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Welcome back to another episode of the Emerald Heights Community Update! In this episode, we're joined by HOA Board Vice President Brian Friesen and Social Committee Chairs Mercedes Perillo and Shannon Dempsey for a lively discussion about what's happening in our community.Here's what you can expect in this episode:Community Updates: Hear directly from Brian about the projects the HOA Board is working on to improve and enhance life in Emerald Heights. From infrastructure to amenities, get the inside scoop.Upcoming Events: Shannon and Mercedes share the exciting details about our next big event: Music & Sunset. Learn what's planned, who's performing, and why this is a night you won't want to miss.Special Guest Spotlight – Lisa McCabe: We're thrilled to welcome back our friend and loyal sponsor, Lisa McCabe, owner of Lovely Leaps Dance Studio. Lisa shares her inspiring journey from dancer to entrepreneur, and how she built one of the most active and inclusive dance studios in the area.Connect with Lisa:Phone: 760-539-2543Website: lovelyleaps.com/aboutThis episode is full of heart, helpful updates, and inspiring stories. Whether you're a longtime resident or new to the neighborhood, there's something here for everyone.Tune in and stay connected to the people who help make Emerald Heights such a special place to call home.

Pain itself doesn't make you stronger, pain increases your CAPACITY to be the strong resilient womxn you want to beYou keep trying to fix your pain-the pelvic floor issues, the back pain, the pain of being in a body that doesnt look or feel as strong as you know you can beThat energy of fixing is avoidance in disguise.Your pain can make you stronger but not if you're fighting to fix it.Your pain is asking you to be present with what's below the surface-It's not about the pelvic floor issues…… it's about the disconnect from your pleasure and holding on to shameIt's not about back pain…… it's about how unsupported you've always feltIt's not about hip tension……it's about feeling like you haven't been able to carry yourself joyously through lifeAnd now it's your turn to be the alchemist:To learn how to heal your pain from the root.To build a foundation in your body mind and soul that is unshakeableTo be present for your pain so you can feel the depth of your joy and resilience.This is what REBUILD is all aboutThis is NOT a rehab program, this is a strength and healing program that helps you build your resilience and strength from the inside outTo heal your pain and pelvic floor issues while healing your traumas.We're combining exercise science with energy alchemy and somatic support so you can be strong and pain free from within and your body can match that same level of resilience.Click here to join REBUILDWork With Me:https://mailchi.mp/chloepufftraining/offers Connect with me on social media: Instagram: @chloepufftraining & @riseradiopod WWW.CHLOEPUFFTRAINING.COM

This week we talk with attorney Jon Geffen about the remarkable law firm/education program he leads called The Legal Revolution. We talk about his journey towards starting this new type of practice, working with an underserved population, and finding brilliant legal minds in prison, on this week's Who The Folk?! Podcast.The Legal Revolution: https://www.allsquarempls.com/the-law-firm/aboutThis week's sponsor: Minneapolis Jewish Federation: https://www.youtube.com/@MJFOffical/videos 

In this inaugural episode of the Tango Tango podcast, proudly sponsored by Supply Chain Now, Scott Luton and Lloyd Knight kick off a new chapter in veteran storytelling by exploring the evolution from Veteran Voices to Tango Tango. The mission remains the same—amplifying veteran perspectives, experiences, and leadership—but the format and energy get a bold refresh.Lloyd shares his inspiring journey from a 20-year career in the U.S. Air Force to his current role leading veteran talent acquisition and retention at UPS, one of the largest veteran employers in the world. He reflects on how his experiences as a loadmaster, first sergeant, and logistics innovator shaped his leadership approach, both in service and in corporate America.The episode also digs into Lloyd's founding of VETLANTA, an award-winning collaboration hub uniting veteran-focused business resource groups across Atlanta, and the creation of his book and platform, Knight Work. Lloyd and Scott discuss the power of culture, community, and honest conversations—and why Lloyd chose “Tango Tango” as the perfect name for this new era in veteran advocacy media.Jump into the conversation:(00:00) Intro(01:38) Transitioning Veteran Voices to Tango Tango(14:58) Lloyd's military career(26:55) Transition to civilian life(35:16) Balancing career and personal life(35:34) Starting the Veterans Business Resource Group(36:12) Special assignments and awards(36:51) Current role in veteran talent acquisition(40:09) Founding VETLANTA(41:20) Challenges and successes of Vetlanta(51:07) Future plans and personal lifeAdditional Links & Resources:Connect with Lloyd Knight: https://www.linkedin.com/in/lloydknightLearn more about VETLANTA: https://vetlanta.orgCheck out Lloyd's book Knight Work on Amazon (re-release coming soon): https://www.amazon.com/Knight-Work-Unfinished-Journey-VETLANTA/dp/1662874464Learn more about Tango Tango: https://supplychainnow.com/program/tango-tangoLearn more about our hosts: https://supplychainnow.com/aboutThis episode was hosted by Scott Luton and Lloyd Knight and produced by Amanda Luton. For additional information, please visit our dedicated show page at: https://supplychainnow.com/introducing-tango-tango-real-talk-real-veterans-1tt1

This week on Mom Group Chat, we're flipping the script — and YOU are running the show!We opened up the floor for questions, and you delivered. From funny toddler moments to real talk about relationships and motherhood, we're answering it all.In this episode, we chat about: Dealing with milestones and not comparing yourself to others Who is the initiator in the bedroom How to get out of the roommate phase Have we ever kicked anyone out of the Mom Group Chat Facebook group? The craziest things our toddlers have cried aboutThis episode felt like one big group text with your best friends — no topic was off limits, and you better believe we kept it real.Thank you for sending in your questions — we had so much fun with this one and definitely want to do it again!Join the official Mom Group Chat Facebook group: MOM GROUP CHAT FACEBOOK GROUPKeep up with the Moms and join the conversation on our socials:

Send us a textIn this episode, I'm thrilled to announce the launch of my course Discover Your North Star! This isn't your typical antenatal course - it's designed to help you break free from fear-based narratives and step into your birth experience feeling empowered, calm, and fully aligned. Tune in as I share a comprehensive overview of the course, including what's inside, how it can transform your mindset, and why it's such a valuable investment for your birth preparation.What You'll Learn in This Episode:✨ The difference between a Birth Manifesto® and a Birth Plan - and why both are essential✨ The five core modules and two bonus modules designed to guide you through every step of mindset preparation for birth✨ How guided relaxations and affirmations are integrated into the course to ensure you stay grounded and supported✨ Why doing the inner work is so important - you only experience this birth once!✨ How you can access the introduction module for free to see what Discover Your North Star is all aboutThis episode is for anyone looking to build confidence, feel prepared, and own their birth journey. Whether you're already pregnant or just exploring your birth options, this course is a powerful tool to help you step into labour with clarity and empowerment.Special Offer: Join Discover Your North Star today for the special launch price of £45! Use the coupon code 'NORTH STAR' to apply the discount

For more join my free community and we can talk about this in there:Join Our Community:  https://www.skool.com/setthestandard/aboutThis episode focuses on the transformative power of microdosing psychedelics for setting and manifesting personal goals. Through sharing their journey, the host provides insights into the benefits of microdosing, the importance of journaling, and the supportive community created through shared intention-setting.• Sharing a personal experience with microdosing and vision board creation • Discussing the benefits of microdosing for clarity and focus • Emphasising the safety and accessibility of psilocybin • Exploring the collaborative energy in group microdosing settings • Setting measurable and actionable goals for 2025 • The importance of letting go of old beliefs and pressures • Encouraging holistic development across personal and professional aspects • Inviting listeners to participate in the exploration of microdosing and community support Apply here https://www.coreyboutwell.net/speaksoonJoin Our Community: https://www.skool.com/setthestandard/aboutFREE Mindset Webinar: https://www.coreyboutwell.com/dydpMake sure you listen to the podcasts all the way through to get your discount code.

Join my free community here: https://www.skool.com/setthestandard/aboutThis episode delves into the transformative power of breathwork and its role in healing, vulnerability, and masculinity. Samson shares his personal journey, addressing childhood wounds, the importance of emotional release, and the necessity of community in the healing process.• Discussing the vital role of breath in reconnecting with the present• Exploring the impact of parental separation and unresolved resentment• Understanding vulnerability as a source of strength for men• Highlighting the significance of community in the emotional healing journey• Emphasizing the inner child's role in shaping adult behavior• Encouraging listeners to engage with their emotions and reshape their narratives• Reinforcing the idea that purpose comes from self-acceptance and awareness of the now Apply here https://www.coreyboutwell.net/speaksoonJoin Our Community: https://www.skool.com/setthestandard/aboutFREE Mindset Webinar: https://www.coreyboutwell.com/dydpMake sure you listen to the podcasts all the way through to get your discount code.

Icebreakers. They're common in an improv class, at the top of a jam, or maybe when a team is just getting to know each other. Some people love them.Some people hate them.Some of us have a love/hate relationship depending on the day or the icebreaker in question.Many of the people who really dislike icebreakers are neurodivergent people, which is why such a seemingly simple thing is getting an episode. But many students, neurodivergent or not, need icebreakers to feel comfortable in the scenes that are in their near future when they're in a room with strangers (or near-strangers). They might not know they kinda need them, either. Icebreakers might be needed to make a room feel a bit safer, a bit more beneficial, a bit more comfortable.But some people, especially some of us neurodivergents with communication difficulties and differences and trauma history, feel uncomfortable doing them.So what now? References from episodeFind the written essay for this episode on NeurodiversityImprov.com.Your Voice - Neurodiversity SurveyPlease add your voice to this work! It's better for the wider community when there is more input.* Let me know what you have experienced as a neurodivergent improviser! Answer THREE QUESTIONS here!* Check out this week's survey about icebreakers here. Neurodiversity and Improv - Podcast & Articles is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber.Become a SupporterFollow this podcast for free anywhere you find podcasts or join as a subscriber (free) on this site, NeurodiversityImprov.com, or you can also choose one time support here (buy me a coffee button).Paid subscribers get access to the full written archive of articles. Going forward paid supporters will receive written versions of this content with some bonus references, the podcast will of course remain free. Nice!If written article access is something you'd particularly need to access and cannot financially afford, please let me know and I'll help.Your support of any kind directly helps this content exist and continue and supports newer diverse voices in improv! Thank you so very much!OR — If you enjoy this podcast, please consider leaving a review on Apple Podcasts!AboutThis podcast was created, and the episode was written, by Jen deHaan — an autistic + ADHD improviser.This episode was and produced by StereoForest.com. Join the free StereoForest newsletter for all improv podcast and show updates at members.stereoforest.com.This podcast is released every second week on Tuesday, on NeurodiversityImprov.com and wherever you find podcasts. Subscribe to the website for free newsletter updates.TranscriptButton near the podcast embed on the episode page, on Apple Podcasts, or on the episode page at StereoForest.Thanks for reading Neurodiversity and Improv - Podcast & Articles! This post is public so feel free to share it. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.neurodiversityimprov.com/subscribe

In part one of this episode series on emotions in improv, we looked at what alexithymia is, who experiences it and the variety of expression, and how it affects improv performers and the shared improv practice.This episode, part two, now explores some ideas of what students can do if they approach exercises with assigned emotions, and what teachers can do to make their classes and exercises more inclusive for those with alexithymia.References from episodeYou can find the written essay for this episode at NeurodiversityImprov.com here. I mention “emotion charts” (moods, feelings, etc) in the episode. This is what I mean (there are tons on the interwebs, here are just a couple): Example 1, Example 2. There are many out there that you can print out, or purchase a laminated poster of and so on. Your Voice - Neurodiversity SurveyPlease add your voice to this work! It's better for the wider community when there is more input.* Let me know what you have experienced as a neurodivergent improviser! Answer THREE QUESTIONS here!* This week's survey on alexithymia and emotions in improv here. Neurodiversity and Improv - Podcast & Articles is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber.Become a SupporterFollow this podcast for free anywhere you find podcasts or join as a subscriber (free) on this site, NeurodiversityImprov.com, or you can also choose one time support here (buy me a coffee button).Paid subscribers get access to the full written archive of articles, including the written essay for this episode. Going forward paid supporters will receive written versions of this content with some bonus references, the podcast will of course remain free. Nice!If written article access is something you'd particularly need to access and cannot financially afford, please let me know and I'll help.Your support of any kind directly helps this content exist and continue and supports newer diverse voices in improv! Thank you so very much!OR — If you enjoy this podcast, please consider leaving a review on Apple Podcasts!AboutThis podcast was created, and the episode was written, by Jen deHaan — an autistic + ADHD improviser.This episode was and produced by StereoForest.com. Join the free StereoForest newsletter for all improv podcast and show updates at members.stereoforest.com.This podcast is released every second week on Tuesday, on NeurodiversityImprov.com and wherever you find podcasts. Subscribe to the website for free newsletter updates.TranscriptButton near the podcast embed on the episode page, on Apple Podcasts, or on the episode page at StereoForest.Thanks for reading Neurodiversity and Improv - Podcast & Articles! This post is public so feel free to share it. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.neurodiversityimprov.com/subscribe

Alexithymia involves how a person identifies and experiences emotions, so it has a lot to do with an improv practice. Part one of this two part episode series explores what alexithymia is, how it affects improv, and suggests some ways to practice improv if you experience it. Part two, released in two weeks, covers some ideas of what students can do if they approach exercises with assigned emotions, and what teachers can do to make their classes and exercises more inclusive for those with alexithymia.References from episodeYou can find the written essay for this episode at NeurodiversityImprov.comI mentioned the “Notes” episode series in this episode, which might be helpful if you are initiating discussions with a coach or team about emotions in scenes and alexithymia. You can find those episodes here: * Getting & Giving Notes (part 1) - Ep #15* Getting Notes You Don't Understand (part 2) - Ep #16* Giving Notes to Students (part 3) - Ep #17Your Voice - Neurodiversity SurveyPlease add your voice to this work! It's better for the wider community when there is more input.* Let me know what you have experienced as a neurodivergent improviser! Answer THREE QUESTIONS here!* This week's survey on alexithymia and emotions in improv here. Neurodiversity and Improv - Podcast & Articles is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber.Become a SupporterFollow this podcast for free anywhere you find podcasts or join as a subscriber (free) on this site, NeurodiversityImprov.com, or you can also choose one time support here (buy me a coffee button).Paid subscribers get access to the full written archive of articles. Going forward paid supporters will receive written versions of this content with some bonus references, the podcast will of course remain free. Nice!If written article access is something you'd particularly need to access and cannot financially afford, please let me know and I'll help.Your support of any kind directly helps this content exist and continue and supports newer diverse voices in improv! Thank you so very much!OR — If you enjoy this podcast, please consider leaving a review on Apple Podcasts!AboutThis podcast was created, and the episode was written, by Jen deHaan — an autistic + ADHD improviser.This episode was and produced by StereoForest.com. Join the free StereoForest newsletter for all improv podcast and show updates at members.stereoforest.com.This podcast is released every second week on Tuesday, on NeurodiversityImprov.com and wherever you find podcasts. Subscribe to the website for free newsletter updates.TranscriptButton near the podcast embed on the episode page, on Apple Podcasts, or on the episode page at StereoForest.Thanks for reading Neurodiversity and Improv - Podcast & Articles! This post is public so feel free to share it. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.neurodiversityimprov.com/subscribe

