Podcasts about World War II

A really fun show this week with stories that are somewhat traditional and somewhat not! We hope you enjoy the variety. Dan takes us to Ohio for a dybbuk box tale, which is wildly interesting. Then we head to North Carolina to explore the Duke mansion. Lynze has three short stories this week. She covers a new kind of fear based coping mechanism, then takes us to Myrtle's Plantation and lastly, we fist fight a ghost together! Do you want to get all of our episodes a WEEK early, ad free? Want to help us support amazing charities? Join us on Patreon!Want to be a Patron? Get episodes AD-FREE, listen and watch before they are released to anyone else, bonus episodes, a 20% merch discount, additional content, and more! Learn more by visiting: https://www.patreon.com/scaredtodeathpodcast.Send stories to mystory@scaredtodeathpodcast.comSend everything else to info@scaredtodeathpodcast.comPlease rate, review, and subscribe anywhere you listen.Thank you for listening!Follow the show on social media: @scaredtodeathpodcast on Facebook and IG and TTWebsite: https://www.badmagicproductions.com/Facebook: https://www.facebook.com/scaredtodeathpodcastInstagram: https://bit.ly/2miPLf5Mailing Address:Scared to Deathc/o Timesuck PodcastPO Box 3891Coeur d'Alene, ID 83816Opening Sumerian protection spell (adapted):"Whether thou art a ghost that hath come from the earth, or a phantom of night that hath no home… or one that lieth dead in the desert… or a ghost unburied… or a demon or a ghoul… Whatever thou be until thou art removed… thou shalt find here no water to drink… Thou shalt not stretch forth thy hand to our own… Into our house enter thou not. Through our fence, breakthrough thou not… we are protected though we may be frightened. Our life you may not steal, though we may feel SCARED TO DEATH." Subscribe to SiriusXM Podcasts+ to listen to new episodes of Scared to Death ad-free and a whole week early. Start a free trial now on Apple Podcasts or by visiting siriusxm.com/podcastsplus. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

European Leaders Scramble to Support Ukraine Amidst Domestic Crises: Colleague Gregory Copley discusses the meeting between UK, French, and German leaders with Zelenskyy, noting they are using the Ukraine war to distract from domestic political failures, tracing Europe's defense dependency to U.S. post-WWII policies and suggesting Zelenskyy is leveraging European fears against Washington to secure his future. 1941

SHOW 12-9-25 CBS EYE ON THE WORLD WITH JOHN BATCHELOR 1918 THE SHOW BEGINS IN THE DOUBTS ABOUT THE FED CUT AND THE MARKETS. FIRST HOUR 9-915 Wall Street Bets on Rate Cuts Despite Mixed Economic Signals: Colleague Elizabeth Peek discusses the near certainty of a Federal Reserve rate cut, noting Wall Street's optimism despite steady inflation and mixed employment signals, highlighting strong holiday spending and arguing that fears regarding tariffs were overblown, while emphasizing that AI investment is reshaping, rather than reducing, corporate hiring. 915-930 Concerns Over New York City Mayor-Elect Mamdani's Appointments: Colleague Elizabeth Peek criticizes Mayor-elect Mamdani's controversial appointments, including an ex-convict as a criminal justice adviser and anti-car activists for transportation roles, arguing these ideological choices neglect the pragmatic needs of citizens concerned with safety and education, predicting administrative failure for the new administration. 930-945 Rising Tensions: Hezbollah's Rearmament and Hamas's Defiance: Colleague Jonathan Schanzer warns that Hezbollah has rebuilt its strength in Lebanon using Iranian weapons, prompting Israeli threats of a full-scale attack, noting that Hamas refuses to disarm in Gaza, supported by Turkey and Qatar, while the U.S. moves to designate Muslim Brotherhood branches as terrorist organizations. 945-1000 Syria's Fragmentation and the Regional Arms Race: Colleague Jonathan Schanzer describes Syria as a chaotic mix of armed factions, including Al-Qaeda-led pragmatists and Iranian proxies, held together only by regime brutality, mentioning potential U.S. plans for a base to deter bad actors and highlighting rapid military expansions by Turkey and Egypt amid regional instability. SECOND HOUR 10-1015 The Trump Corollary: Reasserting Influence in the Western Hemisphere: Colleague Mary Kissel analyzes the new National Security Strategy, praising its focus on the Western Hemisphere to counter Russian and Chinese influence in Venezuela and Cuba, warning against accepting separate global spheres of influence and emphasizing that the U.S. faces a coordinated threat from China, Russia, and Iran globally. 1015-1030 Europe's Defense Dilemma and Demographic Decline: Colleague Mary Kissel attributes Europe's inability to fund Ukraine's defense to decades of relying on U.S. protection while prioritizing generous welfare states, citing "scary statistics" regarding France's aging population and pension burdens, arguing that Europe must pursue economic growth rather than government handouts to survive security challenges. 1030-1045 Europe's Economic Stagnation and the Innovation Gap: Colleague Joseph Sternberg discusses Europe's economic decline relative to the U.S., driven by high energy costs and excessive regulation, noting a growing debate in Brussels about deregulation but arguing Europe lacks a unified vision to encourage the entrepreneurship and healthcare innovation seen in the American system. 1045-1100 Angela Rayner's Return and Labour's Economic Struggles: Colleague Joseph Sternberg analyzes the political return of Angela Rayner and her push for a "workers rights bill" despite Prime Minister Starmer's plummeting popularity, arguing this move highlights internal Labour Party conflict and risks imposing policies detrimental to an economy already struggling with inflation and stagnation.THIRD HOUR 1100-1115 Paul Manafort and the Origins of Modern Foreign Lobbying: Colleague Ken Vogel chronicles how Paul Manafort revolutionized the lobbying industry by merging political consulting with foreign representation, creating a model later adopted by Tony Podesta and others, explaining how the fall of Ukraine's Yanukovych and subsequent investigations exposed the industry's widespread failure to comply with FARA regulations. 1115-1130 Robert Stryk's Risky Lobbying Missions in Somalia and Venezuela: Colleague Ken Vogel details lobbyist Robert Stryk's dangerous mission to Mogadishu to secure U.S. aid for Somalia's President Farmajo during the Trump administration, also describing Stryk's controversial efforts to represent Venezuelan dictator Nicolas Maduro, illustrating the lucrative and often perilous nature of foreign influence peddling in unstable regions. 1130-1145 The Revolving Door: Democratic Insiders and Foreign Influence: Colleague Ken Vogel explains how Democratic operatives like Anita Dunn and Antony Blinken leveraged government experience for lucrative consulting roles at firms like SKDK and WestExec, also discussing Hunter Biden's pardon regarding Chinese business dealings and Robert Stryk's representation of sanctioned Russian defense executives. 1145-1200 The Decline of FARA Enforcement and Politicized Justice: Colleague Ken Vogel argues that enforcement of the Foreign Agents Registration Act is weakening, citing Rudy Giuliani's work for sanctioned Balkan leaders and Attorney General Pam Bondi's potential decriminalization of FARA, suggesting the U.S. is returning to a "Wild West" era of unregulated foreign influence where laws are flouted. FOURTH HOUR 12-1215 Reviving the Monroe Doctrine via the Trump Corollary: Colleague Gregory Copley analyzes the Trump administration's National Security Strategy, which reasserts the Monroe Doctrine to counter Chinese and Russian influence in the Western Hemisphere, arguing that "gunboat diplomacy" off Venezuela effectively restores U.S. sovereignty, signaling a shift toward self-reliance and away from traditional alliances like NATO. 1215-1230 European Leaders Scramble to Support Ukraine Amidst Domestic Crises: Colleague Gregory Copley discusses the meeting between UK, French, and German leaders with Zelenskyy, noting they are using the Ukraine war to distract from domestic political failures, tracing Europe's defense dependency to U.S. post-WWII policies and suggesting Zelenskyy is leveraging European fears against Washington to secure his future. 1230-1245 The Strategic Implosion of China and Global Realignments: Colleague Gregory Copley asserts that the People's Republic of China has strategically collapsed due to economic failure and demographic decline, claiming Xi Jinping is no longer effectively in power, noting that Russia is distancing itself from Beijing and Western leaders like Albanese are pivoting back toward Washington. 1245-100 AM King Charles, Environmental Realism, and UK Political Instability: Colleague Gregory Copley observes that King Charles avoids political climate statements despite Bill Gates' recent realism regarding environmental alarmism, discussing political instability in the UK and suggesting Prime Minister Starmer faces challenges from the left that could force new elections, potentially benefiting reformists like Nigel Farage.

Historian Leigh Straw describes one pivotal summer in the life of the Kennedy family. With most of the family in their Cape Cod summer home, the summer of 1944 was marked by personal grief and political legacy. As eldest son Joe Jr flew dangerous missions in the Second World War's European theatre, and Kathleen 'Kick' Kennedy scandalised her parents with an aristocratic English match, the family gathered under the looming shadow of tragedy. Talking to Elinor Evans, Straw explores how this fateful summer reshaped the ambitions of younger brother Jack and steered the family's destiny towards the White House. (Ad) Leigh Straw is the author of The Kennedys at Cape Cod, 1944: The Summer That Changed Everything (Bloomsbury, 2025). Buy it now from Amazon: https://www.amazon.co.uk/Kennedys-Cape-Cod-1944-Everything/dp/1350512583/?tag=bbchistory045-21&ascsubtag=historyextra-social-histboty. The HistoryExtra podcast is produced by the team behind BBC History Magazine. Learn more about your ad choices. Visit podcastchoices.com/adchoices

The forgotten story of the Irishman forced to work on Japan's Railway of Death which inspired the film The Bridge over the River Kwai.In 1942 Britain suffered one of its worst defeats when Singapore fell to the Japanese Army. Tens of thousands were taken prisoner including the Dubliner Don Kennedy. This began a brutal ordeal. Don was forced to help build what became known as Japan's Railway of Death through the jungles of South East Asia.In this episode Don's son Fergus tells the remarkable story of how his father became involved in constructing the notorious River Kwai railway. Fergus shares how his father endured starvation, disease and brutality in the jungles of South East Asia.Fergus has published Don's story in his recent book From Ballybunion to the Kwai. You can get your copy here https://www.gillbooks.ie/history/history/ballybunion-to-the-river-kwaiSound by Kate Dunlea. Support the show at www.patreon.com/irishpodcast Hosted on Acast. See acast.com/privacy for more information.

Drafted in the aftermath of the Second World War and the revelations of mass atrocities committed by totalitarian regimes, the declaration aimed to provide a shared framework for human dignity applicable to all ...

To many Americans, the idea of banning a party that has support from a significant portion of voters might seem undemocratic. But Germany, guided by its determination to avoid a repeat of Nazism, included a provision in its post-World War II constitution to allow banning parties that aim to subvert the constitutional order.Now, as Germany's far-right party – Alternative for Germany (AfD) – surges in popularity, the country is in a heated debate over whether to ban it. “Post Reports” producer and reporter Emma Talkoff speaks with host Colby Itkowitz about how Germany is wrestling with the question of how to fight political extremism.Today's show was produced by Emma Talkoff. It was edited by Ariel Plotnick and mixed by Sean Carter. Thanks to Aaron Weiner and David Herszenhorn. Subscribe to The Washington Post here.

The brain acts in strange ways during wartime. Even in active combat situations, when soldiers are one mistake away from death, many can’t fire on their enemies because their brain is triggering compassion centers against other soldiers. Studies of World War II show that while soldiers were willing to risk death, only 15% to 20% fired their weapons in intense combat, indicating a reluctance to kill. That’s why successful military leaders were able to motivate their soldiers with ideas of unfairness and justice, that their enemies weren’t human to make them better at fighting and killing. All this goes to show that if you want to understand war, you have to understand how the brain makes sense of it. Does war make all of us retreat to our lizard brain and act on pure instinct – so the only way to win is pumping out manipulative propaganda to the masses and use modern technologies like AI and social media exploit the brain's cognitive vulnerabilities? Well, many nations like Russia and China are already using these to their advantage. Or can we bring higher thinking to the matter? Is a researcher like Robert Sapolsky right when he argues that we can stop wars by persuading enough people that it is bad and pointless. Today’s guest is Nicholas Wright, author of “Warhead: How the Brain Shapes War and War Shapes the Brain.” He’s a neuroscientist and advisor to the Pentagon. We explore how our brains respond under pressure and how these instincts can shape everything from battlefield outcomes to boardroom decisions. He argues that while conflict is inevitable, it’s not unmanageable - if we understand how the brain drives fear, trust, aggression, and judgment.See omnystudio.com/listener for privacy information.

 FARA: From Fighting Nazi Propaganda to Modern Transparency: Colleague Kenneth P. Vogel explains that the Foreign Agents Registration Act was originally enacted in 1938 to counter Nazi propaganda in the United States before World War II; at the time, the Third Reich was paying well-connected American consultants to whitewash Hitler's image and keep the U.S. out of the war, operating without public knowledge, and Congress passed FARA to create transparency, requiring those paid by foreign principals to influence the U.S. government or media to register their activities, with the law remaining today the primary vehicle for accountability in foreign lobbying 1940 MAO

SHOW 12-8-2025 CBS EYE ON THE WORLD WITH JOHN BATCHELOR 1895 KHYBER PASS THE SHOW BEGINS IN THE DOUBTS ABOUT THE FEDERAL RESERVE  BOARD OF GOVERNORS. FIRST HOUR 9-915 The DC Shooter, the Zero Units, and the Tragedy of the Afghan Withdrawal: Colleagues Husain Haqqani and Bill Roggio discuss recent violence in Washington, D.C. involving an Afghan immigrant that has drawn attention back to the chaotic U.S. withdrawal from Afghanistan in 2021; the shooter, Ramanula Lakanal, was a member of the elite "Zero Units" of the Afghan National Army, a force that demanded priority evacuation for their families in exchange for providing security at the Kabul airport during the U.S. retreat, and while these units were stalwart allies against enemies like al-Qaeda and ISIS, they fought a "dirty war" and were accused of human rights violations, highlighting the broader failure of the withdrawal which occurred because political will faded across multiple administrations. 915-930 The Vetting Failure and the Lack of an Exit Strategy in Afghanistan: Colleagues Husain Haqqani and Bill Roggioexplain that the chaotic withdrawal from Afghanistan was exacerbated by the lack of a methodical exit strategy, unlike the British who organized their departure and evacuation lists well in advance; critics argue that the U.S. imported significant security risks by rushing the evacuation, bringing in over 100,000 Afghans without adequate vetting, and while there was a moral obligation to help those who served, experts suggest that wholesale importation of citizens from a war-torn country was not the only solution and that better vetting or resettlement in third countries should have been considered. 930-945 Martial Law in South Korea and the Shadow of the North: Colleagues Morse Tan and Gordon Chang discuss South Korea facing severe political turmoil following President Yoon's declaration of martial law, a move his supporters argue was a constitutional response to obstructionist anti-state forces; the opposition, led by figures previously sympathetic to North Korea, has been accused of attempting to paralyze the government, while accusations of "insurrection" against President Yoon are dismissed as nonsensical, with the political infighting fracturing the conservative party and leaving South Korea vulnerable to the North Korean regime in a way not seen since the Korean War. 945-1000 Japan Stands Up for Taiwan While Canada Demurs: Colleagues Charles Burton and Gordon Chang report that Japanese Prime Minister Takaichi recently declared that a Chinese invasion of Taiwan would be a "survival threatening situation" for Japan, authorizing the mobilization of self-defense forces; this statement has triggered a massive propaganda campaign from Beijing demanding a retraction, as a successful invasion of Taiwan would likely require violating Japanese sovereignty, while in contrast Canada remains reluctant to support Tokyo or criticize Beijing, hoping to secure trade benefits and diversify exports away from the U.S., leaving Japan isolated by its allies. SECOND HOUR 10-1015 The Survival of UNRWA and the Flow of Terror Finance: Colleagues Malcolm Hoenlein and Thaddeus McCotterreport that despite investigations revealing corruption and ties to terrorism, the UN has renewed the mandate for UNRWA for another three years; the organization's facilities have been used by Hamas and its schools have been implicated in radicalizing children, yet international efforts to replace it have stalled, while Hamas leadership refuses to disarm or accept international oversight, demanding a Palestinian state as a precondition for any change, with financial support for terror groups continuing to flow through networks in Europe and the Middle East. 1015-1030 Greece's "Achilles Shield" and Israel's Iron Beam Laser Defense: Colleagues Malcolm Hoenlein and Thaddeus McCotter report that Greece is undertaking a historic modernization of its armed forces, unveiling a new national defense strategy focused on long-range missiles and a modernized air defense system dubbed "Achilles Shield," allowing Greece to project power more flexibly in the Eastern Mediterranean and counter threats from Turkey; in Israel, a major defensive breakthrough is imminent with the deployment of the "Iron Beam," a laser defense system capable of intercepting threats at approximately $50 per shot, expected to rewrite the rules of air defense by effectively countering drone swarms and missiles. 1030-1045 Hezbollah's Quiet Regeneration Under Naim Qassem: Colleagues David Daoud and Bill Roggio report that since the ceasefire began, Hezbollah has received at least $2 billion from Iran and is actively rearming and regenerating its forces in Lebanon; the terror group is focusing on acquiring drone swarms and other asymmetrical weapons that are cheap to produce and difficult for Israel to counter, while Hezbollah's new leader Naim Qassem is leveraging his "bookish" and underestimated persona to lower the temperature and allow the group to rebuild without attracting the same level of scrutiny as his predecessor. 1045-1100 Fragmentation in Yemen: The Southern Transitional Council Advances: Colleagues Bridget Tumi and Bill Roggio report that the civil war in Yemen is fracturing further as the Southern Transitional Council, which advocates for southern secession, advances into eastern governorates to secure territory and combat smuggling; this move has heightened tensions within the anti-Houthi coalition, as the STC is backed by the UAE while other government factions are supported by Saudi Arabia, weakening the collective effort against the Houthis who control the capital Sanaa and maintain ambitions to conquer the entire country. THIRD HOUR 1100-1115 The Druze National Guard and Internal Strife in Southern Syria: Colleagues Ahmad Sharawi and Bill Roggio report that instability is growing in Syria's Druze-majority Suwayda province, where a newly formed "National Guard" militia has begun arresting and killing political opponents; the militia is spiritually guided by Sheikh Hikmat al-Hijri, who has consolidated power by sidelining other Druze leaders who were open to reconciliation with the Assad regime, with Turkey expressing support for the anti-Assad Druze factions against both the Syrian government and Kurdish forces, while recent violence suggests a hardening of anti-regime sentiment. 1115-1130 The "Variable Geometry" of the Muslim Brotherhood and Its Global Affiliates: Colleagues Edmund Fitton-Brown and Bill Roggio explain that the Muslim Brotherhood operates as a "mothership" for various Islamist movements, utilizing a strategy of "variable geometry" to adapt to local political environments while aiming for a global caliphate; Hamas functions as the Palestinian branch of the Brotherhood and despite being severely damaged by the war with Israel remains the dominant force in Gaza, with the Brotherhood finding state sponsorship primarily in Qatar, which provides funding and media support via Al Jazeera, and Turkey, where President Erdogan acts as a leader for the organization. 1130-1145 Ukraine Negotiations Hit a Cul-de-Sac Amidst Infiltration Tactics: Colleagues John Hardie and Bill Roggio report that peace talks regarding Ukraine are currently at a standstill, with the U.S. and Ukraine at odds over Russia's demands for territory in the Donbas versus Ukraine's need for meaningful security guarantees; while the U.S. has pressured Ukraine to concede territory, the security assurances offered are viewed skeptically by Kyiv, and Russia refuses to accept any Western military presence in Ukraine, while on the battlefield Russia employs infiltration tactics using small groups, sometimes single soldiers, to penetrate deep into Ukrainian positions. 1145-1200 The Trump Corollary: Reviving the Monroe Doctrine in Latin America: Colleague Ernesto Araújo discusses a new "Trump corollary" to the Monroe Doctrine reshaping U.S. policy in the Americas, signaling a more assertive stance against foreign influence and authoritarian regimes; this shift is evident in Venezuela, where President Maduro appears to be negotiating his exit in the face of U.S. pressure, while in Brazil the administration of Lula da Silva faces significant instability due to a massive banking scandal linking the government to money laundering and organized crime, with the new application of the Monroe Doctrine suggesting the U.S. will favor political figures aligned with its security strategy. FOURTH HOUR 12-1215 Devil's Advocates: Robert Stryk, Rudy Giuliani, and the Business of Influence: Colleague Kenneth P. Vogel discusses how in the power vacuum created by Donald Trump's arrival in Washington, unconventional lobbyists like Robert Stryk rose to prominence by marketing access to the new administration; Stryk, described as an "anti-hero" with a checkered business past, hosted a lavish event at the Hay-Adams Hotel to legitimize the regime of Joseph Kabila of the Democratic Republic of Congo, successfully delivering Rudy Giuliani as Trump's personal attorney, signaling a new informal channel for foreign diplomacy and highlighting how foreign regimes utilized large sums of money and unconventional intermediaries to seek favor. 1215-1230 The Accidental Diplomat: Robert Stryk and the New Zealand Connection: Colleague Kenneth P. Vogel explains that Robert Stryk's rise in the lobbying world was fueled by serendipity and bold bluffs, exemplified by a chance encounter with a New Zealand diplomat at a cafe; the diplomat revealed that New Zealand, having prepared for a Clinton victory, had no contacts within the incoming Trump team and could not arrange a congratulatory call between their Prime Minister and the President-elect, and Stryk, leveraging a connection to a former Trump campaign field director, provided a phone number that successfully connected the embassy to Trump's team, establishing his credibility and launching his career in high-stakes foreign lobbying. 1230-1245 Hunter Biden, Chinese Spies, and the Monetization of Political Connections: Colleague Kenneth P. Vogel reports that following his father's departure from the vice presidency, Hunter Biden faced financial pressure and sought lucrative foreign clients, leading to risky entanglements; one venture involved a corrupt Romanian real estate magnate who hired Hunter along with former FBI Director Louis Freeh and Rudy Giuliani to resolve his legal troubles, with the proposed solution involving selling land including the site of the U.S. Embassy in Romania to a Chinese state-linked fund, and Hunter Biden was aware of the nature of his associates, referring to one as the "spy chief of China." 1245-100 AM FARA: From Fighting Nazi Propaganda to Modern Transparency: Colleague Kenneth P. Vogel explains that the Foreign Agents Registration Act was originally enacted in 1938 to counter Nazi propaganda in the United States before World War II; at the time, the Third Reich was paying well-connected American consultants to whitewash Hitler's image and keep the U.S. out of the war, operating without public knowledge, and Congress passed FARA to create transparency, requiring those paid by foreign principals to influence the U.S. government or media to register their activities, with the law remaining today the primary vehicle for accountability in foreign lobbying

