Sit back and enjoy as Dillon floats through the forest.
( Photos: 4, Comments: 2 )

Jemina (Finland) joined the Transform team in Athens. Changes in travel plans meant she used the metro system—between stations with very special names.

One couple's lives are changed when OM El Salvador visits their community to do medical examinations and share the good news.

Writings of Erasmus: His more serious writings begin early with the Enchiridion Militis Christiani, the "Manual (or Dagger) of the Christian Gentleman" (1503). In this little volume Erasmus outlines the views of the normal Christian life which he was to spend the rest of his days in elaborating. The key-note of it all is sincerity. The chief evil of the day, he says, is formalism, a respect for traditions, a regard for what other people think essential, but never a thought of what the true teaching of Christ may be. Another of Erasmus's books worthy of mention was, Praise of Folly, dedicated to his friend Sir Thomas More. -- While in England Erasmus began the systematic examination of manuscripts of the New Testament to prepare for a new edition and Latin translation. This edition was published by Froben of Basel in 1516 and was the basis of most of the scientific study of the Bible during the Reformation period. It was the first attempt on the part of a competent and liberal-minded scholar to ascertain what the writers of the New Testament had actually said. The Greek text produced by Erasmus is known as textus receptus and was the basis for the King James Version of the New Testament. Erasmus dedicated his work ironically, to Pope Leo X., and he justly regarded this work as his chief service to the cause of a sound Christianity. Immediately after he began the publication of his Paraphrases of the New Testament, a popular presentation of the contents of the several books. These, like all the writings of Erasmus, were in Latin, but they were at once translated into the common languages of the European peoples, a process which received the hearty approval of Erasmus himself.

Francis Schaeffer was a Presbyterian minister with an ability to see how the questions of meaning, morals, and value being dealt with by philosophy, were the same questions that the Bible dealt with, only in different language. Once an agnostic, Schaeffer came to the conclusion that Biblical Christianity not only gave sufficient answers to the big questions, but that they were the only answers that were both self-consistent and livable. With this conviction he became a man of conversation. Schaeffer taught that God is really there and He is not silent. He had spoken to man in the Bible as and a result we could have "true truth" about God and man. Knowing the dignity of man created in God's image, he placed a high value on creativity as an expression of that image. He opened his Swiss home to travelers to discuss these things. Later he began lecturing in universities and writing a number of books. Perhaps no other Christian thinker of the twentieth century, besides C.S. Lewis, has had more influence on thinking people.

Rosslyn Chapel, just outside Edinburgh, has been a holy place for centuries. Its name means either "point of a waterfall" or "ancient knowledge down the line" depending on who you ask. -- What is the chapel's link with Freemasons? Apparently Sir William St Clair claimed patronage of the masons - a link passed and strengthened through the generations and evidenced in two seventeenth century charters. In 1736, Sir William Sinclair became the first Scottish Grand Master at the Grand Lodge of Scotland in Edinburgh. By the 1690s, the bond between the Sinclairs and the masons was commented in a celebrated letter. ... Who is the leering green man engraved more than 120 times in the chapel? Carvings of a bearded green man appear in many religious settings in much of the world, but few have as many as Rosslyn. There are many theories about who the green man was. Some say it was either John the Baptist or Hercules. He is depicted as a Robin Hood-type figure, sometimes alternatively named Jack-in-the-green or Jack-in-the-Tree. He also may have been Celtic fertility god or a tree spirit. ... Who is the man with the gash on his head? Rumour suggests that he might be the smited apprentice of pillar fame. However, he could also be Freemasonry's legendary figure, Hiram Abiff, the martyred architect of King Solomon's Temple. Academic symbologists say it could just as easily express a classic archetype of sacrifice and rebirth. ... What do the 213 mysterious cube carvings mean? The mystical symbols carved into the stone ceiling of the chapel have confused historians for generations. But recently music scientists who believe they are part of a musical notation system are making efforts to decode the signs. The series of lines and dots are thought to represent shapes created by sand on a musical instrument during the vibrations caused by sound.

The Austrian novelist Stefan Zweig was once among the most popular and most translated writers in the world. English Heritage's widely criticised refusal to commemorate his residence in London provides an entry point into a discussion on the role of the intellectual, Brexit, and the meaning of Europe.

The post Unseasonably Speaking – Stefan Zweig, Brexit and the meaning of Europe appeared first on Three Monkeys Online Magazine.

