en la década de 1850, que combinaba la calidad de imagen del daguerrotipo con la reproductibilidad del calotipo. La fotografía continuó evolucionando con la introducción de la película flexible por George Eastman en 1888 y su cámara Kodak, que democratizó la fotografía con un lema publicitario que decía "Usted presiona el botón, nosotros hacemos el resto". Este avance simplificó enormemente el proceso y, sobre todo, lo popularizó. A principios del siglo XX la fotografía se había convertido ya en algo muy común al alcance de prácticamente todo el mundo. Pero esas fotografías de los primeros tiempos eran en blanco y negro. Los seres humanos vemos en color por lo que aparecieron especialista en coloreado. Los químicos, entretanto, se concentraron en conseguir capturas en color, algo que consiguieron en 1907 con el proceso Autochrome de los hermanos Lumière. Las fotos en color eran costosas al principio. Hasta mediado el siglo XX no se popularizaron gracias a películas para el gran público como la Kodachrome y la Agfacolor. Esta tecnología permitió capturar y reproducir el mundo en todo su espectro cromático, expandiendo así las posibilidades artísticas y documentales de la fotografía, que para finales del siglo XX era ya omnipresente. Fue en ese momento cuando se produjo la revolución digital. Steven Sasson de Eastman Kodak creó el primer prototipo de cámara digital en 1975, dando comienzo a una transición que en unos años haría obsoletas las técnicas fotoquímicas tradicionales. La fotografía digital no solo permitió la edición y manipulación de imágenes de formas antes impensables, sino que extendió aún más la práctica, especialmente con la incorporación de cámaras en los teléfonos inteligentes y la conexión de estos a internet a principios del siglo XXI. En El ContraSello: 0:00 Introducción 4:20 Breve historia de la fotografía 1:24:42 La imprenta de Juan de la Cuesta 1:28:57 El canal de Kiel en la primera guerra mundial Bibliografía: - "Fotografía" de Tom Ang - https://amzn.to/4gS3sYl - "Historia de la fotografía" de Marie Loup-Sougez - https://amzn.to/4hamw4r - "Fotografía, toda la historia" de Juliet Hacking - https://amzn.to/40l4mHD - "Breve historia de la fotografía" de Ian Haydn Smith - https://amzn.to/4fQGDUd · Canal de Telegram: https://t.me/lacontracronica · “Contra la Revolución Francesa”… https://amzn.to/4aF0LpZ · “Hispanos. Breve historia de los pueblos de habla hispana”… https://amzn.to/428js1G · “La ContraHistoria de España. Auge, caída y vuelta a empezar de un país en 28 episodios”… https://amzn.to/3kXcZ6i · “Lutero, Calvino y Trento, la Reforma que no fue”… https://amzn.to/3shKOlK · “La ContraHistoria del comunismo”… https://amzn.to/39QP2KE Apoya La Contra en: · Patreon... https://www.patreon.com/diazvillanueva · iVoox... https://www.ivoox.com/podcast-contracronica_sq_f1267769_1.html · Paypal... https://www.paypal.me/diazvillanueva Sígueme en: · Web... https://diazvillanueva.com · Twitter... https://twitter.com/diazvillanueva · Facebook... https://www.facebook.com/fernandodiazvillanueva1/ · Instagram... https://www.instagram.com/diazvillanueva · Linkedin… https://www.linkedin.com/in/fernando-d%C3%ADaz-villanueva-7303865/ · Flickr... https://www.flickr.com/photos/147276463@N05/?/ · Pinterest... https://www.pinterest.com/fernandodiazvillanueva Encuentra mis libros en: · Amazon... https://www.amazon.es/Fernando-Diaz-Villanueva/e/B00J2ASBXM #FernandoDiazVillanueva #fotografia Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