This weekend was the anniversary of the Pearl Harbor attack, an event few call a "surprise" anymore, considering the evidence that it was provoked and desired to launch the U.S. into WWII. Interestingly, according to Popular Mechanics, UAP czar Luis Elizondo was investigating the UFO subject to "prevent another... Pearl Harbor." This reminds us of the PNAC report on Rebuilding America's Defences, which was thought unlikely to be fulfilled short of a "catastrophic and catalyzing event - like a new Pearl Harbor." Then, President Bush wrote in the White House daily log, "The Pearl Harbor of the 21st Century took place today." Could the "threat" of the UAP be used as an excuse to reorder society again? Tonight, Ryan Gable fills in for Clyde Lewis and talks with UFO researcher and author Walter Bosley. Listen to Ground Zero, M-F, 7-10 pm, pacific time on groundzeroplus.com. Call in to the LIVE show at 503-225-0860. #groundzeroplus #clydelewis #ryangable #walterbosley #AI #PearlHarbor #UFO #UAP

In an era of World War II revisionism, it's worth remembering what really led to Japan's surprise attack on Pearl Harbor 84 years ago on Dec. 7, 1941.  Victor Davis Hanson breaks down the real context behind the attack, why Japan miscalculated so badly, the myths that still distort this history, and how Pearl Harbor became the beginning of Japan's greatest strategic blunder on today's episode of “Victor Davis Hanson: In a Few Words.” “Why did they attack? They said that they did not want to attack. They were in the process of negotiating a peace settlement. They said that we had cut off their oil exports. And we had because we had no other mechanism to convince them to get out of China, it was not their territory, to get out of Korea, to get out of Southeast Asia, and to not absorb the Dutch East Indies. “They had refused on all of those accounts and said, yet, we will find a peaceful solution, as they planned the attack. The attack happened at seven in the morning, deliberately, on a Sunday morning when people were either at church or still asleep from Saturday night partying. And they came out of the rising sun. Two waves. And they destroyed four battleships and injured, or just—I don't wanna say injured, they were inanimate objects. But they disabled four that sunk to the shallow bottom of Pearl Harbor.” (0:00) Pearl Harbor and Revisionism (0:14) Context Leading Up to Pearl Harbor (3:53) The Attack on Pearl Harbor (5:27) Aftermath and Misconceptions (7:38) Final Thoughts

In this short podcast episode, Bryan explores the history of the finned-tube coil, which is what we use for heat exchange in air-source air conditioners and heat pumps. Air-source HVAC systems have copper tubes threaded through thin metal fins. This design was optimized to ensure the greatest possible surface area for heat exchange to occur. However, prior to the finned-tube coil, HVAC coils looked more like plumbing projects with bare copper loops, which were heavy, costly, and inefficient.  In the early 1900s, HVAC was essentially plumbing with higher expectations; capacity was dictated purely by size and charge. In the 1910s and 1920s, early air conditioning pioneers were already attempting to increase surface area with metal discs or pipes, which evolved to continuous sheet fins. The tube would move refrigerant, and the fins would collect heat from the air and pass it into the tube; the finned-tube coil was born. The added weight was minimal, but the contact area was increased by almost 3000%, meaning coils and charges could be smaller with added efficiency. This move was necessary because while we already knew that heat can indeed move without touching molecules (radiant transfer), radiant cooling had a unique challenge: dew point. Finned-tube coils rely on convection and only have temperatures below the dew point in a small area, which allows us to have a small drain pan. Aluminum was also plentiful after WWII, enabling finned-tube technology to evolve to louvered fins and reach the masses. By the 1960s, finned-tube coils were in all sorts of applications. However, it became clear that aluminum was fragile, and we have since innovated to overcome that challenge. There are three barriers that heat transfer must overcome: air-side film resistance (air is a poor conductor), wall conduction through the tube and fins, and refrigerant-side film resistance (oil inside or laminar flow). The fins help with air-side film resistance, so we want to clean and straighten them as much as possible.   Have a question that you want us to answer on the podcast? Submit your questions at https://www.speakpipe.com/hvacschool. Purchase your tickets or learn more about the 7th Annual HVACR Training Symposium at https://hvacrschool.com/symposium. Subscribe to our podcast on your iPhone or Android. Subscribe to our YouTube channel. Check out our handy calculators here or on the HVAC School Mobile App for Apple and Android.

On June 6, 1944, over 150,000 American, British, and Canadian troops stormed the beaches of Normandy to liberate the people of France during World War II, a day now known as D-Day. On today's edition of Family Talk, Dr. James Dobson shares personal memories from his visit in 2010 to the Normandy American Cemetery in France, where 4,400 Allied soldiers are buried. The opening scene of the film, Saving Private Ryan, captured both the raw horror and the indisputable heroism of the men who sacrificed their lives for freedom on that shore 81 years ago. You'll be transported to that moment in time as Dr. Dobson and his guests honor those courageous men who lost their lives. To support this ministry financially, visit: https://www.oneplace.com/donate/707/29?v=20251111

Proverbs 17:25–28 highlights the grief that foolishness brings and the dignity that wisdom preserves. A foolish child becomes heartache to his parents, robbing them of joy. A wicked person distorts justice by accepting bribes, yet wise people restrain their words and govern their spirits. Even a fool seems wise when he keeps silent, for measured speech reveals understanding. In today's Morning Manna, Rick Wiles and Doc Burkhart examine how restraint, righteousness, and thoughtful silence reflect true wisdom—and how unchecked folly wounds families and corrupts justice. Teachers: Rick Wiles and Doc Burkhart You can partner with us by visiting FaithandValues.com, calling 1-888-519-4935, or by mail at PO Box 399 Vero Beach, FL 32961. MEGA FIRE reveals the ancient recurring cycles of war and economic collapse that have shaped history for 600 years. These patterns predict America is now entering its most dangerous period since World War II. Get your copy today! www.megafire.world Get high-quality emergency preparedness food today from American Reserves! www.AmericanReserves.com It's the Final Day! The day Jesus Christ bursts into our dimension of time, space, and matter. Now available in eBook and audio formats! Order Final Day from Amazon today! www.Amazon.com/Final-Day Apple users, you can download the audio version on Apple Books! www.books.apple.com/final-day Purchase the 4-part DVD set or start streaming Sacrificing Liberty today. www.Sacrificingliberty.com

This week Seth Paridon and Jon Parshall welcome back the OG, Captain Bill Toti to the show for our first of several Q&A episodes. As always, our emcee, retired US Army Major Shawn Bergstrom is with us as well. The guys tackle some of the more than 500 questions sent in (!) and cover all klinds of topics from the Philippines, to torpedoes, dinner guests and just about anything else you can think of. Check it out to see if your question made the cut. #wwiihistory #ww2 #usnavy #usa #usarmy #medalofhonor #enterprise #aircraft #aircraftcarrier #cv6 #midway #wwii #wwiihistory #ww2 #worldwar2 #usnavy #usnavyseals #usmc #usmarines #saipan #usa #usarmy #aircraft #aircraftcarrier #battleship #battleships #ussenterprise #aircraftcarriers #museum #essex #halsey #taskforce38 #wwii #wwiihistory #ww2 #usnavy #usa #usarmy #medalofhonor #enterprise #aircraft #aircraftcarrier #cv6 #midway #wwii #wwiihistory #ww2 #worldwar2 #usnavy #usnavyseals #usmc #usmarines #saipan #usa #usarmy #aircraft #aircraftcarrier #battleship #battleships #ussenterprise #aircraftcarriers #museum #hollywood #movie #movies #books #mastersoftheair #8thairforce #mightyeighth #100thbombgroup #bloodyhundredth #b17 #boeing #airforce wwii #wwiihistory #ww2 #usnavy #usa #usarmy #medalofhonor #enterprise #aircraft #aircraftcarrier #cv6 #midway #wwii #wwiihistory #ww2 #worldwar2 #usnavy #usnavyseals #usmc #usmarines #saipan #usa #usarmy #aircraft #aircraftcarrier #battleship #battleships #ussenterprise #aircraftcarriers #museum #hollywood #movie #movies #books #oldbreed #1stMarineDivision #thepacific #Peleliu #army #marines #marinecorps #worldwar2 #worldwar #worldwarii #leytegulf #battleofleytegulf #rodserling #twilightzone #liberation #blacksheep #power #prisoner #prisonerofwar #typhoon #hurricane #weather #iwojima#bullhalsey #ace #p47 #p38 #fighter #fighterpilot #b29 #strategicstudying #tokyo #boeing #incendiary #usa #franklin #okinawa #yamato #kamikaze #Q&A #questions #questionsandanswers #history #jaws #atomicbomb #nuclear #nationalarchives #nara #johnford #hollywood #fdr #president #roosevelt #doolittle #doolittleraid #pearlharborattack #salvaged #medalofhonor #tarawa #malayalam

I sat down with Tusar Barik, the SVP of Marketing at the New York Times, who's just past his first year in this newly created role. We explored how the Times has transformed from a traditional newspaper into a multifaceted media company spanning news, games, podcasts, cooking, sports, and more. Tusar leads a comprehensive team managing everything from measurement and data insights to product marketing, editorial advertising opportunities, and traditional communications. What struck me most was learning that the Times now reaches over 150 million registered users with 50 to 100 million weekly engagers, seeing the highest growth among Gen Z adults and audiences in the Midwest and South. The digital advertising business delivered over 20% year-over-year growth, proving that quality journalism and a direct relationship with readers creates a powerhouse advertising platform.We dove deep into how the Times is meeting consumers where they are through video-forward strategies, producing over 75 hours of professional video monthly and transforming podcasts into multimodal shows available as both audio and video. Tusar shared insights on their Brand Match generative AI product that delivers 30% improvements in both click-through rates and brand lift by intelligently matching advertiser briefs with the right content. We explored how games like Wordle have been part of the Times' DNA since the 1940s crossword, how The Daily creates deeply personal connections with millions, and why the Times sees itself as a solar system with news at the center. The conversation revealed a company that's successfully balanced subscription-first strategy with a thriving advertising business by staying true to its mission while innovating how it reaches and serves audiences._______________________________________________Key Highlights

This weekend was the anniversary of the Pearl Harbor attack, an event few call a "surprise" anymore considering the evidence it was provoked and desired to launch the U.S. into WWII. Interestingly, according to Popular Mechanics, UAP czar Luis Elizondo was investigating the UFO subject to "prevent another... Pearl Harbor." This reminds us of the PNAC report on Rebuilding America's Defences, which was thought to be unlikely fulfilled short of a "catastrophic and catalyzing event - like a new Pearl Harbor." Then, President Bush wrote in the White House daily log, "The Pearl Harbor of the 21st Century took place today." Could the "threat" of the UAP be used as an excuse to reorder society again? If there is any “alien” technology, perhaps it is hidden behind a veil of confusion; perhaps it is AI, something its engineers can build but not fully understand?*The is the FREE archive, which includes advertisements. If you want an ad-free experience, you can subscribe below.WEBSITEFREE ARCHIVE (w. ads)SUBSCRIPTION ARCHIVE-X / TWITTERFACEBOOKINSTAGRAMYOUTUBERUMBLE-BUY ME A COFFEECashApp: $rdgable PAYPAL: rdgable1991@gmail.comRyan's Books: https://thesecretteachings.info - EMAIL: rdgable@yahoo.com / rdgable1991@gmail.comBecome a supporter of this podcast: https://www.spreaker.com/podcast/the-secret-teachings--5328407/support.

December 18, 1970. Decades after the end of WWII, a Nazi doctor is on trial. Today is judgment day in a long, difficult legal battle, but this case isn't about war crimes. The German pharmaceutical company Grunenthal is charged with the worst medical disaster in history: the Thalidomide scandal. The shoddily tested and hastily approved drug made its way into medicine cabinets around the world, and a decade after its release, the reality is becoming clear: Thalidomide is killing babies. Who are the heroes who brought down Thalidomide? And how did this disaster change pharmaceutical regulations forever? Special thanks to our guest, Michael Magazanik, author of Silent Shock. ** This episode originally aired December 14, 2020. -- Get in touch: historythisweekpodcast@history.com  Follow on Instagram: @historythisweek Follow on Facebook: ⁠HISTORY This Week Podcast⁠ To stay updated: http://historythisweekpodcast.com 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

The Courtiers' Pivot and the Failing Imperial Narrative — Gaius & Germanicus — Gaius and Germanicus, in their metaphorical 91 AD Londinium dialogue, critique the Western foreign policy establishment, dismissively labeled "courtiers," regarding their systematic narrative repositioning on the Ukraine war as military circumstances deteriorate catastrophically. Germanicus argues that these elite advisors prioritize preservation of institutional status and access to executive power over accountability and honest assessment; as the military situation turns decisively against Ukraine, these courtiers seamlessly pivot from predicting Ukrainian victory to blaming European allies for failing to "step up" with additional military commitment. Germanicus draws historical parallels to the fall of the Soviet Union, noting that elites systematically rewrite their past positions retrospectively to claim they foresaw inevitable geopolitical collapses, a psychological mechanism enabling survival without disgrace or professional consequences. Gaius and Germanicuscontrast successful empires possessing unified narratives aligned with coherent strategy against the current Americanapproach, characterized as "predatory opportunism" driven by electoral manipulation requirements. Germanicuscontends that strategic failures in Ukraine—where population and material resources mathematically determine victory—expose the U.S. as a "weak and venal empire" relying upon a "pastiche" of propagandistic lies rather than the solid convergence of vision that characterized American dominance during World War II. 1918 UKRAINE

We're opening the vault for another Happy Hour—this one from 2021 with retired U.S. Navy Captain Matthew “Tom” Maxwell.Tom flew numerous World War II– and Korean War–era aircraft from carriers around the world before eventually finding his way into his favorite platform: the Douglas A-3 Skywarrior. In the “Whale,” he famously saved a fuel-starved F-8 by breaking the rules and refueling the Crusader over North Vietnam, getting the pilot safely back “feet wet.”He was also aboard USS Oriskany during the devastating October 1966 fire that claimed the lives of 44 sailors. Tom captured these stories and many others in his memoir Grandfather's Journal: A Grandson's Journey into His Grandfather's Life, a short and delightful read naval aviation aficionados will enjoy.Sadly, Tom passed away a year after this Happy Hour originally aired and now rests at Arlington National Cemetery.Support this podcast at — https://redcircle.com/the-fighter-pilot-podcast/donations

⁠A Short History of Ancient Rome⁠ - the debut book from the Noiser Network is out now! Discover the epic rise and fall of Rome like never before. Pick up your copy now at your local bookstore or visit ⁠⁠noiser.com/books⁠⁠ to learn more. As the Second World War ended and those who survived the horrors of Hitler's violence struggled to process what had occurred, a unique response was demanded from the international community. Its form, the victors concluded, should be the criminal prosecution of those most culpable for the worst crimes of the Nazi regime. Known as the Nuremberg Trial, the first of these prosecutions required a redefinition of the law, and was seen as an important step in the prevention of any possible future revival of the Nazi movement. But how did the Allies work together to establish this unique judicial event? What dramas did the trial itself witness? And what were the consequences for those in the dock, and the world beyond? This is a Short History Of The Nuremberg Trial. A Noiser podcast production. Hosted by John Hopkins. With thanks to James Bulgin, Head of Public History at the Imperial War Museum, and author of Nuremberg, published to coincide with the 80th anniversary of the trial. Written by Dan Smith | Produced by Kate Simants | Production Assistant: Chris McDonald | Exec produced by Katrina Hughes | Sound supervisor: Tom Pink | Sound design by Oliver Sanders | Assembly edit by Anisha Deva | Compositions by Oliver Baines, Dorry Macaulay, Tom Pink | Mix & mastering: Cody Reynolds-Shaw Get every episode of Short History Of… a week early with Noiser+. You'll also get ad-free listening, bonus material and early access to shows across the Noiser podcast network. Click the subscription banner at the top of the feed to get started. Or go to noiser.com/subscriptions Learn more about your ad choices. Visit podcastchoices.com/adchoices

Dr. Larry P. Arnn, President of Hillsdale College, joins Hugh Hewitt on the Hillsdale Dialogues to continue a series on The Second World War, Churchill's sprawling memoir and history of World War II in six volumes.Release date: 05 December 2025See omnystudio.com/listener for privacy information.