2:00) Now Venezuelan (and Cuban) gangs loot oil fields and threaten workers (10:25) UN Summit of the FutureConsolidation of powerGlobal financial reorganization"Pact for the Future" and "Planetary Emergencies" to accelerate the Green Grift of Climate PanicParallel economy and society to fight this means LOCAL(36:23) News continuedNew facial recognition search engine to find any picture of you on the internet"Let them eat lentils" said Bloomberg in 2022.  Well, even lentils are going sky high with inflation like orange juice, eggs, meat, etcWheat has been messed up enough by BigAg, now FDA/USDA approve GMO wheatGMO Deceptively Re-Labelled as "Precision Bred" or "Gene-Edited".  Franken-food by any other name…People know what GMO is — and don't want it.  So governments are created a slight-of-hand-label "Gene-Edited" and/or "Precision Bred" to hide GMO.  What is the slight difference?(49:42) "DieselGate" Comes to Trial— After 9 years, they're still coming for VW's CEO who defrauded no one and harmed no one.  His crime was producing clean, efficient internal combustion engines that the US government wants to killFor the first time in VW's history, a factory in Germany will be shut downParis Climate Accord was created to shutter ALL European heavy manufacturing and transfer to China(55:24) "Economic Club of NY" Wants to Know What Trump Will Do for Child Care Do we want an efficient government?  What if government doesn't know its limits or its role?  Trump has a plan for TRILLIONS in additional revenue.  Where's it coming from? (1:06:23) IRS Has a New Program to Seize Assets WITHOUT AN AUDIT FIRST Bureaucracies do whatever they wish, especially the IRS, and Congress only gets involved to sometimes pull them back a little.  The IRS is now putting liens on people without even doing an audit.  Will it stand? (1:13:12) US Government — Cartel of Thieves Use the magic word "sanction" and claim that you can legally steal anything from any other country.  US steals Venezuela's presidential jet but Europe is buying more gas from Russia than US even with sanctions and destruction of Nord Stream pipelines (1:26:58) Miracle: Street Preacher Shot in Head & Comatose — Now Back to Normal The power of prayer.  The bullet is still in his brain(1:32:53) Supreme Court precedent from 1971 overturned (rightfully).  Yet the victor is still worried about the First Amendment as 7 courts followed SCOTUS precedent instead of the Constitution before this SCOTUS got it right. "I was the least likely person that I thought God would ever want to do anything with…but he does the most incredible things with idiots like me so imagine what he can do with you" (1:51:03) A Jurassic Park Opportunity? For over 20 years scientists have been trying to figure out how soft tissue in dinosaur bones could survive 60-200 MILLION YEARS.  Here's 2 theories.  Did they ever consider they got the date wrong? (2:05:04)  INTERVIEW The One Thing That Will Determine Election Gerald Celente, TrendsJournal.com, joins2024 a golden year (for gold)The elephant in the economy no one talks aboutThis one thing will determine whether Trump or Lala winsIsraeli protests — what Israelis want from NetanyahuOccupy Peace the end of the monthFind out more about the show and where you can watch it at TheDavidKnightShow.comIf you would like to support the show and our family please consider subscribing monthly here: SubscribeStar https://www.subscribestar.com/the-david-knight-showOr you can send a donation throughMail: David Knight POB 994 Kodak, TN 37764Zelle: @DavidKnightShow@protonmail.comCash App at: $davidknightshowBTC to: bc1qkuec29hkuye4xse9unh7nptvu3y9qmv24vanh7Money should have intrinsic value AND transactional privacy: Go to DavidKnight.gold for great deals on physical gold/silverFor 10% off Gerald Celente's prescient Trends Journal, go to TrendsJournal.com and enter the code KNIGHTBecome a supporter of this podcast: https://www.spreaker.com/podcast/the-david-knight-show--2653468/support.

Gerald Celente, TrendsJournal.com, joins2024 a golden year (for gold)The elephant in the economy no one talks aboutThis one thing will determine whether Trump or Lala winsIsraeli protests — what Israelis want from NetanyahuOccupy Peace the end of the monthFor 10% off Gerald Celente's prescient Trends Journal, go to TrendsJournal.com and enter the code KNIGHTFind out more about the show and where you can watch it at TheDavidKnightShow.comIf you would like to support the show and our family please consider subscribing monthly here: SubscribeStar https://www.subscribestar.com/the-david-knight-showOr you can send a donation throughMail: David Knight POB 994 Kodak, TN 37764Zelle: @DavidKnightShow@protonmail.comCash App at: $davidknightshowBTC to: bc1qkuec29hkuye4xse9unh7nptvu3y9qmv24vanh7Money should have intrinsic value AND transactional privacy: Go to DavidKnight.gold for great deals on physical gold/silverBecome a supporter of this podcast: https://www.spreaker.com/podcast/the-david-knight-show--2653468/support.

2:00) Now Venezuelan (and Cuban) gangs loot oil fields and threaten workers (10:25) UN Summit of the FutureConsolidation of powerGlobal financial reorganization"Pact for the Future" and "Planetary Emergencies" to accelerate the Green Grift of Climate PanicParallel economy and society to fight this means LOCAL(36:23) News continuedNew facial recognition search engine to find any picture of you on the internet"Let them eat lentils" said Bloomberg in 2022.  Well, even lentils are going sky high with inflation like orange juice, eggs, meat, etcWheat has been messed up enough by BigAg, now FDA/USDA approve GMO wheatGMO Deceptively Re-Labelled as "Precision Bred" or "Gene-Edited".  Franken-food by any other name…People know what GMO is — and don't want it.  So governments are created a slight-of-hand-label "Gene-Edited" and/or "Precision Bred" to hide GMO.  What is the slight difference?(49:42) "DieselGate" Comes to Trial— After 9 years, they're still coming for VW's CEO who defrauded no one and harmed no one.  His crime was producing clean, efficient internal combustion engines that the US government wants to killFor the first time in VW's history, a factory in Germany will be shut downParis Climate Accord was created to shutter ALL European heavy manufacturing and transfer to China(55:24) "Economic Club of NY" Wants to Know What Trump Will Do for Child Care Do we want an efficient government?  What if government doesn't know its limits or its role?  Trump has a plan for TRILLIONS in additional revenue.  Where's it coming from? (1:06:23) IRS Has a New Program to Seize Assets WITHOUT AN AUDIT FIRST Bureaucracies do whatever they wish, especially the IRS, and Congress only gets involved to sometimes pull them back a little.  The IRS is now putting liens on people without even doing an audit.  Will it stand? (1:13:12) US Government — Cartel of Thieves Use the magic word "sanction" and claim that you can legally steal anything from any other country.  US steals Venezuela's presidential jet but Europe is buying more gas from Russia than US even with sanctions and destruction of Nord Stream pipelines (1:26:58) Miracle: Street Preacher Shot in Head & Comatose — Now Back to Normal The power of prayer.  The bullet is still in his brain(1:32:53) Supreme Court precedent from 1971 overturned (rightfully).  Yet the victor is still worried about the First Amendment as 7 courts followed SCOTUS precedent instead of the Constitution before this SCOTUS got it right. "I was the least likely person that I thought God would ever want to do anything with…but he does the most incredible things with idiots like me so imagine what he can do with you" (1:51:03) A Jurassic Park Opportunity? For over 20 years scientists have been trying to figure out how soft tissue in dinosaur bones could survive 60-200 MILLION YEARS.  Here's 2 theories.  Did they ever consider they got the date wrong? (2:05:04)  INTERVIEW The One Thing That Will Determine Election Gerald Celente, TrendsJournal.com, joins2024 a golden year (for gold)The elephant in the economy no one talks aboutThis one thing will determine whether Trump or Lala winsIsraeli protests — what Israelis want from NetanyahuOccupy Peace the end of the monthFind out more about the show and where you can watch it at TheDavidKnightShow.comIf you would like to support the show and our family please consider subscribing monthly here: SubscribeStar https://www.subscribestar.com/the-david-knight-showOr you can send a donation throughMail: David Knight POB 994 Kodak, TN 37764Zelle: @DavidKnightShow@protonmail.comCash App at: $davidknightshowBTC to: bc1qkuec29hkuye4xse9unh7nptvu3y9qmv24vanh7Money should have intrinsic value AND transactional privacy: Go to DavidKnight.gold for great deals on physical gold/silverFor 10% off Gerald Celente's prescient Trends Journal, go to TrendsJournal.com and enter the code KNIGHTBecome a supporter of this podcast: https://www.spreaker.com/podcast/the-real-david-knight-show--5282736/support.

Gerald Celente, TrendsJournal.com, joins2024 a golden year (for gold)The elephant in the economy no one talks aboutThis one thing will determine whether Trump or Lala winsIsraeli protests — what Israelis want from NetanyahuOccupy Peace the end of the monthFor 10% off Gerald Celente's prescient Trends Journal, go to TrendsJournal.com and enter the code KNIGHTFind out more about the show and where you can watch it at TheDavidKnightShow.comIf you would like to support the show and our family please consider subscribing monthly here: SubscribeStar https://www.subscribestar.com/the-david-knight-showOr you can send a donation throughMail: David Knight POB 994 Kodak, TN 37764Zelle: @DavidKnightShow@protonmail.comCash App at: $davidknightshowBTC to: bc1qkuec29hkuye4xse9unh7nptvu3y9qmv24vanh7Money should have intrinsic value AND transactional privacy: Go to DavidKnight.gold for great deals on physical gold/silverBecome a supporter of this podcast: https://www.spreaker.com/podcast/the-real-david-knight-show--5282736/support.

In this episode, we are talking about all the things about thin soles:causesdietenvironmenttreatmentbalancethings to talk to your farrier aboutThis show is sponsored by VISUM LIGHTCombining Light and Frequency Therapy in handheld or wearable technology for your horse!Learn more here: https://visumlight.com/vl/Audreychristie/This show is sponsored by Paddock BladeGet free shipping and $100 off with code EQM100Learn more & shop Paddock Blade today - paddockblade.com '' See Paddock Blade in action here -https://youtu.be/qFFI2D642jU?si=IeKr01SizNMGMHkZFind the Resource List Here: linktr.ee/equineenergymedFind the Resource List Here: linktr.ee/equineenergymed Find the Resource List Here: linktr.ee/equineenergymed

As journalist Jaan Uhelski writes in the Wildflowers and All the Rest liner notes, “If Wildflowers is an album about taking stock of one's life, “Only a Broken Heart” is a watershed moment on that excavation of self.” Everything about the way the final album version of this song is arranged and produced caters toward that excavation. The busyness of the piano and bass in the alternative version is stripped out and the harmonica lead from the demo is also abandoned in favour of allowing those double-tracked vocals take the weight of the lyrics and drop them in your lap. Coming between the titanic It's Good to Be King and Honey Bee, this song could easily have become a little lost or overwhelmed but I think that, outro aside, the production choices on this song ensure that it holds its place as a sonic rest period and an eerie, forlorn interlude that acts as that “watershed” moment that Jaan Uhelski talks aboutThis episode includes a conversation with my very good friend and musical mentor, Randy Woods!To listen to the song, check out the official lyric video here: https://youtu.be/9-9k5hELSlwTo listen to the home demo version, go here: https://youtu.be/t1Tk12Pz9PAAnd to listen to the alternate version on the Finding Wildflowers release, go here: https://youtu.be/DTrLCZStfA8Don't forget to follow me on social media, like, subscribe, and please, leave a rating if you like the show.Facebook: https://www.facebook.com/thetompettyprojectTwitter: https://twitter.com/TomPettyProjectInstagram: https://www.instagram.com/thetompettyproject/YouTube: https://www.youtube.com/@thetompettyprojectAll music other than the piano version of Wildflowers, including the theme song, provided by my very best friend Randy Woods. Check him out at https://www.randywoodsband.comThe Tom Petty Project is not affiliated with the Tom Petty estate in any way and when you're looking for Tom's music, please visit the official YouTube channel first and go to tompetty.com for official merchandise.A last very special thanks to Paul Zollo. Without his book, "Conversations with Tom Petty", this podcast wouldn't be nearly as much fun to research. And further thanks to Warren Zanes for his outstanding book "Petty, the Biography".Producer: Kevin BrownExecutive Producer: Paul RobertsSupport this show http://supporter.acast.com/the-tom-petty-project. Hosted on Acast. See acast.com/privacy for more information.

Movie of the Year: 1984Indiana Jones and the Temple of DoomMovie of the Year: 1984Indiana Jones and the Temple of Doom In the riveting "Movie of the Year: 1984" episode, the focus turns to Indiana Jones and the Temple of Doom, a film that left an indelible mark on the adventure genre. This episode features special guests Melinda Clarke and CG Mirich from the popular podcast "Beyond the OC," who bring their unique insights and infectious enthusiasm to the discussion. With an audience of movie lovers and fans of "The OC" in mind, this episode is both informative and engaging, shedding new light on a classic film.Make sure to check out Beyond the OC, featuring guests Melinda Clarke and CG Mirich!AboutThis spinoff podcast is your ultimate fan destination! "Beyond The OC" isn't just about rehashing the past; it's about celebrating it in new ways! My co-host and daughter, CG and I will not only be reminiscing about the show, but we're also inviting YOU to join us in shaping the content. Ever felt like a scene or moment deserved more attention? We're here to explore those hidden gems suggested by fans like you. It's a community-driven journey into the heart of the series! To start we are going to count down your favorite top 50 eps and along the way we will be bringing back some of your favorite OC stars and others to find out what they have been up to Beyond the OC. Please go to the link, https://docs.google.com/forms/d/1qVyZ6NukRxCPqrPpmnVN8LJTJUr6CSkF51ayjOGkgGA/edit or email us at beyondtheocpodcast@gmail.com and vote for your favorite episodes! The Genre and Cinematic Appeal of Indiana Jones and the Temple of DoomIndiana Jones and the Temple of Doom is a quintessential action-adventure film directed by Steven Spielberg, released in 1984 as the second installment in the Indiana Jones series. The film combines elements of action, adventure, and fantasy, creating a genre-blending experience that keeps viewers on the edge of their seats.In the podcast episode, the Taste Buds delve into the film's genre, exploring how Spielberg masterfully weaves intense action sequences with moments of humor and suspense. They discuss the film's high-energy pacing and the iconic score by John Williams, which amplifies the thrilling atmosphere. The hosts highlight how the film's genre allows it to transport audiences into a world of fascinating locations, perilous situations, and heroic feats, making it a standout in the adventure genre.The Chemistry of Harrison Ford and Kate CapshawA highlight of Indiana Jones and the Temple of Doom is the palpable chemistry between Harrison Ford and Kate Capshaw. Ford returns as the intrepid archaeologist Indiana Jones, bringing his signature charm and ruggedness to the role. Capshaw stars as Willie Scott, a nightclub singer who becomes an unlikely and often reluctant companion on Jones's journey.The Taste Buds provide an in-depth analysis of the dynamic between Ford and Capshaw, noting how their on-screen relationship adds both humor and tension to the film. They recount memorable scenes that showcase their chemistry, such as the chaotic mine cart chase and the comedic moments of bickering and banter. The hosts also touch on the real-life romance between Spielberg and Capshaw, which began during the filming, adding an extra layer of intrigue to their professional...

Hindsight helps us realize a situation wasn't as big of a deal as we thought, but when we're in the thick of it, it's hard not to cry. In this episode, Chloe talks about how she managed to laugh during a disastrous day, and we talk about keeping things in perspective. Mentions:5 Ways to Laugh Instead of CryAll Pro Dad Podcast Ep. 8: What Are 7 Things A Son Needs From His Dad?Folex - the miracle cleaning solution Megan and Susan talked aboutThis episode's show notes can also be viewed here on iMOM.com.Follow us: Instagram | Facebook | Pinterest | XSubscribe to the iMOM Minute and get daily motherhood ideas, insight, and inspiration sent to your inbox.

