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Sons of Liberty Radio with Bradlee Dean

The Efficacy of Salt: Vaccine Deaths, a Rigged Mayor, and the Cowardice of American Pulpits

Broadcasting alone, Bradlee Dean builds an hour around what he calls the efficacy of salt, moving from anger over vaccine deaths and a broken Reagan-era promise to a claim that the CIA installed New York's mayor, and closing with a call for gutless preachers to find their courage, with call-ins from Monk in Colorado and Bev in Wisconsin.

A Founders' Prayer Opens the Hour
The broadcast opens with a recording of Elbridge Gerry's Thanksgiving prayer, the Declaration of Independence signer thanking Providence for the gospel of Jesus Christ while confessing what he calls America's "unparalleled ingratitude." After the show's theme and disclaimer, Bradlee Dean greets "friends as well as a few enemies, scoffers, atheists, skeptics, lunatics, weirdos and assorted bad guys" and tells listeners the hour will center on what he calls the efficacy of salt. He directs viewers to sonsoflibertymedia.com and beforeitsnews.com for video clips referenced during the show, reads out the call-in number, and citing Jude 3 and 4 invites callers pro or con. Dean reminds first-time listeners that Sons of Liberty exists so people think for themselves rather than make others "the measure of their conduct," warning it is a terrible place to be when a person's brains are in someone else's head.

Vaccine Deaths and Political Scapegoats
Dean pivots to a scroll of young people he says are dying suddenly, citing a report of a 13-year-old South Carolina boy who suffered cardiac arrest during football practice. He turns to German Chancellor Angela Merkel, calling her actions comparable to Adolf Hitler's family before clarifying he is being facetious, and accuses her of blaming Bill Gates for pressuring policymakers on vaccination while ignoring officials who, he says, sold themselves out "like Judas did for thirty pieces of silver." Citing a claim that thirty million vaccinated people are no longer alive, Dean plays a video clip on vaccine statistics and repeats a figure of 755 percent. He revisits Ronald Reagan's broken campaign promise to end abortion, recounting a Reagan-era judicial contact who told him Reagan said there was nothing to be done, then walks through the National Childhood Vaccine Injury Act of 1986, arguing it indemnified pharmaceutical manufacturers rather than the public.

Callers Monk and Bev Weigh In
After a break featuring a Tom Raymond testimonial and event promos, Dean takes a call from Monk, who reports the show is off the air on KHNC 1360 in Johnstown, Colorado; Dean promises to contact station engineer Jason and later confirms the signal is restored. Bev from Wisconsin calls next to note that not every young athlete's death traces to vaccination, some dying of dehydration during sports; Dean acknowledges the point but says it does not excuse pharmaceutical companies he holds responsible for other deaths. He then turns to a report headlined "Trump says we have to bring religion back," criticizing televangelist Paula White for standing at the center of what he calls an ecumenical, one-world church movement, before playing a video compilation touching on Donald Trump, Kabbalah, Marla Maples, and Jared Kushner that he says proves the push for a one-world religion is already underway.

New York, Mamdani, and the Salt of the Earth
Dean turns to a New York-based Christian broadcaster he heard that morning claiming the city's roughly nine million residents have been overtaken by its estimated 750,000 Muslims. Dean argues the same 750,000 figure represents New Yorkers who signed recall petitions against Mayor Mamdani, whom he says the CIA installed in office, calling the agency "the American version of the Gestapo" and citing former officer John Stockwell. He labels the broadcaster an effeminate, unconverted "succumber to the spirit of the world" for spreading fear rather than standing firm, invoking Isaiah 8:20 and Psalm 78:9's account of the children of Ephraim turning back in battle. Quoting Matthew 5:13, Jesus calling believers "the salt of the earth," Dean argues the church exists to halt a nation's moral decay, recounting the Black Robe Regiment of fifty-six signers who trusted God during the Revolution and comparing today's timid preachers to Israelites who refused Joshua and Caleb's report in Numbers 14.

D. James Kennedy and the Cowardice of Pulpits
Dean recalls conversations with the late D. James Kennedy of Coral Ridge Ministries in Fort Lauderdale, who told him three hundred thousand American pulpits hide behind 501(c)(3) status out of unwarranted fear, since no church has ever actually lost that status. He repeats Kennedy's answer to a visiting minister who asked why his church was being protested, that men wanting to marry men and women wanting to marry women were the reason, and adds that churches which invited Dean to speak stopped inviting him back once protests began. Moving into a passage on the prophets, Dean likens today's preachers to Jeremiah's description of "clouds without rain," men never driven to the cross by the law and therefore preaching a "dead letter" to dead congregations. He argues government reflects decay that starts inside the church, and that decadence, not poverty, has destroyed the greater number of nations throughout history.