Who else in literature today could be more interesting to interview than Brandon Taylor, the author of Real Life, Filthy Animals, and The Late Americans, as well as the author of popular reviews and the sweater weather Substack? We talked about so much, including: Chopin and who plays him best; why there isn't more tennis in fiction; writing fiction on a lab bench; being a scientific critic; what he has learned working as a publisher; negative reviews; boring novels; Jane Austen. You'll also get Brandon's quick takes on Iris Murdoch, Jonathan Franzen, Lionel Trilling, György Lukács, and a few others; the modern critics he likes reading; and the dead critics he likes reading.Brandon also talked about how his new novel is going to be different from his previous novels. He told me:I no longer really want to be starting my books, quote unquote, in media res. I want my books to feel like books. I don't want my books to feel like movies. And I don't want them to feel like treatments for film. And so I want to sort of bring back all of what a novel can do in terms of its structure and in terms of its form and stuff like that. And so it means starting books, you know, with this sort of Dickensian voice of God speaking from on high, sort of summing up an era. And I think also sort of allowing the narrators in my work to dare to sum up, allowing characters in my work to have ideologies and to argue about those ideologies. I feel like that is a thing that was sort of denuded from the American novel for a lot of millennials and just sort of like trying to put back some of that old fashioned machinery that was like stripped out of the novel. And seeing what of it can still function, seeing, trying to figure out if there's any juice left in these modes of representation.I have enjoyed Brandon's fiction (several people I recommend him to have loved Real Life) and I think he's one of the best critics working today. I was delighted to interview him.Oh, and he's a Dickens fan!Transcript (AI produced, lightly formatted by me)Henry: Today I am talking to Brandon Taylor, the author of Real Life, Filthy Animals, and The Late Americans. Brandon is also a notable book reviewer and of course he writes a sub stack called Sweater Weather. Brandon, welcome.Brandon: Yeah, thanks for having me.Henry: What did you think of the newly discovered Chopin waltz?Brandon: Um, I thought, I mean, I remember very vividly waking up that day and there being a new waltz, but it was played by Lang Lang, which I did not. I don't know that, like, he's my go-to Chopin interpreter. But I don't know, I was, I was excited by it. Um, I don't know, it was in a world sort of dominated by this ethos of like nothing new under the sun. It felt wonderfully novel. I don't know that it's like one of Chopin's like major, I don't know that it's like major. Um, it's sort of definitively like middle of the road, middle tier Chopin, I think. But I enjoyed it. I played it like 20 times in a row.Henry: I like those moments because I like, I like it when people get surprised into realizing that like, it's not fixed what we know about the world and you can even actually get new Chopin, right?Brandon: I mean, it felt a little bit like when Beyonce did her first big surprise drop. It was like new Chopin just dropped. Oh my God. All my sort of classical music nerd group texts were buzzing. It felt like a real moment, actually.Henry: And I think it gives people a sense of what art was like in the past. You can go, oh my God, new Chopin. Like, yes, those feelings are not just about modern culture, right? That used to happen with like, oh my God, a new Jane Austen book is here.Brandon: Oh, I know. Well, I mean, I was like reading a lot of Emile Zola up until I guess late last year. And at some point I discovered that he was like an avid amateur photographer. And in like the French Ministry of Culture is like digitized a lot of his glass plate negatives. And one of them is like a picture that Zola has taken of Manet's portrait of him. And it's just like on a floor somewhere. Like he's like sort of taken this like very rickety early camera machinery to this place where this portrait is and like taken a picture of it. It's like, wow. Like you can imagine that like Manet's like, here's this painting I did of you. And Zola's like, ah, yes, I'm going to take a picture to commemorate it. And so I sort of love that.Henry: What other of his photos do you like?Brandon: Well, there's one of him on a bike riding toward the camera. That's really delightful to me because it like that impulse is so recognizable to me. There are all these photos that he took of his mistress that were also just like, you can like, there are also photographs of his children and of his family. And again, those feel so like recognizable to me. He's not even like a very good photographer. It's just that he was taking pictures of his like daily life, except for his kind of stunt photos where he's riding the bike. And it's like, ah, yes, Zola, he would have been great with an iPhone camera.Henry: Which pianists do you like for Chopin?Brandon: Which pianists do I love for Chopin? I like Pollini a lot. Pollini is amazing. Pollini the elder, not Pollini the younger. The younger is not my favorite. And he died recently, Maurizio Pollini. He died very recently. Maybe he's my favorite. I love, I love Horowitz. Horowitz is wonderful at Chopin. But it's obviously it's like not his, you know, you don't sort of go to Horowitz for Chopin, I guess. But I love his Chopin. And sometimes Trifonov. Trifonov has a couple Chopin recordings that I really, really like. I tend not to love Trifonov as much.Henry: Really?Brandon: I know it's controversial. It's very controversial. I know. Tell me why. I, I don't know. He's just a bit of a banger to me. Like, like he's sort of, I don't know, his playing is so flashy. And he feels a bit like a, like a, like a keyboard basher to me sometimes.Henry: But like, do you like his Bach?Brandon: You know, I haven't done a deep dive. Maybe I should do a sort of more rigorous engagement with Trifonov. But yeah, I don't, he's just not, he doesn't make my heart sing. I think he's very good at Bach.Henry: What about a Martha Argerich?Brandon: Oh, I mean, she's incredible. She's incredible. I bought that sort of big orange box out of like all of her, her sort of like masterwork recordings. And she's incredible. She has such feel for Chopin. But she doesn't, I think sometimes people can make Chopin feel a little like, like treacly, like, like a little too sweet. And she has this perfect understanding of his like rhythm and his like inner nuances and like the crispness in his compositions. Like she really pulls all of that out. And I love her. She has such, obviously great dexterity, but like a real sort of exquisite sensitivity to the rhythmic structures of Chopin.Henry: You listen on CD?Brandon: No, I listen on vinyl and I listen on streaming, but mostly vinyl. Mostly vinyl? Yeah, mostly vinyl. I know it's very annoying. No, no, no, no, no.Henry: Which, what are the good speakers?Brandon: I forget where I bought these speakers from, but I sort of did some Googling during the pandemic of like best speakers to use. I have a U-Turn Audio, U-Turn Orbital record player. And so I was just looking for good speakers that were compatible and like wouldn't take up a ton of space in my apartment because I was moving to New York and had a very tiny, tiny apartment. So they're just from sort of standard, I forget the brand, but they've served me well these past few years.Henry: And do you like Ólafsson? He's done some Chopin.Brandon: Who?Henry: Víkingur Ólafsson. He did the Goldbergs this year, but he's done some Chopin before. I think he's quite good.Brandon: Oh, that Icelandic guy?Henry: Yeah, yeah, yeah. With the glasses? That's right. And the very neat hair.Brandon: Yes. Oh, he's so chic. He's so chic. I don't know his Chopin. I know his, there's another series that he did somewhat recently that I'm more familiar with. But he is really good. He has good Beethoven, Víkingur.Henry: Yeah.Brandon: And normally I don't love Beethoven, but like—Henry: Really? Why? Why? What's wrong with Beethoven? All these controversial opinions about music.Brandon: I'm not trying to have controversial opinions. I think I'm, well, I'm such a, I'm such, I mean, I'm just like a dumb person. And so like, I don't, I don't have a really, I feel like I don't have the robust understanding to like fully appreciate Beethoven and all of his sort of like majesty. And so maybe I've just not heard good Beethoven and I need to sort of go back and sort of get a real understanding of it. But I just tend not to like it. It feels like, I don't know, like grandma's living room music to me sometimes.Henry: What other composers do you enjoy?Brandon: Oh, of course.Henry: Or other music generally, right?Brandon: Rachmaninoff is so amazing to me. There was, of course, Bach. Brahms. Oh, I love Brahms, but like specifically the intermezzi. I love the intermezzi. I recently fell in love with, oh, his name is escaping me now, but he, I went to a concert and they sort of did a Brahms intermezzi. And they also played this, I think he was an Austrian composer. And his music was like, it wasn't experimental, but it was like quite, I had a lot of dissonance in it. And I found it like really interesting and like really moving actually. And so I did a sort of listening to that constantly. Oh, I forget his name. But Brahms, Chopin, Rachmaninoff, love Rachmaninoff. I have a friend who says that Rachmaninoff writes Negro spirituals. And I love that theory that Rachmaninoff's music is like the music of the slaves. It just, I don't know. I really, that really resonates with me spiritually. Which pieces, which Rachmaninoff symphonies, concertos? Yeah, the concertos. But like specifically, like I have a friend who said that Rach II sounded to her like the sort of spiritual cry of like the slaves. And we were at like a hangout with like mostly Black people. And she like stopped playing like Juvenile, like the rapper. And she put on Rach II. And we just like sat there and listened. And it did feel like something powerful had entered the room. Yeah, but he's my guy. I secretly really, really love him. I like Liszt, but like it really depends on the day and the time for him. He makes good folk music, Liszt. I love his folky, his folk era.Henry: What is it that you enjoy about tennis?Brandon: What do I enjoy about tennis? I love the, I love not thinking. I love being able to hit the ball for hours on end and like not think. And like, it's the one part of my life. It's the one time in my life where my experience is like totally unstructured. And so like this morning, I went to a 7am drill and play class where you do drills for an hour. Then you play doubles for an hour. And during that first hour of drills, I was just like hitting the ball. I was at the mercy of the guy feeding us the ball. And I didn't have a single thought about books or literature or like the status of my soul or like the nature of American democracy. It was just like, did I hit that ball? Well, did I hit it kind of off center? Were there tingles in my wrist? Yes or no. Like it was just very, very grounding in the moment. And I think that is what I love about it. Do you like to watch tennis? Oh, yeah, constantly. Sometimes when I'm in a work meeting, the Zoom is here and the tennis is like playing in the background. Love tennis, love to watch, love to play, love to think about, to ponder. Who are the best players for you? Oh, well, the best players, my favorite players are Roger Federer, Serena Williams, Stanislas Wawrinka, love Wawrinka. And I was a really big Davydenko head back in the day. Nikolai Davydenko was this Russian player who had, he was like a metronome. He just like would not miss. Yeah, those are my favorites. Right now, the guy I'm sort of rooting for who's still active is Kasper Rud, who's this Norwegian guy. And I love him because he just looks like some guy. Like he just looks like he should be in a seminary somewhere. I love it. I love, I love his normalness. He just looks like an NPC. And I'm drawn to that in a tennis player.Henry: It's hard to think of tennis in novels. Why is that?Brandon: Well, I think a lot of people don't, well, I think part of it is a lot of novelists. Part of it is a lot of novelists don't play sports. I think that they, at least Americans, I can't speak for other parts of the world, but in America, a lot of novelists are not doing sports. So that's one. And I think two, like, you know, like with anything, I think that tennis has not been subjected to the same schemes of narrativization that like other things are. And so like it's, a lot of novelists just like don't see a sort of readily dramatizable thing in tennis. Even though if you like watch tennis and like listen to tennis commentary, they are always erecting narratives. They're like, oh yeah, she's been on a 19 match losing streak. Is this where she turns it around? And to me, tennis is like a very literary sport because tennis is one of those sports where it's all about the matchup. It's like your forehand to my backhand, like no matter how well I play against everyone else, like it's you and me locked in the struggle. And like that to me feels incredibly literary. And it is so tied to your individual psychology as well. Like, I don't know, I endlessly am fascinated by it. And indeed, I got an idea for a tennis novel the other day that I'm hopefully going to write in three to five years. We'll see.Henry: Very good. How did working in a lab influence your writing?Brandon: Well, somewhat directly and materially in the case of my first book, because I wrote it while I was working in the lab and it gave me weirdly like time and structure to do that work where I would be pipetting. And then while I was waiting for an assay or a experiment to run or finish, I would have 30 minutes to sit down and write.Henry: So you were writing like at the lab bench?Brandon: Oh, yeah, absolutely. One thousand percent. I would like put on Philip Glass's score for the hours and then just like type while my while the centrifuge was running or whatever. And and so like there's that impression sort of baked into the first couple books. And then I think more, I guess, like spiritually or broadly, it influenced my work because it taught me how to think and how to organize time and how to organize thoughts and how to sort of pursue long term, open ended projects whose results may or may not, you know, fail because of something that you did or maybe you didn't do. And that's just the nature of things. Who knows? But yeah, I think also just like discipline, the discipline to sort of clock in every day. And to sort of go to the coalface and do the work. And that's not a thing that is, you know. That you just get by working in a lab, but it's certainly something that I acquired working in a lab.Henry: Do you think it's affected your interest in criticism? Because there's there are certain types of critic who seem to come from a scientific background like Helen Vendler. And there's something something about the sort of the precision and, you know, that certain critics will refuse to use critical waffle, like the human condition. And they won't make these big, vague gestures to like how this can change the way we view society. They're like, give me real details. Give me real like empirical criticism. Do you think this is — are you one of these people?Brandon: Yeah, yeah, I think I'm, you know, I'm all about what's on the page. I'm all about the I'm not gonna go rooting in your biography for not gonna go. I'm not I'm not doing that. It's like what you brought to me on the page is what you've brought to me. And that is what I will be sort of coming over. I mean, I think so. I mean, very often when critics write about my work, or when people respond to my work, they sort of describe it as being put under a microscope. And I do think like, that is how I approach literature. It's how I approach life. If there's ever a problem or a question put to me, I just sort of dissect it and try to get down to its core bits and its core parts. And and so yeah, I mean, if that is a scientific way of doing things, that's certainly how I but also I don't know any other way to think like that's sort of that's sort of how I was trained to think about stuff. You've been to London. I have. What did you think of it? The first time I didn't love it. The second and third times I had a good time, but I felt like London didn't love me back. London is the only place on earth I've ever been where people have had a hard time understanding me like I like it's the only place where I've like attempted to order food or a drink or something in a store or a cafe or a restaurant. And the waiters like turned to my like British hosts and asked them to translate. And that is an entirely foreign experience for me. And so London and I have like a very contentious relationship, I would say.Henry: Now, you've just published four classic novels.Brandon: Yes.Henry: George Gissing, Edith Wharton, Victor Hugo and Sarah Orne Jewett. Why did you choose those four writers, those four titles?Brandon: Oh, well, once we decided that we were going to do a classics imprint, you know, then it's like, well, what are we going to do? And I'm a big Edith Wharton fan. And there are all of these Edith Wharton novels that Americans don't really know about. They know Edith Wharton for The Age of Innocence. And if they are an English major, they maybe know her for The House of Mirth. Or like maybe they know her for The Custom of the Country if they're like really into reading. But then they sort of think of her as a novelist of the 19th century. And she's writing all of these books set in the 1920s and about the 1920s. And so it felt important to show people like, oh, this is a writer who died a lot later than you think that she did. And whose creative output was, you know, pretty, who was like a contemporary of F. Scott Fitzgerald in a lot of ways. Like, these books are being published around the same time as The Great Gatsby. And to sort of, you know, bring attention to a part of her over that, like, people don't know about. And like, that's really exciting to me. And Sarah Orne Jewett, I mean, I just really love The Country of the Pointed Furs. I love that book. And I found it in like in a 10 cents bin at a flea market one time. And it's a book that people have tried to bring back. And there have been editions of it. But it just felt like if we could get two people who are really cool to talk about why they love that book, we could sort of have like a real moment. And Sarah Orne Jewett was like a pretty big American writer. Like she was a pretty significant writer. And she was like really plugged in and she's not really read or thought about now. And so that felt like a cool opportunity as well to sort of create a very handsome edition of this book and to sort of talk about a bit why she matters. And the guessing of it all is we were going to do New Grub Street. And then my co-editor thought, well, The Odd Women, I think, is perhaps more relevant to our current moment than New Grub Street necessarily. And it would sort of differentiate us from the people, from the presses that are doing reissues of New Grub Street, because there's just been a new edition of that book. And nobody in America really knows The Odd Women. And it's a really wonderful novel. It's both funny and also like really biting in its satire and commentary. So we thought, oh, it'll be fun to bring this writer to Americans who they've never heard of in a way that will speak to them in a lot of ways. And the Victor Hugo, I mean, you know, there are Hugos that people know all about. And then there are Hugos that no one knows about. And Toilers of the Sea was a passion project for my co-editor. She'd read it in Guernsey. That's where she first discovered that book. And it really meant a lot to her. And I read it and really loved it. I mean, it was like Hugo at his most Hugo. Like, it's a very, it's a very, like, it's a very abundant book. And it's so wild and strange and changeful. And so I was like, oh, that seems cool. Let's do it. Let's put out Toilers of the Sea. So that's a bit of why we picked each one.Henry: And what have you learned from being on the other side of things now that you're the publisher?Brandon: So much. I've learned so much. And indeed, I just, I was just asked by my editor to do the author questionnaire for the novel that I have coming out next. And I thought, yes, I will do this. And I will do it immediately. Because now I know, I know how important these are. And I know how early and how far in advance these things need to be locked in to make everyone's life easier. I think I've learned a bit about the sometimes panicked scramble that happens to get a book published. I've learned about how hard it is to wrangle blurbs. And so I think I'm a little more forgiving of my publishers. But they've always been really great to me. But now I'm like, oh, my gosh, what can I do for you? How can I help you make this publication more of a success?Henry: Do you think that among literary people generally, there's a lack of appreciation of what business really involves in some of the senses you're talking about? I feel like I see a lot of either indifferent or hostile attitudes towards business or commerce or capitalism, late stage capitalism or whatever. And I sometimes look at it and I'm like, I don't think you guys really know what it takes to just like get stuff done. You know what I mean? Like, it's a lot of grind. I don't think it's a big nasty thing. It's just a lot of hard work, right?Brandon: Yeah, I mean, 1000%. Or if it's not a sort of misunderstanding, but a sort of like disinterest in like, right, like a sort of high minded, like, oh, that's just the sort of petty grimy commerce of it all. I care about the beauty and the art. And it's just like, friend, we need booksellers to like, sell this. I mean, to me, the part of it that is most to me, like the most illustrative example of this in my own life is that when I first heard how my editor was going to be describing my book, I was like, that's disgusting. That's horrible. Why are you talking about my race? Why are you talking about like my sexuality? Like, this is horrible. Why can't you just like talk about the plot of the book? Like, what is the matter with you? And then I had, you know, I acquired and edited this book called Henry Henry, which is a queer contemporary retelling of the Henry ad. And it's a wonderful novel. It's so delightful. And I had to go into our sales conference where we are talking to the people whose job it is to sell that book into bookstores to get bookstores to take that book up. And I had to write this incredibly craven description of this novel. And as I was writing it, I was like, I hope Alan, the author, I hope Alan never sees this. He never needs to hear how I'm talking about this book. And as I was doing it, I was like, I will never hold it against my editor again for writing this like, cheesy, cringy copy. Because it's like you, like, you so believe in the art of that book, so much that you want it to give it every fighting chance in the marketplace. And you need to arm your sales team with every weapon of commerce they need to get that book to succeed so that when readers pick it up, they can appreciate all of the beautiful and glorious art of it. And I do think that people, you know, like, people don't really kind of, people don't really understand that. And I do think that part of that is publishing's fault, because they are, they've been rather quick to elide the distinctions between art and commerce. And so like publishing has done a not great job of sort of giving people a lot of faith in its understanding that there's a difference between art and commerce. But yeah, I think, I think there's a lot of misapprehension out there about like, what goes into getting bookstores to acquire that book.Henry: What are the virtues of negative book reviews?Brandon: I was just on a panel about this. I mean, I mean, hopefully a negative book review, like a positive review, or like any review, will allow a reader or the audience to understand the book in a new way, or to create a desire in the reader to pick up the book and see if they agree or disagree or that they, that they have something to argue with or push against as they're reading. You know, when I'm writing a negative review, when I'm writing a review that I feel is trending toward negative, I should say, I always try to like, I don't know, I try to always remember that like, this is just me presenting my experience of the book and my take of the book. And hopefully that will be productive or useful for whoever reads the review. And hopefully that my review won't be the only thing that they read and that they will in fact, go pick up the book and see if they agree or disagree. It's hopefully it creates interesting and potentially divergent dialogues or discourses around the text. And fundamentally, I think not every critic feels this way. Not every piece of criticism is like this. But the criticism I write, I'm trying to create the conditions that will refer the reader always back to the text, be it through quotation, be it through, they're so incensed by my argument that they're going to go read the book themselves and then like, yell at me. Like, I think that that's wonderful, but like, always keeping the book at the center. But I think a negative review can, you know, it can start a conversation. It can get people talking about books, which in this culture, this phase of history feels like a win. And hopefully it can sort of be a corrective sometimes to less genuine or perceived less genuine discourses that are existing around the book.Henry: I think even whether or not it's a question of genuine, it's for me, it's just a question of if you tell people this book is good and they give up their time and money and they discover that it's trash, you've done a really bad thing to that person. And like, there might be dozens of them compared to this one author who you've been impolite to or whatever. And it's just a question of don't lie in book, right?Brandon: Well, yeah. I mean, hopefully people are honest, but I do feel sometimes that there is, there's like a lack of honesty. And look, I think that being like, well, I mean, maybe you'll love this. I don't love it, you know, but at least present your opinion in that way. At least be like, you know, there are many interpretations of this thing. Here's my interpretation. Maybe you'll feel differently or something like that. But I do think that people feel that there have been a great number of dishonest book reviews. Maybe there have been, maybe there have not been. I certainly have read some reviews I felt were dishonest about books that I have read. And I think that the negative book review does feel a bit like a corrective in a lot of ways, both, you know, justified or unjustified. People are like, finally, someone's being honest about this thing. But yeah, I think it's interesting. I think it's all really, I think it's all fascinating. I do think that there are some reviews though, that are negative and that are trying to be about the book, but are really about the author. There are some reviews that I have read that have been ostensibly about reviewing a text, but which have really been about, you don't like that person and you have decided to sort of like take an axe to them. And that to me feels not super productive. I wouldn't do it, but other people find it useful.Henry: As in, you can tell that from the review or you know that from background information?Brandon: I mean, this is all projection, of course, but