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If you've ever felt like you didn't fit in, or like you were losing yourself trying to be someone else, this book is for you. Yasha is dealing with a new home, new so-called friends, and his upcoming Bar Mitzvah. The only thing that seems to be going well is his continued love of baseball, but even this is getting messy.Transcript here
The reception to our recent post on Code Reviews has been strong. Catch up!Amid a maelstrom of discussion on whether or not AI is killing SaaS, one of the top publicly listed SaaS companies in the world has just reported record revenues, clearing well over $1.1B in ARR for the first time with a 28% margin. As we comment on the pod, Aaron Levie is the rare public company CEO equally at home in both worlds of Silicon Valley and Wall Street/Main Street, by day helping 70% of the Fortune 500 with their Enterprise Advanced Suite, and yet by night is often found in the basements of early startups and tweeting viral insights about the future of agents.Now that both Cursor, Cloudflare, Perplexity, Anthropic and more have made Filesystems and Sandboxes and various forms of “Just Give the Agent a Box” cool (not just cool; it is now one of the single hottest areas in AI infrastructure growing 100% MoM), we find it a delightfully appropriate time to do the episode with the OG CEO who has been giving humans and computers Boxes since he was a college dropout pitching VCs at a Michael Arrington house party.Enjoy our special pod, with fan favorite returning guest/guest cohost Jeff Huber!Note: We didn't directly discuss the AI vs SaaS debate - Aaron has done many, many, many other podcasts on that, and you should read his definitive essay on it. Most commentators do not understand SaaS businesses because they have never scaled one themselves, and deeply reflected on what the true value proposition of SaaS is.We also discuss Your Company is a Filesystem:We also shoutout CTO Ben Kus' and the AI team, who talked about the technical architecture and will return for AIE WF 2026.Full Video EpisodeTimestamps* 00:00 Adapting Work for Agents* 01:29 Why Every Agent Needs a Box* 04:38 Agent Governance and Identity* 11:28 Why Coding Agents Took Off First* 21:42 Context Engineering and Search Limits* 31:29 Inside Agent Evals* 33:23 Industries and Datasets* 35:22 Building the Agent Team* 38:50 Read Write Agent Workflows* 41:54 Docs Graphs and Founder Mode* 55:38 Token FOMO Culture* 56:31 Production Function Secrets* 01:01:08 Film Roots to Box* 01:03:38 AI Future of Movies* 01:06:47 Media DevRel and EngineeringTranscriptAdapting Work for AgentsAaron Levie: Like you don't write code, you talk to an agent and it goes and does it for you, and you may be at best review it. That's even probably like, like largely not even what you're doing. What's happening is we are changing our work to make the agents effective. In that model, the agent didn't really adapt to how we work.We basically adapted to how the agent works. All of the economy has to go through that exact same evolution. Right now, it's a huge asset and an advantage for the teams that do it early and that are kinda wired into doing this ‘cause you'll see compounding returns. But that's just gonna take a while for most companies to actually go and get this deployed.swyx: Welcome to the Lane Space Pod. We're back in the chroma studio with uh, chroma, CEO, Jeff Hoover. Welcome returning guest now guest host.Aaron Levie: It's a pleasure. Wow. How'd you get upgraded to, uh, to that?swyx: Because he's like the perfect guy to be guest those for you.Aaron Levie: That makes sense actually, for We love context. We, we both really love context le we really do.We really do.swyx: Uh, and we're here with, uh, Aaron Levy. Welcome.Aaron Levie: Thank you. Good to, uh, good to be [00:01:00] here.swyx: Uh, yeah. So we've all met offline and like chatted a little bit, but like, it's always nice to get these things in person and conversation. Yeah. You just started off with so much energy. You're, you're super excited about agents.I loveAaron Levie: agents.swyx: Yeah. Open claw. Just got by, got bought by OpenAI. No, not bought, but you know, you know what I mean?Aaron Levie: Some, some, you know, acquihire. Executiveswyx: hire.Aaron Levie: Executive hire. Okay. Executive hire. Say,swyx: hey, that's my term. Okay. Um, what are you pounding the table on on agents? You have so many insightful tweets.Why Every Agent Needs a BoxAaron Levie: Well, the thing that, that we get super excited by that I think is probably, you know, should be relatively obvious is we've, we've built a platform to help enterprises manage their files and their, their corporate files and the permissions of who has access to those files and the sharing collaboration of those files.All of those files contain really, really important information for the enterprise. It might have your contracts, it might have your research materials, it might have marketing information, it might have your memos. All that data obviously has, you know, predominantly been used by humans. [00:02:00] But there's been one really interesting problem, which is that, you know, humans only really work with their files during an active engagement with them, and they kind of go away and you don't really see them for a long time.And all of a sudden, uh, with the power of AI and AI agents, all of that data becomes extremely relevant as this ongoing source of, of answers to new questions of data that will transform into, into something else that, that produces value in your organization. It, it contains the answer to the new employee that's onboarding, that needs to ramp up on a project.Um, it contains the answer to the right thing to sell a customer when you're having a conversation to them, with them contains the roadmap information that's gonna produce the next feature. So all that data. That previously we've been just sort of storing and, and you know, occasionally forgetting about, ‘cause we're only working on the new active stuff.All of that information becomes valuable to the enterprise and it's gonna become extremely valuable to end users because now they can have agents go find what they're looking for and produce new, new [00:03:00] value and new data on that information. And it's gonna become incredibly valuable to agents because agents can roam around and do a bunch of work and they're gonna need access to that data as well.And um, and you know, sometimes that will be an agent that is sort of working on behalf of, of, of you and, and effectively as you as and, and they are kind of accessing all of the same information that you have access to and, and operating as you in the system. And then sometimes there's gonna be agents that are just.Effectively autonomous and kind of run on their own and, and you're gonna collaborate and work with them kind of like you did another person. Open Claw being the most recent and maybe first real sort of, you know, kind of, you know, up updating everybody's, you know, views of this landscape version of, of what that could look like, which is, okay, I have an agent.It's on its own system, it's on its own computer, it has access to its own tools. I probably don't give it access to my entire life. I probably communicate with it like I would an assistant or a colleague and then it, it sort of has this sandbox environment. So all of that has massive implications for a platform that manage that [00:04:00] enterprise data.We think it's gonna just transform how we work with all of the enterprise content that we work with, and we just have to make sure we're building the right platform to support that.swyx: The sort of shorthand I put it is as people build agents, everybody's just realizing that every agent needs a box. Yes.And it's nice to be called box and just give everyone a box.Aaron Levie: Hey, I if I, you know, if we can make that go viral, uh, like I, I think that that terminology, I, that's theswyx: tagline. Every agentAaron Levie: needs a box. Every agent needs a box. If we can make that the headline of this, I'm fine with this. And that's the billboard I wanna like Yeah, exactly.Every agent needs a box. Um, I like it. Can we ship this? Like,swyx: okay, let's do it. Yeah.Aaron Levie: Uh, my work here is done and I got the value I needed outta this podcast Drinks.swyx: Yeah.Agent Governance and IdentityAaron Levie: But, but, um, but, but, you know, so the thing that we, we kind of think about is, um, is, you know, whether you think the number 10 x or a hundred x or whatever the number is, we're gonna have some order of magnitude more agents than people.That's inevitable. It has to happen. So then the question is, what is the infrastructure that's needed to make all those agents effective in the enterprise? Make sure that they are well governed. Make sure they're only doing [00:05:00] safe things on your information. Make sure that they're not getting exposed. The data that they shouldn't have access to.There's gonna be just incredibly spectacularly crazy security incidents that will happen with agents because you'll prompt, inject an agent and sort of find your way through the CRM system and pull out data that you shouldn't have access to. Oh, weJeff Huber: have God,Aaron Levie: right? I mean, that's just gonna happen all over the place, right?So, so then the thing is, is how do you make sure you have the right security, the permissions, the access controls, the data governance. Um, we actually don't yet exactly know in many cases how we're gonna regulate some of these agents, right? If you think about an agent in financial services, does it have the exact same financial sort of, uh, requirements that a human did?Or is it, is the risk fully on the human that was interacting or created the agent? All open questions, but no matter what, there's gonna need to be a layer that manages the, the data they have access to, the workflows that they're involved in, pulling up data from multiple systems. This is the new infrastructure opportunity in the era of agents.swyx: You have a piece on agent identities, [00:06:00] which I think was today, um, which I think a lot of breaking news, the security, security people are talking about, right? Like you basically, I, I always think of this as like, well you need the human you and then there you need the agent. YouAaron Levie: Yes.swyx: And uh, well, I don't know if it's that simple, but is box going to have an opinion on that or you're just gonna be like, well we're just the sort of the, the source layer.Yeah. Let's Okta of zero handle that.Aaron Levie: I think we're gonna have an opinion and we will work with generally wherever the contours of the market end up. Um, and the reason that we're gonna have an opinion more than other topics probably is because one of the biggest use cases for why your agent might need it, an identity is for file system access.So thus we have to kind of think about this pretty deeply. And I think, uh, unless you're like in our world thinking about this particular problem all day long, it might be, you know, like, why is this such a big deal? And the reason why it's a really big deal is because sometimes sort of say, well just give the agent an, an account on the system and it just treats, treat it like every other type of user on the system.The [00:07:00] problem is, is that I as Aaron don't really have any responsibility over anybody else's box account in our organization. I can't see the box account of any other employee that I work with. I am not liable for anything that they do. And they have, I have, I have, you know, strict privacy requirements on everything that they're able to, you know, that, that, that they work on.Agents don't have that, you know, don't have those properties. The person who creates the agent probably is gonna, for the foreseeable future, take on a lot of the liability of what that agent does. That agent doesn't deserve any privacy because, because it's, you know, it can't fully be autonomously operated and it doesn't have any legal, you know, kind of, you know, responsibility.So thus you can't just be like, oh, well I'll just create a bunch of accounts and then I'll, I'll kind of work with that agent and I'll talk to it occasionally. Like you need oversight of that. And so then the question is, how do you have a world where the agent, sometimes you have oversight of, but what if that agent goes and works with other people?That person over there is collaborating with the agent on something you shouldn't have [00:08:00] access to what they're doing. So we have all of these new boundaries that we're gonna have to figure out of, of, you know, it's really, really easy. So far we've been in, in easy mode. We've hit the easy button with ai, which is the agent just is you.And when you're in quad code and you're in cursor, and you're in Codex, you're just, the agent is you. You're offing into your services. It can do everything you can do. That's the easy mode. The hard mode is agents are kind of running on their own. People check in with them occasionally, they're doing things autonomously.How do you give them access to resources in the enterprise and not dramatically increased the security risk and the risk that you might expose the wrong thing to somebody. These are all the new problems that we have to get solved. I like the identity layer and, and identity vendors as being a solution to that, but we'll, we'll need some opinions as well because so many of the use cases are these collaborative file system use cases, which is how do I give it an agent, a subset of my data?Give it its own workspace as well. ‘cause it's gonna need to store off its own information that would be relevant for it. And how do I have the right oversight into that? [00:09:00]Jeff Huber: One thing, which, um, I think is kind interesting, think about is that you know, how humans work, right? Like I may not also just like give you access to the whole file.I might like sit next to you and like scroll to this like one part of the file and just show you that like one part and like, you know,swyx: partial file access.Jeff Huber: I'm just saying I think like our, like RA does seem to be dead, right? Like you wanna say something is dead uhhuh probably RA is dead. And uh, like the auth story to me seems like incredibly unsolved and unaddressed by like the existing state of like AI vendors.ButAaron Levie: yeah, I think, um, we're, I mean you're taking obviously really to level limit that we probably need to solve for. Yeah. And we built an access control system that was, was kind of like, you know, its own little world for, for a long time. And um, and the idea was this, it's a many to many collaboration system where I can give you any part of the file system.And it's a waterfall model. So if I give you higher up in the, in the, in the system, you get everything below. And that, that kind of created immense flexibility because I can kind of point you to any layer in the, in the tree, but then you're gonna get access to everything kind of below it. And that [00:10:00] mostly is, is working in this, in this world.But you do have to manage this issue, which is how do I create an agent that has access to some of my stuff and somebody else's stuff as well. Mm-hmm. And which parts do I get to look at as the creator of the agent? And, and these are just brand new problems? Yeah. Crazy. And humans, when there was a human there that was really easy to do.Like, like if the three of us were all sharing, there'd be a Venn diagram where we'd have an overlapping set of things we've shared, but then we'd have our own ways that we shared with each other. In an agent world, somebody needs to take responsibility for what that agent has access to and what they're working on.These are like the, some of the most probably, you know, boring problems for 98% of people on, on the internet, but they will be the problems that are the difference between can you actually have autonomous agents in an enterprise contextswyx: Yeah.Aaron Levie: That are not leaking your data constantly.swyx: No. Like, I mean, you know, I run a very, very small company for my conference and like we already have data sensitivity issues.Yes. And some of my team members cannot see Yes. Uh, the others and like, I can't imagine what it's like to run a Fortune 500 and like, you have to [00:11:00] worry about this. I'm just kinda curious, like you, you talked to a lot like, like 70, 80% of your cus uh, of the Fortune 500, your customers.Aaron Levie: Yep. 67%. Just so we're being verySEswyx: precise.So Yeah. I'm notAaron Levie: Okay. Okay.swyx: Something I'm rounding up. Yes. Round up. I'm projecting to, forAaron Levie: the government.swyx: I'm projecting to the end of the year.Aaron Levie: Okay.swyx: There you go.Aaron Levie: You do make it sound like, like we, we, well we've gotta be on this. Like we're, we're taking way too long to get to 80%. Well,swyx: no, I mean, so like. How are they approaching it?Right? Because you're, you don't have a, you don't have a final answer yet.Why Coding Agents Took Off FirstAaron Levie: Well, okay, so, so this is actually, this is the stark reality that like, unfortunately is the kinda like pouring the water on the party a little bit.swyx: Yes.Aaron Levie: We all in Silicon Valley are like, have the absolute best conditions possible for AI ever.And I think we all saw the dke, you know, kind of Dario podcast and this idea of AI coding. Why is that taken off? And, and we're not yet fully seeing it everywhere else. Well, look, if you just like enumerated the list of properties that AI coding has and then compared it to other [00:12:00] knowledge work, let's just, let's just go through a few of them.Generally speaking, you bring on a new engineer, they have access to a large swath of the code base. Like, there's like very, like you, just, like new engineer comes on, they can just go and find the, the, the stuff that they, they need to work with. It's a fully text in text out. Medium. It's only, it's just gonna be text at the end of the day.So it's like really great from a, from just a, uh, you know, kinda what the agent can work with. Obviously the models are super trained on that dataset. The labs themselves have a really strong, kind of self-reinforcing positive flywheel of why they need to do, you know, agent coding deeply. So then you get just better tooling, better services.The actual developers of the AI are daily users of the, of the thing that they're we're working on versus like the, you know, probably there's only like seven Claude Cowork legal plugin users at Anthropic any given day, but there's like a couple thousand Claude code and you know, users every single day.So just like, think about which one are they getting more feedback on. All day long. So you just go through this list. You have a, you know, everybody who's a [00:13:00] developer by definition is technical so they can go install the latest thing. We're all generally online, or at least, you know, kinda the weird ones are, and we're all talking to each other, sharing best practices, like that's like already eight differences.Versus the rest of the economy. Every other part of the economy has like, like six to seven headwinds relative to that list. You go into a company, you're a banker in financial services, you have access to like a, a tiny little subset of the total data that's gonna be relevant to do your job. And you're have to start to go and talk to a bunch of people to get the right data to do your job because Sally didn't add you to that deal room, you know, folder.And that that, you know, the information is actually in a completely different organization that you now have to go in and, and sort of run into. And it's like you have this endless list of access controls and security. As, as you talked about, you have a medium, which is not, it's not just text, right? You have, you have a zoom call that, that you're getting all of the requirements from the customer.You have a lot of in-person conversations and you're doing in-person sales and like how do you ever [00:14:00] digitize all of that information? Um, you know, I think a lot of people got upset with this idea that the code base has all the context, um, that I don't know if you follow, you know, did you follow some of that conversation that that went viral?Is like, you know, it's not that simple that, that the code base doesn't have all the knowledge, but like it's a lot, you're a lot better off than you are with other areas of knowledge work. Like you, we like, we like have documentation practices, you write specifications. Those things don't exist for like 80% of work that happens in the enterprise.That's the divide that we have, which is, which is AI coding has, has just fully, you know, where we've reached escape velocity of how powerful this stuff is, and then we're gonna have to find a way to bring that same energy and momentum, but to all these other areas of knowledge work. Where the tools aren't there, the data's not set up to be there.The access controls don't make it that easy. The context engineering is an incredibly hard problem because again, you have access control challenges, you have different data formats. You have end users that are gonna need to kind of be kind of trained through this as opposed to their adopting [00:15:00] these tools in their free time.That's where the Fortune 500 is. And so we, I think, you know, have to be prepared as an industry where we are gonna be on a multi-year march to, to be able to bring agents to the enterprise for these workflows. And I think probably the, the thing that we've learned most in coding that, that the rest of the world is not yet, I think ready for, I mean, we're, they'll, they'll have to be ready for it because it's just gonna inevitably happen is I think in coding.What, what's interesting is if you think about the practice of coding today versus two years ago. It's probably the most changed workflow in maybe the history of time from the amount of time it's changed, right? Yeah. Like, like has any, has any workflow in the entire economy changed that quickly in terms of the amount of change?I just, you know, at least in any knowledge worker workflow, there's like very rarely been an event where one piece of technology and work practice has so fundamentally, you know, changed, changed what you do. Like you don't write code, you talk to an agent and it goes and [00:16:00] does it for you, and you may be at best review it.And even that's even probably like, like largely not even what you're doing. What's happening is we are changing our work to make the agents effective. In that model, the agent didn't really adapt to how we work. We basically adapted to how the agent works. Mm-hmm. All of the economy has to go through that exact same evolution.The rest of the economy is gonna have to update its workflows to make agents effective. And to give agents the context that they need and to actually figure out what kind of prompting works and to figure out how do you ensure that the agent has the right access to information to be able to execute on its work.I, you know, this is not the panacea that people were hoping for, of the agent drops in, just automates your life. Like you have to basically re-engineer your workflow to get the most out of agents and, uh, and that, that's just gonna take, you know, multiple years across the economy. Right now it's a huge asset and an advantage for the teams that do it early and that are kinda wired into doing this.