Deuteronomy 8 and a Call to Preserve
Closing the hour, Dean reads Deuteronomy 8:10-14 warning Israel not to forget God after eating, building houses, and multiplying silver and gold, applying the passage directly to a prosperous modern America. He returns once more to Matthew 5:13, restating that salt losing its savor becomes fit only to be cast out and trampled, and works through the words preserve, meaning to defend from evil, and seasoning, meaning to grow fit for use, framing genuine conservatives as preservatives against a decaying culture. Citing Ephesians 5:11 on reproving the works of darkness and Matthew 5:16 on good works glorifying God, Dean says his own answer is action rather than commentary, listing the radio show, sonsoflibertymedia.com, billboards, paper ads, and an appearance planned in Princeton that Saturday. He signs off naming empty "professors" who talk without doing as his real opposition, telling listeners he will return in twenty-three hours and closing, "love you by what we do."

Junk Refund Show with Alan Cook

From a Twisted Ankle to a Temple in Cleveland: A Week Inside the Junk Refund Business

Host Alan Cook recounts a rain-soaked day of junk removal jobs, a broken rental truck and an ankle injury at the scrap yard, a quick trip to visit the new Cleveland Ohio Temple, and a decluttering client who happens to share his name with a famous golfer.

Fresh Off Two Jobs and a Rainstorm
Alan Cook opens the show still damp from an afternoon rain shower, fresh off two jobs in the Washington, D.C. area. He describes clearing part of a storage unit in Laurel, Maryland, for a client named Jewel, noting with amusement that nearly everything she owns is lavender, from her T-shirt to her phone case. Earlier that morning he helped a longtime customer named Archie load up a driveway full of items. Both jobs used the company's Groupon special, a pickup truck load of junk removal for ninety-nine dollars instead of the usual two hundred twenty-nine. Cook explains the yearly birthday voucher he sells every May, discounted to match his age, sixty-eight dollars this year, and the radio-only deal available by calling in during the broadcast and leaving a name with producer Don, who passes the information along so Cook can follow up after the show.

The Four-Part Junk Refund System
Cook lays out the mechanics behind 1-800-Junk-Refund. Every job gets sorted four ways: true junk goes to the dump, metal and wire are recycled, usable items like clothing and dishes go to charity with a donation receipt sent back to the customer, and anything that looks sellable is listed, with the customer receiving thirty-five percent once it sells for twenty dollars or more. He runs through pricing, a twelve-foot box truck around six hundred ninety-five dollars, a pickup load at two hundred twenty-nine, and a one-hundred-nineteen-dollar minimum for something like a single refrigerator pickup. Referrals from realtors earn customers ten percent off, and paying in advance earns another ten percent. He also plugs free scrap-metal pickups around the D.C. area and his habit of running thirty-day Craigslist ads for five dollars, which he credits with generating thousands of dollars in scrap and cleanout business over the years.

A Referral, a Broken Truck, and a Bad Fall
Cook credits realtor Mike Parente for a referral to a couple named the Millers in North Potomac, Maryland, a job that started rough. Days before the scheduled start, the company's rental box truck loses power after a diesel exhaust fluid sensor malfunctions and limits it to thirty-five miles per hour, and it stays in the shop for over a week. Cook shows up to the multi-thousand-dollar cleanout with a pickup truck instead. At the scrap yard, he steps into a dip in the pavement, rolls his ankle, and falls backward onto a pile of scrap pipes, badly scraping his knee and thumb and losing the ability to put weight on his foot. He fashions a cane from the handle of a discarded floor-waxing machine and keeps working. A Zelle payment from Mr. Miller is delayed several days by bank limits, leaving him briefly without cash to pay his crew, but the job still wraps up in roughly nineteen pickup truck loads.

Movie Chairs From a Mansion in Great Falls
Back from the injury, Cook turns to a job for a friend named Brian in Great Falls, Virginia, a former Bank of America mortgage employee who now buys and flips distressed properties. Brian tells Cook the first sign of a distressed home is overgrown landscaping, since upkeep is usually the first expense an owner cuts. Brian, who has built a mansion with an indoor theater seating twelve in stadium-style rows, is replacing worn reclining movie chairs and hires the crew to haul the old ones away. Cook and his helper June load the chairs, heavy with metal frames and upholstery, into a pickup truck and a repurposed SUV outfitted with a salvaged rear cargo carrier. The scrap yard pays for some loads of chair bases but rejects one for having too much upholstery and not enough metal, so that load goes to the regular dump instead, wrapping up a job worth about eight hundred fifty dollars.

