Podcasts about ADR

開飯、真珠及饗泰多聯手與廚神小當家強檔聯名，小當家劉昴星的大魔術熊貓豆腐、七星刀雷恩的頂級炸蟹斗及料理仙女阿貝師傅的貝氏糖醋櫻桃肉，夢幻料理等你來享用！即日起來店點購聯名料理，參加夢幻料理蒐集任務將品牌餐券帶回家！ https://sofm.pse.is/8anqj3 -- 永續決策士有多元的系列節目，帶你了解從企業到國際間的永續大小事！這是一個專業又輕鬆的永續頻道，將邀請相關領域的企業家與專家來分享自身經驗及知識，對ESG、永續有興趣的朋友不能錯過！​ 快點擊下方各大平台收聽連結聆聽⬇️​ https://sofm.pse.is/8anqj7 －－－－以上為 SoundOn 動態廣告－－－－ 觀看影片

Im heutigen Interview mit Swen Lorenz geht es um die vom Handel ausgesetzten russischen Aktien wie Gazprom und Sberbank, ob das investierte Kapital verloren ist, welche rechtlichen Chancen noch bestehen und wie man indirekt von einer möglichen Entspannung profitieren kann. Vereinbare jetzt dein kostenfreies Strategiegespräch: https://jensrabe.de/Q4Termin25 Trage dich hier in meinen täglichen kostenfreien Newsletter ein https://jensrabe.de/Q4NewsYT25

Kommerz am Gesondheetssecteur, Schüler:inne géint ADR an eng midd Regierung, dat sinn eis Theemen haut an der Presserevue

