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In this episode of the Set Lusting Bruce podcast, host Jesse Jackson welcomes back one of his favorite guests, Ken Womack, an English professor and popular music expert from Monmouth University. They dive into a discussion on Bruce Springsteen's iconic song 'Jungleland,' its musical and lyrical depth, and why it stands out as one of Springsteen's most significant works. Womack also shares his experiences with the Born to Run Symposium and other Springsteen-related events he has helped organize. The conversation touches upon recent Springsteen tours, upcoming music projects, and the impressive Monmouth University music program. Join them for an insightful and heartfelt conversation about 'The Boss' and the lasting impact of his music. 01:32 Introducing the Guest: Ken Womack 02:28 Reflecting on the Born to Run Symposium 04:31 Ken Womack's Background and Connection to Springsteen 05:05 Discussing the Bruce Springsteen Center for American Music 06:45 The Unique University Record Label 08:34 Thoughts on the Bruce Springsteen Movie 13:33 Analyzing the Song 'Jungleland' 24:01 The Energy of Live Performances 24:59 Iconic Imagery and American Wasteland 26:21 The Specialness of 'Born to Run' 28:38 Festival Experiences and Preferences 34:29 Anticipating Bruce's Future Projects 37:16 Upcoming Personal Projects 39:48 Final Thoughts and Farewell Learn more about your ad choices. Visit megaphone.fm/adchoices
On the first episode of 2026, I'm joined by On3 Keenan WomackTopics of discussion NBA Draft discussion Darryn Peterson #1? James Nnaji eligibility controversy Can Duke win the Natty?Who is the best team in the country? Plus much more!!My Links https://linktr.ee/OffTheBallPodKeenan Womack Linkshttps://x.com/KeenanWomackSeat Geek promo code OTBall for 20$ off 1st purchase Dubby Energy https://www.dubby.gg/discount/OTBN10?ref=NmHFlYV5ilrJRvBecome a supporter of this podcast: https://www.spreaker.com/podcast/off-the-ball-podcast--5631421/support.
In this episode, Clancy speaks with Dr. Veronica L. Womack, Executive Director of the Rural Studies Institute at Georgia College and Professor of Political Science and Public Administration. A scholar, advocate, and storyteller of the Southern Black Belt, Dr. Womack shares why rural communities, land, and foodways matter deeply, not just to the South, but to the health and dignity of the entire country.
From the end of the American Civil War to the start of World War II, the Protestant missionary movement unintentionally tilled the soil in which American Islamophobia would eventually take root. What ideas did missionaries in Islamic contexts pass on to later generations? How were these ideas connected to centuries-old Protestant discourses about Muslims and gender beginning in the Reformation? And what bearing does this history have on the birth of Islamophobia and on Christian-Muslim dialogue efforts in the US today? In answering these questions, Re-inventing Islam traces the gender constructs that have informed historical Protestant perceptions of Islam, especially in the far-reaching textual, visual, and material influences of the American and British movement for missions to Muslims. This book first considers Protestant discourse about Muslim women and men from the Reformation to the Enlightenment. Then it turns to the colossal archive of literature, images, and cultural objects that missionaries--and particularly missionary women--collected from Islamic contexts and used to inform and motivate their constituents.Anglo-Protestants in the nineteenth and early twentieth centuries perpetually re-invented stereotypes about Muslims and used these negative images to achieve particular Protestant theological and political purposes, including missionary aims. They did so when disseminating gender critiques widely to Protestant men, women, and children. Why did they re-invent Islam? Deanna Ferree Womack argues that they did so to reinforce Protestant theological claims, to justify their evangelistic endeavors, to express both humanitarian concern and Eurocentric views of the world, and to support British and American cultural, economic, and military expansion. Simultaneously, however, this same missionary movement educated its constituents about diverse Islamic cultures, in part by providing humanizing images of Islam. Missionaries also formed personal relationships with Muslims that would open pathways toward formal efforts of Christian-Muslim dialogue after the mid-twentieth century. Americans have inherited all of these legacies. In revisiting this history readers will find new possibilities for building a more open and just future. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history
From the end of the American Civil War to the start of World War II, the Protestant missionary movement unintentionally tilled the soil in which American Islamophobia would eventually take root. What ideas did missionaries in Islamic contexts pass on to later generations? How were these ideas connected to centuries-old Protestant discourses about Muslims and gender beginning in the Reformation? And what bearing does this history have on the birth of Islamophobia and on Christian-Muslim dialogue efforts in the US today? In answering these questions, Re-inventing Islam traces the gender constructs that have informed historical Protestant perceptions of Islam, especially in the far-reaching textual, visual, and material influences of the American and British movement for missions to Muslims. This book first considers Protestant discourse about Muslim women and men from the Reformation to the Enlightenment. Then it turns to the colossal archive of literature, images, and cultural objects that missionaries--and particularly missionary women--collected from Islamic contexts and used to inform and motivate their constituents.Anglo-Protestants in the nineteenth and early twentieth centuries perpetually re-invented stereotypes about Muslims and used these negative images to achieve particular Protestant theological and political purposes, including missionary aims. They did so when disseminating gender critiques widely to Protestant men, women, and children. Why did they re-invent Islam? Deanna Ferree Womack argues that they did so to reinforce Protestant theological claims, to justify their evangelistic endeavors, to express both humanitarian concern and Eurocentric views of the world, and to support British and American cultural, economic, and military expansion. Simultaneously, however, this same missionary movement educated its constituents about diverse Islamic cultures, in part by providing humanizing images of Islam. Missionaries also formed personal relationships with Muslims that would open pathways toward formal efforts of Christian-Muslim dialogue after the mid-twentieth century. Americans have inherited all of these legacies. In revisiting this history readers will find new possibilities for building a more open and just future. 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
From the end of the American Civil War to the start of World War II, the Protestant missionary movement unintentionally tilled the soil in which American Islamophobia would eventually take root. What ideas did missionaries in Islamic contexts pass on to later generations? How were these ideas connected to centuries-old Protestant discourses about Muslims and gender beginning in the Reformation? And what bearing does this history have on the birth of Islamophobia and on Christian-Muslim dialogue efforts in the US today? In answering these questions, Re-inventing Islam traces the gender constructs that have informed historical Protestant perceptions of Islam, especially in the far-reaching textual, visual, and material influences of the American and British movement for missions to Muslims. This book first considers Protestant discourse about Muslim women and men from the Reformation to the Enlightenment. Then it turns to the colossal archive of literature, images, and cultural objects that missionaries--and particularly missionary women--collected from Islamic contexts and used to inform and motivate their constituents.Anglo-Protestants in the nineteenth and early twentieth centuries perpetually re-invented stereotypes about Muslims and used these negative images to achieve particular Protestant theological and political purposes, including missionary aims. They did so when disseminating gender critiques widely to Protestant men, women, and children. Why did they re-invent Islam? Deanna Ferree Womack argues that they did so to reinforce Protestant theological claims, to justify their evangelistic endeavors, to express both humanitarian concern and Eurocentric views of the world, and to support British and American cultural, economic, and military expansion. Simultaneously, however, this same missionary movement educated its constituents about diverse Islamic cultures, in part by providing humanizing images of Islam. Missionaries also formed personal relationships with Muslims that would open pathways toward formal efforts of Christian-Muslim dialogue after the mid-twentieth century. Americans have inherited all of these legacies. In revisiting this history readers will find new possibilities for building a more open and just future. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/islamic-studies
From the end of the American Civil War to the start of World War II, the Protestant missionary movement unintentionally tilled the soil in which American Islamophobia would eventually take root. What ideas did missionaries in Islamic contexts pass on to later generations? How were these ideas connected to centuries-old Protestant discourses about Muslims and gender beginning in the Reformation? And what bearing does this history have on the birth of Islamophobia and on Christian-Muslim dialogue efforts in the US today? In answering these questions, Re-inventing Islam traces the gender constructs that have informed historical Protestant perceptions of Islam, especially in the far-reaching textual, visual, and material influences of the American and British movement for missions to Muslims. This book first considers Protestant discourse about Muslim women and men from the Reformation to the Enlightenment. Then it turns to the colossal archive of literature, images, and cultural objects that missionaries--and particularly missionary women--collected from Islamic contexts and used to inform and motivate their constituents.Anglo-Protestants in the nineteenth and early twentieth centuries perpetually re-invented stereotypes about Muslims and used these negative images to achieve particular Protestant theological and political purposes, including missionary aims. They did so when disseminating gender critiques widely to Protestant men, women, and children. Why did they re-invent Islam? Deanna Ferree Womack argues that they did so to reinforce Protestant theological claims, to justify their evangelistic endeavors, to express both humanitarian concern and Eurocentric views of the world, and to support British and American cultural, economic, and military expansion. Simultaneously, however, this same missionary movement educated its constituents about diverse Islamic cultures, in part by providing humanizing images of Islam. Missionaries also formed personal relationships with Muslims that would open pathways toward formal efforts of Christian-Muslim dialogue after the mid-twentieth century. Americans have inherited all of these legacies. In revisiting this history readers will find new possibilities for building a more open and just future. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/religion
From the end of the American Civil War to the start of World War II, the Protestant missionary movement unintentionally tilled the soil in which American Islamophobia would eventually take root. What ideas did missionaries in Islamic contexts pass on to later generations? How were these ideas connected to centuries-old Protestant discourses about Muslims and gender beginning in the Reformation? And what bearing does this history have on the birth of Islamophobia and on Christian-Muslim dialogue efforts in the US today? In answering these questions, Re-inventing Islam traces the gender constructs that have informed historical Protestant perceptions of Islam, especially in the far-reaching textual, visual, and material influences of the American and British movement for missions to Muslims. This book first considers Protestant discourse about Muslim women and men from the Reformation to the Enlightenment. Then it turns to the colossal archive of literature, images, and cultural objects that missionaries--and particularly missionary women--collected from Islamic contexts and used to inform and motivate their constituents.Anglo-Protestants in the nineteenth and early twentieth centuries perpetually re-invented stereotypes about Muslims and used these negative images to achieve particular Protestant theological and political purposes, including missionary aims. They did so when disseminating gender critiques widely to Protestant men, women, and children. Why did they re-invent Islam? Deanna Ferree Womack argues that they did so to reinforce Protestant theological claims, to justify their evangelistic endeavors, to express both humanitarian concern and Eurocentric views of the world, and to support British and American cultural, economic, and military expansion. Simultaneously, however, this same missionary movement educated its constituents about diverse Islamic cultures, in part by providing humanizing images of Islam. Missionaries also formed personal relationships with Muslims that would open pathways toward formal efforts of Christian-Muslim dialogue after the mid-twentieth century. Americans have inherited all of these legacies. In revisiting this history readers will find new possibilities for building a more open and just future. Learn more about your ad choices. Visit megaphone.fm/adchoices
From the end of the American Civil War to the start of World War II, the Protestant missionary movement unintentionally tilled the soil in which American Islamophobia would eventually take root. What ideas did missionaries in Islamic contexts pass on to later generations? How were these ideas connected to centuries-old Protestant discourses about Muslims and gender beginning in the Reformation? And what bearing does this history have on the birth of Islamophobia and on Christian-Muslim dialogue efforts in the US today? In answering these questions, Re-inventing Islam traces the gender constructs that have informed historical Protestant perceptions of Islam, especially in the far-reaching textual, visual, and material influences of the American and British movement for missions to Muslims. This book first considers Protestant discourse about Muslim women and men from the Reformation to the Enlightenment. Then it turns to the colossal archive of literature, images, and cultural objects that missionaries--and particularly missionary women--collected from Islamic contexts and used to inform and motivate their constituents.Anglo-Protestants in the nineteenth and early twentieth centuries perpetually re-invented stereotypes about Muslims and used these negative images to achieve particular Protestant theological and political purposes, including missionary aims. They did so when disseminating gender critiques widely to Protestant men, women, and children. Why did they re-invent Islam? Deanna Ferree Womack argues that they did so to reinforce Protestant theological claims, to justify their evangelistic endeavors, to express both humanitarian concern and Eurocentric views of the world, and to support British and American cultural, economic, and military expansion. Simultaneously, however, this same missionary movement educated its constituents about diverse Islamic cultures, in part by providing humanizing images of Islam. Missionaries also formed personal relationships with Muslims that would open pathways toward formal efforts of Christian-Muslim dialogue after the mid-twentieth century. Americans have inherited all of these legacies. In revisiting this history readers will find new possibilities for building a more open and just future. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/christian-studies
From the end of the American Civil War to the start of World War II, the Protestant missionary movement unintentionally tilled the soil in which American Islamophobia would eventually take root. What ideas did missionaries in Islamic contexts pass on to later generations? How were these ideas connected to centuries-old Protestant discourses about Muslims and gender beginning in the Reformation? And what bearing does this history have on the birth of Islamophobia and on Christian-Muslim dialogue efforts in the US today? In answering these questions, Re-inventing Islam traces the gender constructs that have informed historical Protestant perceptions of Islam, especially in the far-reaching textual, visual, and material influences of the American and British movement for missions to Muslims. This book first considers Protestant discourse about Muslim women and men from the Reformation to the Enlightenment. Then it turns to the colossal archive of literature, images, and cultural objects that missionaries--and particularly missionary women--collected from Islamic contexts and used to inform and motivate their constituents.Anglo-Protestants in the nineteenth and early twentieth centuries perpetually re-invented stereotypes about Muslims and used these negative images to achieve particular Protestant theological and political purposes, including missionary aims. They did so when disseminating gender critiques widely to Protestant men, women, and children. Why did they re-invent Islam? Deanna Ferree Womack argues that they did so to reinforce Protestant theological claims, to justify their evangelistic endeavors, to express both humanitarian concern and Eurocentric views of the world, and to support British and American cultural, economic, and military expansion. Simultaneously, however, this same missionary movement educated its constituents about diverse Islamic cultures, in part by providing humanizing images of Islam. Missionaries also formed personal relationships with Muslims that would open pathways toward formal efforts of Christian-Muslim dialogue after the mid-twentieth century. Americans have inherited all of these legacies. In revisiting this history readers will find new possibilities for building a more open and just future.