Friscopromos.com holiday campaign promotes giving memorable & meaningful custom products to valued employees, friends, and customers. [PR.com]

How one long-lost manuscript from 1915 reveals the answer to your own dreams today. This book truly is the answer to your dreams.

Look for this symbol of good luck and connect with the spiritual worldDimes can have incredible spiritual meaning. Depending on when or where you found them or what side of the coin was facing up, they can be a sign from a departed loved one, an omen of good luck, a sign that your intentions are bringing the rewards you need, and more. In the article, we have all the answers to your questions. Let’s dive in.

Frederica delivers a speech at UC-Santa Barbara (sponsored by The Veritas Forum) titled "The Meaning of Sex."

With the meaning of life no longer explored on our college campuses, Fr. Thomas reflects on a piece he wrote on that subject 18 years ago. (Click here to purchase Education's End, which Fr. Tom recommends in the podcast and Click here to purchase a used copy of the Life book which includes Fr. Tom's essay.)

Fr. John talks about the meaning of the sacrament of Holy Baptism.

In his Nativity sermon, Fr. Andrew discusses how negative experiences at Christmas reveal the feast's true purpose.

Gifts are a part of Christmas, and that's actually okay, but "God become flesh" is the true meaning of Christmas.

In Homily 43, St. Isaac speaks of three areas of ‘discipline,’ or areas in which we must guide or rule our life. Proper discipline in these areas leads to purity. These three areas are bodily discipline, leading to purification of the body; discipline of the mind, leading to purification of the soul; and spiritual discipline, leading to purification of the mind.

Fr. John reflects on the Resurrection and the importance of Christ's death.

Fr. Theodore Paraskevopoulos helps us to discover the true meaning of Christmas through the life of the Orthodox Church.

Fr. Lawrence Farley is convinced that his culture knows absolutely nothing about the true meaning of Christmas.

Fr. Apostolos Hill exhorts us to embrace a new paradigm for parish youth ministry that focuses on spiritual development and less on entertainment.

Fr. Apostolos Hill dives into what we mean when we say, "Christ is born, Glorify Him" as well as other Orthodox Christmas meanings.

Fr. Apostolos speaks about the meaning and application of the Greek word for "Grace" and its connection with "joy" and "gratitude."

Fr Thomas encourages the faithful by outlining the goals of Great Lent in the disciplines of prayer, fasting, and almsgiving.

Dr. Albert Rossi interviews Dr. Grant S. White, Assistant Professor of Liturgical Theology at St. Vladimir's Orthodox Theological Seminary, on the topic of the Liturgy and a person's search for meaning in turbulent times.

Dr. Albert Rossi reflects on the pursuit of the meaning of life.

Fr. Patrick Henry Reardon reflects on the story of the Gadarene demoniac, who, according to Luke, originally was from the city, and having been healed, returned to the city to proclaim how much Jesus had done for him.

In this homily given on the Sunday before the Elevation of the Holy Cross, Fr. Pat looks at what death means to the Christian.

“What shall I say! And how shall I describe this Birth to you? For this wonder fills me with astonishment. The Ancient of Days has become an infant. He Who sits upon the sublime and heavenly Throne, now lies in a manger. And He Who cannot be touched, Who is simple, without complexity, and incorporeal, now lies subject to the hands of men....” (St John Chrysostom) In the Church, we call Christmas "the Nativity According to the Flesh of our Lord, God, and Savior Jesus Christ." Because it's the day we celebrate the very Son of God taking on flesh and becoming human for our sake: the Lord's Incarnation. This is when we celebrate the coming of the Philanthropos, the "Lover of Mankind." A season when we are called to be philanthropists ourselves and be a loving, healing presence in a troubled and mixed-up world. Christmas spirit is more than a theme we see in movies like "The Christmas Chronicles." It's something we can share in our everyday lives: in concrete ways for the life of the world. Christ is Born! Glorify Him! As always, we've prepared a FREE downloadable workbook to help you act on what you'll learn: https://mailchi.mp/goarch/bethebee161

Through the unparalleled espousal of theory of planned behaviour, this study intends to significantly add to the current knowledge on social networking sites (SNS) in <i>eWOM</i> information and its role in defining intentions to buy green products. In specie, this study seeks to first investigate the part played by <i>attitude towards SNS information</i> in influencing the <i>acceptance of SNS information</i> and then by <i>acceptance of SNS information</i> in effecting the <i>green purchase intention</i>. Besides this, it also aims to analyse the influence exerted by first <i>credibility of SNS information</i> on <i>acceptance of SNS information</i> and then by <i>acceptance of SNS information</i> on <i>green purchase intention</i>. In doing so, it also examines how well the age of the SNS users moderates all these four associations.