Welcome to Original Jurisdiction, the latest legal publication by me, David Lat. You can learn more about Original Jurisdiction by reading its About page, and you can email me at davidlat@substack.com. This is a reader-supported publication; you can subscribe by clicking here.Yesterday, Southern California Edison (SCE), the utility whose power lines may have started the devastating Eaton Fire, announced its Wildfire Recovery Compensation Program. Under the program, people affected by the fire can receive hundreds of thousands or even millions of dollars in compensation, in a matter of months rather than years—but in exchange, they must give up their right to sue.It should come as no surprise that SCE, in designing the program, sought the help of Kenneth Feinberg. For more than 40 years, often in the wake of tragedy or disaster, Feinberg has helped mediate and resolve seemingly intractable crises. He's most well-known for how he and his colleague Camille Biros designed and administered the September 11th Victim Compensation Fund. But he has worked on many other headline-making matters over the years, including the Agent Orange product liability litigation, the Deepwater Horizon Oil Spill Trust, the multidistrict litigation involving Monsanto's Roundup weed killer—and now, of course, the Eaton Fire.How did Ken develop such a fascinating and unique practice? What is the most difficult aspect of administering these giant compensation funds? Do these funds represent the wave of the future, as an alternative to (increasingly expensive) litigation? Having just turned 80, does he have any plans to retire?Last week, I had the pleasure of interviewing Ken—the day after his 80th birthday—and we covered all these topics. The result is what I found to be one of the most moving conversations I've ever had on this podcast.Thanks to Ken Feinberg for joining me—and, of course, for his many years of service as America's go-to mediator in times of crisis.Show Notes:* Kenneth Feinberg bio, Wikipedia* Kenneth Feinberg profile, Chambers and Partners* L.A. Fire Victims Face a Choice, by Jill Cowan for The New York TimesPrefer reading to listening? For paid subscribers, a transcript of the entire episode appears below.Sponsored by:NexFirm helps Biglaw attorneys become founding partners. To learn more about how NexFirm can help you launch your firm, call 212-292-1000 or email careerdevelopment@nexfirm.com.Three quick notes about this transcript. First, it has been cleaned up from the audio in ways that don't alter substance—e.g., by deleting verbal filler or adding a word here or there to clarify meaning. Second, my interviewee has not reviewed this transcript, and any errors are mine. Third, because of length constraints, this newsletter may be truncated in email; to view the entire post, simply click on “View entire message” in your email app.David Lat: Welcome to the Original Jurisdiction podcast. I'm your host, David Lat, author of a Substack newsletter about law and the legal profession also named Original Jurisdiction, which you can read and subscribe to at davidlat.substack.com. You're listening to the eighty-fourth episode of this podcast, recorded on Friday, October 24.Thanks to this podcast's sponsor, NexFirm. NexFirm helps Biglaw attorneys become founding partners. To learn more about how NexFirm can help you launch your firm, call 212-292-1000 or email careerdevelopment@nexfirm.com. Want to know who the guest will be for the next Original Jurisdiction podcast? Follow NexFirm on LinkedIn for a preview.I like to think that I've produced some good podcast episodes over the past three-plus years, but I feel that this latest one is a standout. I'm hard-pressed to think of an interview that was more emotionally affecting to me than what you're about to hear.Kenneth Feinberg is a leading figure in the world of mediation and alternative dispute resolution. He is most well-known for having served as special master of the U.S. government's September 11th Victim Compensation Fund—and for me, as someone who was in New York City on September 11, I found his discussion of that work profoundly moving. But he has handled many major matters over the years, such as the Agent Orange product liability litigation to the BP Deepwater Horizon Disaster Victim Compensation Fund. And he's working right now on a matter that's in the headlines: the California wildfires. Ken has been hired by Southern California Edison to help design a compensation program for victims of the 2025 Eaton fire. Ken has written about his fascinating work in two books: What Is Life Worth?: The Unprecedented Effort to Compensate the Victims of 9/11 and Who Gets What: Fair Compensation after Tragedy and Financial Upheaval. Without further ado, here's my conversation with Ken Feinberg.Ken, thank you so much for joining me.Ken Feinberg: Thank you very much; it's an honor to be here.DL: We are recording this shortly after your 80th birthday, so happy birthday!KF: Thank you very much.DL: Let's go back to your birth; let's start at the beginning. You grew up in Massachusetts, I believe.KF: That's right: Brockton, Massachusetts, about 20 miles south of Boston.DL: Your parents weren't lawyers. Tell us about what they did.KF: My parents were blue-collar workers from Massachusetts, second-generation immigrants. My father ran a wholesale tire distributorship, my mother was a bookkeeper, and we grew up in the 1940s and ‘50s, even the early ‘60s, in a town where there was great optimism, a very vibrant Jewish community, three different synagogues, a very optimistic time in American history—post-World War II, pre-Vietnam, and a time when communitarianism, working together to advance the collective good, was a prominent characteristic of Brockton, and most of the country, during the time that I was in elementary school and high school in Brockton.DL: Did the time in which you grow up shape or influence your decision to go into law?KF: Yes. More than law—the time growing up had a great impact on my decision to give back to the community from which I came. You've got to remember, when I was a teenager, the president of the United States was John F. Kennedy, and I'll never forget because it had a tremendous impact on me—President Kennedy reminding everybody that public service is a noble undertaking, government is not a dirty word, and especially his famous quote (or one of his many quotes), “Every individual can make a difference.” I never forgot that, and it had a personal impact on me and has had an impact on me throughout my life. [Ed. note: The quotation generally attributed to JFK is, “One person can make a difference, and everyone should try.” Whether he actually said these exact words is unclear, but it's certainly consistent with many other sentiments he expressed throughout his life.]DL: When you went to college at the University of Massachusetts Amherst, what did you study?KF: I studied history and political science. I was very interested in how individuals over the centuries change history, the theory of historians that great individuals articulate history and drive it in a certain direction—for good, like President Kennedy or Abraham Lincoln or George Washington, or for ill, like Adolf Hitler or Mussolini. And so it was history that I really delved into in my undergraduate years.DL: What led you then to turn to law school?KF: I always enjoyed acting on the stage—theater, comedies, musicals, dramas—and at the University of Massachusetts, I did quite a bit of that. In my senior year, I anticipated going to drama school at Yale, or some other academic master's program in theater. My father gave me very good advice. He said, “Ken, most actors end up waiting on restaurant tables in Manhattan, waiting for a big break that never comes. Why don't you turn your skills on the stage to a career in the courtroom, in litigation, talking to juries and convincing judges?” That was very sound advice from my father, and I ended up attending NYU Law School and having a career in the law.DL: Yes—and you recount that story in your book, and I just love that. It's really interesting to hear what parents think of our careers. But anyway, you did very well in law school, you were on the law review, and then your first job out of law school was something that we might expect out of someone who did well in law school.KF: Yes. I was a law clerk to the chief judge of New York State, Stanley Fuld, a very famous state jurist, and he had his chambers in New York City. For one week, every six or seven weeks, we would go to the state capitol in Albany to hear cases, and it was Judge Fuld who was my transition from law school to the practice of law.DL: I view clerking as a form of government service—and then you continued in service after that.KF: That's right. Remembering what my father had suggested, I then turned my attention to the courtroom and became an assistant United States attorney, a federal prosecutor, in New York City. I served as a prosecutor and as a trial lawyer for a little over three years. And then I had a wonderful opportunity to go to work for Senator Ted Kennedy on the Senate Judiciary Committee in Washington and stayed with him for about five years.DL: You talk about this also in your books—you worked on a pretty diverse range of issues for the senator, right?KF: That's right. For the first three years I worked on his staff on the Senate Judiciary Committee, with some excellent colleagues—soon-to-be Supreme Court justice Stephen Breyer was with me, noted litigator David Boies was in the office—and for the first three years, it was law-related issues. Then in 1978, Senator Kennedy asked me to be his chief of staff, and once I went over and became his chief of staff, the issues of course mushroomed. He was running for president, so there were issues of education, health, international relations—a wide diversity of issues, very broad-based.DL: I recall that you didn't love the chief of staff's duties.KF: No. Operations or administration was not my priority. I loved substance, issues—whatever the issues were, trying to work out legislative compromises, trying to give back something in the way of legislation to the people. And internal operations and administration, I quickly discovered, was not my forte. It was not something that excited me.DL: Although it's interesting: what you are most well-known for is overseeing and administering these large funds and compensating victims of these horrific tragedies, and there's a huge amount of administration involved in that.KF: Yes, but I'm a very good delegator. In fact, if you look at the track record of my career in designing and administering these programs—9/11 or the Deepwater Horizon oil spill or the Patriots' Day Marathon bombings in Boston—I was indeed fortunate in all of those matters to have at my side, for over 40 years, Camille Biros. She's not a lawyer, but she's the nation's expert on designing, administering, and operating these programs, and as you delve into what I've done and haven't done, her expertise has been invaluable.DL: I would call Camille your secret weapon, except she's not secret. She's been profiled in The New York Times, and she's a well-known figure in her own right.KF: That is correct. She was just in the last few months named one of the 50 Women Over 50 that have had such an impact in the country—that list by Forbes that comes out every year. She's prominently featured in that magazine.DL: Shifting back to your career, where did you go after your time in the Senate?KF: I opened up a Washington office for a prominent New York law firm, and for the next decade or more, that was the center of my professional activity.DL: So that was Kaye Scholer, now Arnold & Porter Kaye Scholer. What led you to go from your career in the public sector, where you spent a number of your years right out of law school, into so-called Biglaw?KF: Practicality and financial considerations. I had worked for over a decade in public service. I now had a wife, I had three young children, and it was time to give them financial security. And “Biglaw,” as you put it—Biglaw in Washington was lucrative, and it was something that gave me a financial base from which I could try and expand my different interests professionally. And that was the reason that for about 12 years I was in private practice for a major firm, Kaye Scholer.DL: And then tell us what happened next.KF: A great lesson in not planning too far ahead. In 1984, I got a call from a former clerk of Judge Fuld whom I knew from the clerk network: Judge Jack Weinstein, a nationally recognized jurist from Brooklyn, the Eastern District, and a federal judge. He had on his docket the Vietnam veterans' Agent Orange class action.You may recall that there were about 250,000 Vietnam veterans who came home claiming illness or injury or death due to the herbicide Agent Orange, which had been dropped by the U.S. Air Force in Vietnam to burn the foliage and vegetation where the Viet Cong enemy might be hiding. Those Vietnam veterans came home suffering terrible diseases, including cancer and chloracne (a sort of acne on the skin), and they brought a lawsuit. Judge Weinstein had the case. Weinstein realized that if that case went to trial, it could be 10 years before there'd be a result, with appeals and all of that.So he appointed me as mediator, called the “special master,” whose job it was to try and settle the case, all as a mediator. Well, after eight weeks of trying, we were successful. There was a master settlement totaling about $250 million—at the time, one of the largest tort verdicts in history. And that one case, front-page news around the nation, set me on a different track. Instead of remaining a Washington lawyer involved in regulatory and legislative matters, I became a mediator, an individual retained by the courts or by the parties to help resolve a case. And that was the beginning. That one Agent Orange case transformed my entire professional career and moved me in a different direction completely.DL: So you knew the late Judge Weinstein through Fuld alumni circles. What background did you have in mediation already, before you handled this gigantic case?KF: None. I told Judge Weinstein, “Judge, I never took a course in mediation at law school (there wasn't one then), and I don't know anything about bringing the parties together, trying to get them to settle.” He said, “I know you. I know your background. I've followed your career. You worked for Senator Kennedy. You are the perfect person.” And until the day I die, I'm beholden to Judge Weinstein for having faith in me to take this on.DL: And over the years, you actually worked on a number of matters at the request of Judge Weinstein.KF: A dozen. I worked on tobacco cases, on asbestos cases, on drug and medical device cases. I even worked for Judge Weinstein mediating the closing of the Shoreham nuclear plant on Long Island. I handled a wide range of cases where he called on me to act as his court-appointed mediator to resolve cases on his docket.DL: You've carved out a very unique and fascinating niche within the law, and I'm guessing that most people who meet you nowadays