Go to www.LearningLeader.com for full show notes The Learning Leader Show with Ryan Hawk This is brought to you by Insight Global. If you need to hire one person, hire a team of people, or transform your business through Talent or Technical Services, Insight Global's team of 30,000 people around the world has the hustle and grit to deliver. My Guest: Patrick Lencioni is the founder of The Table Group and a bestselling author of 14 books, including The Five Dysfunctions of a Team and The 6 Types of Working Genius. Behind his achievements (valedictorian, straight A's, business success) were childhood wounds that drove him to prove himself. Key Learnings "I think I'm really good at anticipating people's objections." I think about what they might be thinking and what I need to put out there. Whether talking interpersonally, giving a speech, writing a book, or on a podcast, I like to think about what the other person might be objecting to. Lean into empathy. I always felt like I needed to prove myself in order to be successful and to feel safe. That's not healthy.  "When people tell you they got straight A's and were the valedictorian, the student body president, and got accepted to all the schools they wanted to get into, there's a wound there." Based on my personality type, I shouldn't have done all those things, but it was out of the need to prove myself. Which wasn't healthy for me. My parents had a hard time being affirming because of their own lives. It wasn't until I was 55 years old that a friend who's a psychologist said, "You, my friend, have childhood wounds you've never dealt with." I got good Christian counseling and realized that the way I grew up, I wasn't supposed to grow up that way. It's common in athletes & CEOs to feel like they haven't done enough. They need to do more. "You're a noun, not a verb. You are enough, and you're not defined by what you do." Great achievements come out of fear, but "true greatness is best when it's only in the things that you're meant to be great at, and that you're doing it out of freedom and passion and love, not out of fear of failure." I remember seeing Tiger Woods on the Tonight Show when he was four years old. He was being groomed to be a golfer when he was four. It's best in life when we discover who God means us to be, then we do the things we're supposed to do and we're okay with not being good at the things we're not supposed to. Are we too affirming now as parents? People who are pretty darn good at everything it's usually because they're doing something out of fear. When I was a kid, my parents came from World War II and the Depression. It was like, hey, you got a roof over your head. There was a lot of suffering, and they weren't really attuned to that. Now we are hyper worried of our own kids suffering. No, suffering is actually good. They need to know they're loved and safe, but they're not gonna be protected from what is necessary for their development. The mistake I made was, oh no, I don't want them to feel like I did. Thankfully at my age, I'm now interacting with my mostly adult children and explaining to them what I did wrong. The Teammate Trifecta - How should we use it?: When I wrote The Five Dysfunctions of a Team right after 9/11, I thought, "That's the book on teamwork." Then we realized you need The Ideal Team Player (humble, hungry, and smart) to hire people that fit on teams. Years later, we came up with Working Genius: Are they in the right seat?  3 steps to building a team: Don't let people on the bus if they're not humble, hungry, and smart. Make sure you have them in the right chair based on their gifts. Then teach them the Five Dysfunctions. Pat's Two Working Geniuses: Invention and Discernment "Invention means I love to come up with ideas out of nothing. Discernment means I love evaluating things, curating things. God wired me to do that kind of thing." When people say, "Pat, we have five minutes, and we need a new idea," I just take a deep breath and smile. One man's trash is another man's treasure.  Every new idea I've come up with has been in the field, working with people. I asked Jim Collins, "Jim, you do all this research with data. I go into a room with leaders and just think, What's going on here?" He said, "Pat, that's just as valid as what I do. That's called field research and face validity."  What is Pat terrible at? Finishing things. People say, "Well you finished 14 books." And that's because I had the help of others to make me finish those.  I got a 4.0 in high school. That wasn't my personality. I went to every class in college, never blew off classes. My personality is the kind that should blow off classes that don't matter. But I was so afraid of failing and disappointing my parents and teachers that I did anything they asked. That was not natural; that was fear-based. Can we use fear as useful fuel? "You can use it in the short term, but if you're doing it in your life, no." "We should celebrate what other people are better than we are at things. We should literally celebrate what we suck at." If we have two kids and one's creative and the other's disciplined, we tell the creative one to be more disciplined and the disciplined one to be more creative. No. We have to say, understanding that you're not creative is good for you. That's not who you're meant to be. The hardest thing about being a parent is constantly asking yourself, "Am I pushing them too hard or not enough?" The hardest question you ask yourself as a parent is, "Am I pushing my kids too hard or not hard enough?" This question also applies to yourself.  In Working Genius, should I work on my working frustrations? The short answer is no.  Working Genius is all about knowing what you love to do. Enablement and Tenacity are my working frustrations, and so many of those things fall into parenting. I'd say to my wife, "Hey, Laura, let's outsource some of these things." Out of fear and guilt, she said no because she felt like she'd be a bad mother. Outsource the work you don't enjoy, and when you have to do it, try your best and don't feel guilty with the result. The electrical company turned off our power for not paying the bill. We need to accept our deficiencies and need to be able to laugh at the things we're not good at.  Ryan's Learning Leader Team: When your whole team has Tenacity as their working genius, your team loves to finish things. You will never be flaky. You might stick to something that needs to be changed way before it needs to be. In my company, we're always up for a change in plans, but not great at following through. If your team doesn't have Wonder and Invention, force yourself to borrow from others outside the organization to get new ideas. The Five Dysfunctions of a Team Vulnerability-based trust changes everything in teams. Eric Spoelstra uses Five Dysfunctions with the Miami Heat. He started when they acquired LeBron James. He said, "I don't know what offense we're gonna run this year, but I know we're gonna use the Five Dysfunctions." I love it in basketball, especially because you see them on the court. When people can be so vulnerable that they can say it was my fault, or I need help, or I'm sorry I was kind of a jerk yesterday at practice, it changes everything. But when you have a player who doesn't admit when they made a mistake or who blames everybody else, the ceiling of that team being great is so low. Humble, Hungry, Smart has been a great tool for athletic teams. I define it: no ego, it's about the team (humble). Hungry means I go above and beyond. Smart means I have emotional intelligence. I have the team members say, "Which of those three is your lowest?" It is crazy how people will call out. The goalie said, "I'm not smart. I yell at guys on the field, and I demean them. I gotta get better." Another kid said, "I need to be hungrier. I don't do the workouts at home." Pat phrases it this way when meeting with athletic teams. "Okay, everybody, look around at your teammates and think about the thing they want to get better at. If you want to be a good teammate, when you see your teammate doing the thing he just admitted he wants to get better at, you need to call him out on it." Once people start to have that language, it's amazing how they're coaching each other. And if as a coach yourself, I think you should tell people, "When I was a player, this was mine." They're gonna go, hey, if the coach admits that, I'll do it too. For leaders with Enablement & Tenacity as top geniuses, how do they avoid burnout? You have to be willing to start with "I am prone to burnout if you guys aren't aware of what's going on." The people with enablement and tenacity will say, "I'll just do it," and then they do. We had 12 employees and only one had Tenacity. We said we are going to kill her because every time we have to get something done, we're gonna say, "Jackie will finish." When people have enablement and tenacity, they and everybody else need to say, let's not abuse them. How do we assess a company in a short amount of time without focusing on their financials?  When I go into a company, I find out what their meetings are like. If there's no disagreement and they're not exhausted at the end of a meeting, that's a red flag. If good people are leaving an organization, that's a massive red flag. I like going around and checking interactions. Is there an intensity with people together? Or are they alone and quiet? Also, keep an eye on customer reviews. What are the customers saying? There are two extremes of humility problems: arrogance on one end, and lack of confidence on the other. I first identified humility as a problem when I saw a CEO who didn't care about his company's results, but if he went on TV and answered questions about why they didn't meet their numbers, he would make jokes and make others laugh. If he was happy from that versus getting the results they needed, that's an issue. What specific traits do leaders need to have to get hired? A leader has to simultaneously believe they are no more important than the people they lead. They also have to accept the fact that their behaviors and words ARE more important than others in the company. "The one thing the leader has to do is break the tie." This past Friday, I was in a meeting trying to deal with a strategic issue between two great people. I dropped a curse word and said, "Listen, I'm pulling the CEO card right now. I don't do it all that often, but since I am the CEO, this is where we're going." Because I don't pull it every time, people are glad to have a CEO that will do that. If you're doing it every time, you lose credibility. Advice for young professionals: I wrote a book called The Motive, and what I say to leaders when they're young is: make sure your motive for being a leader is about sacrificing and suffering for others. "I want to help this organization, or I want to be the kind of person that takes on more than others for their good." Leadership is a lonely and selfless thing. It's wonderful, but the personal economics of leadership are not good. If you don't sign up for that, don't be a leader. Too many people say, I want to be a leader. And if you really scratch below the surface, they'll say, I think it would make me feel important, I'd get attention, maybe I'd make money, I'd have power. When that's your motive for being a leader, you're not gonna be a great leader. Reflection Questions Pat says people who were perfect students (straight A's, valedictorian, student body president) often have childhood wounds driving them. What in your past might be driving your current achievements? Are you operating from freedom and passion, or from fear and the need to prove yourself? He teaches his kids' sports teams to identify which of Humble, Hungry, or Smart is their lowest, then hold each other accountable when they see teammates struggling with that area. What would you identify as your lowest, and who in your life could you invite to call you out when you're not living up to it? Pat says the motive for leadership should be "sacrificing and suffering for others," not feeling important or controlling what you work on. If you're honest about why you want to lead (or why you currently lead), what's really driving you? Would people who report to you say you're other-motivated or personally motivated?

The fighting in Burma during the Second World War was among the most demanding of the entire conflict. Soldiers faced dense jungle, monsoon rains, disease, and a determined enemy — conditions that made the campaign both brutal and complex. Yet for decades, Burma remained one of the least remembered theatres of the war. The men who fought there — British, Indian, African, and Burmese — became known as the "Forgotten Armies." A new exhibition at the National Army Museum in London, Beyond Burma: Forgotten Armies, seeks to change that. It explores not only the campaign itself but also the wider human and political stories that emerged from the fighting in Southeast Asia. In this episode of the WW2 Podcast, I visit the museum to speak with Dr Alan Jeffreys, Head of Equipment and lead curator of Beyond Burma. We discuss the exhibition, its themes, and the challenge of bringing this complex history to life.   patreon.com/ww2podcast  

3 hours and 13 MinutesPG-13Thomas777 is a revisionist historian and a fiction writer.This is the complete audio to the series exploring the research of Viktor Suvorov (Vladimir Rezun) and Joachim Hoffmann.Thomas' SubstackRadio Free Chicago - T777 and J BurdenThomas777 MerchandiseThomas' Book "Steelstorm Pt. 1"Thomas' Book "Steelstorm Pt. 2"Thomas on TwitterThomas' CashApp - $7homas777Pete and Thomas777 'At the Movies'Support Pete on His WebsitePete's PatreonPete's SubstackPete's SubscribestarPete's GUMROADPete's VenmoPete's Buy Me a CoffeePete on FacebookPete on TwitterBecome a supporter of this podcast: https://www.spreaker.com/podcast/the-pete-quinones-show--6071361/support.

This episode goes straight to the heart of Trump's chaotic Pentagon with one of the most respected national security reporters in America, Barbara Starr. In this all–new Manosphere Monday, Paul and Barbara dig into the debate around the boat strikes off Venezuela, war crime allegations, “Signalgate,” Trump's new defense strategy and what happens when the guardrails that protect U.S. troops start coming off.​ Barbara explains why she's never seen anything like Pete Hegseth's drama-fueled Pentagon, how the new “propaganda press corps” replacing traditional reporters in the briefing room is changing the flow of truth, and why Trump's walk-back from NATO looks like a gift-wrapped present to Vladimir Putin. They connect the dots from Pearl Harbor to 9/11, January 6th and today's surprise-attack risks—from Venezuela to China and Taiwan—and lay out what real vigilance and leadership should look like in 2025.​ Paul takes listeners through the latest on the controversial boat strikes, the escalating partisan fight on Capitol Hill, the National Guard deployment hearings, and the 3,000-page defense bill barreling through Congress while Trump hands himself a FIFA “peace prize” on Fox Sports. Barbara breaks down what's at stake for apolitical troops, the dismantling of military legal and diversity safeguards, and the danger of turning the Secretary of Defense into a full-time video performer instead of a wartime leader.​ They also zoom out to the bigger cultural moment—from Pearl Harbor remembrance and World War II's “greatest generation” to the rise of women's flag football and the Dodgers' World Series run—and close with “something good,” including Paul's unapologetic love for *NSYNC's holiday album and Barbara's countdown to spring training.​ Because every episode of Independent Americans with Paul Rieckhoff breaks down the most important news stories--and offers light to contrast the heat of other politics and news shows. It's independent content for independent Americans. In these trying times especially, Independent Americans is your trusted place for independent news, politics, inspiration and hope. The podcast that helps you stay ahead of the curve--and stay vigilant. -WATCH video of this episode on YouTube now. -Learn more about Paul's work to elect a new generation of independent leaders with Independent Veterans of America. -Join the movement. Hook into our exclusive Patreon community of Independent Americans. Get extra content, connect with guests, meet other Independent Americans, attend events, get merch discounts, and support this show that speaks truth to power.  -Check the hashtag #LookForTheHelpers. And share yours.  -Find us on social media or www.IndependentAmericans.us.  -And get cool IA and Righteous hats, t-shirts and other merch now in time for the holidays.  -Check out other Righteous podcasts like The Firefighters Podcast with Rob Serra, Uncle Montel - The OG of Weed and B Dorm.  Independent Americans is powered by veteran-owned and led Righteous Media. Spotify • Apple Podcasts • Amazon Podcasts  Ways to watch: YouTube • Instagram  X/Twitter • BlueSky • Facebook  Ways to listen:Social channels: Learn more about your ad choices. Visit megaphone.fm/adchoices