‘cause [00:17:00] you'll see compounding returns, but that's just gonna take a while for most companies to actually go and get this deployed.swyx: I love, I love pushing back. I think that. That is what a lot of technology consultants love to hear this sort of thing, right? Yeah, yeah, yeah. First to, to embrace the ai. Yes. To get to the promised land, you must pay me so much money to a hundred percent to adopt the prescribed way of, uh, conforming to the agents.Yes. And I worry that you will be eclipsed by someone else who says, no, come as you are.Aaron Levie: Yeah.swyx: And we'll meet you where you are.Aaron Levie: And, and, and and what was the thing that went viral a week ago? OpenAI probably, uh, is hiring F Dees. Yeah. Uh, to go into the enterprise. Yeah. Yeah. And then philanthropic is embedded at Goldman Sachs.Yeah. So if the labs are having to do this, if, if the labs have decided that they need to hire FDE and professional services, then I think that's a pretty clear indication that this, there's no easy mode of workflow transformation. Yeah. Yeah. So, so to your point, I think actually this is a market opportunity for, you know, new professional services and consulting [00:18:00] firms that are like Agent Build and they, and they kind of, you know, go into organizations and they figure out how to re-engineer your workflows to make them more agent ready and get your data into the right format and, you know, reconstruct your business process.So you're, you're not doing most of the work. You're telling agents how to do the work and then you're reviewing it. But I haven't seen the thing that can just drop in and, and kinda let you not go through those changes.swyx: I don't know how that kind of sales pitch goes over. Yeah. You know, you're, you're saying things like, well, in my sort of nice beautiful walled garden, here's, there's, uh, because here's this, here's this beautiful box account that has everything.Yes. And I'm like, well, most, most real life is extremely messy. Sure. And like, poorly named and there duplicate this outdated s**tAaron Levie: a hundred percent. And so No, no, a hundred percent. And so this is actually No. So, so this is, I mean, we agree that, that getting to the beautiful garden is gonna be tough.swyx: Yeah.Aaron Levie: There's also the other end of the spectrum where I, I just like, it's a technical impossibility to solve. The agent is, is truly cannot get enough context to make the right decision in, in the, in the incredibly messy land. Like there's [00:19:00] no a GI that will solve that. So, so we're gonna have to kind of land in somewhere in between, which is like we all collectively get better at.Documentation practices and, and having authoritative relatively up-to-date information and putting it in the right place like agents will, will certainly cause us to be much better organized around how we work with our information, simply because the severity of the agent pulling the wrong data will be too high and the productivity gain of that you'll miss out on by not doing this will be too high as well, that you, that your competition will just do it and they'll just have higher velocity.So, uh, and, and we, we see this a lot firsthand. So we, we build a series of agents internally that they can kind of have access to your full box account and go off and you give it a task and it can go find whatever information you're looking for and work with. And, you know, thank God for the model progress, but like, if, if you gave that task to an agent.Nine months ago, you're just gonna get lots of bogus answers because it's gonna, it's gonna say, Hey, here's, here are fi [00:20:00] five, you know, documents that all kind of smell like the right thing. And I'm gonna, but I, but you're, you're putting me on the clock. ‘cause my assistant prompt says like, you know, be pretty smart, but also try and respond to the user and it's gonna respond.And it's like, ah, it got the wrong document. And then you do that once or twice as a knowledge worker and you're just neverswyx: again,Aaron Levie: never again. You're just like done with the system.swyx: Yeah. It doesn't work.Aaron Levie: It doesn't work. And so, you know, Opus four six and Gemini three one Pro and you know, whatever the latest five 3G BT will be, like, those things are getting better and better and it's using better judgment.And this sort of like the, all of these updates to the agentic tool and search systems are, are, we're seeing, we're seeing very real progress where the agent. Kind of can, can almost smell some things a little bit fishy when it's getting, you know, we, we have this process where we, we have it go fan out, do a bunch of searches, pull up a bunch of data, and then it has to sort of do its own ranking of, you know, what are the right documents that, that it should be working with.And again, like, you know, the intelligence level of a model six months ago, [00:21:00] it'd be just throwing a dart at like, I'm just, I'm gonna grab these seven files and I, I pray, I hope that that's the right answer. And something like an opus first four five, and now four six is like, oh, it's like, no, that one doesn't seem right relative to this question because I'm seeing some signal that is making that, you know, that's contradicting the document where it would normally be in the tree and who should have access.Like it's doing all of that kind of work for you. But like, it still doesn't work if you just have a total wasteland of data. Like, it's just not, it's just not possible. Partly ‘cause a human wouldn't even be able to do it. So basically if a, if a really, really smart human. Could not do that task in five or 10 minutes for a search retrieval type task.Look, you know, your agent's not gonna be able to do it any better. You see this all day long. SoContext Engineering and Search Limitsswyx: this touches on a thing that just passionate about it was just context engineering. I, I'm just gonna let you ramble or riff on, on context engineering. If, if, if there's anything like he, he did really good work on context fraud, which has really taken over as like the term that people use and the referenceAaron Levie: a hundred percent.We, we all we think about is, is the context rob problem. [00:22:00]Jeff Huber: Yeah, there's certainly a lot of like ranking considerations. Gentech surgery think is incredibly promising. Um, yeah, I was trying to generate a question though. I think I have a question right now. Swyx.Aaron Levie: Yeah, no, but like, like I think there was this moment, um, you know, like, I don't know, two years ago before, before we knew like where the, the gotchas were gonna be in ai and I think someone was like, was like, well, infinite context windows will just solve all of these problems and ‘cause you'll just, you'll just give the context window like all the data and.It's just like, okay, I mean, maybe in 2035, like this is a viable solution. First of all, it, it would just, it would just simply cost too much. Like we just can't give the model like the 5,000 documents that might be relevant and it's gonna read them all. And I've seen enough to, to start believing in crazy stuff.So like, I'm willing to just say, sure. Like in, in 10 years from now,swyx: never say, never, never.Aaron Levie: In, in 10 years from now, we'll have infinite context windows at, at a thousandth of the price of today. Like, let's just like believe that that's possible, but Right. We're in reality today. So today we have a context engineering [00:23:00] problem, which is, I got, I got, you know, 200,000 tokens that I can work with, or prob, I don't even know what the latest graph is before, like massive degradation.16. Okay. I have 60,000 tokens that I get to work with where I'm gonna get accurate information. That's not a lot of tokens for a corpus of 10 million documents that a knowledge worker might have across all of the teams and all the projects and all the people they work with. I have, I have 10 million documents.Which, you know, maybe is times five pages per document or something like that. I'm at 50 million pages of information and I have 60,000 tokens. Like, holy s**t. Yeah. This is like, how do I bridge the 50 million pages of information with, you know, the couple hundred that I get to work with in that, in that token window.Yeah. This is like, this is like such an interesting problem and that's why actually so much work is actually like, just like search systems and the databases and that layer has to just get so locked in, but models getting better and importantly [00:24:00] knowing when they've done a search, they found the wrong thing, they go back, they check their work, they, they find a way to balance sort of appeasing the user versus double checking.We have this one, we have this one test case where we ask the agent to go find. 10 pieces of information.swyx: Is this the complex work eval?Aaron Levie: Uh, this is actually not in the eval. This is, this is sort of just like we have a bunch of different, we have a bunch of internal benchmark kind of scenarios. Every time we, we update our agent, we have one, which is, I ask it to find all of our office addresses, and I give it the list of 10 offices that we have.And there's not one document that has this, maybe there should be, that would be a great example of the kind of thing that like maybe over time companies start to, you know, have these sort of like, what are the canonical, you know, kind of key areas of knowledge that we need to have. We don't seem to have this one document that says, here are all of our offices.We have a bunch of documents that have like, here's the New York office and whatever. So you task this agent and you, you get, you say, I need the addresses for these 10 offices. Okay. And by the way, if you do this on any, you know, [00:25:00] public chat model, the same outcome is gonna happen. But for a different kind of query, you give it, you say, I need these 10 addresses.How many times should the agent go and do its search before it decides whether or not, there's just no answer to this question. Often, and especially the, the, let's say lower tier models, it'll come back and it'll give you six of the 10 addresses. And it'll, and I'll just say I couldn't find the otherswyx: four.It, it doesn't know what It doesn't know. ItAaron Levie: doesn't know what It doesn't know. Yeah. So the model is just like, like when should it stop? When should it stop doing? Like should it, should it do that task for literally an hour and just keep cranking through? Maybe I actually made up an office location and it doesn't know that I made it up and I didn't even know that I made it up.Like, should it just keep, re should it read every single file in your entire box account until it, until it should exhaust every single piece of information.swyx: Expensive.Aaron Levie: These are the new problems that we have. So, you know, something like, let's say a new opus model is sort of like, okay, I'm gonna try these types of queries.I didn't get exactly what I wanted. I'm gonna try again. I'm gonna, at [00:26:00] some point I'm gonna stop searching. ‘cause I've determined that that no amount of searching is gonna solve this problem. I'm just not able to do it. And that judgment is like a really new thing that the model needs to be able to have.It's like, when should it give up on a task? ‘cause, ‘cause you just don't, it's a can't find the thing. That's the real world of knowledge, work problems. And this is the stuff that the coding agents don't have to deal with. Because they, it just doesn't like, like you're not usually asking it about, you're, you're always creating net new information coming right outta the model for the most part.Obviously it has to know about your code base and your specs and your documentation, but, but when you deploy an agent on all of your data that now you have all of these new problems that you're dealing withJeff Huber: our, uh, follow follow-up research to context ride is actually on a genetic search. Ah. Um, and we've like right, sort of stress tested like frontier models and their ability to search.Um, and they're not actually that good at searching. Right. Uh, so you're sort of highlighting this like explore, exploit.swyx: You're just say, Debbie, Donna say everything doesn't work. Like,Aaron Levie: well,Jeff Huber: somebody has to be,Aaron Levie: um, can I just throw out one more thing? Yeah. That is different from coding and, and the rest [00:27:00] of the knowledge work that I, I failed to mention.So one other kind of key point is, is that, you know, at the end of the day. Whether you believe we're in a slop apocalypse or, or whatever. At the end of the day, if you, if you build a working product at the end of, if you, if you've built a working solution that is ultimately what the customer is paying for, like whether I have a lot of slop, a little slop or whatever, I'm sure there's lots of code bases we could go into in enterprise software companies where it's like just crazy slop that humans did over a 20 year period, but the end customer just gets this little interface.They can, they can type into it, it does its thing. Knowledge work, uh, doesn't have that property. If I have an AI model, go generate a contract and I generate a contract 20 times and, you know, all 20 times it's just 3% different and like that I, that, that kind of lop introduces all new kinds of risk for my organization that the code version of that LOP didn't, didn't introduce.These are, and so like, so how do you constrain these models to just the part that you want [00:28:00] them to work on and just do the thing that you want them to do? And, and, you know, in engineering, we don't, you can't be disbarred as an engineer, but you could be disbarred as a lawyer. Like you can do the wrong medical thing In healthcare, you, there's no, there's no equivalent to that of engineering.Like, doswyx: you want there to be, because I've considered softwareJeff Huber: engineer. What's that? Civil engineering there is, right? NotAaron Levie: software civil engineer. Sure. Oh yeah, for sure. But like in any of our companies, you like, you know, you'll be forgiven if you took down the site and, and we, we will do a rollback and you'll, you'll be in a meeting, but you have not been disbarred as an engineer.We don't, we don't change your, you know, your computer science, uh, blameJeff Huber: degree, this postmortem.Aaron Levie: Yeah, exactly. Exactly. So, so, uh, now maybe we collectively as an industry need to figure out like, what are you liable for? Not legally, but like in a, in a management sense, uh, of these agents. All sorts of interesting problems that, that, that, uh, that have to come out.But in knowledge work, that's the real hostile environments that we're operating in. Hmm.swyx: I do think like, uh, a lot of the last year's, 2025 story was the rise of coding agents and I think [00:29:00] 2026 story is definitely knowledge work agents. Yes. A hundredAaron Levie: percent.swyx: Right. Like that would, and I think open claw core work are just the beginning.Yes. Like it's, the next one's gonna just gonna be absolute craziness.Aaron Levie: It it is. And, and, uh, and it's gonna be, I mean, again, like this is gonna be this, this wave where we, we are gonna try and bring as many of the practices from coding because that, that will clearly be the forefront, which is tell an agent to go do something and has an access to a set of resources.You need to be responsible for reviewing it at the end of the process. That to me is the, is the kind of template that I just think goes across knowledge, work and odd. Cowork is a great example. Open Closet's a great example. You can kind of, sort of see what Codex could become over time. These are some, some really interesting kind of platforms that are emerging.swyx: Okay. Um, I wanted to, we touched on evals a little bit. You had, you had the report that you're gonna go bring up and then I was gonna go into like, uh, boxes, evals, but uh, go ahead. Talk about your genetic search thing.Jeff Huber: Yeah. Mostly I think kinda a few of the insights. It's like number one frontier model is not good at search.Humans have this [00:30:00] natural explore, exploit trade off where we kinda understand like when to stop doing something. Also, humans are pretty good at like forgetting actually, and like pruning their own context, whereas agents are not, and actually an agent in their kind of context history, if they knew something was bad and they even, you could see in the trace the reason you trace, Hey, that probably wasn't a good idea.If it's still in the trace, still in the context, they'll still do it again. Uhhuh. Uh, and so like, I think pruning is also gonna be like, really, it's already becoming a thing, right? But like, letting self prune the con windowsswyx: be a big deal. Yeah. So, so don't leave the mistake. Don't leave the mistake in there.Cut out the mistake but tell it that you made a mistake in the past and so it doesn't repeat it.Jeff Huber: Yeah. But like cut it out so it doesn't get like distracted by it again. ‘cause really, you know, what is so, so it will repeat its mistake just because it's been, it's inswyx: theJeff Huber: context. It'sAaron Levie: in the context so much.That's a few shot example. Even if it, yeah.Jeff Huber: It's like oh thisAaron Levie: is a great thing to go try even ifJeff Huber: it didn't work.Aaron Levie: Yeah,Jeff Huber: exactly.Aaron Levie: SoJeff Huber: there's like a bunch of stuff there. JustAaron Levie: Groundhogs Day inside these models. Yeah. I'm gonna go keep doing the same wrongJeff Huber: thing. Covering sense. I feel like, you know, some creator analogy you're trying like fit a manifold in latent space, which kind is doing break program synthesis, which is kinda one we think about we're doing right.Like, you know, certain [00:31:00] facts might be like sort of overly pitting