like there have been some reviews where I've read, like, for example, some of the Lauren Oyler reviews, I think some of the Lauren Oyler reviews were negative and were exclusively about the text. And they sort of took the text apart and sort of dissected it and came to conclusions, some of which I agreed with, some of which I didn't agree with, but they were fundamentally about the text. And like all the criticisms referred back to the text. And then there were some that were like projecting attitudes onto the author that were more about creating this sort of vaporous shape of Lauren Oyler and then sort of poking holes in her literary celebrity or her stature as a critic or what have you. And that to me felt less productive as like a book review.Henry: Yes. Who are your favorite reviewers?Brandon: Ooh, my favorite reviewers. I really love Christian Lawrence. And he does my, of the critics who try to do the sort of like mini historiography of like a thing. He's my favorite because he teaches me a lot. He sort of is so good at summing up an era or summing up a phase of literary production without being like so cringe or so socialist about it. I really love, I love it when he sort of distills and dissects an era. I really like Hermione Hobie. I think she's really interesting. And she writes about books with a lot of feeling and a lot of energy. And I really love her mind. And of course, like Patricia Lockwood, of course, everyone, perhaps not everyone, but I enjoy Patricia Lockwood's criticism. You don't?Henry: Not really.Brandon: Oh, is it because it's too chatty? Is it too, is it too selfie?Henry: A little bit. I think, I think that kind of criticism can work really well. But I think, I think it's too much. I think basically she's very, she's a very stylized writer and a lot of her judgments get, it gets to the point where it's like, this is the logical conclusion of what you're trying to do stylistically. And there are some zingers in here and some great lines and whatever, but we're no longer, this is no longer really a book review.Brandon: Yeah.Henry: Like by the, by the end of the paragraph, this, like, we didn't want to let the style go. We didn't want to lose the opportunity to cap that off. And it leads her into, I think, glibness a lot of the time.Brandon: Yeah. I could see that. I mean, I mean, I enjoy reading her pieces, but do I understand like what's important to her at a sort of literary level? I don't know. I don't, and in that sense, like, are they, is it criticism or is it closer to like personal essay, humorous essay? I don't know. Maybe that's true. I enjoy reading them, but I get why people are like, this is a very, very strong flavor for sure.Henry: Now you've been reading a lot of literary criticism.Brandon: Oh yeah.Henry: Not of the LRB variety, but of the, the old books in libraries variety. Yes. How did that start? How did, how did you come to this?Brandon: Somewhat like ham-fistedly. I, in 2021, I had a really bad case of writer's block and I thought maybe part of the reason I had writer's block was that I didn't know anything about writing or I didn't know anything about like literature or like writing. I'd been writing, I'd published a novel. I was working on another novel. I'd published a book of stories, but like, I just like truly didn't know anything about literature really. And I thought I need some big boy ideas. I need, I need to find out what adults think about literature. And so I went to my buddy, Christian Lorenzen, and I was like, you write criticism. What is it? And what should I read? And he gave me a sort of starter list of criticism. And it was like the liberal imagination by Lionel Trilling and Guy Davenport and Alfred Kazin who wrote On Native Grounds, which is this great book on the American literary tradition and Leslie Fiedler's Love and Death in the American Novel. And I, and then Edmund Wilson's Axel's Castle. And I read all of those. And then as each one would sort of refer to a different text or person, I sort of like followed the footnotes down into this rabbit hole of like literary criticism. And now it's been a sort of ongoing project of the last few years of like reading. I always try to have a book of criticism on the go. And then earlier this year, I read Jameson's The Antimonies of Realism. And he kept talking about this Georg Lukács guy. And I was like, I guess I should go read Lukács. And so then I started reading Lukács so that I could get back to Jameson. And I've been reading Lukács ever since. I am like deep down the Lukács rabbit hole. But I'm not reading any of the socialism stuff. I told myself that I wouldn't read any of the socialism stuff and I would only read the literary criticism stuff, which makes me very different from a lot of the socialist literary critics I really enjoy because they're like Lukács, don't read in that literary criticism stuff, just read his socialism stuff. So I'm reading all the wrong stuff from Lukács, but I really, I really love it. But yeah, it sort of started because I thought I needed grown up ideas about literature. And it's been, I don't know, I've really enjoyed it. I really, really enjoy it. It's given me perhaps terrible ideas about what novels should be or do. But, you know, that's one of the side effects to reading.Henry: Has it made, like, what specific ways has it changed how you've written since you've acquired a set of critical principles or ideas?Brandon: Yeah, I mean, I think part of it is, part of it has to do with Lukács' idea of the totality. And, you know, I think that the sort of most direct way that it shows up in a sort of really practical way in my novel writing is that I no longer really want to be starting my books, quote unquote, in media res. Like, I don't want, I want my books to feel like books. I don't want my books to feel like movies. And I don't want them to feel like treatments for film. And so I want to sort of bring back all of what a novel can do in terms of its structure and in terms of its form and stuff like that. And so it means starting books, you know, with this sort of Dickensian voice of God speaking from on high, sort of summing up an era. And I think also sort of allowing the narrators in my work to dare to sum up, allowing characters in my work to have ideologies and to argue about those ideologies. I feel like that is a thing that was sort of denuded from the American novel for a lot of millennials and just sort of like trying to put back some of that old fashioned machinery that was like stripped out of the novel. And seeing what of it can still function, seeing, trying to figure out if there's any juice left in these modes of representation and stuff like that. And so like that, that's sort of, that's sort of abstract, but like in a concrete way, like what I'm kind of trying to resolve in my novel writing these days.Henry: You mentioned Dickens.Brandon: Oh, yes.Henry: Which Dickens novels do you like?Brandon: Now I'm afraid I'm going to say something else controversial. We love controversial. Which Dickens? I love Bleak House. I love Bleak House. I love Tale of Two Cities. It is one of the best openings ever, ever, ever, ever in the sweep of that book at once personal and universal anyway. Bleak House, Tale of Two Cities. And I also, I read Great Expectations as like a high school student and didn't like it, hated it. It was so boring. But now coming back to it, I think it, honestly, it might be the novel of our time. I think it might accidentally be a novel. I mean, it's a novel of scammers, a novel of like, interpersonal beef taken to the level of like, spiritual conflict, like it's about thieves and class, like it just feels like like that novel could have been written today about people today, like that book just feels so alive to today's concerns, which perhaps, I don't know, says something really evil about this cultural stagnation under capitalism, perhaps, but I don't know, love, love Great Expectations now.Henry: Why are so many modern novels boring?Brandon: Well, depends on what you mean by boring, Henry, what do you mean? Why?Henry: I mean, you said this.Brandon: Oh.Henry: I mean, I happen to agree, but this is, I'm quoting you.Brandon: Oh, yes. I remember that. I remember that review.Henry: I mean, I can tell you why I think they're boring.Brandon: Oh, yes, please.Henry: So I think, I think what you said before is true. They all read like movies. And I think I very often I go in, I pick up six or seven books on the new book table. And I'm like, these openings are all just the same. You're all thinking you can all see Netflix in your head. This is not really a novel. And so the dialogue is really boring, because you kind of you can hear some actor or actress saying it. But I can't hear that because I'm the idiot stuck in the bookshop reading your Netflix script. Whereas, you know, I think you're right that a lot of those traditional forms of storytelling, they like pull you in to the to the novel. And they and they like by the end of the first few pages, you sort of feel like I'm in this funny place now. And to do in media res, like, someone needs to get shot, or something, something weird needs to be said, like, you can't just do another, another standard opening. So I think that's a big, that's a big point.Brandon: Well, as Lukasz tells us, bourgeois realism has a, an unholy fondness for the, the average, the merely average, as opposed to the typical. And I think, yeah, a lot of it, a lot of why I think it's boring echoes you, I think that for me, what I find boring, and a lot of them is that it feels like novelists have abandoned any desire to, to have their characters or the novels themselves integrate the sort of disparate experiences within the novel into any kind of meaningful hole. And so there isn't this like sense of like things advancing toward a grander understanding. And I think a lot of it is because they've, they are writing under the assumption that like the question of why can never be answered. There can never be like a why, there can never be a sort of significance to anything. And so everything is sort of like evacuated of significance or meaning. And so you have what I've taken to calling like reality TV fiction, where the characters are just like going places and doing things, and there are no thoughts, there are no thoughts about their lives, or no thoughts about the things that they are doing, there are no thoughts about their experiences. And it's just a lot of like, like lowercase e events in their lives, but like no attempt to organize those events into any sort of meaningful hole. And I think also just like, what leads to a lot of dead writing is writers who are deeply aware that they're writing about themes, they're writing about themes instead of people. And they're working from generalities instead of particularities and specificities. And they have no understanding of the relationship between the universal and the particular. And so like, everything is just like, like beans in a can that they're shaking around. And I think that that's really boring. I think it's really tedious. Like, like, sure, we can we can find something really profound in the mundane, but like, you have to be really smart to do that. So like the average novelist is like better off like, starting with a gunshot or something like do something big.Henry: If you're not Virginia Woolf, it is in fact just mundane.Brandon: Indeed. Yeah.Henry: Is there too much emphasis on craft? In the way, in the way, in like what's valued among writers, in the way writers are taught, I feel like everything I see is about craft. And I'm like, craft is good, but that can just be like how you make a table rather than like how you make a house. Craft is not the guarantor of anything. And I see a lot of books where I think this person knows some craft. But as you say, they don't really have an application for it. And they don't. No one actually said to them, all style has a moral purpose, whether you're aware of it or not. And so they default to this like pointless use of the craft. And someone should say to them, like, you need to know history. You need to know tennis. You need to know business. You need to know like whatever, you know. And I feel like the novels I don't like are reflections of the discourse bubble that the novelist lives in. And I feel like it's often the continuation of Twitter by other means. So in the Rachel Kong novel that I think it came out this year, there's a character, a billionaire character who comes in near the end. And everything that he says or that is said about him is literally just meme. It's online billionaire meme because billionaires are bad because of all the things we all know from being on Twitter. And I was like, so you just we literally have him a character as meme. And this is the most representative thing to me, because that's maybe there's craft in that. Right. But what you've chosen to craft is like 28 tweets. That's pointless.Brandon: 28 tweets be a great title for a book, though, you have to admit, I would buy that book off the new book table. 28 tweets. I would. I would buy that. Yeah, I do think. Well, I think it goes both ways. I think it goes both ways. I somewhat famously said this about Sally Rooney that like she her books have no craft. The craft is bad. And I do think like there are writers who only have craft, who are able to sort of create these wonderfully structured books and to sort of deploy these beautiful techniques. And those books are absolutely dead. There's just like nothing in them because they have nothing to say. There's just like nothing to be said about any of that. And on the other hand, you have these books that are full of feelings that like would be better had someone taught that person about structure or form or had they sort of had like a rigorous thing. And I would say that like both of those are probably bad, like depending on who you are, you find one more like, like easier to deal with than the other. I do think that like part of why there's such an emphasis on craft is because not to sort of bring capitalism back in but you can monetize craft, you know what I mean? Like, craft is one of those things that is like readily monetizable. Like, if I'm a writer, and I would like to make money, and I can't sell a novel, I can tell people like, oh, how to craft a perfect opening, how to create a novel opening that will make agents pick it up and that will make editors say yes, but like what the sort of promise of craft is that you can finish a thing, but not that it is good, as you say, there's no guarantor. Whereas you know, like it's harder to monetize someone's soul, or like, it's harder to monetize like the sort of random happenstance of just like a writer's voice sort of emerging from from whatever, like you can't turn that into profit. But you can turn into profit, let me help you craft your voice. So it's very grind set, I think craft has a tendency to sort of skew toward the grind set and toward people trying to make money from, from writing when they can't sell a book, you know. Henry: Let's play a game. Brandon: Oh dear.Henry: I say the name of a writer. You give us like the 30 second Brandon Taylor opinion of that writer.Brandon: Okay. Yeah.Henry: Jonathan Franzen.Brandon: Thomas Mann, but like, slightly more boring, I think.Henry: Iris Murdoch.Brandon: A friend of mine calls her a modern calls her the sort of pre Sally Rooney, Sally Rooney. And I agree with that.Henry: When I'm at parties, I try and sell her to people where I say she's post-war Sally Rooney.Brandon: Yes, yes. And like, and like all that that entails, and so many delightful, I read all these like incredible sort of mid century reviews of her novels, and like the men, the male critics, like the Bernard Breganzis of the world being like, why is there so much sex in this book? It's amazing. Please go look up those like mid-century reviews of Iris Murdoch. They were losing their minds. Henry: Chekhov.Brandon: Perfect, iconic, baby girl, angel, legend. Can't get enough. 10 out of 10.Henry: Evelyn Waugh.Brandon: So Catholic, real Catholic vibes. But like, scabrously funny. And like, perhaps the last writer to write about life as though it had meaning. Hot take, but I'll, I stand by it.Henry: Yeah, well, him and Murdoch. But yeah, no, I think I think there's a lot in that. C.V. Wedgwood.Brandon: Oh, my gosh. The best, a titan, a master of history. Like, oh, my God. I would not be the same without Wedgwood.Henry: Tell us which one we should read.Brandon: Oh, the 30 Years War. What are you talking about?Henry: Well, I think her books on the English Civil War… I'm a parochial Brit.Brandon: Oh, see, I don't, not that I don't, I will go read those. But her book on the 30 Years War is so incredible. It's, it's amazing. It's second to like, Froissart's Chronicles for like, sort of history, history books for me.Henry: Northrop Frye.Brandon: My father. I, Northrop Frye taught me so much about how to see and how to think. Just amazing, a true thinker in a mind. Henry: Which book? Brandon: Oh, Anatomy of Criticism is fantastic. But Fearful Symmetry is just, it will blow your head off. Just amazing. But if you're looking for like, to have your, your mind gently remapped, then Anatomy of Criticism.Henry: Emma Cline.Brandon: A throwback. I think she's, I think she's Anne Beattie meets John Cheever for a new era. And I think she's amazing. She's perfect. Don't love her first novel. I think her stories are better. She's a short story writer. And she should stay that way.Henry: Okay, now I want you to rank Jane Austen's novels.Brandon: Wait, okay. So like, by my preference, or by like, what I think is the best?Henry: You can do both.Brandon: Okay. So in terms, my favorite, Persuasion. Then Mansfield Park. Sense and Sensibility. Pride and Prejudice. And then Emma, then Northanger Abbey. Okay.Henry: Now, how about for which ones are the best?Brandon: Persuasion. Pride and Prejudice. Mansfield Park. Emma,.Sense and Sensibility. Northanger Abbey.Henry: Why do people not like Fanny Price? And what is wrong with them?Brandon: Fanny Price is perfect. Fanny Price, I was just talking to someone about this last night at dinner. Fanny Price, she's perfect. First of all, she is, I don't know why people don't like her. She's like a chronically ill girl who's hot for her cousin and like, has deep thoughts. It seems like she would be the icon of literary Twitter for like a certain kind of person, you know? And I don't know why they don't like her. I think I'm, I am becoming the loudest Mansfield Park apologist on the internet. I think that people don't like Fanny because she's less vivacious than Mary Crawford. And I think that people are afraid to see themselves in Fanny because she seems like she's unfun or whatever. But what they don't realize is that like Fanny Price, Fanny Price has like a moral intelligence and like a moral consciousness. And like Fanny Price is one of the few Austen characters who actually argues directly and literally about the way the world is. Like with multiple people, like the whole, the whole novel is her sort of arguing about, well, cities are this and the country is this. And like, we need Parsons as much as we need party boys. Like, like she's arguing not just about, not just about these things like through the lens of like marriage or like the sort of marriage economy, but like in literal terms, I mean, she is so, she's like a moral philosopher. I love Fanny Price and she's so smart and so sensitive and so, and I guess like maybe it's just that people don't like a character who's kind of at the mercy of others and they view her as passive. When in fact, like a young woman arguing about the way the world should be, like Mary Crawford's, Mary Crawford's like kind of doing the above, not really, not like Fanny. But yeah, I love her. She's amazing. I love Fanny Price. And I also think that people love Margaret Hale from North and South. And I think that when people are saying they hate Fanny Price, what they're picturing is actually how Margaret Hale is. Margaret Hale is one of the worst heroines of a novel. She's so insufferable. She's so rude. She's so condescending. And like, she does get her comeuppance and like Gaskell does sort of bring about a transformation where she's actually able to sort of like see poor people as people first and not like subjects of sympathy. But Margaret is what people imagine Fanny is, I think. And we should, we should start a Fanny Price, like booster club. Henry, should we? Let's do it. It begins here. I just feel so strongly about her. I feel, I love, I love Fanny.Henry: She's my favorite of Austen's characters. And I think she is the most representative Austen character. She's the most Austen of all of them, right?Brandon: Yeah, I mean, that makes great deal of sense to me. She's just so wonderful. Like she's so funny and so observant. And she's like this quiet little girl who's like kind of sickly and people don't really like her. And she's kind of maybe I'm just like, maybe I just like see myself in her. And I don't mind being a sort of annoying little person who's going around the world.Henry: What are some good principles for naming literary characters?Brandon: Ooh, I have a lot of strong feelings about this. I think that names should be memorable. They should have like, like an aura of sort of literariness about them. I don't mean, I mean, taken to like hilarious extremes. It's like Henry James. Catherine Goodwood, Isabelle Archer, Ralph Touchett, like, you know, Henry had a stack pole. So like, not like that. But I mean, that could be fun in a modern way. But I think there's like an aura of like, it's a name that you might hear in real life, but it sort of add or remove, it's sort of charged and elevated, sort of like with dialogue. And that it's like a memorable thing that sort of like, you know, it's like, you know, memorable thing that sort of sticks in the reader's mind. It is both a name, a literary, a good literary name is both a part of this world and not of this world, I think. And, yeah, and I love that. I think like, don't give your character a name like you hear all the time. Like, Tyler is a terrible literary name. Like, no novel has ever, no good novel has ever had a really important character named Tyler in it. It just hasn't. Ryan? What makes a good sentence? Well, my sort of like, live and let live answer is that a good sentence is a sentence that is perfectly suited to the purpose it has. But I don't know, I like a clear sentence, regardless of length or lyric intensity, but just like a clear sentence that articulates something. I like a sentence with motion, a sense of rhythm, a sense of feel without any bad words in it. And I don't mean like curse words, I mean like words that shouldn't be in literature. Like, there's some words that just like don't belong in novels.Henry: Like what?Brandon: Squelch. Like, I don't think the word squelch should be in a novel. That's a gross word and it doesn't sound literary to me. I don't want to see it.Henry: I wouldn't be surprised if it was in Ulysses.Brandon: Well, yes.Henry: I have no idea, but I'm sure, I'm sure.Brandon: But so few of us are James Joyce. And that novel is like a thousand bodily functions per page. But don't love it. Don't love it.Henry: You don't love Ulysses?Brandon: No, I don't… Listen, I don't have a strong opinion, but you're not going to get me cancelled about Ulysses. I'm not Virginia Woolf.Henry: We're happy to have opinions of that nature here. That's fine.Brandon: You know, I don't have a strong feeling about it, actually. Some parts of it that I've read are really wonderful. And some parts of it that I have read are really dense and confusing to me. I haven't sort of given it the time it needs or deserves. What did you learn from reading Toni Morris? What did I learn? I think I learned a lot about the moral force of melodrama. I think that she shows us a lot about the uses of melodrama and how it isn't just like a lesion of realism, that it isn't just a sort of malfunctioning realism, but that there are certain experiences and certain lives and certain things that require and necessitate melodrama. And when deployed, it's not tacky or distasteful that it actually is like deeply necessary. And also just like the joy of access and language, like the sort of... Her language is so towering. I don't know, whenever I'm being really shy about a sentence being too vivid or too much, I'm like, well, Toni Morrison would just go for it. And I am not Toni Morrison, but she has given me the courage to try.Henry: What did you like about the Annette Benning film of The Seagull?Brandon: The moment when Annette Benning sings Dark Eyes is so good. It's so good. I think about it all the time. And indeed, I stole that moment for a short story that I wrote. And I liked that part of it. I liked the set design. I think also Saoirse Ronan, when she gives that speech as Nina, where she's like, you know, where the guy's like, what do you want from, you know, what do you want? Why do you want to be an actress? And she's like, I want fame. You know, like, I want to be totally adored. And I'm just like, yeah, that's so real. That's so, that is so real. Like Chekhov has understood something so deep, so deep about the nature of commerce and art there. And I think Saoirse is really wonderful in that movie. It's a not, it's not a good movie. It's maybe not even a good adaptation of The Seagull. But I really enjoyed it. I saw it like five times in a theater in Iowa City.Henry: I don't know if it's a bad adaptation of The Seagull, because it's one of the, it's one of the Chekhov's I've seen that actually understands that, like, the tragic and the and the comic are not meant to be easily distinguishable in his work. And it does have all this lightheartedness. And it is quite funny. And I was like, well, at least someone's doing that because I'm so sick of, like, gloomy Chekhov. You know what I mean? Like, oh, the clouds and the misery. Like, no, he wants you, he wants you to laugh and then be like, I shouldn't laugh because it's kind of tragic, but it's also just funny.Brandon: Yeah. Yes, I mean, all the moments were like, like Annette Bening's characters, like endless stories, like she's just like constantly unfurling a story and a story and a story and a story. Every scene kind of was like, she's in the middle of telling another interminable anecdote. And of course, the sort of big tragic turn at the end is like, where like, Kostya kills himself. And she's like, in the middle of like, another really long anecdote while they're in the other room playing cards. Like, it's so, it's so good. So I love that. I enjoy watching that movie. I still think it's maybe not. It's a little wooden, like as a movie, like it's a little, it's a little rickety.Henry: Oh, sure, sure, sure, sure. But for someone looking to like, get a handle on Chekhov, it's actually a good place to go. What is the best make of Fountain Pen?Brandon: That's a really good, that's a really, really, really good question. Like, what's your Desert Island Fountain Pen? My Desert Island Fountain Pen. Right now, it's an Esterbrook Estee with a needlepoint nib. It's like, so, I can use that pen for hours and hours and hours and hours. I think my favorite Fountain Pen, though, is probably the Pilot Custom 743. It's a really good pen, not too big, not too small. It can hold a ton of ink, really wonderful. I use, I think, like a Soft Fine nib, incredible nib, so smooth. Like, I, you could cap it and then uncap it a month later, and it just like starts immediately. It's amazing. And it's not too expensive.Henry: Brandon Taylor, thank you very much.Brandon: Thanks for having me. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.commonreader.co.uk/subscribe