If you've ever struggled to stay consistent in your Bible reading or found yourself feeling bored during quiet time — this episode is for you. Today, I sit down with Faith Womack, known online as The Bible Nerd, to talk about how studying God's Word can actually be exciting, life-giving, and deeply transformative when we approach it the right way. Together we unpack: - Why so many Christians feel stuck or unmotivated in their Bible study - How to make Scripture come alive through context, hermeneutics, and literary forms - The biggest mistake we make when reading the Bible - How culture has shaped (and sometimes distorted) how we study Scripture - Practical steps to feel re-energized in your Bible study starting today If you've been craving a deeper connection to God's Word, this conversation will help you rediscover the joy and awe of studying Scripture. ✨ Resources Mentioned: Get Faith's Book: https://amzn.to/47HYkmR Christmas Gift Guide: https://tinyurl.com/3c7mw3am Get 15% off Hosanna Revival using code SHELIVESPURPOSEFULLY: https://hosannarevival.com/shelivespurposefully Get 10% off The Daily Grace Co. using code MEGANHOLMES10 https://thedailygraceco.com?dt_id=293954 Toddler Quiet Time: https://tinyurl.com/5n74w92u NIV Application Bible: https://tinyurl.com/SLPNIVAppBible Use code SLP at Antique Candle Co.: https://tinyurl.com/SLPAntiqueCandle Please donate today at MercyShips.org/podcast Visit OmahaSteaks.com for 50% off sitewide during their Sizzle All the Way Sale. And for an extra $35 off, use promo code FUN at checkout. The Wild Invite: https://tinyurl.com/SLPWildInvite Faith Womack, The Bible Nerd, Bible study motivation, how to study the Bible, hermeneutics explained, Christian women Bible study, reading the Bible effectively, overcoming Bible study burnout, understanding Scripture, practical Bible study tips, Christian podcast for women, Bible nerd podcast guest, studying God's Word, Bible context, literary forms in the Bible, spiritual growth for women, faith encouragement #FaithWomack #TheBibleNerd #BibleStudy #ChristianWomen #ScriptureStudy #FaithPodcast #SheLivesPurposefully Learn more about your ad choices. Visit megaphone.fm/adchoices
What if knowing yourself is the most sacred work you'll ever do? In this episode, we slow things down and explore the power of where you place your focus and how that choice shapes the life you're living. My guest, Marcellus Womack, shares his “One Thing” model, a simple yet profound way to clarify what truly matters most and begin taking meaningful steps toward it before time slips by. Together, we talk about optimism, not as forced positivity, but as a gentle practice rooted in awareness, empathy, and truth. We hold space for those who have lived through deep struggle, and we explore how hope can coexist with pain without dismissing it. This conversation is an invitation to reflect, to get honest about what brings you happiness, and to reconnect with the quiet wisdom already within you. It's not about having all the answers, it's about asking better questions and learning to listen to yourself again. If you've been craving clarity, meaning, or a softer way to approach growth, this episode is for you. Connect and learn more about Marcellus' work here: https://www.thesavagematrix.com/
Tank Spencer and Chris Womack, Sports Director at News 13, catch up on the College Football Playoff. The 1st Round has two games we expect to be competitive. Can Alabama turn things around and finish strong, or will Oklahoma beat them a 3rd time in barely over a calendar year? The Miami Hurricanes face Texas A&M in the other. Also, The Carolina Panthers have a chance at the playoffs and Puka Nacua accuses the refs of making up penalties to get on TV.
Tasheena Womack teaches us how to break free from perfectionism, reframe failure and build the kind of mindset that makes you unstoppable. Tasheena founded Simply Tasheena in 2011 as a lifestyle blog that has since partnered with major brands including Disney, Goya®, Hilton, Mazda, and Kodak. With a Master's degree in Organizational Management and Leadership, she has built multiple successful ventures and spoken at over 100 organizations throughout the tri-state area. Tasheena specializes in helping entrepreneurs develop the mindset strategies needed to transform creative passions into sustainable businesses. She strives to empower others with practical tools for entrepreneurial success and personal growth. Tasheena talks about shifting out of fear, treating mistakes as data, creating an evidence file, and taking bold action without waiting for things to be perfect. If you have felt stuck, hesitant or discouraged lately, this episode will clear that fog fast. It is the kind of mindset reset that changes how you move. Key points discussed include: Action beats perfection and waiting for ideal conditions stalls your entire business. Failure is just information and every misstep teaches you the next right move. An evidence file keeps you grounded on the days you doubt your own progress. Simple steps create momentum so do one thing and let the next unfold. Comparison becomes strategy when you use it for learning instead of judgment. Your voice builds your community so show your face, speak on camera and share your real life. Opportunities expand when you negotiate and brands often mirror your confidence. The best is always ahead and your job is simply to keep showing up. Connect with Tasheena Womack Website | Instagram
There's a difference between loving the Bible and learning how to read it. For many, study has felt complicated, clinical, or—worst of all—boring. Some of us were discipled by personalities instead of passages; others learned to chase quick application while skipping context. This week on Win Today, Faith Womack, author of No More Boring Bible Study, joins me to rediscover a way of reading Scripture that is honest, thoughtful, and engaging. We wrestle with tension instead of flattening it; we name the mistakes that teachers and pastors often make, and we rebuild a faithful hermeneutic that carries you from observation to interpretation to application without distorting the text. If you've wanted easy methods, renewed energy for the grand story, and a path to encounter the Lord in the Word—not just opinions about the Word—this conversation is your on-ramp. Guest Bio Faith Womack is the author of No More Boring Bible Study: Why Taking Scripture Seriously Is Easier—and More Exciting—Than You Think and the creator behind Bible Nerd Ministries. Her work translates serious hermeneutics into clear, repeatable practices for everyday disciples. Today isn't about academic showmanship; it's about putting tools in your hands so you can read what's there and be formed by it. Show Partner SafeSleeve designs a phone case that blocks up to 99% of harmful EMF radiation—so I'm not carrying that kind of exposure next to my body all day. It's sleek, durable, and most importantly, lab-tested by third parties. The results aren't hidden—they're published right on their site. And that matters, because a lot of so-called EMF blockers on the market either don't work or can't prove they do. We protect our hearts and minds—why wouldn't we protect our bodies too? Head to safesleevecases.com and use the code WINTODAY10 for 10% off your order. Episode Links Show Notes Buy my NEW BOOK "Healing What You Can't Erase" here! Invite me to speak at your church or event. Connect with me @WINTODAYChris on Instagram, Facebook, Twitter, and YouTube.
During the Christmas season, it's easy to focus on what we give and receive—but do we truly understand the Source of every good gift? In this special Charis Chapel service, Andrew Wommack shares a powerful key to biblical prosperity: living as a faithful steward of what God has placed in our hands. This timely message will encourage you to celebrate Christmas with a deeper awareness and appreciation of God's provision and love toward you! For more resources and to view our upcoming conferences and events: www.charisbiblecollege.org.