it. There are certain, you know, sec sectors of latent space and so like plug clean space. Yeah. And, uh, andswyx: so we have a bell, our editor as a bell every time you say that. SoJeff Huber: you have, you have to like remove those, likeswyx: you shoulda a gong like TPN or something.IfJeff Huber: we gong, you either remove those links to like kinda give it the freedom, kind of do what you need to do. So, but yeah. We'll, we'll release more soon. That'sAaron Levie: awesome.Jeff Huber: That'll, that'll be cool.swyx: We're a cerebral podcast that people listen to us and, and sort of think really deep. So yeah, we try to keep it subtle.Okay. We try to keep it.Aaron Levie: Okay, fine.Inside Agent Evalsswyx: Um, you, you guys do, you guys do have EVs, you talked about your, your office thing, but, uh, you've been also promoting APEX agents and complex work. Uh, yeah, whatever you, wherever you wanna take this just Yeah. How youAaron Levie: Apex is, is obviously me, core's, uh, uh, kind of, um, agent eval.We, we supported that by sort of. Opening up some data for them around how we kind of see these, um, data workspaces in, in the, you know, kind of regular economy. So how do lawyers have a workspace? How do investment bankers have a workspace? What kind of data goes into those? And so we, [00:32:00] we partner with them on their, their apex eval.Our own, um, eval is, it's actually relatively straightforward. We have a, a set of, of documents in a, in a range of industries. We give the agent previously did this as a one shot test of just purely the model. And then we just realized we, we need to, based on where everything's going, it's just gotta be more agentic.So now it's a bit more of a test of both our harness and the model. And we have a rubric of a set of things that has to get right and we score it. Um, and you're just seeing, you know, these incredible jumps in almost every single model in its own family of, you know, opus four, um, you know, sonnet four six versus sonnet four five.swyx: Yeah. We have this up on screen.Aaron Levie: Okay, cool. So some, you're seeing it somewhere like. I, I forget the to, it was like 15 point jump, I think on the main, on the overall,swyx: yes.Aaron Levie: And it's just like, you know, these incredible leaps that, that are starting to happen. Um,swyx: and OP doesn't know any, like any, it's completely held out from op.Aaron Levie: This is not in any, there's no public data which has, you know, Ben benefits and this is just a private eval that we [00:33:00] do, and then we just happen to show it to, to the world. Hmm. So you can't, you can't train against it. And I think it's just as representative of. It's obviously reasoning capabilities, what it's doing at, at, you know, kind of test time, compute capabilities, thinking levels, all like the context rot issues.So many interesting, you know, kind of, uh, uh, capabilities that are, that are now improvingswyx: one sector that you have. That's interesting.Industries and Datasetsswyx: Uh, people are roughly familiar with healthcare and legal, but you have public sector in there.Aaron Levie: Yeah.swyx: Uh, what's that? Like, what, what, what is that?Aaron Levie: Yeah, and, and we actually test against, I dunno, maybe 10 industries.We, we end up usually just cutting a few that we think have interesting gains. All extras, won a lot of like government type documents. Um,swyx: what is that? What is it? Government type documents?Aaron Levie: Government filings. Like a taxswyx: return, likeAaron Levie: a probably not tax returns. It would be more of what would go the government be using, uh, as data.So, okay. Um, so think about research that, that type of, of, of data sets. And then we have financial services for things like data rooms and what would be in an investment prospectus. Uhhuh,swyx: that one you can dog food.Aaron Levie: Yeah, exactly. Exactly. Yes. Yes. [00:34:00] So, uh, so we, we run the models, um, in now, you know, more of an agent mode, but, but still with, with kinda limited capacity and just try and see like on a, like, for like basis, what are the improvements?And, and again, we just continue to be blown away by. How, how good these models are getting.swyx: Yeah, I mean, I think every serious AI company needs something like that where like, well, this is the work we do. Here's our company eval. Yeah. And if you don't have it, well, you're not a serious AI company.Aaron Levie: There's two dimensions, right?So there's, there's like, how are the models improving? And so which models should you either recommend a customer use, which one should you adopt? But then every single day, we're making changes to our agents. And you need to knowswyx: if you regressed,Aaron Levie: if you know. Yeah. You know, I've been fully convinced that the whole agent observability and eval space is gonna be a massive space.Um, super excited for what Braintrust is doing, excited for, you know, Lang Smith, all the things. And I think what you're going to, I mean, this is like every enter like literally every enterprise right now. It's like the AI companies are the customers of these tools. Every enterprise will have this. Yeah, you'll just [00:35:00] have to have an eval.Of all of your work and like, we'll, you'll have an eval of your RFP generation, you'll have an eval of your sales material creation. You'll have an eval of your, uh, invoice processing. And, and as you, you know, buy or use new agentic systems, you are gonna need to know like, what's the quality of your, of your pipeline.swyx: Yeah.Aaron Levie: Um, so huge, huge market with agent evals.swyx: Yeah.Building the Agent Teamswyx: And, and you know, I'm gonna shout out your, your team a bit, uh, your CTO, Ben, uh, did a great talk with us last year. Awesome. And he's gonna come back again. Oh, cool. For World's Fair.Aaron Levie: Yep.swyx: Just talk about your team, like brag a little bit. I think I, I think people take these eval numbers in pretty charts for granted, but No, there, I mean, there's, there's lots of really smart people at work during all this.Aaron Levie: Biggest shout out, uh, is we have a, we have a couple folks at Dya, uh, Sidarth, uh, that, that kind of run this. They're like a, you know, kind of tag tag team duo on our evals, Ben, our CTO, heavily involved Yasha, head of ai, uh, you know, a bunch of folks. And, um, evals is one part of the story. And then just like the full, you know, kind of AI.An agent team [00:36:00] is, uh, is a, is a pretty, you know, is core to this whole effort. So there's probably, I don't know, like maybe a few dozen people that are like the epicenter. And then you just have like layers and layers of, of kind of concentric circles of okay, then there's a search team that supports them and an infrastructure team that supports them.And it's starting to ripple through the entire company. But there's that kind of core agent team, um, that's a pretty, pretty close, uh, close knit group.swyx: The search team is separate from the infra team.Aaron Levie: I mean, we have like every, every layer of the stack we have to kind of do, except for just pure public cloud.Um, but um, you know, we, we store, I don't even know what our public numbers are in, you know, but like, you can just think about it as like a lot of data is, is stored in box. And so we have, and you have every layer of the, of the stack of, you know, how do you manage the data, the file system, the metadata system, the search system, just all of those components.And then they all are having to understand that now you've got this new customer. Which is the agent, and they've been building for two types of customers in the past. They've been building for users and they've been building for like applications. [00:37:00] And now you've got this new agent user, and it comes in with a difference of it, of property sometimes, like, hey, maybe sometimes we should do embeddings, an embedding based, you know, kind of search versus, you know, your, your typical semantic search.Like, it's just like you have to build the, the capabilities to support all of this. And we're testing stuff, throwing things away, something doesn't work and, and not relevant. It's like just, you know, total chaos. But all of those teams are supporting the agent team that is kind of coming up with its requirements of what, what do we need?swyx: Yeah. No, uh, we just came from, uh, fireside chat where you did, and you, you talked about how you're doing this. It's, it's kind of like an internal startup. Yeah. Within the broader company. The broader company's like 3000 people. Yeah. But you know, there's, there's a, this is a core team of like, well, here's the innovation center.Aaron Levie: Yeah.swyx: And like that every company kind of is run this way.Aaron Levie: Yeah. I wanna be sensitive. I don't call it the innovation center. Yeah. Only because I think everybody has to do innovation. Um, there, there's a part of the, the, the company that is, is sort of do or die for the agent wave.swyx: Yeah.Aaron Levie: And it only happens to be more of my focus simply because it's existential that [00:38:00] we get it right.swyx: Yeah.Aaron Levie: All of the supporting systems are necessary. All of the surrounding adjacent capabilities are necessary. Like the only reason we get to be a platform where you'd run an agent is because we have a security feature or a compliance feature, or a governance feature that, that some team is working on.But that's not gonna be the make or break of, of whether we get agents right. Like that already exists and we need to keep innovating there. I don't know what the right, exact precise number is, but it's not a thousand people and it's not 10 people. There's a number of people that are like the, the kind of like, you know, startup within the company that are the make or break on everything related to AI agents, you know, leveraging our platform and letting you work with your data.And that's where I spend a lot of my time, and Ben and Yosh and Diego and Teri, you know, these are just, you know, people that, that, you know, kind of across the team. Are working.swyx: Yeah. Amazing.Read Write Agent WorkflowsJeff Huber: How do you, how do you think about, I mean, you talked a lot about like kinda read workflows over your box data. Yep.Right. You know, gen search questions, queries, et cetera. But like, what about like, write or like authoring workflows?Aaron Levie: Yes. I've [00:39:00] already probably revealed too much actually now that I think about it. So, um, I've talked about whatever,Jeff Huber: whatever you can.Aaron Levie: Okay. It's just us. It's just us. Yeah. Okay. Of course, of course.So I, I guess I would just, uh, I'll make it a little bit conceptual, uh, because again, I've already, I've already said things that are not even ga but, but we've, we've kinda like danced around it publicly, so I, yeah, yeah. Okay. Just like, hopefully nobody watches this, um, episode. No.swyx: It's tidbits for the Heidi engaged to go figure out like what exactly, um, you know, is, is your sort of line of thinking.Sure. They can connect the dots.Aaron Levie: Yeah. So, so I would say that, that, uh, we, you know, as a, as a place where you have your enterprise content, there's a use case where I want to, you know, have an agent read that data and answer questions for me. And then there's a use case where I want the agent to create something.And use the file system to create something or store off data that it's working on, or be able to have, you know, various files that it's writing to about the work it's doing. So we do see it as a total read write. The harder problem has so far been the read only because, because again, you have that kind of like 10 [00:40:00] million to one ratio problem, whereas rights are a lot of, that's just gonna come from the model and, and we just like, we'll just put it in the file system and kinda use it.So it's a little bit of a technically easier problem, but the only part that's like, not necessarily technically hard, it is just like it's not yet perfected in the state of the ecosystem is, you know, building a beautiful PowerPoint presentation. It's still a hard problem for these models. Like, like we still, you know, like, like these formats are just, we're not built for.They'reswyx: working on it.Aaron Levie: They're, they're working on it. Everybody's working on it.swyx: Every launch is like, well, we do PowerPoint now.Aaron Levie: We're getting, yeah, getting a lot, getting a lot of better each time. But then you'll do this thing where you'll ask the update one slide and all of a sudden, like the fonts will be just like a little bit different, you know, on two of the slides, or it moved, you know, some shape over to the left a little bit.And again, these are the kind of things that, like in code, obviously you could really care about if you really care about, you know, how beautiful is the code, but at the end, user doesn't notice all those problems and file creation, the end user instantly sees it. You're [00:41:00] like, ah, like paragraph three, like, you literally just changed the font on me.Like it's a totally different font and like midway through the document. Mm-hmm. Those are the kind of things that you run into a lot of in the, in the content creation side. So, mm-hmm. We are gonna have native agents. That do all of those things, they'll be powered by the leading kind of models and labs.But the thing that I think is, is probably gonna be a much bigger idea over time is any agent on any system, again, using Box as a file system for its work, and in that kind of scenario, we don't necessarily care what it's putting in the file system. It could put its memory files, it could put its, you know, specification, you know, documents.It could put, you know, whatever its markdown files are, or it could, you know, generate PDFs. It's just like, it's a workspace that is, is sort of sandboxed off for its work. People can collaborate into it, it can share with other people. And, and so we, we were thinking a lot about what's the right, you know, kind of way to, to deliver that at scale.Docs Graphs and Founder Modeswyx: I wanted to come into sort of the sort of AI transformation or AI sort of, uh, operations things. [00:42:00] Um, one of the tweets that you, that you wanted to talk about, this is just me going through your tweets, by the way. Oh, okay. I mean, like, this is, you readAaron Levie: one by one,swyx: you're the, you're the easiest guest to prep for because you, you already have like, this is the, this is what I'm interested in.I'm like, okay, well, areAaron Levie: we gonna get to like, like February, January or something? Where are we in the, in the timelines? How far back are we going?swyx: Can you, can you describe boxes? A set of skills? Right? Like that, that's like, that's like one of the extremes of like, well if you, you just turn everything into a markdown file.Yeah. Then your agent can run your company. Uh, like you just have to write, find the right sequence of words toAaron Levie: Yes.swyx: To do it.Aaron Levie: Sorry, isthatswyx: the question? So I think the question is like, what if we documented everything? Yes. The way that you exactly said like,Aaron Levie: yes.swyx: Um, let's get all the Fortune five hundreds, uh, prepared for agents.Yes. And like, you know, everything's in golden and, and nicely filed away and everything. Yes. What's missing? Like, what's left, right? LikeAaron Levie: Yeah.swyx: You've, you've run your company for a decade. LikeAaron Levie: Yeah. I think the challenge is that, that that information changes a week later. And because something happened in the market for that [00:43:00] customer, or us as a company that now has to go get updated, and so these systems are living and breathing and they have to experience reality and updates to reality, which right now is probably gonna be humans, you know, kinda giving those, giving them the updates.And, you know, there is this piece about context graphs as as, uh, that kinda went very viral. Yeah. And I, I, I was like a, i, I, I thought it was super provocative. I agreed with many parts of it. I disagree with a few parts around. You know, it's not gonna be as easy as as just if we just had the agent traces, then we can finally do that work because there's just like, there's so much more other stuff that that's happening that, that we haven't been able to capture and digitize.And I think they actually represented that in the piece to be clear. But like there's just a lot of work, you know, that that has to, you just can't have only skills files, you know, for your company because it's just gonna be like, there's gonna be a lot of other stuff that happens. Yeah. Change over time.Yeah. Most companies are practically apprenticeships.swyx: Most companies are practically apprenticeships. LikeJeff Huber: every new employee who joins the team, [00:44:00] like you span one to three months. Like ramping them up.Aaron Levie: Yes. AllJeff Huber: that tat knowledgeAaron Levie: isJeff Huber: not written down.Aaron Levie: Yes.Jeff Huber: But like, it would have to be if you wanted to like give it to an Asian.Right. And so like that seems to me like to beAaron Levie: one is I think you're gonna see again a premium on companies that can document this. Mm-hmm. Much. There'll be a huge premium on that because, because you know, can you shorten that three month ramp cycle to a two week ramp cycle? That's an instant productivity gain.Can you re dramatically reduce rework in the organization because you've documented where all the stuff is and where the answers are. Can you make your average employee as good as your 90th percentile employee because you've captured the knowledge that's sort of in the heads of, of those top employees and make that available.So like you can see some very clear productivity benefits. Mm-hmm. If you had a company culture of making sure you know your information was captured, digitized, put in a format that was agent ready and then made available to agents to work with, and then you just, again, have this reality of like add a 10,000 person [00:45:00] company.Mapping that to the, you know, access structure of the company is just a hard problem. Is like, is like, yeah, well, you just, not every piece of information that's digitized can be shared to everybody. And so now you have to organize that in a way that actually works. There was a pretty good piece, um, this, this, uh, this piece called your company as a file is a file system.I, did you see that one?swyx: Nope.Aaron Levie: Uh, yes. You saw it. Yeah. And, and, uh, I actually be curious your thoughts on it. Um, like, like an interesting kind of like, we, we agree with it because, because that's how we see the world and, uh,swyx: okay. We, we have it up on screen. Oh,Aaron Levie: okay. Yeah. But, but it's all about basically like, you know, we've already, we, we, we already organized in this kind of like, you know, permission structure way.Uh, and, and these are the kind of, you know, natural ways that, that agents can now work with data. So it's kind of like this, this, you know, kind of interesting metaphor, but I do think companies will have to start to think about how they start to digitize more, more of that data. What was your take?Jeff Huber: Yeah, I mean, like the company's probably like an acid compliant file system.Aaron Levie: Uh,Jeff Huber: yeah. Which I'm guessing boxes, right? So, yeah. Yes.swyx: Yeah. [00:46:00]Jeff Huber: Which you have a great piece on, but,swyx: uh, yeah. Well, uh, I, I, my, my, my direction is a little bit like, I wanna rewind a little bit to the graph word you said that there, that's a magic trigger word for us. I always ask what's your take on knowledge graphs?Yeah. Uh, ‘cause every, especially at every data database person, I just wanna see what they think. There's been knowledge graphs, hype cycles, and you've seen it all. So.Aaron Levie: Hmm. I actually am not the expert in knowledge graphs, so, so that you might need toswyx: research, you don't need to be an expert. Yeah. I think it's just like, well, how, how seriously do people take it?Yeah. Like, is is, is there a lot of potential in the, in the HOVI?Aaron Levie: Uh, well, can I, can I, uh, understand first if it's, um, is this a loaded question in the sense of are you super pro, super con, super anti medium? Iswyx: see pro, I see pros and cons. Okay. Uh, but I, I think your opinion should be independent of mine.Aaron Levie: Yeah. No, no, totally. Yeah. I just want to see what I'm stepping into.swyx: No, I know. It's a, and it's a huge trigger word for a lot of people out Yeah. In our audience. And they're, they're trying to figure out why is that? Because whyAaron Levie: is