Keith reviews the state of the real estate market, noting that existing home sales are down about 33% from their 2021 peak, while prices remain firm due to low supply and high demand.  Affordability challenges are driven by stagnant wages, inflation, and higher mortgage rates, with 70% of mortgage holders still locked in at rates below 5%.  He observes that in certain markets, new construction may now offer better investor terms than comparable existing properties, especially where builders buy down rates.  The episode highlights a comparison of nearly a century of asset class returns, reporting real estate's long-term annual appreciation at approximately 4.7%. Episode Page: GetRichEducation.com/583 For access to properties or free help with a GRE Investment Coach, start here: GREmarketplace.com GRE Free Investment Coaching: GREinvestmentcoach.com Get mortgage loans for investment property: RidgeLendingGroup.com or call 855-74-RIDGE  or e-mail: info@RidgeLendingGroup.com Invest with Freedom Family Investments.  For predictable 10-12% quarterly returns, visit FreedomFamilyInvestments.com/GRE or text  1-937-795-8989 to speak with a freedom coach Will you please leave a review for the show? I'd be grateful. Search "how to leave an Apple Podcasts review"  For advertising inquiries, visit: GetRichEducation.com/ad Best Financial Education: GetRichEducation.com Get our wealth-building newsletter free— GREletter.com or text 'GRE' to 66866 Our YouTube Channel: www.youtube.com/c/GetRichEducation Follow us on Instagram: @getricheducation   Complete episode transcript: Keith Weinhold  0:01   welcome to GRE. I'm your host. Keith Weinhold, how do other audiences feel about the GRE mantras that we've come to love here, like financially free beats debt free and don't get your money to work for you? Then sometimes it's not what you're attracted to in life, but what you're running away from finally comparing the returns from six major asset classes over the past century all today on get rich education    Keith Weinhold  0:29   since 2014 the powerful get rich education podcast has created more passive income for people than nearly any other show in the world. This show teaches you how to earn strong returns from passive real estate investing in the best markets without losing your time being a flipper or landlord. Show Host Keith Weinhold writes for both Forbes and Rich Dad advisors, and delivers a new show every week since 2014 there's been millions of listener downloads of 188 world nations. He has a list show guests include top selling personal finance author Robert Kiyosaki, get rich education can be heard on every podcast platform, plus it has its own dedicated Apple and Android listener phone apps build wealth on the go with the get rich education podcast. Sign up now for the get rich education podcast or visit get rich education.com   Corey Coates  1:18   You're listening to the show that has created more financial freedom than nearly any show in the world. This is get rich education.   Keith Weinhold  1:34   Welcome to GRE from Kennebunkport, Maine to Bridgeport, Connecticut and across 188 nations worldwide. It is the voice of real estate investing since 2014 I'm Keith Weinhold, and I'm grateful to have you here with me, and we're doing something a little different today, as you'll soon listen in to me as I was on the hot seat being interviewed on another prominent real estate show. But first, when you pull back and ask yourself, why you're really an investor in the first place? There are so many reasons. Maybe you just want a few properties in order to supplement your day job income. Maybe you want to have more than a few so that you can completely replace that active income, or perhaps rather than going the route of building up your cash flow, which is valid, but some think that it's the only way to real estate financial freedom. Instead, you could own, say, nine doors or 22 doors, and even if they all had zero cash flow, you can just keep borrowing against that leverage and equity tax free and live off of that whatever you do when it comes to your day job, income, your degree of disdain for your nine to five job that is going to be greater or less than it is for some others. So your motivation for self improvement, it isn't always about what you're running to in life, which could be real estate investing, but it's also what you're running away from, especially if you don't get a deeply rooted sense of meaning from your job. So you could have both a push factor and a pull factor in what motivates you. There's a scene from the 1999 movie Office Space that just does this incredibly unvarnished job of saying out loud how so many of us feel today. What I'm going to share with you, I mean, you know that you have felt this at least once in your life. Office space wasn't supposed to be a mega hit movie, but it kind of was, because it's so relatable. Let's listen in to part of this clip. This is Ron Livingston playing a disgruntled male employee talking to Jennifer Aniston at a restaurant about his job in the movie Office Space.   Speaker 1  4:09   I don't like my job, and I don't think I'm gonna go anymore. You're just not gonna go. Yeah, won't you get fired? I don't know, but I really don't like it, and I'm not gonna go.   Keith Weinhold  4:24   Then it continues when she asks. So you're just gonna quit? No, not really. I'm just gonna stop going. When did you decide all of that? About an hour ago? Really? Yeah, aren't you going to get another job? I don't think I'd like another job. What are you going to do about money in bills and all that? I've never really liked paying bills. I don't think I'm going to do that either.   Keith Weinhold  4:53   That's it. That is the end of that classic dialog from office space that we can. All relate to you did not wake up to be mediocre, but a lot of people's jobs pummel them into a rather prosaic state. You were born rich because you were born with this abundance of choices, this huge palette in menu, but society often stifles that and makes you forget it, and it gets really easy to just fall into your groove and stay there. The main reason we aren't living our dreams is really because we're living our fears. Failure doesn't actually destroy as many dreams as people think fear and doubt. Does fear and doubt destroy more dreams than failure ever does financial runway? That is a phrase for the amount of time that you can maintain your lifestyle without the need for a paycheck. And it's critical for you to lengthen this runway if you hope to retire early, and it will dramatically reduce your stress level. An example is say that you currently earn 150k per year after taxes, and you spend 126k of that, all right. Well, that means you've got a surplus of 24k a year. Well, it's going to take you a little over five years to accumulate that 126k that you need to annually support your lifestyle. That's what happens if you don't invest. And see investing helps you lengthen your financial runway, that amount of time you can maintain your lifestyle without the need for a paycheck. That's what we're talking about here. Last week I brought you the show from Caesar's Palace in the center of the Las Vegas Strip. So therefore, what I've done is I have gone from the ostentatious and flamboyant over here to the familial and simple as this week I'm in Buffalo New York, broadcasting from a somewhat makeshift GRE studio here, the Buffalo Bills had a home game yesterday, so the city and hotels are busier than usual. Next week, I will bring you the show from upstate Pennsylvania, as I'm traveling to see my family. Let's listen in to me on the hot seat. I was recently a guest on Kevin bups long running real estate investing show. You're going to get to see how I present information and GRE principles for the first time to a different audience. And as I do, you're going to hear me provide new material, but you'll also hear me say quite a few things that I have told you before, even then, the concepts might land differently when I'm explaining them to a new audience. The show is based in Florida, so We'll also touch on the real estate pain and opportunity there. After I'm interviewed, I'm going to come back and tell you about something fascinating. I'm going to compare the returns from six major asset classes over the past century, since 1930 anyway, and that's going to include the first time on the show where I'll tell you real estate's annual appreciation rate over the last entire century. Just about what do you think it is? 8% 5% 3% you're gonna have, perhaps the best answer you've ever had. Here we go.   Kevin Bupp  8:31   Now, guys, I want to welcome back a guest that we've had on. It's been a number of years now. Keith Weinhold, I went back to look at the last episode we had him on. I think it's been about four years. So, you know, four years ago, the world was in the very different state. It was a very different time. And so, you know, thankfully, we're out of the covid era and on to newer and greater things. So for those that don't know Keith, he's the founder of get rich education. He's the host of the popular get rich education podcast. He's a longtime thought leader in the real estate investing space, and like myself. Keith was also born and raised in Pennsylvania. For those that know don't know, I was born and raised in Harrisburg, Pennsylvania, Keith, I believe, a couple hours away from where I was. But Keith has very much a unique perspective on wealth, building debt, and really the housing market as a whole. And today, you know, we'll be diving into everything you know, from why the property itself? This is something that Keith kind of coins, why the property itself is less important than you think, to how the housing crash has already happened in a way that most people don't even realize, to the role inflation and debt play in building long term wealth. And so again, it's been a number of years here, so I'm excited to welcome Keith back here. So my friend, Keith, welcome to the show. It's it's a pleasure to have you back here again, my friend.   Keith Weinhold  9:43   Oh, Kevin, it's good to be here and be in the auspices of another fellow native Pennsylvanian as well.   Kevin Bupp  9:49   That's right, that's right, yeah, no, Pa is rocking and rolling as I think I told you this little, this little tidbit last time everyone, every time I speak with someone from Pennsylvania, they never know this. But I'm going to share this fun fact. Are you already know, Keith. I'm gonna share it with the rest of the listeners here today, Pennsylvania, those that are born and raised there. It's the only state where, if you're from Pennsylvania, you refer to it by its initials, and you assume that everyone else, everywhere else across the country, they know what you're talking about when you say I'm from PA and that's the only state that does that. So I think it's pretty neat.   Keith Weinhold  10:19   That's right. No one else does that. No one else says, I'm from TN, if they're from Memphis, right?   Kevin Bupp  10:24   They don't, they don't. So with that, my friend. So, you know, it's, again, it's been a number of years since we, since we had you last on here, you know, let's start with just, let's back up a little bit. You know, what have you been up to? I mean, what, what have the last few years look like for you? Where have you been spending your time, energy and efforts? Obviously, it's, you know, we've gone through some quite a bit of turmoil over the last five years, and would love to just get an update as to what's going on your life.    Speaker 2  10:48   Well, one of the big words in real estate investing, we all know it, even the person that cuts your hair and cleans your teeth knows it, and that's affordability. You know, really, affordability has been under fire, under pressure. By a lot of measures, we have the worst affordability for home buying since the early 80s, when the Jeffersons was on television. So it's been helping a lot of people deal with that. It's really the effect of three things, general inflation, higher home prices and higher mortgage rates. Really, those three things the crux of the problem. It's not exactly inflation, really. It's the fact that over the long term, wages don't keep up with inflation. And really that's the crux of the affordability problem. So I've been helping people deal with that and put that in perspective, really, Kevin,   Kevin Bupp  11:42   what does that mean for, you know, investment, real estate? I mean, are you still still doing deals? Are you seeing deals still get done by your students? I mean, what? What's your world look like?   Keith Weinhold  11:52    Yeah. I mean, I think you're asking, you know, how many deals are taking place? One way to measure that on a national basis is existing home sales. You know, existing home sales have been down substantially. And when a lot of people hear that, they think, prices, oh no, we're not talking about prices. We're talking about existing home sales. That means sales volume. That means the amount of overall transactions. So to give an idea of a real estate market, a residential one that's become pretty lethargic and not very vibrant, is that sales volume. It had its recent peak of about 6 million home sales back in 2021 I mean, 2021 was crazy, kind of the crux of the pandemic, you know, Kevin, that's when for an open house. You saw cars wrapped around the block for just one open house. Okay, well, that year 2021 there were 6 million existing home sales. Today, we're on pace to do about 4 million, and we also did only about 4 million last year. So if you put that in perspective and think about what that means, prices have stayed stable, but that's a 33% reduction in transactions. So investors, you know, people like you and I, Kevin, we're not as affected by this as some other industries. But think about the mortgage loan industry. If you're doing 33% fewer transactions, think about the hard decisions companies have to make and lay people off. 33% fewer transactions for title companies. It's probably close to 33% fewer transactions for furniture companies as well. So really it's both affordability that's been a problem, and that's led to this relative lethargy, kind of a slow, not very interesting residential real estate market, at least from the transaction perspective, really, really slow.   Kevin Bupp  13:58   But Could, could one not argue, I don't know the data points. Keith, I guess, what did it look like? 2021? Was kind of the peak. I think you'd reference 6 million units a year. Transactionally, what did it look like prior? What, what was, what was a more normal year like? And maybe 2020, wasn't a normal year either, right? Because a lot of folks thought the role was ending for a period of time. You know, 2019 maybe just again, trying to, trying to find maybe a better baseline to use. And then, you know, does, I guess, in my mind, and I don't follow these data points as much as you do, is that maybe 2021, was, you know, somewhat artificial inflation, right? Lots of lots of money pumping into the marketplace. And ultimately, we had to get back to a sense of normalcy at some point in time. And so are we at a at a place of normalcy? Are we still behind the eight ball a little bit?   Keith Weinhold  14:44   We're still behind the eight ball a little bit. 5 million is more of a normal long term number. But yeah, I mean, if we've got 4 million now, that's, you know, 25% less still than 5 million, sort of this long term normalcy rate of existing. Home transactions. And if you're a careful listener, you notice I've been using the word existing that doesn't include new build. So you know, when you the listener out there reading headlines, always look at that closely. We talking about existing? Are we talking about new build? You can learn a lot from that when you introduce new build data that introduces an awful lot of noise. For example, even when we look at prices, sometimes we want to exclude new construction. So why is that? Why do we want to focus on existing a lot? Well, because new build can introduce a lot of aberrations to the market. For example, the size of new build properties has dropped substantially the past few years, again, coming back to the central theme of affordability to help make a home more affordable. So we're not looking at same same when the square footage of a property drops a lot. And also, another thing that's been happening as a response to the lack of affordability is you have more builders building further and further out from a central business district where there are lower land costs for that new build property as well to help meet affordability. So the takeaway is, yeah, we want to be careful when we look at numbers. Are we looking at existing? Are we looking at new? Are we looking at overall properties.   Kevin Bupp  16:22   If you believe that if rates come down, we really is that the is that the lever that has to be pulled in order for that transactional volume to kick back up and, you know, make homes more affordable for the average home buyer,   Keith Weinhold  16:34   yeah, it's certainly going to help. I mean, really lower rates is the most likely significant lever that can help with the affordability crisis. Prices are pretty firm. Home prices are up 2% year over year. It's difficult for home prices to fall. In fact, home prices have only fallen one time substantially since World War Two. A lot of people don't realize that. So home prices are firm. I expect them to stay firm. And then the other lever is if we get a huge surge in wage increases, which I really don't expect anytime soon, unless we have another really big bout of inflation. So to your point, yes, lower mortgage rates like, that's the biggest lever that can help affordability return. And to speak to mortgage rates, Kevin and help put all of this into perspective, including this affordability component, is the fact that today, mortgage rates are low, and that gives a lot of people pause. They're like, What are you talking about? Mortgage rates were 3% even as low as two point some percent, just as recently as 2021 and early 2022 What are you talking about? Like, mortgage rates are 2x to 3x that today we look at a long term perspective when we look at the arc of mortgage rates, instead of in setting up expectations where we think rates could go. And we need to look at a frame of reference. Mortgage rates peaked over 18% in 1981 that's if you had a good credit score and everything on a 30 year fixed rate mortgage. That's what we're talking about here. In fact, Freddie Mac, they're the ones that have the best, most reliable stat set for mortgage rates, and that goes back to 1971 the average mortgage rate since 1971 all the way up to today, through all these presidential administrations you know, Nixon and in the Reagan years, and Clinton and the bushes and Obama, everything You know up to today, from 1971 until today, the average 30 year fixed rate mortgage is 7.7% so that's why I talk about how mortgage rates are, you know, moderate to a little low today. That takes a lot of people back. I don't see any impetus. It's going to get us back to, say, 3% mortgage rates. So some real perspective here.   Kevin Bupp  19:06   Yeah, yeah, no. And, you know, the interesting thing again, you might have data points on this to see, is a lot of the lack, do you feel that a lot of the lack of transactional volume is also related to those folks that have locked in, you know, 3% you know, mortgages, right? Like they're they, why would they sell and ultimately trade into a, maybe a, you know, a, you know, upgrade of a home, but ultimately be paying significantly more than that of what they're paying at the present time, you know, double the cost of capital. Your rates today, 30 year, rates are where the six and a half, 7% range, I don't follow it, but yeah.   Keith Weinhold  19:42   I mean, as of today, 6.3% is is where they're at. But yeah, you have a lot of those homeowners locked in to low rates. I mean, first, if we just pull back and look at the overall homeowner landscape, four in 10 have a paid off property. So just to talk to those about the other. Or 60% that percentage that are mortgage borrowers, among borrowers, 70% still have a mortgage rate under 5% meaning it starts with a four or less. So yeah, you're bringing up astutely Kevin the lock. In effect, people are reluctant to sell and give up that rate to trade it for a higher rate. And here's what's interesting, a lot of people if they couldn't make the payments on their home and say they lost their home, something that actually happened a lot in 2008 when people were locked into in sustainable mortgages because they didn't have good credit and they didn't have good income, the borrower is in good shape today. But even if, for some reason, they couldn't make the payments on their home, and they lost their home and they had to rent. Rents are actually higher in many cases, than what that mortgage principal and interest payment is. Maybe even the mortgage principal interest, taxes and insurance that they pay today are lower than what comparable rent would be, and this helps stabilize the housing market, people are really motivated to make their payments, and they can easily do it when it is so low, speaking to that lock in effect, and we're bringing up another reason now why transaction volume is so low, that lock in effect. So homeowners are in good shape. Their payments are sustainable. They don't want to sell, and they're just staying put. They're staying in place   Kevin Bupp  19:42   tying that all back around. Keith, what does that mean for us real estate investors? I mean, is there still good value out in the marketplace? I mean, is the rent to value ratio still, you know, Is there good opportunity to be had, as far as ROI for an investor that wants to buy into a residential investment or a multifamily investment, or anything related to that of residential housing?   Keith Weinhold  19:42   Well, the deals in the one to four unit space, single family homes up the four Plex buildings, yeah, just are not as good as they used to be. The ratio of rent income to purchase price is lower than it was five years ago. And that's so simple, but that's just really the simplest formula for profitability for a real estate investor, you don't have to look at cap rate or or NOI in the one to four unit space. Let's just look at that ratio of rent income to purchase price. 20 years ago, it was easy to find a full 1% meaning, on a 200k property, you could get $2,000 worth of rent income. That's that 1% ratio. But now oftentimes you've got to find something that's more like seven tenths of 1% that would be a $1,400 rent on a 200k property. So that simple formula, and I love that, the rent income divided by the purchase price when I'm looking at properties, when I'm scrolling or scanning like that's a calculation you can do in your head. It's only if I would see a ratio that appears really good, oh, that I would like drill down and look at that property more closely. So of course, when you have something that is that simple, though, rent income divided by purchase price, there's a lot of things that doesn't tell you. You know, what kind of mortgage interest rate can you get? What kind of property tax Do you pay in that jurisdiction? But really, I love the simplicity. That's it, rent divided by price, but it has been under attack. Now today, I still don't know where you're going to get a better risk adjusted return than you do with a carefully bought income property with a loan. I've always liked fixed interest rate debt the best risk adjusted return anywhere. I really don't know of a better one than with buying real estate, because real estate investors have so many profit centers, five simultaneous profit centers, which few people understand. Yeah.   Kevin Bupp  19:42   So using that, I want to, I want to unpack the the 1% rule a little bit for those that aren't familiar with it. And again, there's a lot of variables there, as you had mentioned, you know, mortgage rate, taxes, insurance and that respective market that you that you're buying in, and so what? What are you really trying to back into when applying that rule? Is there? Is there? Is there a true cash on cash return that you're hoping to achieve, again, assuming all these other variables that we just don't know, what they are at this point, you know? Is there a target range of actual ROI that you're actually looking to achieve when applying that 1% rule?   Keith Weinhold  19:42   No, I'm just looking for any positive cash flow. You know, to your point, yeah, there's nothing like the cash on cash return needs to be at least three and a half percent or something like that. But, yeah, I still like buying a property that's that's greater than a break even. Inflation is probably going to increase your cash flow over time, even if you bought a property that that broke even or just had a trickle of cash flow or a $100 cash flow today, a lot of people don't understand that fact that right there you can't count on it, you shouldn't count on. Getting rent increases. But we all know it generally happens over time at a rate of about 3% a year, but it actually increases your cash flow. If you increase your rent 5% your cash flow can often increase something like 12% why is that? How could that happen? That's because, you know, it's key for the person that was listening closely, you get fixed interest rate debt, so your rent income goes up, your expenses increase, except for that mortgage principal and interest. Inflation can touch it. It's kind of like a mosquito buzzing against a window and always trying to get in. And inflation can't touch that in a way. It's sort of like debt that's an asset in some unusual way, or some play on words, getting that debt so So yes, you can't count on rent increases over time. We know what typically happens, and that's really part of the compelling value proposition of buying income property with a loan. You're sort of leveraging inflation. You're really on the right side of it.   Kevin Bupp  20:08   Are there any particular markets that you feel are ripe for opportunity today where you're spending your focus and energies in?   Keith Weinhold  20:08   Yeah, it's still in high cash flowing markets like Memphis, okay, little rock and a good part of the Midwest and the Midwest still has home prices appreciating faster than the national average as well. So those are some of the areas that I like. Those jurisdictions also tend to have laws, as your listeners might know this already, Kevin, they tend to have laws that benefit the landlord more so than the tenant, where you can get a prompt eviction, but those are still the areas where you do get that high ratio of rent income to purchase price on a single family rental home, you might still find eight tenths of 1% meaning $800 worth of rent for every 100k of property purchase in places exactly like that.   Kevin Bupp  20:08   I was hoping that you tell me 1% rule would is applicable.   Keith Weinhold  20:08   It's pretty rare. You know, if you do see, if you do see a property that has a full 1% rent to purchase price ratio, it could be in a sketchy area, you need to make sure that you can actually get the rent in like you would get a respectful rent paying tenant in there. That's something that we would have to look at more closely.   Kevin Bupp  20:08   Have you explored building new product? Is there an opportunity there getting at a lower basis by building ground up?   Keith Weinhold  19:42   You asked such a smart question. This is actually the first time ever, as long as I've been an active real estate investor, Kevin for more than 20 years where new build purchases for income property make more sense than existing purchases. Why is that? It's because builders know that investors and borrowers are struggling to buy and afford property and make the numbers work. Like you're talking about, that builders are incentivized to buy down your rate. For you, to buy down your mortgage rate, we deal with a lot of providers that buy down your mortgage rate to 5% or less for you, and this is a fixed, long term loan in order to help get the numbers to work. You know, especially where you might see a new build property where the rent to purchase price ratio is less than seven tenths of 1% and it's just like, ah, the numbers wouldn't work paying a higher mortgage rate, but some are willing to buy them down to as little as four and a half. However, if you're looking into buying a new build income producing property, you do want to look at that closely. Who is paying for the discount points to buy down the rate. Is it the builder, or is it you? Because some builders just suggest, hey, you can buy down. You can have your rate bought down. But yeah, the next question is, yeah, okay, who is actually doing the buy down? Yeah.   Keith Weinhold  19:43   I mean, just getting tacked on. I mean, in that instance, I'm assuming that a lot of it's just getting tacked on to the to the back end of the purchase price, or it's being baked into closing costs somewhere somebody is paying for it. More than likely the borrower is paying for it. Paying for it. Is that? Is that? Again, I'm assuming we probably have that here in Florida. Again, I don't really follow the residential market too much, but there's, as you had mentioned, like, kind of on the the outskirts of Tampa, the tertiary, necessary, tertiary, probably more secondary areas. That's where a lot of the builds are happening. Lots of these, you know, planned subdivisions. You know, hundreds and 1000s of homes being put up. And in my understanding, through the grapevine, is I hear that they're, you know, sales volumes is incredibly slow, and a lot of these builders are now offering some creative loan products, again, to what you've just stated there, to attract, not necessarily even just homeowners, but also investors, to come in and buy their product from them. Is, is there a real opportunity there, though? I mean, have you seen investors be able to benefit from buying brand new product at a fair price, with economics at work keeping as a rental?   Keith Weinhold  29:53   I have and Florida has some builders that are almost desperate. I'm a long time investor. Know personally, directly in Florida, income property, Southwest Florida, places like Cape Coral, they have been ground zero for real estate depreciation, a contraction in real estate values year over year of 10% or more in some southwest Florida markets. So like the post pandemic, migration boom is certainly over in Florida. And you know, Kevin, as little as 10 years ago, people used to talk about buy in Florida. It's cheap, it's sunny, cheap and cheerful, like you would sort of hear that sort of thing about Florida real estate. That is no longer true. Florida just is not as cheap as it used to be. It's the same or higher than the national median home price now in Florida. So yes, some builders are rather desperate. The other benefit of buying new build, especially in a place like Florida, where a lot of new building has taken place and the supply actually exceeds the demand here in the short period. You can take advantage of that, not only by getting the rate buy down, but because homeowners insurance premiums are substantially less on new build property, because they're built to today's wind mitigation and other standards than they are existing property. I have a friend that just bought a new Florida duplex through us in Ocala, Florida. That's sort of a central, North Central Florida, on that new build duplex that he paid 400k for. I saw the actual insurance premium, the the rate sheet, $694.06 $694 694 so the benefit of buying new build is you get a lower insurance premium. You get these rate buy down. Sometimes what your builder will buy for you make for you rather and of course, you're probably going to have low maintenance costs for a long time, since it's a new build property, and you get a tenant that is probably going to stay longer than the average duration. They're the first person to ever live there. It's difficult for the tenant to improve their housing situation when they have a new build income property, unless they would go out and buy, and it's a very difficult time to go out and buy. So through that lack of affordability, really, the advantage for a real estate investor is tenants are staying put longer. The average tenancy duration is up because they can't run out and be a first time homebuyer.    Keith Weinhold  32:32   You know, most people think they're playing it safe with their liquid money, but they're actually losing savings accounts and bonds don't keep up when true inflation eats six or 7% of your wealth. Every single year, I invest my liquidity with FFI freedom family investments in their flagship program. Why fixed 10 to 12% returns have been predictable and paid quarterly. There's real world security backed by needs based real estate like affordable housing, Senior Living and health care. Ask about the freedom flagship program when you speak to a freedom coach there, and that's just one part of their family of products, they've got workshops, webinars and seminars designed to educate you before you invest. Start with as little as 25k and finally, get your money working as hard as you do. Get started at Freedom, family investments.com/gre, or send a text. Now it's 1-937-795-8989, yep. Text their freedom coach directly. Again. 1937795898, 77958989   Keith Weinhold  33:44   the same place where I get my own mortgage loans is where you can get yours. Ridge lending group and MLS, 42056, they provided our listeners with more loans than anyone because they specialize in income properties. They help you build a long term plan for growing your real estate empire with leverage. Start your prequel and even chat with President chailey Ridge personally while it's on your mind, start at Ridge lending group.com that's Ridge lending group.com   Todd Drowlette  34:17   this is the star of the A and E show the real estate commission. Todd Rowlett, listen to get rich education with my friend Keith Weinhold, and don't quit your Daydream.   Kevin Bupp  34:38   That even trickles down to the to the space that we're in. We're in the mobile home park space. And while we don't have a lot of rentals inside of our portfolio, most of our residents own their home and they rent the land, but throughout our portfolio, we have roughly 400 units that we own that we have as standardized rentals, and we've noticed that trend as well. Historically. 10 years ago, you. Yeah, we track actually about, I can take it back about eight years, where we actually have data to support this. This claim is that our average renter would stay about 16 months. That was fairly standard. Whereas today it's over, it's nearly three years. At this point in time, the majority are staying nearly three in there's probably, there's some variables in there. You know, eight years ago, we weren't bringing a lot of new product into our communities, whereas a lot of the mobile home parks that we purchased today do have a lot of newer mobile homes in them. So again, to your point, it's, it's a it's a newer home. It's fresh. There might not be the first person that lived there, maybe they're only the second, right? But it's still a very new home. It's only a couple years old. All the appliances are new. It's fresh, you know, it's well insulated, and it's just a high quality product, but, but it's nearly double of what we used to experience and what we used to underwrite. It's, you know, which is, which is interesting. You know, I am, I want to, I want to circle back, you'd mentioned Cape Coral. I've got quite a bit, quite a bit of experience with Cape Coral. This is not the first time that Cape Coral and Port Charlotte in those areas have crashed. I mean, like, they've got quite an interesting history in time, back during the GFC, that area down there took probably one of the biggest hits in most of Florida, while, you know, the rest of Florida got, you know, pounded pretty hard with home values and decreasing home values decreasing rents, Port Charlotte, Cape, coral, in those areas as well. It's just It looks very different down there today. As far as you know, the job basis. I mean, there's a little bit more of a, you know, you know, an economy than what existed maybe 1015, years ago. But I don't know if you know the story of Port Charlotte. Is it some interesting history that you can if you want to spend some time, go on YouTube. There's some documentaries out there about, basically when that area was created. There's a two brothers that, essentially, you know, sold, subdivided and sold swampland and sold the dream to the northeast centers to come down and buy, you know, parcels of land down in Cape Coral, port, Charlotte and in that general area. And it took a lot of time for it develop over the years, but it's a beautiful area down there. But again, I think what happened to your point? A lot of folks during the covid era were wanting to come to Florida. We were fairly free down here. The sun was shining, you know, the Gulf of Mexico was warm, and that was a good value for a lot of folks. You know, the values were driving up there. Was home inventory down there. You got a good bang for your buck back at that point in time. But again, there's not, there's not as much as many amenities and supportive economy there. And then to me, there, like you might find in the Tampa area, or you might find Orlando, or even Ocala cow is a phenomenal market right now. And yeah, oh, Cal is, for those that don't you know you mentioned, you referenced the insurance there, which is, that's a great, that's a great price for that, that policy, you know, 700 bucks, basically, that is inland. For those that don't know the geography here in Florida, that is inland. So you are fairly protected from storms, you know, hurricanes and things of that nature, which crush us here on the on the Gulf Coast. But in any event, I just thought I'd share that there's some good, pretty cool documentaries out there in Port Charlotte, in the whole area down there, but a beautiful part of the country. But just Yeah, it's, it's suffering right now. There's, I think there's, I was looking the other day on Zillow. I just play around and check and see what waterfront home prices are going for. And down there, you can basically get a you can get a canal front home going out to the Gulf of Mexico for about $500,000 which was probably closer to 800,000 during, you know, the the boom era of 2021 2022 So historically, we used to buy properties down there. This is back in 2000 and 345, before the the GFC, we could buy those same properties for 150 and $200,000 waterfront home, waterfront homes, deep water canals going out to the Gulf of Mexico. But when it crashed, some of those homes were selling for $120,000 $100,000 so it's interesting to see how things have come kind of full circle multiple times, not just down there, but in all of Florida as well. Florida is always boom and bust. You know, I think they say that with you know, you could probably speak to that most of these coastal towns, whether it be in Florida, whether it be up the eastern seaboard, the coastal markets are definitely more of a roller coaster ride than the Midwestern markets, where you invest in would you? Would you agree with that?   Keith Weinhold  39:09   Yeah, I would. And yeah, you talk about Florida being a boom and bust, and what you said is certainly true in the shorter term. Back in the global financial crisis, we saw more price blood letting in Florida than we did in other states as well. But over the long term, the long arc, I'm bullish on Florida because of just the obvious constant in migration story. In fact, if you go back to decennial censuses, all the way back to the early 1800s every single decennial census, every 10 years, the population of Florida has rose, and it rises faster than the national average, almost all of those 10 year periods. So yeah, over the long term, I certainly like Florida, but Yeah, you sure can, you know, nitpick over the. Short term, but as little as five years from now. If you bought today, as little as five years from now, I could see someone saying, like, yeah, I bought back five years ago, because we're actually in a in a short term, overbuilt condition, and builders bought down my rate. For me, this could look savvy and this could look wise. So if you're looking for opportunity, new building Florida is definitely something to look into.   Kevin Bupp  40:22    I agree. No, absolutely. Like, the long term, you know, opportunity here in Florida, it's there, you know, it's interesting. We've got the we get these hurricanes every year. Last year was a pretty impactful year, at least here on the on the Gulf side, and the neighborhood I lived in, we got flooded. Luckily, our homes in newer builds built up. But, you know, 70% of the neighbor I lived in had 444, or five feet of seawater. And as did the, you know, the long stretch of the Gulf Coast here, and it was the first time this area has ever this immediate air right where we live, has ever had a it wasn't even a direct hit. It just happened to be a massive storm surge. But it was, you know, catastrophic as far as the damage that it did. And a lot of folks that we knew in our neighborhood here. Have lived here for 1020, 3040, or 50 years, and they had never had any floodwater whatsoever. And and there was two camps where they fell in either one camp where they didn't, they whether they had the money to rebuild or not, didn't matter. Like, mentally, they were never going to end up. They were never going to deal with that again. They were moving away, like they just didn't want to go through the heartache of that again. In the second camp, we're basically, I knew it was going to happen at some point in time. This is the kind of price to live, to pay, a live in paradise and and what ultimately occurred is, you know, you saw homes going up for sale, and in the initial chatter for those that that were impacted, is that, who's going to buy that? You know? You know, they're not going to get hardly anything for it. You know, it's just like, who's going to want to live here now that has been flooded. I said, Just wait. I'll say people have us as human beings, have short term memories. We do and and I can promise you, within a few months, those homes will be gobbled up, some will be knocked down, some will be rebuilt, but inevitably, the prices will come back incredibly strong, and you'll see very limited inventory, at least in desirable markets that are here on the water. And that's exactly that happened. Within six month period of time, prices are back up. You can't get your hands on a flooded property now, or one that had been flooded, right?   Keith Weinhold  42:12   I can believe it. And this is not the way that you want to have a waterfront property when the water inundates you and comes to you, that is not the way to buy waterfront property.   Kevin Bupp  42:23   Yeah, interesting, but, uh, no, Keith has been a fun conversation, my friend. So let's, let's talk about, you know, I like to you'll peek inside your brain if you were going to start all over again, from scratch, you know, you've been at this now, what? How long? Almost two decades. It's been, been quite   Keith Weinhold  42:38   Yes, yes, more than two decades. Is that what you're asking, how would I start, starting from today?   Kevin Bupp  42:47   Yeah, like, what would you do? Where would you focus, what asset type and any particular strategy outside of what you're doing today? You know, where would you focus your time?   Keith Weinhold  42:55   Actually, it is quite a coincidence. The way that I would start all over again in real estate is the way that I did start in real estate. It worked out phenomenally, in a way it makes sense, because if it hadn't worked out phenomenally, you never would have heard of me, and I wouldn't have become this real estate thought leader or whatever, because this is a way, an everyday person with virtually no real estate knowledge and very little money. Can start out, what I did is I made the first ever home of any kind, a four Plex building where I lived in one unit and rented out the other three. This is something very actionable for your for your audience as well, Kevin. Or if maybe you're a listener that has a an adult daughter or son and they want to get started in real estate with a bang without much money, is to buy a four Plex, just like I did. You can use an FHA loan, a three and a half percent down payment. You have to live in one of the units at least 12 months, and at last check, your minimum credit score only needs to be 580 now you will get a lower interest rate if you have a higher credit score. But those are the only three criteria you need. I mean, what a country talk about? The American Dream. You can use that FHA program with a single family home, duplex, triplex or fourplex, that's the formula. That's how I began. Actually ended up living there a little more than three years. But what that did for me was remarkable, and in fact, you know what it taught me? Kevin and every listener can benefit from this. It's paradoxical. A lot of times I say things that you would not expect to hear that make you go, wait what? Whoa, how can that be? Is what it taught me is that I don't want to focus on getting my money to work for me. You probably wouldn't expect to hear that. It's actually a middle class paradigm to say, well, I don't want to work for money. I also want to get my money to work for me. I'm telling. You that that's going to keep you middle class, or worse, that's going to keep you working until old age, and you won't have an outsized life and retirement and options. If you think that the best and highest use of your dollar is getting your money to work for you, it's not what's the paradigm shift if this four Plex building taught me the way I started out, which is still the way that I would start out today, and you probably heard this before, but I'm going to put a new twist on it. Is you want to ethically get other people's money to work for you, and we can be ethical. We can do good in the world. Provide housing that's clean, safe, affordable and functional. Never get called a slumlord that way. You can employ other people's money three ways at the same time, ethically by buying an income property with a loan, like we've been talking about in Florida, or with this fourplex building. How do you do it three ways at the same time, using the bank's money for the loan and leverage, which greatly amplifies your return beyond anything Compound Interest can do. The second of three ways you're ethically employing other people's money is you're using the tenants money to pay for the mortgage and some of the operating expenses on this fourplex. And then the third way you're simultaneously using other people's money is using the government's money for generous tax incentives at scale. So the lesson is that the best and highest use of your dollar is not getting just your money to work for you, it's other people's money, in this case, the banks, the tenants and the governments. That's what you can do. I mean, what an opportunity. A lot of people just don't even know about that FHA program.    Kevin Bupp  46:41   Yeah, I actually, I wasn't, I wasn't aware that it was that low of a down payment key. That's no idea. Three and a half percent, you said, a 550 credit score, believe me, 580 minimum credit.   Keith Weinhold  46:51   And you have to, thirdly, you have to owner occupy a unit for at least 12 months. And hey, I'm not saying it's always easy. You know, you got to think about that. Your neighbors are also your tenants. And I don't know how to fix stuff. I still don't. I'm a terrible handyman, but it's good to learn a little about about human relations. And you know, letting finding a general way to let the tenants know that you have a mortgage to pay every month. I mean, just that alone can can help them ensure timely rent payments. But, and this also doesn't mean every area, or every four Plex building is is good, but, yeah, that's the opportunity. That's how I started. I would totally do it again.   Kevin Bupp  47:27   Can you use that FHA program more than once? Or is that just the one time you know your first, first, first primary home purchase?   Keith Weinhold  47:34   It's generally you can only use one at a time. There are some exceptions, like if you and your job move, like, a certain mile radius away from where you got the first one, but, yeah, generally it's only going to be one at a time. A lot of people don't use it. Don't know about it. In fact, if you have VA benefits, Veterans Administration benefits, you can get a similar program, like I was talking about, but zero down payment, rather than three and a half with an FHA loan. It's a really good, amazingly good opportunity.    Kevin Bupp  48:05   That's incredible. That's incredible. Keith, my friend, I appreciate you coming back going. It's always good to catch up with you. Good to see that you're doing well.   Keith Weinhold  48:17   Oh yeah, a terrific chat there with Kevin. I hope that you like that really. At our core, real estate investors are not day trading. We are decade trading. Now I'm in western New York today, at the other end of the state, NYU compiled some terrific statistics that you want to hear about for nearly the past 100 years. It is the annualized returns of six major asset classes. This spans, the Great Depression, a number of recessions, World War Two, the New Deal, gold standard, abandonment, brendawoods, the Cold War, Civil Rights Movements, oil shocks, Volcker rate hikes, the.com boom and crash, the 911, attacks, the housing bubble, covid, 19, AI revolution and 16 presidencies, all those ups and downs and war and peace and economic booms and economic lows, and now there is going to be a mild tongue in cheek element here, because stats like this drive real estate investors crazy, but this is often how mainstream media portrays asset class comparisons. All right, the six asset classes are stocks, cash, bonds, real estate, gold, and then inflation, which isn't in an asset class, but it's a benchmark. All of these begin from the year 1930 so spanning almost 100 years. Let's take it from the lowest return to the high. Best return the lowest is inflation. And what do you think the CPI inflation rate is averaged over the last 100 years? Any guess at all? You might be surprised. It is 3.2% Yeah, even though the Fed's CPI inflation target has long been 2% it runs hot longer than most people believe. So therefore, today's inflation rate isn't high, it's just normal. The next highest return is cash at 3.3% How did NYU measure that the yield from three months T bills? Next up is bonds. They returned 4.3% that's the 10 year treasury average of the last 100 years. The next highest is real estate at 4.7% that uses the K Shiller Index. Now we're up to the second highest. It is gold at 5.6% and the highest is stocks at 10.3% using the s, p5, 100, and this was all laid out in a brilliant chart that also shows the returns by each decade for all of these asset classes. You'll remember that I shared the chart with you in our newsletter a few weeks ago. Now you are smarter and more informed than the layperson is, you know, but they see this chart and they think, Oh, well, that's it. I've got my answer. Real Estate's 4.7% appreciation loses out to gold's 5.6 and stocks 10.3 and then they go back to watching Love is blind. But of course, rental property owners like us know that we often make five times or more than this 4.7% when we consider all those other income streams and profit centers, leverage, rents, ROA and inflation, profiting on our debt, it's often 25 to 30% total. It's sort of like judging a Ferrari by only measuring its cupholders or something. Now, would stocks 10.3% get adjusted up as well? Yeah, probably a little, because the s and p5 100 currently averages a 1.2% dividend yield, so that might be added on the 4.7% return for real estate. That cites the popular Case Shiller Index. And the way that that index works is that it uses a repeat sales methodology. So what that means is that the Case Shiller measures the sales price of the same property over time. Therefore a property would have to sell at least twice in order to be measured by this popular and widely cited K Shiller Index. So then the 4.7% appreciation figure excludes new build homes, and new builds appreciate more than existing homes, but you do have more existing homes that sell the new build homes, so we can pretty safely assume that real estate's long term appreciation rate is higher, likely between five and 6% there it is. So yeah, making comparisons across asset classes like this is pretty tricky, because investment properties leverage and cash flow gets nullified. And when you make comparisons like this, it's a big reminder that even if you can't get much cash flow off a 20 or 25% down real estate payment, sheesh, most people put a 100% payment into stocks, gold or Bitcoin, and they don't expect any cash flow. And Bitcoin isn't part of what we're looking at for this century long view, because it did not exist until 2009 and also NYU had to use some alternative statistics. Sometimes the s, p5, 100 index only came into being in 1957 and the Case Shiller Index 1987    Keith Weinhold  54:02   next week here on the show, I expect to answer your listener questions from beginner to advanced. You've been writing in with some good ones for the production team here at GRE. That's our sound engineer, Vedran Jampa, who has edited every single GRE podcast episode since 2014 QC in show notes, Brenda Almendariz, video lead, brendawali strategy talamagal, video editor, seroza, KC and producer me, we'll run it back next week for you. I'm your host. Keith Weinhold, don't quit your Daydream.   Speaker 3  54:36   Nothing on this show should be considered specific, personal or professional advice. Please consult an appropriate tax, legal, real estate, financial or business professional for individualized advice. Opinions of guests are their own. Information is not guaranteed. All investment strategies have the potential for profit or loss. The host is operating on behalf of get rich Education LLC, exclusively.   Speaker 2  55:04   The preceding program was brought to you by your home for wealth building, get richeducation.com  