While many institutions provide centralized technology support for faculty, there is a lack of centralized professional development opportunities that focus on simultaneously developing instructors’ technological, pedagogical, and content knowledge (TPACK) in higher education. Additionally, there are few professional development opportunities for faculty that continue throughout the practice of teaching with technology. We propose a model of continuing professional development that provides instructors with the ability to meaningfully integrate technology into their teaching practices through centralized support for developing TPACK. In doing so, we draw upon several theoretical frameworks and evidence based practices.

Aim/Purpose: The paper discusses various factors contributing to disagreements, such as differing experiences, perspectives, and historical narratives, leading to disagreements within families and societies. It explores how beliefs, values, and biases feed into disagreements, with confirmation bias affecting decision-making and the media. Cultural values also play a role, showcasing conflicts between meritocracy and inclusivity in ethical decision-making. Haidt's Moral Foundations Theory highlights differences in value priorities between Western and Eastern societies. The impact of Western values like rationalism, freedom, and tolerance, under threat from Marxist illiberalism on campuses, is dis-cussed. The text also delves into disinformation, emotions in warfare, and the use of fake information and images for propaganda purposes. The need for diligent reporting to avoid spreading disinformation is emphasized, given its potential to create misconceptions and harm diplomatic relations.

We’ve all been changed by the experience of living through a pandemic. We figured out how to sanitize groceries, mute ourselves on Zoom and keep from killing our roommates. But we’re also tackling bigger, existential questions — how can we, individually and collectively, find meaning in the experience of this pandemic?

Original Air Date: May 23, 2020

Guests: 

David Kessler — Tyrone Muhammad — Nikki Giovanni — John Kaag — Alice Kaplan

Interviews In This Hour: 

Grief Is A Natural Response To The Pandemic. Here’s Why You Should Let Yourself Feel It. — 'You Smell Death': Being A Mortician In A Community Ravaged By COVID-19 — Nikki Giovanni Reads a Poem of Remembrance — Does Philosophy Still Matter In The Age Of Coronavirus? — Why Camus' 'The Stranger' Is Still a Dangerous Novel

In this special episode of If Walls Could Talk, Walls & Ceilings Associate Editor Michael Levitt speaks with Phampena Inc.’s Taide Pham, Hien “H” Pham and Trinidy Pham. The company is on the cover of W&C’s September issue and has grown into an industry leader since being founded in 2010.

Innovation drives progress. And in Amarillo, Texas, there is a new hub for innovation on the campus of Amarillo College. It is called Innovation Outpost, and the building’s renovation nods to the past with an eye on the future.

Washington — The White House is calling on stakeholders across all sectors to “commit to save lives” by increasing training on – and access to – lifesaving opioid overdose reversal medications.

Children's Geographies; 08/01/2023
(AN 167303412); ISSN: 14733285
Academic Search Premier

Culture &Psychology, Ahead of Print. In secular Western societies, individuals often embark on an autonomous quest for meaning in life, which, however, can lead to frustration. In contrast, many East Asian ethical leaders draw on age-old teachings to find fulfillment—an underexplored topic that merits further investigation. By analyzing ancient Confucian tenets and the discourses of […]

The post Ethical leaders’ search for meaning: Ancient Confucian wisdom in Modern East Asia was curated by information for practice.

Ahead of the hardcore band's sold out show at Revolution Hall, Johnny Whitney and Jordan Blilie tell us what the group's intense, abstract song lyrics really mean. by Suzette Smith

Like any fan of Seattle hardcore band the Blood Brothers, I have found myself at a show, pressed up against a wall of people, shouting the wrong lyrics to their songs. For instance, on their hit "USA NAILS" there's a hook where you think you're singing a cheer-style "one, one, and two!" but the lyrics are actually: "These pigs locked me up to see what color I'd rot into!"

The energetic screamo group was active from 1997-2007, during which time they released five critically-acclaimed albums, completed several European tours, and even played a set on Jimmy Kimmel Live, overcoming the reservations of the show's freaked-out producers. Perhaps the best indicator of their success is the fact that their US reunion tour—which hits Portland on November 12—is completely sold out.

Ever ones to cut the bullshit, Blood Brothers don't have a new record; they're playing the fucking hits. Still, the tour is timed with Epitaph's anniversary reissue of one of their biggest albums Crimes (2004) on vinyl.