Presented by Pearl River Resort. Visit PearlRiverResort.com today! Learn more about your ad choices. Visit megaphone.fm/adchoices
Presented by Pearl River Resort. Visit PearlRiverResort.com today! Learn more about your ad choices. Visit megaphone.fm/adchoices
In this episode, I'm joined by Faith Womack, known to many as Bible Nerd Ministries, for a deeply refreshing conversation on how to read Scripture with clarity, curiosity, and joy. Faith shares her own story of growing up with mishandled and misapplied Bible teaching, and how learning the basics of hermeneutics transformed everything for her. We talk about context, genre, the big story of God's redemption, why so many of us default to reading ourselves into the text, and how Scripture becomes truly alive when we allow it to reveal who God is rather than simply serve our needs. If you've ever felt bored, intimidated, confused, or stuck in your Bible reading, this episode is a hopeful path back toward awe, depth, and worship. And as Faith reminds us, understanding the Word isn't reserved for scholars, it's an invitation extended to every follower of Jesus.Faith Womack is the founder of Bible Nerd Ministries and a content creator who aims to inspire Christians to get back into the Word of God. Her courses, including “Bible Study Bootcamp” and “Theology Bootcamp,” have reached thousands, and her Bible study content has reached over 10 million people on Instagram, TikTok and YouTube. Faith aims to empower Christians not only to understand the Bible but also to enjoy it. Her debut book, No More Boring Bible Study: Why Taking Scripture Seriously Is Easier and More Exciting Than You Think releases from Zondervan in November 2025. Faith has a B.A. in biblical and theological studies from Covenant College and a M.A.T.S. from Erskine Seminary. When she's not filming or teaching, Faith spends her time with her family going on hikes, crafting and drinking way too much coffee. Faith's Book:No More Boring Bible StudyFaith's Recommendation:The Incarnate Christ and His CriticsConnect with Joshua: jjohnson@shiftingculturepodcast.comGo to www.shiftingculturepodcast.com to interact and donate. Every donation helps to produce more podcasts for you to enjoy.Follow on Facebook, Instagram, Twitter, Threads, Bluesky or YouTubeConsider Giving to the podcast and to the ministry that my wife and I do around the world. Just click on the support the show link below Contact me to advertise: jjohnson@shiftingculturepodcast.com Support the show
On this week's Spectator Out Loud: William Atkinson reveals his teenage brush with a micropenis; Andreas Roth bemoans the dumbing down of German education; Philip Womack wonders how the hyphen turned political; Mary Wakefield questions the latest AI horror story – digitising dead relatives; and, Muriel Zagha celebrates Powell & Pressburger's I Know Where I'm Going!Produced and presented by Patrick Gibbons. Hosted on Acast. See acast.com/privacy for more information.
On this week's Spectator Out Loud: William Atkinson reveals his teenage brush with a micropenis; Andreas Roth bemoans the dumbing down of German education; Philip Womack wonders how the hyphen turned political; Mary Wakefield questions the latest AI horror story – digitising dead relatives; and, Muriel Zagha celebrates Powell & Pressburger's I Know Where I'm Going!Produced and presented by Patrick Gibbons.Become a Spectator subscriber today to access this podcast without adverts. Go to spectator.co.uk/adfree to find out more.For more Spectator podcasts, go to spectator.co.uk/podcasts. Contact us: podcast@spectator.co.uk Hosted on Acast. See acast.com/privacy for more information.
Understanding Scripture doesn't have to feel confusing, dull, or out of reach. In this episode, Faith Womack invites us to rethink how we read the Bible—not as a book about us, but as God's story of redemption and revelation. Because when we stop hunting for quick personal answers and start looking for who God is, everything changes.Check out Faith's new book, No More Boring Bible Study, out now!Scripture referenced:Exodus 34:6-7Philippians 4:13Faith's favorite Bible study tools:ESV Bible | NIV Bible | NET Bible | Fine-tip pens | Colored pencils About Faith:Website | YouTube | InstagramGot a question or something on your heart? We'd love to hear it! Drop us a note — your feedback helps us create episodes that truly encourage and inspire.
Today's Song of the Day is “I Just Don't Want You (To Say Goodbye)” by The Womack Sisters.
Has the Bible ever felt kind of boring to you? Or did studying it ever feel kind of unapproachable? Maybe you've even doubted yourself because it seems like your Pastor knows what's up, and you can barely make out what a verse is saying! Fear not, my friends, because Bible Teacher and author Faith Womack is joining me to give Bible study tips and tricks that have helped her become the theologian she is today! CHECK OUT FAITH'S BOOK: https://a.co/d/i3FhKnT ORDER MY BOOK HERE: https://a.co/d/0vE5Cji PRINT OUT MY FREE "SHAME CYCLE WORKSHEET" HERE: https://kirbykelly.myflodesk.com/shamecycleworksheet CHECK OUT MY FREE RESOURCES: https://kirbykelly.myflodesk.com/kirbykelly For 10% off of Faithful Counseling, and to start your healing journey today, go to: https://www.faithfulcounseling.com/kirbykelly To sponsor a child in need alongside me with Compassion International, go to: https://www.compassion.com/kirbyisaboss Support the ministry!: https://kirby-kelly.com/checkout/donate?donatePageId=5d23856d41ec3a0001234376 Discover more Christian podcasts at lifeaudio.com and inquire about advertising opportunities at lifeaudio.com/contact-us.
The Creativity, Education, and Leadership Podcast with Ben Guest
They put in their cover letter, “Honestly, we're just gonna go up to Yellowstone around that time and we would love to swing by and show the movie.”Rudi Womack is the Director of the Wyoming International Film Festival and the creator of the YouTube channel The Film Festival Guide.In this conversation, Rudi talks about:* What watching thousands of film festival submissions has taught him about good storytelling* The biggest mistake filmmakers make when they submit to festivals* Why transparency matters and why he published all of the submission and acceptance stats for the Wyoming International Film Festival * The importance of a compelling poster and thumbnail* How to write a good description of your movie* The most important questions filmmakers must askHere is a link to Hiike, the new film festival submission platform that Rudi mentioned.If you enjoyed this episode please forward to a friend.Here is an AI-generated transcript of my interview with Rudi. Don't come for me.79. Film Festival Director Rudi WomackBEN: Hi everyone. This is Ben Guest and this is The Creativity Education and Leadership Podcast. My guest today is Rudy Womack, who is the director of the Wyoming International Film Festival, and also Rudy has a fantastic YouTube page called The Film Festival Guide. So for all my filmmakers out there who are interested in submitting to festivals in this interview and on Rudy's YouTube page, he breaks it down. Enjoy.Rudi, thank you so much for joining us.RUDI: Hey, it's my pleasure to be here. Thank you for having me.BEN: So I always start off with a fun question, and we're entering the holiday season, so very important holiday question. Is Die Hard a Christmas movie?RUDI: Absolutely. A hundred percent. Come on.BEN: I love it. So I, I told you this off Air, I found you through the Rate YouTube channel.You have the Film Festival Guide. Is that the right name? I wanna make sure I get the name right. Yeah. The filmRUDI: festival guide. Yep.BEN: On YouTube Film Festival Guide on YouTube. Please. Any filmmakers out there go and subscribe. The information is so helpful. What, why did you start the this YouTube page?RUDI: I, as a filmmaker have gone through the festival circuit several times and I made a lot of amateur mistakes. I didn't know what I was doing. Definitely fell on my face a couple of times, but I also had some successes. And as I did more film festivals, I started learning more about the circuit.I got invited by a film festival to become a programmer, and so I started reviewing a lot of films and seeing a lot of the submissions. And I think instantly that made me a better filmmaker just because I saw what was working, what wasn't working, and how other filmmakers really brought to, brought their stories to life on the screen.And it, it was truly inspirational. Very long story short, the Wyoming International Film Festival was started by a gentleman named Alan Oi, and he's a, he's a documentarian out of Wyoming, which is where I'm from. I'm from Wyoming. So Alan had the film festival and he had run it for some years and it was going great and everything.But then Alan retired and now he's retiring. He wants to move outta Wyoming and he doesn't wanna run a live event. ‘cause it is a lot of work in his words. And I quote, it's a young man's game. And at the same time, COVID hit and he didn't wanna do the whole online thing and it was just a big mess.So Alan was like, I'm done with the festival, it's done. I'm just gonna let it die. And I was begging him, no, Alan, you can't do it. It's so important for indie filmmakers. And at the time I'm just finding my feet in the festival circuit as well as both a filmmaker and now I'm a programmer.I'm begging him like don't let it die. It's important, maybe I can help out. And he was like, why don't you run it? And I was like, absolutely not, man. What are you talking about? That's crazy. No way. No way. And I was like, I'm going to be your director of programming. That's what I'm going to do.I'm gonna help you get films in so you don't have to do that work. Very long story short, I ended up running it. I ended up taking over the festival from Alan. I did so reluctantly. But when I started working with the festival, working with the community, working with my hometown filmmakers and my home state filmmakers, and just seeing how important a film festival can be for a local community to uplift indie filmmakers to help them along the way I fell in love with it and here I am now, I run the film festival.And your question was, how did I start the YouTube channel? Sorry, I'm getting there. But I got a lot of questions from filmmakers about festivals, like how to navigate ‘em. And there's just so much mystery behind film festivals ‘cause it's so opaque. There's not a lot of transparency from film festivals.Film festivals are sketchy about which films they do select and which they don't. And frankly, there's a lot of misinformation out there about festivals. So I started answering a lot of questions and I started repeatedly answering the same question again and again and again. And I had some friends who told me, you should write a book.But I was like, yeah, but books, there are books, like people have already written books, bluntly, frankly, people far more experienced and knowledgeable than myself have written books. And so if you're not reading those books, then you're probably not gonna read my book. So that's when I decided, you know what, the YouTube channel is a great way to just do very easy outreach.Take one single topic, break it down for 10 minutes, and hopefully help filmmakers along on their film festival journey.BEN: I love it. And you said something for all the filmmakers who are listening. I'm gonna come back to it. Don't worry. You said something about once you started programming and watching so many films, you got a good sense of what works and what doesn't.So I definitely wanna come back to that. I know the filmmakers listening want to hear that. But before that you mentioned 10 minute videos. You strike me as somebody who, does research and takes time to Yes. Before they do something. What did you discover about running a YouTube page?What things work, what things don't work?RUDI: I'm still very early on in my own YouTube development. I'm still trying to learn what does and doesn't work. So I'm probably the worst person on earth to give advice. Definitely that first 32nd hook is so important on YouTube, just like it is on a film that, that intro, how we come into the story, whatever, on YouTube, you can see a massive drop off and apparently it's that way on every channel.Again, I'm not a YouTube guru, so I don't give advice, but that first 32nd hook is a big deal, but also just my presence on camera. I come from the post world. I'm an editor, so I'm not just behind camera. I'm behind, behind the camera. So I'm very much not used to an on-camera presence, so I'm developing that and learning it as well.What kind of energy I can bring. How to make it engaging. But also I don't wanna be zany and too quirky or anything because I am trying to give good guidance to filmmakers, but I also don't want to lecture them and bore them to death. So it's finding that balance of information that's valuable, but also entertaining enough that people don't wanna click off.And it's actually quite a complex thing that I'm still unraveling one video at a time. But the best advice that I saw was some YouTube guru who is just focus on getting 1% better on every single video. So is that little bit better graphics or better delivery, or better audio, or better editing or whatever it is.And after a hundred videos, you're now a hundred percent better. So that's what I've been focusing on. Just very small baby steps.BEN: Yeah, that's such a great way to break it down, right? It just makes it bite-sized, get 1% better.RUDI: I think you can apply that to life in general. There's a lot of things in life just today be 1% better.That's it,BEN: so you mentioned once you start a programming scene, get enough feel for what works, what doesn't, especially with short films, both narrative and docs. What are you seeing that works and doesn't work?RUDI: In the shorts world I'm seeing a couple of things. One, a self-contained story, and this is something that I had a problem with because oftentimes I would go for more of a quote unquote scene instead of a full beginning, middle and in, in a story.So a self-contained story typically is gonna make your short film much more successful. This can be hard for some filmmakers because they're trying to make a proof of concept short film that they're gonna go and get financing for their future. So one of the things that they often do is they just take a scene outta their