This week I'm joined by Roy Arthur Blodgett. Roy co-hosts the Project Herpeteculture podcast and in this episode we discuss some controversial issues in the greater herp community including peer pressure, and what constitutes a reliable information source. We also discuss Roy's museum quality vivarium builds, his Pilotes sulphureus and  Xenodon pulcher projects, his podcast, and we pose the question, Is herpeteculture an art or a science? To learn more about Roy's Work Visit:https://www.wellspringherpetoculture.com/And be sure to subscribe to Project Herpeteculture on all podcast platforms, YouTube and social media https://www.projectherp.com/aboutThis week's episode is sponsored by the frog breeder merch store, https://the-frog-breeder-merch.myspreadshop.com/  Exo-Terra is a proud sponsor of this week's show. Visit exo-terra.com or your local dealer for all your reptile and amphibian needs.To Support the Podcast, for merch, and vivarium discounts please visit: https://linktr.ee/AmphibiCast

In this episode, Will Glaser, Founder and CEO of Grabango and a board member of Blue Shield of California, joins us for a fascinating chat about technology and retail. Will discusses his journey from pioneering music streaming as the Founder of Pandora Media to revolutionizing the retail experience with Grabango's cutting-edge technology. Key Takeaways:(05:12) The genesis of Grabango and its mission to transform the retail checkout process.(11:30) The technical challenges and breakthroughs in implementing computer vision in retail.(17:45) The accuracy and reliability of Grabango's technology in various retail environments.(22:50) The importance of privacy in retail technology and how Grabango addresses these concerns.(31:05) Creating Pandora's Music Genome Project and its influence on current ventures.(40:15) The future of retail technology and the evolving consumer experience.(48:20) The balance between innovation and ethical considerations in tech development.Resources Mentioned:Will Glaser -https://www.linkedin.com/in/willglaser/Grabango | LinkedIn -https://www.linkedin.com/company/grabango/Grabango | Website -https://www.grabango.com/Blue Shield of California | LinkedIn -https://www.linkedin.com/company/blue-shield-of-california/Blue Shield of California | Website -https://www.blueshieldca.com/en/homePandora Media | LinkedIn -https://www.linkedin.com/company/pandora/Pandora Media | Website -https://www.pandora.com/aboutThis episode is brought to you by Content Allies.Content Allies helps B2B tech companies launch revenue-generating podcasts and build relationships that drive revenue through podcast networking. We schedule interviews with your ideal prospects and strategic partners so that you can build relationships and grow your business. You show up and have conversations, we handle everything else. Learn more at ContentAllies.com #B2B #BusinessLeaders #Leadership

Dr. Stu checks in with Blyss from teaching and enjoying Ireland and they are joined by Vedic Meditation Teacher, Doula and Mom, Patti Quintero to discuss the great necessity of mind and soul maintenance and the expansion of self in a world of stress.We traverse the globe from Ireland to New York, then Los Angeles, discussing cultural nuances around birth choices and the shockingly high C-section and intervention rates in different countries.Our guest Patti explores the power of expanded consciousness beyond thoughts and how this practice can improve our lives. We delve into the profound effects meditation can have on parenting, helping us transition to motherhood, manage stress, reduce inflammation, and cultivate a wider range of perception. We conclude with an introspective look at the concept of premature cognitive commitments and how past experiences influence our present behavior. Tune in for an enlightening ride through birth choices, meditation, prenatal yoga, and more.Key highlights:Benefits of Meditation for BirthExploring Meditation and ConsciousnessVedic Meditation and Its BenefitsExpanding Consciousness Beyond ThoughtsMeditation's Power for Parenting and LifeEpisode resources:Umamother.comAbout Patti Quintero:Patti Quintero is a mother of two, a birth doula, a global educator of Yoga for over 20 years and a Vedic Meditation teacher.She is the founder of UMA MOTHER whose focus is on elevating & expanding mother's consciousness through Meditation, Yoga, Community and Education via her UMA class app, workshops and retreats.Uma Mother was born through Patti's personal journey through pregnancy into motherhood. These essential practices that nurture presence, vitality, adaptability and access to a source of inner guidance, became an invaluable foundation. Since then she has curated pre&postnatal yoga trainings in both english and spanish, worked as a doula and child birth educator, spearheaded philanthropic projects for underserved mothers, and served as a community leader to hundreds over the years.Full bio: umamother.com/aboutThis show is supported by:LMNT | Go to drinklmnt.com/birthinginstincts to get a free sample pack with every orderNeeded | Use code BIRTHINGINSTINCTS for 20% off your first month or first 3 months of a one-month subscription at thisisneeded.com.BIRTHFIT | Go to birthfit.com and use the code INSTINCTS1 for a discount on the Basics Prenatal program, or INSTINCTS2 for a discount on the Basics Postpartum program.Connect with Dr. Stu & Blyss:Instagram: @birthinginstincts / @birthingblyssWebsite: birthinginstincts.com / birthingblyss.comEmail: birthinginstinctspodcast@gmail.com Call-in line: 805-399-0439Podcast webpage: birthinginstinctspodcast.com