know who you are. But say you're in a foreign country or something, and some total stranger is chatting with you and asks what you do for a living. What would you say?KF: I would say I'm a lawyer, and I specialize in dispute resolution. It might be mediation, it might be arbitration, or it might even be negotiation, where somebody asks me to negotiate on their behalf. So I just tell people there is a growing field of law in the United States called ADR—alternative dispute resolution—and that it is, as you say, David, my niche, my focus when called upon.DL: And I think it's fair to say that you're one of the founding people in this field or early pioneers—or I don't know how you would describe it.KF: I think that's right. When I began with Agent Orange, there was no mediation to speak of. It certainly wasn't institutionalized; it wasn't streamlined. Today, in 2025, the American Bar Association has a special section on alternative dispute resolution, it's taught in every law school in the United States, there are thousands of mediators and arbitrators, and it's become a major leg in law school of different disciplines and specialties.DL: One question I often ask my guests is, “What is the matter you are most proud of?” Another question I often ask my guests is, “What is the hardest matter you've ever had to deal with?” Another question I often ask my guests is, “What is the matter that you're most well-known for?” And I feel in your case, the same matter is responsive to all three of those questions.KF: That's correct. The most difficult, the most challenging, the most rewarding matter, the one that's given me the most exposure, was the federal September 11 Victim Compensation Fund of 2001, when I was appointed by President George W. Bush and Attorney General John Ashcroft to implement, design, and administer a very unique federal law that had been enacted right after 9/11.DL: I got chills as you were just even stating that, very factually, because I was in New York on 9/11, and a lot of us remember the trauma and difficulty of that time. And you basically had to live with that and talk to hundreds, even thousands, of people—survivors, family members—for almost three years. And you did it pro bono. So let me ask you this: what were you thinking?KF: What triggered my interest was the law itself. Thirteen days after the attacks, Congress passed this law, unique in American history, setting up a no-fault administrator compensation system. Don't go to court. Those who volunteer—families of the dead, those who were physically injured at the World Trade Center or the Pentagon—you can voluntarily seek compensation from a taxpayer-funded law. Now, if you don't want it, you don't have to go. It's a voluntary program.The key will be whether the special master or the administrator will be able to convince people that it is a better avenue to pursue than a long, delayed, uncertain lawsuit. And based on my previous experience for the last 15 years, starting with Agent Orange and asbestos and these other tragedies, I volunteered. I went to Senator Kennedy and said, “What about this?” He said, “Leave it to me.” He called President Bush. He knew Attorney General John Ashcroft, who was his former colleague in the U.S. Senate, and he had great admiration for Senator Ashcroft. And so I was invited by the attorney general for an interview, and I told him I was interested. I told him I would only do it pro bono. You can't get paid for a job like this; it's patriotism. And he said, “Go for it.” And he turned out to be my biggest, strongest ally during the 33 months of the program.DL: Are you the managing partner of a boutique or midsize firm? If so, you know that your most important job is attracting and retaining top talent. It's not easy, especially if your benefits don't match up well with those of Biglaw firms or if your HR process feels “small time.” NexFirm has created an onboarding and benefits experience that rivals an Am Law 100 firm, so you can compete for the best talent at a price your firm can afford. Want to learn more? Contact NexFirm at 212-292-1002 or email betterbenefits@nexfirm.com.You talk about this in your books: you were recommended by a very prominent Democratic politician, and the administration at the time was Republican. George W. Bush was president, and John Ashcroft was the attorney general. Why wouldn't they have picked a Republican for this project?KF: Very good question. Senator Kennedy told both of them, “You better be careful here. This is a very, very uncertain program, with taxpayer money used to pay only certain victims. This could be a disaster. And you would be well-advised to pick someone who is not a prominent friend of yours, who is not perceived as just a Republican arm of the Justice Department or the White House. And I've got the perfect person. You couldn't pick a more opposite politician than my former chief of staff, Ken Feinberg. But look at what he's done.” And I think to Senator Kennedy's credit, and certainly to President Bush and to John Ashcroft's, they selected me.DL: As you would expect with a program of this size and complexity, there was controversy and certainly criticism over the years. But overall, looking back, I think people regard it widely as a huge success. Do you have a sense or an estimate of what percentage of people in the position to accept settlements through the program did that, rather than litigate? Because in accepting funds from the program, they did waive their right to bring all sorts of lawsuits.KF: That's correct. If you look at the statistics, if the statistics are a barometer of success, 5,300 applicants were eligible, because of death—about 2,950, somewhere in there—and the remaining claims were for physical injury. Of the 5,300, 97 percent voluntarily accepted the compensation. Only 94 people, 3 percent, opted out, and they all settled their cases five years later. There was never a trial on who was responsible in the law for 9/11. So if statistics are an indication—and I think they are a good indication—the program was a stunning success in accomplishing Congress's objective, which was diverting people voluntarily out of the court system.DL: Absolutely. And that's just a striking statistic. It was really successful in getting funds to families that needed it. They had lost breadwinners; they had lost loved ones. It was hugely successful, and it did not take a decade, as some of these cases involving just thousands of victims often do.I was struck by one thing you just said. You mentioned there was really no trial. And in reading your accounts of your work on this, it seemed almost like people viewed talking to you and your colleagues, Camille and others on this—I think they almost viewed that as their opportunity to be heard, since there wasn't a trial where they would get to testify.KF: That's correct. The primary reason for the success of the 9/11 Fund, and a valuable lesson for me thereafter, was this: give victims the opportunity to be heard, not only in public town-hall meetings where collectively people can vent, but in private, with doors closed. It's just the victim and Feinberg or his designee, Camille. We were the face of the government here. You can't get a meeting with the secretary of defense or the attorney general, the head of the Department of Justice. What you can get is an opportunity behind closed doors to express your anger, your frustration, your disappointment, your sense of uncertainty, with the government official responsible for cutting the checks. And that had an enormous difference in assuring the success of the program.DL: What would you say was the hardest aspect of your work on the Fund?KF: The hardest part of the 9/11 Fund, which I'll never recover from, was not calculating the value of a life. Judges and juries do that every day, David, in every court, in New Jersey and 49 other states. That is not a difficult assignment. What would the victim have earned over a work life? Add something for pain and suffering and emotional distress, and there's your check.The hardest part in any of these funds, starting with 9/11—the most difficult aspect, the challenge—is empathy, and your willingness to sit for over 900 separate hearings, me alone with family members or victims, to hear what they want to tell you, and to make that meeting, from their perspective, worthwhile and constructive. That's the hard part.DL: Did you find it sometimes difficult to remain emotionally composed? Or did you, after a while, develop a sort of thick skin?KF: You remain composed. You are a professional. You have a job to do, for the president of the United States. You can't start wailing and crying in the presence of somebody who was also wailing and crying, so you have to compose yourself. But I tell people who say, “Could I do what you did?” I say, “Sure. There are plenty of people in this country that can do what I did—if you can brace yourself for the emotional trauma that comes with meeting with victim after victim after victim and hearing their stories, which are...” You can't make them up. They're so heart-wrenching and so tragic.I'll give you one example. A lady came to see me, 26 years old, sobbing—one of hundreds of people I met with. “Mr. Feinberg, I lost my husband. He was a fireman at the World Trade Center. He died on 9/11. And he left me with our two children, six and four. Now, Mr. Feinberg, you've calculated and told me I'm going to receive $2.4 million, tax-free, from this 9/11 Fund. I want it in 30 days.”I said to Mrs. Jones, “This is public, taxpayer money. We have to go down to the U.S. Treasury. They've got to cut the checks; they've got to dot all the i's and cross all the t's. It may be 60 days or 90 days, but you'll get your money.”“No. Thirty days.”I said, “Mrs. Jones, why do you need the money in 30 days?”She said, “Why? I'll tell you why, Mr. Feinberg. I have terminal cancer. I have 10 weeks to live. My husband was going to survive me and take care of our two children. Now they're going to be orphans. I have got to get this money, find a guardian, make sure the money's safe, prepare for the kids' schooling. I don't have a lot of time. I need your help.”Well, we ran down to the U.S. Treasury and helped process the check in record time. We got her the money in 30 days—and eight weeks later, she died. Now when you hear story after story like this, you get some indication of the emotional pressure that builds and is debilitating, frankly. And we managed to get through it.DL: Wow. I got a little choked up just even hearing you tell that. Wow—I really don't know what to say.When you were working on the 9/11 Fund, did you have time for any other matters, or was this pretty much exclusively what you were working on for the 33 months?KF: Professionally, it was exclusive. Now what I did was, I stayed in my law firm, so I had a living. Other people in the firm were generating income for the firm; I wasn't on the dole. But it was exclusive. During the day, you are swamped with these individual requests, decisions that have to be made, checks that have to be cut. At night, I escaped: opera, orchestral concerts, chamber music, art museums—the height of civilization. During the day, in the depths of horror of civilization; at night, an escape, an opportunity to just enjoy the benefits of civilization. You better have a loving family, as I did, that stands behind you—because you never get over it, really.DL: That's such an important lesson, to actually have that time—because if you wanted to, you could have worked on this 24/7. But it is important to have some time to just clear your head or spend time with your family, especially just given what you were dealing with day-to-day.KF: That's right. And of course, during the day, we made a point of that as well. If we were holding hearings like the one I just explained, we'd take a one-hour break, go for a walk, go into Central Park or into downtown Washington, buy an ice cream cone, see the kids playing in playgrounds and laughing. You've got to let the steam out of the pressure cooker, or it'll kill you. And that was the most difficult part of the whole program. In all of these programs, that's the common denominator: emotional stress and unhappiness on the part of the victims.DL: One last question, before we turn to some other matters. There was also a very large logistical apparatus associated with this, right? For example, PricewaterhouseCoopers. It wasn't just you and Camille trying to deal with these thousands of survivors and claimants; you did have support.KF: That's right. Pricewaterhouse won the bid at the Justice Department. This is public: Pricewaterhouse, for something like around $100 million, put 450 people to work with us to help us process claims, appraise values, do the research. Pricewaterhouse was a tremendous ally and has gone on, since 9/11, to handle claims design and claims administration, as one of its many specialties. Emily Kent, Chuck Hacker, people like that we worked with for years, very much experts in these areas.DL: So after your work on the 9/11 Fund, you've worked on a number of these types of matters. Is there one that you would say ranks second in terms of complexity or difficulty or meaningfulness to you?KF: Yes. Deepwater Horizon in 2011, 2012—that oil rig in the Gulf of Mexico blew up and killed about, I don't know, 15 to 20 people in the explosion. But the real challenge in that program was how we received, in 16 months, about 1,250,000 claims for business interruption, business losses, property damage. We received over a million claims from 50 states. I think we got probably a dozen claims from New Jersey; I didn't know the oil had gotten to New Jersey. We received claims from 35 foreign countries. And the sheer volume of the disaster overwhelmed us. We had, at one point, something like 40,000 people—vendors—working for us. We had 35 offices throughout the Gulf of Mexico, from Galveston, Texas, all the way to Mobile Bay, Alabama. Nevertheless, in 16 months, on behalf of BP, Deepwater Horizon, we paid out all BP money, a little over $7 billion, to 550,000 eligible claimants. And that, I would say, other than 9/11, had the greatest impact and was the most satisfying.DL: You mentioned some claims coming from some pretty far-flung jurisdictions. In these programs, how much of a problem is fraud?KF: Not much. First of all, with death claims like 9/11 or the Boston Marathon bombings or the 20 first-graders who died in Sandy Hook, Connecticut, at the hands of a deranged gunmen—most of the time, in traumatic death and injury, you've got records. No one can beat the system; you have to have a death certificate. In 9/11, where are your military records, if you were at the Pentagon? Where are the airplane manifests? You've got to be on the manifest if you were flying on that plane.Now, the problem becomes more pronounced in something like BP, where you've got over a million claims, and you wonder, how many people can claim injury from this explosion? There we had an anti-fraud unit—Guidepost, Bart Schwartz's company—and they did a tremendous job of spot-checking claims. I think that out of over a million