feature and then just shoot that, which has mixed results.And the problem is the films that have gotten financed and been made from shorts that have done that are the ones that you see. So it's actually a survivor bias, where it's like it, it works for those particular films and therefore everybody thinks it's gonna work for their film. But obviously the films that it doesn't work for, you're never going to see.So you don't understand, actually for the majority of films, it doesn't work. So if you have a proof of concept, I actually say, don't pull a scene outta your feature. I say write its own scene, or sorry, your own short film. That exists in the same world and universe with the same characters as what your feature film is.And I think that's gonna have much more success on the film festival circuit. And that will lean you or lead you to whatever your goal is, financing or distribution or whatever. So that's a big thing with short films that makes ‘em successful is make sure it is actually a self-contained story and it doesn't have any loose ends, so to speak.What doesn't work is something that I myself struggle with, ironically as an editor. And that's things being too long and you need to parse them down. Now a lot of people will say, shorter, the better, which is true, but I actually think that's a result of actually getting to the core of the problem.And that's make your film as concise as possible. Get the idea. The emotion, the story out as concise as you can. And what that does by happenstance is it makes your film shorter. So it's not that shorter is better. I know there's it almost sounds like I'm just splitting hairs here, but I've seen plenty of five minute films that didn't work.I've seen plenty of 10 minute films that board me to death. So shorter isn't necessarily better. It's more concise of your story is better. And sometimes that still manifests as a 20, 30, 40 minute film. But if it's a very interesting 20, 30, 40 minutes, that's not gonna matter.BEN: It's such a great point. And for me, when I get to a certain point in the edit, I like to just bring in a couple friends and have them watch it. And then I just sit there and watch them watch it and whatever feedback they're gonna provide afterwards. 95% of what I need, I can just tell from Body Language as they're watching the film.RUDI: Yep.BEN: You come fromRUDI: theBEN: Go ahead.RUDI: Oh I was just gonna piggyback off that and just say, audience feedback is worth its weight and goal.BEN: Yeah.RUDI: And every filmmaker when you hit that fine cut stage, like you said, get your friends and family together, buy everybody some burgers and fries or whatever.Get ‘em all together. Gather ‘em up in a room, watch them, watch your film. That's gonna tell you more than anything else. We'll be able to about the success of your film and where it's strong, where it's weak, where you can still fix things. And I always suggest do it in your fine cut stage because nothing's locked in and you can still move things around and adjust, or whatever it is you need.BEN: Love it. And I think earlier what you are really getting at is telling a good story. Yes. And I'm amazed at, not amazed, but maybe a little disappointed, especially in today's world, the technical side of filmmaking. Even for an amateur, even for an indie filmmaker that you can, things can be d done so well technically, but there's no story.RUDI: Yes. All the time. So when I get onto Reddit, ‘cause you mentioned Reddit earlier if I go onto our filmmakers, right? Yeah. I don't have to look far to see people just geeking out over the newest Camerons. It's, and it's always cameras. Everybody always talks about. This camera is so fancy and it has so many stops above and this lens can do this and blah, blah, blah, blah, blah, blah, blah.It has this big bit rate, whatever. Everybody gets so excited about cameras and I always say to myself, man, if they got this excited about audio, I wouldn't have to reject half the films that we have to reject because the audio is just blah. So if we're gonna talk tech, if we're gonna talk about the quote unquote quality of the filmmaking, I think what filmmakers need to understand is there are so many films out there we're that is just the foundation.It is the base level, it is the bare minimum that the film looks good. It sounds good. It feels good. So for us, festival guys, we see so many of these films. You're super gorgeous cinematography, you're really fancy, VFX, whatever it is that you think really separates your film from the pack. I don't wanna discourage you, I don't wanna sound jaded or anything, but it's not as impressive to us as you might believe it is, simply because we see hundreds and sometimes thousands of films like that.So for us it constantly falls back to originality and the story. Is the story well done? Is it well told? Is it a new and interesting story that we've never seen before? Is it a story that we've seen before but told in a very unique way, from a specific point of view, that is what is going to move us as festival people.‘cause when I put it into the theater and my audience walks in and they pay a ticket. My audience is used to going down to the theater and seeing a hundred million dollar movies. So for them, quality is just a given. It's just assumed they're not going to be thinking about it for them. They go and watch a movie ‘cause they're interested in, and I think if more filmmakers really dialed in on their story, they're going to find more success.BEN: So many great points there and a hundred percent agree with what you were saying about people get excited about the camera. And so I did my MFA at USC and there were three different times where I was on a set that, that I felt was unsafe. Not that I felt it was unsafe, what they were doing. Geez. And I walked off and it was always to get the cool shot.Like no one's ever hanging off a balcony to get room tone. You know what I mean? It's just, it's always to get the cool shot that, again, if you're not telling a good story, it doesn't matter. And to your point, I've always felt good audio is more important than good video.RUDI: Good image.BEN: Yeah.RUDI: Look at the documentary. Look at the nonfiction world. We see verite stuff all the time. We see stuff people recorded on their phone or, security camera footage or whatever, like at the end of the day in the nonfiction world is a great example of the quality of the shot doesn't necessarily matter so much as the quality of the story and how it's being told and how it's being revealed to us.And the audio is always gonna be very clean, very top notch, even if it's quote unquote found footage or. Veritate footage or whatever, the audio is always peak. I saw that Netflix doc recently, it was super heartbreaking. The perfect neighbor. And most of it is police body cam footage, but the audio is clean so we're able to follow the story so no one sits back and thinks of themselves this isn't a good shot.Of course it's not, it's police potty cam footage. Like it doesn't look good and it's not meant to,BEN: but it sounds good. And so you can follow it.RUDI: Yes.BEN: What what are some tropes that you think you've gotten tired of seeing in, especially in short films?RUDI: So every year it's a little bit different.You would be surprised what things pop up and what don't. The one trope that kind of rubs me the wrong way, I, I don't know how to describe it any other way than filmmaker self therapy. Like they, they're definitely going through something at the moment and they're not focused on creating a good story.They're more focused on using their art form to emotionally process whatever it is they're going through, which fine, you are an artist that makes sense to do, but also I can't sell my audience on that. So while I don't wanna discourage someone from making a film that is very near and dear and personal to them, at the end of the day, it might not be a good fit for film festivals.And so I, I would really think twice about whether or not that is a story that an audience, frankly, needs to see. Filmmaker cell therapy is one that when I get it, I'm always eh I don't know what to do with it. I just, I don't know what to do. Some other tropes that we see very commonly are like.Obviously right now, tech and AI and stuff like that gives a lot of people anxiety. So there's a lot of like evil robot takes over or the big reveal at the end of the movie, they were a robot the whole time, or the whole thing was a simulation or whatever. That's being very well tread right now.For me, I'm I am not a political person and anytime some big thing is in the news, we see tons of films on it. So I understand politics do affect people's day to day and their lives, so I understand that manifest. But man, I probably have a hundred immigration films right now and that's a lot. And I'm not gonna screen that many, so I'm only gonna pick like one, maybe two, so that's a tough one to do.Anything that's like a hot button political issue. We always see a big wave of those come in. And then honestly, romance dramas get tough. It isn't evergreen. We do have an audience for it. We usually do have some kind of a selection of them. Romance dramas have existed since the beginning of time.It's always been a thing. But filmmaker broke up with his girlfriend, so now he has a character who breaks up with his girlfriend. It gets it, it doesn't get very original. I, it just it gets exhausted. So those are some of the kind of general tropes I would avoid. I have heard other festival directors talk about like cancer films and Alzheimer's films and stuff like that.This year I'm not seeing so much of those, but I have seen those in the past. So tho those are some other. Tread stories we'll see.BEN: One of the things that I appreciate about. Your series of videos is your transparency, and you have one video where you literally break down. Here are all the films the number of films, Wyoming International Film Festivals received. Here's how it breaks down, here's how many we, we accepted, et cetera, et cetera.You have another one where you literally show the viewer, this is what we see as a programmer on our film freeway portal. Here's the scoring sheet. I think it's a little bit different from the one you guys use internally, but basically here's what the scoring sheet on film freeway looks like. Why is transparency so important to you?RUDI: Because I'm a filmmaker, because I've been to so many festivals where I have no idea what the hell's going on. I've been to festivals where I think my film is gonna be a good fit. I think based on what I've been able to investigate on my own, digging through their website, digging through their archive.Seen what they've programmed before. I think I'm a good fit, but I don't actually know. And I've submitted to festivals where later on, I see what they programmed or I got rejected or even accepted and then gone to the festival itself and have been a little disappointed when was like I this festival didn't fit my goals the way that I thought it would, or, this festival wasn't going to do the things for me.Or this festival, like really promoted themselves very heavily as this big event. And then you get there and then it's not, and that's a little bothersome. So when I stepped into my role at the Wyoming International Film Festival, I made a whole bunch of changes. But one of the changes that I made was, we are going to be transparent.I don't ever want a filmmaker to submit to our festival, get in, get accepted to the festival, drive all the way out to Wyoming and be disappointed. I don't want them to do that. That's not good for them. It's not good for us. It's not good for the community. It's not good for indie film at large.What's better is if we just be what we are in Wyoming, we're straight shooters. We just say it as it is. So I'm going to tell you exactly how many films were submitted, which films we accepted, what the percentage rates are, how many shorts versus features, how many docs versus narratives, how many music videos, all of this stuff.And we've been releasing the data for the past couple of years. This year, like we went all out with the data it was much more thorough than what we've done in years past. And even me, the director of the festival, I sit back, I look at the data and I can see some weak spots in it. I can see where we need to improve as a festival, where we need to start, bringing in a certain type of film or where other films might be overrepresented or how we can give more of an experience to our filmmakers.Just by boiling it down to numbers and looking at it. I can start seeing some of our weak spots and I want to improve on that ‘cause I want to have a good festival. And I think if more festivals were to do that, I think the filmmaking community at large would be much more appreciative. And I think film festivals need to understand.That if you have fewer submissions, that's not a bad thing because the submissions that you are going to get are filmmakers that really want to be in your festival and that's good for the health of your festival, the community, the filmmakers, everything. So I, I think the only way we get there is by being transparent.And thankfully there are other festivals that are publishing their data, which is great. And that makes me very happy to see. And I hope that trend continues and I hope even more festivals start publishing more of their data and showing how they review films, what their scorecards look like, what they're looking for.