this such aswyx: hot item for them? Because a lot of people get graph religion.And they're like, everything's a graph. Of course you have to represent it as a graph. Well, [00:47:00] how do you solve your knowledge? Um, changing over time? Well, it's a graph.Aaron Levie: Yeah.swyx: And, and I think there, there's that line of work and then there's, there's a lot of people who are like, well, you don't need it. And both are right.Aaron Levie: Yeah. And what do the people who say you don't need it, what are theyswyx: arguing for Mark down files. Oh, sure, sure. Simplicity.Aaron Levie: Yeah.swyx: Versus it's, it's structure versus less structure. Right. That's, that's all what it is. I do.Aaron Levie: I think the tricky thing is, um, is, is again, when this gets met with real humans, they're just going to their computer.They're just working with some people on Slack or teams. They're just sharing some data through a collaborative file system and Google Docs or Box or whatever. I certainly like the vision of most, most knowledge graph, you know, kind of futuristic kind of ways of thinking about it. Uh, it's just like, you know, it's 2026.We haven't seen it yet. Kind of play out as as, I mean, I remember. Do you remember the, um, in like, actually I don't, I don't even know how old you guys are, but I'll for, for to show my age. I remember 17 years ago, everybody thought enterprises would just run on [00:48:00] Wikis. Yeah. And, uh, confluence and, and not even, I mean, confluence actually took off for engineering for sure.Like unquestionably. But like, this was like everything would be in the w. And I think based on our, uh, our, uh, general style of, of, of what we were building, like we were just like, I don't know, people just like wanna workspace. They're gonna collaborate with other people.swyx: Exactly. Yeah. So you were, you were anti-knowledge graph.Aaron Levie: Not anti, not anti. Soswyx: not nonAaron Levie: I'm not, I'm not anti. ‘cause I think, I think your search system, I just think these are two systems that probably, but like, I'm, I'm not in any religious war. I don't want to be in anybody's YouTube comments on this. There's not a fight for me.swyx: We, we love YouTube comments. We're, we're, we're get into comments.Aaron Levie: Okay. Uh, but like, but I, I, it's mostly just a virtue of what we built. Yeah. And we just continued down that path. Yeah.swyx: Yeah.Aaron Levie: And, um, and that, that was what we pursued. But I'm not, this is not a, you know, kind of, this is not a, uh, it'sswyx: not existential for you. Great.Aaron Levie: We're happy to plug into somebody else's graph.We're happy to feed data into it. We're happy for [00:49:00] agents to, to talk to multiple systems. Not, not our fight.swyx: Yeah.Aaron Levie: But I need your answer. Yeah. Graphs or nerd Snipes is very effective nerd.swyx: See this is, this is one, one opinion and then I've,Jeff Huber: and I think that the actual graph structure is emergent in the mind of the agent.Ah, in the same way it is in the mind of the human. And that's a more powerful graph ‘cause it actually involved over time.swyx: So don't tell me how to graph. I'll, I'll figure it out myself. Exactly. Okay. All right. AndJeff Huber: what's yours?swyx: I like the, the Wiki approach. Uh, my, I'm actually
01. Sebastien Leger, AWEN, Lost Miracle - To The Sun 02. Yasha, ONFAYA - Musow Ka Jeya 03. Peet (LB) - Waiting For Tonight 04. GeeKan, Sweetjay - Dice 05. Paul Johnson - Get Get Down (TopDan, Robinson & Grey Daniels Remix) 06. La Gran Ressonancia - Núria 07. Gow, Bruno Motta - Too Good 08. Andres Villegas - In the Dark 09. Celestial Mayan, H210 - Bleeding Love 10. MONAVI - Oh My 11. Hugel, Karri - FMX 12. Deepierro - Don't Let Me Down 13. JOHANNSON - Call Me 14. Jonathan Amar - Take It Higher 15. Koni, Lizwi, DIBIDABO, Basti Grub Production - Izimo 16. Milk & Sugar, Theone - I Need Your Lovin
Now what did you think about what I said in this week's episode...Welcome to this week's Blonde Intelligence. I am your host Ms. Roni and I always seek to give you exquisite cranial repertoire. A sharp jab turned into a masterclass on projection, public image, and the price of going low on a big stage. We rewind the viral moment where Jess Hilarious took aim at Tasha K, pause on the interruption that could have de-escalated everything, and explore why choosing to continue made the shade feel intentional. When you say someone “always” looks a certain way, you admit you're always watching—and that's where obsession creeps in. The audience caught that energy fast, and the comments did the heavy lifting long before any clapback landed.From there, we get honest about image, age, and the work it takes to look camera-ready. Maintenance is a discipline—skin, hair, fit, and small habits that add up. Dragging someone's appearance rarely reads as confidence; it reads as insecurity that wants company. We also unpack Tasha K's responses, from replayed clips to claims of projection backed by audio from someone close to Jess. Whether you buy every receipt or not, the pattern is familiar: the trait you attack is often the one you fear in yourself.Beyond the drama, we zoom out to creator survival skills. Read your platform contracts, because some distributors keep monetizing your content even after you walk. Keep your digital house in order, streamline your identity, and take advantage of Google's option to update your primary email without losing your data. Small admin moves protect you when the internet's mood swings. At the end of the day, restraint is a strategy: speak names only when you offer value, not venom. Hit play for a candid breakdown, some practical creator tips, and a reminder that integrity travels further than a viral drag.If you found this useful, subscribe, share with a friend who loves media analysis, and drop a review—what's your take on accountability after a public misstep?Support the show
Tracklist: 1. Rey Vercosa, Sarah Stenzel, Josdu - Reason For It (Original Mix) 2. Danny Slim - Feeling Good (Extended Mix) 3. Andrea Oliva & Grigoré & Serve Cold Feat. Ninae - Closure 4. Whiteout & MANU (UK) feat.Lizwi - Liyamemeza (Extended) 5. AfroTura & Manoo, Idd Aziz - Amilo (Original Mix) 6. Yasha, ONFAYA - Musow Ka Jeya (Extended Mix) 7. Aytiwan, Olulhe - Bayambiza (Bun Xapa Remix) 8. Sotin - Body (Extended Mix) 9. Homeboyz - Day Dreamers (Extended) 10. Nyaruach & Emmanuel Jal - Gatluak (Miishu & MASSALA Extended Remix)
Streamed live on Dec 19, 2025 #torah #hebrewbible #escatology #torah #hebrewbible #escatology #torahportion #torahcommunity #torahdiscussion #torahpodcast #paleo #hebrewscriptures #genesis #nephilim #biblestudy #bibleverse #oldtestament #sabbath #sabbathfellowship #sabbathkeeper 2026 TUC BUDGET (Paleo Hebrew Scriptures): https://www.givesendgo.com/The-Paleo-... Contact: noelhadley@yahoo.com Patreon: / membership PayPal: paypal.me/noeljoshuahadley Venmo: https://account.venmo.com/u/Noel-Hadley TUC Store: https://store.theunexpectedcosmology.... 2026 TUC Catalogue: https://unexpected-cosmology.nyc3.dig... Website: The Unexpected Cosmology Link: https://theunexpectedcosmology.com/ Archives page: https://theunexpectedcosmology.com/ar... TUC Discord Community: / discord TUC 2 YouTube: / @theunexpectedcosmology2 Hebrew Match Dating: https://www.hebrewmatch.com/ Shelves of Shalom Publishing: https://shelvesofshalompublishing.com/ Facebook: / theunexpectedcosmology
Spy's Mate: A Conversation with Bradley W. Buchanan About Chess, Cold War Intrigue, and the Stories That Save UsAfter a few months away, I couldn't stay silent. Audio Signals is back, and I'm thrilled that this conversation marks the official return.The truth is, I tried to let it go. I thought maybe I'd hang up the mic and focus solely on my work exploring technology and society. But my passion for storytellers and storytelling—it cannot be tamed. We are made of stories, after all, and some of us choose to write them, sing them, photograph them, or bring them to life on screen. Brad Buchanan writes them, and his story brought me back.I'll admit something upfront: I'm not particularly good at chess. I love the game—the strategy, the mythology, the beautiful complexity of it all—but I'm no grandmaster. That's what made this conversation so fascinating. Brad has created an entire fictional world where chess isn't just a game; it's a matter of life and death, set against the backdrop of Cold War espionage and Soviet propaganda.His debut novel, Spy's Mate, weaves together two worlds I find endlessly intriguing: the intellectual battlefield of competitive chess and the shadow games of international espionage. But what makes this book truly compelling isn't just the plot—it's the man behind it.Brad is a retired English professor from Sacramento State, a two-time blood cancer survivor, and what he calls a "chimera"—someone whose DNA was literally altered by a stem cell transplant from his brother. He was blind for a year and a half. He nearly died multiple times. And through it all, he held onto this story, this passion for chess that manifested in literal dreams where the pieces hunted him across the board.When we spoke, what struck me most was how deeply personal this novel is beneath its spy thriller exterior. The protagonist, Yasha, is an Armenian chess prodigy whose mother teaches him the game before falling gravely ill. In a moment that breaks your heart, young Yasha asks his mother to promise she'll live long enough to see him become world chess champion—an impossible promise that drives the entire narrative.Brad wrote Spy's Mate after his own mother's death from blood cancer in 2021. When he told me he was crying while writing the final pages, I understood something essential about storytelling: we write to process what life won't let us finish. He gave Yasha the closure he wished he'd had with his own mother.But this isn't just a meditation on loss. Brad brings genuine chess expertise and meticulous historical research to create a world where the KGB manipulates tournaments, computers calculate moves at the glacial pace of one per hour, and Soviet chess dominance serves as proof of communist superiority. He recreates famous chess games with diagrams so readers can follow the battlefield. He fictionalizes Soviet leaders (his Gorbachev character is named "Ogar," his Putin figure has "the nose of a proboscis monkey") but keeps the oppressive atmosphere authentic.What I love about Brad's approach is that he wrote this novel almost like a screenplay—action and dialogue, visual and kinematic, built for the screen. Having taught Virginia Woolf while secretly wanting to write page-turning thrillers tells you everything about the tension between academic life and creative passion. Now, finally free to write full-time after early retirement due to his medical challenges, he's doing what he always wanted.We talked about the hero's journey, about Joseph Campbell's mythical structure that still works because it mirrors how our minds work. We reminisced about the 1982 World Cup and Marco Tardelli's iconic scream (we're the same generation, watching from different continents). We discussed whether characters should plot their own paths or whether writers should map everything from the beginning.As someone who writes short, magical stories with my mother, I understand the pull toward something bigger, something that requires more than 1,200 words can contain. Brad waited 55 years to publish his first novel. I'm 56 and still working up to it. There's hope for all of us yet.Spy's Mate is available now, with an audiobook coming after Thanksgiving. And yes, I can absolutely see this as a Netflix series—chess looks incredibly sexy on screen when the stakes are high and the lighting is good.Welcome back to Audio Signals. Let's keep telling stories.Learn more about Bradley and get his book: https://www.bradthechimera.comLearn more about my work and podcasts at marcociappelli.com and audiosignalspodcast.com Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.
Spy's Mate: A Conversation with Bradley W. Buchanan About Chess, Cold War Intrigue, and the Stories That Save UsAfter a few months away, I couldn't stay silent. Audio Signals is back, and I'm thrilled that this conversation marks the official return.The truth is, I tried to let it go. I thought maybe I'd hang up the mic and focus solely on my work exploring technology and society. But my passion for storytellers and storytelling—it cannot be tamed. We are made of stories, after all, and some of us choose to write them, sing them, photograph them, or bring them to life on screen. Brad Buchanan writes them, and his story brought me back.I'll admit something upfront: I'm not particularly good at chess. I love the game—the strategy, the mythology, the beautiful complexity of it all—but I'm no grandmaster. That's what made this conversation so fascinating. Brad has created an entire fictional world where chess isn't just a game; it's a matter of life and death, set against the backdrop of Cold War espionage and Soviet propaganda.His debut novel, Spy's Mate, weaves together two worlds I find endlessly intriguing: the intellectual battlefield of competitive chess and the shadow games of international espionage. But what makes this book truly compelling isn't just the plot—it's the man behind it.Brad is a retired English professor from Sacramento State, a two-time blood cancer survivor, and what he calls a "chimera"—someone whose DNA was literally altered by a stem cell transplant from his brother. He was blind for a year and a half. He nearly died multiple times. And through it all, he held onto this story, this passion for chess that manifested in literal dreams where the pieces hunted him across the board.When we spoke, what struck me most was how deeply personal this novel is beneath its spy thriller exterior. The protagonist, Yasha, is an Armenian chess prodigy whose mother teaches him the game before falling gravely ill. In a moment that breaks your heart, young Yasha asks his mother to promise she'll live long enough to see him become world chess champion—an impossible promise that drives the entire narrative.Brad wrote Spy's Mate after his own mother's death from blood cancer in 2021. When he told me he was crying while writing the final pages, I understood something essential about storytelling: we write to process what life won't let us finish. He gave Yasha the closure he wished he'd had with his own mother.But this isn't just a meditation on loss. Brad brings genuine chess expertise and meticulous historical research to create a world where the KGB manipulates tournaments, computers calculate moves at the glacial pace of one per hour, and Soviet chess dominance serves as proof of communist superiority. He recreates famous chess games with diagrams so readers can follow the battlefield. He fictionalizes Soviet leaders (his Gorbachev character is named "Ogar," his Putin figure has "the nose of a proboscis monkey") but keeps the oppressive atmosphere authentic.What I love about Brad's approach is that he wrote this novel almost like a screenplay—action and dialogue, visual and kinematic, built for the screen. Having taught Virginia Woolf while secretly wanting to write page-turning thrillers tells you everything about the tension between academic life and creative passion. Now, finally free to write full-time after early retirement due to his medical challenges, he's doing what he always wanted.We talked about the hero's journey, about Joseph Campbell's mythical structure that still works because it mirrors how our minds work. We reminisced about the 1982 World Cup and Marco Tardelli's iconic scream (we're the same generation, watching from different continents). We discussed whether characters should plot their own paths or whether writers should map everything from the beginning.As someone who writes short, magical stories with my mother, I understand the pull toward something bigger, something that requires more than 1,200 words can contain. Brad waited 55 years to publish his first novel. I'm 56 and still working up to it. There's hope for all of us yet.Spy's Mate is available now, with an audiobook coming after Thanksgiving. And yes, I can absolutely see this as a Netflix series—chess looks incredibly sexy on screen when the stakes are high and the lighting is good.Welcome back to Audio Signals. Let's keep telling stories.Learn more about Bradley and get his book: https://www.bradthechimera.comLearn more about my work and podcasts at marcociappelli.com and audiosignalspodcast.com Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.
Atudryx Dj - Magic House Vol 3 (Streaming live on radio40web.com every Saturday Night) Visit website https://www.atudryxdj.com & https://www.radio40web.com EPISODE LIVE 11/01/2025 TRACKLIST 01. Atudryx Dj - Magic House Intro 02. Fantomel, Kate Linn - Dame Un Grrr (GAMEBOYS Afro Remix) 03. Hugel X Karri - FMX (Extended Mix) 04. Michael Jackson - Thriller (Koshi, Nastiboi Remix) 05. Modjo, Sparrow & Barbossa, Koshi, Daymaan - Lady (Hear Me Tonight) (Extended Mix) 06. YASHA, Yas Cepeda - Pasilda (Afro Remix) 07. Gypsymen X Andruss & Sam Collins - Babarabatiri X Papi (Daniele Petronelli Mash Mix) 08. Nicky Jam, Enrique Iglesias - El Perdon (GAMEBOYS Afro Remix) 09. Le Vibrazioni - Dedicato A Te (Joe Rok & Raffaele Benzato Afro Remix) 10. Beéle, Westcol, Ovy On The Drums - La Plena (Alessio Viotti & Umberto Balzanelli Edit) 11. Pitbull Ft. John Ryan - Fireball (Fabiopdeejay Bootleg Remix) 12. Beyoncé - Crazy In Love (Loruare Remix) 13. Gloria Estefan - Conga (Andrea Zelletta, Silvio Carrano, Oasi Vogue Remix) 14. Fallon (IE) - Diet Coke 15. David Guetta Ft. Akon - Sexy Bitch (Giacobbi Remix) 16. Cioffi & Mar Lucas - Sola (Ti Amo) (Socievole & Adalwolf Bootleg Remix)
Please visit answersincme.com/CED860 to participate, download slides and supporting materials, complete the post test, and obtain credit. In this activity, an expert in neovascular age-related macular degeneration (nAMD) discusses practical strategies to enhance the clinical implementation of long-acting anti-VEGF therapy. Upon completion of this activity, participants should be better able to: Select the optimal long-acting anti–vascular endothelial growth factor (VEGF) therapy for individual patients with neovascular age-related macular degeneration (nAMD); Integrate practical strategies to enhance the clinical implementation of long-acting anti-VEGF therapy in patients with nAMD; and Outline patient-centered strategies to facilitate adherence to anti-VEGF therapy.
Guest Yasha Levine and Host Joshua Turek discuss the complexities of California's agricultural landscape, the impact of media and technology on society, and the challenges of political engagement in a world overwhelmed by information, pseudo events and how they shape our understanding of reality, the struggle for meaningful engagement in a distracted world. They also get into literature that reflects dark themes and humor, discussing how these narratives resonate with the realities of contemporary life. The discussion highlights the intersection of technology and society, emphasizing the paranoia and control that stem from historical events. In this conversation, Joshua Turek and Yasha Levine explore the intricate history of California's water infrastructure, the myth of the rugged individual in American history, the centralization of power through technology, and the challenges of genuine political engagement in today's society. They discuss how historical narratives shape our understanding of current issues, the impact of technology on power dynamics, and the importance of community action over online performative politics. They explore the complex interplay between wealth, public spaces, and historical injustices in America. They discuss the influence of billionaires on public parks like Central Park, the dark side of philanthropy, and the ongoing legacy of genocide against Native Americans. The dialogue delves into the myth of settler colonialism and how it shapes contemporary society, ultimately questioning the moral foundations of American wealth and power.San Francisco! For tickets Nov 1 to see Yasha's new documentary at Roxie Theater with live Q&A hosted by Joshua Turek hereFor Josh's poetry books and his weekend Zoom workshop on Nov 8 & 9 visit his siteBooks Talked About IncludeSociety of the Spectacle - Guy DebordSurveillance Valley - Yasha LevineThe Image - Daniel BoorstijnNeil Postman - Amusing ourselves to deathRaven RockDead Cities - Mike DavisModeran - David BunchShadow of the torture - Gene WolfThe Dying Earth Series - Jack Vance sci fiCadillac DesertThe American GenocideThe End of th Myth Hosted on Acast. See acast.com/privacy for more information.