Send us a textIn this episode, Hillary sits down with Alli Matthews, a physician assistant in Wedgwood's Outpatient Psychiatry Program. They discuss the vital role psychiatry plays in mental health care, how it complements therapy, and the personalized approach she takes when it comes to individual treatment. Alli addresses common misconceptions about mental health diagnoses and medications, providing helpful examples. Whether you're curious about how psychiatry works, seeking clarity on mental health treatments, or looking for hope and encouragement, this episode offers both practical information and compassionate support!For more information on the podcast, please visit: https://www.wedgwood.org/podcast/To learn more about Psychiatric Services at Wedgwood, please visit: https://www.wedgwood.org/psych-services/For podcast and/or Wedgwood merch, please visit: https://wcb.myprostores.com/Support the showDon't forget to subscribe to stay up-to-date on the latest episodes!

In recent years scientists have researched the phenomenon of Near Death Experiences (NDEs), and now have enough evidence to determine their validity. Dr Orson Wedgwood Ph.D., a medical scientist, walks us through this evidence, including research published up to end of 2023. In addition he discusses the common features reported by those who have experienced NDEs and what the implications are for the long term destiny of each human consciousness, or soul. As well as the positive aspects of NDEs so often described in other books and TV shows, Dr. Wedgwood also discusses the evidence suggesting that only 10-20% of souls survive death, and of those that do, not all are destined to reach heavenly realms. Is “Hell” real too? The good news is that NDE survivors provide us with guidance from their encounters with “God” or other “celestial beings”, on how we might safeguard the health of our souls to enable us to survive earthly death and reach the heavenly realm. It's all about Love. Put simply, reading this book, may prove vital to the eternal destiny of your soul.BioBorn in 1968 and now living in Sussex, England, I have spent my career in science. My undergraduate studies were in chemistry, and my PhD studies were in organic medicinal chemistry, during which I worked in a team that created a molecule that opened the door to a cure for Hepatitis C, as well as treatments for certain cancers, and HIV. In 1999, I began working in the pharmaceutical industry, for the first ten years helping to bring new drugs to market, and for the past ten years working alongside academic clinical investigators in designing, conducting, helping publish and interpreting clinical studies looking into the effects of exciting new compounds in diseases such as HIV, hematological malignancies, obesity, and, most recently, neurological disorders such as narcolepsy and Alzheimer's.As a medical scientist, I have become skilled in understanding, interpreting, and disseminating key findings from complex clinical studies, similar in some ways to the AWARE studies. It is a part of my day job to be able to critique scientific data and understand how design can affect outcomes, among other things. I also write a blog—awareofaware.com—exploring research into NDEs, which follows closely any developments in the AWARE studies. My blog focuses on the clinical data and the science. I also discuss possible “spiritual” implications that come out of the scientific research. In addition, I am the author of DNA: The Elephant in the Lab, a non-fiction book about the origin of life, and I also wrote the novel Deadly Medicine. Both are available in online bookstores.https://orsonw.com/https://www.amzn.com/dp/B08S43B83D/https://awareofaware.co/ https://www.pastliveshypnosis.co.uk/https://www.patreon.com/ourparanormalafterlife