On this week's episode, Writer/Executive Producer Alex Berger (Blindspot, Glen Martin D.D.S, Quantum Leap, and many many more) talks about his writing career, thoughts on breaking into the industry as well as his experiences taking a "Showrunners Course" through the studios.STORY NOTESAlex Berger on IMDB: https://www.imdb.com/name/nm1584238/Alex Berger on Twitter: https://twitter.com/alexbergerla?lang=enFree Writing Webinar - https://michaeljamin.com/op/webinar-registration/Michael's Online Screenwriting Course - https://michaeljamin.com/courseFree Screenwriting Lesson - https://michaeljamin.com/freeJoin My Watchlist - https://michaeljamin.com/watchlistAUTOGENERATED TRANSCRIPTAlex Berger:They said, when you're interviewing a director, ask if you're the showrunner and you're interviewing somebody who's coming in to do an episode of your show, ask the director, do you cook? And if so, are you a person who uses a recipe or do you like to improvise? And there's no right answer to that, right? But if you cook and you're the person who is going to measure out the exact number of grams of flour and the exact number of grams of sugar, that's kind of how you're going to approach directing. If you're going to come in with a shot list, you're going to be going to stay on time. You're going to make sure that you move the set along. And if you're the person who likes to kind throw a little salt to throw a little sugar, you might be a little more improvisational on say you might be a little more, more. There's little things like that that you're going to how to dig in on this with those. NowMichael Jamin:You're listening to Screenwriters Need to Hear This with Michael Jamin.Hey everyone. Welcome back to Screenwriters. Need to hear this. Michael Jamin here. I have another wonderful guest today and this guest, we're going to talk about drama writing because he works primarily in drama and his story is fascinating how he broke in. And we're going to get to please welcome Mr. Alex Berger and he's worked on Alex. Let me introduce people to some of your amazing credits here and you can fill in in, I'm just going to go for some of the highlights. Well, I know you did Kil, you co-created Glen Martin d d s, which is the show. My partner ran Covert Affairs, the Assets Franklin and Bash the Mentalist Blind Spot. And currently you are a writer on Quantum Leap, so you got a lot of drama. Burger. Welcome, welcome to the podcast.Alex Berger:Thank you so much for having me. It's, it's good to be here. I've been enjoying listening to it.Michael Jamin:Oh man, I'm so happy you're doing this. Let's talk. Let's start from the beginning because I think it was so interesting about your background. So many people say, how do I get a showrunner attached to sell my show? And you kind of sold your show, your show, Glen Martin, d d s. You were pretty new to the scene and then you got a show on the air without much experience. So how did that happen?Alex Berger:Yeah, I'd been out here for probably five or six years and I'd had a couple of staff jobs. I'd had a job doing a sort of comedy variety show before that. That was a very sort of small potatoes thing. But that came about because Steve Cohen Cohen, who I know you've talked about before, was a friend of mine and had mentioned this idea that Michael Eisner had for a long time about a family who traveled the country in an rv and they had writers attached for a long time. Tim and Eric of Tim and Eric Show were attached to write the thing.Michael Jamin:I didn't know any of this.Alex Berger:They got a 60 episode order on their other show, and so they had to back out. And so Steve would come in and pitch a take. So I came in and I pitched a take, and Michael Eisner, who had just left basically running Hollywood, he was running, Disney had just started a company, and he had just had larynx surgery, so he couldn't talk. So every time I pitched something, he had to write his response on a computer, which was fun, but a little challenging.Michael Jamin:But what was the idea, how much, when you pitched your take, what did they give you?Alex Berger:He had said Family lives in an rv. Basically it travels the country and animation. And he had more than that. I mean, it is been almost 20 years, so I've forgotten. But he definitely had a real idea. He'd had this idea for 30 or 40 years that he'd wanted to do over the years at Disney and he wasn't able to do it. So he had a pretty formed idea of what he wanted the show to be. ButMichael Jamin:Was it dentist you came up with that throughAlex Berger:Development? I mean, that was sort of like Steve and I, Steve became sort of a, and it was almost like an incubator instead of a typical situation in which I would come in and pitch a show, he kind of brainstormed with me and created the ideas with me, and we kind of toyed with a couple of different versions of it and came up with the idea of him being, why is he on the road and what's he driving in? And came up with the idea of a dentist that was in his mobile dentistry unit and sort of built some of the characters around that. And it kind of kept getting added to,Michael Jamin:Because all that stuff became comedy gold throughout the seasons. We were like, what kind of idiot has a dental car? Who does he think, what kind of clients? How does that work? And it all became fodder for the show,Alex Berger:For the circus at one point. And it was doing dental work on animals, if I remember correctly. But it was definitely, I didn't think I'd seen that before. So that was kind of one of the things that was fun to explore.Michael Jamin:And so you came up with all the, well, at least the dynamics for the characters, because what I remember, we watched the, I dunno if it was a pilot or presentation that you saw, but yeah, the characters you invented were funny. You had the dumb kid, he had the daughter and she had an assistant, which we hadn't seen that before.Alex Berger:It was definitely even more than other experiences I've had in development, very much a team effort. And then we had sort of come up with a script, and then I think you had Eric Fogle on the show before, and Eric came on and was also sort of added his vision both in terms of look and feel and tone and story, and was digging in with us. And then Michael on his own, paid for an eight minute pilot presentation. So they made an eight minute stop motion, basically the first act of the show. And he took it downtown and took it everywhere. And we ended up setting it up at Nick at night with this 20 episode order. And I think that's when you guys sort of made the picture, right?Michael Jamin:So you started, I'm curious. It's funny how I never even asked you about this. So at that point you had to meet showrunners for a show you created, which we're going to talk about a second. Did you meet a lot of showrunners?Alex Berger:I met none of the showrunners. I met you guys after you'd been hired.Michael Jamin:Oh, really? I wonder how many they had. SoAlex Berger:The tote system was, they wanted to sort of make that decision. And so they met with showrunners and had decided they were very much immediately captivated by you guys and were really excited about, and I don't think it was a pretty quick decision. And then they had me come to meet you guys.Michael Jamin:Now the thing is, I imagine you were very easy to work with and to your great credit, I always felt like you just turned over the keys and it was like, okay, here you go. And it was never an ego thing if you, but was it difficult though for you?Alex Berger:I mean, I can give you the answer that I was thinking at the time, and I can give you the answer that I have in retrospect. I think at the time I felt like, I don't know. It's a good question. Let me give you the answer in retrospect first, which is in retrospect, I know that I was inexperienced to know, especially about comedy writing a lot and certainly about running a show. I think at the time I was very happy for you guys to come in and run it. And exactly as you said, take the keys. I think that I felt intimidated because it was a room full of really seasoned comedy writers. I knew I was one of the least experienced writers on the show, and yet my name was on the show. So it was a kind of a weird game. It's not like a typical situation in which a more experienced writer comes in, but they've never run a show.So they pair them with a show runner and then they're really a triumvirate or something. I definitely felt like experience wise and sort of comedy chops wise, I was with folks who'd broken 2, 3, 400 episodes of cool sitcoms that I really admired. So I felt like I wanted to contribute from a character and comedy perspective as much as I could, but I also felt like I was learning on the fly that I had my name on. So it was definitely tricky to sort of figure that out. But you guys were great about never feeling like you were stepping on toes, and you always would consult with me, especially at the beginning, but it was very clear that it was your show, but it was also that you wanted me to sort be on board with what we were doing.Michael Jamin:And I mean, it was a fun room. I mean, maybe I shouldn't speak for you. I thought it was a fun room. Yeah,Alex Berger:Yeah, it was great. I mean, it was like I'd never been in a sitcom room before. I mean, I've been in a couple of drama rooms as an assistant and a writer, and those rooms are more buttoned up and a little more like, let's come in at 10 and start talking about the story at 10 15. And there's definitely bits and sort of digressions, but a comedy room has a certain energy that you can't replicate. And it was really fun to be in that room. And I've been in rooms that are a little bit like that since, but never anything that was, I laughed quite so much, just had it.Michael Jamin:I was going to ask you about that, right? I haven't worked in any, we've done dark comedy, but never drama. And so I'm curious, you've done a lot of drama. So are the rooms, are they really what you're saying? Are they buttoned up? Are they sur because it's still a creative shop?Alex Berger:It's fun. I would say this is based on a very small sample size of my two years in Glen Martin. And then just listening to comedy writers talk, I think comedy writers find the genius through procrastination. I think that it takes the tangent sometimes to get you to the gold. And I know you guys, especially more than other comedy writers I've known, were very focused on story structure. I know from your time with Greg Daniels and Seaver had bought a book at the mall,And it was very important to you that the story felt like it had load-bearing walls, but it did feel like more free flowing and there were room bits and there was a whole sitcom inside that room of three characters, both people in the room and people we were looking out the window at. So that's definitely different than other shows I've been on, other shows I've been on, it's a little more like, all right, let's get to work. And especially these days with room hours have gotten shorter and so on less. And I've been in Zoom rooms for the last couple of years, so it's even less of a roomMichael Jamin:Basic. Oh, so gotten, haven't gotten, your last rooms haven't been in person either. YouAlex Berger:Haven't? Yeah, I've been in three Zoom rooms since the pandemic.Michael Jamin:It's funny you mentioned because comedy rooms have room bits and our offices were on Beverly Hills and Big glamorous street in Beverly Hills. We would look out the window, and you're right, we would create stories when we weren't making stories for the tv, we were making stories for the regular characters that we would see outside our windows.Alex Berger:Yeah, I mean truly. I know you had Brian and Steve and a couple of other people from the show on. I have not laughed that hard in a room.It was a blast. And I also think there's value to it creatively. It's not wasted time. I think it's just a different way of getting to the process. I remember hearing once of, I can't remember which one, it was a Simpsons writer who would be on draft. He had two weeks to write his draft, and he would past around the fox lot for 12 days and then write the draft in the last two days. And someone asked him, why don't you just write the draft for the first two days and then be done? And he said, because I need those 12 days of pacing to get me to the last two days. And I think copywriter are more prone to that kind of way of thinking. I think.Michael Jamin:See, see, I don't remember that way always. I always get nervous when that story's not broken. I always want to crack the whip seavers more. Like that's, but to me, I was always,Alex Berger:When you were in the room, it was more like, let's stay on story. And when see, it was a little more. And then when you guys were both out of the room, it was even more free flowing, which is not to say that all of the eps weren't trying to keep us on story, but its like it's was a silly show about silly characters and absurd, every premise of every episode had a massive degree of absurdity to it. And so you wouldn't be too serious in a room like that, or you wouldn't be ready to make that kind of show. I mean, at least that was my take on it.Michael Jamin:I would describe that as a writer's show. It was always about what made us laugh and not the 15 year old kids who shouldn't be watching or the 10 year old kids. I knowAlex Berger:It was either Brian or Steve who said it was a show with a demographic of nobody.Michael Jamin:Yeah,Alex Berger:The demographic of the 15 people in that room for sure. We all really enjoyed watch them. They're all really funny. They'reMichael Jamin:Funny.Alex Berger:It was on the wrong network.Michael Jamin:Oh, for sure. Steve and I were horsing around procrastinating on some work we were doing, and for some reason we stumbled on, maybe it was some guy's YouTube channel where he was talking about Glen Martin and this guy nailed it. It was like he was in the room. I don't know how he knew every, it seemed like he knew where we messed up. He knew where we got it. Right. I was justAlex Berger:Amazed. I saw that video and I was like, I can't believe somebody watched the show. I thought that literally, I could not imagine that this guy was that deep into the show.Michael Jamin:Oh no. I get a lot of comments on social media like, oh my God, you ruined my childhood. Really? Like you gave me nightmares.Alex Berger:My wife's cousin is like 25 or 26, and he's dating a girl. And on the second date, he asked her what your favorite shows are. And the second show she said was Glen Martin, d d s. And when he said, oh, my wife's cousin wrote that show, she was instantly smid with him. She gave him so much gr.Michael Jamin:Oh, that's so funny. I mean, it was a wild show, man. Too bad. That was a shame. We were going to spin it off too. We all, oh yeah,Alex Berger:Stone spin off right behind. OhMichael Jamin:Yeah, there you go.Alex Berger:The Drake Stone. Yeah,Michael Jamin:All my dolls. Yeah. As soon as they went under, they go here. Here take some. You must have some dolls, right? They give you some dolls. I haveAlex Berger:Alen Martin Puppet and an Alex Burger puppet, and my kids constantly want to play with them and I won't let them.Michael Jamin:Who were you in the show? I don't remember what kind.Alex Berger:I think I was a Greek God carrying somebody at some point in some fantasy sequence and they would reuse the puppets. That was what was so funny. So I think that was one thing, and then they reused me as another thing.Michael Jamin:And did you ever get out to Toronto to see theAlex Berger:No. Did you go upMichael Jamin:There? Oh yeah. We went once and Fogel and I had a very romantic dinner together on top of the Toronto Space Needle or whatever they call that. I sawAlex Berger:Them shooting the pilot presentation, which they shy in New York. It was incredibly cool, but just I've always found set to be tedious in general, but I can't imagine how tedious it must be to do stop motion.Michael Jamin:Do you go, oh, I think they wanted to poke their eyes out, but do you go on set a lot for dramas? Yeah. Is it just your episode or what?Alex Berger:Depends on the show. I did this show called Blind Spot for five years, and basically we would have a writer on set for every episode and we would try to make it your episode, but oftentimes it was the writer who wrote the episode had a baby and is on maternity leave or they can't go to New York at this time or if they went to New York and they wouldn't be back in LA for the breaking of their next episode. So we tried to shuffle it around a little bit and it's trickier when it's out of town. You've got to make people have life that they've got to plan around. But you're going for three and a half weeks to New York.Michael Jamin:Are most of your show shot out of town?Alex Berger:It's been mixed Quantum Leap, which is the show I'm on now is Shot Year on the Universe a lot. Blind Spot was New York Covert Affairs, which I went to a lot of episodes for, was in Toronto, which was a lot of fun. And then I've had a couple Franklin, imagine the Mentalists were LA and it's been sort of a mix.Michael Jamin:How many day shoots are most of your shows? Dramas?Alex Berger:It depends on the budget of the show. Blind Spots started as nine and then was eight and a half and some tandem days and by the end was eight. They keep pulling money budget every year. Quantum Leap I think is eight.Michael Jamin:Interesting. And then what do you, as a writer on set for comedy when on set, it's like, I want to make sure they're playing the comedy right, making jokes, but what are you looking for that the director isn't covering?Alex Berger:Well, first of all, it's a lot of times if you have a great director, it's a team effort. So the director is obviously in charge of the set, but if you have a director who's collaborative, they're asking you, do you feel like that works? Or which take do you feel like was better? It's blocking work for you and your main job is just to make sure that you're the protector of the script and a protector of the story. And it's not like, excuse me, you didn't say the word there. Although there a Sorkin set, they will keep you word perfect, but it's more like, actually, I know you want to change that line. It doesn't feel comfortable in your mouth, but it's really important that you say this. It's going to set something up that we're doing in three episodes, or Hey, just so you know, when you're saying this to this character, you're actually lying and you're going to be revealed to be.It's a lot of making sure that everybody knows the episode up to the episodes we're leading to. And then, yeah, there's still a lot of shows I've worked on have a fair amount of comedy. So you're still making sure jokes, land and actors, this doesn't feel comfortable in my mouth. Do you mind if I say it like this? Or if you work with an actor who wants to have a little bit and wants to assert a line, sometimes I need to be the one to say, okay, well then that means that this person needs to say this line after to keep a joke going.Michael Jamin:Right? Right. It's interesting, and especially when scenes are shot out of order, it is easy for actors to lose track of where they are in the story. So that is theAlex Berger:Part I really like is Prep, because I've worked on a lot of big shows, big action shows and into you fly to New York with your script in hand and you're so excited. And then the first thing that the line producer tells you every single time is, we're $400,000 over budget. Before you even say hello. The fun part to me is the puzzle of how do you protect the story with the constraints of we can't shoot this in nine days. I've walked into episodes that were supposed to be seven day shoots, and the board came out and it was 10 days. And so you've got to figure out, okay, we can move this back into the house so we can take this care, we can do this here. And actually the shootout that happens after the bank robbery, maybe that happens off screen, stuff like that.Michael Jamin:So are you doing a lot of rewriting on set then?Alex Berger:It's usually in prep.Michael Jamin:Okay. In prep,Alex Berger:By the time you're on set in a drama, you're pretty close to set to go unless something changes or an actor nowadays, if an actor gets covid, then all of a sudden you're taking that actor out of the scene and rewriting the scenes and why are they, that kind of thing.Michael Jamin:And then are your showrunners ever on any of these shows ever on set? Or are they always sending proxies? Yeah, itAlex Berger:Depends. It depends on the show. So typically on the shows that I've been on, the showrunner, the showrunner was there for the pilot. They're usually going to go for 1 0 2 just to, it's been four months and they want to reestablish a tone and kind of be a leader, and then they'll try to pop in and out a bunch during the year so that it's not like they're just coming when there's a problem. And then when the show's in la, the showrunner will usually try to pop by after set, especially if before the Zoom Room thing, the writer's room would wrap at seven, the production's still going, so they usually come for the last couple scenes, something like that.Michael Jamin:How many writers are there usually on these hour shows?Alex Berger:I mean, I'm curious to hear what your answer is for comedy too, because it's really shrinking in the beginning. I mean, Glen Martin was what, 10, 12, something like that, including if you're Partners is too, and then it's gotten down to 10 and then eight. And then I think Quantum Leap were about 10, which is a big staff, but the Netflix show I just worked on was six. The show, the Assets that I did, which was a limited series was five. And this is a lot of big issues of the strike is these rooms are getting too small. What are the root comedy rooms like now? Because I know there's been, it's like sometimes it's like 25 people in a roomMichael Jamin:Well, on animation, but I think those days are kind of overAlex Berger:Or big network sitcoms aren't there.Michael Jamin:I don't think they're that big. I don't think there aren't big network sitcoms anymore, but I don't think, I mean it was never,Alex Berger:What was the Tacoma room?Michael Jamin:Oh, it's probably eight or so. But that's a small cable show,Alex Berger:But they're all small. I think they're all like that now. Even the network comedies, unless you're Abbott, they're all 13 or eight orMichael Jamin:Yeah, I think even just shoot me back in. This was in the day, I want to say maybe 10 or 12 times. Oh really? That's it. Yeah. Yeah, Roseanne. Roseanne was famously Big. Fred had a big staff, but that was Roseanne. It was a giant show.Alex Berger:And The Simpsons, I know there's these shows that have the two, I mean the drama rooms, there's a bunch of writers who having a big staff and then they like to split the room in two and break two episodes at the same time. A lot of showrunners actually want a small staff and hate having too many voices. I like a big room. I like eight to 10 people because you're always in a drama room, especially you've always got one writer on set, two writers on draft sometimes set, so there's three or four people gone every single day. So your room thins out real fast, and I think you need at least five people to break a story.Michael Jamin:Oh yeah. Now the thing is, you're a funny guy. You have a good sense of humor. You started in comedy, but do you miss at all comedy or do you feel I'm a fish in water with drama?Alex Berger:Yeah, I was in over my head in comedy, I be the guy who can do a little bit of comedy on a drama staff than that guy in a comedy room who's mostly focused on story. I mean, I felt like, obviously I wrote Pilot and I felt like I had a voice on that show, but it was clear to me that this was not the type of show that I was going to be thriving at. I really enjoyed it, but it was like just comedy wasn't my thing. I love writing on a Funny One Hour, Franklin and Bash, which was a legal show, was essentially a comedy that had the stakes of a drama, but the tone of a comedy. And I love because I like being able to go to the serious scene to have the emotional he, to not have to have a joke at the end of every scene. And then I've written some pilots and stuff that have a fair amount of comedy, but I always want, and I've written half hour dramas. It's just I want the pressure of three jokes a page and beating a joke and beating a joke and beating a joke. It just wasn't my pace.Michael Jamin:Well, I got to say, I think it was probably the last script you wrote was you and Pava teamed up to write a Christmas episode. Oh yeah. And you guys crushed it. I remember coming back, you guys turned it in, whatever you guys did together, were like, you guys, you're going to do this together. Probably because PA wanted to write a musical. I was like, Papa, I'm not writing a musical. And he probably did, but you guys turned in a great draft. And I was like, if that show had gone, I'd be like, I remember thinking, well, these guys are going to be stuck in a room together for a long time. Because yeah,Alex Berger:That was a lot of fun. That was a lot of fun. And it's funny, I want to show my kids the show. They're really young and there's not a lot of episodes that are appropriate for little, that one's pretty tame. That one's pretty tame. We did a rom-com parody sort, the Wedding planner parody, and then we did a, what was it? I forget the other ones. It was a lot of fun.Michael Jamin:Oh yeah. What is nutty stuff? So now the dramas, I'm sorry. When you go off to write your own pilots, when you're developing your own, is there a unifying theme tone that you like to pitch? Yeah,Alex Berger:I would say two things. One is fun. I don't want to write some things super dark. I don't want to write. I like watching shows like that. I watch Last Of Us and The Leftovers and a lot of shows that are real bleak and I really enjoy them. But when I'm living in the world for 12 hours a day, for eight years, I want it to be fun. I want to have a certain amount of lightness to it and sort of levity to it, which is not to say it has to be a comedy, it can still be a drama. There just needs to be something fun about it. And even when I'm writing on a show like Quantum Leap, we've had episodes that are really serious, but the ones that I do, I try to make them, I did an airplane hijacking episode, but I tried to make it fun and sort of like an eighties action movie. And then the other thing I would say is sort of optimism. I try to write something that makes you think that the world is going to be a better place. I've written a lot of political shows and politics is pretty dark these days. One, my take is sort of, but if we do this, we can all get through it. None of those have gotten on the air. So maybe that says something about what people feel about optimism these days.Michael Jamin:Well, it's also a numbers game, but how do you feel, let's say you were given the keys to run your show, got on the air somewhere, eight episodes on the air. How do you feel? Feel about that? Yeah, let's do it. I'm ready. Or like, oh my God, what did I get?Alex Berger:Both. I mean, I did the Writer's Guild showrunner training program a couple of years ago, which is phenomenal. WhatMichael Jamin:Was that? Tell me all aboutAlex Berger:That. It was great. But so essentially it's a six week every Saturday, all day, every Saturday college course on how to run a show. And it's run by Jeff Melvoin, who's a really seasoned showrunner, and Carol Kirschner, who's been working in the business forever. And then they bring in John Wells is usually a big part of the program and they bring in really heavy hitter showrunners all the way down to people who were in the program last year and then got a show on the year. And they're like, bill and Ted when they come back at the time Machine and Bill and Ted's, and they're like, you're in for a crazy journey. And so it's really cool to hear from all of those people and they focus one day is on writing, one day is on post one day on production. And what I learned from that was having been on staffs for something like 250 episodes of tv, I've learned basically all the things you can do in terms of book learning to run a show.But the last 20%, you can't learn until you're there. Sort of like if you read a hundred books about swimming, you kind of know how to swim, but if you dropped out of a helicopter ocean, you're going to have to figure it out and you're going to be drowning while you're doing it. And literally, I don't know if this was your experience when you guys had it, but every other show I've talked to says nothing fully prepares you for it. So I have a couple shows in development right now, and if you told me that they were to go, I think the first feeling would be utter terror and like, okay, let's do it. Let's go. This is the time to do it. And I've run a lot of writers' rooms and stuff like that, but I've never actually had the keys to the castle, soMichael Jamin:Interesting. Right. Okay, so you've run the room, you've been breaking stories, you're in charge of that. Now time in terms of tell me about the short run is problem You apply, how do you get in?Alex Berger:You have to be recommended by somebody and applied and they want someone, they're trying to find people who are the next shows up. And so people in the program have a pilot that's already been shot and that's already ordered a series, but they don't know how to run a show. You people who've worked in features or worked in writing novels who are transitioning into television. So all the production stuff to them is totally new. And then you have lot of people like me who sort came up as staff writer, story editor and just worked their way up the ranks who've been around for a while, who just haven't taken that next step, who want to know more about what it's like to run a show. I loved it. First of all, it was like being in college, man, it was just absorbing material and taking notes at a frantic pace and reading that they recommended. But it was just so interesting to hear. It's like this, your podcast is so great because you could hear people speak, but these are people who are specifically targeted at the demographic of you're a co eep and you're about to run a show. Here's what you need to know.Michael Jamin:And so you don't pay for this, right? Or youAlex Berger:Do, the guild pays for it and the studios pay for it. It's a phenomenal program.Michael Jamin:And then it's so interesting. And then, alright, so then how big of a cohort, how big of a group isAlex Berger:It? 30. And it's a bummer because these days it's been on Zoom and so you don't really get to the year. I did it in 2017 or 2018. And so I got to know those folks and they were sort of, yeah, again, my cohort and three quarters of them are running shows and everybody else's EPS or eps, running rooms. It's a very fun dynamic to have a group.Michael Jamin:What are they teaching you? I'm so curious as what they teach you. I bet there's stuff I don't know. And we've done three shows. What are they teaching you about post that you were surprised?Alex Berger:The overwhelming, the first thing they tell you when you walk in the door is