‘cause ultimately I genuinely believe that just serves the filmmakers better and ultimately makes everybody have a better experience on the film festival circuit, including the festivals themselves.BEN: When you took over as directorWhat were the biggest challenges?RUDI: So our biggest challenge to this day is our venue.So there's only one movie theater in Cheyenne, Wyoming. It is owned by a company outta Casper, Wyoming. They own pretty much a monopoly of movie theaters across the state, like most of them. And they don't allow anybody into their theaters at all. They don't allow her private screenings or corporate events or, in individuals who wanna screen their film or film festivals.I'm not the only film festival in Wyoming. I talk with other festival directors. They can't get in either. It's funny, the film commissioner of the state can't even get in. You would think the movie theater would at least want to partner with the state film Commission, but no. So for us, the challenge has been a venue and luckily our partners over at Laramie County Community College.Have graciously allowed us to use their facilities for the last couple years. They have a beautiful auditorium that we do some of our screenings in, but we also have screening rooms in a black box theater that they have as well as a conference room. And when I say conference room, most filmmakers like their heart drops a little bit.They're like, oh man, I'm just, I'm going into a conference room. It's not a proper movie theater. And that's fine. We publish that data on our film freeway page on hike. We are transparent about that. So when you submit, you might be in the conference room. But ironically, I think it has some of the best audio and it has some of the best projection.So even though it's the quote unquote least movie theater, like I actually think it has some of the best projection, best color. But venue is probably one of our biggest challenges and we continue to develop that. We continue to. Trying to innovate. We're trying to build our own screening room there on the campus.Like we're trying to use one of their big classrooms for it. And what we wanna do is we wanna turn it into a lounge. We wanna bring in like couches and sofas and comfy chairs where it's like much more of a chill environment in there. And that's the type of film we wanna screen in. There's some you can literally sit back, settle in and relax.So there's things that we're doing to create a better environment for our filmmakers and of course our audience, our guests at the festival.BEN: I love it. What's been the biggest reward?RUDI: The, I get to meet you. That's what the biggest reward is. I get to meet so many filmmakers. I get to hear their stories.I get to be inspired. I get to learn stuff. I was talking with a festival director a couple of days ago. Who asked me about how we do our audience award scores and how we process that and what they do. And I just like I lit up, I'm like, oh my God. It's such a better way, it's more efficient, it's easier on the staff.It's more representative of how the audience actually feels about the film, the way the scores are aggregated and counted. It's so great. I get to meet so many people in this world of film and every single day it's like a new, whole new world is opened up to me and I get to hear so many fantastic points of view.I get to see so many awesome films, like just how many great movies are out there is a cinephile. It's like the most rewarding thing in the world. I'm an addict. I'm totally addicted to it. It's so great.BEN: I love it. I remember I used to coach basketball in my first year as a head coach. I was like, yeah, everybody's gonna be pretty competitive, other coaches and so forth.And they were, and I was. But at the same time, when coaches would get together, it was just so supportive. And people are sharing, this is what I'm doing in practice. I'm looking at this offense, this defense. And I imagine it's the same with other film festival directors and programmers. Oh, yeah. Just a supportive environment comparing notes.RUDI: It is. And the more that I meet, the more I truly do understand. 99% of festival directors out there are programmers, people who work in it. They have some tie to cinema. Most of them are filmmakers. Those who aren't, have a deep passion and love for cinema and for storytelling, and.Everybody's a volunteer. Everybody has a day job. Nobody makes money on this. They do it from the love of their heart. They truly do. And the way that they serve their communities, the way that they serve their filmmakers, some of the cool ideas they come up with there's some really neat festivals out there with like very interesting hooks or events or whatever.And I think it is such an incredible ecosystem and I think I'm truly privileged to be part of it.BEN: What are some lesser known or maybe mid-tier festivals or local festivals that you love to attend?RUDI: Okay, so one of my favorite festivals I guess you said lesser known. This one is not lesser known, but Film Quest over in Provo, Utah, damn man, pe like festival people talk about building community. They're on a different level. They've built a family. Like everybody who goes to that festival is just so tight knit there. There's no other festival like Provo or sorry, film Quest in Provo. It is just, it's on another level. And how well they treat their filmmakers is fantastic.Some years ago I was invited to be a jury member at the Fair Film Festival, which is in Ferazi Kosovo. So that is in southeastern Europe. It's a landlocked country, just a little bit above Greece, a little bit north of Greece and north of Macedonia. And Fari is a small town. And I went to that festival and first off, wow.What a great festival. I strongly suggest you submit your film to fair film. It's so good. But the cool part of being in this European festival, and frankly a small European country, most of the films are international, obviously. And so there's filmmakers coming in from like Jordan and Spain and Germany and Slovakia and Slovenia and like all over the place, Greece, Turkey, you name it.And how interesting it is to have this incredible cross section of languages and cultures and peoples, but we're all united by this one singular thing. And that's our love for storytelling and our love for movies. It had to be one of the most incredible experiences of my life. And the next movie I make, taking it back to cosBEN: Fantastic.Just had a question. What was it? Oh okay. So with the huge caveat of besides making. A good film, a film that tells a story. Besides that, are there any tips or tricks, things on the margins that filmmakers can do when they're applying to festivals to be aware of? Sometimes festivals. Ask for a cover letter orRUDI: Yes.BEN: Press kit, things like that. Okay.RUDI: So with, sorry, my phone is loud. I should turn that down. So obviously with a huge caveat of make a good film or whatever, what's the easiest way to get it? All of the stuff on film Freeway, and I do have a video on this, on my YouTube page if you wanna check it out, where I give you a tour of film, freeway from the festival side of things like what the festival can see and how we see it and how we navigate it.On the festival end of things. We can see your cover letter, your screenings and awards your. Cast and crew information, your director's bio, your director's statement, your photographs, your EPK, that's your electronic press kit your trailer, all of that. All of that. As much of that as you can possibly make, you should make it.It's very important. And you never know which piece is gonna be more important to a particular film festival. For instance, here's something crazy. I was meeting with some of my programmers last night. They had a whole bunch of films that they wanted to recommend to go to the next level programming.And we require films. Tell us where in the world or where in the United States the film was made. And every single one of ‘em was California. California. California. California. California. Which fine, whatever. California has a big film industry. That's, it's a very big state, population wise. Makes sense, right?But I am sitting back thinking, okay. I don't want it just to be a bunch of California movies. We have a big country here. I would like to see something else. And something caught my attention. One of the filmmakers, their address was in Birmingham, Alabama, but the film was shot in California, so I am suspicious.I haven't dug into it myself. I'm suspicious either that filmmaker's from Alabama and they have moved to California, or that filmmaker lives in Alabama and they shot their film in California. So they're answering where it was shot correctly. But for me, I'm like, there you go. When everybody's from California.I want that unique perspective. I wanna see someone's from Alabama and what their perspective is now. I haven't watched the film yet. I don't know if it's what we're looking for. Obviously it's a good film if my programming team has recommended it, there's no doubt in my mind it's good film. Now there's other considerations we're gonna have, but.That alone was something, even my, like I myself did not know that I would be looking for. So filling out all of that data on film, freeway, all of your information that you possibly can, your cover letters your screenings, your awards, whatever it is, the more information you give us as a festival, the more we have to make our selections.And it only benefits you. It only helps you out. So filmmakers don't get lazy. Fill out all of that information. We need it. We use it. It's important. Just do it.BEN: You mentioned a meeting with your programmers last night. Take us inside that conversation. What does that look like? What do you discuss, et cetera.RUDI: So there's. There's a big programming team and it's divided up into two different groups. There's our kind of first round screeners and then there's our senior programmers and the senior programmers pretty much review the films that have gone through that first round of screening that are getting recommended to go onto the next one.So typically when I'm talking with my screeners and everything, it's a very different conversation on the bottom end of it where they're just sorting through all of the submissions versus a different conversation I have with the senior programmers who are on the top end of it. We're now trying to decide how to block films together, how we're gonna organize it, what's the schedule maybe look like, what's the overall tone and vibe of the festival going to be, okay.If we wanna have a sci-fi block, do we even have enough sci-fi films? If we don't. Where else can we find homes for ‘em? Stuff like that. So those conversations are a little bit more high end, if you will. And it tends to be less about the story of the film itself and more about how that film is going to fit into the festival.Whereas when I'm talking with the screeners, it's much more on the story end. Like what about the story did you like or you didn't like? Or what was the unique point of view? Or whatever. So depending on which group I'm talking to it, it's gonna be different. And then of course that divides out further on features and shorts and documentaries and narratives and music videos.So like obviously my conversation with the music video people are gonna be much different than my like short documentary people.BEN: Shout out to short documentary people as a documentarian primarily makes shorts I'll ask a question for us folks. In one of the videos, as I mentioned, you literally show here's what the scoring sheet looks like.Yes. And that was for narrative with, I think one of the categories was acting and so forth. So for a documentary or documentary shorts, what does that scoring sheet look like? What do those discussions entail?RUDI: Film freeway does not allow us to have more than one scoring sheet.So unfortunately, there's just this one scoring sheet that's for everything. What I tell my screening team, and we definitely double check everything, like there's multiple people who look at something. So it's not just one person's opinion. You have at least two, oftentimes three, pretty often four.So for something like documentary they skip over that. That's what they do. So if there's no acting in the film, they skip over that. They don't rate acting if there is no acting. But you'd be surprised. There are documentaries that have acting in ‘em. There are like docudramas or documentaries with recreation In the recreation is like actual scenes and performances and stuff like that.So in those cases, even though it's a nonfiction and a documentary, yeah, we'll still judge it for the acting ‘cause that's what it has. I get the question. I'm gonna hijack your question for a second, but it is applicable. I get the question, do we accept AI in our film festival, we do not have any official policy for or against ai, which scares some filmmakers.But we do rate AI on the same standards as we would anybody else. So when it comes to creativity and originality, guess what, you're getting a nothing. ‘cause AI didn't create it. AI is not original. AI just mashes together a bunch of information from other people. So that's no creativity and originality.Same thing for something like, I don't know, art design. If you have a AI character walking through a scene or whatever you're getting zero on your art design. Nobody built those sets. Nobody costumed that actor. Nobody was the makeup artist or the hair or whatever other art deck or, PD or anything on the set.So we will accept ai. We have accepted one single AI film so far because despite all of its quote unquote handicaps, and it was a music video. It still was successful in other categories that had a good enough score. We as a team sat down, said Yes, that it still is a good film. The audience is still gonna enjoy it.The filmmaker definitely had a vision with it. They wrote out a whole thing on like why they chose to use ai. ‘cause they're also an experimental filmmaker, so it made sense for them and everything. So we were like, you know what? That's legit. Let's put it in. But other AI submissions, like I got an AI children's animation the other day and I'm like they didn't animate it themselves.They didn't voice act it themselves. It's not getting good scores on any of these. So we'll see. We'll see. We'll see if it gets through or not, but already you're shooting yourself in the foot. So don't do ai.BEN: Okay. Couple little. I don't know, around the edges or micro questions. One of the things that you talked about in one of your recent videos was having a good poster and you talked about designing your poster for your film prudence.RUDI: Yeah.BEN: Talk, talk to me about,RUDI: I specifically gave my posters an example, not a great poster,BEN: But talk to me about that.For the no budget or low budget filmmaker that can't afford to hire a a designer to make a poster. Talk to me about poster design and how that impacts the presentation of the film for festivals.RUDI: So I strongly believe that a big part of filmmaking and marketing and packaging your film together, all of that is psychology.And as much as we want to sit back and say, Hey, don't judge a book by its, cover it, that literally goes against human psychology. People are not hardwired to do