In recent years scientists have researched the phenomenon of Near Death Experiences (NDEs), and now have enough evidence to determine their validity. Dr Orson Wedgwood Ph.D., a medical scientist, walks us through this evidence, including research published up to end of 2023. In addition he discusses the common features reported by those who have experienced NDEs and what the implications are for the long term destiny of each human consciousness, or soul. As well as the positive aspects of NDEs so often described in other books and TV shows, Dr. Wedgwood also discusses the evidence suggesting that only 10-20% of souls survive death, and of those that do, not all are destined to reach heavenly realms. Is “Hell” real too? The good news is that NDE survivors provide us with guidance from their encounters with “God” or other “celestial beings”, on how we might safeguard the health of our souls to enable us to survive earthly death and reach the heavenly realm. It's all about Love. Put simply, reading this book, may prove vital to the eternal destiny of your soul.BioBorn in 1968 and now living in Sussex, England, I have spent my career in science. My undergraduate studies were in chemistry, and my PhD studies were in organic medicinal chemistry, during which I worked in a team that created a molecule that opened the door to a cure for Hepatitis C, as well as treatments for certain cancers, and HIV. In 1999, I began working in the pharmaceutical industry, for the first ten years helping to bring new drugs to market, and for the past ten years working alongside academic clinical investigators in designing, conducting, helping publish and interpreting clinical studies looking into the effects of exciting new compounds in diseases such as HIV, hematological malignancies, obesity, and, most recently, neurological disorders such as narcolepsy and Alzheimer's.As a medical scientist, I have become skilled in understanding, interpreting, and disseminating key findings from complex clinical studies, similar in some ways to the AWARE studies. It is a part of my day job to be able to critique scientific data and understand how design can affect outcomes, among other things. I also write a blog—awareofaware.com—exploring research into NDEs, which follows closely any developments in the AWARE studies. My blog focuses on the clinical data and the science. I also discuss possible “spiritual” implications that come out of the scientific research. In addition, I am the author of DNA: The Elephant in the Lab, a non-fiction book about the origin of life, and I also wrote the novel Deadly Medicine. Both are available in online bookstores.https://orsonw.com/https://www.amzn.com/dp/B08S43B83D/https://awareofaware.co/ https://www.pastliveshypnosis.co.uk/https://www.patreon.com/ourparanormalafterlife

Send us a textUncover the true power of generosity and how it can transform lives—starting with yours.In this special end-of-year episode, Hillary sits down with Brooke, V.P. of Advancement, and Judy, a passionate supporter, to explore the many forms of generosity.Through personal stories, they share how 'giving' goes far beyond monetary gifts. From simple acts of service to moments of kindness and offering your time, discover how even the smallest gestures can create ripples of hope in someone's life.Tune in and be inspired to make a difference!For more information about this podcast, please visit: https://www.wedgwood.org/podcast/For merch, please visit:https://wcb.myprostores.com/Volunteer Opportunities at Wedgwood: https://www.wedgwood.org/get-involved/Your gift today creates hope for tomorrow.​ Make a gift:  https://www.wedgwood.org/share-your-light/Venmo: https://www.venmo.com/wedgwoodcsSupport the showDon't forget to subscribe to stay up-to-date on the latest episodes!

Send us a textHillary sits down with Jacklyn, a clinician at Wedgwood who specializes in trauma, anxiety, and depression. Together, they explore the impact that social media has on mental health, particularly how "compare and despair" patterns can harm self-esteem and lead to anxiety.Jacklyn offers insights on recognizing when comparison becomes unhealthy, along with practical strategies to build a healthier relationship with social media. They also discuss how practicing gratitude can counteract the negative effects of comparison.For more information on the podcast, please visit: https://www.wedgwood.org/podcast/To learn more about Counseling at Wedgwood, please visit: https://www.wedgwood.org/counseling/For podcast and/or Wedgwood merch, please visit: https://wcb.myprostores.com/Support the showDon't forget to subscribe to stay up-to-date on the latest episodes!

Send us a textHillary talks with Emily Nykamp, a therapist within Wedgwood's Counseling Team, about her passion for helping clients—especially kids and teens—find creative ways to overcome challenges, build resilience, and grow.Emily explains burnout as a result of prolonged stress, especially in fields like healthcare, education, and caregiving, where people often feel overworked and undervalued, especially post-pandemic. They discuss recognizing burnout early and managing it through self-reflection, understanding triggers, social connections, and setting work-life boundaries.They also talk about how organizations can support employee well-being by providing mental health resources and a culture that promotes recharging.For more information on the podcast, please visit: https://www.wedgwood.org/podcast/To learn more about Counseling at Wedgwood, please visit: https://www.wedgwood.org/counseling/For podcast and/or Wedgwood merch, please visit: https://wcb.myprostores.com/Support the showDon't forget to subscribe to stay up-to-date on the latest episodes!

Send us a textHillary sits down with LeRae, the Director of Spiritual Formation, to explore the connection between faith and mental health. LeRae shares insights on how spiritual health can enhance mental well-being and offers practical advice for balancing faith with mental health challenges. Together, they discuss how spirituality can help find meaning in both joyful and difficult seasons, the importance of compassion, and how to navigate challenging conversations during stressful times like holidays and elections. Tune in for an enriching conversation that blends faith, emotional intelligence, and self-care strategies.For more information on the podcast, please visit: https://www.wedgwood.org/podcast/To learn more about Wedgwood, please visit: https://www.wedgwood.org/Support the showDon't forget to subscribe to stay up-to-date on the latest episodes!