claims, there may have been 25,000 that were suspicious. And we sent those claims to the Justice Department, and they prosecuted a fair number of people. But it wasn't a huge problem. I think the fraud rate was something like 3 percent; that's nothing. So overall, we haven't found—and we have to be ever-vigilant, you're right—but we haven't found much in the way of fraud.DL: I'm glad to hear that, because it would really be very depressing to think that there were people trying to profiteer off these terrible disasters and tragedies. Speaking of continuing disasters and tragedies, turning to current events, you are now working with Southern California Edison in dealing with claims related to the Eaton Fire. And this is a pending matter, so of course you may have some limits in terms of what you can discuss, but what can you say in a general sense about this undertaking?KF: This is the Los Angeles wildfires that everybody knows about, from the last nine or ten months—the tremendous fire damage in Los Angeles. One of the fires, or one of the selected hubs of the fire, was the Eaton Fire. Southern California Edison, the utility involved in the litigation and finger-pointing, decided to set up, à la 9/11, a voluntary claims program. Not so much to deal with death—there were about 19 deaths, and a handful of physical injuries—but terrible fire damage, destroyed homes, damaged businesses, smoke and ash and soot, for miles in every direction. And the utility decided, its executive decided, “We want to do the right thing here. We may be held liable or we may not be held liable for the fire, but we think the right thing to do is nip in the bud this idea of extended litigation. Look at 9/11: only 94 people ended up suing. We want to set up a program.”They came to Camille and me. Over the last eight weeks, we've designed the program, and I think in the last week of October or the first week of November, you will see publicly, “Here is the protocol; here is the claim form. Please submit your claims, and we'll get them paid within 90 days.” And if history is an indicator, Camille and I think that the Eaton Fire Protocol will be a success, and the great bulk of the thousands of victims will voluntarily decide to come into the program. We'll see. [Ed. note: On Wednesday, a few days after Ken and I recorded this episode, Southern California Edison announced its Wildfire Recovery Compensation Program.]DL: That raises a question that I'm curious about. How would you describe the relationship between the work that you and Camille and your colleagues do and the traditional work of the courts, in terms of in-the-trenches litigation? Because I do wonder whether the growth in your field is perhaps related to some developments in litigation, in terms of litigation becoming more expensive over the decades (in a way that far outstrips inflation), more complicated, or more protracted. How would you characterize that relationship?KF: I would say that the programs that we design and administer—like 9/11, like BP, plus the Eaton wildfires—are an exception to the rule. Nobody should think that these programs that we have worked on are the wave of the future. They are not the wave of the future; they are isolated, unique examples, where a company—or in 9/11, the U.S. government—decides, “We ought to set up a special program where the courts aren't involved, certainly not directly.” In 9/11, they were prohibited to be involved, by statute; in some of these other programs, like BP, the courts have a relationship, but they don't interfere with the day-to-day administration of the program.And I think the American people have a lot of faith in the litigation system that you correctly point out can be uncertain, very inefficient, and very costly. But the American people, since the founding of the country, think, “You pick your lawyer, I'll pick my lawyer, and we'll have a judge and jury decide.” That's the American rule of law; I don't think it's going to change. But occasionally there is a groundswell of public pressure to come up with a program, or there'll be a company—like the utility, like BP—that decides to have a program.And I'll give you one other example: the Catholic Church confronted thousands of claims of sexual abuse by priests. It came to us, and we set up a program—just like 9/11, just like BP—where we invited, voluntarily, any minor—any minor from decades ago, now an adult—who had been abused by the church to come into this voluntary program. We paid out, I think, $700 million to $800 million, to victims in dioceses around the country. So there's another example—Camille did most of that—but these programs are all relatively rare. There are thousands of litigations every day, and nothing's going to change that.DL: I had a guest on a few weeks ago, Chris Seeger of Seeger Weiss, who does a lot of work in the mass-tort space. It's interesting: I feel that that space has evolved, and maybe in some ways it's more efficient than it used to be. They have these multi-district litigation panels, they have these bellwether trials, and then things often get settled, once people have a sense of the values. That system and your approach seem to have some similarities, in the sense that you're not individually trying each one of these cases, and you're having somebody with liability come forward and voluntarily pay out money, after some kind of negotiation.KF: Well, there's certainly negotiation in what Chris Seeger does; I'm not sure we have much negotiation. We say, “Here's the amount under the administrative scheme.” It's like in workers' compensation: here's the amount. You don't have to take it. There's nothing to really talk about, unless you have new evidence that we're not aware of. And those programs, when we do design them, seem to work very efficiently.Again, if you ask Camille Biros what was the toughest part of valuing individual claims of sexual-abuse directed at minors, she would say, “These hearings: we gave every person who wanted an opportunity to be heard.” And when they come to see Camille, they don't come to talk about money; they want validation for what they went through. “Believe me, will you? Ken, Camille, believe me.” And when Camille says, “We do believe you,” they immediately, or almost immediately, accept the compensation and sign a release: “I will not sue the Catholic diocese.”DL: So you mentioned there isn't really much negotiation, but you did talk in the book about these sort of “appeals.” You had these two tracks, “Appeals A” and “Appeals B.” Can you talk about that? Did you ever revisit what you had set as the award for a particular victim's family, after hearing from them in person?KF: Sure. Now, remember, those appeals came back to us, not to a court; there's no court involvement. But in 9/11, in BP, if somebody said, “You made a mistake—you didn't account for these profits or this revenue, or you didn't take into account this contract that my dead firefighter husband had that would've given him a lot more money”—of course, we'll revisit that. We invited that. But that's an internal appeals process. The people who calculated the value of the claim are the same people that are going to be looking at revisiting the claim. But again, that's due process, and that's something that we thought was important.DL: You and Camille have been doing this really important work for decades. Since this is, of course, shortly after your 80th birthday, I should ask: do you have future plans? You're tackling some of the most complicated matters, headline-making matters. Would you ever want to retire at some point?KF: I have no intention of retiring. I do agree that when you reach a certain pinnacle in what you've done, you do slow down. We are much more selective in what we do. I used to have maybe 15 mediations going on at once; now, we have one or two matters, like the Los Angeles wildfires. As long as I'm capable, as long as Camille's willing, we'll continue to do it, but we'll be very careful about what we select to do. We don't travel much. The Los Angeles wildfires was largely Zooms, going back and forth. And we're not going to administer that program. We had administered 9/11 and BP; we're trying to move away from that. It's very time-consuming and stressful. So we've accomplished a great deal over the last 50 years—but as long as we can do it, we'll continue to do it.DL: Do you have any junior colleagues who would take over what you and Camille have built?KF: We don't have junior colleagues. There's just the two of us and Cindy Sanzotta, our receptionist. But it's an interesting question: “Who's after Feinberg? Who's next in doing this?” I think there are thousands of people in this country who could do what we do. It is not rocket science. It really isn't. I'll tell you what's difficult: the emotion. If somebody wants to do what we do, you better brace yourself for the emotion, the anger, the frustration, the finger pointing. It goes with the territory. And if you don't have the psychological ability to handle this type of stress, stay away. But I'm sure somebody will be there, and no one's irreplaceable.DL: Well, I know I personally could not handle it. I worked when I was at a law firm on civil litigation over insurance proceeds related to the World Trade Center, and that was a very draining case, and I was very glad to no longer be on it. So I could not do what you and Camille do. But let me ask you, to end this section on a positive note: what would you say is the most rewarding or meaningful or satisfying aspect of the work that you do on these programs?KF: Giving back to the community. Public service. Helping the community heal. Not so much the individuals; the individuals are part of the community. “Every individual can make a difference.” I remember that every day, what John F. Kennedy said: government service is a noble undertaking. So what's most rewarding for me is that although I'm a private practitioner—I am no longer in government service, since my days with Senator Kennedy—I'd like to think that I performed a valuable service for the community, the resilience of the community, the charity exhibited by the community. And that gives me a great sense of self-satisfaction.DL: You absolutely have. It's been amazing, and I'm so grateful for you taking the time to join me.So now, onto our speed round. These are four questions that are standardized. My first question is, what do you like the least about the law? And this can either be the practice of law or law in a more abstract sense.KF: Uncertainty. What I don't like about the law is—and I guess maybe it's the flip side of the best way to get to a result—I don't like the uncertainty of the law. I don't like the fact that until the very end of the process, you don't know if your view and opinion will prevail. And I think losing control over your destiny in that regard is problematic.DL: My second question—and maybe we touched on this a little bit, when we talked about your father's opinions—what would you be if you were not a lawyer?KF: Probably an actor. As I say, I almost became an actor. And I still love theater and the movies and Broadway shows. If my father hadn't given me that advice, I was on the cusp of pursuing a career in the theater.DL: Have you dabbled in anything in your (probably limited) spare time—community theater, anything like that?KF: No, but I certainly have prioritized in my spare time classical music and the peace and optimism it brings to the listener. It's been an important part of my life.DL: My third question is, how much sleep do you get each night?KF: Well, it varies from program to program. I'd like to get seven hours. That's what my doctors tell me: “Ken, very important—more important than pills and exercise and diet—is sleep. Your body needs a minimum of seven hours.” Well, for me, seven hours is rare—it's more like six or even five, and during 9/11 or during Eaton wildfires, it might be more like four or five. And that's not enough, and that is a problem.DL: My last question is, any final words of wisdom, such as career advice or life advice, for my listeners?KF: Yes, I'll give you some career and life advice. It's very simple: don't plan too far ahead. People have this view—you may think you know what you want to do with your career. You may think you know what life holds for you. You don't know. If I've learned anything over the last decades, life has a way of changing the best-laid plans. These 9/11 husbands and wives said goodbye to their children, “we'll see you for dinner,” a perfunctory wave—and they never saw them again. Dust, not even a body. And the idea I tell law students—who say, ”I'm going to be a corporate lawyer,” or “I'm going to be a litigator”—I tell them, “You have no idea what your legal career will look like. Look at Feinberg; he never planned on this. He never thought, in his wildest dreams, that this would be his chosen avenue of the law.”My advice: enjoy the moment. Do what you like now. Don't worry too much about what you'll be doing two years, five years, 10 years, a lifetime ahead of you. It doesn't work that way. Everybody gets thrown curveballs, and that's advice I give to everybody.DL: Well, you did not plan out your career, but it has turned out wonderfully, and the country is better for it. Thank you, Ken, both for your work on all these matters over the years and for joining me today.KF: A privilege and an honor. Thanks, David.DL: Thanks so much to Ken for joining me—and, of course, for his decades of work resolving some of the thorniest disputes in the country, which is truly a form of public service.Thanks to NexFirm for sponsoring the Original Jurisdiction podcast. NexFirm has helped many attorneys to leave Biglaw and launch firms of their own. To explore this opportunity, please contact NexFirm at 212-292-1000 or email careerdevelopment@nexfirm.com to learn more.Thanks to Tommy Harron, my sound engineer here at Original Jurisdiction, and thanks to you, my listeners and readers. To connect with me, please email me at davidlat@substack.com, or find me on Twitter, Facebook, and LinkedIn, at davidlat, and on Instagram and Threads at davidbenjaminlat.If you enjoyed today's episode, please rate, review, and subscribe. Please subscribe to the Original Jurisdiction newsletter if you don't already, over at davidlat.substack.com. This podcast is free, but it's made possible by paid subscriptions to the newsletter.The next episode should appear on or about Wednesday, November 12. Until then, may your thinking be original and your jurisdiction free of defects.Thanks for reading Original Jurisdiction, and thanks to my paid subscribers for making this publication possible. Subscribers get (1) access to Judicial Notice, my time-saving weekly roundup of the most notable news in the legal world; (2) additional stories reserved for paid subscribers; (3) transcripts of podcast interviews; and (4) the ability to comment on posts. You can email me at davidlat@substack.com with questions or comments, and you can share this post or subscribe using the buttons below. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit davidlat.substack.com/subscribe