quality scripts on time. The bug that they gave me, the showrunner program, quality scripts on time, and that was basically the theme of it was being efficient, being and knowing when to cut your losses and say move on. And knowing when to say this isn't good enough. And so for posts, it's like, are you the type of person who wants to be in post for 10 hours a day? That's fine, but then you need to have somebody who's going to be overrunning the room, or do you want the writer who produced the episode to do the first and the second cut? And then you do the last cut and they bring in editors and they talk, editors tell you about what they want to hear. A lot of things that I'd been in post a lot before I was in that room and then editors were telling me things that I was doing that annoyed the crap out of them. And I was like, oh, little thing like what? Snapping, when you say cut there,Michael Jamin:Oh,Alex Berger:That annoys.Michael Jamin:That annoys them. It's like a dogAlex Berger:Thing. Yeah, exactly. And a lot of editors, some editors want line notes. Some editors want you to say, this scene doesn't feel funny enough, I'm not getting the comedy. And then they'll say, okay, let me take another swing at it. And you need to feel like, is this the type of editor that wants to do it on their own or that type of showrunner that wants to do that. But broadly speaking, it's essentially a leadership training program. The nuts and bolts stuff with all stuff that I had seen up close being a lieutenant on a show, there are a lot of little tips that I picked up here and there and when I get a show, I will go back to my notebook and frantically look through it, but it's mostly about how do you lead, how do you manage, how do you fire people? How do you delegate? How do you tell people that they're not doing a good enough job but give 'em a second chance? Interesting. They bring a lot of directors in, stuff like that.Michael Jamin:What was the last thing youAlex Berger:Said? How to interview a director? How to interview director. A big director came in and talked to you. Here's some questions you should ask when you're interviewing. Here's a great one that they said. They said, when you're interviewing a director, ask if you're the showrunner and you're interviewing somebody who's coming in to do an episode of your show, ask the director, do you cook? And if so, are you a person who uses a recipe or do you like to improvise? And there's no right answers to that, right? But if you cook and you're the person who is going to measure out the exact number of grams of flour and the exact number of grams of sugar, that's kind of how you're going to approach directing. You're going to come in with a shot list, you're going to be going to stay on time, you're going to make sure that you move the set along. And if you're the person who likes to kind of throw a little salt to throw a little sugar, you might be a little more improvisational. I say you might be a little more, more. There's little things like that that are like how to dig in on this with those people.Michael Jamin:Now I'm learning. What else can you share with me thatAlex Berger:Might be helpful? I can get my notebook you,Michael Jamin:Hey, it's Michael Jamin. If you like my videos and you want me to email them to you for free, join my watch list. Every Friday I send out my top three videos. These are for writers, actors, creative types. You can unsubscribe whenever you want. I'm not going to spam you and it's absolutely free. Just go to michaeljamin.com/watchlist.I remember when we're running Glen Martin, which is the first show we ran a lot of this, and you probably weren't even aware of this, A lot of it was me. If I was at the board or whatever, it was me like, okay, I want to make sure I'm not losing the room. I want to make sure everyone, no one's losing focus. And I think part of that was make a decision even if it's a bad one because you can lose the room if you can't pull the trigger. You know what I'm saying? It's so frustrating. You guysAlex Berger:Did a good job with that. And then I think that decisiveness, I think is actually one of the most important qualities in the showrunner, but also willingness to admit you were wrong if you made a decision and moved on and then a day later you realize you were wrong. You have to and say, I made the wrong decision. And one of the things I've learned running that I've really tried to do when I'm running a room is if there's an idea floating around that I hate, but it's getting energy and it's getting excitement, I try not to step on it until it either burns out on its own or it's reached a critical mass and I'm like, look, I think this is not going to work, but let's talk it out because there's nothing worse as having come up on staffs. And this is one of the most valuable things when you've been a staff writer and a story editor as opposed to getting your own show as the first thing that happens to you is you know how demoralizing it is when everybody's super excited about something now it's not going to work. It's so demoralizing. Yes, A lot of times you think it's not going to work. You just sit there back and listen for 20 minutes and you're like, oh, actually, you know what? There is a version of this that'll work if I just add this one thing. It's an organism and you're leading an organism and it's very hard. You guys did a great, and you guys are a team, which is even harder because you've got to read each other's minds aboutThis works.Michael Jamin:You bring a good point. I remember one time, so when Glen Martin, I would go, I would direct the actors on Wednesdays or whatever and see would be running the room, and I remember coming back at the end of a long day directing, come back to the room and you guys had made a lot of progress on the script and everyone's excited. Everyone's excited about this idea and you guys pitched it to me. I wasn't getting it. I didn't get it. I was like, I didn't want to shit on it because I could tell everyone was so excited about it. And so I just kept on asking questions just to explain it to me so that I would get on board.Alex Berger:That's a really hard part is and because I've never been the actual showrunner, I've never been the one, I would be like, I'm sorry we're vetoing this. A lot of times what I would do, because I was a number two, was if I hated something, if I left the room and then I came back and I hated something, I'd be like, look, I'm not totally on board with this idea, but let's give it its day in short and let's pitch it to the showrunner. And I would try, when I would pitch it to the showrunner be to not give away which side I was on or to say, look, here's one side of the argument, here's the other side of the argument. But when it's ultimately up to you, it is hard because I always analogize it to in Family Feud when the first four people give their answer and then that last person has to give the final answer and they want to go against the rest of the family. It's a hard thing to do. You're wrong.Michael Jamin:Yeah,Alex Berger:I guess, I don't know. What was that experience like for you? Did you feel like it was like you had to balance? What was your favorite idea versus losing another 10 people's morale?Michael Jamin:It wasn't even about my favorite idea. It was more like I just want to make sure if sea's on board than I trust, I trust him. But it's also like I wish I can remember what the episode was. It just didn't make anyAlex Berger:Sense to me. No, I remember that a couple times. Every show I've ever been on has had that. Every show I've ever, the showrunners left the room, the room gets excited about, something comes back in and it's not what they want, it's just part of show running. The value of having a staff that's been together for a while is the longer the staff has been together, the more you can say, oh, secret and Michael are going to hate this. We shouldn't even this path. Versus early on, you're going down a million paths you don't know. But once you get to know the showrunner, you kind of get to know what they like and what they don't like.Michael Jamin:Yeah. There was another idea that we had in that, I don't remember what we were all on board, but Seaver wasn't on board. It was something crazy.Alex Berger:Oh, I think it was the radio episode and there was something about wires or no wires, and they weren't recording the music the whole time,Michael Jamin:Who wasn't recording music.Alex Berger:Glen went to, you got to cut this out of the podcast.Michael Jamin:No one's going to care. ButAlex Berger:It was like there were a lot of room bits that I think that's the problem with room bits is they take on a life of their own and then they're an inside joke. And if the runner comes in and there's a room bit in the script, it's an inside joke. It just doesn't work. You weren't there for the beginning of it, which is a good sign that it's not a good story because the audience wasn't there for it either. But I think it was Glen becomes a radio producer named Stacey Rappaport.Michael Jamin:Yes.Alex Berger:His wife was also named Stacey Rappaport. Yes. And I know he works for Stacey Rappaport. And anyway, the whole time it was the, you guys were doing the Brady Bunch, Johnny Bravo episode basically as aMichael Jamin:Yeah,Alex Berger:Remember the debate was like, were they actually recording by the way? I will say again, you can cut this out early, but it's not relevant at all. But I grew up watching the Brady Bunch for whatever reason, even though I'm 10 years younger than you guys. And that was number one reference that you guys talked about. So I did feel like at least I got those references.Michael Jamin:Oh, it's so funny. I remember that. I remember because I think I was the one who pitched the name Stacey Rappaport.Alex Berger:I remember because I had a friend named StaceyMichael Jamin:Rappaport. Oh really? That's so funny. It was just a man's name that the joke was that Glen was going to choose a new identity for himself and he chooses a woman's name.Alex Berger:What have you gone back and just watched full episodes of the show?Michael Jamin:No. And everyone, people want to know about. People ask me that a lot. I don't touch. I should. I love that show, but I don't touch anything that I've written. I just don't. It's over and I don't know why, but you doAlex Berger:Just not even about Glen Martin. That is an interesting thing about writers is whether they want to go back. I go back and watch stuff and I hate it because I'm like, but because Glen Martin was not really mine. It was such an organism of the room. I laugh when I go back and watch it except the one I wrote, which I don't like.Michael Jamin:Oh my God. We had some fun in that show. But okay, so when you take, I have so many questions for you. When you were young, when you were a kid, did you want to be a writer? I know TimeAlex Berger:Know was a profession. I loved television. I was a youngest kid. I was raised by the Cosby Show and the Brady Bunch and G I F. And my idea of a family was basically what those families were probably to go back, rethink the Cosby one. And then even in college, I interned at Saturday Night Live and late night with Conan O'Brien back when he was on, which were fantasy camp, especially the s and l one was truly a dream come true. And it still didn't occur to me that it was a profession that I could go do. I was go to law school and then a buddy of mine, we were in Jerry's Subs and Pizza, which is an East coast person you probably remember. And we were sitting there talking about what we're going to do and he's like, like I said, I'm going to go to LA and be a writer. And I said, how do you do that? And he said, someone writes this stuff, why couldn't it be us? And it just gave me this epiphany of like, oh yeah, everybody who's out there as a writer at some point wasn't a writer and just got out there and learned how to do it. And so we all went out together and we kind of got our start.Michael Jamin:Did your friend become a writer too?Alex Berger:Yeah, we all ended up creating a show together. So the earliest thing that we did was we were on the high school debate team together and we walked into National Lampoon, which at the time was doing low budget cable programming, and the head creative guy there just made fun of my resume the entire time and made fun of debate. And then by the end of it said, there's a show here. And so we came, pitched him a show called Master Debaters that was a debating society, and we ended up getting to make, it was like our film school. I knew nothing about how to make a TV show and that one, I was throwing the keys to the castle. I was casting it, writing it, producing it. I was in it, posting it with every crisis. But it was so low stakes because the budgets were tiny and they were in syndicated cable stations and college campuses. No one would watch me. So I got to learn by doing and I loved it. It was great.Michael Jamin:Interesting. And then, all right, so then you became a writer and then you just kept on writing. I guess mean it's not an easy path, but you've made a really pretty good name for yourself over the years.Alex Berger:Yeah, I mean, thank you. It was a winding path when I came out, I thought for a minute I might want to be a development executive. I read a book by this guy, Brandon Tartikoff, who used to run N B C called The Last Great. It was like basically made it out to be, you're sitting in your room and the smartest people in the world come and tell you what TV show ideas they have, and then you pick the eight of them and pick the order in America Shears. And so I worked in development for a minute and I was not what it was like at all, and I was miserable and I was jealous of all the writers who were coming in. So I said, that's the job I want. And so I quit. WhatMichael Jamin:Was it I didn't know you worked at VO for? I wasAlex Berger:Assistant. I was an assistant in development at N B C.Michael Jamin:What was it like then?Alex Berger:It's very busy and not as creative as I wanted to be. I actually really enjoyed the conversations I had with the executives when it wasn't time to do my job and it was just time to talk about tv. But the actual job I was doing, I was terrible at, I mean, it was a lot of keeping track of who was calling, and I'm an absentminded first, butMichael Jamin:That you're an assistant. I mean, surelyAlex Berger:You, but it's a long time before your branded Tartikoff, right? Almost everybody else under branded Tartikoff has a lot of business responsibilities to do. And it wasn't, that's not how my brain works. My brain needs more free time. I think if I worked at a place that was smaller that was incubating three or four shows, I probably would've enjoyed it more. But we had 50 comedies and 50 dramas in development, and I was trying to get of all of them and who was calling and the letterhead changing and all this stuff. And it was just like I was not good at it. I mean, my boss even said to me one day, he said, you're a very smart guy. Why are you not very good at this? And we had a nice conversation about that. But the main thing was the writers that came in that I was, can I get you a coffee?Can I get you a tea? Can I get you a Coke? I was so jealous of them. Door would close to the pitch, and I just wanted to be in there listening to. And so I realized I should follow that. And so I didn't last that long. I left like eight months and I quit. I at the time had been, I think had a couple of writing jobs, like smaller writing jobs lined up that show Master Debaters had been optioned of VH one. So we were writing a pilot for VH one and a couple of their small writing jobs. So I went to go do those and then got back in the beginning of the line as an assistant, I was a writer's assistant on a show, and then I was an assistant to a showrunner and then I stop.Michael Jamin:So it's a brave move for you to leave that behind in.Alex Berger:It was definitely, I mean, I had some stuff lined up, but it was definitely a risk, but I just knew it wasn't the right, I was in the wrong place. But it's interesting, it was an incredible learning experience. I knew how development work from the inside, and I still think I know more about what's actually going on at the network than a lot of my peers because I was on the other side. And then the folks I met who are the other assistants to the other executives are now all executive vice presidents of networks or presidents of networks or I met my agent because he was an assistant to an agent that used to call, and then he signed me while he was still a coordinator. One of the people on that hall now became the president of Fox, another one who I've dealt with a lot became the president of N B C. I met a ton of great folks through that who have become friends and allies over the years, and I sold Joe to,Michael Jamin:But okay, so it's probably changed lot since you were in assistant that was probably 20 somethingAlex Berger:Years ago, 19 yearsMichael Jamin:Ago. So what is it like then that we don't understand?Alex Berger:I think the main thing that I didn't understand, and this has for sure changed and certainly in cable and streaming is just a volume. They are not spending as much time thinking about your script as you are by definition. But in development, there are literally 40 to 50 scripts at least back then on both on comedy and trauma. And so my boss, who was in charge of both has a hundred scripts to keep track of. So he was very smart and could make a judgment very quickly about a script, but he would read it once, sometimes read it again, and then he was making a judgment about whether it was a show. So as a writer now I know they're reading fast, they're reading it at three 30 in the morning, or they're reading it on the plane, I've got to grab attention fast, I've got to hook you in. I cannot lean, oh, the great twist, wait till the Great Twist. It's on page 55. And when I'm pitching, it's the same thing my boss said to me, I hear 300 pitches a year. I typically hear about five ideas I haven't heard before. The other 95 I've heard before. It's about take, it's about the writer, it's about their passion. And so when I go and pitch an idea, the substance of the idea is the second most important thing. And my connection to it and why it has to be me is the first most important.Michael Jamin:And that's the hard part. I feel that's the hard part because usually you think of an idea, you can't really, I don't know, you're a hundred percent right. They always, they want to know why are you the only one in the world who can write this idea truthfully? It's like a lot of times you're not a lot of times like, well, this is the characters we created. It's a funny situation, but there's probably a lot of people who could write this idea.Alex Berger:I think that what I have seen, and I've never done this, but I know folks who have is, I knew a writer once who his sort of why me paragraph was, I just run a show for a bunch of years. I came off of running that show and I didn't know what I wanted to do next and I had an identity crisis. And so it got to the idea of identity crises and here's a spy show, an action spy show, but at the center of it as a character going through an identity crisis. So it's notMichael Jamin:GrewAlex Berger:Up and my dad was a spy, and therefore sometimes it's emotional or sometimes I had this interaction with a guy on the subway and I couldn't stop thinking about it. And it led me to this show. And sometimes by the way, you retrofitted sometimes you already come up to the show and then you've got to come up with that first paragraph that's retrofitted and sometimes often it feels organic even though it was come up with thatMichael Jamin:Word. That's so interesting because I'm glad you said that to me. It almost sounds, it gives me some soce knowing that, because a lot of times we'll say, okay, this is why we're the only ones, and this is from seabird's idea home life or my home life, and then it doesn't sell. And you're like, well, I don't know what to do now. But you're actually broadening it out into a thematically, it's more personal to you. It's not necessarily a dynamic. It's more like,Alex Berger:Here's how I think about it. I think that, and I could be wrong, and by the way, it's different in a comedy because you've got to make 'em laugh in a comedy, and I know certain comedy executives don't laugh, but for the most, if you're funny in the room, they're thinking, okay, I want to be in business with these pets, but in drama, are there twists and turns? Am I hooked on this? Is this going to fit with something that we have on the air? Do we have something similar? But I always think what they're going to remember when they've heard six, they hear six to eight a day, and then at the end of the week they go tell their bosses about the ones that they bought. So what they're going to remember is, oh my God, you'll never believe the story this guy told about the time that he was held hostage on the subway, or you'll never believe that, or a cool twist or a cool character. They're not ever going to remember the third beat of the pilot, or when pitch episode ideas, here's soMichael Jamin:Interesting.Alex Berger:I think you need that stuff to be in there, but what they're going to remember, it's like when you walk into a house, when you're looking for a house, you remember, oh, I was dazzled by the kitchen and the master bedroom had the fullest bathroom and yeah, yeah, it had five bedrooms and five baths, which is what we need. But it felt like this when I walked in. It's like, how do they feel? That's another, I'm sorry to ramble, butMichael Jamin:No,Alex Berger:For drama. I think in a pitch, if you can make the executives feel how the show is going to make them feel, that's a successful pitch to me. Comedy's a little different, I think. ButMichael Jamin:Interesting. I feel like I'm learning a lot from you actually, because I mean, honestly, we'll sell shows and we'll not sell shows.Alex Berger:We're learning all that time from you guys for 40 episodes on the murder.Michael Jamin:But a lot of this is, like I said, we will sell a show or we won't sell a show, and I won't know why. I don't know. I'm not sure why this one sold this one, the other one didn't sell. I can, but that'sAlex Berger:Why I really don't like Zoom pitches because you can't. I love, that's actually my favorite part. I think it comes from, like I said, I was on the debate team in high school and college, and I loved trying to persuade someone who was not necessarily on my side at the beginning that I'm right. And I viewed every pitch as a miniature debate. I'm debating against the person who says, don't buy this. And I love the feeling of like, oh, I've got them hooked, and they're now, they are going to buy the show as long as it continues to go on this pace. And I hate the feeling of, I think they've checked out. And actually when I've memorized a pitch, when I think they've checked out, I'm talking, but my internal monologue is, well, I guess we didn't sell it to Fox. All right, well, if we can sell it to Fox, we can go to a B, C. Because I'm sort of like, I've moved on.Michael Jamin:How much off book are you have notes or not?Alex Berger:I've developed this method that I got from this guy, Martin Garra, who I've worked for eight or nine years for some blind spot, and now on Quantum Leap, it's different, but I love it, which is, it's different on Zoom, but when we go back to in-person pitches, what he does is he brings in his laptop and he puts it on the table in front of him and it acts as a teleprompter. And so he's looking up at you making eye contact and occasionally looking down. And then he is got a remote that flips page to page and the script is there word for word. So if you're like, oh shit, I'm about to get to the part that I always mess up, then you just look down and read for a minute and they know you've written this. It's not like no one is under the illusion that you walked in and RIFed for 20 minutes off theMichael Jamin:Topic. Does he do this in person or on Zoom?Alex Berger:Both. On Zoom, it's so easy because you can have your screen, but in person, I thought, oh, they're going to think it's offputting. But because I was practiced, I got to the point where 70% of it was eye contact and the laptop was there as the security one did.Michael Jamin:And what program is he using? That's a teleprompterAlex Berger:Work.Michael Jamin:Oh, so you're just scrolling. Oh, you're just clicking.Alex Berger:There's this Bluetooth remote that he uses that I was now in my drawer, and it's just you click and it's to the nextMichael Jamin:Page. You have a Bluetooth remote that works on your lap. I didn't even know this such a thing. I'm learning so much from you Burger.Alex Berger:Oh, you know what? I've lost it. Oh, here. Yeah, so it's like a little U S B that plugs into the back of your computer, and then you're just like, you click, click, click and it's, you look like you're giving its head talk it 5% easy. And I actually think in a comedy pitch, it might come off as too dorky, but for a drama it's like, I'm going to tell you a story. I'm going to deliver a pitch. And I wrote it. And the reason I find it useful is a lot of times when you're developing with the pod and the studio and then also the non-writing show runner, so many Sunday night, you're getting notes for a Monday morning pitch and stuff's changed. So if I get to the section that just changed, I might look down a little bit moreMichael Jamin:Interest. So I was going to say, are you going in mostly with pods these days for people who don't know that they're producers on the overall deals at studios, but is that how it works in dramas as well?Alex Berger:I don't think I'm going to show on the air anymore without an entourage. So when I was on Blind Spot, it was produced by Greg Ante and I did a couple pieces of development with him and then also with Blind Spot. I just think there's the business side of it, which is that these networks want to be in business with their 800 pound gorillas and the not. So if you walk in with one of them, even if it's my vision a hundred percent, and it's my personal story, the fact that this brand is behind it really helps. And then I also, I actually enjoy the process of crafting the idea with smart people. I don't want to work with a pod who's annoying and gives dumb notes or a studio who does that. But every pod I've ever worked with, if I'm stuck on an idea, I'll say, Hey, can we hop on the phone for half an hour and work out this story problem? You guys have each other so you can get in a room and hash out a story problem. But I need to talk. I cannot think through anyMichael Jamin:Interesting,Alex Berger:And we'll work it out. Oh,Michael Jamin:So you'll really use them as a resource. It's so interesting.Alex Berger:I mean, this guy, Martin Garrow who runs Blind Spot Quantum Leap, I've developed him a bunch of times and he's a writer.Michael Jamin:Yeah, it's differentAlex Berger:Stuff is acting as a pod. But I can call him and we have such a shorthand, we've broken 150 episodes a week, butMichael Jamin:That's different because he's a writer. He is not, I mean, he's a writer, is writer producer, but he's really aAlex Berger:Writer. So it's Greg Ante. I like working with folks who are on the creative things, and I've worked with producers who weren't writers, but could be because they're a creative, the worst part of that development is when someone gives you a note and they don't realize, oh, that's going to unravel. They think it's two lines, but it actually unravel all. Whereas when you work with people who've made a lot of tv, they're like, look, I know that this blows everything up to do this one little thing, but here's why I think it's better. Or Hey, they gave a huge note. Here's easy fix. It's only two lines.Michael Jamin:Yeah, I mean, that's so interesting. You're absolutely right. There's a huge difference between, I think between working with a producer, producer and a writer producer, because the writers, they just know what's going to unravel everything. I don't know. Yeah, that's ProducersAlex Berger:Are good for like, oh, you know what? Who'd be great for this is this actress. And they make the call and they're good.I find that you find everybody's in this business, they're good at something. Nobody who's come to this business and is just dashing a check. Well, probably not true, but the people that I try to find work with are people who are in this business smart. And even if they're not totally up on exactly what I wanted to do, fix the script, they have something that they're really good at that I want to use. So even if it's, there's one person at this company who's mostly the production person have a really good idea about like, Hey, if we shot this in Buffalo, we could do this.Michael Jamin:Right. Interesting. Wow. I think I've learned a lot from you. Before we conclude, you want to write drama withAlex Berger:Me? Let's go that. Let's talk about drama.Michael Jamin:I think I'm going to get into the drama business with you. I think you're going to be my pod. What advice do you have for young writers? You must have something to Wise to say.Alex Berger:Yeah, I mean, I probably don't have anything wise to say, but I'm happyMichael Jamin:To. Or how are they breaking in the business?Alex Berger:It's funny. The answer was so different 10 years ago to four years ago. It changed rapidly, and it's very different now because of the writer's strike. So if you're talking about what should I be doing right now, if I want to break in? I was just talking to a writer today and my advice to her was, just use this time to write. It's not a good time to try to get a producer attached or a showrunner attached or an agent. It's a good time to just be writing and really writing diligently. And then this is over. And in general, my advice is get a job in the industry, even if it's as an assistant. If you can't get a job as an assistant in a room, get a job as an assistant in post or get a job as a PA on set, just get into the room. Then just keep building a network and talking to everybody. And when your cousin comes and says, you know what? I used my college roommate, I think as a writer, I don't know what he take them up on all of those opportunities because you never know what's going to result in something. The first three jobs I got were from general meetings that I didn't want to take because actually two of them were from people. My mom had metParties in Washington dc but they were another assistant who was leaving their job and happened to open up. And then the last thing I would say is, I think the thing that people don't do as much of it that they should do is engage in the continuing education piece of this. So your listeners to your podcast are obviously trying to learn how to write, and that's important. There's a lot of other good podcasts out there. There's Deadline Hollywood, which everybody should be reading every single day. There's business podcasts like The Town and the Business and Fresh Air that people should be listening to understand the macro pieces of their business. So often you get people who come out here and they have