1hr of fresh electronic music ⚡️Like the Show? Click the [Repost] ↻ button so more people can hear it!
Tracklist: 1. Hunter Game feat. Noah Kulaga - Stars (ACNØR & Axone Remix) 2. George Livanos feat.S.A.N.E - You & I (Original Mix) 3. Mari Froes x TRINIX - Vaitimbora (D.Tzere Edit) 4. Eduarsoul, Joseph Polson feat. Lya - Can You 5. Afrokillerz - Kantar (Original Mix) 6. A-TOM, Gudinho, V.Tino, Zeitlos - Feel U 7. Dario Blum, Teux du Feux feat.Nuzu Deep - Chasing Sunsets 8. Magic Beatz, Studio Bros x Ellah - Dentu Bo (Tefo Foxx Remix) 9. Pablo Fierro, Yasha, Yas Cepeda - Maleba (Extended) 10. Themba - Akasha (Extended Mix) 11. Unfazed - Mau Olhado (Extended Mix)
| Walk By Me (N.W.N. Remix) | SanXero, Katarina G | Do You (Extended Mix) | DJ Ryte Nou, Marcus Harris, Venessa Jackson | Eyes (Julian Sanza Remix) | Toadstool Ngema, Darryl Jordan | Call Me (Stacy Kidd House 4 Life Remix) | DJ Christian B, Rudi'Kastic, Lee Wilson | Maleba (Extended) | Pablo Fierro, Yasha, Yas Cepeda | Diadora (Extended Mix) | Themba (SA), Citizen Deep,, Jessica LM | Higher Better Faster (Ralf Gum Main Mix) | Ralf Gum, Clara Hill | Cana Do Reino (Dub Mix) | Lilocox | I Can't Wait (Orgasm Mix) (Gedi's Squeaky Clean Edit) | Stacy Kidd, Steve Brown. Tiffany Jenkins | Do Me (DJ Spen & DJ Emmaculate Remix) | Marco Valery, J.Small | Underneath The Surface (Original Mix) | Rona Ray, MicFreak | Hypnotized | Ross Couch | Let You Go (Cafe 432 Club Mix) | Cafe 432, Hannah Khemoh | My Own (Main Mix) | Masaki Morii | I Feel Love (Maurice Joshua Club Mix) | Yvonne Gage | Cantando (Extended Mix) | Themba (SA), Nicinha | Distant Lover (Terry Hunter Distant Club Mix) | Terisa Griffin, Terry Hunter | Distant Lover (Flow Culture Vocal) | Mark Lewis, Tumelo Ruele | Distant Lovers (Original Mix) | Peter Mac, Earl W. Green | Grateful (Reelsoul Remix) | Prefix One, Nambi | Nobody (Lounge Remix) | Stacy Kidd, Tiffany Jenkins | Make Me Wanna (Extended Mix) | Quoxx feat. Dingo | Ce Soir (Deep Profonde Mix) | Peter Mac | Love What You Do To Me (Bang The Drum Vocal Mix) | Andre Espeut, Sean Ali, Jihad Muhammad | It Never Rains In Southern California (House Remix Version) | Aaron K | No One Else (Original Mix) | Igor Gonya | My House, Your House (Original Mix) | Jo Paciello, Luca Garaboni | Silver (Reelsoul & DJ Spen Remix) | Le Croque, Kali Mija | I Can Change Your Life | Giles Smith, La Aerial | Second Chance (Danny Clark & Opolopo Mix) | Danny Clark, Jocelyn Mathieu, Opolopo | Asalam Alaikum | MoBlack, Emmanuel Jal, Zamna Soundsystem | Can I Get A Rhythm? (Original Mix) | N.W.N. | Riding Free (Ezel Extended) | Aaron Smith, IndiBlu | I Like Love (Alex Di Cio Extended Remix) | Norma Jean Wright | Look In My Eyes (Main Mix) | Stacy Kidd, Tiffany Jenkins | Let It Blow (Afro Jazz Extended Remix) | Stacy Kidd, Tiffany Jenkins | Cool It Down (P-rallel Rework) | Kadeem Tyrell, P-rallel, Wilfy D | My Everlasting Love (Martinee's House Remix) | France Joli | Let The Rhythm (Guide Us) (Extended Mix) | Ralph Session, DJ Fudge | Night Fever (Kenny Dope Mix) | Fatback Band
Storycomic Presents: Interviews with Amazing Storytellers and Artists
#KristinLaflin #KuroShouri #Webcomic #MangaInspiration #ActionFantasy #VermontArtist #Kikirini #ComicCreator #Webtoons #LongTermProject #AnimeInspired #StorycomicPresents #IndieComics #ComicArt In this episode of Storycomic Presents, I talk with Vermont-based comic artist Kristin Laflin (aka Kikirini), diving into her 20-year labor of love: Kuro Shouri. Kristin shares how this manga-inspired action/fantasy series evolved—from early webcomic pages to a growing digital presence on Webtoons and her own site. We discuss her creative process, character design, working with collaborator Dylan Archbold, and staying committed over decades to tell the story of Yasha, Hisaki, and the demon‑hunting ninja clans. Plus, she shares how gaming, cats, and 90s anime shaped her vision. Get ready for a fun, heartfelt look at long-term artistry in comics. The Title sequence was designed and created by Morgan Quaid. See more of Morgan's Work at: https://morganquaid.com/ Storycomic Logo designed by Gregory Giordano See more of Greg's work at: https://www.instagram.com/gregory_c_giordano_art/ Want to start your own podcast? Click on the link to get started: https://www.podbean.com/storycomic Follow us: Are you curious to see the video version of this interview? It's on our website too! www.storycomic.com www.patreon.com/storycomic www.facebook.com/storycomic1 https://www.instagram.com/storycomic/ https://twitter.com/storycomic1 For information on being a guest or curious to learn more about Storycomic? Contact us at info@storycomic.com Thank you to our Founders Club Patrons, Michael Winn, Higgins802, Von Allan, Stephanie Nina Pitsirilos, Marek Bennett, Donna Carr Roberts, Andrew Gronosky, Simki Kuznick, and Matt & Therese. Check out their fantastic work at: https://marekbennett.com/ https://www.hexapus-ink.com/ https://www.stephanieninapitsirilos.com/ https://www.vonallan.com/ https://higgins802.com/ https://shewstone.com/ https://www.simkikuznick.com/ Also to Michael Winn who is a member of our Founders Club!
Streamed live on Jul 4, 2025 TUC 2: / @theunexpectedcosmology2 Support TUC Ministry 2025: https://gofund.me/553bccb2 https://www.gofundme.com/f/support-tu... Patreon: / membership PayPal: paypal.me/noeljoshuahadley Venmo: https://account.venmo.com/u/Noel-Hadley TUC Store: https://store.theunexpectedcosmology.... 2025 TUC Catalogue: https://unexpected-cosmology.nyc3.dig... Website: The Unexpected Cosmology Link: https://theunexpectedcosmology.com/ Archives page: https://theunexpectedcosmology.com/ar... TUC Discord Community: / discord Hebrew Match Dating: https://www.hebrewmatch.com/ Shelves of Shalom Publishing: https://shelvesofshalompublishing.com/ Contact: noelhadley@yahoo.com Facebook: / theunexpectedcosmology
Streamed live on Jul 11, 2025 #bibleteaching #torah #bible #torah #torahstudy #torahteaching #bible #bibleverse #biblestudy #bibleteaching #torahcommunity #torahdiscussion #escatology #hebrew #hebrewvocabulary #hebrewscriptures TUC 2: / @theunexpectedcosmology2 Support TUC Ministry 2025: https://gofund.me/553bccb2 https://www.gofundme.com/f/support-tu... Patreon: / membership PayPal: paypal.me/noeljoshuahadley Venmo: https://account.venmo.com/u/Noel-Hadley TUC Store: https://store.theunexpectedcosmology.... 2025 TUC Catalogue: https://unexpected-cosmology.nyc3.dig... Website: The Unexpected Cosmology Link: https://theunexpectedcosmology.com/ Archives page: https://theunexpectedcosmology.com/ar... TUC Discord Community: / discord Hebrew Match Dating: https://www.hebrewmatch.com/ Shelves of Shalom Publishing: https://shelvesofshalompublishing.com/ Contact: noelhadley@yahoo.com Facebook: / theunexpectedcosmology
Streamed live on Jul 25, 2025 #bibleteaching #torah #bible #torah #torahstudy #torahteaching #bible #bibleverse #biblestudy #bibleteaching #torahcommunity #torahdiscussion #escatology #hebrew #hebrewvocabulary #hebrewscriptures Contact: noelhadley@yahoo.com Support TUC Ministry 2025: https://gofund.me/553bccb2 https://www.gofundme.com/f/support-tu... Patreon: / membership PayPal: paypal.me/noeljoshuahadley Venmo: https://account.venmo.com/u/Noel-Hadley TUC Store: https://store.theunexpectedcosmology.... 2025 TUC Catalogue: https://unexpected-cosmology.nyc3.dig... Website: The Unexpected Cosmology Link: https://theunexpectedcosmology.com/ Archives page: https://theunexpectedcosmology.com/ar... TUC Discord Community: / discord TUC 2 YouTube: / @theunexpectedcosmology2 Hebrew Match Dating: https://www.hebrewmatch.com/ Shelves of Shalom Publishing: https://shelvesofshalompublishing.com/ Facebook: / theunexpectedcosmology
MUSICINTHEAIR @Villahangar #PodcastShow THIS WEEK presents >> @djchrisleon [EPISODE 400-32] TRACKLIST: 01. Rome, Kaimma – On My Mind (feat. Lara Amhal) 02. David Mackay, Sabo Limit, Spijker – Sammy In My Room 03. Syl Johnson – Is It Because I'm Black (Yamagucci Rework) 04. Sinvergüenza, Lorenzo Germano, 3ldi – Complicity [VILLAHANGAR] 05. Mr. Moudz – BONGA [VILLAHANGAR] 06. Sone. & Curol – Zum Zum 07. Michel Cleis feat. Joe Arroyo – La Tortuga (Extended Mix) [ALTRA MODA] 08. Vanco Remix – ISAKA (Extended) 09. RAPHV, Dr Feel, Toshi - Uwile 10. Late London, Misha (US) - Tangerina (Extended Mix) 11. Yasha, ONFAYA – ID 12. George Michael – Careless Whisper (DSF & Dino MFU remix) [MFU Classics] Site -> www.villahangar.com FB -> www.facebook.com/villahangar TT -> www.twitter.com/Villahangar
Catch Joshua Turek on comedy tour this summer of 2025. To get notified of cities and dates follow his bandsintown and to buy signed copies of his new poetry book "Of Dumb Importance" on joshuaturek.comWriter and filmmaker Evgenia Kovda goes in depth with host Joshua Turek on sci-fi writer Philip K. Dick. Did this troubled man predict the future we are living in now or was he the architect of it for bad actors? Evgenia and Joshua discuss the writings of Dick as well as their own serendipitous interactions with each other in changing neighborhoods over the years as well as Josh's visit to her podcast with Yasha Levine "In Bed with the Russians". Check out Evgenia and Yasha's Substack it's a favorite of Turek Books! Hosted on Acast. See acast.com/privacy for more information.
Bland and disappointing proof that not every dog shaped like Cerberus can bark like it. Learn more about your ad choices. Visit podcastchoices.com/adchoices
Get the Four Horsemen Special Offer! https://www.skywatchtvstore.com/collections/new-arrivals/products/the-curtis-liebl-four-horsemen-special-offerThe Four Horsemen is truly a groundbreaking work. It unlocks secrets that have been hidden in plain sight for almost two thousand years and have been revealed now for God's purposes in these Last Days. The reader will embark on an epic journey through time to reveal that the Four Horsemen, along with other inter-dimensional beings, such as the Four Horns, and the Four Craftsmen, have long been enlisted by God to shape the geopolitical landscape of human civilization. In my book we will explore The mystery of two great cities that have been locked in immortal combat for several millennia. I explore the importance of the rise of cities on the earth and the secrets embedded in their origins. Ancient city-states and the empires that emerged, revealing the supernatural forces that empowered them.A methodic ancient rebellion that fuels the rise of the 10-horned beast of the book of Revelation. We will uncover the secrets of the Four Horns and the Four Craftsmen revealed by the prophet Zechariah, and their pivotal role in what I call Theo politics. The mystery of the Oppressor and the Yasha, revealing the critical backstory of a dark apocalyptic figure. The mystery of the metal empires and the prophecies surrounding them, including the prophecy of The Foundation Stone and much more!Support SkyWatchTV https://www.skywatchtvstore.com/collections/make-a-donationFOLLOW US!Facebook: @SkyWatchTV @SimplyHIS @EdensEssentials @DonnaHowellShowInstagram: @SkyWatchTV @SimplyHisShow @EdensEssentialsUSA @DonnaHowellShowX: @WatchSkyWatchTV @@Five_In_TenSkyWatchTV.com | SkyWatchTVStore.com | EdensEssentials.com | WhisperingPoniesRanch.com
Get the Four Horsemen Special Offer! https://www.skywatchtvstore.com/collections/new-arrivals/products/the-curtis-liebl-four-horsemen-special-offerThe Four Horsemen is truly a groundbreaking work. It unlocks secrets that have been hidden in plain sight for almost two thousand years and have been revealed now for God's purposes in these Last Days. The reader will embark on an epic journey through time to reveal that the Four Horsemen, along with other inter-dimensional beings, such as the Four Horns, and the Four Craftsmen, have long been enlisted by God to shape the geopolitical landscape of human civilization. In my book we will explore The mystery of two great cities that have been locked in immortal combat for several millennia. I explore the importance of the rise of cities on the earth and the secrets embedded in their origins. Ancient city-states and the empires that emerged, revealing the supernatural forces that empowered them.A methodic ancient rebellion that fuels the rise of the 10-horned beast of the book of Revelation. We will uncover the secrets of the Four Horns and the Four Craftsmen revealed by the prophet Zechariah, and their pivotal role in what I call Theo politics. The mystery of the Oppressor and the Yasha, revealing the critical backstory of a dark apocalyptic figure. The mystery of the metal empires and the prophecies surrounding them, including the prophecy of The Foundation Stone and much more!Support SkyWatchTV https://www.skywatchtvstore.com/collections/make-a-donationFOLLOW US!Facebook: @SkyWatchTV @SimplyHIS @EdensEssentials @DonnaHowellShowInstagram: @SkyWatchTV @SimplyHisShow @EdensEssentialsUSA @DonnaHowellShowX: @WatchSkyWatchTV @@Five_In_TenSkyWatchTV.com | SkyWatchTVStore.com | EdensEssentials.com | WhisperingPoniesRanch.com
Part 2 of Episode 3 Chaos reigns at camp! The OLGAs must summon their bravery as the danger heats up in their search for counselors Beau and Yasha! CAPTION STATUS: CAPTIONED BY OUR EDITORS. The closed captions featured on this episode have been curated by our CR editors. For more information on the captioning process, check out: https://critrole.com/cr-transcript-closed-captions-update BEACONWe're excited to bring you even MORE with a Beacon membership! Start your 7-day free trial today at https://beacon.tv/join and get unparalleled access to the shows you love completely ad-free! You'll receive NEW Beacon exclusive series, instant access to VODs & podcasts, live event pre-sales, merch discounts, & a private Discord. YOUTUBE MEMBERS / TWITCH SUBSCRIBERSTwitch Subscribers and YouTube Members gain instant access to VODs of our shows, moderated live chats, and custom emojis & badges:https://www.youtube.com/criticalrole/joinhttps://www.twitch.tv/criticalrole Due to the improv nature of Critical Role and other RPG content on our channels, some themes and situations that occur in-game may be difficult for some to handle. If certain episodes or scenes become uncomfortable, we strongly suggest taking a break or skipping that particular episode.Your health and well-being is important to us and Psycom has a great list of international mental health resources, in case it's useful: http://bit.ly/PsycomResources
Want to buy real estate WITHOUT banks or using your credit? Go Here:https://creativefinanceplaybook.com/?utm_source=podcast&utm_content=cfp&utm_campaign=homepJoin The Creative Finance Playbook Coaching Program & Learn Directly from Jenn & Joe:https://creativefinanceplaybook.com/wait-list?utm_source=podcast&utm_content=cfp&utm_campaign=wlistIn today's episode, hosts Jenn & Joe sit down with powerhouse investor/agent Yasha Wells from St. Augustine! Yasha shares her inspiring journey from being a realtor for over 10 years to diving headfirst into real estate investing using creative finance strategies like seller financing, rent-to-own, and subject-to deals.We're covering:✅ How Yasha went from real estate agent to real estate investor✅ Using the “Blue Ad” strategy to find off-market deals without spending $$$ on marketing✅ Negotiation tips for talking to sellers (even if you're scared!)✅ Growing from first deals to new builds and short-term rentals✅ How to buy real estate without using banks, credit, or lots of capital✅ How she built a passive income portfolio using rent-to-own dealsIf you're a new real estate investor or looking to build wealth through real estate without the hurdles of traditional financing, this episode is packed with actionable tips to help you get started TODAY!Have you tried creative financing? What's your biggest challenge in real estate investing?