開飯、真珠及饗泰多聯手與廚神小當家強檔聯名，小當家劉昴星的大魔術熊貓豆腐、七星刀雷恩的頂級炸蟹斗及料理仙女阿貝師傅的貝氏糖醋櫻桃肉，夢幻料理等你來享用！即日起來店點購聯名料理，參加夢幻料理蒐集任務將品牌餐券帶回家！ https://sofm.pse.is/8ajvaj -- 在這個人人都想賺錢的時代， 我們聊的不只是「怎麼賺」，更是「為什麼要這樣賺」。 《賺錢這檔事》由冒牌生、致淮、驚驚共同主持， 帶你從個人品牌、自媒體經營、創業心法，到自由工作者的真實掙扎， 一起拆解「賺錢的底層邏輯」。 每週四更新｜陪你一起成長、一起賺。 Apple / Spotify / Youtube 搜尋《賺錢這檔事》， 或點擊下方連結，讓耳朵開始替你賺錢。 ↓↓↓點擊下方連結，手機隨時收聽

D'ADR ass eleng géint de Verbrennerverbuet, Sympathie fir Wandenergie an Diskussiounen ëm en ellent Gebai zu Uewerkuer, dat sinn d'Theemen an der Presserevue.

D'ADR ass eleng géint de Verbrennerverbuet, Sympathie fir Wandenergie an Diskussiounen ëm en ellent Gebai zu Uewerkuer, dat sinn d'Theemen an der Presserevue.

Send Us a Message (include your contact info if you'd like a reply)What if the missing piece in most divorce processes isn't another document or courtroom strategy, but a steadier, more prepared client? Tracy goes deep on the questions coaches ask most—how to define our role, hold firm boundaries, and position divorce coaching as an essential part of modern alternative dispute resolution.We start by drawing a bright line between coaching, therapy, and legal work, then show how that clarity protects clients and strengthens outcomes. From there, Tracy shares practical scripts for redirecting legal and clinical requests without losing rapport, and explains how referrals build trust with attorneys and therapists. You'll hear why coaching functions as the first tier of ADR—stabilizing emotions, clarifying goals, and training low-reactivity communication so mediation and collaboration actually work.For new coaches, Tracy maps a grassroots growth plan: speak to real pain points, offer community workshops, collaborate with mediators and attorneys, and use authentic content that sounds human, not salesy. We also tackle high-conflict dynamics, teaching tools for nervous system regulation, boundary clarity, documentation with intention, and reframing interactions as moments of leadership rather than battles. Finally, we look ahead: growing standards, stronger certification norms, deeper integration on divorce teams, and technology that increases access while preserving the craft of conflict coaching.If you care about elevating this profession—with integrity, clarity, and measurable impact—this conversation is your playbook. Listen, share with your ADR partners, and help us build a future where divorce coaching is recognized as the bridge from reactivity to readiness. Enjoyed the episode? Please follow, rate, and leave a review, and send any questions you have to DCA@DivorceCoachesAcademy.com Learn more about DCA® or any of the classes or events mentioned in this episode at the links below:Website: www.divorcecoachesacademy.comInstagram: @divorcecoachesacademyLinkedIn: divorce-coaches-academyEmail: DCA@divorcecoachesacademy.com

開飯、真珠及饗泰多聯手與廚神小當家強檔聯名，小當家劉昴星的大魔術熊貓豆腐、七星刀雷恩的頂級炸蟹斗及料理仙女阿貝師傅的貝氏糖醋櫻桃肉，夢幻料理等你來享用！即日起來店點購聯名料理，參加夢幻料理蒐集任務將品牌餐券帶回家！ https://sofm.pse.is/8ac6cy -- 新感覺夾心土司，多種口味隨心挑選 讓你隨時隨地都有好心情 甜蜜口感草莓夾心、顆粒層次花生夾心、濃郁滑順可可夾心 主廚監製鮪魚沙拉、精選原料金黃蛋沙拉 輕巧美味帶著走，迎接多變的每一天 7-Eleven多種口味販售中 https://sofm.pse.is/8ahbne －－－－以上為 SoundOn 動態廣告－－－－ 觀看影片

開飯、真珠及饗泰多聯手與廚神小當家強檔聯名，小當家劉昴星的大魔術熊貓豆腐、七星刀雷恩的頂級炸蟹斗及料理仙女阿貝師傅的貝氏糖醋櫻桃肉，夢幻料理等你來享用！即日起來店點購聯名料理，參加夢幻料理蒐集任務將品牌餐券帶回家！ https://sofm.pse.is/8a7w4x －－－－以上為 SoundOn 動態廣告－－－－ 觀看影片

開飯、真珠及饗泰多聯手與廚神小當家強檔聯名，小當家劉昴星的大魔術熊貓豆腐、七星刀雷恩的頂級炸蟹斗及料理仙女阿貝師傅的貝氏糖醋櫻桃肉，夢幻料理等你來享用！即日起來店點購聯名料理，參加夢幻料理蒐集任務將品牌餐券帶回家！ https://sofm.pse.is/8a353c －－－－以上為 SoundOn 動態廣告－－－－ 觀看影片

開飯、真珠及饗泰多聯手與廚神小當家強檔聯名，小當家劉昴星的大魔術熊貓豆腐、七星刀雷恩的頂級炸蟹斗及料理仙女阿貝師傅的貝氏糖醋櫻桃肉，夢幻料理等你來享用！即日起來店點購聯名料理，參加夢幻料理蒐集任務將品牌餐券帶回家！ https://sofm.pse.is/8a2gcl -- 想讓更多人聽見你的故事和關心？​ 想和一群熱血夥伴一起做點不一樣的事？​ 別只是好奇，直接行動！​ 台新青少年志工菁英獎，10月31前開放徵件​ 快點來投稿！把你的熱血變成影響力 https://sofm.pse.is/89tcuj －－－－以上為 SoundOn 動態廣告－－－－ 觀看影片

Send Us a Message (include your contact info if you'd like a reply)Ten mentoring rounds don't happen by accident—they happen because mentorship works. We sit down with mentor and certified ADR divorce coach, family mediator, and co‑parenting specialist Carolyn Jacobs to unpack how structured labs turn theory into confident practice, why the “week five slump” is a turning point, and what shifts when coaches stop chasing answers and start asking sincere, judgment‑free questions. If you've ever felt stuck between frameworks and real clients, this conversation offers a practical roadmap and a dose of relief.We explore the laboratory of mentorship—observe, practice, reflect—where risk is safe, feedback is specific, and humor keeps the room open. Carolyn shares the dance from counting steps to feeling the music, and we expand on a useful analogy: the curriculum is the map; clients are the weather; mentorship is the simulator where you test your gear before the storm. That framing helps new coaches spot activation, set boundaries, stay neutral to outcomes, and build a container strong enough to hold conflict, grief, and big emotions without losing presence or ethics.Then we move to the next, often-missed step: case consultation. Mentorship builds skill and confidence; consultation nourishes and sustains them over time. We lay out why peer consults prevent blind spots—especially for seasoned coaches who have seen “this kind of case” before—and how listening to newer voices keeps perspective fresh. Carolyn explains how consultation becomes an on‑going quality assurance system for ethical decisions, complex dynamics, and professional growth. We close with what mentoring teaches the mentor: accountability, sharper standards, and a deeper sense of community impact.If you're ready to grow—from first sessions to lifelong practice—consider joining a DCA case consultation group or exploring our certification and advanced programs. Subscribe, share this episode with a colleague who could use a lift, and leave a review to tell us your biggest coaching breakthrough.Connect with Carolyn Jacobs at Ally in Divorce: https://www.allyindivorce.com Learn more about DCA® or any of the classes or events mentioned in this episode at the links below:Website: www.divorcecoachesacademy.comInstagram: @divorcecoachesacademyLinkedIn: divorce-coaches-academyEmail: DCA@divorcecoachesacademy.com

在這個人人都想賺錢的時代， 我們聊的不只是「怎麼賺」，更是「為什麼要這樣賺」。 《賺錢這檔事》由冒牌生、致淮、驚驚共同主持， 帶你從個人品牌、自媒體經營、創業心法，到自由工作者的真實掙扎， 一起拆解「賺錢的底層邏輯」。 每週四更新｜陪你一起成長、一起賺。 Apple / Spotify / Youtube 搜尋《賺錢這檔事》， 或點擊下方連結，讓耳朵開始替你賺錢。 ↓↓↓點擊下方連結，手機隨時收聽