Send us a textIn this episode, Hillary and Nick Bayer explore the rising trend of substance use disorders among adolescents, focusing particularly on marijuana use. They discuss the environmental and mental health factors contributing to this trend and highlight the importance of addressing these issues to provide effective support for individuals struggling with addiction. The conversation covers the complexities of addiction recovery, including recognizing signs of addiction, addressing underlying issues, and offering ongoing support to prevent relapses. Nick emphasizes that relapse is a common part of the recovery process and underscore the significance of continuous support and interventions. Join us for an insightful discussion on how to support teens through addiction and recovery, with practical tips and strategies for caregivers and community members.For more information on the podcast, please visit: https://https://www.wedgwood.org/podcast/podcast/For more information on Wedgwood's Counseling Services, please visit:https://www.wedgwood.org/counseling/For more information on Wedgwood's substance Use Treatment Services, please visit: https://www.wedgwood.org/substance-use/Support the showDon't forget to subscribe to stay up-to-date on the latest episodes!

Sunday sermons from Church Unlimited.

Send us a textIn this episode, Hillary and Brina Tiemeyer discuss the critical topic of framing suicide as a public health issue. They highlight the importance of using language that de-stigmatizes suicide and providing trauma-informed care. The conversation covers the need for understanding and intervening in suicidal thoughts, particularly among teenagers and adolescents, and emphasizes approaching the topic with empathy and sensitivity. Brina and Hillary address the challenges of discussing suicide and suicide prevention, including the stigma surrounding it, and the importance of open, honest conversations. Tune in for insights on how to approach these difficult conversations and strategies for supporting those who may be struggling with suicidal thoughts.For more information on the podcast, please visit: https://https://www.wedgwood.org/podcast/podcast/For more information on Wedgwood's Counseling Services, please visit:https://www.wedgwood.org/counseling/heFor immediate help if you are in distress or having suicidal thoughts, please call 988 or visit: https://988lifeline.org/Support the showDon't forget to subscribe to stay up-to-date on the latest episodes!

本期小历史节目，我们回到英国工业革命的早期，看企业家如何创造一门流行的消费生意。18世纪初，中国瓷器的秘密开始被欧洲人破解之后。伴随着英国贸易的重心转为茶叶，来自英国的Wedgwood（韦奇伍德）从一个创业作坊，一路发展成为了陶瓷餐具领域的佼佼者。关于这个品牌的创始人Josiah Wedgwood，大不列颠百科全书对他的评价是：“对陶瓷制造的卓越研究，对原料的深入探讨，对劳动力的合理安排，以及对商业组织的远见卓识，使他成为了工业革命的伟大领袖之一。”这个评价并不夸张。一个消费品牌的异常成功，必须依赖产品、生产、营销和利润空间所形成的合力。而Josiah Wedgwood在这四个方面的能力，都没有短板。虽然我们今天戏称他是“十八世纪的乔布斯”，但他的魅力可能比你想象中更强。| 主播 |肖文杰、约小亚| 时间轴 |00:44 关系亲密的达尔文和韦奇伍德家族08:16 让Wedgwood起飞的中英贸易红利14:56 如何在工厂里“让人成为机器”19:21 仿款波特兰花瓶与新古典主义风格24:39 皇室背书与贵族客户32:11 Wedgwood如今走向破产的原因| 延伸资料 |《献给皇帝的礼物》《欲求之物》看理想-从中国出发的全球史第三季：商品、贸易与物质交换Wikipedia-Josiah WedgwoodFT- Wedgwood and the shaping of modern BritainPlanet Money-How To Get A Celebrity Endorsement From The Queen Of EnglandNytimes-They Broke It《商业就是这样》鼓起勇气开设听友群啦。欢迎添加节目同名微信，加入听友群，一起讨论有意思的商业现象。微信号：thatisbiz为了营造更好的讨论环境，我们准备了两个小问题，请在添加微信后回答：1，你最喜欢《商业就是这样》的哪期节目？为什么？2，你希望听到《商业就是这样》聊哪个话题？期待与你交流！| 后期制作 |秋秋| 声音设计 |刘三菜| 收听方式 |你可以通过小宇宙、苹果播客、Spotify、喜马拉雅、网易云音乐、QQ 音乐、荔枝、豆瓣等平台收听节目。| 认识我们 |微信公众号：第一财经 YiMagazine联系我们：thatisbiz@yicai.com

Send us a Text Message.In this episode, Hillary and Gina Boscarino discuss the complex challenges of raising teenagers in the digital age. They discuss the importance of creating safe spaces for teens to talk about the issues they face and offer guidance on navigating social media and technology use. Emphasizing the need for strong relationships with teachers, classmates, and community members, they explore strategies to help teenagers build resilience. The conversation also highlights the importance of educating both parents and children about the dangers of teen substance abuse, including the increased potency of vaping and alcohol, and the role of peer pressure. Tune in for practical tips and insights on supporting teenagers in today's fast-paced, digital world.For more information on the podcast, please visit: https://www.wedgwood.org/podcast/For more information on Wedgwood's Positive Youth Development Program, please visit:https://www.wedgwood.org/services/community-programs/positive-youth-development/Support the Show.Don't forget to subscribe to stay up-to-date on the latest episodes!

This episode is a repost from The Working On Purpose PodcastCapitalism comes in for criticism, despite the fact that this economic system has resulted in substantially increasing global per capita income over the centuries, spurring economic growth and progress. Critics often criticize a kind of Aberrant Capitalism, one that is dominated in their minds by corporations, whose behavior is not always meritorious. But from the earliest times, it was Customer Capitalism, not corporate capitalism, that was the driver of individual prosperity and thriving. Companies such as Wedgwood & Bentley of Wedgwood China fame (founded 1759) set the original precedents by prioritizing customer needs and innovation, laying the foundation for contemporary business practices. The advent of these corporations facilitated large-scale entrepreneurship, promoting innovation and efficient responses to customer demands.Entropy has set into the capitalist system since the founding days, and there is some corporate behavior that needs reform. Dr. Alise Cortez is attentive to these concerns. We discussed the prospects for a revival of customer capitalismResources: Connect with Hunter Hastings on LinkedInConnect with Dr. Alise Cortez on LinkedInThe Value Creators WebsiteHunter Hasting's Blog Dr. Alise Cortez's websites:  Gusto-Now.com and AliseCortez.comShow Notes: 0:00 | Intro3:25 | Capitalism: Bad Rap and the Purpose 08:07 | Standard Oil's Impact on Civilization09:52 | World War: Capitalism in the Next Era14:20 | The Post-War Capitalism: Command and Control19:50 | Period of Financialization 21:05 | Maximising Shareholder Value 22:14 | Government as the Customer 25:35 | The Promise of Customer Capitalism 28:30 | Current Landscape of Customer Capitalism 33:03 | Management Practices of Forward-Thinking Companies: Extremely Flat Organization35:33 | Cross-Functional Teams 37:45 | Short-Term Problem Solving vs. Long-Term Planning 39:50 | Long-Term Stock Exchanges: Role and Contribution40:30 | AI and Middle Management42:24 | Principles Over Rules 43:40 | Customer-Centric Business Models 45:13 | Idea of Subjective Value and Empathy48:37 | Wrap - Up

Send us a Text Message.In this episode, Hillary and Katrina discuss the unique challenges that back-to-school transitions pose for both kids and adults, particularly for children with autism spectrum disorder (ASD). Katrina offers practical tips for helping children prepare, such as communication, preparation, and setting expectations. The discussion emphasizes the importance of empathy, understanding, and support for raising neurodivergent children. They also touch on the need for accommodations in schools to create a welcoming environment for children with ASD. Tune in to learn actionable strategies and insights to make the back-to-school season smoother for everyone involved.For more information on the podcast, please visit: https://www.wedgwood.org/podcast/For more information on Wedgwood's Autism Center for Child Development, please visit:https://www.wedgwood.org/autismcenter/Support the Show.Don't forget to subscribe to stay up-to-date on the latest episodes!

August 3, 2024 - How to address all your insurance needs with Lacey Crickard of Wedgwood Insurance by VOCM

Send us a Text Message.In this episode of "Coffee Break Conversation," Hillary sits down with Asha to discuss the unique challenges faced by diverse communities in accessing mental health care. The conversation emphasizes the importance of cultural sensitivity, education, and community engagement. Asha shares her personal journey of becoming a mental health therapist, shedding light on the specific obstacles encountered by people of color within the foster care system and the mental health field.The discussion dives into the critical role of cultural competence in mental health care and encourages white community members to support mental health services in diverse communities. Tune in to gain valuable insights on how to better understand and address mental health disparities in marginalized communities.For more information on the podcast, please visit: https://www.wedgwood.org/podcast/For more information on Wedgwood's Counseling Services, please visit:https://www.wedgwood.org/counseling/Support the Show.Don't forget to subscribe to stay up-to-date on the latest episodes!

Join Hillary for a special episode of Wedgwood's Coffee Break Conversation as she sits down with Maranda, a beloved figure in the West Michigan community, and long time partner with Wedgwood. In this episode, Maranda shares her experiences and passion for empowering kids and families through her work in local media. With nearly 40 years of experience working for WOODTV8, Maranda discusses the evolving challenges children face today, from cultural shifts to mental health issues, and the importance of genuine communication and connection. We dive into her new initiative, "How's It Really Going?" is bridging the gap between families and essential resources, offering a "digital warehouse" for mental health resources and content. Tune in to hear inspiring stories, valuable insights, and practical tips on how to effectively connect with and support the children in our lives. Grab your coffee or tea, and join us for this meaningful conversation. If you would like to learn more about Wedgwood Christian Services, please visit www.wedgwood.org. Wedgwood's Coffee Break Conversation is available wherever you listen to podcasts. For more information on the podcast, please visit: https://www.wedgwood.org/podcastFor more information on Wedgwood's Counseling Services, please visit: https://www.wedgwood.org/counseling/Maranda's resources and mental health content: https://www.woodtv.com/abc4/maranda/hows-it-really-going/Don't forget to subscribe to stay up-to-date on the latest episodes!