Part 1 of Episode 3 Chaos reigns at camp! The OLGAs must summon their bravery as the danger heats up in their search for counselors Beau and Yasha! CAPTION STATUS: CAPTIONED BY OUR EDITORS. The closed captions featured on this episode have been curated by our CR editors. For more information on the captioning process, check out: https://critrole.com/cr-transcript-closed-captions-update BEACONWe're excited to bring you even MORE with a Beacon membership! Start your 7-day free trial today at https://beacon.tv/join and get unparalleled access to the shows you love completely ad-free! You'll receive NEW Beacon exclusive series, instant access to VODs & podcasts, live event pre-sales, merch discounts, & a private Discord. YOUTUBE MEMBERS / TWITCH SUBSCRIBERSTwitch Subscribers and YouTube Members gain instant access to VODs of our shows, moderated live chats, and custom emojis & badges:https://www.youtube.com/criticalrole/joinhttps://www.twitch.tv/criticalrole Due to the improv nature of Critical Role and other RPG content on our channels, some themes and situations that occur in-game may be difficult for some to handle. If certain episodes or scenes become uncomfortable, we strongly suggest taking a break or skipping that particular episode.Your health and well-being is important to us and Psycom has a great list of international mental health resources, in case it's useful: http://bit.ly/PsycomResources
Part 2 of Episode 2 Gub Gub the Flying Pig has kidnapped Beau and Yasha and it's up to the feckless OLGA cabin to rescue their counselors... all before curfew! BEACONWe're excited to bring you even MORE with a Beacon membership! Start your 7-day free trial today at https://beacon.tv/join and get unparalleled access to the shows you love completely ad-free! You'll receive NEW Beacon exclusive series, instant access to VODs & podcasts, live event pre-sales, merch discounts, & a private Discord. YOUTUBE MEMBERS / TWITCH SUBSCRIBERSTwitch Subscribers and YouTube Members gain instant access to VODs of our shows, moderated live chats, and custom emojis & badges:https://www.youtube.com/criticalrole/joinhttps://www.twitch.tv/criticalrole Due to the improv nature of Critical Role and other RPG content on our channels, some themes and situations that occur in-game may be difficult for some to handle. If certain episodes or scenes become uncomfortable, we strongly suggest taking a break or skipping that particular episode.Your health and well-being is important to us and Psycom has a great list of international mental health resources, in case it's useful: http://bit.ly/PsycomResources
Part 1 of Episode 2 Gub Gub the Flying Pig has kidnapped Beau and Yasha and it's up to the feckless OLGA cabin to rescue their counselors... all before curfew! BEACONWe're excited to bring you even MORE with a Beacon membership! Start your 7-day free trial today at https://beacon.tv/join and get unparalleled access to the shows you love completely ad-free! You'll receive NEW Beacon exclusive series, instant access to VODs & podcasts, live event pre-sales, merch discounts, & a private Discord. YOUTUBE MEMBERS / TWITCH SUBSCRIBERSTwitch Subscribers and YouTube Members gain instant access to VODs of our shows, moderated live chats, and custom emojis & badges:https://www.youtube.com/criticalrole/joinhttps://www.twitch.tv/criticalrole Due to the improv nature of Critical Role and other RPG content on our channels, some themes and situations that occur in-game may be difficult for some to handle. If certain episodes or scenes become uncomfortable, we strongly suggest taking a break or skipping that particular episode.Your health and well-being is important to us and Psycom has a great list of international mental health resources, in case it's useful: http://bit.ly/PsycomResources
Want to buy real estate WITHOUT banks or using your credit? Go Here: https://creativefinanceplaybook.com/?utm_source=podcast&utm_medium=cfp&utm_campaign=v1Join The Creative Finance Playbook Coaching Program & Learn Directly from Jenn & Joe:https://creativefinanceplaybook.com/wait-list?utm_source=podcast&utm_content=cfp&utm_campaign=wlistAre you a mom trying to balance it all and build a business? In this powerful conversation with Yasha from Jacksonville, FL, we talk about how outsourcing—even in small ways—helped us grow our real estate investing businesses while raising kids.We also open up about:• The mindset shift from mom guilt to CEO energy• Why getting in the right rooms with other women is non-negotiable• How real estate investing gives women freedom, confidence, and choicesYasha invited me to speak on an all-women's panel to empower more women to take control of their financial future—and this episode is a sneak peek into the energy we're bringing.If you're searching for “how to start a business as a mom,” “how to invest in real estate with kids,” or “how to buy real estate without banks,” this is for YOU.Subscribe, like, and drop a comment if you're a mama on a mission!► Book a call with Joe https://creativefinanceplaybook.com/wait-list?utm_source=podcast&utm_content=cfp&utm_campaign=wlist► Come to our next free 5 hour live traininghttps://creativefinanceplaybook.com/5live?utm_source=podcast&utm_content=cfp&utm_campaign=5hls► Learn How To Generate Free Off Market Leads & Talk To Sellers (Free Guide)https://creativefinanceplaybook.com/score-free-leads?utm_source=podcast&utm_content=cfp&utm_campaign=freeleads► Join Our Free Facebook Group & Connect with Us and Our Community:https://www.facebook.com/groups/creativefinanceplaybook?utm_source=podcast&utm_content=cfp&utm_campaign=fbgrp► Want to buy real estate WITHOUT banks or using your credit? Go Here:https://creativefinanceplaybook.com/?utm_source=podcast&utm_content=cfp&utm_campaign=homep► Follow Us on Instagram for Real-Time Tips & Updates:https://creativefinanceplaybook.com/?utm_source=podcast&utm_content=cfp&utm_campaign=cfpig► Like Our Facebook Page to Stay Updated:https://www.facebook.com/CFPlaybook?utm_source=podcast&utm_content=cfp&utm_campaign=cfpfb► Subscribe to Our YouTube Channel:https://www.youtube.com/@creativefinanceplaybook?utm_source=podcast&utm_content=cfp&utm_campaign=cfpyt
After her first appearance on the show five years ago, Daryl Lang is back! Daryl is a vision-impaired runner who races with a guide and completes her training miles with her guide dog. Daryl and I love furry friends, so this episode ended up almost an ode to her two guide dogs, Jenny and Yasha. Daryl takes us through Jenny's retirement, what it was like to change their relationship from working to companionship, and learning the ins and outs of her new coworker, Yasha (whom she trained with at Guiding Eyes for the Blind in New York). Daryl also became published as a contributing author to the book Run for Your Life: Lessons Learned from Going the Distance, and she shares a bit about that process as well. Yasha and Daryl may still be fine-tuning running together, but in the meantime, Daryl has entered a new space in her running era: nothing to prove to anyone (maybe the best journey yet). She may not be worried about how much she races or what her splits are anymore, but she still has some big goals on the horizon. I have my fingers crossed that I might get to greet her at the finish line sometime soon. Find Daryl's blog at www.blindbeader.ca Buy a copy of Run For Your Life: Lessons Learned from Going the Distance https://bit.ly/buyrunforyourlife Donate to Guiding Eyes for the Blind: https://donate.guidingeyes.org/ -- Episode Sponsor: Canada Running Series The Beneva Spring Run Off may have already sprung, but Canada Running Series still has a ton of exciting races to help you find your next start line. Next up: The Under Armour Toronto 10K. With a medal inspired by the city itself, this year's finish line prize features the iconic Toronto skyline—CN Tower and all—hung on waves of blue, a nod to the scenic waterfront route. Register to earn yours on June 15th: visit www.canadarunningseries.com Theme music: Joseph McDade
On this episode, Jacob, CB & Scott answer questions provided by the GO Community. Before that they discuss the week's news from the video game industry and the games they've been playing. E-WIN Best Heavy Duty Gaming Chair Yetee T-Shirts - Mega Man Collection On This Episode (12:00) News (31:16) New Games (34:46) Monster Hunter Wilds (PC) (47:23) Him, the Smile, & Bloom (Switch) (52:45) Yasha: Legends of the Demon Blade (PC) (1:01:19) “From the Outside In” Topic: Community Questions Grab the episode now on iTunes, Spotify, iHeartRadio, Google Play Music and more. If you love this episode and want other gaming content you can't get anywhere else, please support us on Patreon! Also, don't forget to check out our Discord Server and our web site, where you can read all of our written content.
Trinidad & Tobago's Reggae Songstress, Yasha Mani joins us for an exclusive Reggae Month featured interview event.
What's up, dudes? It's Christmas Eve! Yes, tonight we begin Christmastide, so I've got Thom Crowe from ‘Tis the Podcast and Art Kilmer from A Cozy Christmas with to talk about Hanna-Barbera! No, not Yogi or Fred Flintstone, it's The Greatest Adventure: Stories from the Bible “The Nativity!”Several Gospel pericopes are concatenated in this 1987 straight-to-video animated feature. While surveying the sight of some ancient ruins, two young archaeologists, Derek and Margo, and their nomad friend Moki find themselves trapped and sinking in a whirlpool full of sand. When the dust settles, they stare up in awe at a vast chamber filled with giant relics and artifacts from another civilization. And there at the far end of the cavern, a door with a strange inscription: All who enter these portals pass through time!Finding themselves in the 1st century BC Holy Land, the trio arrive in time for Caesar Augustus's decree. Accordingly, St. Joseph and the Blessed Virgin Mary make the trek to Bethlehem, their ancestral home. Simultaneously the Magi follow a star to Bethlehem in search of a new king. The trio meet a shepherd boy named Yasha who leads them to Jerusalem, where they discover Herod's plot to have the Magi followed. That night they see the Angel's proclamation of great joy, and follow some shepherds to the inn where Jesus was born.An inn with no room? Check. Magi following a star? Got it. Adoring the Holy Family? Definitely! So grab your gold, frankincense, and myrrh, hop on a camel, and head to Bethlehem with this episode! O come, let us adore him in The Greatest Adventure: Stories from the Bible “The Nativity!”'Tis the PodcastFB: @tisthepodcastTwitter: @tisthepodIG: @tisthepodcastFB Group: Tis the Podcast GroupA Cozy ChristmasFB: @cozychristmaspodcastIG: @cozychristmaspodcastTwitter: @CozyXmasPodGive us a buzz! Send a text, dudes!Check us out on Facebook, Twitter, Instagram, Totally Rad Christmas Mall & Arcade, Teepublic.com, or TotallyRadChristmas.com! Later, dudes!
In the final part of this episode, Evan Friedmann and Yasha Kahn discuss the need for a national entity to centralize cannabis data collection, moving from snapshot data to continuous updates. They emphasize the importance of accurate lab data and adverse event tracking, suggesting QR codes on packaging to report issues. Yasha suggests harsher consequences for result manipulation and suggests collaboration between state departments and federal entities to support underfunded regulators. They also discuss the potential benefits of off-the-shelf testing and the importance of stability testing. Finally, Yasha shares his top three reading recommendations for the audience.
Evan Friedmann and Yasha Kahn, co-founder of MCR Labs, discuss the discrepancies between current regulations and data on mycotoxins and pesticides in cannabis products. They highlight the need for updated regulations based on new data, emphasizing the importance of accurate testing and labeling. They also discuss the issue of result manipulation, particularly in THC content, and the need for public health officials to address this. Yasha suggests making testing data public to enhance oversight and suggests a national entity to manage this data for better consistency and public safety.
Evan Friedmann interviews Yasha Khan, co-founder of MCR Labs, about his journey into the cannabis industry and his efforts to promote transparency and integrity in laboratory practices. Yasha discusses the origins of MCR Labs, which began in Massachusetts to meet the needs of the soon-to-be legal medical cannabis market. He explains the challenges faced, including result manipulation by labs and the impact on public health. Yasha's Freedom of Information Act (FOIA) project aimed to gather testing data from 37 states, revealed significant discrepancies in potency and mold results. Despite some states' reluctance to share data, Yasha has made much of this data public, leading to collaborative research and publications on various aspects of cannabis testing.
November 8, 2024 Yasha'yah / Isaiah 63:1-5 - Yada reads his latest work in his soon to be updated book; Yada Yahowah Series, Vol 5. For now, follow along with Isaiah and Yada here: https://yadayah.com/Books/An-Introduction-to-God/Volume-1/Chapter04.html?nonav&jmp=pnum442 Join Yahowah's family as we explore the Towrah of God. We will expose religious corruption while most importantly espousing Yah's Towrah truth. Hosted by the author of the Yada Yahowah series, An Introduction to God, Observations, Coming Home, Babel, Twistianity, God Damn Religion, and In The Company.
November 1, 2024 Yada reads from his latest translation in Yada Yahowah Vol 5 (link coming soon!) Bamidbar / In the Wilderness / Numbers 19:9 and Yasha'yah / Isaiah 63:1. Watch Yada's song, "The Red Heifer Sings" on YouTube: https://youtu.be/OMFOTK-S1-0?si=k9R8PqlBKFQDbl5m Join Yahowah's family as we explore the Towrah of God. We will expose religious corruption while most importantly espousing Yah's Towrah truth. Hosted by the author of the Yada Yahowah series, An Introduction to God, Observations, Coming Home, Babel, Twistianity, God Damn Religion, and In The Company.
This is the first of a series of conversations with lab owners and industry experts revolving around the topic of fraud, mismanagement, and poor regulations facing Cannabis testing labs. With issues ranging from THC potency inflation, under-reporting of contaminants, perverse incentive structures promoted by regulations, market manipulation, and more – this series dives deep into […]
October 18, 2024 Yada reads to us from his latest unpublished work (link coming soon) regarding the identity of the Red Heifer | 'Adamah Parah and the connections to this significant sacrifical event which will take place on Taruw'ah, 2033. Yasha'yah / Salvation is from Yahowah / Isaiah 17:1, Bamidbar / In the Wilderness / Numbers 5:1, Malaky 4:1-6, Bamidbar / In the Wilderness / Numbers 19:1-3, Bare'syth / Genesis 15:9. (link to be inserted, here is a link to the Index tool for current passages: Translation Index (yadayah.com) Join Yahowah's family as we explore the Towrah of God. We will expose religious corruption while most importantly espousing Yah's Towrah truth. Hosted by the author of the Yada Yahowah series, An Intro to God, Observations, Coming Home, Babel, Twistianity, God Damn Religion, and In The Company.
October 11, 2024 Yada reads from Yasha'yah / Yahowah's Deliverance / Isaiah 17:1-6, Bamidbar / In the Wilderness / Numbers 19:1-5 and Bare'syth / Genesis 15:9. Yada Yahowah Vol. 5 coming soon! Listen and watch Zikarown on YouTube: Zikarown #originalmusic #israelimusic #jewishmusic (youtube.com) Join Yahowah's family as we explore the Towrah of God. We will expose religious corruption while most importantly espousing Yah's Towrah truth. Hosted by the author of the Yada Yahowah series, An Intro to God, Observations, Coming Home, Babel, Twistianity, God Damn Religion, and In The Company.
September 13th, 2024 Yada presents Yasha'yah / Yahowah Saves / Isaiah 53:1-6, the inspiration for his poem and song, "Yahowah Sings to Yisra'el... Come Home." Watch the music video here: Yahowah Sings to Yisra'el - Yada Yahowah Music Group #music #israel #podcast (youtube.com) Link to Twistianity Vol. 5 coming soon! Read Yasha'yah 53:1-5 by Yada, here: Twistianity - Devil's Advocate - Harpayesomeoa (yadayah.com) (Twistianity, Vol. 3, Ch. 12, pg 519). Join Yahowah's family as we explore the Towrah of God. We will expose religious corruption while most importantly espousing Yah's Towrah truth. Hosted by the author of the Yada Yahowah series, An Introduction to God, Observations, Coming Home, Babel, Twistianity, God Damn Religion, and In The Company.
Հարցազրոյց ռեժիսոր, սցենարիստ, Էտկար Պաղտասարեանի հետ: Աւստրալիոյ Հայկական Ֆիլմերու Փառատօնի ժամանակ ցոյց պիտի տրուին Պարոն Պաղտասարեանի երկու ֆիլմերը «Յաշան և Լեոնիդ Բրեժնևը» և « Արարատից Սիոն»: «Yasha and Leonid Brezhnev»: “Unfortunately, it's still forbidden in Russia”. Interview with Director, Screenwriter, and Producer Edgar Baghdasaryan. Two of his movies “Yasha and Leonid Brezhnev” and “From Ararat to Zion” will be screened during the Armenian Film Festival Australia.
Artist: Yasha F (Russia) Name: DH22, Live*2 Genre: Electronic Release Date: 05.07.2024 Exclusive: Deep House Moscow Yasha F: www.facebook.com/yashaf.music Soundcloud: @yasha_f Instagram: www.instagram.com/yasha_f CONTACT (DHM): Email — deephousemoscow@hotmail.com Follow us: www.facebook.com/deephousemsk/ www.instagram.com/deephousemoscow/ vk.com/deephousemsk/
We have a very special guest joining us today, Yasha Chapman. In this episode, we will discuss creating engaging learning experiences for students. This topic is very close to the hearts of educators and new teachers alike. Whether you are an experienced teacher or just starting, get ready to gain some insightful tips and practical advice from our discussion.