Anne Ganguzza sits down with Billy Collura, a powerhouse agent with over 30 years at CESD New York. Billy shares his unique perspective on the dramatic evolution of the voice acting industry, from the early days of union-only radio spots to the current market dominated by non-union and digital opportunities. This conversation provides essential insight into the biggest voice acting trends that have shaped the industry and reveals the simple, authentic quality that makes a voice actor successful today. 00:03 - Anne (Host) Hey guys, it's Anne from VO Boss here.  00:06 - Speaker 2 (Announcement) And it's George the Tech. We're excited to tell you about the VO Boss. Vip membership, now with even more benefits.  00:12 - Anne (Host) So not only do you get access to exclusive workshops and industry insights, but with our VIP plus tech tier, you'll enjoy specialized tech support from none other than George himself.  00:23 - Speaker 2 (Announcement) You got it. I'll help you tackle all those tricky tech issues so you can focus on what you do best Voice acting. It's tech support tailored for voiceover professionals like you.  00:34 - Anne (Host) Join us guys at VO Boss and let's make your voiceover career soar. Visit vobosscom slash VIP-membership to sign up today.  00:43 - Speaker 3 (Announcement) Slash VIP-membership to sign up today. It's time to take your business to the next level, the boss level. These are the premier business owner strategies and successes being utilized by the industry's top talent today. Rock your business like a boss, a VO boss. Now let's welcome your host, Anne Ganguzza.  01:08 - Anne (Host) Hey everyone, Welcome to the VO Boss Podcast. I'm your host, Anne Ganguzza, and today I am thrilled to welcome someone who truly defines what it means to be a powerhouse in the voiceover industry. With more than 30 years at CESD New York, Billy Collura has been at the forefront of commercials and beyond, representing talent with a direct and grounded approach that has earned him the trust of clients and voice actors alike. I think it's fair to say that he doesn't just follow the changes in the business. He really helps to shape them. So, Billy, I am so excited to have you here on the podcast.  01:44 - Billy (Host) Thank you for asking me. Yeah, this is so nice, yeah.  01:47 - Anne (Host) Yeah, I love it, and of course we're like on opposite coasts here, so you're on my home coast and so I do miss New York quite a bit and we did have a little.  01:58 - Speaker 2 (Announcement) How often do you get out here, pardon me, do you get out here often?  02:00 - Billy (Host) Do you ever get out. You know what?  02:01 - Anne (Host) Not as often as I should. I really have now started to say I'm only coming out during the warm season because I'm done with the snow. Yeah, I hear you. But I would imagine like do you travel like elsewhere in the wintertime in New York, Because I know I stay here.  02:22 - Billy (Host) I travel a lot in general um during the course of the year, but um you know, I right now I'm upstate in well. I'm up in the Hudson Valley and in the city of Hudson, which is two hours North of Manhattan, so I go back and forth Um in the winter time. No, I'm usually, I don't know, I'm usually in the Northeast sometimes.  02:43 - Anne (Host) Okay, Are you a skier? Are you a skier? No, absolutely not, Absolutely not. That was, that was what a lot. What kept a lot of people on the East coast? Um, in my area anyways, they're like oh no, I have to be able to ski in the winter.  02:56 - Billy (Host) No, I don't like the cold.  02:57 - Anne (Host) Well, I have a. I have a mountaineer in California, Uh huh.  03:00 - Billy (Host) Uh-huh.  03:02 - Anne (Host) Oh my gosh. Well, anyways, it's so nice to see you again. It's been a while. I saw you at VO Atlanta and I'm just really thrilled that I have the opportunity to talk to you. I know how busy you are, but I'm just so excited that the bosses are going to get this opportunity to really benefit from your wisdom. And so, benefiting from the wisdom speaking of that, you've been at CESD for over three decades. Um, that's, that's amazing. So how would you say that your role as an agent has evolved during that time?  03:37 - Billy (Host) Well, you know like it started when I started. Um, it'll be. Um, it'll be 32 years in May. Oh my gosh, when I started, voiceover was a smaller industry and I dabbled in a little bit of everything, okay.  03:55 - Speaker 2 (Announcement) I did commercials.  03:57 - Billy (Host) There really wasn't. There was no internet back then. So we did radio and TV commercials and industrials and I'm not even sure cable was around when.  04:08 - Anne (Host) I started. I hear you. You know we didn't have computers, any of that.  04:13 - Billy (Host) So we did a little bit of everything. And then, you know, and promos, promos were a thing, and narration and trailers, and so, you know, we did a little bit of all of that. And then, as the industry kept getting bigger and bigger, we started specializing. And all of a sudden, in animation, I dabbled in gaming, but I also, you know, but pretty much my focus was commercials, because that's where the money is, you know, and that was the day where it was just, you know, it was just TV and radio, and you made the actors made a lot of money. Yeah, it was only union, we only worked on union jobs. And now fast forward to now, where 60% to 70% of my desk is non-union. We started doing non-union in 2019. Okay, the union opportunities have pretty much dried up, and I say that, but it's ebb and flow.  05:22 I mean right now this year it was a slow summer for some reason. It was like the old days, it was really slow and I mean that union and non-union. And then I go away on vacation and it just like exploded while I was away and I've been and since then I've been playing catch up and it's been so busy with union, lots of union stuff with non union. Yeah, so it's been great there.  05:49 Yeah. So I mean that's changed and I guess for me what's changed for me is because now I specialize much more on commercials. I do have a few non-union accounts, but I have my large union study accounts, steady accounts. Um, so most of my work, uh is you know, is in the commercial world. I also happen to handle the audio books, but I always say I'm not an audio book agent. I'm the agent at CESD that handles the audio books.  06:18 - Speaker 2 (Announcement) So it's a little difference.  06:20 - Billy (Host) Um so, but the audio book, what I do love about it. You know an an an agent who left um cause she was having. She got married and had babies and she said, take the audio books. They're the nicest people in the world. And I got to say they really are, and so I've kept it.  06:36 I love it. The people are so nice. Um, I really, really enjoy it. So that you know, so I I've been doing that. I also do ADR and loop group stuff, again very specialized, and there really aren't a lot of industrials. Now I know some of the other. I'm one of five, six agents in the department and then there's another two agents that work with agencies that cater to medical industrials.  07:04 - Speaker 2 (Announcement) So they're doing I don't do personally.  07:05 - Billy (Host) I don't do a lot of industrials. I think a lot of the industrials have gone to the pay-to-play sites, so but the union stuff, the medical ones, they are still at the big agencies. I just personally don't happen to have those. I would say maybe the commercial aspect of right Healthcare like pharmaceuticals and that sort of thing is huge and more and more of those blue chip companies are going non-union and those rates are you know.  07:34 - Anne (Host) Sure. What do you attribute that? Why is that happening? What do?  07:39 - Billy (Host) you attribute it to is when it started, when digital work started happening, and these great companies, the Droga5s and there was so many, that's just the first one they were doing great work with the digital work. You know, they were just with stuff before even streaming, when they were just doing they were making commercials for digital work and they were doing fine work. They were doing really good work and these companies, these blue chip companies, were saying, hey, you did that for this much money, why don't you just take all of our network stuff? And that's how I remember, like 10, 12 years ago, a large fast food chain started going, you know, went totally non-union. And then the large fast food chain started going, went totally non-union.  08:25 Then there would be some that because they had a celebrity voice on certain spots, and then they would get a third party and more and more I feel like these agencies, these digital agencies, just kept getting better and better at it and the actors were getting better and better at it. And it's not like the cable stations that you see up here that you know these infomercial things that you know that you can tell it's non-union. You know I've fallen and I can't get up kind of stuff. These. They're doing great work.  08:56 - Anne (Host) I can't tell, are they doing great work because they have great actors or are they doing great work because the entire production value of it?  09:05 - Billy (Host) Yes.  09:06 - Anne (Host) Yes, yes, you know, people are getting better at it.  09:09 - Billy (Host) The voiceover people certainly, and it's not even I mean the voiceover so many people. Covid just changed the game and everybody you know voiceover was the one business in town that didn't shut down during.  09:23 - Speaker 2 (Announcement) COVID.  09:24 - Anne (Host) And every I always say every jaboni with a mic, you know, just set up a studio at home and said I'm going to do voiceover, and not only you know they were well-established Broadway and TV and film you know everybody was doing it and that's and that's so interesting because I would say the majority of people that you know cause I was I was super busy coaching during COVID and I just had so many people that just wanted to like make the demos and get into the industry. But I had a lot more of the talent that were more beginner right to intermediate. But I would imagine that with COVID, with celebrities right them wanting to get into voiceover because what else was there? Because they weren't able to go into a studio, and so I would say that a good portion of that, I would say a good portion of people that were getting those jobs, were probably the celebrities right.  10:27 - Billy (Host) Absolutely coaching. You know they just kept getting better and better at it. And you know, and, and we're willing to work for low wages, I mean that's the other thing. And you know we always say somebody takes a job for $100. You know it's just a race to the bottom. Yeah, you know, if you're gonna add, because you know we don't work on the non union stuff, we don't work on the non-union stuff, we don't work on certain things. I won't work on stuff just because it's not worth my time.  10:48 - Anne (Host) Sure.  10:49 - Billy (Host) And I don't mean to be like, oh, but $250 is a lot to some people. Oh yeah, for all the work that I have to go into it, for me to do it and have my assistant do it and doing the editing to maybe get it, it's just not worth it. But I do. I mean that's usually. My threshold is 250.  