In this episode, Hillary and Asu discuss what seeking professional help for your mental health can look like, the importance of breaking the stigma of therapy, and the benefits of counseling.Asu shares his experience with the cultural differences in mental health from where his family comes from (Rwanda). He also emphasizes that seeking help shows strength, not weakness. If you would like to learn more about Wedgwood Christian Services, please visit https://www.wedgwood.org/counseling/Wedgwood's Coffee Break Conversation is available wherever you listen to podcasts. For more information on the podcast, please visit: https://www.wedgwood.org/podcast/

Once upon a time, a daughter of privilege took her enormous intelligence, unfathomable bravery, and an entire set of Wedgwood china into the uncharted parts of the Middle East, making maps, discoveries and friends along the way. Her work helped pave the way for the establishment of the modern country of Iraq. This episode is brought to you, in part, by these advertisers: Blueland: cleaning products that are better for the planet; 15% off your first order, blueland.com/CHICKS Quince: Beautiful, clothing essentials; free shipping and 365-day returns at Quince.com/CHICKS Factor Meals: 50% off your first box, and 20% off your next month (while subscription is active) use code HC50 at factormeals.com/HC50 Lume Deodorant: Whole body deodorant products; 15% off with code CHICKS at lumedeodorant.com Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode of Coffee Break Conversation, host Hillary sits down with Jason Olvera, a Clinician at Wedgwood. Together they explore the true meaning of self-care. Beyond the buzzword, they discuss practical steps to incorporate self-care into your daily life, as well as how to balance life's demands while prioritizing your mental health. So grab your coffee (or tea) and join us for a meaningful conversation on taking care of yourself.If you would like to learn more about Wedgwood Christian Services, please visit www.wedgwood.orgWedgwood's Coffee Break Conversation is available wherever you listen to podcasts. For more information on the podcast, please visit: https://www.wedgwood.org/podcast/

In this Season 4 Premiere episode of Wedgwood's Coffee Break Conversation, Hillary and Kali discuss the importance of boundaries. Kali, a mental health expert from Wedgwood, emphasizes the unique and vital role boundaries play in personal and professional relationships. Together, they explore the necessity of clear communication, vulnerability, and problem-solving skills in maintaining healthy boundaries.If you would like to learn more about Wedgwood Christian Services, please visit www.wedgwood.orgFor more information on Wedgwood's Coffee Break Conversation, please visit: https://www.wedgwood.org/podcast/

Listen to Michael Fanning and Steve Loevastsu, a seasoned real estate agent starting in 1988 with Windermere Real Estate. Here are the key takeaways from Steve Laevastu: Steve Laevastu is a highly successful and experienced real estate agent who has been with Windermere for over 30 years. He is based out of the Greenwood office and primarily works in the neighborhoods around his home, within a 10-minute drive radius. Key Takeaways: 1. Consistency is key: Steve has been consistently sending out monthly newsletters to the same four neighborhoods (Wedgwood, Hawthorne Hills, Ravenna, and Mont Lake) for over 15-20 years, totaling around 7,500 newsletters per month. This consistent presence in his farm areas has been instrumental in his success. 2. Geographic Farming: Steve believes that geographic farming is the easiest way to make money in the real estate business. By focusing on specific neighborhoods close to his home, he has been able to establish a strong presence and reputation in those areas. 3. Relevant Content: Steve ensures that the content in his newsletters is relevant to the specific neighborhoods he targets. He includes information about local developments, real estate market updates, and happenings in the area, making the newsletters valuable to the recipients. 4. Systems and Templates: Steve emphasizes the importance of creating systems and templates to streamline processes and improve efficiency. He has templates for follow-up emails, letters, and other communications, saving time and ensuring consistency. 5. Focus on Listings: Steve has consciously chosen to focus primarily on listing properties rather than working with buyers. He finds listings to be more efficient and refers buyers to other agents or members of his team. 6. Open to Sharing: Steve is happy to share his knowledge and experience with other agents. He enjoys having lunch and discussing strategies to help others thrive in their real estate business. Contact Information: Steve Laevastu can be reached at 206-226-5300 or via email at sold@windermere.com.

Melancholy Wedgwood (MIT Press, 2024) is an experimental biography of the ceramics entrepreneur Josiah Wedgwood that reveals the tenuous relationship of eighteenth-century England to late-capitalist modernity. It traces the multiple strands in the life of the ceramic entrepreneur Josiah Wedgwood (1730–1795) to propose an alternative view of eighteenth-century England's tenuous relationship to our own lives and times, amid the ruins of late-capitalist modernity. Through intimate vignettes and essays, and in writing at turns funny, sharp, and pensive, Iris Moon chips away at the mythic image of Wedgwood as singular genius, business titan, and benevolent abolitionist, revealing an amorphous, fragile, and perhaps even shattered life. In the process the book goes so far as to dismantle certain entrenched social and economic assumptions, not least that the foundational myths of capitalism might not be quite so rosy after all, and instead induce a feeling that could only be characterized as blue. Iris Moon is Associate Curator in the European Sculpture and Decorative Arts Department at the Metropolitan Museum of Art. She is the author of Luxury after the Terror and coeditor with Richard Taws of Time, Media, and Visuality in Post-Revolutionary France. She teaches at the Cooper Union for the Advancement of Science and Art. Rachel Pafe is a writer and researcher interested in modern Jewish thought, critical theories of mourning, and the boundaries of biographical writing. 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

Melancholy Wedgwood (MIT Press, 2024) is an experimental biography of the ceramics entrepreneur Josiah Wedgwood that reveals the tenuous relationship of eighteenth-century England to late-capitalist modernity. It traces the multiple strands in the life of the ceramic entrepreneur Josiah Wedgwood (1730–1795) to propose an alternative view of eighteenth-century England's tenuous relationship to our own lives and times, amid the ruins of late-capitalist modernity. Through intimate vignettes and essays, and in writing at turns funny, sharp, and pensive, Iris Moon chips away at the mythic image of Wedgwood as singular genius, business titan, and benevolent abolitionist, revealing an amorphous, fragile, and perhaps even shattered life. In the process the book goes so far as to dismantle certain entrenched social and economic assumptions, not least that the foundational myths of capitalism might not be quite so rosy after all, and instead induce a feeling that could only be characterized as blue. Iris Moon is Associate Curator in the European Sculpture and Decorative Arts Department at the Metropolitan Museum of Art. She is the author of Luxury after the Terror and coeditor with Richard Taws of Time, Media, and Visuality in Post-Revolutionary France. She teaches at the Cooper Union for the Advancement of Science and Art. Rachel Pafe is a writer and researcher interested in modern Jewish thought, critical theories of mourning, and the boundaries of biographical writing. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

Melancholy Wedgwood (MIT Press, 2024) is an experimental biography of the ceramics entrepreneur Josiah Wedgwood that reveals the tenuous relationship of eighteenth-century England to late-capitalist modernity. It traces the multiple strands in the life of the ceramic entrepreneur Josiah Wedgwood (1730–1795) to propose an alternative view of eighteenth-century England's tenuous relationship to our own lives and times, amid the ruins of late-capitalist modernity. Through intimate vignettes and essays, and in writing at turns funny, sharp, and pensive, Iris Moon chips away at the mythic image of Wedgwood as singular genius, business titan, and benevolent abolitionist, revealing an amorphous, fragile, and perhaps even shattered life. In the process the book goes so far as to dismantle certain entrenched social and economic assumptions, not least that the foundational myths of capitalism might not be quite so rosy after all, and instead induce a feeling that could only be characterized as blue. Iris Moon is Associate Curator in the European Sculpture and Decorative Arts Department at the Metropolitan Museum of Art. She is the author of Luxury after the Terror and coeditor with Richard Taws of Time, Media, and Visuality in Post-Revolutionary France. She teaches at the Cooper Union for the Advancement of Science and Art. Rachel Pafe is a writer and researcher interested in modern Jewish thought, critical theories of mourning, and the boundaries of biographical writing. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/biography

Melancholy Wedgwood (MIT Press, 2024) is an experimental biography of the ceramics entrepreneur Josiah Wedgwood that reveals the tenuous relationship of eighteenth-century England to late-capitalist modernity. It traces the multiple strands in the life of the ceramic entrepreneur Josiah Wedgwood (1730–1795) to propose an alternative view of eighteenth-century England's tenuous relationship to our own lives and times, amid the ruins of late-capitalist modernity. Through intimate vignettes and essays, and in writing at turns funny, sharp, and pensive, Iris Moon chips away at the mythic image of Wedgwood as singular genius, business titan, and benevolent abolitionist, revealing an amorphous, fragile, and perhaps even shattered life. In the process the book goes so far as to dismantle certain entrenched social and economic assumptions, not least that the foundational myths of capitalism might not be quite so rosy after all, and instead induce a feeling that could only be characterized as blue. Iris Moon is Associate Curator in the European Sculpture and Decorative Arts Department at the Metropolitan Museum of Art. She is the author of Luxury after the Terror and coeditor with Richard Taws of Time, Media, and Visuality in Post-Revolutionary France. She teaches at the Cooper Union for the Advancement of Science and Art. Rachel Pafe is a writer and researcher interested in modern Jewish thought, critical theories of mourning, and the boundaries of biographical writing. Learn more about your ad choices. Visit megaphone.fm/adchoices

Melancholy Wedgwood (MIT Press, 2024) is an experimental biography of the ceramics entrepreneur Josiah Wedgwood that reveals the tenuous relationship of eighteenth-century England to late-capitalist modernity. It traces the multiple strands in the life of the ceramic entrepreneur Josiah Wedgwood (1730–1795) to propose an alternative view of eighteenth-century England's tenuous relationship to our own lives and times, amid the ruins of late-capitalist modernity. Through intimate vignettes and essays, and in writing at turns funny, sharp, and pensive, Iris Moon chips away at the mythic image of Wedgwood as singular genius, business titan, and benevolent abolitionist, revealing an amorphous, fragile, and perhaps even shattered life. In the process the book goes so far as to dismantle certain entrenched social and economic assumptions, not least that the foundational myths of capitalism might not be quite so rosy after all, and instead induce a feeling that could only be characterized as blue. Iris Moon is Associate Curator in the European Sculpture and Decorative Arts Department at the Metropolitan Museum of Art. She is the author of Luxury after the Terror and coeditor with Richard Taws of Time, Media, and Visuality in Post-Revolutionary France. She teaches at the Cooper Union for the Advancement of Science and Art. Rachel Pafe is a writer and researcher interested in modern Jewish thought, critical theories of mourning, and the boundaries of biographical writing. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Melancholy Wedgwood (MIT Press, 2024) is an experimental biography of the ceramics entrepreneur Josiah Wedgwood that reveals the tenuous relationship of eighteenth-century England to late-capitalist modernity. It traces the multiple strands in the life of the ceramic entrepreneur Josiah Wedgwood (1730–1795) to propose an alternative view of eighteenth-century England's tenuous relationship to our own lives and times, amid the ruins of late-capitalist modernity. Through intimate vignettes and essays, and in writing at turns funny, sharp, and pensive, Iris Moon chips away at the mythic image of Wedgwood as singular genius, business titan, and benevolent abolitionist, revealing an amorphous, fragile, and perhaps even shattered life. In the process the book goes so far as to dismantle certain entrenched social and economic assumptions, not least that the foundational myths of capitalism might not be quite so rosy after all, and instead induce a feeling that could only be characterized as blue. Iris Moon is Associate Curator in the European Sculpture and Decorative Arts Department at the Metropolitan Museum of Art. She is the author of Luxury after the Terror and coeditor with Richard Taws of Time, Media, and Visuality in Post-Revolutionary France. She teaches at the Cooper Union for the Advancement of Science and Art. Rachel Pafe is a writer and researcher interested in modern Jewish thought, critical theories of mourning, and the boundaries of biographical writing. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/european-studies

Melancholy Wedgwood (MIT Press, 2024) is an experimental biography of the ceramics entrepreneur Josiah Wedgwood that reveals the tenuous relationship of eighteenth-century England to late-capitalist modernity. It traces the multiple strands in the life of the ceramic entrepreneur Josiah Wedgwood (1730–1795) to propose an alternative view of eighteenth-century England's tenuous relationship to our own lives and times, amid the ruins of late-capitalist modernity. Through intimate vignettes and essays, and in writing at turns funny, sharp, and pensive, Iris Moon chips away at the mythic image of Wedgwood as singular genius, business titan, and benevolent abolitionist, revealing an amorphous, fragile, and perhaps even shattered life. In the process the book goes so far as to dismantle certain entrenched social and economic assumptions, not least that the foundational myths of capitalism might not be quite so rosy after all, and instead induce a feeling that could only be characterized as blue. Iris Moon is Associate Curator in the European Sculpture and Decorative Arts Department at the Metropolitan Museum of Art. She is the author of Luxury after the Terror and coeditor with Richard Taws of Time, Media, and Visuality in Post-Revolutionary France. She teaches at the Cooper Union for the Advancement of Science and Art. Rachel Pafe is a writer and researcher interested in modern Jewish thought, critical theories of mourning, and the boundaries of biographical writing. Learn more about your ad choices. Visit megaphone.fm/adchoices