that. It, it is. In our DNA, it's not just a bad habit, it is literally a survival mechanism. So if you want to stand out, you do need to have everything put together.Your cover letter, your synopsis, your photographs, all of that, and of course all of your key art. That's your poster. That's any banners that you have, that's how you're going to be promoting the film. And you have to understand it's not just about making your film look pretty to get filmmakers to go, or sorry your programmers go, Ooh, and ah, it's a pretty film.We are looking at that as a mechanism for us to advertise the festival. You gotta understand if I have 150 films in the festival, I have to get an audience for those films. And the easiest way for me to do that is through your marketing materials. We don't have the capacity. To design marketing materials for 150 different films.We are relying on the filmmakers to do that so we can go out and promote the festival. So people show up to your screening, which I would presume is what you want if you're going to a film festival. So anything you're trailer, any photographs that you can provide, which some filmmakers only provide BTS photographs, BTS is fine.It's great. Give me some good key art I can also use, please. That's what newspapers, that's what the local news that's what podcasters, whatever, that's what they want to see. So that's what I can provide. And of course, your poster. Now, there are a lot of online tools to help in poster design, frankly, I don't have an excuse for making a bad poster like I did, which is one of the reasons I use it as an example is I am shaming myself being like, this could be better and it should be. But there's a lot of online resources that can help with poster design. And also for filmmakers who are a little bit strapped for cash, you would be surprised what people will do for in kind, service for service.So if you have a friend or if there's someone that you can find that's Hey, they'll design your poster if you can design whatever their website or whatever it is that your skills might be there, there's a lot of exchange that you can do on that part. So yeah your marketing, your packaging, all of that together is actually quite important.BEN: Such a great point. And I've written and published a memoir and through that, I've worked with other authors on, on. Both writing and marketing their books, editing and marketing their books. And I tell people the exact same thing. People judge a book by its cover all the time. And in this day and age, they judge it for listeners, I'm holding my thumb and forefinger part as a thumbnail on a computer screen.Yeah, that's the size. So even for a programmer or a festival director watching it on film freeway through their platform, they're not gonna see the poster like we see it in the movie theater. They're gonna see it as a thumbnail image. Yeah. So it has to work as a thumbnail image. And if you can't read the title as a thumbnail or can't make out what's on the image, what's on the poster as a thumbnail, then you've failed that part of the process.RUDI: One, one of the things that like really clued me into how important a poster is, I went to a film festival, I believe it was Kansas City Film Festival. Some years ago, and they had a bunch of posters of films out, but there was one that was like bright pink. It was like super bright pink and had like very eye popping design and everything on it.And it was like in a whole field of like dark drama posters that are all like gritty and everything. And I'm like that stands out. That really drew my eye to it. And I think that was like my big light bulb moment of like how important this stuff actually is. And one of the things that I've been saying for some years, I've said it on the channel, I think, I don't know, some, sometimes I record things and edit out.So I don't know what I've said on the channel sometimes but one of the things that I say is making a film is half of film making. The other half is marketing, the other half is getting butts in the seats. The other half is getting eyeballs on your movie. The other half is selling your film to an audience or a film festival or a distributor or a programmer or whatever you're trying to do with it.It's getting it out there. So making a film is half a filmmaking. The other half marketing, that's what it is.BEN: I'm just nodding along with everything you're saying and I've always felt both with films and with books, with art in general, you're trying to make an emotional connection from what's in your head and your heart to the audience.And if you don't do your job, getting your film out there and helping an audience come and see your film. Then you're not helping that connection. You're missing sort of the point of making this, unless it's just for yourself. It's for, it's to connect with other people and for other people to connect with your work.And that is marketing.RUDI: It's valid. If you're just making a film for yourself, that's absolutely valid. It's in art form. You can make a film for yourself, but if you're sending it to me at a film festival, you're not you're literally trying to find an audience. So these are the things you need to consider.BEN: I love it. I got two more just in the weeds detail questions.RUDI: Alright, let's do it.BEN: Let's talk description. And what I've seen ‘cause I'm in the middle of applying to festivals. And by the way just for. Listeners, this might interest you. So I discovered Rudi's YouTube page and I was like, this is so helpful.And then I went to the Wyoming International Film Festival page and all the transparency and statistics that, that Rudi puts out, that the festival puts out. And I realized, okay, so the short documentary I have is not a good fit for this festival. Exactly what Rudi's saying. So just for anybody listening, thank you for doing research.RUDI: Thank you. That's good. That's not a bad thing, right? That means it saves you time, it saves you money, it saves you heartbreak. It's so good. Do research before you submit. I'm sorry, but I, it's in, in almost every single one of my videos, I tell filmmakers, do your research before you submit. Find the festivals that gel with your film.And if it, if they don't screen the type of movie that you have, don't submit to ‘em. You're wasting your time, you're wasting your money. And the festival, like the programmer behind the screen, might love your film. They truly might love your film, but they're programming for a very specific audience and they know what that audience's taste is.So that's why they're driving specific films to that audience. So even if they love it, they might not include it, which is why you should always do your homework and do your research before you submit. I'm sorry to interrupt, but it's so importantBEN: And yes. And the flip side of that coin is now I also know what the Wyoming International Film Festival looks for.So in the future, if I have a doc or a film, I'm like, oh, this would be a great fit for this festival.RUDI: Yes.BEN: It helps both ways.RUDI: It does. And it helps you dial in. Which festivals you should target, which festivals are gonna help you with your specific goals. Whatever your goals are with the film it's gonna help you with your budgeting and your travel plans and your own personal calendar.It's gonna help with your mental health. It just, it helps on so many different aspects. And on the film festival side of things, I appreciate it when I hear from filmmakers say, Hey man, I looked into your festival looks good, but you don't have the kind of film that I have. And I'm like, not a problem man.Maybe I can point you in the right direction. Maybe I know some film festival programmers, I can make a recommendation, on your behalf too, that's not a bad thing. We love movies and we want to see them successful, but not every single fest or film and story is going to be successful in every single market.So it's very important to find your audience. And believe me, we are going to be cheering you the whole way.BEN: I want get back to my kind of in the weeds questions, but you've mentioned something that is big picture, that's so important. I feel like I've buried the lead here. And you mentioned this you've mentioned this multiple times in your videos.Is that a Phil, it's key. Maybe the most important part of this process is of the film festival submission process is a filmmaker needs to understand what are their goals in applying to a festival. Yes. So can you just talk a little bit about that?RUDI: So film festivals are a tool. And they can be a tool for many different things, but they are a tool.And just every single tool is not right for every single job, every film festival is not gonna be right for every film and vice versa. So before you go out to film festivals, you just need to ask yourself why? Why am I going out to film festivals? Why am I spending the money, the time, the energy, the effort?What do I want out of film festivals? And that's where you need to identify your goal. And the more specific you can be with the goal, the better it's going to be you going on your film festival journey. So for many filmmakers, a common reason they go out to film festivals is networking. So I'm gonna use that as an example.So let's say your goal is I want to network, I want to meet other. Filmmakers, I wanna meet, directors of photography and producers and other people that I can hire for my projects, or they're gonna hire me for their projects, and I want to build that network and I want to meet more filmmakers.Fantastic. Great. That's your goal. So the first thing that you need to do is you need to be looking at festivals that have networking events. And in this particular instance, you need to ask yourself two things. One, does it have networking? Is there in-person networking parties or networking events?And two, do the types of people that I want to meet actually attend those networking events. So us at the Wyoming International Film Festival, we have a pretty broad spectrum. We have filmmakers that are just beginning their journey. They're totally new, wet behind the ears. They're green they're just starting their journey.That's great. All the way up to every year we have multi Emmy award-winning filmmakers. Like people who do this professionally they're in unions or professional organizations, or they're a member of the academy, motion picture Arts and sciences or the TV Academy or sometimes like the Grammys and stuff like that.I, myself, I'm a professional editor, so there's people like me who professionally work, but they're like below the line. They're cinematographers editors, gaffers, what have you. So if your goal is to meet some like high-end producer that's gonna throw, a million dollars at your movie our festival is not the festival that's gonna help you with your goal.So you should skip over us because we don't have that kind of person in attendance. But if your goal is to meet other filmmakers at your level that you can collaborate with or get hired by or whatever. We're a great festival. We have tons of networking, and we bring in a ton of those filmmakers.We're a great event for you. So when you identify what your goal is and you're very specific about it, it's easier to identify which festivals you should start targeting. I take that one step further, and then once you've narrowed down which festivals are gonna help you with your goal, then you look into their history and see which of them have screened movies like yours in the past.So if you have a, you know I use the example, if you have a seven minute comedy coming of the age film, now you know which festivals have good networking, which festivals have the kinds of people you want to network with. Now you look at which ones have screened short coming of age comedy films in the past, and have a history of doing that.So that's gonna help you filter it even further. And by doing that, you're gonna really start to develop your film festival strategy. Now I do have some exciting news. There is something coming now, it's called Hike, H-I-I-K-E. It's hike with two I. And what Hy is doing, it's a submission platform similar to film Freeway, but among many of the tools that they're giving filmmakers, they're giving filmmakers customized festival strategies and they're scraping all of that data from film festivals, what they've programmed in the past.And when you as a filmmaker, join Hike, you take a little quiz, you tell them what your goals are, what your film is, you know how long it is, what the genre is, tell them about yourself. And they literally have. Data scientist who's built this like machine learning algorithm that pairs the data from the film festival to what the filmmaker provides.That literally gives you a compatibility score. So it's, it comes out and tells you, if you want to network with, professional filmmakers but not mega producers and you have a short comedy coming of age film Wyoming International Film Festival has that crowd screens those types of films and you would have a 90% compatibility.So it actually helps you develop your festival strategy for you.BEN: It's so needed. And Rudi has a great video on how to spot scam film festivals. Yes. That's something that is just prevalent these days. So for filmmakers who are getting ready to submit, I encourage you to watch that video. I'll link to it in the show.I'll link to everything that we're discussing in the show notes. The. So Rudi talked about one goal a filmmaker can have is to network other goals at various points in my, film festival my limited film festival career I've applied to festivals ‘cause I wanted to go to that city, new Orleans Fest, new Orleans Film Festival.TravelingRUDI: is totally legitimate reason to go.BEN: People apply because they want distribute, they wanna meet distributors or financiers for the next film. Although, that's what everybody wants. SoRUDI: you, you would be surprised. So in, in 2018, I had a feature film and my, my goal like most feature films was to land a distribution deal.But I was like, that's not specific enough. There are many steps to land a distribution deal. So what I need is I need good press on my film. So that was a goal. So I wanted to target festivals that had press. I wanted laurels. I wanted to win some awards with it, but I also knew my film was. Small and kind of small scale.So it wasn't gonna win laurels at big festivals. So I was like, okay, I need festivals with press. I need festivals that are legitimate and above board, but also small enough where I'm gonna be competitive. And then I wanted to actually meet distributors. And I know they only go to big festivals, so I actually had to target three different kinds of festivals.