11:10 - Anne (Host) And I understand that because I always tell people, because I do a lot of non-broadcast narration, coaching and demos, and I'm always telling people they're like, well, I want an agent. I'm like, well, an agent doesn't get excited about non-broadcast stuff because it's a one and done thing. You don't make your money on that, and so typically you want to have a tip top commercial demo because that's where they're going to be making their money with the residuals and and that sort of a thing. So would you do? You think it has to do with the sheer volume of people that got into voiceover as well. If you've got enough, you know, if you throw spaghetti against the wall right there, some of them will stick. And so then I started to drive down. I'm going to say it started to drive down maybe the prices, uh, or people willing to do the work for less, because it just got to be competitive.  11:56 - Billy (Host) It did.  11:57 There's so many people doing it now, so many people, and especially in the non-union world, there's so many opportunities out there and you know, with the pay to plays and I've kind of changed my tune a little on the pay to plays and I kind of see they're there for a reason. They're a great, you know, tool for learning, for getting the experience, for the auditioning. And I and I learned recently when I was at a conference in Holland and met the CEO from Voices 123. And I learned that they love to put people together and to put the actor and the company together. Take it off the platform and do your thing.  12:41 They don't want to micromanage, like there are other pay-to-plays that micromanage everything.  12:45 But I really found that you know, oh, that's really nice, and then people can make money that way. They're not interested, they're just interested in making the match. So, but, that being said, there are so many people that are doing this now and, yeah, driving down the prices because you know, they may be this may not be their full-time gig, it just may be a side hustle for them. So, yeah, sure, an extra $200, an extra $100, an extra $350. That can accumulate. But unfortunately then they're like well, you did it last time for $100. Why can't you? So it's hard, it's hard.  13:21 - Anne (Host) It is, but would you say that the amount of jobs is diminishing or no, it's just as volume you know, I don't see volume as normal.  13:33 - Billy (Host) I'm busy, you know, but I don't know, like, like I said, this summer was slow with the opportunities, with the, with the auditions. I find that my casting directors, my union casting, just my casting directors in general, um, they, you know, I have some that are busier than others, some I will hear from, you know, once every other month, and then some I will hear from three or four times a week. You know, um, so it's and it's all you know. There's no logic to it.  14:03 - Anne (Host) And then on the um isn't that the truth. Yeah, and then um after all these years, wouldn't you think like you could? You could predict, you know.  14:14 - Billy (Host) I would say to actors you know, I'm not booking, it's just one phone call, it's one job, don't forget. They're only picking one person, but yeah, yeah, picking one person. You, yeah, you know, only picking one person you know and you don't know.  14:25 - Anne (Host) That's a way to put it in perspective. Actually, if you think about it, but in 400,.  14:30 - Billy (Host) You know how many people are auditioning.  14:31 That's why with select VO. You know that only allows you X amount of people to submit. So if they, if the agency says, if they invite you and they say you can only submit three people per role, they won't let you submit a fourth person. So you really have to be smart and we're not the type of agency that will send you know to ten people and then, sophie's Choice, the three that I want. You know, I don't believe in that. I don't. I feel it's a waste of time of the actor. It's certainly a waste of time for my assistant and for me to have to listen to, then you have to listen to them Exactly.  15:10 - Anne (Host) What's the point, you know, and so that translates to me to a good relationship with everybody that's on your roster, absolutely, that that knowledge of their capabilities and you can communicate, uh, back and forth to make sure that the two of you are are, you know, keeping up with one another, and you would be the one that say, okay, I'm going to handpick this audition and send this to this many people, because you're the one that has to do the work right To send it the top three, to the. So the client.  15:43 - Billy (Host) Yeah, absolutely so. It's my reputation and there are some casting directors that you know they will.  15:48 I will submit a list and they will pick who they want to hear you know, back up, if I lose, or if we lose somebody, who else would you like? Or, you know, sometimes they'll say these are the three I want to hear. Send me one of your choice that maybe I, somebody, I don't know, um, and then there are certain casting directors that will micromanage and they have to. They, you know they will only see these people and they're, you know, not flexible. But it just kind of makes me a better agent.  16:14 - Anne (Host) That's why we're.  16:15 - Billy (Host) Cesd is an exclusive agency. We don't oversign in the union or non-union world. We're still building up our non-union roster. You know we're still doing that, but that's where we have the most amount of opportunities. You know, in the non-union world, Sure, Plain and simple.  16:34 - Anne (Host) Absolutely, absolutely. So what would you say after all these years? What's kept you loving your job?  16:42 - Billy (Host) Because it's different every day. You know, that's the— that's the thing. I never know what's ahead of me. So I, you know, I just love. Every day there's some, there's a new challenge, there's something new. Also, recently I have a new assistant who I adore and I love teaching him. He's a little sponge and he wants to learn.  17:09 And so that kind of inspires me to want to teach him, and you know so that that is. I guess that's the difference, and also being able to, because the business has changed. Remotely, you know, I can start earlier, I'm not in the office, I I can work later, you know. It just kind of like the whole. It's such I don't want to say a relaxed, but I feel I feel more relaxed Now. It could be because I've been doing this for a hundred years, but I just feel relaxed, I enjoy what I do. I don't feel the pressure. I don't feel like there's no such thing as a voiceover emergency If somebody screws up or, you know, if I've given you know there's no such thing.  17:51 - Anne (Host) Bravo to that. I always say there's never a VO emergency.  17:54 - Billy (Host) No, there's never a first you know, if something went wrong, don't freak out. How?  17:59 - Anne (Host) do we fix it? How do we?  18:00 - Billy (Host) fix it, that's all you know.  18:02 - Anne (Host) Now, that's from your perspective. What about your client, your casting director? Your client's perspective? Are there VO emergencies? Yeah, there could be, that's on them, not on me. Yeah, okay, I love that.  18:13 - Billy (Host) I don't, you know, I wanna help fix the problem, you know, sure so. And I mean, yeah, you know, it's always something. Fortunately I haven't had any of those emergencies in a while. But you know, the other night I was it was nine o'clock my time and an LA. It was an LA agency booking a client. She happened to be on the West coast, so it worked out okay, but it was nine 30. And I was like you know, I'm old, I can't stay up. And then I thought, and I got a text from the casting director she goes we want to book so-and-so. I left all the information on the email. So I was like, oh well, I have to finish Gilded Age, this episode, and then, as soon as I'm done, I will get on my computer.  18:56 - Anne (Host) I love it, that's great?  18:59 - Billy (Host) I guess yeah. So that's what keeps me going. The relationship with my clients, I don't. It's different because back in the day, actors used to come into the office to audition. West Coast was different because you guys were MP3ing long before, because you all wouldn't get in a car and drive a half hour to the studio.  19:20 - Anne (Host) But in New York, well, because of the traffic.  19:24 - Billy (Host) Yeah, yeah, and that's why you couldn't get to three auditions back in the day, but it was our job in New York to get you, you know, to get you from the Upper West Side down to Wall.  19:34 - Anne (Host) Street over to Midtown yeah, I know so many voice actors who still um go into studios to audition in New York. I mean, I almost don't hear about it anymore, except for well, I'm sorry, excuse me to go into the go on for booking.  19:48 - Billy (Host) No for bookings, they will.  19:49 - Anne (Host) They encourage that now but I have heard people in the last couple of years. I mean it's not every day, but sometimes they are going in. I don't know if it's to audition or if it's to actually do the job it's usually you know there's one or two the studios.  20:03 - Billy (Host) You know a couple of the studios that do auditioning, because that's what changed? Oh, okay, that makes sense, like all the advertising agencies that were in-house casting directors and those casting directors ended up going to the studios in New York and they have in-house casting directors, so they will encourage the Sonic Unions. The. Headrooms the Sound Lounges they will encourage hey, if the client is local to New York, boom, have them come in. Oh, that makes sense. And it kind of opened up because not everybody got SourceConnect especially our older clients.  20:40 It wasn't cost effective for them for that one audition every other month. It wasn't so the foreign language people, they weren't getting it because there weren't enough opportunities. But especially I I want to say the older clients they really weren't getting so this kind of opened up. If you lived in New York you could still send an MP3 and you're able to go to Sound Lounge for the booking that was always that's always a nice caveat.  21:06 - Anne (Host) So I'm sure people ask you this all the time. Commercial voiceover has changed, evolved over the years. Advertisers have changed how they buy and consumers have changed, I think, how they listen. What would you say is what sort of things have changed in terms of trends for commercial VO? What are you looking for now that maybe is different than what was relevant maybe five, even five or 10 years ago, Because I know probably you're going to say like 30 years ago it was more of that announcer sort of style, it was promo. But you know, maybe five, 10 years ago, what has changed?  21:43 - Billy (Host) You know, it was the, you know, when I first started. It was the time, when, you know, Demi Moore started with Keds and there was that raspy, damaged sound that has kind of you know, demi Moore started with kids and she there was that raspy damage sound that has, kind of you know, was such a thing for so long and our and I know our women back then, you know, were the most successful.  