You heard/read that right. I'm still in shock and I don't think it'll sink in that I now live here for a while. In this episode, I talk about:1. My move from Minneapolis USA to Tokyo, Japan a week ago2. Why Japan3. What the move means for this platform4.  How I'm feeling from when it came up, to leading up to the move, to 5 days in Tokyo5. How this move feels different from other moves and ways moving abroad will humble you6. What this move means for my house7. How I've prepared for this move (financially, emotionally)8. My hope for this next chapter9. What I'm most excited aboutThis immigrant has moved again and this was not at all a move I planned or expected this time last year. Here's to taking steps in faith! Can't wait to see what lies on the other side and can't wait to bring you along. Thank you for the gift of your time and attention. Thank you for listening to this episode of the Rich Immigrant podcast, please give the podcast a 5 star review on Apple Podcasts, subscribe, and share this episode with someone in your world that needs to hear these conversations. Please join our community online at www.therichimmigrant.com or on Instagram at 'Therichimmigrant.'

David Charles Grusch, a former intelligence official, recently turned whistleblower by bringing forth classified information to the attention of the United States Congress and the Intelligence Community Inspector General. This information pertains to covert programs that, according to Grusch, have managed to recover intact and partially intact vehicles believed to be of non-human origin. This seems to be the same loop of claims that date back decades, is disclosure finally here?LIVE ON Digital Radio! http://bit.ly/3m2Wxom or http://bit.ly/40KBtlW http://www.troubledminds.org Support The Show! https://rokfin.com/creator/troubledminds https://patreon.com/troubledmindshttps://www.buymeacoffee.com/troubledminds https://troubledfans.comFriends of Troubled Minds! - https://troubledminds.org/friends Show Schedule Sun-Mon-Tues-Wed-Thurs 7-10pst iTunes - https://apple.co/2zZ4hx6Spotify - https://spoti.fi/2UgyzqMStitcher - https://bit.ly/2UfAiMXTuneIn - https://bit.ly/2FZOErSTwitter - https://bit.ly/2CYB71U----------------------------------------https://troubledminds.org/non-human-intelligence-ufo-crash-retrievals-confirmed/https://thedebrief.org/intelligence-officials-say-u-s-has-retrieved-non-human-craft/https://archive.vn/JKqy4https://twitter.com/TroubledMindsR/status/1665876571293614080https://twitter.com/TheUfoJoe/status/1665794435412819968https://www.nytimes.com/2023/02/17/us/politics/search-ended-ufos-balloons.htmlhttps://www.history.com/news/roswell-ufo-aliens-what-happenedhttps://www.reddit.com/r/EBEs/comments/3m2pzq/does_anyone_remember_arts_parts_that_were_sent_to/https://www.scientificamerican.com/article/the-truth-about-those-alien-alloys-in-the-new-york-times-ufo-story/https://www.thedrive.com/the-war-zone/30498/the-army-wants-to-verify-to-the-stars-academys-fantastic-ufo-mystery-material-claimshttps://tothestars.media/pages/aboutThis show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/4953916/advertisement

 On today's episode we have a glass of Crown Royal Winter wheat!  We continue our canadain series with Special Guest Blake from the club with a bottle from Crown Royals Noble Collection!  We talk about the size of Crown Royal Distilery, Winter wheat, and the finish of whiskey.  All that and more on today's episode of Whiskey Chasers! Be sure to Like us on Facebook and follow us on instagram, as well as rate and review the show wherever you are listening, it really helps us out. Our Website is www.whiskeychaserspod.com, check us out! Thanks, and enjoy the show!Be sure to show some love for the company that brought you today's bottle!History of distillerycreated by Seagram and owned by Diageo since 2000When it was foundedCREATED IN 1939 Where it was foundedGimli, ManitobaNestled on the edge of Lake Winnipegthe town of Gimli hugs the western shoreline of one of the world's largest freshwater lakes, with sandy beaches, an active harbor and the largest Icelandic population outside of Iceland.property stretches over 360 scenic acres with 51 warehouses (which house more barrels of whisky than there are people in Manitoba) and one stillhouse (which serves as a landmark from the lake so fishermen can return safely to harbor).The distillery employs roughly 76 people who distill, mature, blend and run Crown Royal's 24 hours a day, 7 days a week operationWhy they chose to startAS A GIFT FOR THE KING AND QUEEN OF ENGLANDTastingThe bottleThe look of the bottleWhat is written on itNotes on why it looks the way it doesThe juiceWhen was this expression createdThe Crown Royal Noble Collection was introduced in 2016 and showcases Crown Royal whiskey in unique blends or finishes.This blend was released in fall of 2021Why did it come aboutThis sixth expression of the Noble Collection, Winter Wheat is a limited-edition variant with a unique mash billMash bill51% hearty winter wheat, 39% corn, and 10% malted barley. Careful aging in charred American white oak barrels highlights the delightfully buttery quality of winter wheat and complexity of flavors.Support the showWebsite:www.whiskeychaserspod.comFacebook:https://www.facebook.com/whiskeychaserspodcastInsta:https://www.instagram.com/whiskeychaserspodcast/TikTok:https://www.tiktok.com/@whiskeychaserspodcastThanks For Listening! Tell a Friend!

On this weeks episode, questions answered include: Do humans stay the same age in heaven? Iam greeting you by the name of jesus Iam not good in english but i want to know aboutThis lesbianisim and homosexual how roman catholic involved or if they have agender with this thing i want to know During Jesus' temptation where he was driven to a high mountain, was Satan a visible angel or operating in Jesus' mind? What is an apostle and what is the function of one in the Church? My faith is not going very well there's been these atheists telling me how God is imaginary and all sorts of stuff could someone help me? What does Isaiah 4:4-6 mean

Women today often have multiple roles and are exhausted by the process of caring and nurturing others while also trying to play out our dreams, desires and ambitions in the career world. All of these responsibilities and life stressors can make us vulnerable to hormonal imbalances, which begins the cascade of mental and physical health problems. That said, when we do have our hormones balanced, it's much easier to find the energy and resources within us to do the things we want to do and maximize our full potential. Discover what unique hormone imbalances you may have and unlock your Super Woman potential with Dr. Taz's NEW 4-Hour Hormone System. Get a personalized plan for optimal hormone health in just 12 weeks! Follow @drtazmd to find out all the details and how to sign up.Today on Super Woman Wellness:The importance of checking our hormonesHow much all hormones affect each other The seven hormones you need to know aboutThis show is supported by:AG1 | Get a free year's supply of vitamin D and 5 free travel packs with your first purchase at drinkAG1.com/DRTAZ! Follow Dr Taz:Instagram: @drtazmdWebsite: doctortaz.com This show is produced by Soulfire Productions

Welcome to a NEW episode of Coexisting with Rob & Maggie! We will talk aboutThis week's show- CM Punk- Predictions for IMPACT Wrestling's Sacrifice- The Week that was (We talk RAW, NXT, AEW Dynamite, Ring of Honor, and IMPACT Wrestling)- We Preview WWE SmackDown & AEW Rampage- Cooper Effect---------------------------------------------------------------------------Are you not going to watch the show live but want your question or statement read on the show? Donate a HUMPERCHAT! Humperchat.comFollow us on Social Media@RobWilkins on Twitter@Maggie_IK on Twitter@FightfulRob on Instagram@Maggie.IK on InstagramFollow Fightful on Social MediaFacebook.com/FIGHTFULOnlineTwitter.com/FIGHTFULInstagram.com/FIGHTFULOnline@Fightful.com on TikTokAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Carol starts the New Year 2023 the right way: talking about sustainability. What should we be wearing and buying, and what wasteful clothing and jewellery habits should we be breaking? She's joined by journalist Dana Thomas, presenter of The Green Dream podcast, and sustainable jewellery designer Maria Sole Ferragamo, granddaughter of famed shoemaker Salvatore Ferragamo.Dana's website https://www.danathomas.comMaria's website https://so-le-studio.com/pages/aboutThis episode is brought to you by @fuligemstonesPlease see: www.carolwoolton.comFollow Carol Woolton: @carolwooltonProduced by Natasha Cowan @tashonfashMusic & editing by Tim Thornton @timwthorntonCreative direction by Scott Bentley @bentleycreativeIllustrations Jordi Labanda @jordilabandaRead Carol Woolton in Vogue magazine – vogue.co.uk/fashion/jewellery and carolwoolton.com Hosted on Acast. See acast.com/privacy for more information.