A Fast Trip to the Cleveland Temple
With his ankle still tender, Cook takes off for one of his long-running personal projects: visiting temples of The Church of Jesus Christ of Latter-day Saints around the world, a hobby that has taken him to roughly one hundred thirty of the church's temples over about nine years. He flies Southwest from Baltimore to Cleveland for fifty-nine dollars each way, takes a cheaper Lyft over an Uber to reach the new Cleveland Ohio Temple in Independence, Ohio, and spends a couple of hours there before heading back to the airport. Rather than pay for a hotel, he sleeps for free on a cushioned bench near a not-yet-open Chick-fil-A, phone charging nearby, and boards his six a.m. flight home. He recounts a story from his friend Thayne, who volunteers at the temple and was invited into the small celestial room when one of the church's Twelve Apostles dedicated the building in mid-August.

Family, John Daly, and Giving Back
Cook shifts to family news, describing his son-in-law Jake's surprise-hit class on parallels between The Lord of the Rings and the Gospel of Jesus Christ during Brigham Young University's Education Week, which drew about four hundred people a night. He also has fun with a client named John Daly, sharing on Facebook that the crew is cleaning out John Daly's home and letting followers assume it is the golfer before clarifying it is simply a client sharing the name. Cook describes using AI to build mailing lists of realtors and gas stations for postcard marketing, and warns listeners that storage units can quietly drain thousands of dollars from people holding onto things they never use. He closes with a personal tithing habit, giving back ten percent quickly after each job, a National Cathedral appearance by church president Dallin H. Oaks the night before, and an update that his twice-injured ankles are nearly back to full strength.

Hollywood and Horsepower Show with Mark Otto

The first in a series, "The path to the comedy stage", what comedians go through to get into show business and entertainment

Boston's Comedy Boom, the Art of Building a Set, and Johnny Carson's Magic Touch with Michael Blowen

Mark Otto opens a new series on the history of stand-up comedy with former Boston Globe entertainment writer Michael Blowen, who covered the city's comedy clubs through the 1980s and shares stories of Steven Wright, Chris Rock, Richard Pryor, George Carlin, Rodney Dangerfield, and Johnny Carson's outsized influence on young comics.

Kicking Off A Series On Comedy History
Mark Otto opens the Hollywood and Horsepower Show with his usual thanks to sponsor Tony's Steaks and Seafood before explaining that the episode is the first in a new series on the history of comedy, recorded a day ahead for broadcast. He tells listeners the plan is to show the many different paths comedians take to build a career, since most people assume every comic simply walks onto an open mic and takes off. His guest is Michael Blowen, a former entertainment writer for The Boston Globe who covered comedy through the 1980s. Otto notes that Blowen was one of the first journalists anywhere to treat stand-up as a beat worth covering, at a time before the internet gave comics their own websites and profiles. Blowen agrees, recalling that covering movies meant competing with two or three other writers at every paper, while Boston's booming comedy scene offered him an almost uncontested subject and comics who were unusually accessible to a reporter looking for real stories.

Boston Becomes A Comedy Breeding Ground
Otto and Blowen dig into what made Boston different from Chicago, New York, or Toronto: its clubs actually paid comics well enough to make a living. Blowen credits Emerson College, where he taught, as a breeding ground for talent, naming Steven Wright and Mike McDonald as students who worked out material there before testing it onstage at night. He recalls that Jay Leno and Henry Winkler both went to Emerson, and that Leno has told the story of playing drums in a strip joint at the edge of the Combat Zone to work his way through school. Otto adds a favorite detail, that Leno once prepped and cleaned a new car for Robert Klein at a Boston dealership before ever meeting him as a fellow comic. Blowen praises Wright as an underrated genius who built his act by trying ideas out in class and then testing them live, and he stresses that facing an unfamiliar crowd with unproven material takes real courage, since a comic alone onstage has nowhere to hide.