Dr. Larry P. Arnn, President of Hillsdale College, joins Hugh Hewitt on the Hillsdale Dialogues to continue a series on The Second World War, Churchill's sprawling memoir and history of World War II in six volumes. Release date: 05 December 2025 See omnystudio.com/listener for privacy information.

Share a commentWork can feel like a battleground where unfair treatment, clumsy policies, and flawed leadership test our convictions. We walk through Ecclesiastes 8 to explore how authority truly works, why obedience matters, when to say no, and how patience and wise speech can turn tense moments into redemptive ones. Along the way, a World War II story of a farm-shattering bomb that uncovered a life-giving stream reframes setbacks as surprising channels of provision—and challenges us to look for God's quiet work beneath loud disruptions.We dig into three anchors for your nine-to-five: obey God first, honor legitimate authority, and trust providence when outcomes are beyond your control. You'll hear why loyalty to the office doesn't mean endorsing evil, how to choose the right time, tone, and words, and how refusing to retaliate can become a powerful witness. We also map the hard limits of power—no one commands the wind, chooses their day of death, escapes the battles of life, or dodges the consequences of sin—and how those truths free both leaders and followers to act with humility and courage.This conversation blends practical workplace wisdom with spiritual clarity, offering a calm, grounded way to navigate bosses, teachers, and governing officials. If you're wrestling with bad leadership, bureaucratic frustration, or ethical gray zones, you'll find steady guidance for responding with integrity and hope. Listen, share with a friend who needs perspective at work, and if this helped you, subscribe and leave a review so others can discover it too.Support the showStephen's latest book, The Disciples Prayer, is available now. https://www.wisdomonline.org/store/view/the-disciples-prayer-hardback

Dr. Larry P. Arnn, President of Hillsdale College, joins Hugh Hewitt on the Hillsdale Dialogues to continue a series on The Second World War, Churchill's sprawling memoir and history of World War II in six volumes.Release date: 05 December 2025See omnystudio.com/listener for privacy information.

Proverbs 17:20–24 contrasts the inward distortion of the wicked with the steady discernment of the wise. A perverse heart finds no good, and a deceitful tongue falls into trouble. Foolish children become grief to their parents; a merry heart strengthens like good medicine, while a broken spirit dries up the bones. The wicked take bribes in secret, but understanding sets wise eyes toward the right path, while the fool's gaze wanders to the ends of the earth. In today's Morning Manna, Rick Wiles and Doc Burkhart explore how inner character shapes destiny, how joy nourishes life, and how wisdom fixes its eyes on the way that leads home. Teachers: Rick Wiles and Doc Burkhart You can partner with us by visiting FaithandValues.com, calling 1-888-519-4935, or by mail at PO Box 399 Vero Beach, FL 32961. MEGA FIRE reveals the ancient recurring cycles of war and economic collapse that have shaped history for 600 years. These patterns predict America is now entering its most dangerous period since World War II. Get your copy today! www.megafire.world Get high-quality emergency preparedness food today from American Reserves! www.AmericanReserves.com It's the Final Day! The day Jesus Christ bursts into our dimension of time, space, and matter. Now available in eBook and audio formats! Order Final Day from Amazon today! www.Amazon.com/Final-Day Apple users, you can download the audio version on Apple Books! www.books.apple.com/final-day Purchase the 4-part DVD set or start streaming Sacrificing Liberty today. www.Sacrificingliberty.com

This episode follows the Marines from the mud and caves of Okinawa into the strange, uneasy rehabilitation camps on Guam, Saipan, Motobu, and Hawaii, where exhausted divisions rebuilt, trained, and quietly braced for the largest amphibious operation in history—Operation Downfall.  We break down how Marine divisions and air wings were wired into Operations OLYMPIC and CORONET, the internal fight in Washington over whether to starve, burn, or invade Japan, and how troops were reshaped for a direct assault on Kyushu and then the Tokyo Plain.    Support the Show Listen ad-free and a week early on historyofthemarinecorps.supercast.com Donate directly at historyofthemarinecorps.com Try a free 30-day Audible trial at audibletrial.com/marinehistory Social Media Instagram - @historyofthemarines Facebook - @marinehistory Twitter - @marinehistory

Share a commentWork can feel like a battleground where unfair treatment, clumsy policies, and flawed leadership test our convictions. We walk through Ecclesiastes 8 to explore how authority truly works, why obedience matters, when to say no, and how patience and wise speech can turn tense moments into redemptive ones. Along the way, a World War II story of a farm-shattering bomb that uncovered a life-giving stream reframes setbacks as surprising channels of provision—and challenges us to look for God's quiet work beneath loud disruptions.We dig into three anchors for your nine-to-five: obey God first, honor legitimate authority, and trust providence when outcomes are beyond your control. You'll hear why loyalty to the office doesn't mean endorsing evil, how to choose the right time, tone, and words, and how refusing to retaliate can become a powerful witness. We also map the hard limits of power—no one commands the wind, chooses their day of death, escapes the battles of life, or dodges the consequences of sin—and how those truths free both leaders and followers to act with humility and courage.This conversation blends practical workplace wisdom with spiritual clarity, offering a calm, grounded way to navigate bosses, teachers, and governing officials. If you're wrestling with bad leadership, bureaucratic frustration, or ethical gray zones, you'll find steady guidance for responding with integrity and hope. Listen, share with a friend who needs perspective at work, and if this helped you, subscribe and leave a review so others can discover it too.Support the showStephen's latest book, The Disciples Prayer, is available now. https://www.wisdomonline.org/store/view/the-disciples-prayer-hardback

***This show is brought to you by Quince. Go to ⁠⁠http://quince.com/playonpod ⁠⁠for free shipping on your order and 365-day returns.*** On a pier in Port De Toulon, France, not long after World War II, Leonato, the governor of Messina, awaits the arrival of the victorious Prince, Don Pedro of Aragon. He tells his daughter, Hero, that a distinguished young soldier named Claudio is accompanying the prince. Leonato's niece, Beatrice, asks about a soldier named Benedick, with whom she has some history. Don Pedro arrives and steps off his ship with his brother, Don John, whose past transgressions he's recently forgiven. Benedick and Claudio step off the ship with Borachio, who has a quick aside with his old flame, Margaret, Beatrice's trusted servant. Beatrice and Benedick sling a few quick insults at each other before Don Pedro tells his soldiers that Leonato has invited them to stay for a month at his villa. As they leave the port, Claudio confides in Benedick that he's in love with Hero. Benedick tells Don Pedro, who encourages the match. In the limousine on the way to Leonato's villa, Don Pedro offers to help Claudio woo Hero at the upcoming masquerade ball. A few minutes later, in the kitchen of the villa where a feast is being prepared, Leonato's sister, Antonia, tells him that her dresser told her that her driver overheard Don Pedro telling Claudio that he loves Hero. That evening, Don John broods in a guest house as his friend, Conrade, tries to cheer him up. When the drunken Borachio arrives to say he heard Don Pedro talking to Claudio about how to woo Hero, Don John seizes the opportunity to make some mischief. The PLAY ON PODCAST SERIES, “MUCH ADO ABOUT NOTHING”, was written by WILLIAM SHAKESPEARE and translated into modern English verse by RANJIT BOLT. All episodes were directed by BRENDON FOX. Radio play by CATHERINE EATON.   Executive Producer: MICHAEL GOODFRIEND   This podcast was recorded under a SAG-AFTRA AGREEMENT.   The cast is as follows:   TRACIE LANE                              as    BEATRICE REG ROGERS                              as    BENEDICK TÉA GUARINO                             as    HERO ZION JANG                                   as    CLAUDIO CARMAN MATTHEW LACIVITA as    DON PEDRO ALEJANDRA ESCALANTE        as    MARGARET and CONRADE DEMOSTHENES CHRYSAN      as    LEONATO DEE NELSON                               as    ANTONIA BRIAN OWEN                               as    DOGBERRY STEPHEN MICHAEL SPENCER as    BORACHIO EVAN ZES                                     as    NAVAL CADET, OATCAKE and SEACOAL LUIS MORENO                             as    DON JOHN and THE SEXTON MARY BACON                              as    DEACON FRANCIS and VERGES                           Casting by THE TELSEY OFFICE: KARYN CASL, CSA.   Voice and Text Coach: JULIE FOH   Original music composition, Mix and Sound Design by LINDSAY JONES. Vocal arrangement and music direction by STEPHEN MICHAEL SPENCER. Sound engineering and mixing by SADAHARU YAGI. Mix Engineer and Dialogue Editor: LARRY WALSH. Podcast Mastering by GREG CORTEZ at New Monkey Studio. Coordinating Producer: TRANSCEND STREAMING (KYRA BOWIE and LEANNA KEYES).   The Play On Podcast Series “MUCH ADO ABOUT NOTHING” is produced by NEXT CHAPTER PODCASTS and is made possible by the generous support of THE HITZ FOUNDATION. Visit NEXTCHAPTERPODCASTS.COM for more about the Play On Podcast Series. Visit PLAYONSHAKESPEARE.ORG for more about Play On Shakespeare.   Subscribe to Play On Premium for ad-free episodes and join our Patreon for exclusive merchandise and early commercial-free releases. Go to nextchapterpodcasts.com for our Bonus Content, where you'll find interviews with the artists, producers and engineers who brought it all to life. And remember: “The world must be peopled!” Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome back to The Sisterhood of S.W.E.A.T., where we empower women to step into strength, resilience, and purpose — body, mind, and spirit. Today, we're celebrating one of the most beloved holiday films of all time with someone who lived it from the inside out. Jimmy Hawkins — who played Tommy Bailey, the youngest son of George and Mary Bailey — joins us to share the heart, history, humor, and humanity behind It's a Wonderful Life. Now, nearly 80 years after its release, Jimmy has gathered decades of interviews, rare photos, cast and crew insights, and untold behind-the-scenes stories in his brand-new book, The Heart of It's a Wonderful Life, releasing September 23rd. Jimmy opens up about what Frank Capra poured into the film, how Jimmy Stewart used the emotional scars of World War II to shape his performance, and why the message — one life touches so many others — is more important now than ever. Whether you've watched the film a hundred times or you're seeing it for the first time this season, this conversation will remind you that you matter, your life has meaning, and you make a difference. Key Themes The universal message that every life has value Why viewers in today's world need that reminder more than ever How the film teaches us that ordinary acts have extraordinary impact Jimmy's story about showing the film in Attica Prison Inmates recognizing themselves in George Bailey's journey How the movie inspires personal change in unexpected places Capra refused the studio system so he could make the film his way Why the movie originally failed — and how TV saved it in 1974 The idea that "God had a plan" for when the world would discover the film How his experience in WWII shaped the raw intensity of George Bailey Why Stewart said he could not perform certain scenes twice Capra's sensitive direction and deep understanding of trauma How being part of the cast shaped his purpose The journey behind writing his new book Why the story continues to guide him personally and professionally "One Life Makes a Difference" — The Core Message The film teaches us: You matter. Your life has purpose. You are impacting others in ways you may never know. Questions Asked What has kept the message of "It's a Wonderful Life" so relevant for nearly 80 years? Why does the film resonate so deeply with generation after generation? What inspired your new book, and what did you want readers to experience? How did Frank Capra's independent vision shape the final film? What mattered most to Frank Capra in creating this story? Can you share more about Jimmy Stewart's emotional preparation and depth? How has being part of this film shaped your life? Why do you think the movie failed at release but exploded decades later? Quotes: "The movie never changed — the people changed. They need that message now more than ever." — Jimmy Hawkins "George Bailey didn't think he did anything for anyone. And look what he did." "You were born to do something in this life. Maybe you haven't done it yet — but you will." "Frank Capra didn't believe in the committee way of making movies. He wanted to make his film his way." "God had a plan. The pieces weren't there in 1946 — but they were in 1974." "This movie tells everybody: you're important. Go get your dream." "We don't think we're making a difference. But we are. What you do does matter." — Linda Mitchell Jimmy Hawkins & Book Links Book — The Heart of It's a Wonderful Life by Jimmy Hawkins — available for preorder/release: https://www.amazon.com/dp/1400255104  Book (audiobook / digital) on Google Play Books / Audiobooks — https://play.google.com/store/audiobooks/details/AQAAAEAqmWHZWM  Information & Announcement about the Book Release (2025) — https://www.businesswire.com/news/home/20250729801695/en/Its-a-Wonderful-Life-Actor-Jimmy-Hawkins-to-Release-His-New-Book  Where to Stream "It's a Wonderful Life" As of now, "It's a Wonderful Life" is available on: Amazon Prime Video — stream or rent the film  Xumo Play, Plex, Hoopla, and other free-with-ads platforms — depending on your region. 