‘cause I had three, let's call ‘em conflicting goals with my own film. So that's what I did. I did a split strategy. I targeted festivals where I was gonna be this tiny little fish in a very big pond. And no one's really gonna notice me, but I'm just happy to be there. I targeted festivals where I know that I was going to get very good press and very good reviews on the film.And I targeted festivals that were small, still legitimate, but I was gonna be competitive and maybe bring home some trophies. And so that was my strategy and it worked, and I landed a distribution deal.BEN: That's so great. I, I'd love to do a part two at some point we can talk distribution deals and all of the, yeah.Things like that. But I think for people listening, the big takeaway is even with this multi-pronged goal, three different goals connected to each other. Once you identify what your goals are, then you work backwards and you create your strategy to Yes, to achieve those. Okay. Back to the two in the weeds.Two more in the weeds questions. Yeah. So description, and as I'm looking at other film descriptions, and I saw this at USC all the time as well, and we talked about earlier, filmmakers wanting to sit in emotion or sit in something traumatic and have the audience experience that I notice a lot of times in descriptions of short films.Can so and so come to terms with this? Can, and just as someone who has a little bit of experience marketing stories, where's the action? What's the active what's this person actively trying to accomplish, rather than can they just come to terms with something? Can you talk a little bit about film description, just three or four lines.What pops?RUDI: So just like your poster, just like your marketing and everything, a film description is your way to reach through the screen, grab the audience, grab the programmer, and pull them into your movie. Keep in mind, your whole entire goal is to get people to watch your film, get them excited about your film.And so if you just have a very drab, like description that's just yeah, has to face consequences for a decision they made or come to terms with something when I, that's a good V one, that's a good place to start, but that's not going to get an audience excited about your film.I saw film, I don't know if it was at my festival. It wasn't at my festival. We didn't screen it, but I'm saying, I don't know if it was submitted to my festival or if I saw it at another festival, but I remember one of the descriptions it was great. It was whatever the two character names were, John and Jane, I forget what the characters are, but like John and Jane are on a date, there's a bomb in the other room.I I hope the date goes well, or something like that. Let's hope the date goes well. And I'm like, what is this movie? That gets you really excited for it. You're. It, it creates so much mystery. And also just the cavalier way that it was written immediately tells me this is gonna be a comedy, or it's not taking itself too seriously.It's not some like gritty, dive into the underworld or whatever. Like just how blunt it was about the dis of the film and just that like small little description. I know I'm paraphrasing what it was, but it stuck with me for years at this point. ‘cause I'm like, that is how you write a description for a film.That is how you get someone excited to see what is this movie about? Let's jump in. Piggybacking off a description. Titles are another great way to do that. In, in my own repertoire of films I've had film called Prudence. Okay, fine, whatever. Prudence doesn't really tell you much about that film.I had a film that I'm very proud of. It's artsy, it's a little bit magical realism and it's called in this gray place, and it has that artsy mystique around it in this gray place. And I love that title. I did it, I did a film back in film school. It's terrible, but the title's great.It's called Back to Fort Russell. It was a Western and I, to this day, it's one of my favorite titles that I've ever had. But it tells you something. It clues you into what this film is going to be, what the journey of this movie is going to be. And some films do that better than others. And some films, yeah, it's not necessary.But I, I get more excited when I hear something like the Texas Chainsaw Massacre than I do something that's just like love. Or mom or something.BEN: I think this is the last question. So again, with all these little details, cover letter, talk to me about cover letters.RUDI: It's so interesting you asked me that question ‘cause hearing about four or five days, I'm posting a video on the YouTube channel about cover letters. It's short, it's only four or five minutes long, but cover letters are so important.Should absolutely write a cover letter. And a couple of days ago I was talking with programmers at dances with films, and if you don't know dances with films, look ‘em up. They are an incredible film festival. They are in the big leagues for sure. And I was talking with a couple of programmers and I asked them about covert letters and they said, it's so important it.How the filmmaker is going to put an audience in the theater is very important for their festival. How they're going to get people to attend is very important for them and they're like, a good indication in a cover letter is when they, the filmmaker indicates how they're going to market their film and they use the example of football.Let's say it's a movie about football. They're like, if it's a movie about football and you tell me in the cover letter that you're part of several like football organizations, or you're gonna be reaching out to sports organizations or youth organizations for sports or something like that, to attend the film.That's a very good indication for them in the cover letter. For me, I think a cover letter is very important in that it shows. You're going the extra mile to show the festival you care. You're not just submit and quit. We're not just one festival on a list of 50 that you're submitting to. There is a reason you want to screen with us, and that's a specific reason.Either you feel that your film is good fit for our audience, or there's something that you want to connect with. In Wyoming, I had one cover letter and we did accept this film and it was really funny. They put in their cover letter like their film was a comedy, so their cover letter was also very comedic, but they're like, honestly, we're just gonna go up to Yellowstone around that time and we would love to swing by and show the movie.And I laughed. I laughed so hard at that and I'm like. But that shows me they care. Like they want to be there. And the film was good and it was funny and we screamed it and they were there. So it's a way to show a film festival enthusiasm and it's way to inform the festival about yourself, about your film, and how that's gonna gel with their particular event and their audience.BEN: I love it. And that reminds me, I got one more, I got a bonus question. Yeah. Can you talk about applying early?RUDI: Yes. Statistically, when I look at our own data, statistically, it does seem to be that the earlier you apply, the better chance that you have. And so I don't want to give the impression that if you applied late.You have no chance. I think in the video where I literally broke down the data and the statistics, I think at our festival we had a one in five chance of getting in on the late deadline, which is about a 20% acceptance rate. But it was much higher the earlier it came in. So just with the raw data taking out my opinions, my emotions on it, whatever, just the data itself shows earlier is better.Now, here's where my opinions and my feelings towards it come from. I think it's a couple of things. One, when you get in early, you set the pace for the rest of the festival, you're telling us, okay, it's a drama. We're gonna compare your film against others. Like you have now become the benchmark that we're gonna compare other films to when it comes to like dramas or whatever.What it also does. It's something I'm going to discuss in my video and cover letters, but it also engages something, what's called mere exposure effect in psychology, which is essentially the more that you are exposed to something, the more preference you have towards it. Which means if you get in early, you are exposing yourself, your film, and your story to the programmers more often and more readily than late submissions are.So it's more likely that the programmers form some attachment to your film, and that's just human nature, that's just psychology. There's some practical reasons for it as well. Obviously, earlier submissions, earlier deadlines are cheaper, so it's better to get in. It's just gonna cost you less money to do and then lastly, there are many festivals that are developing their program as they go. So as films are coming in, they're shaping. We got a ton of dramas. Maybe we need two drama blocks, or, we, we don't have enough sci-fi for a sci-fi blocks, we gotta spread it out or whatever. So if you come in late, you're now trying to elbow some other film out of the way in order to find your screening slot.Which don't get me wrong, there are plenty of programmers that are absolutely gonna go to bat for you. They're gonna fight hard to get you in. Doesn't matter if you come in early or late or whatever, but the chances are just better. And the data shows that if you get in early. All that said, a couple of years ago, the very last film that came in with only two hours left in our deadline, we ended up programming it.So it, it is possible.BEN: Rudi, I cannot thank you enough. I can't tell you how helpful this has been. There's so much great information for filmmakers. Filmmakers submitted to festivals, people just interested in going to festivals. So thank you so much for taking the time.RUDI: Hey it's always a pleasure.I always love talking film festivals and for any filmmakers out there, head on over to YouTube hit up the Film Festival Guide. That's my YouTube page. I'm coming out with videos every two or three weeks. That's about what I put ‘em out there for. So if you need any guidance or any, I don't know, insight for film festivals that's where I am.BEN: Film Festival Guide. I'm a subscriber. I can't recommend it enough. Any other social media where people can find you?RUDI: Oh no, I'm terrible on social media. YouTube's enough for me right now.BEN: So Film Fest.RUDI: I will probably expand in the future and I'll probably make some announcement on the YouTube channel.Got it. But for right now, I'm just trying to get good information out there to as many filmmakers as possible.BEN: Thank you so much for doing that. It's such a huge benefit for film.RUDI: Thank you very much for the support and thank you very much for having me on. I enjoyed this. This was a lot of fun.BEN: Me too. This was great. Thank you. And that was my interview with Rudy Womack, director of the Wyoming International Film Festival and creator of the great YouTube page, the Film Festival Guide. Hope you enjoyed this episode. If you did, please forward it to one person. Thank you and have a great day. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit benbo.substack.com
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U.S, Rep. Steve Womack, R-Rogers
Tank Spencer and Chris Womack, Sports Director of News 13 discuss the latest headlines. The NFL could be calling Bill Belichick back home, with the Giants job open. UNC fans may prefer that. Jones Angell, voice of the Heels, joins The Sportsocracy to talk about the basketball team's hot start. 1-0 in Quad 1 wins so far! A couple of baseball players get caught (allegedly) trying to rig prop bets.
Now that the dust has settled, it's time to react to every major move, every non-move, and what it all means for the rest of the NFL season.We'll break down the winners, losers, and teams whose deadline strategies completely reshaped their Super Bowl chances.
TRACKLIST : Dani Ramos & Sbai - Acid water (Womack remix) R. Rome - Breakwater John Deluxe - You got me Cross & Nimble - OB-X magic Ivan Bonafede - Rise up Kitobwoy - Freq predator Shaw Quentin - We talk Arturo Gioia - AnaLogical strip Andres Shockwave - El segundo Jordan Allinor - BRCTA Offset - Pyramids Butane & Andras Toth - Weather the storm
Mike Womack joins to discuss the end of SNAP benefits with the shutdown + Chris Hand and Matt Murphy arrive for the hand off and debate if Dan should apologize | aired on Tuesday on October 28th, 2025 on Nashville's Morning News with Dan MandisSee omnystudio.com/listener for privacy information.
In this powerful conversation, Stacey Womack shares her 25-year journey helping survivors of domestic violence through Abuse Recovery Ministry and Services (ARMS). What began as an unexpected calling has grown into a ministry that has brought healing to over 55,000 women. Stacey opens up about the many forms abuse can take beyond physical violence, why churches often struggle to address this issue, and how faith communities can better support survivors. She also discusses the challenging but hopeful work of helping abusers change their behavior patterns. This episode explores the complex dynamics of abusive relationships, including why survivors often return to familiar patterns and how belief systems perpetuate abuse. Stacey shares inspiring stories of transformation, both from women who have reclaimed their lives and men who have learned what love truly means. Whether you're a survivor, know someone in an abusive relationship, or are a faith leader wanting to better serve your community, this conversation offers practical wisdom, hope, and resources for creating lasting change. WEBLINKS Abuse Recovery Ministry Services
Saddertainment, a legal threat, anti-Womack radicalisation, a boot disaster, trifle, and a returning name formula. Join the Iron Filings Society: https://www.patreon.com/topflighttimemachine and on Apple Podcast Subscriptions. Get a 7-day full access free trial and pay for 10 months up front for the price of 12 if you like a bargain. Hosted on Acast. See acast.com/privacy for more information.