The Discipline Behind A Polished Act
Otto calls stand-up the most honest form of entertainment because the audience's reaction is immediate and unarguable, a point Blowen echoes by comparing comics to cliff jumpers who must keep leaping to stay sharp. Blowen offers Chris Rock as his sharpest example of discipline, describing a night at Bill Blumenreich's Comedy Connection when Rock spent hours polishing just four jokes, playing each one like a musician adjusting tempo and emphasis and recording every version on a cassette recorder to study later. Otto contrasts that meticulous approach with true improvisers such as Don Rickles, who worked largely off the crowd itself, and recalls Frank Santorelli telling him that comics once wrote together in groups of four or five, tailoring bits to each other's styles, a practice Otto says has faded as performers have grown more independent. Blowen notes that Boston's clubs, unlike Chicago's or New York's more competitive rooms, paid comics well enough that many built entire careers without ever leaving the city, citing Lenny Clarke and Steve Sweeney as examples still working decades later.

Stolen Jokes And Rodney Dangerfield's Code
The conversation turns to the darker side of the business, the material theft that shaped how comics protected their work. Blowen recalls a running joke of his own, an unmade movie idea about warring comedy club owners feuding like mobsters, inspired by real stories of comics who stole each other's bits and clubs that quietly punished the thieves. Otto brings up Milton Berle's reputation as a notorious joke pirate, and Blowen counters with Rodney Dangerfield, who ran his own club, Dangerfield's, and paid comics twenty-five or fifty dollars per joke, once spending months tracking down the true author of a bit he suspected had been stolen so the original writer could finally be paid. Otto adds a story about Dennis Miller, who has said that watching an unnamed comic perform one of Miller's own jokes on The Tonight Show with Johnny Carson was the moment that pushed him to finally build a real act of his own, determined never to be the writer left off the couch again.

Comic Geniuses From Jeni To Wright
Blowen shares memories of comics he calls genuine originals. He remembers Richard Jeni, creator of the Platypus Man character, and Albert Brooks, describing both as comics who saw the world in a way that seemed almost genetic, recalling Rob Reiner's story that his father Carl Reiner once called the teenage Albert Brooks the funniest person he had ever met. Blowen calls Richard Pryor a fearless genius, comparing him to Otto Preminger's description of the rare director who never has to work at the craft, and recounts how Columbia blocked Pryor from starring in Blazing Saddles despite his writing much of the script for Mel Brooks. He praises George Carlin as timeless, tracing Carlin's start as a Boston disc jockey doing weather reports from a street-level studio at the Statler Hotel under the character Hippy Dippy Weatherman, long before his political satire took shape. Blowen also singles out Steven Wright, noting that Wright delivered his strangest lines without ever smiling, which only deepened the effect of his material.

Johnny Carson's Couch And What Comes Next
The two turn to Johnny Carson's Tonight Show as the moment that could remake a comic's career, agreeing that a strong set, and especially an invitation to sit on the couch, could set phones ringing with club bookings overnight. Otto recalls hearing that Carson would lean in during commercial breaks to quietly coach nervous young comics on their sets, and both agree Carson stayed funny even when a joke bombed, which Blowen says made him feel human to millions of viewers. Blowen recalls listening to Conan O'Brien rehearse jokes above a Cambridge Chinese restaurant early in his career, working out timing alone with a notepad long before he became a host himself. Otto reflects that many performers spend a decade or more grinding through clubs before any breakthrough, and that writers such as Jack Handey and Robert Smigel shaped shows without ever seeking the spotlight themselves. Closing the hour, Otto thanks Blowen, plugs Tony's Steaks and Seafood again, and previews next week's guest, comic and actor Frank Santorelli, who will dig deeper into the Boston scene.

Sound Pathways with Karen Olson Ph.D.

Finding Her Voice: Jazz, The Devil I Knew, and the Ladder to Dreams with Nicole Zuraitis

Two-time Grammy winner Nicole Zuraitis joins Dr. Karen Olson to trace her path from a shy childhood singer to a celebrated jazz artist, talking about her new album The Devil I Knew, her marriage to drummer Dan Pugach, and her advocacy for musicians and rescue animals.

Welcome and a Warm Introduction
Dr. Karen Olson opens Sound Pathways by dedicating the episode to her late mother, Dorothy Olson, and welcoming two-time Grammy winner and six-time nominee Nicole Zuraitis as her guest. Olson describes Zuraitis as a singer-songwriter, arranger, producer, bandleader and advocate who is shaping a modern songbook within jazz, and she speaks with emotion about witnessing Zuraitis's artistry firsthand, especially on her new album, The Devil I Knew. She calls the record deep, intricate and original, admitting she wants to keep learning from it. Zuraitis, visibly moved, jokes that Olson is making her cry before the conversation even begins, and the two quickly settle into what they call a mutual admiration society. Olson notes the wonder of Zuraitis's constantly touring life, connecting it playfully to the show's own theme of sound pathways, before asking her guest to take listeners back to the very beginning of her musical life.