What if America's “anti-intellectualism” isn't a decline in smarts but a culture built to distrust theory? We trace that paradox from Puritan moral rigor and pragmatist “cash value” truths to the postwar professional class that speaks in a neutral tone while hiding its class origins. With Hofstadter, Lasch, and Gouldner as our guides, we unpack how speech codes, funding models, and media ecosystems shape who gets to be an “intellectual” and whose knowledge counts.We dig into Lasch's portraits of turn‑of‑the‑century radicals—Jane Addams, Randolph Bourne, Lincoln Steffens—showing how bohemia, policy reform, and romantic revolt often masked a middle‑class distance from worker life. Hofstadter helps explain why theory gets cast as elitist, how evangelical charisma and “common sense” produce a populism that can slip into conspiracy, and why so many bright people end up suspicious of abstraction. Then Gouldner reframes the post‑WWII landscape: a technical‑professional new class whose legitimacy depends on universality, even as its language quietly excludes working‑class speech and experience.From there, we get practical. We compare elite “neutrality” to the hard realities of endowments and medical revenue, and we explore what counter‑publics look like now: labor clubs that teach Robert's Rules and strike strategy alongside Marx, Bourdieu, and Joe Burns. We talk code‑switching without erasing origins, and we sketch ways to build worker‑centered study that doesn't pander—spaces where rigor and relevance live together. Gramsci's “organic intellectual” still matters here: every worker thinks and theorizes, with or without credentials.If this resonates, help us grow the counter‑public: subscribe, share the episode with a friend who loves big ideas, and leave a review with one question you want us to tackle next. These are the primary readings we discuss:-The American Intellectual Elite by Charles Kadushin- Anti-Intellectualism in American Life by Richard Hofstadter - The New Radicalism in America: The Intellectual as Social Type by Christopher Lasch - The Future of Intellectuals and the Rise of the New Class  by Alvin Gouldner-  The Missing Generation: Academics and the Communist Party from theDepression to the Cold War by Ellen SchreckerSend us a text Musis by Bitterlake, Used with Permission, all rights to BitterlakeSupport the showCrew:Host: C. Derick VarnIntro and Outro Music by Bitter Lake.Intro Video Design: Jason MylesArt Design: Corn and C. Derick VarnLinks and Social Media:twitter: @varnvlogblue sky: @varnvlog.bsky.socialYou can find the additional streams on YoutubeCurrent Patreon at the Sponsor Tier: Jordan Sheldon, Mark J. Matthews, Lindsay Kimbrough, RedWolf, DRV, Kenneth McKee, JY Chan, Matthew Monahan, Parzival, Adriel Mixon, Buddy Roark, Daniel Petrovic

Pete Roberts (Founder of Origin USA & Jocko Fuel) shares how losing 60% of his business overnight in the 2008 crash forced him to rebuild with one unbreakable rule: 100% American-made, no compromises. From rescuing WWII-era machines in rural Maine to partnering with Jocko Willink and investing hundreds of millions into U.S. manufacturing, Pete reveals the raw truth about purpose-driven business, raising Gen-X-style kids in a digital world, why “build-to-flip” is a lie, and how real American resurgence actually happens.Join Dustin Diefenderfer, Founder of MTNTOUGH Fitness Lab and creator of the MTNTOUGH+ Fitness App in the top podcast for Mental Toughness and Mindset. (P.S.

Hello Poison Friends! We are carrying on with our series on Human experimentation during WWII and we are still discussing that done by Nazi doctors and the like. This episode is specifically on the diseases that were intentionally spread to prisoners and experimental subjects being kept at concentration camps, mainly Dachau, Sachsenhausen, Natzweiler, and Auschwitz (not that it did not happen elsewhere). The main studies were those concerning Malaria, Epidemic Jaundice (or Hepatitis A), and Typhus. The excuse behind such horrific actions was the study of possible testing, diagnosing, and treating these illnesses for the benefit of Nazi soldiers. They subjected originally healthy people (apart from the recent issues of starvation and malnutrition also caused by the Nazi's disregard for human life) to terrible diseases and many died as a result, some from the disease and some from the treatments. For the malaria experiments, prisoners were often cut on the arm (sometimes superficially, sometimes deep) and malaria from cultures would be applied to the area. Some were also infected by being made to hold small cages of infected mosquitoes or by being forced to keep their hands in infected mosquitoes cages. Still others were directly injected with malaria infected blood from others who had specifically been exposed to the illness for such a purpose as to provide the infectious blood. Hepatitis A was also intentionally given to prisoners to see the effects and the outcome was brutal, also leading to deaths. The resulting liver disease in many of these patients was a slow and painful death. Some also died during testing procedures or when given experimental drugs. Epidemic Typhus is spread via lice, and this had become a problem for Nazi soldiers who had invaded the Soviet Union. War is a dirty business in many ways. Prisoners were exposed to infected lice, but more often they were injected with infected blood. Victims often suffered great illness and pain before death, again from the illness or experimental treatments. We will be mentioning the doctors indicted and convicted of such horrors as well as those not at the Nuremberg Medical trials simply because they had already been charged and convicted and sentenced to death in previous trials. Main trigger warnings for this episode include mentions of torture and death (including mentions of suicide). There is nothing graphic, but the crimes themselves are despicable. Thank you to all of our listeners and supporters! Please feel free to leave a comment or send us a DM for any questions, suggestions, or just to say, "hi."Support us on Patreon:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠patreon.com/thepoisonersalmanac⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Merch-⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://poisonersalmanac.com/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Follow us on socials:The Poisoner's Almanac on IG-⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.instagram.com/poisoners_almanac?utm_source=ig_web_button_share_sheet&igsh=ZDNlZDc0MzIxNw==⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠YouTube-⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://youtube.com/@thepoisonersalmanac-m5q?si=16JV_ZKhpGaLyM73⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Also, look for the Poisoner's Almanac TikTok- ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.tiktok.com/@poisonersalmanacp?_t=ZT-8wdYQyXhKbm&_r=1⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Adam-⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.tiktok.com/@studiesshow?is_from_webapp=1&sender_device=pc⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Becca-⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.tiktok.com/@yobec0?is_from_webapp=1&sender_device=pc⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠

Russian President Vladimir Putin has been meeting with President Donald Trump's son-in-law Jared Kushner and envoy Steve Witkoff for talks on a possible way to end the deadliest European conflict since World War Two. Just before the meeting, President Putin warned Europe that it would face swift defeat if it went to war with Russia, and he dismissed European counter-proposals on Ukraine as being absolutely unacceptable to Russia. - रुसका राष्ट्रपति भ्लादिमिर पुटिनले अमेरिकी राष्ट्रपति डोनाल्ड ट्रम्पका ज्वाइँ ज्यारेड कुशनर र अमेरिकी विशेष दूत स्टिभ विट्कफसँग युक्रेनमा जारी द्वन्द्व अन्त्यका सम्भावित उपायबारे हालै मस्कोमा वार्ता गरेका थिए। बैठक सुरु हुनु ठिक अगि राष्ट्रपति पुटिनले युरोपलाई चेतावनी दिँदै रुससँग युद्ध भए छिटो पराजय भोग्नुपर्ने बताएका थिए। उनले युक्रेनको विषयमा युरोपेली देशहरूले अगि सारेका वैकल्पिक प्रस्तावहरू रुसका लागि “पूर्ण रूपमा अस्वीकार्य” रहेको पनि जनाएका छन्। एक रिपोर्ट।