When we sat down to talk to Johnny Whitney, who fronts the band with fellow singer/screamer/guttural whisperer Jordan Blilie, he noted that plenty of lyrics websites list incorrect verses for Blood Brothers songs. "It's hilarious how wrong some of them are," Whitney said. "The lyrics on Spotify are not even close to what I'm actually saying. Just buy the fucking CD, and look it up. Come on, people."

We spoke with Whitney and Blilie separately, over sprawling phone calls that we have organized into this piece. For clarity, we're listing their responses together, as we seek to get into the nitty gritty of this group's  danceable, screaming-nightmare material.

Blood Brothers in San Francisco, on the first night of their reunion tour. They were incredible. Photo by Suzette Smith Jordan Blilie (left) and Morgan Henderson (right) Suzette Smith

Foremost, Whitney and Blilie both began by gushing about the other three members of their band: frenetic drummer Mark Gajadhar, vigorous guitarist Cody Votolato, and ultra-versatile bassist Morgan Henderson, who is currently best known as a member of Fleet Foxes.

Related: Multi-instrumentalist/Ultramarathoner Morgan Henderson Is Busier Than You

"I cannot fucking believe that I got to work with these guys," Whitney says. "I just took all those things for granted at the time. Everybody was, and still is, coming from totally different places [musically], but there was always something really special about all of us together that was there from the moment that we started."

PORTLAND MERCURY: Johnny, I've always gotten the impression that you're the major force behind the lyrics.

JOHNNY WHITNEY: I came up with the majority of the lyrics, but it certainly was collaborative between Jordan and I. I would freewrite as much as I could, to have material to draw from, and going back to those notebooks kept things as free and fresh and not contrived as possible. The drawback of that approach is the lyrics are very abstract and hard to parse direct meaning from, but that's also kind of the point. I found myself writing about the absence of answers, or the absence of concrete truths that you can hold onto.

A lot of times, my process would center around coming up with a cool idea: a song name or some common refrain that we would want to work into a song, like "Burn Piano Island, Burn." Something that has a hook or conveys an image or feeling. Then we would reverse engineer the lyrics from that.

JORDAN BLILIE: I would absolutely say that I felt like Johnny was the driver, and for good reason. He's really good. When you see someone who is in a flow state, you do your best to accentuate and collaborate, to help mold and shape and add your pieces. It was always stuff that I was really excited to dig into. It was just that rich and that vibrant. The challenge for me was what can I add to it, you know? It always pushed me to try and come up with the most creatively-inspired stuff that I could.

You two have such an engaging stage style. People would call it sassy, but that has always felt like a description from people who have never been to a play and can't recognize theater. Do either of you have a background in theater arts?

WHITNEY: I wanted to be a child actor—I actually auditioned for that movie Blank Check (1994). Actually, a year after Jordan and I met, we were both in a Jr. High production of Alice in Wonderland. He was the Mad Hatter, and I was the Mock Turtle.

BLILIE: Why would you say that? [Laughs]

Jordan Blilie (left) and Johnny Whitney (right) Suzette Smith Jordan Blilie screams on the tour's first night in San Francisco. Suzette Smith

"USA NAILS" was such a hit, and it involved a phone number everyone could scream. How did that come to be?

WHITNEY: The name and the "1-900-USA-NAILS" comes from the chain nail salon, but we reverse-engineered it into a song about somebody using their one phone call from the county jail to call a phone sex line. It's the idea of loneliness, disaffection, and parasocial relationships with things that exist solely for their own profit or gain.

And yet it's also danceable. There are these moments live where you have an audience of people shaking their asses and shouting "to see what color I'd rot into!" Did you start with that idea and work backwards, or just jam it into that moment of the song?

WHITNEY: At that time, the band would all sit together in a room and have a kind of song tribunal about how each part should go. Then, at some point, we'd have a semi -finished version and [Jordan and I] would just try to fit lyrics to the songs. Especially on Burn, Piano Island, Burn. Some of those songs needed an editor so bad, right? I wouldn't change a thing about it, but looking back, there are parts where it sounds like everybody's playing a different song at the same time, but it kind of works, right? And for the lyrics, sometimes we just had to make it work.

That wasn't the first time Jordan whispered his lyrics in a guttural tone, but it's one of the more emblematic, right? How did that start?