Finding Her Voice
Zuraitis explains that her parents first noticed her singing harmony to the television before she could hold a full conversation, even though no one else in the family was a musician. She was too shy to perform for them directly and sang only alone until she was eleven, when she surprised everyone at a school talent show with a recorded piano track of Don't Cry for Me Argentina from Evita. She wanted to sing Whitney Houston but says she simply did not yet have the voice for it. From there she moved through classical voice training, opera and trombone before jazz found her again after college, when she realized she wanted to create rather than only interpret. Learning the language and tradition of jazz took roughly six years, and she says she did not feel she had anything genuine to say as a jazz artist until she was twenty-nine, calling herself, cheerfully, a late bloomer.

Making Her Own Spoon
Olson reflects on the unseen years of practice rooms and rejection behind any artist's polish, and Zuraitis agrees, warning young musicians against expecting instant stardom. She says there was no silver spoon handed to her, so she had to make her own spoon through years of searching. The turning point came when her husband, Grammy-winning drummer and composer Dan Pugach, urged her to apply for a Herb Alpert Young Jazz ASCAP Award just before she turned thirty, despite her own doubts about being a real jazz singer. Winning it, followed later by recognition in the Sarah Vaughan International Jazz Vocal Competition, began chipping away at her imposter syndrome. During those years she also built a songwriting practice through residencies at New York rooms including the 55 Bar, Rockwood, Toshi's Living Room and the Sugar Bar, playing original material for live audiences and treating each gig as a gift rather than an obligation.

Stages, Crowds, and Why She Sings
Olson shares her own history playing in an Atlantic City house band behind Rat Pack headliners including Sammy Davis Jr., Frank Sinatra and Tony Bennett, and later performing with the New York Pops, prompting a conversation about what it is like to move between electric full houses and quieter, less attentive rooms. Zuraitis describes selling out a two-thousand-seat theater in Taiwan she never expected to visit, while struggling to fill a small California venue, and says touring keeps teaching her to adjust and keep growing. Asked why she chose music as a career, she traces it to watching the towers fall on 9/11 as a high school sophomore and then watching the Concert for New York soon after, in tears, realizing that music was helping people move through grief. That moment convinced her she wanted to be the person someone needs when they are struggling, and it remains, she says, the reason she cares so deeply about her audience.

The Story Behind The Devil I Knew
Zuraitis traces the title of her new album to two conversations, one with a friend describing a painful pattern as the devil she knew, another with a friend who recognized she had become the villain in someone else's story. Both ideas pushed her toward an album built around self-reckoning rather than blame, structured in five chapters she names Mirror, Martyr, Malediction, Reckoning and Requiem, and threaded with the words of women poets from more than a century ago exploring stages of grief. Producer Larry Klein helped choose and sequence the songs, including Let Us Hang, a piece he co-wrote with Steely Dan's Walter Becker that Zuraitis initially resisted as too light before agreeing the record needed its levity. She also describes reclaiming loaded words like devil and witch, pointing to the double standard between how society judges men and women, and mentions merchandise reading Support Women's Wrongs as a playful extension of that theme.

Advocacy, Partnership, and the Next Step
The conversation turns to Zuraitis's advocacy for animals, which she says began after she rescued a nine-month-old pit bull mix from euthanasia after moving back to New York City in 2009. She invokes the starfish fable to explain why she keeps rescuing dogs despite the scale of shelter euthanasia in America, saying she can still make a difference to the one animal in front of her. She speaks warmly about her marriage to drummer Dan Pugach, describing a partnership built on humor, mutual respect and shared growth, and reflects on performing for audiences who do not speak English yet still feel every song. Olson closes the hour by praising Zuraitis's honesty and generosity, then invites listeners to name one delayed dream and take a real, concrete next step toward it, echoing the ladder metaphor Zuraitis used earlier before sending listeners off with blessings and namaste.

All The Way Live with Beverly Medley

Divine Order, a Lost Pocketbook, and the Practice of Presence and Non-Judgment

Beverly Medley hosts a solo hour of All The Way Live, reflecting on divine order, karma, and the belief that everyone is exactly where they are meant to be, and shares a personal story about a lost pocketbook returned by a stranger at a thrift store.