Trusting the process is a really important way to free yourself, and the film, to discover what it is.Viridiana Lieberman is an award-winning documentary filmmaker. She recently edited the Netflix sensation The Perfect Neighbor.In this interview we talk:* Viri's love of the film Contact* Immersion as the core goal in her filmmaking* Her editing tools and workflow* Film school reflections* The philosophy and process behind The Perfect Neighbor — crafting a fully immersive, evidence-only narrative and syncing all audio to its original image.* Her thoughts on notes and collaboration* Techniques for seeing a cut with fresh eyesYou can see all of Viri's credits on her IMD page here.Thanks for reading The Creativity, Education, and Leadership Newsletter! Subscribe for free to receive new posts and support my work.Here is an AI-generated transcript of our conversation. Don't come for me.BEN: Viri, thank you so much for joining us today.VIRI: Oh, thank you for having me. I'm excited to be here.BEN: And I always like to start with a fun question. So senior year of high school, what music were you listening to?VIRI: Oh my goodness. Well, I'm class of 2000, so I mean. I don't even know how to answer this question because I listen to everything.I'm like one of those people I was raving, so I had techno in my system. I have a lot of like, um. The, like, everything from Baby Ann to Tsta. Like, there was like, there was a lot, um, Oak and like Paul Oak and Full, there was like techno. Okay. Then there was folk music because I loved, so Ani DeFranco was the soundtrack of my life, you know, and I was listening to Tori Amos and all that.Okay. And then there's like weird things that slip in, like fuel, you know, like whatever. Who was staying? I don't remember when they came out. But the point is there was like all these intersections, whether I was raving or I was at Warp Tour or I was like at Lili Fair, all of those things were happening in my music taste and whenever I get to hear those songs and like that, that back late nineties, um, rolling into the Ox.Yeah.BEN: I love the Venn diagram of techno and folk music.VIRI: Yeah.BEN: Yeah. What, are you a fan of the film inside Lou and Davis?VIRI: Uh, yes. Yes. I need to watch it again. I watched it once and now you're saying it, and I'm like writing it on my to-dos,BEN: but yes, it, it, the first time I saw it. I saw in the East Village, actually in the theater, and I just, I'm a Cohen Brothers fan, but I didn't love it.Mm-hmm. But it, it stayed on my mind and yeah. Now I probably rewatch it once a year. It might, yeah. In my, in my, on my list, it might be their best film. It's so good. Oh,VIRI: now I'm gonna, I'm putting it on my, I'm literally writing it on my, um, post-it to watch it.BEN: I'mVIRI: always looking for things to watch in the evening.BEN: What, what are some of the docs that kind of lit your flame, that really turned you on?VIRI: Uh, this is one of those questions that I, full transparency, get very embarrassed about because I actually did not have a path of documentary set for me from my film Loving Passion. I mean, when I graduated film school, the one thing I knew I didn't wanna do was documentary, which is hilarious now.Hilarious. My parents laugh about it regularly. Um. Because I had not had a good documentary education. I mean, no one had shown me docs that felt immersive and cinematic. I mean, I had seen docs that were smart, you know, that, but, but they felt, for me, they didn't feel as emotional. They felt sterile. Like there were just, I had seen the most cliched, basic, ignorant read of doc.And so I, you know, I dreamed of making space epics and giant studio films. Contact was my favorite movie. I so like there was everything that about, you know, when I was in film school, you know, I was going to see those movies and I was just chasing that high, that sensory high, that cinematic experience.And I didn't realize that documentaries could be. So it's not, you know, ever since then have I seen docs that I think are incredible. Sure. But when I think about my origin tale, I think I was always chasing a pretty. Not classic, but you know, familiar cinematic lens of the time that I was raised in. But it was fiction.It was fiction movies. And I think when I found Docs, you know, when I was, the very long story short of that is I was looking for a job and had a friend who made docs and I was like, put me in coach, you know, as an editor. And she was like, you've never cut a documentary before. I love you. Uh, but not today.But no, she hired me as an archival producer and then I worked my way up and I said, no, okay, blah, blah, blah. So that path showed me, like I started working on documentaries, seeing more documentaries, and then I was always chasing that cinema high, which by the way, documentaries do incredibly, you know, and have for many decades.But I hadn't met them yet. And I think that really informs. What I love to do in Docs, you know, I mean, I think like I, there's a lot that I like to, but one thing that is very important to me is creating that journey, creating this, you know, following the emotion, creating big moments, you know, that can really consume us.And it's not just about, I mean, not that there are films that are important to me, just about arguments and unpacking and education. At the same time, we have the opportunity to do so much more as storytellers and docs and we are doing it anyway. So that's, that's, you know, when, it's funny, when light my fire, I immediately think of all the fiction films I love and not docs, which I feel ashamed about.‘cause now I know, you know, I know so many incredible documentary filmmakers that light my fire. Um, but my, my impulse is still in the fiction world.BEN: Used a word that it's such an important word, which is immersion. And I, I first saw you speak, um, a week or two ago at the doc NYC Pro panel for editors, documentary editors about the perfect neighbor, which I wanna talk about in a bit because talk about a completely immersive experience.But thank you first, uh, contact, what, what is it about contact that you responded to?VIRI: Oh my goodness. I, well, I watched it growing up. I mean, with my dad, we're both sci-fi people. Like he got me into that. I mean, we're both, I mean he, you know, I was raised by him so clearly it stuck around contact for me. I think even to this day is still my favorite movie.And it, even though I'm kind of a style nut now, and it's, and it feels classic in its approach, but. There's something about all the layers at play in that film. Like there is this crazy big journey, but it's also engaging in a really smart conversation, right? Between science and faith and some of the greatest lines from that film.Are lines that you can say to yourself on the daily basis to remind yourself of like, where we are, what we're doing, why we're doing it, even down to the most basic, you know, funny, I thought the world was what we make it, you know, it's like all of these lines from contact that stick with me when he says, you know, um, did you love your father?Prove it. You know, it's like, what? What is proof? You know? So there were so many. Moments in that film. And for me, you know, climbing into that vessel and traveling through space and when she's floating and she sees the galaxy and she says they should have sent a poet, you know, and you're thinking about like the layers of this experience and how the aliens spoilers, um, you know, show up and talk to her in that conversation herself.Anyways, it's one of those. For me, kind of love letters to the human race and earth and what makes us tick and the complexity of identity all in this incredible journey that feels so. Big yet is boiled down to Jody Foster's very personal narrative, right? Like, it's like all, it just checks so many boxes and still feels like a spectacle.And so the balance, uh, you know, I, I do feel my instincts normally are to zoom in and feel incredibly personal. And I love kind of small stories that represent so much and that film in so many ways does that, and all the other things too. So I'm like, how did we get there? But I really, I can't, I don't know what it is.I can't shake that film. It's not, you know, there's a lot of films that have informed, you know, things I love and take me out to the fringe and take me to the mainstream and, you know, on my candy and, you know, all those things. And yet that, that film checks all the boxes for me.BEN: I remember seeing it in the theaters and you know everything you said.Plus you have a master filmmaker at the absolute top Oh god. Of his class. Oh my,VIRI: yes,BEN: yes. I mean, that mirror shot. Know, know, I mean, my jaw was on the ground because this is like, right, right. As CGI is started. Yes. So, I mean, I'm sure you've seen the behind the scenes of how theyVIRI: Yeah.BEN: Incredible.VIRI: Years.Years. We would be sitting around talking about how no one could figure out how he did it for years. Anybody I met who saw contact would be like, but how did they do the mirror shot? Like I nobody had kind of, yeah. Anyways, it was incredible. And you know, it's, and I,BEN: I saw, I saw it just with some civilians, right?Like the mirror shot. They're like, what are you talking about? The what? Huh?VIRI: Oh, it's so funny you bring that up because right now, you know, I went a friend, I have a friend who's a super fan of Wicked. We went for Wicked for Good, and there is a sequence in that film where they do the mirror jot over and over and over.It's like the, it's like the. Special device of that. It feels that way. That it's like the special scene with Glenda and her song. And someone next to me was sitting there and I heard him under his breath go,wow.Like he was really having a cinematic. And I wanted to lean over and be like, watch contact, like, like the first time.I saw it was there and now it's like people have, you know, unlocked it and are utilizing it. But it was, so, I mean, also, let's talk about the opening sequence of contact for a second. Phenomenal. Because I, I don't think I design, I've ever seen anything in cinema in my life like that. I if for anybody who's listening to this, even if you don't wanna watch the entire movie, which of course I'm obviously pitching you to do.Watch the opening. Like it, it's an incredible experience and it holds up and it's like when, yeah. Talk about attention to detail and the love of sound design and the visuals, but the patience. You wanna talk about trusting an audience, sitting in a theater and that silence Ah, yeah. Heaven film heaven.BEN: I mean, that's.That's one of the beautiful things that cinema does in, in the theater. Right. It just, you're in, you're immersed in this case, you know, pulling away from earth through outer space at however many, you know, hundreds of millions of miles an hour. You can't get that anywhere else. Yeah. That feeling,VIRI: that film is like all the greatest hits reel of.Storytelling gems. It's like the adventure, the love, the, you know, the, the complicated kind of smart dialogue that we can all understand what it's saying, but it's, but it's doing it through the experience of the story, you know, and then someone kind of knocks it outta the park without one quote where you gasp and it's really a phenomenal.Thing. Yeah. I, I've never, I haven't talked about contact as much in ages. Thank you for this.BEN: It's a great movie. It's there, and there were, there were two other moments in that movie, again when I saw it, where it's just like, this is a, a master storyteller. One is, yeah. When they're first like trying to decode the image.Mm-hmm. And you see a swastika.VIRI: Yeah. Oh yeah. And you're like,BEN: what the, what the f**k? That was like a total left turn. Right. But it's, it's, and I think it's, it's from the book, but it's like the movie is, it's, it's, you know, it's asking these questions and then you're like totally locked in, not expecting.You know, anything from World War II to be a part of this. And of course in the movie the, go ahead.VIRI: Yeah, no, I was gonna say, but the seed of thatBEN: is in the first shot,VIRI: scientifically educating. Oh yes. Well, the sensory experience, I mean, you're like, your heart stops and you get full Bo chills and then you're scared and you know, you're thinking a lot of things.And then when you realize the science of it, like the first thing that was broadcast, like that type of understanding the stakes of our history in a space narrative. And, you know, it, it just, there's so much. You know, unfurling in your mind. Yeah. In that moment that is both baked in from your lived experiences and what you know about the world, and also unlocking, so what's possible and what stakes have already been outside of this fiction, right?Mm-hmm. Outside of the book, outside of the telling of this, the reality of what has already happened in the facts of it. Yeah. It's really amazing.BEN: And the other moment we're just, and now, you know, being a filmmaker, you look back and I'm sure this is, it falls neatly and at the end of the second act. But when Tom scars, you know, getting ready to go up on the thing and then there's that terrorist incident or whatever, and the whole thing just collapses, the whole, um, sphere collapses and you just like, wait, what?Is that what's gonna happen now?VIRI: Yeah, like a hundred million dollars in it. It does too. It just like clink pun. Yeah. Everything.BEN: Yeah.VIRI: Think they'll never build it again. I mean, you just can't see what's coming after that and how it went down, who it happened to. I mean, that's the magic of that film, like in the best films.Are the ones where every scene, every character, it has so much going into it. Like if somebody paused the film there and said, wait, what's happening? And you had to explain it to them, it would take the entire movie to do it, you know, which you're like, that's, we're in it. Yeah. Anyway, so that's a great moment too, where I didn't, and I remember when they reveal spoilers again, uh, that there's another one, but when he is zooming in, you know, and you're like, oh, you know, it just, it's, yeah.Love it. It's wonderful. Now, I'm gonna watch that tonight too. IBEN: know, I, I haven't probably, I probably haven't watched that movie in 10 years, but now I gotta watch it again.VIRI: Yeah.BEN: Um, okay, so let's talk doc editing. Yes. What, um, I always like to, I heard a quote once that something about when, when critics get together, they talk meaning, and when artists get together, they talk paint.So let's talk paint for a second. What do you edit on?VIRI: I cut mainly on Avid and Premier. I, I do think of myself as more of an avid lady, but there's been a lot of probably the films that have done the most. I cut on Premier, and by that I mean like, it's interesting that I always assume Avid is my standard yet that most of the things that I love most, I cut on Premiere right now.I, I toggle between them both multiple projects on both, on both, um, programs and they're great. I love them equal for different reasons. I'm aBEN: big fan of Avid. I think it gets kind of a, a bad rap. Um, what, what are the benefits of AVID versus pr? I've never used Premier, but I was a big final cut seven person.So everybody has said that. Premier kind of emulates Final cut. Seven.VIRI: I never made a past seven. It's funny, I recently heard people are cutting on Final Cut Pro again, which A adds off. But I really, because I thought that ship had sailed when they went away from seven. So with, I will say like the top line things for me, you know, AVID forces you to control every single thing you're doing, which I actually think it can feel hindering and intimidating to some folks, but actually is highly liberating once you learn how to use it, which is great.It's also wonderful for. Networks. I mean, you can send a bin as a couple kilobyte. Like the idea that the shared workflow, when I've been on series or features with folks, it's unbeatable. Uh, you know, it can be cumbersome in like getting everything in there and stuff like that and all, and, but, but it kind of forces you to set up yourself for success, for online, for getting everything out.So, and there's a lot of good things. So then on conversely Premier. It's amazing ‘cause you can hit the ground running. You just drag everything in and you go. The challenge of course is like getting it out. Sometimes that's when you kind of hit the snaps. But I am impressed when I'm working with multiple frame rates, frame sizes, archival for many decades that I can just bring it into Premier and go and just start cutting.And you know, also it has a lot of intuitive nature with other Adobe Pro, you know, uh, applications and all of this, which is great. There's a lot of shortcuts. I mean, they're getting real. Slick with a lot of their new features, which I have barely met. I'm like an archival, I'm like a ancient picture editor lady from the past, like people always teach me things.They're just like, you know, you could just, and I'm like, what? But I, so I guess I, you know, I don't have all the tech guru inside talk on that, but I think that when I'm doing short form, it does feel like it's always premier long form. Always seems to avid. Team stuff feels avid, you know, feature, low budge features where they're just trying to like make ends meet.Feel Premier, and I think there's an enormous accessibility with Premier in that regard. But I still feel like Avid is a studios, I mean, a, a studio, well, who knows? I'm cut in the studios. But an industry standard in a lot of ways it still feels that way.BEN: Yeah, for sure. How did you get into editing?VIRI: I went to film school and while I was there, I really like, we did everything.You know, we learned how to shoot, we learned everything. Something about editing was really thrilling to me. I, I loved the puzzle of it, you know, I loved putting pieces together. We did these little funny exercises where we would take a movie and cut our own trailer and, you know, or they'd give us all the same footage and we cut our scene from it and.Itwas really incredible to see how different all those scenes were, and I loved finding ways to multipurpose footage, make an entire tone feel differently. You know, like if we're cutting a scene about a bank robbery, like how do you all of a sudden make it feel, you know, like romantic, you know, or whatever.It's like how do we kind of play with genre and tone and how much you can reinvent stuff, but it was really structure and shifting things anyways, it really, I was drawn to it and I had fun editing my things and helping other people edit it. I did always dream of directing, which I am doing now and I'm excited about, but I realized that my way in with editing was like learning how to do a story in that way, and it will always be my language.I think even as I direct or write or anything, I'm really imagining it as if I'm cutting it, and that could change every day, but like when I'm out shooting. I always feel like it's my superpower because when I'm filming it's like I know what I have and how I'll use it and I can change that every hour.But the idea of kind of knowing when you've got it or what it could be and having that reinvented is really incredible. So got into edit. So left film school. And then thought and loved editing, but wasn't like, I'm gonna be an editor. I was still very much on a very over, you know what? I guess I would say like, oh, I was gonna say Overhead, broad bird's eye.I was like, no, I'm gonna go make movies and then I'll direct ‘em and onward, but work, you know, worked in post houses, overnights, all that stuff and PA and try made my own crappy movies and you know, did a lot of that stuff and. It kept coming back to edit. I mean, I kept coming back to like assistant jobs and cutting, cutting, cutting, cutting, and it just felt like something that I had a skill for, but I didn't know what my voice was in that.Like I didn't, it took me a long time to realize I could have a voice as an editor, which was so dumb, and I think I wasted so much time thinking that like I was only search, you know, like that. I didn't have that to bring. That editing was just about. Taking someone else's vision. You know, I'm not a set of hands like I'm an artist as well.I think we all are as editors and I was very grateful that not, not too long into, you know, when I found the doc path and I went, okay, I think this is where I, I can rock this and I'm pretty excited about it. I ended up working with a small collection of directors who all. Respected that collaboration.Like they were excited for what I do and what I bring to it and felt, it made me feel like we were peers working together, which was my fantasy with how film works. And I feel like isn't always the constant, but I've been spoiled and now it's what I expect and what I want to create for others. And you know, I hope there's more of us out there.So it's interesting because my path to editing. Was like such a, a practical one and an emotional one, and an ego one, and a, you know, it's like, it's like all these things that have led me to where I am and the perfect neighbor is such a culmination of all of that. For sure.BEN: Yeah. And, and I want to get into it, uh, first the eternal question.Yeah. Film school worth it or not worth it?VIRI: I mean, listen, I. We'll share this. I think I've shared this before, but relevant to the fact I'll share it because I think we can all learn from each other's stories. I did not want to go to college. Okay? I wanted to go straight to la. I was like, I'm going to Hollywood.I wanted to make movies ever since I was a kid. This is what I'm gonna do, period. I come from a family of teachers. All of my parents are teachers. My parents divorced. I have my stepparent is teacher, like everybody's a teacher. And they were like, no. And not just a teacher. My mom and my dad are college professors, so they were like college, college, college.I sabotaged my SATs. I did not take them. I did not want to go to college. I was like, I am going to Los Angeles. Anyways, uh, my parents applied for me. To an accredited arts college that, and they were like, it's a three year try semester. You'll shoot on film, you can do your, you know, and they submitted my work from high school when I was in TV production or whatever.Anyways, they got me into this little college, and when I look back, I know that that experience was really incredible. I mean, while I was there, I was counting the days to leave, but I know that it gave me not only the foundation of. You know, learning, like, I mean, we were learning film at the time. I don't know what it's like now, but like we, you know, I learned all the different mediums, which was great on a vocational level, you know, but on top of that, they're just throwing cans of film at us and we're making all the mistakes we need to make to get where we need to get.And the other thing that's happening is there's also like the liberal arts, this is really, sounds like a teacher's kid, what I'm about to say. But like, there's also just the level of education To be smarter and learn more about the world, to inform your work doesn't mean that you can't. You can't skip college and just go out there and find your, and learn what you wanna learn in the stories that you journey out to tell.So I feel really torn on this answer because half of me is like. No, you don't need college. Like just go out and make stuff and learn what you wanna learn. And then the other half of me have to acknowledge that, like, I think there was a foundation built in that experience, in that transitional time of like semi-structure, semi independence, you know, like all the things that come with college.It's worth it, but it's expensive as heck. And I certainly, by the time I graduated, film wasn't even a thing and I had to learn digital out in the world. And. I think you can work on a film set and learn a hell of a lot more than you'll ever learn in a classroom. And at the same time, I really love learning.So, you know, my, I think I, my parents were right, they know it ‘cause I went back to grad school, so that was a shock for them. But I think, but yeah, so I, I get, what I would say is, it really is case, this is such a cop out of an answer, case by case basis. Ask yourself, you know, if you need that time and if you, if you aren't gonna go.You need to put in the work. You have to really like go out, go on those sets, work your tail off, seek out the books, read the stuff, you know, and no one's gonna hand you anything. And my stories are a hell of a lot, I think smarter and eloquent because of the education I had. Yeah.BEN: So you shuttle on, what was the school, by the way?VIRI: Well, it was called the, it was called the International Fine Arts College. It no longer exists because Art Institute bought it. It's now called the Miami International University of Art and Design, and they bought it the year I graduated. So I went to this tiny little arts college, uh, but graduated from this AI university, which my parents were like, okay.Um, but we were, it was a tiny little college owned by this man who would invite all of us over to his mansion for brunch every year. I mean, it was very strange, but cool. And it was mainly known for, I think fashion design and interior design. So the film kids, we all kind of had, it was an urban campus in Miami and we were all like kind of in a wado building on the side, and it was just kind of a really funky, misfit feeling thing that I thought was, now when I look back, I think was like super cool.I mean, they threw cans of film at us from the very first semester. There was no like, okay, be here for two years and earn your opportunity. We were making stuff right away and all of our teachers. All of our professors were people who were working in the field, like they were ones who were, you know, writing.They had written films and fun fact of the day, my, my cinematography professor was Sam Beam from Iron and Wine. If anybody knows Iron and Wine, like there's like, there's like we, we had crazy teachers that we now realize were people who were just probably trying to pay their bills while they were on their journey, and then they broke out and did their thing after we were done.BEN: Okay, so shooting on film. Yeah. What, um, was it 16 or 35? 16. And then how are you doing sound? No, notVIRI: 35, 16. Yeah. I mean, we had sound on Dax, you know, like we were recording all the mm-hmm. Oh, when we did the film. Yeah, yeah. Separate. Yeah, yeah, yeah. We did the Yeah. Syncs soundBEN: into a We did a,VIRI: yeah, we did, we did one.We shot on a Bolex, I think, if I remember it right. It did like a tiny, that probably was eight, you know? But the point is we did that on. The flatbed. After that, we would digitize and we would cut on media 100, which was like this. It was, I think it was called the, I'm pretty sure it was called Media 100.It was like this before avid, you know. A more archaic editing digital program that, so we did the one, the one cut and splice version of our, our tiny little films. And then we weren't on kind of beautiful steam backs or anything. It was like, you know, it was much, yeah, smaller. But we had, but you know, we raced in the changing tents and we did, you know, we did a lot of film, love and fun.And I will tell you for your own amusement that we were on set once with somebody making their short. The girl at the AC just grabbed, grabbed the film, what's, oh my God, I can't even believe I'm forgetting the name of it. But, um, whatever the top of the camera grabbed it and thought she had unlocked it, like unhinged it and just pulled it out after all the film just come spooling out on set.And we were like, everybody just froze and we were just standing there. It was like a bad sketch comedy, like we're all just standing there in silence with like, just like rolling out of the camera. I, I'll never forget it.BEN: Nightmare. Nightmare. I, you know, you said something earlier about when you're shooting your own stuff.Being an editor is a little bit of a superpower because you know, oh, I'm gonna need this, I'm gonna need that. And, and for me it's similar. It's especially similar. Like, oh, we didn't get this. I need to get an insert of this ‘cause I know I'm probably gonna want that. I also feel like, you know, I came up, um, to instill photography, 35 millimeter photography, and then when I got into filmmaking it was, um, digital, uh, mini DV tape.So, but I feel like the, um, the structure of having this, you know, you only have 36 shots in a still camera, so you've gotta be sure that that carried over even to my shooting on digital, of being meticulous about setting up the shot, knowing what I need. Whereas, you know, younger people who have just been shooting digital their whole lives that just shoot everything and we'll figure it out later.Yeah. Do do you, do you feel you had that Advant an advantage? Yes. Or sitting on film gave you some advantages?VIRI: I totally, yes. I also am a firm believer and lover of intention. Like I don't this whole, like we could just snap a shot and then punch in and we'll, whatever. Like it was my worst nightmare when people started talking about.We'll shoot scenes and something, it was like eight K, so we can navigate the frame. And I was like, wait, you're not gonna move the camera again. Like, it just, it was terrifying. So, and we passed that, but now the AI stuff is getting dicey, but the, I think that you. I, I am pretty romantic about the hands-on, I like books with paper, you know, like, I like the can, the cinematographer to capture, even if it's digital.And those benefits of the digital for me is like, yes, letting it roll, but it's not about cheating frames, you know, like it's about, it's about the accessibility of being able to capture things longer, or the technology to move smoother. These are good things. But it's not about, you know, simplifying the frame in something that we need to, that is still an art form.Like that's a craft. That's a craft. And you could argue that what we choose, you know, photographers, the choice they make in Photoshop is the new version of that is very different. Like my friends who are dps, you know, there's always like glasses the game, right? The lenses are the game. It's like, it's not about filters In posts, that was always our nightmare, right?The old fix it and post everybody's got their version of their comic strip that says Fix it and post with everything exploding. It's like, no, that's not what this is about. And so, I mean, I, I think I'll always be. Trying to, in my brain fight the good fight for the craftiness of it all because I'm so in love with everything.I miss film. I'm sad. I miss that time. I mean, I think I, it still exists and hopefully someday I'll have the opportunity that somebody will fund something that I'm a part of that is film. And at the same time there's somewhere in between that still feels like it's honoring that freshness. And, and then now there's like the, yeah, the new generation.It's, you know, my kids don't understand that I have like. Hand them a disposable camera. We'll get them sometimes for fun and they will also like click away. I mean, the good thing you have to wind it so they can't, they can't ruin it right away, but they'll kind of can't fathom that idea. And um, and I love that, where you're like, we only get 24 shots.Yeah, it's veryBEN: cool. So you said you felt the perfect neighbor, kind of, that was the culmination of all your different skills in the craft of editing. Can you talk a little bit about that?VIRI: Yes. I think that I spent, I think all the films, it's like every film that I've had the privilege of being a part of, I have taken something like, there's like some tool that was added to the tool belt.Maybe it had to do with like structure or style or a specific build to a quote or, or a device or a mechanism in the film, whatever it is. It was the why of why that felt right. That would kind of be the tool in the tool belt. It wouldn't just be like, oh, I learned how to use this new toy. It was like, no, no.There's some kind of storytelling, experience, technique, emotion that I felt that Now I'm like, okay, how do I add that in to everything I do? And I want every film to feel specific and serve what it's doing. But I think a lot of that sent me in a direction of really always approaching a project. Trying to meet it for like the, the work that only it can do.You know, it's like, it's not about comps. It's not about saying like, oh, we're making a film that's like, fill in the blank. I'm like, how do we plug and play the elements we have into that? It's like, no, what are the elements we have and how do we work with them? And that's something I fought for a lot on all the films I've been a part of.Um, and by that I mean fight for it. I just mean reminding everybody always in the room that we can trust the audience, you know, that we can. That, that we should follow the materials what, and work with what we have first, and then figure out what could be missing and not kind of IME immediately project what we think it needs to be, or it should be.It's like, no, let's discover what it is and then that way we will we'll appreciate. Not only what we're doing in the process, but ultimately we don't even realize what it can do for what it is if we've never seen it before, which is thrilling. And a lot of those have been a part of, there have been pockets of being able to do that.And then usually near the end there's a little bit of math thing that happens. You know, folks come in the room and they're trying to, you know, but what if, and then, but other people did. Okay, so all you get these notes and you kind of reel it in a little bit and you find a delicate balance with the perfect neighbor.When Gita came to me and we realized, you know, we made that in a vacuum like that was we, we made that film independently. Very little money, like tiny, tiny little family of the crew. It was just me and her, you know, like when we were kind of cutting it together and then, and then there's obviously producers to kind of help and build that platform and, and give great feedback along the way.But it allowed us to take huge creative risks in a really exciting way. And I hate that I even have to use the word risks because it sounds like, but, but I do, because I think that the industry is pushing against, you know, sometimes the spec specificity of things, uh, in fear of. Not knowing how it will be received.And I fantasize about all of us being able to just watch something and seeing how we feel about it and not kind of needing to know what it is before we see it. So, okay, here comes the perfect neighbor. GTA says to me early on, like, I think. I think it can be told through all these materials, and I was like, it will be told through like I was determined and I held us very strict to it.I mean, as we kind of developed the story and hit some challenges, it was like, this is the fun. Let's problem solve this. Let's figure out what it means. But that also came within the container of all this to kind of trust the audience stuff that I've been trying to repeat to myself as a mantra so I don't fall into the trappings that I'm watching so much work do.With this one, we knew it was gonna be this raw approach and by composing it completely of the evidence, it would ideally be this kind of undeniable way to tell the story, which I realized was only possible because of the wealth of material we had for this tracked so much time that, you know, took the journey.It did, but at the same time, honoring that that's all we needed to make it happen. So all those tools, I think it was like. A mixed bag of things that I found that were effective, things that I've been frustrated by in my process. Things that I felt radical about with, you know, that I've been like trying to scream in, into the void and nobody's listening.You know, it's like all of that because I, you know, I think I've said this many times. The perfect neighbor was not my full-time job. I was on another film that couldn't have been more different. So I think in a, in a real deep seated, subconscious way, it was in conversation with that. Me trying to go as far away from that as possible and in understanding what could be possible, um, with this film.So yeah, it's, it's interesting. It's like all the tools from the films, but it was also like where I was in my life, what had happened to me, you know, and all of those. And by that I mean in a process level, you know, working in film, uh, and that and yes, and the values and ethics that I honor and wanna stick to and protect in the.Personal lens and all of that. So I think, I think it, it, it was a culmination of many things, but in that approach that people feel that has resonated that I'm most proud of, you know, and what I brought to the film, I think that that is definitely, like, I don't think I could have cut this film the way I did at any other time before, you know, I think I needed all of those experiences to get here.BEN: Oh, there's so much there and, and there's something kind of the. The first part of what you were saying, I've had this experience, I'm curious if you've had this experience. I sort of try to prepare filmmakers to be open to this, that when you're working with something, especially Doc, I think Yeah. More so Doc, at a certain point the project is gonna start telling you what it wants to be if you, if you're open to it.Yes. Um, but it's such a. Sometimes I call it the spooky process. Like it's such a ephemeral thing to say, right? Like, ‘cause you know, the other half of editing is just very technical. Um, but this is like, there's, there's this thing that's gonna happen where it's gonna start talking to you. Do you have that experience?VIRI: Yes. Oh, yes. I've also been a part of films that, you know, they set it out to make it about one person. And once we watched all the footage, it is about somebody else. I mean, there's, you know, those things where you kind of have to meet the spooky part, you know, in, in kind of honoring that concept that you're bringing up is really that when a film is done, I can't remember cutting it.Like, I don't, I mean, I remember it and I remember if you ask me why I did something, I'll tell you. I mean, I'm very, I am super. Precious to a fault about an obsessive. So like you could pause any film I've been a part of and I'll tell you exactly why I used that shot and what, you know, I can do that. But the instinct to like just grab and go when I'm just cutting and I'm flowing.Yeah, that's from something else. I don't know what that is. I mean, I don't. People tell me that I'm very fast, which is, I don't know if that's a good or a bad thing, but I think it really comes from knowing that the job is to make choices and you can always go back and try different things, but this choose your own adventure novel is like just going, and I kind of always laugh about when I look back and I'm like, whoa, have that happen.Like, you know, like I don't even. And I have my own versions of imposter syndrome where I refill mens and I'm like, oh, got away with that one. Um, or every time a new project begins, I'm like, do I have any magic left in the tank? Um, but, but trusting the process, you know, to what you're socking about is a really important way to free yourself and the film to.Discover what it is. I think nowadays because of the algorithm and the, you know, I mean, it's changing right now, so we'll see where, how it recalibrates. But for a, for a while, over these past years, the expectations have, it's like shifted where they come before the film is like, it's like you create your decks and your sizzles and you write out your movie and you, and there is no time for discovery.And when it happens. It's like undeniable that you needed to break it because it's like you keep hitting the same impasse and you can't solve it and then you're like, oh, that's because we have to step outta the map. But I fear that many works have suffered, you know, that they have like followed the map and missed an opportunity.And so, you know, and for me as an editor, it's always kinda a red flag when someone's like, and here's the written edit. I'm like, what? Now let's watch the footage. I wanna know where There's always intention when you set up, but as people always say, the edit is kind of the last. The last step of the storytelling process.‘cause so much can change there. So there is, you know, there it will reveal itself. I do get nerdy about that. I think a film knows what it is. I remember when I was shooting my first film called Born to Play, that film, we were. At the championship, you know, the team was not, thought that they were gonna win the whole thing.We're at the championship and someone leaned over to me and they said, you know, it's funny when a story knows it's being filmed. And I was like, ah. I think about that all the time because now I think about that in the edit bay. I'm like, okay, you tell me, you know, what do you wanna do? And then you kind of like, you match frame back to something and all of a sudden you've opened a portal and you're in like a whole new theme.It's very cool. You put, you know, you put down a different. A different music temp, music track, and all of a sudden you're making a new movie. I mean, it's incredible. It's like, it really is real world magic. It's so much fun. Yeah,BEN: it is. It's a blast. The, so, uh, I saw you at the panel at Doc NYC and then I went that night or the next night and watched Perfect Neighbor blew me away, and you said something on the panel that then blew me away again when I thought about it, which is.I think, correct me if I'm wrong, all of the audio is syncedVIRI: Yeah. To the footage.BEN: That, to me is the big, huge, courageous decision you made.VIRI: I feel like I haven't said that enough. I don't know if folks understand, and it's mainly for the edit of that night, like the, I mean, it's all, it's, it's all that, but it was important.That the, that the sound would be synced to the shock that you're seeing. So when you're hearing a cop, you know, a police officer say, medics, we need medics. If we're in a dashboard cam, that's when it was, you know, echoing from the dashboard. Like that's what, so anything you're hearing is synced. When you hear something coming off from the per when they're walking by and you hear someone yelling something, you know, it's like all of that.I mean, that was me getting really strict about the idea that we were presenting this footage for what it was, you know, that it was the evidence that you are watching, as you know, for lack of a better term, unbiased, objectively as possible. You know, we're presenting this for what it is. I, of course, I have to cut down these calls.I am making choices like that. That is happening. We are, we are. Composing a narrative, you know, there, uh, that stuff is happening. But to create, but to know that what you're hearing, I'm not applying a different value to the frame on, on a very practical syn sound way. You know, it's like I'm not gonna reappropriate frames.Of course, in the grand scheme of the narrative flow with the emotions, you know, the genre play of this horror type film, and there's a lot happening, but anything you were hearing, you know, came from that frame. Yeah.BEN: That's amazing. How did you organize the footage and the files initially?VIRI: Well, Gita always likes to laugh ‘cause she is, she calls herself my first ae, which is true.I had no a, you know, I had, she was, she had gotten all that material, you know, she didn't get that material to make a film. They had originally, this is a family friend who died and when this all happened, they went down and gathered this material to make a case, to make sure that Susan didn't get out. To make sure this was not forgotten.You know, to be able to utilize. Protect the family. And so there was, at first it was kind of just gathering that. And then once she got it, she realized that it spanned two years, you know, I mean, she, she popped, she was an editor for many, many years, an incredible editor. She popped it into a system, strung it all out, sunk up a lot of it to see what was there, and realized like, there's something here.And that's when she called me. So she had organized it, you know, by date, you know, and that, that originally. Strung out a lot of it. And then, so when I came in, it was just kind of like this giant collection of stuff, like folders with the nine one calls. How long was the strung out? Well, I didn't know this.Well, I mean, we have about 30 hours of content. It wasn't one string out, you know, it was like there were the call, all the calls, and then the 9 1 1 calls, the dash cams. The ring cams. Okay. Excuse me. The canvassing interviews, audio only content. So many, many. Was about 30 hours of content, which honestly, as most of us editors know, is not actually a lot I've cut.You know, it's usually, we have tons more than that. I mean, I, I've cut decades worth of material and thousands of hours, you know, but 30 hours of this type of material is very specific, you know, that's a, that's its own challenge. So, so yeah. So the first, so it was organized. It was just organized by call.Interview, you know, some naming conventions in there. Some things we had to sync up. You know, the 9 1 1 calls would overlap. You could hear it in the nine one one call center. You would hear someone, one person who called in, and then you'd hear in the background, like the conversation of another call. It's in the film.There's one moment where you can hear they're going as fast as they can, like from over, from a different. So there was so much overlap. So there was some syncing that we kind of had to do by ear, by signals, by, you know, and there's some time coding on the, on the cameras, but that would go off, which was strange.They weren't always perfect. So, but that, that challenge unto itself would help us kind of really screen the footage to a finite detail, right. To like, have, to really understand where everybody is and what they're doing when,BEN: yeah. You talked about kind of at the end, you know, different people come in, there's, you know, maybe you need to reach a certain length or so on and so forth.How do you, um, handle notes? What's your advice to young filmmakers as far as navigating that process? Great question.VIRI: I am someone who, when I was a kid, I had trouble with authority. I wasn't like a total rebel. I think I was like a really goody goody too. She was borderline. I mean, I had my moments, but growing up in, in a journey, an artistic journey that requires you to kind of fall in love with getting critiques and honing things and working in teams.And I had some growing pains for a long time with notes. I mean, my impulse was always, no. A note would come and I'd go, no, excuse me. Go to bed, wake up. And then I would find my way in and that would be great. That bed marinating time has now gone away, thank goodness. And I have realized that. Not all notes, but some notes have really changed the trajectory of a project in the most powerful waves.And it doesn't always the, to me, what I always like to tell folks is it's, the notes aren't really the issues. It's what? It's the solutions people offer. You know? It's like you can bring up what you're having an issue with. It's when people kind of are like, you know what I would do? Or you know what you think you should do, or you could do this.You're like, you don't have to listen to that stuff. I mean, you can. You can if you have the power to filter it. Some of us do, some of us don't. I've worked with people who. Take all the notes. Notes and I have to, we have to, I kind of have to help filter and then I've worked with people who can very quickly go need that, don't need that need, that, don't need that.Hear that, don't know how to deal with that yet. You know, like if, like, we can kind of go through it. So one piece of advice I would say is number one, you don't have to take all the notes and that's, that's, that's an honoring my little veary. Wants to stand by the vision, you know, and and fight for instincts.Okay. But the second thing is the old classic. It's the note behind the note. It's really trying to understand where that note's coming from. Who gave it what they're looking for? You know, like is that, is it a preference note or is it a fact? You know, like is it something that's really structurally a problem?Is it something that's really about that moment in the film? Or is it because of all the events that led to that moment that it's not doing the work you think it should? You know, the, the value is a complete piece. So what I really love about notes now is I get excited for the feedback and then I get really excited about trying to decipher.What they mean, not just taking them as like my to-do list. That's not, you know, that's not the best way to approach it. It's really to get excited about getting to actually hear feedback from an audience member. Now, don't get me wrong, an audience member is usually. A producer in the beginning, and they have, they may have their own agenda, and that's something to know too.And maybe their agenda can influence the film in an important direction for the work that they and we all wanted to do. Or it can help at least discern where their notes are coming from. And then we can find our own emotional or higher level way to get into solving that note. But, you know, there's still, I still get notes that make me mad.I still get notes where I get sad that I don't think anybody was really. Watching it or understanding it, you know, there's always a thought, you know, that happens too. And to be able to read those notes and still find that like one kernel in there, or be able to read them and say, no kernels. But, but, but by doing that, you're now creating the conviction of what you're doing, right?Like what to do and what not to do. Carrie, equal value, you know, so you can read all these notes and go, oh, okay, so I am doing this niche thing, but I believe in it and. And I'm gonna stand by it. Or like, this one person got it and these five didn't. And I know that the rules should be like majority rules, but that one person, I wanna figure out why they got it so that I can try to get these, you know, you get what I'm saying?So I, I've grown, it took a long time for me to get where I am and I still have moments where I'm bracing, you know, where I like to scroll to see how many notes there are before I even read them. You know, like dumb things that I feel like such a kid about. But we're human. You know, we're so vulnerable.Doing this work is you're so naked and you're trying and you get so excited. And I fall in love with everything. I edit so furiously and at every stage of the process, like my first cut, I'm like, this is the movie. Like I love this so much. And then, you know, by the 10th root polling experience. I'm like, this is the movie.I love it so much. You know, so it's, it's painful, but at the same time it's like highly liberating and I've gotten a lot more flowy with it, which was needed. I would, I would encourage everybody to learn how to really enjoy being malleable with it, because that's when you find the sweet spot. It's actually not like knowing everything right away, exactly what it's supposed to be.It's like being able to know what the heart of it is. And then get really excited about how collaborative what we do is. And, and then you do things you would've never imagined. You would've never imagined, um, or you couldn't have done alone, you know, which is really cool. ‘cause then you get to learn a lot more about yourself.BEN: Yeah. And I think what you said of sort of being able to separate the idea of, okay, something maybe isn't clicking there, versus whatever solution this person's offering. Nine times outta 10 is not gonna be helpful, but, but the first part is very helpful that maybe I'm missing something or maybe what I want to connect is not connecting.VIRI: And don't take it personally. Yeah. Don't ever take it personally. I, I think that's something that like, we're all here to try to make the best movie we can.BEN: Exactly.VIRI: You know? Yeah. And I'm not gonna pretend there aren't a couple sticklers out there, like there's a couple little wrenches in the engine, but, but we will, we all know who they are when we're on the project, and we will bind together to protect from that.But at the same time, yeah, it's, yeah. You get it, you get it. Yeah. But it's really, it's an important part of our process and I, it took me a while to learn that.BEN: Last question. So you talked about kind of getting to this cut and this cut and this cut. One of the most important parts of editing, I think is especially when, when you've been working on a project for a long time, is being able to try and see it with fresh eyes.And of course the, one of the ways to do that is to just leave it alone for three weeks or a month or however long and then come back to it. But sometimes we don't have that luxury. I remember Walter Merch reading in his book that sometimes he would run the film upside down just to, mm-hmm. You know, re re redo it the way his brain is watching it.Do you have any tips and tricks for seeing a cut with fresh eyes? OhVIRI: yeah. I mean, I mean, other than stepping away from it, of course we all, you know, with this film in particular, I was able to do that because I was doing other films too. But I, one good one I always love is take all the music out. Just watch the film without music.It's really a fascinating thing. I also really like quiet films, so like I tend to all of a sudden realize like, what is absolutely necessary with the music, but, but it, it really, people get reliant on it, um, to do the work. And you'd be pleasantly surprised that it can inform and reinvent a scene to kind of watch it without, and you can, it's not about taking it out forever, it's just the exercise of watching what the film is actually doing in its raw form, which is great.Switching that out. I mean, I can, you know, there's other, washing it upside down, I feel like. Yeah, I mean like there's a lot of tricks we can trick our trick, our brain. You can do, you could also, I. I think, I mean, I've had times where I've watched things out of order, I guess. Like where I kind of like go and I watch the end and then I click to the middle and then I go back to the top, you know?And I'm seeing, like, I'm trying to see if they're all connecting, like, because I'm really obsessed with how things begin and how they end. I think the middle is highly important, but it really, s**t tells you, what are we doing here? Like what are we set up and where are we ending? And then like, what is the most effective.Journey to get there. And so there is a way of also kind of trying to pinpoint the pillars of the film and just watching those moments and not kind, and then kind of reverse engineering the whole piece back out. Yeah, those are a couple of tricks, but more than anything, it's sometimes just to go watch something else.If you can't step away from the project for a couple of weeks, maybe watch something, you could, I mean, you can watch something comparable in a way. That tonally or thematically feels in conversation with it to just kind of then come back and feel like there's a conversation happening between your piece and that piece.The other thing you could do is watch something so. Far different, right? Like, even if you like, don't like, I don't know what I'm suggesting, you'd have to, it would bend on the project, but there's another world where like you're like, all right, I'm gonna go off and watch some kind of crazy thrill ride and then come back to my slow burn portrait, you know, and, and just, just to fresh the pal a little bit, you know?I was like that. It's like fueling the tanks. We should be watching a lot of stuff anyways, but. That can happen too, so you don't, you also get to click off for a second because I think we can get, sometimes it's really good to stay in it at all times, but sometimes you can lose the force for the, you can't see it anymore.You're in the weeds. You're too close to it. So how do we kind of shake it loose? Feedback sessions, by the way, are a part, is a part of that because I think that when you sit in the back of the room and you watch other people watch the film, you're forced to watch it as another person. It's like the whole thing.So, and I, I tend to watch people's body language more than, I'm not watching the film. I'm like watching for when people shift. Yeah, yeah. I'm watching when people are like coughing or, you know, or when they, yeah. Whatever. You get it. Yeah. Yeah. That, that, soBEN: that is the most helpful part for me is at a certain point I'll bring in a couple friends and I'll just say, just want you to watch this, and I'm gonna ask you a couple questions afterwards.But 95% of what I need is just sitting there. Watching them and you said exactly. Watching their body language.VIRI: Yeah. Oh man. I mean, this was shoulder, shoulder shooks. There's, and you can tell the difference, you can tell the difference between someone's in an uncomfortable chair and someone's like, it's like whenever you can sense it if you're ever in a theater and you can start to sense, like when they, when they reset the day, like whenever we can all, we all kind of as a community are like, oh, this is my moment.To like get comfortable and go get a bite of popcorn. It's like there's tells, so some of those are intentional and then some are not. Right? I mean, if this is, it goes deeper than the, will they laugh at this or will they be scared at this moment? It really is about captivating them and feeling like when you've, when you've lost it,BEN: for sure.Yeah. Very. This has been fantastic. Oh my God, how fun.VIRI: I talked about things here with you that I've haven't talked, I mean, contact so deeply, but even film school, I feel like I don't know if that's out there anywhere. So that was fun. Thank you.BEN: Love it. Love it. That, that that's, you know, that's what I hope for these interviews that we get to things that, that haven't been talked about in other places.And I always love to just go in, you know, wherever the trail leads in this case. Yeah. With, uh, with Jody Foster and Math McConaughey and, uh, I mean, go see it. Everybody met this. Yeah. Uh, and for people who are interested in your work, where can they find you?VIRI: I mean, I don't update my website enough. I just go to IMDB.Look me up on IMDB. All my work is there. I think, you know, in a list, I've worked on a lot of films that are on HBO and I've worked on a lot of films and now, you know, obviously the perfect neighbor's on Netflix right now, it's having an incredible moment where I think the world is engaging with it. In powerful ways beyond our dreams.So if you watch it now, I bet everybody can kind of have really fascinating conversations, but my work is all out, you know, the sports stuff born to play. I think it's on peacock right now. I mean, I feel like, yeah, I love the scope that I've had the privilege of working on, and I hope it keeps growing. Who knows.Maybe I'll make my space movie someday. We'll see. But in the meantime, yeah, head over and see this, the list of credits and anything that anybody watches, I love to engage about. So they're all, I feel that they're all doing veryBEN: different work. I love it. Thank you so much.VIRI: Thank you. 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