BLILIE: By necessity—I don't have much of a range, you know? I have this weird baritone. Very early on we were drawing from crust punk, where you just have two voices screaming. And we didn't put a whole lot of thought into even what the other person was doing. But then, as we continued to develop, the stuff became more complex, and there was more room for different sorts of shadings of what we could do vocally. So it was just finding out: What is it I can do other than scream at the top of my lungs?

WHITNEY: Jordan's part at the end just works right? He was very inspired by Jarvis Cocker.

BLILIE: Yeah, you can trace that right back to Pulp. If you listen to any Pulp song, there's gonna be some whispery storytelling, with the compression cranked up so you can kind of hear every lick of the lips.

<a href="https://thebloodbrothersofficial.bandcamp.com/album/burn-piano-island-burn">Burn, Piano Island, Burn by The Blood Brothers</a>

BLILIE: Some of my favorite moments of writing with Johnny are the ones that we would where we would crack each other up.

Can you give an example?

BLILIE: Every lyric of "Guitarmy." We really got a kick out of the idea of opening our major label debut with the words, "do you remember us?" Because of the audacity, the absurdity of it.

So you guys all started this band when you were in your teens.

BLILIE: Yeah, we started when we were like, 15-16.

Are there any lyrics that have not aged well, in your opinion?

BLILIE: I'm sure they're the ones that we're not playing. [Laughs.] This question reminds me of something one of my professors said. It was my first class at UCLA, Queer Lit from Walt Whitman to Stonewall. In class discussions my fellow classmates would critique writing from the 1800s for not satisfying certain criteria, and our professor would say: You cannot look at the text backwards. You have to look at it forwards. You can't apply current day criteria to something that was written when that criteria didn't even exist. You have to engage with it in the context of when it was written. I don't think anything we wrote is in a canon warranting that level of examination, but it's useful nonetheless. It's a way for me to remind myself that I was 20, and I had the tools of a 20-year-old. It helps me to not beat myself up too much about it.

WHITNEY: There's a story behind this. When we were doing the song "Camouflage, Camouflage" on Young Machetes, Jordan and I were going back and forth on the lyrics. He was like, "Yeah, I'm great with all this." But he put a line through one verse, where I say: "All the girls in Montreal are smashing skateboards in the street." And I was just like: Fuck you, dude. I'm gonna keep this in. But he was right, because it sounds stupid, and it's like, really horny and makes me want to light my skin on fire. So I'm changing it to something else, probably something different every night.

Johnny Whitney (left) holds a crowd member's hand for support. Suzette Smith The crowd supports Johnny Whitney while he sings. Suzette Smith 

I wonder about imagery in Blood Brothers' songs that seems to be responding to beauty standards at the time. Like, in "Ambulance, Ambulance" you've got this blistering segue to the chorus: "What is love? / What is scam? / What is sun? / What is tan?"

WHITNEY: That's a double meaning. Because it's like tan—like suntan—but also tan is a blah color, right? It's like the color of a dentist's office wall. If you think of the idea of love being something that could feel on-fire, passionate, the color of a dentist's office wall is the opposite. Although, tanning does come into play in a lot of our lyrics. I've noticed as well.

Or on "Beautiful Horses" the lyrics are "gallop into your romance novels / dance atop heavy pectorals."

BLILIE: I think we were seeing an increasingly vapid culture, and we were trying to dig into that—dig into: What does it do to someone when they're bombarded by these sorts of images and messages? There was a lot of that in that writing; I can't say specifically with "Beautiful Horses," but I think "Trash Flavored Trash," would probably fit under that umbrella.

<a href="https://thebloodbrothersofficial.bandcamp.com/album/crimes-bonus-track-version">Crimes (Bonus Track Version) by The Blood Brothers</a>

In "Rats and Rats and Rats for Candy" there's an ongoing narrative of rats living inside a woman. It's like a play. There are characters. And the rats eventually chew out of her and try to find a new body to live in. I wondered if that was also about beauty standards or body dysmorphia?

WHITNEY: That song, it's about that, but it's also about manipulation, right? Not to get too personal, but I grew up with somebody who weaponized being sick—faked being sick—for their entire life in order to manipulate people and extract something they needed out of them. The character in that song is kind of a victim, but like a siren at the same time. They're trying to lure somebody in.

Is that person the rats, or are they Candy?

WHITNEY: The rats are in Candy. I mean, it's both.

What about "The Shame?" Your group resonates so much with "everything is gonna be just awful / when we're around" that you're putting it on t-shirts 20 years later. What does it mean?