On this episode we sit down with Dr. Fauna Smith from the University of California - Davis to discuss milk quality on goat dairies of all sizes. Topics of conversation include federal and state milk safety regulations, metrics for evaluating milk quality, components of producing quality milk, milking equipment maintenance, troubleshooting basic milk quality issues, and considerations for differences between goat and cow dairy production metrics. Helpful Links:State Milk Laws: https://www.ncsl.org/research/agriculture-and-rural-development/raw-milk-2012.aspxNational Mastitis Council - Guidelines for evaluating teat skin condition: https://www.nmconline.org/wp-content/uploads/2016/09/Guidelines-for-Evaluating.pdfPenn State University - Equipment Maintenance for Milkers: https://extension.psu.edu/equipment-maintenance-for-milkersUniversity of Minnesota - Maintenance and Monitoring of Milking Equipment on the Dairy Farm: https://www.vetmed.umn.edu/sites/vetmed.umn.edu/files/oct_26_230_thomson_china_monitoring_milk_equipment_2016.pdfAmerican Dairy Goat Association Dairy Herd Improvement Registry (ADGA DHIR): https://adga.org/performance-programs/production-testing/Food Animal Residue Avoidance Database (FARAD) - http://www.farad.org/Charm SLBL test kit (validated for detecting 5 beta lactam antibiotics in goat milk): https://www.charm.com/products/test-and-kits/antibiotic-tests/rosa-lateral-flow/slbl-charm-sl-beta-lactam-test/FDA Grade "A" Milk Safety Program: https://www.fda.gov/federal-state-local-tribal-and-territorial-officials/state-cooperative-programs/fda-grade-milk-safety-program#:~:text=The%20FDA's%20Milk%20Safety%20Cooperative,milk%20products%20for%20human%20consumption.College of Veterinary Medicine Milk Quality Laboratories (non-exhaustive list): California - https://www.vmtrc.ucdavis.edu/laboratories/milk-quality-laboratoryGeorgia - https://vet.uga.edu/diagnostic-service-labs/milk-quality-laboratory/Iowa - https://vetmed.iastate.edu/vdl/laboratory/bacteriology/bacti-milk-qualityMinnesota - https://vdl.umn.edu/laboratories/laboratory-udder-health-luh/laboratory-udder-health-overviewNew York - https://www.vet.cornell.edu/animal-health-diagnostic-center/programs/quality-milk-production/aboutThis podcast is sponsored by the American Association of Small Ruminant Practitioners as well as USDA National Institute of Food and Agriculture, Agricultural and Food Research Initiative Competitive Program, Antimicrobial Resistance grant # 2020-04197.Questions or comments about today's episode can be directed to DairyGoatExtension@iastate.edu

Why do partners typically fight about?In episode #25, we discussed the 7 stages of a relationship.  Today, and in some following solo episodes, we are going to explore in detail aspects of the stage that many couples get stuck in (or break up during) - the differentiation or challenging stage of a relationshipThis stage can often be characterized by a lot of conflict.  Couples fight more & they often don't know why they are fighting… what they exactly are fighting about… let alone, how to fight with more productivity and possibility for connectionIn this solo podcast Damodar gives the listener an easy 4 part way to peer underneath conflict and see with more clarity what we are actually fighting aboutThis will help anyone in relationship now - or in a past or potential future relationship - to start navigating fights and conflict with more awareness and success.RESOURCES:Ready to learn how to move more successfully through conflict in your most intimate relationships?  Ready to create more self awareness, relationship possibility, deeper connection and empowerment?  CONNECT WITH DAMODAR for your first free discovery coaching session!

THIS WEEK ON THE NERDY VENOMS: The Supreme Court sucks! That's the episode. Also news and reviews.

Us women today often have multiple roles and are exhausted by the process of caring and nurturing others while also trying to play out our dreams, desires and ambitions in the career world. All of these responsibilities and life stressors can make us vulnerable to hormonal imbalances, which begins the cascade of mental and physical health problems. That said, when we do have our hormones balanced, it's much easier to find the energy and resources within us to do the things we want to do and maximize our full potential.Today on Super Woman Wellness:The importance of checking our hormonesHow much all hormones affect each other The seven hormones you need to know aboutThis show is supported by:Athletic Greens | Get a free year's supply of vitamin D and 5 free travel packs with your first purchase at athleticgreens.com/DRTAZ!Gladskin | Get 15% off and free shipping at gladskin.com with code DRTAZ Follow Dr Taz:Instagram: @drtazmdWebsite: doctortaz.com This show is produced by Soulfire Productions

To support independent ski journalism, please consider becoming a free or paid subscriber. Starting in June, paid subscribers will receive podcasts three days before free subscribers.WhoJackson Hogen, Editor of Realskiers.com, author of Snowbird Secrets, and long-time industry jack of all trades: ski designer, binding and boot product manager, freestyle competitor, retail salesman, risk management lecturer, ski instructor, marketing director, resort feature writer, OLN and RSN television host, extreme camp ski coach, Desperate Measures co-creator, four-time Warren Miller screenwriter, and research and development chief.Recorded onMay 9, 2022Why I interviewed himA long time ago, ski writers used to write about ski instruction. They were quite good at it. A couple years back, I recounted the value of these dispatches to me as a novice skier in the 1990s:I met skiing like a lawnchair meets a tornado, flung and cartwheeled and disoriented and smashed to pieces. I was 14 with the coordination and dexterity of a lamppost. The mountain was merciless in its certainty of what to do with me. It hurt.I tried again and was met like an invader at the Temple of Doom, each run a stone-rope-and-pulley puzzle I could not solve – a puzzle that invariably ended with me smashed beneath a rock.When two years later I tried a third time I had grown into my body and could without turning or otherwise controlling myself descend the modest hill on most runs intact. The following Christmas I asked for skis and got them and the fabulous snowy north unrolled with purpose and mission before me.Now I just had to learn how to ski.This was a bigger problem than it sounds like. No one in my family skied. None of my friends knew how to ski either – at least not well enough to show me how to do it. Lessons were not happening. If you think a 17-year-old who makes $4.50 an hour bagging groceries is going to spend the equivalent of a week’s pay on what is essentially school on snow when school is not in session, then you have either never met a 17-year-old or have never been one. As it was, I could barely afford the lift tickets and gas to get me to the hill.What I could afford was ski magazines. And ski magazines in the nineties were glorious things, hundreds of pages long and stacked with movie reviews and resort news and adrenaline-laced 14-page feature stories.And there was ski instruction. Pages and pages of it in nearly every issue.This seems arcane now. Why not just watch a video? But this was the mid-nineties. There was no YouTube. Hell, there was barely an internet, and only the computer-savviest among us had the remotest idea how to access it.My first ski magazine was the December 1994 issue of Skiing. It cost $2.50 and it looked like this:The volume of ski instruction in just this one issue is staggering. A nearly-5,000 word piece by venerable ski writer Lito Tejada-Flores anchored a 19-page (!) spread on the art and importance of balance, which was in turn prefaced by a separate front-of-the-mag editorial outlining the whole package. An additional eight pages of ski instruction tiered from solid-green beginner to expert complemented this. And all this in an issue that also included a 13-page high-energy feature on roaming interior BC and 10-page write-ups of Squaw Valley and Whiteface.Each month I bought Skiing, and most months I also bought Ski and Snow Country. I also bought Powder but even then Powder could not be bothered with ski instruction. The instruction wasn’t the first thing I read but I always read it and I usually read it many times.This was a process. Ski instruction articles are often dense and deliberate and usually anchored to numbered photographs or drawings demonstrating movements and technique. Think of it as drill instruction in extreme slow motion. It wasn’t all useful but what was useful became essential.I doubt anyone knows how to write about ski instruction with this kind of clarity and detail anymore, just like no one knows how to build a covered wagon anymore – it is a lost art because it is now an unnecessary one.But this is how I learned how to ski. And because this is how I learned and because I re-read each of the pieces that resonated with me so many times, this written instruction formed the indelible framework around which I still think about skiing.Read the rest:I would like to retract one part of the above essay: “it is a lost art because it is now an unnecessary one.” Re-reading the articles referenced in the piece above, I admire the clarity with which each of these writers dissected the process of skiing trees or bumps or steeps. There is no equivalent, that I am aware of, in the realm of instructional ski videos. And there is a simple reason why: videos can show you what you should be doing, but the visual hegemony makes their creators overlook something even more important: what you should be feeling, and how you should be reacting as you feel those things.There is at least one remaining master of this craft: Jackson Hogen. He understands how to talk about aspects of skiing other than the fact that it’s rad. Snowbird Secrets is a written masterclass for the wannabee expert, the one who’s maybe dropped into the double blacks laced off the Cirque Traverse and survived to the bottom, but knows it wasn’t their best work. Examples:From Chapter 4 – On Anticipation:Your upper body stays ahead of the activities going on underfoot, as though your head and shoulders were in a time machine that is forever stuck on transporting you a few milliseconds into the future. As mental anticipation morphs into the events that both end it and redeem it, physical anticipation allows for the happy confluence between the two states. Anticipation feels like a form of time travel for if you do it well, it shifts you into the future. You take care of business before it happens.Chapter 5 – On Being Early:The single biggest differentiator between the advanced skier and the true expert is the latter’s ability to get to the next turn early. There are several components to being early, each of which moves in concert with the others. The upper body must continue its constant projection down the hill and into the turn, the existential lean of faith that is a prerequisite for performance skiing. The uphill hand cues a shift in weight to the ski below it by reaching for the fall line. And the uphill ski begins to tilt on edge early, at the top of the arc, supporting your hurtling mass as it navigates gravity’s stream.Chapter 12 – On Hands and Feet:Every element that makes up the entirety of the skier is linked to every other, but nowhere is the bond greater than between hands and feet. The primal importance of hand position is never more evident than when your feet fail you. …Even when you’re not about to eat it, your hands tell the rest of your body what to do while your feet are busy making turns. Your torso is attuned to your hands’ bossy attitude; it will always try to follow their lead. So keep them forward, point them where you want to go and don’t get lazy with the uphill hand. Generations of skiers have been taught to plant the pole on the inside of the turn, so that hand often is extended, as if in greeting, to the fall line, while the uphill hand takes a nap somewhere alongside the thigh. Until you are a skier of world-class capabilities, you cannot afford sleep hands. The uphill hand that you’ve left in a mini-coma will be called upon in a trice to reach again downhill; it should be in an on-call position, not on sabbatical. It should be carried no lower than it would be if you were about to draw a sidearm from a holster. You’re engaged in an athletic endeavor, so try to look like it.You can tell how good someone is at writing about skiing by how self-conscious you feel as you read it. I’ll admit I clicked over to photos of myself skiing more than a few times as I made my way through Snowbird Secrets (I’d also recommend having the Snowbird trailmap handy). Great ski books are as rare as a Mountain Creek powder day. But great books on ski instruction are less common still, and this one’s worth your time:Instructional writing is not the point, however, of the Real Skiers website. It is, primarily, a gear-review and recommendation site. But there is no intelligent way to discuss ski gear without a foundational understanding of how to ski. It would be like trying to play hockey without understanding how to skate. The site, like Hogen’s knowledge, is voluminous, layered, cut with a direct and relentless wit. And it’s a tremendous resource in the online desert of ski media. As Hogen says in the interview, “I’d tell you that there are other places you could go to get the same information, but there isn’t.”What we talked aboutThis year in skiing; Mt. Rose; replacing the Snowbird trams; learning to ski at Bromley in the ‘50s; the evolution of sanctioned in-bounds air at ski areas; air as a natural part of good skiing; opening year at Copper Mountain; the life of a product sales rep; the early days of Snow Country magazine with industry legend John Fry; making bindings interesting; the novelty and courage of honest ski reviews; today’s “consequence-free environment for total b******t” in ski media; “there is no more complicated piece of footwear designed by man” than a ski boot; don’t ever ever ever buy ski boots online; the art of boot-fitting; the importance of custom footbeds to ski boots; how to keep warm in ski boots; how to pick skis; whether you should demo skis; the difference between skiing and ski testing; whether you should build a quiver; make friends at the ski shop; picking a binding; why you should avoid backcountry or hybrid bindings; thoughts on setting DIN; “nobody should take anything from the highest levels of the race world and applying it to alpine, regular skiing”; recounting every mistake that prefaced my spectacular leg break at Black Mountain of Maine in February; the problems created by grip-walk boot soles; how often we should be waxing and tuning our skis; the lifespan of skis and boots and how they break down over time; the importance of being present while skiing; ask for the mountain’s permission; Hogen’s incredible book, Snowbird Secrets; the writer’s trance; what makes Snowbird special and whether it has any equals; the mountain has already won; thoughts on Taos; the influence of population growth and the Ikon Pass on Little Cottonwood Canyon; the easiest path down the hill is a straight line; how to use your hands and feet while skiing; and the benefits of a Real Skiers subscription.   Why I thought that now was a good time for this interviewNot to be too self-referential, but I’ll again quote myself here. Specifically, my February post recounting the gear failure at Black Mountain of Maine that led to my three-months-and-counting couch sentence:On my final run of the season we swung skier’s right off the lift, seeking shade, tracked-out snow for easier turns. We found them in Crooked glade. Emerged on black-diamond Penobscot. Ungroomed. Snow heavy in the sunshine. A little sticky. As though someone had caulked the hillside. Try this or more glades? Let’s try this. It was my 13th run of the day. My 460th of the season. It was 1:22 p.m. I let my skis run. Gained speed. Initiated turns. I was leaning into a right turn at 18.9 miles per hour when I lost it.I don’t really know what happened. How I lost control. I know what didn’t happen: the binding on my left ski – 12-year-old Rossies I’d bought on spring clearance at Killington – did not release. Amazing pain in my leg. My body folded over backwards, bounced off the snow. A rattling through the shoulder where I’d had rotator cuff surgery last summer. I spun, self-arrested. Came to a stop on a steep section of trail, laying on my left side, my leg pinned into bent-knee position.I screamed. The pain. I could not get the ski off. I screamed again. Removed my helmet. Let it drop. It spun down the hill. Adrenaline kicked in. A skier appeared. He helped me take my ski off. DIN only at 8.5 but the binding was frozen. Finally it released. I tried to straighten my leg. Couldn’t. I assumed it was my knee. Isn’t it always a knee? More skiers arrived. Are you OK? No, I’m in a lot of pain. They left to get help. Patrol arrived with snowmobiles and sleds and bags of supplies. Michael came walking back up the hill.Everything after, rapid but in slow-motion. Does that make sense? Gingerly onto the sled, then the stretcher, then the Patrol-shack table. EMTs waiting. Amazing drugs incoming. Off, with scissors, my ski pants. Removing the boot, pain distilled. Not your knee – your leg. Broken bones. Did not penetrate the skin. Into the ambulance. Rumford Hospital: X-rays and more pain meds mainlined. A bed in the hallway. From the next room a woman, emphatic, that she don’t need no Covid vaccine in her body. All night there. The staff amazing. I would need surgery but there were no surgeons available until the next day. A room opened and they wheeled me in. In a druggy haze they splinted my leg. A train of drunks and incoherents as the bars emptied out. Sleep impossible.Here’s what I didn’t include in that essay: the moment, last August or September, when I’d dropped my skis for a tune at Pedigree Ski Shop in White Plains. “We just need your boots for a binding check,” the clerk had told me. Said boots, stowed at that moment in my closet in Brooklyn, were unavailable, forgotten in my hastening to beat rush-hour traffic. “I’ll bring them when I come back to pick up my skis,” I said. I didn’t. I hadn’t planned on skiing on those Rossies. But at some point in the season, I blew an edge on my Blizzards, couldn’t find a replacement pair, reached in my roof box and there were those old skis.So I’ve had a lot of time to think about that decision chain and how careless I’d been with my own safety, and how to reset my approach so I minimize the chances of a repeat. After nearly three decades of skiing without a major injury (and just two minor ones), I’d gotten arrogant and careless. I’d like this ski season to be the last one that ever ends early. But what else could I do besides remember my boots next time?I’ve been reading Hogen’s site for a few years now. I hadn’t been in explicit need of gear prior to blowing that edge, but he’s an entertaining writer and I enjoyed the regular emails. I figured he was the best-positioned thinker to guide me (and hopefully all of us), into better gear choices and maintenance over the next several years.There was one more thing, one that transcends the empirical realms in which I normally dwell: the notion of mountain as entity. From Snowbird Secrets Chapter 3, On Vibrations:… Hidden Peak is riddled with quartz. Quartz is a crystalline structure, and no ordinary crystal at that. Like all crystals, it not only responds to vibrations, it emits them. Quartz has piezoelectric properties that allow it to store electromagnetic energy and to conduct it. This mountain pulls a pulse from your energy stream and sends it back with interest, but it also skims off a transaction that it stores in its gargantuan energy vault.“So what does the mountain do with all this energy?” Jackson asks, before answering his own question:As it turns out, everyone has a story for how they came to discover Snowbird, but no one knows the reason. Some have the vanity to think they picked the place, but the wisest know the place picked them. This is the secret that Snowbird has slipped into our subconscious; deep down, we know we were summoned here.I’m skeptical but interested. Snowbird is special. No one who has skied there can doubt that. It is different. Incomparable. It is one of the few places where I ever feel genuinely scared on skis. But also reverential, awed, a little miffed and disbelieving the whole time I’m skiing. It’s something else. And I’ve never really been able to figure out why, other than the 600 inches of snow and relentless terrain and location within bowling lane distance of a major airport.Whether or not you’re willing to consider this anthropomorphization of the ski area, Hogen’s call to humility in its presence is inarguable. From Chapter 19, On Gratitude and Asking Permission:Everyone can learn humility before the mountain. Nowhere is this more important than at Snowbird, where if you don’t approach the mountain with the appropriate measure of humility, the mountain will be more than happy to supply some.My final run of the season was on an open trail, ungroomed buy modestly pitched. I was tired, my turns lazy. I wasn’t really paying attention. I wasn’t respecting the mountain. And while that mountain was quite a different thing from Snowbird, it had no issue reminding me that my carelessness was a mistake.Questions I wish I’d askedDespite the fact that this was one of the longest podcasts I’ve ever recorded, we didn’t get to half the questions I’d prepared. I wanted to discuss the devolution of ski shop culture in the maw of the internet, the decline of the industry trade show, the unconstructive nature of a competitive mindset to recreational skiing, the history of Real Skiers, the evolution of ski and boot technology over the past several decades, and how fortunate we are to be alive during this singular epoch in which we can reach the hazardous summits of our most forbidding mountains with a 10-minute lift ride. Hogen also made several interesting comments that would have been worthy of follow-up, from his nomination of Greg Stump to the National Ski & Snowboard Hall of Fame to what he sees as the decline of certain professional ski organization’s institutional integrity. I’ll save it all for next time.What I got wrongI referred to the boot-fitter I’d used in Hunter as “Keith from Sun and Snow Sports.” The boot-fitter’s name is Keith Holmquist, but the name of the shop is, in fact, The Pro Ski and Ride.Sun and Snow Sports is the name of the ski shop I frequented when I lived in Ann Arbor. You can visit their site here.Why you should follow Real SkiersI will admit that I am very bad at winnowing the best gear from the multitudes. I get overwhelmed by choice. This is one reason I don’t buy gear too often: if what I have works, then why change? And it’s why I know enough to use a boot fitter when I do finally decide an upgrade is in order.But maybe what I have – and what you have – doesn’t “work” so much as function. And that’s not the same thing as functioning optimally. Most of us could probably make better choices. And to do that, we need information. Good information. It may seem that the fecundity of the internet precludes the imperative to seek out the hyper-specialized knowledge of a professional. But the vast majority of ski and boot advice is garbage, as Hogen fearlessly reminds us. From a recent Real Skiers post:My methods for capturing skier feedback may not be succeeding to the degree I would like, but at least I’m trying. Most arms of mainstream media that choose to pose as ski experts no longer possess even a patina of credibility. To name two particularly odious examples of advertising posing as editorial, Men’s Journal published a top-10 “Most Versatile Skis of 2022” that was wall-to-wall b******t, assembled purely to incite a direct sale from the supplier. Whatever quality might be shared by their ten selections, “versatility” isn’t even a remote possibility. I could vilify each selection for its exceptional inappropriateness, but instead I’ll just mention that the “writer” admitted that their tenth selection hadn’t even been skied by whatever panel of nitwits they assembled to manufacture this fraud.The second slice of inanity that deserves your contempt is a ruse by Popular Mechanics titled, The 8 Best Ski Boots for Shredding Any Slope. Despite a long prelude about boot selection and how they “tested,” intended to establish a tone of credibility, when they finally got around to picking boots, the editors responsible for this transparent hoax cobbled together an incoherent jumble with but one goal: based on their nothing-burger of a review, the reader is expected to buy his or her boots online, preferably on Amazon. It’s hard to think of a worse disservice to the ski-boot buying public than this inane exercise.At least that’s what I thought until I was invited to peruse The Ski Girl. I can’t say how desperately incompetent all the advice dispensed on this site is, but I can assure you the people assigned to write about skis are the opposite of experts. I’ll let this one example stand as indictment of the whole shebang: someone so well-known she goes simply by the moniker “Christine,” selected as the best ski for an intermediate (woman, one presumes) none other than the ultra-wide Blizzard Rustler 11. It would be hard to make a completely random choice and do worse. There is NOTHING about this model that is right for an intermediate. Period. It’s not merely wrong, it’s dangerous, for reasons that I’m certain would elude “Christine.” On top of it all, she has the witless gall to add, “Every ski review here comes recommended, so you really can’t go wrong.” This is emblematic of everything that’s wrong about what remains of ski journalism. A gross incompetent merrily goes about dispensing advice unblushingly, so the site can collect a commission on a direct sale THAT SHOULD NEVER HAPPEN.Please note that The Ski Girl hasn’t taken down its moronic buying suggestions, suggesting a smug certainty that there will be no serious consequences for its gross negligence. Such is ski journalism today. That sort of raw honesty, that anti-stoke, that unapologetic calling out of b******t, is so rare in today’s ski media that I can’t even conjure another instance of it in the past 12 months. Skiing needs more of this, more blunt and informed voices. At least there’s one. Get in on it here by subscribing to the Real Skiers newsletter (as with The Storm, there are free and paid tiers):The Storm publishes year-round, and guarantees 100 articles per year. This is article 53/100 in 2022. Want to send feedback? Reply to this email and I will answer. You can also email skiing@substack.com. Get full access to The Storm Skiing Journal and Podcast at www.stormskiing.com/subscribe