Kathleen Parlow was one of the most outstanding violinists at the beginning of the 20th century. In 1912, she was signed by the Columbia Record Company in New York, and her first records for the U.S. label were brought out alongside those of the legendary Eugene Ysaÿe. Listen to her fascinating story and how she took the world by storm. From her devastating looks to the intrigue her priceless instrument created. You will hear rare recordings of this prodigious player as we retell her life and try to understand why such an incredible talent has been so forgotten today. Brought to you by Biddulph recordings TRANSCRIPT Kathleen Parlow Part 1 Welcome to this very first episode of the Historical Strings Recording Podcast. A show that gives you a chance to hear rare and early recordings of great masters and their stories. Hello, my name is Linda Lespets. I'm a violin maker and restorer in Sydney, Australia, and I'm also the host of another podcast called ‘The Violin Chronicles', a show about the lives of historically important violin makers and their instruments. But today we have a different podcast and telling this incredible story with me is my co-host Eric Wen. Hello, my name is Eric Wen, and I'm the producer at Biddulph Recordings, which is a label that focuses upon reissuing historic recordings, particularly those by famous string players of the past. I also teach at the Curtis Institute of Music in Philadelphia, where I've been for the past 24 years. In this first episode, we will be looking at an incredibly talented violinist called Kathleen Parlow, who, in her time, took Europe and the world by storm, giving even Fritz Kreisler a run for his money in the popularity department. She was described in the media as being ‘One of the phenomena of the musical world' on par with Mischa Elman, or the ‘greatest lady violinist in the world', and ‘the girl with the golden bow'. She was treated with superstar status wherever she went, which begs the question as to why she is so little known today? Well, join us to discover her incredible story, the events of her career and her violin. A violin which would eventually financially ruin one man and divide his family. We will take a closer look at high hat kicking breakdancers, militant fascists, scandalous theatre directors, impossible love, a score ripping composer, and all this revolving around one of the world's most expensive violins and the incredible means one man went to get it into his hot little hands and then give it away. This is the story of Kathleen Parlow. And all of the pieces you will be hearing in this podcast are of Kathleen Parlow playing her violin. Kathleen Parlow was born into a modest family in Calgary on the Canadian prairies in 1890. Her mother, Minnie, was a violinist. So, at a young age at four, she gave her daughter a violin and started teaching her. When she was six years old, the family, Kathleen, Minnie, and her father, Charlie, they moved to San Francisco where her talent was immediately recognized. And well, this is probably because of the, the mom. And she was having lessons with her cousin called Conrad Coward in San Francisco. Very soon, still aged six, she gave her first recital in San Francisco. So is six, is six a reasonable age for a child to give a recital? What do you think? It's extremely young. In fact, that is truly prodigious. I mean, people don't even begin the violin till six and that's an early beginning of an instrument. Most people start around seven or eight, but to begin much earlier and to even be playing a concert at the age of six. That's really quite phenomenal. So with her burgeoning talent, she now started having lessons with Henry Holmes, who was a pupil of Louis Spohr, the well-known German composer and violinist. And he's a conductor and who he's the man who apparently invented the chin rest. So where would we be without the chin rest, really? He's attributed with inventing it. Well, Spohr was a fine violinist, German violinist. He was also a quite prominent composer. He was quite a conservative composer. So, I believe he wasn't that fond of the music of Beethoven. In other words, there were people like Spohr, Von Weber, and they represented a much more conservative branch of the sort of German composition. of the German composers. And basically, they looked upon Beethoven as such a wild revolutionary in his music, so daring that I think they were almost a little offended by it. So Spohr, if you could say, is primarily a kind of conservative, very well-schooled, excellent composer. He wrote many, many violin concertos, the most famous of which is No. 8 in A minor, which is written in the form of an operatic scene. Full of violin solo recitatives and arias for the violin. Oh, wow. Yeah, that's interesting. So they were, there was like very shocked by Beethoven. They were, apparently. Was he a contemporary of Beethoven? Because I, because sometimes you go back pretty quickly, don't you? Like the teacher of the teacher of and all of a sudden you're in like the Well, Spohr was born 14, he's 14 years younger than Beethoven. Oh, okay. So, he was born in 1784, but he lived a lot longer. He lived over 20 years longer than Beethoven. Oh, wow. And that's fascinating. So, Henry Holmes, Kathleen Parlow's teacher, was taught by this guy who would have known Beethoven? Yes, absolutely. And objected to Beethoven. Was shocked by his music. Well, I mean, I think sort of the, you might say the more mature Beethoven or the more daring Beethoven. But I think, you know, I'm sure maybe some of Beethoven's early works were much more acceptable. They were more normative, so to speak. Oh, okay. So Kathleen's in San Francisco and her parents' marriage is breaking down. Her father, Charlie, moves back to Calgary where he dies of tuberculosis the year after. But Kathleen, she rockets on and is becoming more and more well known. Her new teacher sees real talent in the girl, and this teacher, Henry Holmes, he has contacts to make things happen. And he helps arrange a tour for her and playing engagements in England. So for this to happen, Kathleen's mum, she's, she's I'm getting stage mum vibes. Yes. Because she's still very, still very young. Oh, yeah. I mean, I can't believe she wasn't playing with dolls. And this would have been a conversation between Minnie, Kathleen's mum, and the teacher. It probably wouldn't have been a conversation with her as a child. No, probably not. You don't really choose much when you're six, seven. No, that's true. So the problem they have is that they have no money. So, so what do you do, Eric? You have no money, you have a prodigy. You exploit the prodigy by having them play and make an income for you, which is something that happens unfortunately to many, many talented musicians coming from, you might say, less well-off families. They end up becoming the breadwinner. All their focus gets put upon these, these kids. And so not only do they have the added burden of playing and making sure they keep up They're playing well, but they also have the burden of making sure that they play well enough to make an income so that their families can survive. I mean, that's a very familiar story, and it's a story that has more failures than winners, I'm afraid, because you do hear about the winners. You do hear about the Misha Elmans or the Yasha. Well, Heifetz is a little different because he had a more middle-class family, but you do hear of Oskar Shumsky, for example, who I know I knew personally, he says, don't believe that these violence that you hear about having normal childhood behind every great violence, there's always a mama or a papa. And I think he himself endured that kind of pressure, the pressure to somehow become. The breadwinner, or let's say the some, the pressure to become a great violinist, primarily because he would serve as the breadwinner for the family. Well, if you think about it, you could say that. Violin playing in the early 20th century was very dominated by Russians, particularly Russian Jews. And one of the reasons for that was that in Russia, all the Jews were confined to an area known as the Pale of Settlement. In other words, a designated area that they could live in, but they could not leave that particular area. And basically, some very gifted young students could get into university or could go into a conservatory, and one of the big examples was Misha Elman, and Misha Elman, you might say left the Pale of Settlement to go study with Leopold Auer in St Petersburg. And they had to get all sorts of permission to do that. Well, the success of Misha Elman, the global success, the international success, I think resonated so well. with the people in the ghetto that they sort of saw, wow, this is one of our boys and look what he's done. He's now playing for the crowned heads of Europe. So I think for them, they felt this was a way out. And if you think about it, the film, Fiddler on the Roof, which is a famous musical and it was adapted as a famous film. And basically, that film, just the very title, talks about the Fiddler on the Roof. And the setting is in the Pale of Settlement, the Jewish ghetto in Russia. They're often subjected to random attacks by the Cossacks and all sorts of difficulties. But here, despite all that, you know they manage to survive. And of course the image of the Fiddler on the Roof. The violinist is exemplified, you might say, by Misha Elman, who literally grew up in the Russian ghetto. Yeah, and Misha Elman, he'll, he'll become, he He'll become important in our story, yeah. The money. This is not a problem. There is a wealthy admirer called Harriet Pullman, Carolan, in San Francisco. And she pays for Kathleen and her mother to take the trip to England. And in 1904, at the age of 14, Kathleen plays for King Edward VII at Buckingham Palace. And then in the next year in 1905, she and her mother, they come back to England. This tour marks the beginning of a life that she would lead for years to come of performing and playing. And so by the time she was 15, she was touring and playing with the London Symphony. And it was in a concert at the Wigmore Hall in London that she really shoots to fame. So is the Wigmore Hall, is that, is that still today an important place to play? Oh, extremely so. It's funny because the Wigmore Hall was originally called the Bechstein Hall, and obviously during the wars, it became a much more the name was more neutralized to become less dramatic, and it became named after the street it's on, which is Wigmore Street. It was always a very important venue, but around the sort of 60s In the 70s it had declined a bit in its status because the South Bank had been built and so the Wigmore Hall was a little bit relegated to a sort of a little second class status. But in the past 20 years or so the Wigmore Hall has catapulted to fame again and it's today one of the most distinguished halls. In London. All right. Okay. And this is, this is pre war. So it's, it would have been called? Bechstein. Okay. So it would have been called the Bechstein Hall when she played? Probably. Oh yeah, definitely. So the Bechstein Hall was, I think first opened in 1901 and it was built by the piano manufacturers, the German manufacturers Bechstein, hence the name. And after the First World War, I believe it was changed to a more neutral sounding, less Germanic name, and it adopted the name of the street that it's currently on, which is Wigmore Street. Incidentally, the first concert at Wigmore Hall was actually performed, was a violin and piano recital, performed by Eugene Ysaye and Federico Busoni. And then one night in London, Kathleen and her mother went to another concert of another child prodigy called Mischa Elman. And he was, so he's the fiddler on the roof guy, and he was almost exactly the same age as Kathleen. He was just a few months there's just a few months difference between them. And she, she hears him playing this concert and she's, she's just blown away. Blown away, and after the concert, she and her mother decide that Kathleen, she just has to go and have lessons from the same teacher as this, as this, as Mischa. So the only thing, only little thing about Mischa Elman's teacher is that he is in Russia. And as far as anyone knows, no foreigners study in the St. Petersburg Conservatorium, but that is about to change. Definitely no ladies. So, Kathleen and her mother had arrived in England with 300 raised by their church in San Francisco and this was, it just wasn't enough to get them to Russia and to the conservatorium where the famed Leopold Auer was a professor, but get there they would because Kathleen's mum, Minnie, still had a few tricks up her sleeve. She went and petitioned the Canadian High Commissioner. So she must have been, I feel like Minnie, she must have been very persuasive. Like there was nothing was getting in between, you know, her daughter and this career. Forceful, a task to be reckoned with, certainly. Yeah. She's like we'll get to England, we have no money. Not a problem. We're gonna, we're gonna get this teacher. He's in Russia. Not a problem. No foreigners. It, you know, it doesn't, it doesn't seem to be a problem for her, no girls. Not a problem. No foreigner has ever studied in this St. Petersburg conservatorium. Not daunted. They're off. They go. So to pay the cost travel, Minnie managed to get a loan from Lord Strathconia, the Canadian high commissioner. And from there, mother and daughter travelled to Russia. And in October of 1906, Kathleen becomes the first foreigner to attend the St. Petersburg Conservatorium. And in her class are 45 Students and she's the only girl. And we have to remember this is pre-revolutionary Russia. So there's still the Tsar Nicholas the second at this point. Yeah. She's mixing in, in that set. So it's an interesting place to be as a musician. Cause you're frequenting the sort of the upper classes but you can come from, from nothing and arrive there. Her professor was the famed teacher, Leopold Auer, who had a knack of discovering talent. Leopold Auer was actually a Hungarian violinist, and he was trained in Vienna, and he also studied with Joachim. And what happened was Russia has always had a sort of love for the violin, and they employed many people to teach at the conservatory, because they really embraced Western culture. They had A number of important French violinists come, but their big, you might say, catch was to get Vieuxtemps, Henri Vieuxtemps, to teach for a number of years at, in St. Petersburg. And after Henry Vieuxtemps, they actually got Henry Wieniawski to teach at the conservatory. And when Wieniawski decided to go back to Europe, they employed Leopold Auer to take his place at St Petersburg. Right. So he's up there with the big names. Well, they were a little bit let down. I mean, that's what they were, I think, a little bit disappointed to replace Wieniawski with Leopold Auer because Wieniawski was such a major violinist. So he had initially a little rough time, but he was adored by Tchaikovsky and Tchaikovsky loved Auer's playing, dedicated a number of works for him, including the famous serenade melancholic, and wrote a lot number of ballet scores, which Leopold Auer played the solos for. But of course, they had a big rift when Tchaikovsky wrote his violin concerto for Auer, because Auer said it was unplayable. And that really hurt Tchaikovsky's feelings. And it laid dormant for several years before another Russian violinist. Brodsky took it up, learned it, and. Premiered it in Europe first, and only after its success in Europe did he bring it back to Russia, where it became a big success, and Auer felt very bad about that, and in fact, just before Tchaikovsky died, a few months before Tchaikovsky died, story has it that Auer went to Tchaikovsky and apologized to Tchaikovsky for his initial mistrust of the concerto. In fact, by that time, Auer himself had actually performed the concerto, championed it, and taught it to many of his students. Yeah, and we'll see in this story how sensitive composers are, and how easy it is to hurt their feelings and really create. Like a lot of emotional turmoil. That's coming up. So Auer, like he might not have been their first choice for replacing, but he did have a knack of finding star pupils. That is something that we see, that I see in the conservatorium. Every now and then you have a teacher who's very talented at finding talent. Absolutely. And I know in Australia you have one very distinguished teacher who I think now has been poached by the Menuhin School in, in England. Yes. And we're not going to talk about that. Yes, we won't. Because it's Must be a sore point. But we do see, we do see him every now and then when he comes back. So along with Elman and Efren Zimbalist, Parlow becomes one of Auer's star pupils and Auer was so taken with her playing that he often called her Elman in a skirt, which I think is supposed to be a compliment. And in Auer's biography, he writes, he says, “It was during this year that my first London pupil came to me, Kathleen Parlow, who has since become one of the first, if not the first, of women violinists”. And that, he says that in his biography, My Long Life in Music. So, Every year, Auer had a summer school in Kristiana, which is Oslo today. And Parlow spent her summers there and became a great favourite in Norway, which leads us to the next and perhaps one of the most marking events in her career and life. At 17, having spent a year at the conservatory in Russia, Kathleen begins to put on public performances she gives solo performances in both St. Petersburg and Helsinki. So these are two places she knows quite well by now. And these concerts were, they were very important as Kathleen's mother really had no money to support them. And so, with but you know, Minnie doesn't bother her, she just ploughs on. And so with the money from these concerts this would have to tide her over. From letters that I've read, they were living in like this small apartment and then another friend writes, you know this other person, they've been saying you live in a tiny little place, but I'm not going to spread that rumor. And, and so it was a, it was a thing on the radar that they didn't have much money and they were scraping by and they were like frequenting people of much more wealthier than they were, so they were sort of on the fringes of society, but with her talent that was sort of pushing, people wanted to know her. So she makes her professional debut in Berlin and then began, she begins a tour of Germany and the Netherlands and Norway. And in Norway, she performs for the King Hakon and Queen Maud. Of whom she'll become a favorite. And, and her touring schedule was phenomenal. It was just like nonstop. So, yeah. For a 17-year-old that's, you know, she's going all over the world. And you were saying that Auer knew . Do Tchaikovsky do you think Auer, was he was giving her these pieces that did, that influenced him? Yes. I mean, Tchaikovsky wrote a number of violin, solo violin works before the concerto, the most famous of which is, of course, the Waltz Scherzo and the Serenade Melancholique. One is a fast, virtuoso piece, the other is a slow, soulful piece. And I know that Auer was the dedicatee of certainly the Serenade Melancholique, which she did play. So, so Auer's giving her stuff from, you know, his friend Tchaikovsky to play. Now she's 17 and she's touring to support herself and her mother and she has an amazing teacher who probably understands her circumstances all too well because Auer growing up also found himself in her position, supporting his father in his youth with his playing. So she's studying in St. Petersburg, which is an incredible feat in itself. So she must have had quite a strong character and her mother, Minnie, also appears to be very ambitious for her daughter. We're talking about her mother being ambitious, but for Kathleen to, you know, she's her daughter, she, she must've had quite a strong wheel as well. Yes. Well, she certainly did. I wish we knew more about her because maybe she was very subservient, you know, we have no idea. Maybe she didn't have, I mean, it's a speculation, of course. Yeah. We do have like hundreds of letters from Kathleen and there's a lot between her and Auer, and there's a real sort of paternal, he really sort of cared for her like a daughter almost and she looked up to him like a father and he was always very correct about it, you know, he would always write the letter to her. To Minnie, her mother the correspondents, it was, and it was always very, everything was very above board, but a very, they were very close. Kathleen later says that after expenses, her Berlin debut netted her exactly 10 pounds. She didn't know it at the time, but this was an indication of what her future would be like, and she would be sort of financially in a precarious state most of her life, and she would so her routine was she studies with Auer every summer in order to prepare, like they were preparing her repertoire for the next season of touring. So now she has a tour in 1908, so she's still 17, almost 18. It's in Norway, and to understand just a little bit of the political climate in the country, We can see that Norway, only three years earlier, had become independent of Sweden and had basically become its own country. So there's this this great sense of nationalism and pride in being Norwegian. And they have a newly minted king, King Hakon, who she's played