WHITNEY: The whole premise of that song is having to sell yourself—how to commoditize yourself. It's about how you function in a capitalist society. You sink or swim by your ability to market yourself, make yourself desirable—whether it be in relationships, job market, blah blah blah. I've always been repulsed by that and was especially at the time we wrote it, which was in Venice Beach, while we were recording Burn, Piano Island, Burn. It was the longest time I'd ever been in LA, and that's the epicenter of being a self-salesman. That line encapsulates the feeling of being sold something. And you're in a position where, in order to survive, you have to be your own salesman.

Salesmen show up in other songs, like "The Salesman, Denver Max." That's another one that almost feels like a short story.

WHITNEY: I initially cribbed the idea for that song's lyrics from the Joyce Carol Oates short story, "Where Are You Going? Where Have You Been?" It follows a narrative of a very dangerous, predatory man in the process of stalking and kidnapping somebody. “Denver Max” was a huge, uncomfortable gamble for me, because I wrote the entire song on my acoustic guitar, recorded it to a 4-track, and then played it for the guys—totally expecting them to hate it. It was really daunting to try to contribute as a songwriter; Cody, Morgan, and Mark are such talented musicians. I think they may have hated it; I don't really remember how we ended up recording it. It was nobody's favorite thing, but we just tracked it, and it sounded great and worked.

Have you read anything by playwright Caryl Churchill?

WHITNEY: Never heard of her.

"Live at the Apocalypse Cabaret" has a lyric in it that reminds me of her play Far Away, which has a scene of milliners making hats for people to wear at a public execution, so I always felt a symmetry there, because of the lyrics "the cross-eyed map of the afterlife is knitting tiny neck ties." 

WHITNEY: I'm going to be super honest, the songs that I'm the most familiar with the lyrics of, at this very moment, are songs that were going to be playing, because I've been rehearsing them. But I do remember, with that song, we were trying to be funny without being silly. Like, a cross-eyed map is a map that makes no sense, where you don't know where you're going. Knitting tiny neckties are noose ties. It's like dressing yourself up for death, right? It's trying to dress up something that's really heinous and horrible and incomprehensible, and also trying to navigate that, through a map that makes no sense.

At this moment you have cracked my understanding of a play you haven't even read. But I digress, I've read that "Celebrator" was a direct response to Toby Keith's "Courtesy of the Red, White and Blue."

BLILIE: That pumped up patriotism felt gross when taken in context with the images and much of the information that we were seeing come out of Iraq and Afghanistan.

Is that why there are so many mentions of amputated limbs on Crimes?

BLILIE: The bulk of Crimes was trying to engage with war so that's where you get a lot of that grizzly imagery.

Related: The Blood Brothers Set Expectations Ablaze at Last Night’s Surprise Black Lodge Show

Well, personally, it's so nice that you're touring right now. Blood Brothers are great for when you need to scream, but you can't. You can scream along to the Blood Brothers in your head, or out loud at a show.

BLILIE: I'm glad that we could be of service, in that regard. It's hard for me not to go into a really bleak mindset when I look at our current political landscape. I find myself equal parts enraged and terrified. And there are times when I have to just close all news down. I guess it is a good time to get up and scream.

The Blood Brothers play Revolution Hall, 1300 SE Stark, Tues Nov 12, 8 pm, SOLD OUT, all ages.

As the Herdman kids learn, Christmas celebrates God’s arrival not in a palace but in a humble manger, for the sake of all people, including those we may least expect.

American plumbers have accomplished more in two centuries than the Romans did in 10.

In today's fast-paced world, many people in the trades are seeking a deeper sense of meaning and purpose in their lives. One area where we can find this sense of meaning is in our professional roles, particularly when we provide leadership.

Through its new global brand platform and U.S. ad campaign, White Claw is inspiring even more people to seek out genuine, real-world connections — and “Grab Life By The Claw.” 

L.A. Libations’ Co-Founder and CEO Danny Stepper details that relationships are the foundation on which the beverage incubator, creator and accelerator company is built on.

Finding meaningful work is a complex journey that requires self-reflection, authentic connections, and emotional resilience. Dr. Tessa West provides valuable insights and practical steps to help you navigate this challenging path and achieve long-term career fulfillment.

The post Finding Meaningful Work is Harder Than You Think first appeared on Chase Jarvis.

The post Finding Meaningful Work is Harder Than You Think appeared first on Chase Jarvis.