This is a big decision - where will you welcome your baby into this world?In this episode, we go through the differences between public and private hospitals here in Australia and talk about what models of care are offered. They are both really great options for safe birth - but their services and costs differ.This is such an important topic, you need to feel comfortable in your choices - because you need to feel comfortable where you have your baby.I've included a link to the Australian Govt Pregnancy information page here https://www.pregnancybirthbaby.org.au/choosing-where-to-give-birth and it runs through the different birth choices available, including home birth.A good place to get local recommendations if you don't have family or friends networks local to you- is through moderated Facebook pages or through local maternal health services, to learn more about them click here  https://www.pregnancybirthbaby.org.au/the-role-of-a-child-health-nurseA great podcast for birth stories is hosted by Sophie at Australian Birth Stories https://www.australianbirthstories.com/aboutThis podcast was fact-checked by the team at Family HQ, it's the best, most simple family medicine and illness tracker on the market - it is my go to.If you've got a topic you'd like an explainer for, email me  sally@thesuiteset.com.au and if you want the very best packed baby bag in the business - visit our shop at https://www.thesuiteset.com/collections/the-suite-setIn this podcast, I use words like vagina. I don't think these are explicit, but if you've got young ears listening, here is a fair warning. As a side note, it's great to use the real words for kids! 

Joanne Paul talks to Helen about Anne Dowriche. Dowriche was a 16th century writer, usually classified as a pious writer. Joanne casts her instead as a deeply political writer, and explains how her commentaries on the wars of religion were a rare example of political writing from a Tudor woman. To find out more about Joanne's work, follow her on Twitter: @Joanne_Paul_ Or check out her website: https://www.joannepaul.com/aboutThis was produced in partnership with the Arts and Humanities Research Council. Follow their work here: https://twitter.com/ahrcpressProducer: Peter Curry @petedoeshistory See acast.com/privacy for privacy and opt-out information.

Emma Butcher talks to Helen about her work on children in warfare. They talk about why children enlisted, and what they did on the battlefield. They discuss the likes of Joseph Bara and Marjorie Fleming, as well as the many magical worlds created by the Bronte sisters. To find more of Emma's work, follow @EmmaButcher_ or see her website: https://www.emmabutcher.net/aboutThis was produced in partnership with the Arts and Humanities Research Council. Follow their work here: https://twitter.com/ahrcpressProducer: Peter Curry @petedoeshistory See acast.com/privacy for privacy and opt-out information.

We've all seen the Ven diagrams showing us to focus on what we can control. But how does that specifically apply if you've got a teen or young adult child who's abusing substances and your life is in complete chaos? In this episode, I share from the seat of wisdom - 7 very real and practical things you can do to regain some control and sense of agency over your life even if you have an at-risk child. These tips also apply to anyone who, during this time of great unrest with COVID-19 is feeling like life is too slippery and they're trying to balance on a teeter-totter in the sand. It's a scary and confusing place to be, but it's possible to change the power balance and gain some solid ground. I go into detail on the 7 tips for things in your control which include:How I react to people and situationsWhat I put in my body and how I treat my bodyWhat's on my phone (and what's not)Who I spend time with (and who I don't)What my physical space looks likeWhen I go to bed (extra bonus material on sleep in Episode 10)What I think aboutThis is a must-listen-to 30 minutes if you're feeling un-tethered and spiraling because of your child's (or the world's) instability. Show notes at www.brendazane.com/hopestream/21If you're a mom who needs strength and support while your child is experimenting with or addicted to drugs or recovering from addiction, please join our private online community, The Stream, at www.brendazane.com/thestream.Download my free ebook “HINDSIGHT: 3 Things I Wish I Knew When My Son Was Addicted to Drugs

https://youtu.be/Y-oRibos_ZQ TITLE- Who We Are Col 1:18 I got saved when I was 15 years old. God told me I was going to be a pastor. This is why I never did drugs, alcohol, partying, or had sex with anyone before marriage. God told me to pioneer a church. I love his church. I love him. I love him more than I love you. I love you so that you will love him, not so you will love me. Jesus changed me. I need to preach a message that lets you know what this church is about- Handful of people have left- I don't want there to be any questions about what this church is aboutThis will be online. There are extra scriptures. PLEASE go study them. REFER BACK TO THISIf ANY of this changes- I will let you know- There are OTHER things- but these are BIG THINGS This is a church that Jesus is the supreme leaderI am not the supreme leader Jesus is. his church. His wants are our wants. We do what he wantsColossians 1:18 And He is the head of the body, the church, who is the beginning, the firstborn from the dead, that in all things He may have the preeminenceEph 5:23b Christ is head of the church; and He is the Savior of the body..I am the Senior pastor- Senior earthly leader, but I am an undershepherd to the great shepherd. I do what he says. I follow his lead. We go by the WORD and the SPIRIT- What HE wants1 Cor 11:3-10, Eph 4:15, Eph 1:22-23, Romans 12:4-5, 1 Cor 12:12-31, This is a church that Believes in the whole Word of God2 Timothy 3:16  All Scripture is given by inspiration of God, and is profitable for doctrine, for reproof, for correction, for instruction in righteousness,If its in there- we believe it- even if the world calls it hate speech and we look weird. Rom 15:4, Heb 4:12, 1 Peter 1:19-21, Mark 12:24, Psa 119:19, 21 Tim 4:2 This is a church that will preach the whole counsel of GodActs 20: 26 Therefore I testify to you this day that I am innocent[e] of the blood of all men. 27 For I have not shunned to declare to you the whole counsel of God. 28 Therefore take heed to yourselves and to all the flock, among which the Holy Spirit has made you overseers, to shepherd the church of God which He purchased with His own blood. Grace, mercy, love, unity, wrath, damnation, service, history, money, sin, doctrine, etc1 thes 2:4, Galatians 1:7-10, 2 cor 4:2, 2 tim 2:15, 1 Thes 2:4, This is a church that believes in PastorsHebrews 13:17 Obey those who rule over you, and be submissive, for they watch out for your souls, as those who must give account. Let them do so with joy and not with grief, for that would be unprofitable for you.Pastors are biblical. Giving a pastor a wage is biblical. Authority and respect is biblical. I'm not above correction. But RESPECT I am available. You have my phone, email, address, I am submitted to other pastors, Burch, Butcher, Ong etc. I listen to those men (Honor)Jer 3:15, Titus 1:5-9, 1 Peter 5:1-5, James 3:1, Eph 4:11, 1 Cor 9:14, Acts 20:28, 1 Tim 3:1-7, This is a church that believes in GraceEphesians 2:8-9 For by grace you have been saved through faith, and that not of yourselves; it is the gift of God, 9 not of works, lest anyone should boast.Grace means- Jesus died on the cross for your sins- you accept it, you don't earn it through your actions. We do not believe that we work FOR our salvation. We work OUT our salvationRom 3:23. Eph 2:5, John 1:12, Acts 15:11, Isa 64:6, Romans 7:18, Romans 10:9, This is a Church that is part of the Global Body of Christ of those who are in truthRomans 12:5 so we, being many, are one body in Christ, and individually members of one another.Faith and Victory Isn't the only church- we are part of the Global church. This is why I pour into pastors, run the auburn meeting, help other pastors. I BELIEVE1 Cor 10:16, 1 Cor 12:12, 27, Eph 3:6, Eph 4:12, Col 1:24 This is a church that believes in Church1 Tim 3:15  if I am delayed, I write so that you may know how you ought to conduct yourself in the house of God,

The dog days of summer are upon us, and with them quick impressions of the new Fire Pro, more gushing over Battlegrounds, some light Splatoon 2 chat, the whereabouts of Bobby Kotick, reflections on old tweets, and a totally authoritative discussion aboutThis show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/5928697/advertisement