for, and his queen, who was, He was in fact a Danish prince. And then when Norway, the Norwegian parliament asked him if he would like to become the king of Norway when they had their independence. And he said, why not? As part of this great sense of nationalism Norwegian musicians, composers, writers, and poets, they were celebrated and became superstars. And, oh gosh, yes, We can sort of understand. Poets have sort of dropped off the list, but back then poets, they were a big deal. So you add to this a young, fresh faced, talented Canadian girl who knows and understands their country. She arrives in Oslo to play in the National Theatre, where Norway's very own Johan Halvorsen who's conductor and composer and violinist, he's conducting the country's largest professional orchestra. And that night for Kathleen's concert, she plays Brahms and some of Halvorsen's compositions and the two, Kathleen Parloe and Halvorsen, they would go on to become quite good friends and Halvorsen regarded her very highly in saying, he said that her playing was superior almost to all the other famous soloists who made guest appearances in the city. So, I mean, a lot of people went through Oslo, so that was, you know, high praise. And Kathleen quickly Becomes a admirer of his and she would become a driving factor in him finishing his violin concerto that he'd been dithering over for a very long time. And this is Kathleen playing one of Halvorsen's compositions. It's not his concerto, it's Mosaic No. 4. So back to the theatre. And it was a magical night with the romantic music of Brahms to make you fall in love. And everyone did, just some more than others. And to finish off, there's music from their very own Johan Halvorsen to celebrate you know, a Norwegian talent. So Kathleen plays her heart out and when the concert ended, the crowd goes wild and the 17 year old soaks up the thunderous applause. She's holding on tight to her violin as she bows to adoring fans. Tonight she is the darling of Oslo. In the uproarious crowd stands a man unable to take his eyes off this young woman. Her playing has moved him and her talent is unbelievable. This man makes a decision that will change both their lives forever. So, Einar Bjornsson had fallen head over heels for the 17 year old Canadian there and then. She would turn 18 in a few months. And in that moment, he decided to give her the most beautiful gift she would ever receive. So, who is Einar Bjornsson? So what we were saying, poets, poets are less of a, you know, a hot shot today, but Einar was the son of a very, very famous poet. A Norwegian businessman and son of one of the most prominent public figures of the day, Bjørnstan Bjørnsson. He was a poet, a dramatist, a novelist, a journalist, an editor, a public speaker, and a theatre director. Five years earlier, in 1903, he was awarded the Nobel Prize for Literature, and one of his poems, called ‘Yes, We Love This Land', was put to music and is the Norwegian national anthem up to this day. So, you could say he was kind of famous in these parts, and his personality alone would have easily filled. A concert hall, that one in Oslo. Einar's father here, we're talking about Einar's father, he's the poet. Einar himself doesn't appear to have written any poetry. And this, so this situation could have been just fine the whole infatuation, love at first sight thing, except for a few things that put a spanner in the works. To begin with, Einar Björnsson is somewhat older than the youthful Kathleen he's 26 years older. Then her, in fact, and for a 17 year old, that is a big age gap. So he's 45, but that aside, there is a problem that he's also married and has two children. His daughter is actually almost the same age as Kathleen she's 16, but he doesn't really seem to see that. All he can see is this violinist and her talent. And he's been just, he's besotted and he's going to make a grand gesture. So obviously, one way to support the arts is to, what patrons do is they will buy, a lovely instrument and lend it to someone. So that's your normal affair. Obviously, one way to show his devotion to her is to find her a better violin. Hers is absolutely not good enough for someone of her talent. And he has to find her something amazing because she is amazing. He's determined to give her the most wonderful gift she has ever received. So he goes out and he's a businessman. And so he goes to his businessman contacts. And Kathleen would have spoken to her entourage. I imagine, and I now finally finds a violin worthy of Kathleen's virtuosity, and it happens to be one of the most expensive violins on the market in 1908, and it's a 1735 Giuseppe Guarneri Del Gesu violin. It had previously belonged to great violinists such as Giovanni Battista Viotti and Pierre Baillot. So just to clarify in the violin making world Antonio Stradivari and Guarneri del Gesù are the two top makers. If you're comparing two instruments, if one was owned by no one not anyone that you know. And then another one was owned by Viotti and Pierre Baillot . The one that's owned by Viotti and Pierre Baillot is probably going to be worth more. Yeah. So Viotti, he was just huge. He had a lot of instruments. I think he did a little bit of teaching and dealing on the side, Viotti. Like with the number of instruments named after him, or he just went through a lot of instruments. So she buys this violin, and it's not all smooth sailing to get the violin. Because she, there's this, there's a big correspondence between her and Auer, and we see that actually there's this letter where it says from Auer saying, I saw Hamming very cross. He says that the violin is compromised if he takes it back. So at one point, I think she may have changed her mind about this violin, but Hamming the dealer was not okay with this. All the I'm just trying to read his writing, it's not that easy. All the papers brought the news That Kathleen bought it so the newspapers have already, so the, you've got Hamming, that's annoyed, the papers have already said they've bought this violin and he could not, it says he could not sell it soon and repeat the sale, waiting till he finds something equal to the Guarneri. He showed me a Strad, indeed wonderful, asking 60, 000 livres, which must be pounds, right? A nice fellow, isn't he? And now, goodbye, write to me. Love, Auer. They do end up getting the violin. They, they don't get the 60, 000 Strad that Hamming Gets all upset about and offers, which I think he might have been exaggerating the price just to make him calm down about and to keep the del Gesu. Then Einar gives this to Kathleen. So this is a very kind of strange situation because normally you don't, you don't actually give, the patrons don't actually give their instrument to the No, absolutely. That's a remarkable gift. Just in terms of, I mean, the gesture is very magnanimous, but in terms of financial, there's just a financial cost or value of the gift is quite enormous. And so really after only knowing her for a month, Einar transfers this money into her account and she travels, Kathleen travels to Germany to the Hamming workshop and purchases her del Gesu violin for two thousand pounds and in today's money according to an inflation calculator, that is three hundred thousand pounds. Almost four hundred thousand US dollars. More than half a million Australian dollars, which at the time was a lot for a violin as well. So we're not I mean, I, today you'd be kind of happy to buy a Del Gesu for half a million, but then it was, it'd be a bargain. So, it's interesting this, like, he buys this, this young violinist this very expensive present and it's a, and it's a grey area and it's fraught with debate ethically, really. And I feel like today musicians find themselves sometimes in this position where they're sort of indebted to the, to a benefactor. It's almost feudal. I I feel cause at the same time you're very happy that they're lending it to you, but got to keep an eye on if it's a healthy relationship to. To get the money he had to get, you know, half a million pounds pretty quickly. If you remember, Ina's father was a very famous poet who'd won a Nobel Prize in literature and part of the prize is that you win a large sum of money. And so, what does Einar do? He goes and asks Dad. So he asks, he borrows, he borrows most of the money actually. Goodness knows how he convinced him, but you know, he's a businessman. And also for the remaining, he's married, remember, and he's married to, actually, to an heiress, and he takes a bunch of her, her dowry money and transfers this to essentially a teenager he met a month ago. The purchase of this incredibly expensive violin attracted, it attracted the attention of the press internationally, but journalists It's never really questioned the fact that this, this gift was given to a young woman by a, by an established family man. So everyone was just like, Oh, isn't it amazing? Because normally in this circumstance, people don't often give the instrument. You buy it as an investment and you'll lend it to someone. I think I've heard of like very few, very few cases of things being gifted, but actually normally your standard practice is to, to lend it to people. And most people playing on strads, that's, that's what it is, someone's lent it to them. How would you feel about someone giving a 300, 000 instrument to your daughter, who's a teenager? Well, I'd be, I mean, I'd just hate the sort of obligation that would involve, because On one hand, it is a very wonderful gift if it is a gift, but you almost expect that there is some expectation in return, don't you? Yeah. It's like he's bought her almost. Kind of. So, Einar, as, as I mentioned, he's, he's from a well known Norwegian family. They're very patriotic. His father's writings really established a sense of pride and meaning to what it was to be Norwegian. And he was. Like his father was this beloved figure in the country and he was quite frankly a hard act to follow. But his children gave it a good shot. You have Einar was one of five children. His father Bjornstein Bjornsson was the poet and public figure. He worked in a theatre. His mother was an actress when he'd met her. Which is a little bit risque also for the time. So they're a bit more of sort of an acting bohemian theatre family. His older brother Bjorn Bjornsson, just to be complicated here, his brother's called Bjorn Bjornsson. And not to be confused with Bjornstein Bjornsson, his father. So he was a stage actor and a theatre director. Like his dad. He was a playwright and he was the first theatre director of the National Theatre. And that was the big theatre in Oslo where Kathleen played. He was also quite busy in his personal life, because his first wife was Jenny Bjornsson. I mean, another Bjornsson. Boarding house owner. So he married her for four years. So this is Einars older brother. He married her for four years, then he divorced her, then he married an opera singer. Called Gina Oselio for 16 years, but then he, they, they got divorced, and then he married in 1909 Aileen Bendix, who was actually Jewish, and that's an important point, that she was Jewish, because at this time, things are kind of soon things will start heating up in Europe. And then he was, then there was Einar's younger brother called Erling Bjørnson, and he was a farmer and a politician for the Norwegian Far Right Party. So he was extreme right. Bit of a fascist. The other brother. So he was elected to the parliament of Norway and he was very active during World War II. So his two brothers have very, like, polarized opinions. Einar himself, he was a passive member of the far right party, but during the war years at that time that was the only party that people were allowed to be part of, so you can't, it's hard to tell his political leanings from that. Then he has a younger sister. Bergliot Bjornson, and she was a singer and a mezzo soprano, and she was married to a left wing politician Sigurd Ibsen, who was, he was the son of a playwright, and he becomes the Norwegian Prime Minister, so he plays a central role in Norway getting its independence. He met Einar's sister because he's a big patriot. Einar's father is a big patriot and that's how they were kind of family friends. It's not bad, you know, having your husband as the prime minister. Then he has another little sister called Dagny Bjornson and she was 19 when she marries a German publisher called Albert Langdon and so they're sort of like leftish as well. So Einar, he marries the sister of Albert Langdon. So they have this joint brother sister wedding. On the same day, the Bjornson brothers sisters marry the Langdon brothers sisters. But, the important thing to know is that the Langdons are very, very wealthy. They're orphans and they, they've inherited a lot of money. And so, but then Dagny, she ends up leaving her husband. Goes to Paris and works at another newspaper. And this is all in the, you know, the early 1900s. So she had this amazing life and then and then she marries another man, a French literate called Georges Sartreau well he comes also from a very wealthy family. Then you have Einar, who's a businessman, and he marries Elizabeth and they have two children, and his life is like not that remarkable. I think the most exciting thing he does is fall in love with Kathleen, I suppose, and sort of runs after her and her violin. From Kathleen's diaries, we can see the day after this concert in Oslo on the 10th of January, it's written 10th January, Mr Bjornson, 11;30am She meets with him the day after skiing and tobogganing with the Bjornsons. She has a concert the next day, but the day after that it's dinner with the Bjornsons, then another concert. And then she plays for the King. Then she goes to dinner with the Bjornsons. So this is just an excerpt from her diary for those weeks. And the next day, it's just Mr. Bjornson. That's just her meeting him not with the family. And maybe this is where he says, you know, I'll get you a violin. Maybe that was that meeting. And then on the 28th of February, she's in Germany and, and he's there. Einar is there. He goes to see her. Then on the 6th of March, she's in Amsterdam and in her diaries, you know, Mr Bjornson, he's there. He's kind of like, I don't know if this is creepy. He's following her around and then, and it's around about this time that he buys the violin for her. So she finishes her tour and she goes back to England and a month later in her diary, who rocks up? I know, he's there. In England, and she's still only 17 there. It's like he's kind of shadowing her a bit. Yes, it's that next level patronage. And then there's the, the aesthetic at the time, the, the pre-Raphaelite willowy type woman, which she fits perfectly into. And Kathleen, if you, if you see Kathleen, it's kind of like. John William Waterhouse, his paintings. There's women in these long flowy robes with flowers in their hair and long willowy postures and, they're often like, you know, they're flopping about on something like a chair or there's this one holding this pot of basil. And there's that famous painting, The Lady of Shalott, where you've got this woman float, is she, is she dead? She's floating in the water with her hair and, and all this fabric and flowers and. In a promotional article, there was this quote from a review in the Evening Sun. “Kathleen Parlow, tall, straight, slim, and swaying as the white birch sapling of her native Canada, but a spring vision, but a spring vision all in pink from her French heels to her fiddle chin rest and crowned with parted chestnut hair of a deeper auburn than any Stradivarius violin made an astonishing impression of masterful ease”. I don't know if men were described like this, but they loved her. She's like a white birch. Well she's very slender, she had beautiful long hair she was very thin, very fragile, and I think she sort of exemplified this pre Raphaelite beauty basically and that was so enchanting to have someone who was almost from another world playing the violin divinely. I think she must have cut an incredibly attractive image for the day. Absolutely. Yeah. And then she would have been like playing these like incredible romantic pieces. It would be juxtaposed with her playing. Yeah. And yeah. Yes. So she was this real William Waterhouse figure with her violin. So she's lithe and willowy, and she has her touring schedule, which was phenomenal. She, so she tours England, Finland, Belgium, Germany, Poland, Denmark, Sweden, Norway. Just to name a few. It just kind of stopped after that. It was just never ending. And you have to remember it's the beginning of the 20th century, and traveling, it's not like it is today. It was much more. Uncomfortable. I mean, it's incredible. You see one day she's in one country, the next day in another country. So this must have been quite fatiguing. And she's just playing night after night. Her mother, Minnie, she's her, she's, they're quite close. She's, and often like with these, with prodigies, often their parents. They're best friends, like they're the only constant in their life. So in the summers, she returns to Oslo every year for the summer school hour that's helping her for the next concerts. She spends quite a lot of time with Halverson, going to lunches and teas and rehearsals with him. You can see this in her diaries. But is this, is this kind of the life of a musician as well? Like you have to, you have to go to a lot of teas and lunches with people to please patrons and so on. Yes, I think you do because musicians don't normally have much money and so to ingratiate themselves to patrons and sponsors they really had to coax them into help Yeah, because she's living this life sort of beyond her means, going to the theater, going to concerts and things, and sort of a balancing act. Back in Norway, and a week after she turns 18, there's an entry in her diary, play for Mr. Bjornson, and the next month her entries, they change slightly, and she'll now just call him E. B. For Einar Bjornson and the entries will say things like E. B. arriving and then often like a week later It's E. B. leaving and in her diaries, it's intermittently always though he'll be there for a week wherever she is often in England or and every few months He'll just pop up, you know in London in Germany in the Netherlands And he just always happens to be happens to be there and what's interesting is she has these hundreds of letters archived Of her writing to friends, to family, to her pianist. And it's really interesting that there's zero letters to Einar. There's no correspondence between them, which I think is maybe on purpose, they may be, they have to have been removed because she just writes letters to everyone, but we don't have these, any letters from them, so it just leaves things up to speculation. This brings us to the end of part one in the story of Kathleen Parlow. I would encourage you to keep listening to the music of Kathleen. To do this, Biddulph Recordings have released two CDs that you can listen to on Apple Music, Spotify, or any other major streaming service. You can also buy the double CD of her recordings if you prefer the uncompressed version. I hope you have enjoyed her story so far, but stick around for part two to find out what will happen with her career, the violin, the man who gave it to her, and the mystery behind a missing concerto that Kathleen would, in part, help solve after her death. Goodbye for now.
John speaks with Yasha in Oregon about bullies and hate. He also talks with Andy in Delaware about getting out the vote to stop Trump. Then he welcomes his Hollywood Panel: legal analyst/consultant Dr. Tracy Pearson, actor, writer, and comedian Natalia Reagan, and award - winning comedy writer Rob Kutner. See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.
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The podcast today is about the Republican MAGA cult members. He discusses the Oklahoma Republican Party approving a resolution: condemning and censuring their Senator - James Langford, for the crime of speaking to Dems in the ongoing bipartisan border negotiations after Trump ordered congress to halt the border bill. He plays clips of Langford groveling and Trump ordering all border negotiations to stop cold to make Biden look bad. Then, he welcomes back David Rothkopf who is CEO of The Rothkopf Group. He is also the author of many books including "Running the World: The Inside Story of the National Security Council and the Architects of American Power", and "Traitor: A History of Betraying America from Benedict Arnold to Donald Trump". They discuss Trump and his latest book "American Resistance: The Inside Story of How the Deep State Saved the Nation". Next, he takes a call from Sarah in Brooklyn about Biden's stance on Israel, Riley in Montana sings a political song "Red is Dead - Blue is True", and John welcomes back Rhonda Hansome to chat about adoring Tell Me Everything listeners. Also, Mitch from Kent State calls in to compliment Rhonda's play. Then finally, they discuss a New York jury award of $83 Million to E. Jean Carroll after they determined Trump defamed her again. Pit Doc calls in on the Oscar nominations, Yasha in Oregon calls in on people trashing Biden over his stance on Israel, and Beachside Bill calls in on how to sabotage the razor wire in the Rio Grande.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.
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