Melancholy Wedgwood (MIT Press, 2024) is an experimental biography of the ceramics entrepreneur Josiah Wedgwood that reveals the tenuous relationship of eighteenth-century England to late-capitalist modernity. It traces the multiple strands in the life of the ceramic entrepreneur Josiah Wedgwood (1730–1795) to propose an alternative view of eighteenth-century England's tenuous relationship to our own lives and times, amid the ruins of late-capitalist modernity. Through intimate vignettes and essays, and in writing at turns funny, sharp, and pensive, Iris Moon chips away at the mythic image of Wedgwood as singular genius, business titan, and benevolent abolitionist, revealing an amorphous, fragile, and perhaps even shattered life. In the process the book goes so far as to dismantle certain entrenched social and economic assumptions, not least that the foundational myths of capitalism might not be quite so rosy after all, and instead induce a feeling that could only be characterized as blue. Iris Moon is Associate Curator in the European Sculpture and Decorative Arts Department at the Metropolitan Museum of Art. She is the author of Luxury after the Terror and coeditor with Richard Taws of Time, Media, and Visuality in Post-Revolutionary France. She teaches at the Cooper Union for the Advancement of Science and Art. Rachel Pafe is a writer and researcher interested in modern Jewish thought, critical theories of mourning, and the boundaries of biographical writing. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/british-studies

We don't know where you grew up or where you call home, but we're from Stoke-on-Trent. Oatcakes, Port Vale, the friendliest and funniest people on Earth. Northern Soul and the rave scene. Shelleys, Kinetic, and Golden. And, of course, Wedgwood and Brindley. Have you never heard of it? As a kid, we'd tell people we were from Manchester because everyone knows Manchester, and it's cool. But Stoke? Pah. We're ashamed to say we never sang its praises. But what did we know? We left Stoke for Manchester, seeking our fortune. But that was many years ago. And we've recently returned to the area. We see Stoke with fresh eyes now and proudly tell people that's where we're from. Funny enough, we weren't the only ones with this attitude. Stoke has an unfair reputation, which is absurd given its affectionately known as The Potteries – a creative city that creates art from dirt and is now named the World Capital of Ceramics. But despite its incredible industrial heritage, the local and national news just seems to spout negative stories, and everyone talks about its decline. But one person is hoping to change all that. Simon Davies is an industrial and product designer and co-founder of Protect-a-Pet, a company that sells his inventions worldwide, which help protect cats from the risk of free roaming. Si has big ambitions for the city. He is hugely passionate about the region and believes it's on the brink of a resurgence. A rebirth. Fed up with seeing a place in post-industrial decline and driving past derelict buildings each day on his way to work, he and some others have set up a Community Interest Company called The Teapot Factory to bring people together and drive change. He's also behind a 'netwalking' event called the Teapot Tours, the first of which was attended by a few Chamber of Commerce members and some local artists. The idea was to bring together creatives and business people, something Stoke is famous for. The walks are guided by a local history expert and end at a venue with an interesting speaker or poet. We wanted to find out more about a city with so much potential, a proud history, a talented workforce and a network of local creatives determined to make the Potteries legendary once more. This season is proudly sponsored by MPB, the largest global platform for buying, selling, and trading used photo and video equipment. Visit MPB.com to find out more.

ADHD Coach Katherine Sanders Does building habits as someone with ADHD feel like you're herding cats? Join ADHD coach Katherine as she explores a playful, perfectly possible approach to "firing up" productive habits, inspired by the celebrated potter Josiah Wedgwood.You'll discover:Why habit formation is uniquely challenging for ADHD brainsThe power of celebrating small wins and allowing flexibilityUsing tools like AI assistants to design routines tailored for your neurodivergenceReconnecting to your deeper "why" when motivation wanesKatherine shares practical tips like starting tiny, using external cues, and finding meaningful rewards. Her key message?Embrace the journey - even Wedgwood's iconic glazes involved many "failed" experiments.Listen for an energising new perspective on habits and ways to make them stick while honouring your ADHD brain!Connect with Katherine here:WebsiteInstagramTiktokFacebookYoutubeLinkedINThreads Blog post: ADHD & Time 'Agnosia' (blindness): https://lightbulbadhd.com/blog/adhd-time-discounting-blindnessPodcast episode on time: https://pod.fo/e/20b52aLearn more about Josiah Wedgwood and his experiments: https://collections.vam.ac.uk/item/O1715422/trial-tray/My favourite AI tools to play with: this Canva link opens a PDF which you can save and download.Barkley, R. A. (1997). Behavioral inhibition, sustained attention, and executive functions: Constructing a unifying theory of ADHD. Psychological Bulletin, 121(1), 65–94. LinkLangberg, J. M., & Becker, S. P. (2012). Does long-term medication use improve the academic outcomes of youth with attention-deficit/hyperactivity disorder? Clinical Child and Family Psychology Review, 15(3), 215–233. LinkSolanto, M. V. (2018). Cognitive-behavioral therapy for adult ADHD: Targeting executive dysfunction. The Psychiatric Clinics of North America, 41(2), 255–267. LinkToplak, M. E., Connors, L., Shuster, J., Knezevic, B., & Parks, S. (2008). Review of cognitive, cognitive-behavioral, and neural-based interventions for attention-deficit/hyperactivity disorder (ADHD). Clinical Psychology Review, 28(5), 801–823.

Episode 249 of the InGoal Radio Podcast, presented by The Hockey Shop Source for Sports, features the informative return of Dallas Stars goalie Scott Wedgewood.In the feature interviews presented by NHL Sense Arena Wedgewood shares invaluable advice on everything from being a good goalie partner (in his case to Jake Oettinger), the importance of looking off the puck, or "head checks," when to do it and what specifically to look for, as well as invaluable hydration tips to help you avoid excessive weight loss and post game fatigue. Much like his first appearance two summers ago, Wedgewood is an open book as he digs into the details that matter to goalies everywhere in an informative and entertaining manner.In our Parents Segment, presented by GDI USA, we discuss a big question faced by hockey families at this time of year: “Should my goalie play Spring Hockey?”All that, plus a trip to The Hockey Shop Source for Sports for a look at an increasing list of certified cat eye cage options, including some that a few goalie coaches are sending their students in specifically to buy.__________________________In our feature interview Scott Wedgwood mentions nutritionist Angie Asche who he works with and her book Fuel Your Body: How to Cook and Eat for Peak Performance: 77 Simple, Nutritious, Whole-Food Recipes for Every Athlete which can be found here:Canada: https://amzn.to/3xoJLWwUSA: https://amzn.to/3J0iv3m He also refers to Dallas EBUG Chris Dudo posting a video of Wedgwood's head checks - count them for yourself!https://www.tiktok.com/@chrisxdudo/video/7342584041071250730

This week, Eleanor and Martin saunter to Staffordshire, home of Wedgwood china and their first Headless Horseman!After a brief chat about Jack O'Lent and some minor saints with silly names, they proceed on a macabre tour around the history and folklore of Staffordshire, talking about sites like Stafford Castle, Lichfield Cathedral, and Doxey Pool and legends including Jenny Greenteeth, Sauntering Ned, the Mermaid of Morridge, and much more besides. Then it's time for the main event: Eleanor's telling of "The Children of Cannock Chase."The Three Ravens is an English Myth and Folklore podcast hosted by award-winning writers Martin Vaux and Eleanor Conlon.Released on Mondays, each weekly episode focuses on one of England's 39 historic counties, exploring the history, folklore and traditions of the area, from ghosts and mermaids to mythical monsters, half-forgotten heroes, bloody legends, and much, much more. Then, and most importantly, the pair take turns to tell a new version of an ancient story from that county - all before discussing what that tale might mean, where it might have come from, and the truths it reveals about England's hidden past...With Bonus Episodes released on Thursdays (Magic and Medicines about folk remedies and arcane spells, Three Ravens Bestiary about cryptids and mythical creatures, Dying Arts about endangered heritage crafts, and Something Wicked about folkloric true crime from across history) plus a range of exclusive content on Patreon, audio ghost tours, the Three Ravens Newsletter, and monthly Three Ravens Film Club episodes about folk horror films from across the decades, why not join us around the campfire and listen in?Learn more at www.threeravenspodcast.com, join our Patreon at www.patreon.com/threeravenspodcast, and find links to our social media channels here: https://linktr.ee/threeravenspodcast Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

The Narcissist is a cosy crime novel with a gritty edge. When a famous actress is found dead from a gunshot wound in a small town, suspicion falls on her family and friends and it is revealed that there is more than one person who may have wanted Vanessa dead. As the characters close ranks and secrets are revealed, the book builds to a dramatic, action-packed conclusion.

P-Patches launched a modern agricultural movement in the 1970s, sprouting from a small family farm in Wedgwood. Seattle was once full of farms. But as the city developed, land-use regulation and other forces began to push farmers out.  One farming family feeling the squeeze in Seattle in the 1970s helped launch a program that has had a profound impact on the city ever since. A piece of their land became the first of what is now a collection of about 90 public urban gardens, or “P-Patches.” Crosscut's resident historian Knute Berger dug into this history and what it represents in a recent episode of the Mossback's Northwest video series, but there is a lot more left to unearth.  In this episode of Mossback, Berger joins co-host Stephen Hegg to discuss Seattle's early efforts at farm-to-table living, how the rise of supermarkets and other economic forces almost derailed them, the details of the first P-Patch and what these popular gardens now symbolize in an ever-changing city. For more on all things Mossback, visit crosscut.com/mossback. To reach Knute Berger directly, drop him a line at knute.berger@crosscut.com. And if you'd like an exclusive weekly newsletter from Knute, where he offers greater insight into his latest historical discoveries, become a Crosscut member today. --- Credits Hosts: Stephen Hegg, Knute Berger Producer: Seth Halleran Story editors: Sara Bernard and Sarah Menzies

People in Seattle have always cared about trees - we're the Emerald City, after all. One tree in the Wedgwood neighborhood has captured Seattle's attention in recent weeks, enough for vigils, tree sitters, and protests at city council meetings.KUOW Online Managing Editor Isolde Raftery is here to tell us more about Luma the tree, and those determined to keep it standing.And we want to hear from you! Follow us on Instagram at SeattleNowPod, or leave us feedback online: https://www.kuow.org/feedback We can only make Seattle Now because listeners support us. You have the power! Make the show happen by making a gift to KUOW: https://www.kuow.org/donate/seattlenowJoin us for a live taping in August! The conversation is all about Seattle's music scene. Tickets and more info: https://www.eventbrite.com/e/kuows-seattle-now-live-casual-friday-music-in-seattle-fremont-abbey-tickets-574989819027?aff=oddtdtcreator

What's Trending: Lake City car lot is facing repeated theft, Alki residents concerned about safety and it rain a little bit today.LongForm: Aaron Marshall (Seattle cop who is running against Andrew Lewis for city council) tackles the SPD staffing crisis and how he'd handle the tree occupiers in Wedgwood.  Quick Hit: RFK Jr. says he takes more heat in the media than Trump.See omnystudio.com/listener for privacy information.