In this episode, I talk with Austin Womack, a wildland firefighter and fellow strength coach. We discuss the unique physical demands of wildland firefighting and compare it to hunting in the mountains, the importance of endurance and strength training, and how to balance work capacity in training. Austin shares insights on pacing, the concept of 'periodizing the suck' for effective training, and the role of technology in performance. The conversation emphasizes the need for mental toughness and the ability to push beyond perceived limits in both training and real-life scenarios.
It's another Womack Wednesday! Tank Spencer and News 13 Sports Director Chris Womack are looking at the disaster that is Bill Belichick's start (& end?) in Chapel Hill. Alex Bowman, driver of the 48 Ally Chevrolet talks about being more consistent in 2026. Are the Colts and the Jaguars for real, or are they just on hot streaks?
Investor Fuel Real Estate Investing Mastermind - Audio Version
Antonio Womack, a Baltimore-based investor and developer, joined the Investor Fuel Podcast to share his entrepreneurial journey and vision for legacy building. He began his career running a successful restaurant before transitioning into real estate in 2001, where he built large-scale development projects. After weathering the 2008 downturn, Antonio took a detour working in education and publishing before re-entering real estate in 2017. Today, Antonio is focused on a mix of development, flipping single-family homes, and building a portfolio of multifamily properties, including boutique student housing projects to meet high demand near universities like Morgan State. His mission centers on community impact and creating a legacy for his two sons through long-term property ownership and development. Professional Real Estate Investors - How we can help you: Investor Fuel Mastermind: Learn more about the Investor Fuel Mastermind, including 100% deal financing, massive discounts from vendors and sponsors you're already using, our world class community of over 150 members, and SO much more here: http://www.investorfuel.com/apply Investor Machine Marketing Partnership: Are you looking for consistent, high quality lead generation? Investor Machine is America's #1 lead generation service professional investors. Investor Machine provides true ‘white glove' support to help you build the perfect marketing plan, then we'll execute it for you…talking and working together on an ongoing basis to help you hit YOUR goals! Learn more here: http://www.investormachine.com Coaching with Mike Hambright: Interested in 1 on 1 coaching with Mike Hambright? Mike coaches entrepreneurs looking to level up, build coaching or service based businesses (Mike runs multiple 7 and 8 figure a year businesses), building a coaching program and more. Learn more here: https://investorfuel.com/coachingwithmike Attend a Vacation/Mastermind Retreat with Mike Hambright: Interested in joining a “mini-mastermind” with Mike and his private clients on an upcoming “Retreat”, either at locations like Cabo San Lucas, Napa, Park City ski trip, Yellowstone, or even at Mike's East Texas “Big H Ranch”? Learn more here: http://www.investorfuel.com/retreat Property Insurance: Join the largest and most investor friendly property insurance provider in 2 minutes. Free to join, and insure all your flips and rentals within minutes! There is NO easier insurance provider on the planet (turn insurance on or off in 1 minute without talking to anyone!), and there's no 15-30% agent mark up through this platform! Register here: https://myinvestorinsurance.com/ New Real Estate Investors - How we can work together: Investor Fuel Club (Coaching and Deal Partner Community): Looking to kickstart your real estate investing career? Join our one of a kind Coaching Community, Investor Fuel Club, where you'll get trained by some of the best real estate investors in America, and partner with them on deals! You don't need $ for deals…we'll partner with you and hold your hand along the way! Learn More here: http://www.investorfuel.com/club —--------------------
26 titres et quasi deux heures de ride musicale !Tracklist : The Prayer — Jephte GuillaumeUfo — UfosDon't You Worry Baby — Tyler, The CreatorTownship Funk — Dj MujavaNice Shoes — Steve LacyRunning Away — Roy AyersChampionship — KaytranadaYou Don't Exist — MechatokThinkin' Out Loud — BabytronPaty Trem Barbie — Anderson Do ParaisoPlaying Classics — Water From Your EyesOff The Books — The BeatnutsCorazon — Sofia KourtesisU Know What's Up — Donell JonesD.b.a.b — Jim LegxacyForget About The World (Daft Punk Remix) — GabrielleGet The Message — ElectronicYea Yea Yea — Sudan ArchivesHow Do U See Me Now — ZdarTalk Dirty — Paranoid London & Josh CaffeThis Must Be The Place (Naive Melody) — Talking HeadsRow Fisherman — The CongosAfterlife — Alex GIzzo (H.O.V.A) — Jay-ZIs This Love — Joey Valence & BraeTeardrops — Womack & WomackHébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.
The Sportsocracy is LIVE in the Ingles Studio! Tank Spencer and Chris Womack, Sports Director of News 13, discuss the MLB Playoffs and welcome in Todd Raleigh. He's had a heck of a year following Cal's incredible journey to fame. The Charlotte Roval is up next for the NASCAR Playoffs. Cole Custer is back on Splash & Go.
This week, Jack Sharry talks with J. Womack, Head of Asset & Income Optimization at SEI. In his role, J. drives revenue growth by helping investors keep more of what they earn by optimizing their household assets for tax and retirement income. He focuses on expanding SEI's ability to deliver differentiated, client-centric wealth solutions that improve financial outcomes at both the household and enterprise level. Jack and J. explore the growing importance of tax management in wealth creation and how the industry is moving toward the UMH. J. also discusses the distinction between a multi-account UMA and a multi-account UMH, how the convergence of technology, operations, and products is setting a new standard for value delivery in the industry, and why tax optimization has become one of the most powerful differentiators in wealth management today. In this episode: (00:00) - Intro (02:03) - J.'s background and career history (08:09) - J.'s transition into fintech and his early days at SEI (09:48) - From technology expert to investment strategist (12:37) - The role of tax management in advisor value (16:34) - The road to the unified managed household (21:37) - Unlocking the value of tax through tech, product, and service delivery (26:01) - Why tax smart strategies drive organic growth (28:36) - Workplace insurance and annuities (32:01) - J.'s key takeaways (34:23) - J.'s interests outside work Quotes "UMH has the potential to play an integral role in the workplace as providers are looking at ways to deliver more value to plan sponsors and solve real problems for investors." ~ J. Womack "Taxes are where all the action is. It's where the biggest misalignment between client expectations and advisor behavior is. If you solve that, you create a really compelling value proposition that will be attractive to people and create stickier relationships." ~ J. Womack "Multi-account UMA is the foundation of getting to UMH. Closing that gap from a tax perspective, that's where you have the ability to actually deliver comprehensive tax management." ~ J. Womack Links J. Womack on LinkedIn SEI The Wharton School Jeff Benfield Scott Smith Cerulli Associates Connect with our hosts LifeYield Jack Sharry on LinkedIn Jack Sharry on Twitter Subscribe and stay in touch Apple Podcasts Spotify LinkedIn Twitter Facebook
Horror author and editor Taryn Womack joins Rich and co-host Kayla Deickman to talk ghost hunting in Gettysburg, haunted dolls, and her short-story collection Down a Dark Road. She opens up about writing vs. editing, the reality of self-publishing and marketing, and why campfire-style micro-stories can still deliver big chills. You'll also hear actionable ideas for audiobook production, gift-shop placement, and turning local legends into page-turners. Sponsored by Harford County Living Guest Bio: Taryn Womack is a Maryland-based horror author and editor with a B.A. in English (creative writing & publication) from the University of Baltimore (2019). Her collection Down a Dark Road (2023) gathers campfire-style short horror stories inspired by hauntings, mines, and eerie objects; she's currently drafting a romantasy novel and developing a haunted-antiques concept. When she's not writing or editing, Taryn explores historic sites (hello, Gettysburg) and works in Bel Air, MD—often swapping critiques (and jokes) with best friend and illustrator Kayla Deickman. Main Topics: · “Down a Dark Road”: concept, timeline, and favorite stories (“The Mines,” “The Doll,” “Snowman”)· Ghost-tour inspirations: Gettysburg's Jenny Wade House & the Orphanage, Alcatraz daytime tour· Haunted dolls & The Conjuring universe; why real porcelain/Raggedy Ann-style dolls are scarier than movie props· Writing vs. editing: process, drafts, beta reads, and Taryn's editing style/preferences· Self-publishing realities (IngramSpark vs. KDP), royalties, and why buying direct helps authors· Marketing on a budget: podcasts, campground gift shops, seasonal bundles, audiobook casting ideas· Overcoming writer's block; why “the first draft always sucks” and how to push through· Local-legend story ideas: Chessie, Black Aggie, Maryland folklore, Havre de Grace/Jerusalem Mill angles Resources mentioned: · Down a Dark Road by Taryn Womack (short horror collection; 2023)· Gettysburg ghost tours; Jenny Wade House; the Orphanage (story “The Doll” inspiration)· Alcatraz (day tour)Send us a textDonate HereSupport the showRate & Review on Apple Podcasts Follow the Conversations with Rich Bennett podcast on Social Media:Facebook – Conversations with Rich Bennett Facebook Group (Join the conversation) – Conversations with Rich Bennett podcast group | FacebookTwitter – Conversations with Rich Bennett Instagram – @conversationswithrichbennettTikTok – CWRB (@conversationsrichbennett) | TikTok Sponsors, Affiliates, and ways we pay the bills:Hosted on BuzzsproutSquadCast Subscribe by Email
On this week's Spectator Out Loud: Tom Slater says that Britain is having its own gilet jaunes moment; Justin Marozzi reads his historian's notebook; Iben Thranholm explains how Denmark's ‘spiritual rearmament' is a lesson for the West; Angus Colwell praises BBC Alba; and, Philip Womack provides his notes on flatmates.Produced and presented by Patrick Gibbons. Hosted on Acast. See acast.com/privacy for more information.
Christian Clemente and Jason Caldwell discuss the Tigers' latest commitment in five-star safety Bralan Womack and what it means for the 2026 class moving forward. To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices
Auburn Undercover's Christian Clemente and Jason Caldwell discuss the latest developments in the Tigers' 2026 recruiting class in this week's Recruiting Roundup. To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices
Today I wrap up my discussion with CSM (Ret) Bart Womack, author of Embedded Enemy: The Insider Threat. Join us for this discussion of his survival after escaping 2 grenade attacks in his own tent, and the hunt for the enemy who wore the same uniform as him…This is Part 2. Check out CSM (Ret) Womack's book Embedded Enemy - available on amazon! ⸻
Is Ohio State the favorite to land the nation's No. 1 safety, Bralan Womack, who will announce his decision exactly one month from today (Aug. 22)? That is one of the questions Bill Kurelic will answer on today's show. Also, Mark Porter breaks down the film of recent OSU WR commit Jerquaden Guilford, and takes a close look at another talented player on the Buckeyes' board. All of that and more is coming your way on the Tuesday 5ish with Kurelic, Porter and Dave Biddle. To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices
Today I have the pleasure of speaking to CSM (Ret) Bart Womack, author of Embedded Enemy: The Insider Threat. Join us for this discussion of his survival after escaping 2 grenade attacks in his own tent, and the hunt for the enemy who wore the same uniform as him…This is Part 1. To listen to Part 2 early and ad-free visit patreon.com/militarymurder and sign up for any tier - including the FREE tier! Check out CSM (Ret) Womack's book Embedded Enemy - available on amazon! ⸻
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