A Show That Opens With Gratitude
Beverly Medley opens the broadcast still glowing from a conversation she just had with two of the station's owners. She tells listeners she has never met them in person but feels their warmth and calm every time they speak, and she marvels that people who have lived through hardship can still radiate so much love. That feeling launches her into the hour's central idea: everything on this planet is organized, and every person is always exactly where they are supposed to be, whether or not they like the outcome. She tells the audience that nothing happens by accident or bad luck, that people are simply the common denominator in their own lives, and that asking sincerely for guidance brings answers when a person is ready to receive them. The tone is warm and unhurried, setting up a solo hour built entirely around her own reflections rather than scripted topics or a booked guest.

Divine Order and the Weight of Judgment
Beverly develops the idea that every person carries a story, and that recognizing this makes blame nearly impossible. Parents, exes, teachers, and strangers are all people someone was destined to encounter, she says, however painful the relationship turned out to be. She tells listeners not to be quick to judge a father who left or a partner who hurt them, because that person's own past life and choices shaped who they became. She urges going within to what she calls the all-seeing eye rather than trusting only the physical eyes, so that a person can pause before reacting instead of speaking from raw emotion. She adds that everyone eventually receives exactly what they deserve, so listeners do not need to worry about seeing others punished or rewarded. She compares this order to the reliability of sunrise, sunset, and the changing seasons, arguing that human life follows the same precise, unshakable design even when it feels unfair.

Shedding Meat, Sugar, and Old Habits
Beverly turns to her own history, recalling how she gave up meat, sugar, cigarettes, and alcohol despite knowing almost no one who lived that way at the time. She says she needed to get rid of all the dead animals in her body and clear the sugar from her veins before she could truly see clearly, and once she did, everything in her life shifted. None of her four siblings or her parents shared any interest in that path, yet she frames the difference as simply the situation she was born into rather than a mystery to solve. She describes feeling grateful rather than curious about why she alone changed direction, saying the transformation flushed away years of what she calls yucky filth. The story becomes another example of her larger theme: her body's cleanse was preparation for a deeper mental and spiritual cleanse that continues to shape how she carries herself today.

The Thrift Store and the Returned Pocketbook
Beverly tells a long, detailed story about a recent trip to a thrift store, a favorite habit from childhood when her father used to bring home secondhand clothes. While deep in conversation with a family member, she leaves her cart, and with it her pocketbook holding a large sum of cash and every card she owns, unattended among fifty or sixty shoppers. Panicked, she checks her car, finds nothing, then asks a young clerk if anyone turned in a bag. A woman had handed it in minutes earlier without asking for a reward or having it announced over the loudspeaker, and left before Beverly could thank her. Beverly reads the moment as proof that everything is synchronized and mathematical, crediting what she calls an Underground Soul Network for placing the right stranger at the right place at the right time. She says the episode is one of several similar experiences she has had after asking, in her words, to always be protected.

Marriage, Support, and Building a Restaurant
Beverly reflects on her thirty-year marriage, explaining that she and her husband ate and lived identically until she changed her diet seven years in. He never adopted the new lifestyle himself but never criticized her either, and she continued cooking his meals while raising their two children on her own eating principles. She calls his quiet support unusual for their circle at the time and credits it as part of her larger karmic story. The couple watched their children thrive, which eased any doubts he had. From that foundation she describes starting a restaurant with her daughter in 2008 with no prior experience in the business, a venture she says continues successfully today. She frames the restaurant, also called All The Way Live, as an extension of the same lifelong cleanse and transformation she has been describing, something she feels she is meant to do in this lifetime regardless of how demanding the work can be.

Closing Lessons on Judgment and Gratitude
Nearing the end of the hour, Beverly recalls a moment when her children, then roughly eight and twelve, watched a news report about two young women who died fleeing police after a theft and declared that the victims deserved it. She corrected them gently, admitting she had stolen things herself when younger, and urged her children not to judge quickly because everyone carries a story, including people society condemns. She warns listeners that much of what feels like clear moral judgment is really inherited indoctrination rather than a person's own examined belief, and encourages going within to test what one actually thinks. She closes the broadcast expressing gratitude for the hour and for her listeners, describing love not as sentimentality but as a quiet inner peace toward life and other people. Beverly mentions needing to return to the restaurant, which opens the next day, and signs off until next week's show plays the program's closing musical performance.