You may have heard of the "ghost army" of World War II—a set of rubber tanks used by the US Army to mimic active battlefields in Europe. What you may not know was the tanks were accompanied by an equally fake soundtrack of battle noises. Even more surprising? This "sonic deception" was developed by a team of the ASA's founding members whose contributions were almost lost to history. In this episode, we talk with Walter Montano (ARQUICUST Argentina Peru) about the innovations that helped save thousands of lives during the war.Read the associated article: Walter A. Montano and Gary W. Elko. (2025) “Sonic Deception During the Second World War,” Acoustics Today 21(2). https://doi.org/10.1121/AT.2025.21.2.38Learn more about the ASA Committee on Archives and History.Read more from Acoustics Today.Learn more about Acoustical Society of America Publications.Intro/Outro Music Credit: Min 2019 by minwbu from Pixabay. 

Feliks Banel's guests on this LIVE BROADCAST of CASCADE OF HISTORY include Lt. Colonel Erik Flint (retired) LIVE from Pearl Harbor Day commemorations in Honolulu; Roving Correspondent Ken Zick with multiple LIVE UPDATES from Candy Cane Lane in Seattle; meteorologist Scott Sistek on storm history and his new Emerald City Weather Blog; and Frank Abe on Rachel Maddow's new podcast about Japanese American incarceration during World War II - and a preview of the live production of "We Hold These Truths" that Frank is participating in on Monday, December 15, 2025 at 7:30pm Pacific Time at Town Hall Seattle (and which will be broadcast LIVE as a special episode of CASCADE OF HISTORY). More information about the LIVE BROADCAST of "We Hold These Truths": https://townhallseattle.org/event/we-hold-these-truths/ More info about Lt. Colonel Erik Flint (retired) : https://stephenambrosetours.com/historian/erik-flint/ Candy Cane Lane Official Facebook Page: https://www.facebook.com/SeattleCandyCaneLane/ Scott Sistek's Emerald City Weather Blog: https://emeraldcityweather.com/ Frank Abe's RESISTERS Website: https://resisters.com/author/frankabe/ Links to more information about all of these stories - and photos of Candy Cane Lane by Ken Zick - are available at the CASCADE OF HISTORY Facebook page: www.facebook.com/groups/cascadeofhistory This LIVE broadcast of CASCADE OF HISTORY was originally presented at 8pm Pacific Time on Sunday, December 7, 2025 via SPACE 101.1 FM and gallantly streaming live via www.space101fm.org from historic Magnuson Park - formerly Sand Point Naval Air Station - on the shores of Lake Washington in Seattle. Subscribe to the CASCADE OF HISTORY podcast via most podcast platforms and never miss regular weekly episodes of Sunday night broadcasts as well as frequent bonus episodes.

During the Second World War, the United States embarked on one of the greatest science and engineering projects the world had ever seen.  Over 125,000 people took part in the program, the vast majority of which had no clue what it was for, and the total cost of the program was over a billion dollars at a time when a billion dollars was a lot of money.  The end result was the most devastating weapon ever created, and it fundamentally changed the world. Learn more about the Manhattan Project and how the atomic bomb was created on this episode of Everything Everywhere Daily. Sponsors Quince Go to quince.com/daily for 365-day returns, plus free shipping on your order! Mint Mobile Get your 3-month Unlimited wireless plan for just 15 bucks a month at mintmobile.com/eed Chubbies Get 20% off your purchase at Chubbies with the promo code DAILY at checkout! Aura Frames Exclusive $35 off Carver Mat at https://on.auraframes.com/DAILY. Promo Code DAILY DripDrop Go to dripdrop.com and use promo code EVERYTHING for 20% off your first order. Uncommon Goods Go to uncommongoods.com/DAILY for 15% off! Subscribe to the podcast!  https://everything-everywhere.com/everything-everywhere-daily-podcast/ -------------------------------- Executive Producer: Charles Daniel Associate Producers: Austin Oetken & Cameron Kieffer   Become a supporter on Patreon: https://www.patreon.com/everythingeverywhere Discord Server: https://discord.gg/UkRUJFh Instagram: https://www.instagram.com/everythingeverywhere/ Facebook Group: https://www.facebook.com/groups/everythingeverywheredaily Twitter: https://twitter.com/everywheretrip Website: https://everything-everywhere.com/  Disce aliquid novi cotidie Learn more about your ad choices. Visit megaphone.fm/adchoices

Tracy Smith catches up with Ethan Hawke, who is already getting awards-season buzz for his performance in “Blue Moon,” in which he plays lyricist Lorenz Hart. David Martin shares a story of espionage, betrayal and little-known Pearl Harbor history in World War II, based on the new book Family of Spies. Anthony Mason examines the life and times of Elvis Presley's legendary and controversial manager: Colonel Tom Parker. He visits Graceland to speak with biographer Peter Guralnick, who writes about Parker in his new book, The Colonel and The King. 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

Vassar College professor Robert Brigham discussed his upcoming memoir about his search for his biological father, who served as a Marine in Vietnam. This event was part of the 2025 LCpl. Benjamin W. Schmidt Symposium on War, Conflict, and Society at Texas Christian University in Fort Worth Learn more about your ad choices. Visit megaphone.fm/adchoices

A new week means new questions! Hope you have fun with these!What word is shared between some sports uniforms and a band's percussion setup?Ghosts that are said to appear on roadsides at night, usually in the form of a sad woman that disappears, are oftern said to be wearing clothes of what color?Which actor won an Academy Award for Best Supporting Actor for his role in A Fish Called Wanda?What is the term for the processes that result in the structure and properties of Earth's crust and its evolution?The Madison and the omnium are Olympic events in what summer sport?Which Shakespeare play has a Duke of Athens marrying the Queen of the Amazons?What video game holds the record for the highest selling single platform exclusive of all time?Which French city gained noteriety for a British retreat that Churchill called a miracle during WWII?In Star Trek: The Original Series, which character was the Enterprise's chief engineer?What is a sumo ring made from?Chemicals that are secreted or excreted by an organism, which trigger a social response in members of the same species, are known as what?A house having a low, broad, single or double-story frame building with a moderately-steep-pitched gabled roof, a large central chimney, and very little ornamentation is known as what New England location-inspired style?How many independant countries and territories are in North America?MusicHot Swing, Fast Talkin, Bass Walker, Dances and Dames, Ambush by Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 3.0 http://creativecommons.org/licenses/by/3.0/Don't forget to follow us on social media:Patreon – patreon.com/quizbang – Please consider supporting us on Patreon. Check out our fun extras for patrons and help us keep this podcast going. We appreciate any level of support!Website – quizbangpod.com Check out our website, it will have all the links for social media that you need and while you're there, why not go to the contact us page and submit a question!Facebook – @quizbangpodcast – we post episode links and silly lego pictures to go with our trivia questions. Enjoy the silly picture and give your best guess, we will respond to your answer the next day to give everyone a chance to guess.Instagram – Quiz Quiz Bang Bang (quizquizbangbang), we post silly lego pictures to go with our trivia questions. Enjoy the silly picture and give your best guess, we will respond to your answer the next day to give everyone a chance to guess.Twitter – @quizbangpod We want to start a fun community for our fellow trivia lovers. If you hear/think of a fun or challenging trivia question, post it to our twitter feed and we will repost it so everyone can take a stab it. Come for the trivia – stay for the trivia.Ko-Fi – ko-fi.com/quizbangpod – Keep that sweet caffeine running through our body with a Ko-Fi, power us through a late night of fact checking and editing!

This video is part of a Ukrainian Advert series, celebrating Ukrainian voices, culture and resilience, ahead of Christmas Day. The project is kindly supported by maker of the film: The Steel Porcupine.#ONE: Andrew Chakhoyan is a Ukrainian American based in the Netherlands and is a vocal and articulate champion of Ukraine and its cause. ----------The Steel Porcupine https://www.thesteelporcupine.com/I'm proud to say that this series of ‘Ukrainian advent' interviews is supported by The Steel Porcupine – a unique and powerful film about a country that refuses to lie down, a people who turned themselves into a fortress of needles when Russian tanks rolled in. The Steel Porcupine is an unforgettable cinematic experience that exposes Russia's campaign of extermination in Ukraine, and the Ukrainian people's spirit to resist and prevail. It follows soldiers, volunteers and people who decided that survival meant resistance, not submission.Created by the makers of the acclaimed To the Zero Line, this is another film about humanity, that clearly states there is no such thing as neutrality when war crimes are being committed systematically by Russia, and on a scale in Europe only comparable to World War Two. Set to a haunting soundtrack featuring music by Philip Glass, and blending rare archival footage with original material, it is an impactful work of art and storytelling, as well as being informative.----------LINKS:https://x.com/ChakhoyanAndrewhttps://www.weforum.org/agenda/authors/andrew-chakhoyan/https://www.politico.eu/article/ukraine-incrementalism-russia-war-president-volodymyr-zelenskyy-truth/ ----------SILICON CURTAIN LIVE EVENTS - FUNDRAISER CAMPAIGN 12 Events in 12 months - Advocacy for a Ukrainian victory with Silicon Curtainhttps://buymeacoffee.com/siliconcurtain/extrasOur first live events this year in Lviv and Kyiv were a huge success. Now we need to maintain this momentum, and change the tide towards a Ukrainian victory. The Silicon Curtain Roadshow is an ambitious campaign to run 10 events in 10 months (at a minimum). We may add more venues to the program, depending on the success of the fundraising campaign. https://buymeacoffee.com/siliconcurtain/extrasWe need to scale up our support for Ukraine, and these events are designed to have a major impact. Your support in making it happen is greatly appreciated. All events will be recorded professionally and published for free on the Silicon Curtain channel. Where possible, we will also live-stream events.https://buymeacoffee.com/siliconcurtain/extras----------SUPPORT THE CHANNEL:https://www.buymeacoffee.com/siliconcurtainhttps://www.patreon.com/siliconcurtain----------TRUSTED CHARITIES ON THE GROUND:Save Ukrainehttps://www.saveukraineua.org/Superhumans - Hospital for war traumashttps://superhumans.com/en/UNBROKEN - Treatment. Prosthesis. Rehabilitation for Ukrainians in Ukrainehttps://unbroken.org.ua/Come Back Alivehttps://savelife.in.ua/en/Chefs For Ukraine - World Central Kitchenhttps://wck.org/relief/activation-chefs-for-ukraineUNITED24 - An initiative of President Zelenskyyhttps://u24.gov.ua/Serhiy Prytula Charity Foundationhttps://prytulafoundation.orgNGO “Herojam Slava”https://heroiamslava.org/kharpp - Reconstruction project supporting communities in Kharkiv and Przemyślhttps://kharpp.com/NOR DOG Animal Rescuehttps://www.nor-dog.org/home/----------