22:04 - Anne (Host) I coveted that which is not a part of my genetic makeup at all. I'm like I can't, I can't get a raspy.  22:11 - Billy (Host) No, if you don't, you know you can't put oh, I woke up with a, you know, with a sore throat today. I sound great I should audition. No, you shouldn't. Exactly. So that was. You know, that was always the thing and yeah, it was the rough and tough announcers and you know all those, all those guys, and then that kind of went away and it was the John Corbett kind of sound and he was you.  22:31 he stuck around for a long time as a prototype and now it's Paul Rudd and Rashida Jones and then. So those trends kind of changed. But then about 10 years ago, everything you know really were, it was people of color. You know they wanted voices for actors and that really opened up a wide, you know a wider net. There was no general market anymore because they used to say, you know, they were very specific, we want a Caucasian voice. But now you only see that if you're doing a demo for the on-camera and the on-camera actor happens to be a certain color. But they want authenticity. I remember you know getting. Now, everybody, especially in the union world, they want authenticity. I remember you know getting. You know everybody, especially in the union world, they all want to check boxes. You know, yeah, yeah, they, yeah, so they, you know it's all ethnicities. You know we want non-binary people and I'm like what does a non-binary person sound?  23:27 - Speaker 2 (Announcement) like I don't, it took me you know.  23:29 - Billy (Host) Then I realized oh, they don't really, they're just checking off boxes, but for the, you know, for the African-American community, they were in vogue. They were, you know, I would get breakdowns, all ethnicities, and the prototypes would be Viola Davis, Tiffany Haddish and Angela.  23:49 Bassett, Do the math you know, so that was a thing. And Angela Bassett do the math. You know, so that was a thing. And I think you know, I still think that that is happening. But I'm finding a trend like that is kind of changing, where general market is truly general market. Now they want, you know, it's everybody, it's everything.  24:09 - Anne (Host) That's great. Yes, I love to hear that.  24:12 - Billy (Host) That's the way it should have been, but unfortunately it was so the other way for so long and then it shifted and now it's kind of evening out.  24:21 - Anne (Host) Sure.  24:21 - Billy (Host) Sure, I don't know.  24:23 - Anne (Host) Well, I mean, that's what I was thinking would happen at some point. Right, it would even out and it's kind of nice to hear that that's happening.  24:31 I mean, I wouldn't want it to go another extreme you know, at all, you know, and especially because the world's a little chaotic right now and I know that it's affecting companies and their advertising, and so that to me says gosh, I hope that there's still as much opportunity for everybody as there ever was. And so that's just one of those things where I think if there was a slow part of the season, maybe it's people, you know. I think there's companies trying to gauge like what's happening and what's going to be what's going to work for them in terms of advertising.  25:08 And it's not so much the voice, but the whole, the whole thing, yeah, the whole, all of it On camera, all of it, all of it. How are they going to advertise it to be effective?  25:18 - Billy (Host) And I think you know, and I think that and this is just me I feel like voice wise, I feel that the union world is more tries to check the boxes, much more than the non-union world.  25:32 - Speaker 3 (Announcement) I truly than the non-union world.  25:33 - Billy (Host) I truly believe the non-union world they're gonna pick the best voice for the job, no matter what ethnicity you are.  25:41 I find, and I just because of the actors that I speak with, not only because I speak with my non-union actors in general so much more, just simply because there's so much opportunity there. But I notice, with my union actors I just don't A I don't really have that many opportunities for them. But you know it is. I speak to certain ones more, a lot more than the others. But I don't find that, I find it much broader in the non-union world. I mean it's a different and I've learned so much about the non-union world. I mean it's a different and I've learned so much about the, the non-union community and how. You know how different it is. I feel that it is much more I don't know how to say it. It's much more of a community, I feel.  26:27 I feel that they, they really are supportive of each other, they help each other. It's not as competitive or as petty competitive as it can sometimes be in the union world, it's just, and I think it's fabulous that they really everybody's out to help each other much more in that community.  26:52 - Anne (Host) Well, that's refreshing to hear. I like that from you, Absolutely. So then for you, for talent on your roster. What sort of qualities are you looking for in any talent that might appear on your roster? You know what's funny.  27:06 - Billy (Host) When I first started, you know, when COVID happened first thing, when I and I did a lot of these classes, first thing I was like, obviously the first thing was do you have SourceConnect? You know if?  27:17 - Speaker 2 (Announcement) you have SourceConnect, because so few?  27:18 - Billy (Host) people did.  27:19 - Anne (Host) You went right to the top of my list.  27:22 - Billy (Host) Yeah, if you had SourceConnect, and then it's, you know, and then it's just about reading the copy, and that's the same basic thing is, how do you read copy? Some of my most successful people, my white actors over 40, I have a couple of them and they just read copy. So well, I don't know what it is, they just they're just, they're just great they were. And so, yeah, there's. You can't teach it, it's, you know, it's just natural. This one particular guy, yeah, does he have that Paul Rudd feel to him? Just that guy next door, just that real comfortable, relaxed, nothing pushed, that's how he is in life and that's how it comes across Right, right. Oh, there was something else.  28:06 Oh, I did this one class and there was this woman, you know, like late 20s white woman, and there was just something. I was on a panel, I was one of three people and, oh my God, she was. There was just something about her read that made me crazy and like the next day I was like I have, you know, I want to set you up. I love you, you know, I love you the best. And now, here we are. I love you, know, I love you the best, and now here we are, fast forward to probably a little more than a year. She is one of my most successful actresses on my roster. And what is it about her? I don't know. She's just fabulous. You know, she just, she just reads. It's just, it's honest.  28:50 - Anne (Host) So I'm always looking for that honest. I like that honest, yeah, authentic, yeah. And I like, with that honest, I like that honest, yeah, authentic, yeah. And I like how you know we've heard for for so long right, bring you to the party, bring you to the party, it's that. I think that's so important. And and we throw it around like, oh yeah, okay, I can bring me, but and yet so many people still try to perform, uh and and if they really can just stop in their own head and and just bring themselves to the party because, like you and I like talk like there's something about like I really like Billy, and it's, it's, it's like an intangible thing and it's your personality, right, it's, it's how we connect.  29:23 - Billy (Host) And I think that's what's so right away. The first time we met, we would just like exactly.  29:30 - Anne (Host) I think that's the same thing for voice actors. If you can, you know, if, if you've got a great personality and you're like one of those people that you can connect with right away, I mean that's what I think we're looking for, that authenticity it's you're not trying to, you know, push anything and and this is who you are and I love to hear that, because I keep telling people gosh, you are enough. I mean it really is. Please don't try to be anything other than yourself, because I really like you.  29:55 - Billy (Host) Yes, and so many voice actors. They forget that.  30:00 - Speaker 2 (Announcement) you know this is acting and I said you know you got to get out of your head into your gut.  30:05 - Billy (Host) Whether you're selling peas for 99 cents, it doesn't matter. You have to be, you know, honest and authentic with it, so important. Now I have to ask the question authentic with it, so important?  30:14 - Anne (Host) Now I have to ask the question because you know probably everybody does. And what do you think about the threat of AI in the industry, and especially now that there's? It's not even just voice, it's on camera too.  30:27 - Billy (Host) Yeah, yeah. So I mean, we keep our eye on it. We read every contract, we read every contract, we read every breakdown. You know SAG is doing their best. Bless their hearts.  30:42 You know, nava is you know, above and beyond, what they're doing with the rules and the legislation and what they're doing. You know it's coming, it's not going away and it's going to get better and better. So we just try to keep our eyes and ears on everything and try to follow the rules and say, nope, large deal right now. And there was a huge component with um. They wanted an AI replica and fortunately, the person um doing it was like no, I've heard replicas of my voice and they're not, and they never sound as good as the real thing.  31:27 - Anne (Host) Um, so that's a really interesting point because I know for a fact that that's true, because I, you know back in the day. Well, back a few years ago, I started really delving deep into that and researching companies and how they made voices, and I've heard a lot of voices and there are some people who are amazing actors but yet their voice doesn't translate. Well, either it's the AI technology that has not given, it's just it's not doing the right thing for them and, yeah, it doesn't translate.  31:56 - Billy (Host) Yeah, and he said no, I, I will not. It's my, it's my voice, it's my reputation, and I will be available whenever they need me. They were like well, what in case he's what? You know? What if he's away on vacation?  32:08 - Anne (Host) Yeah, he said there are no VO emergencies. No, there are no VO emergencies, Right, there's no VO emergencies.  32:15 - Billy (Host) So yeah, so are we concerned about it? Yeah, am I concerned, absolutely, but you know I can't lose sleep over it.  32:23 - Speaker 3 (Announcement) It's coming.  32:24 - Billy (Host) You know, it's coming, and so we just have to manage it and make it work to our advantage.  32:30 - Anne (Host) Yes, I agree, I agree, I and make it work to our advantage. Yes, I agree, I agree, I love that. So I'm very excited because you're going to be doing a class for us, a VO Boss workshop, in November. As a matter of fact, it's going to be November 12th. Can you tell us a little bit about what we're going to be doing in that class?  32:48 - Billy (Host) Well, what I usually do is I like to just kind of give my spiel about what I've been doing and I guess the do's and don'ts of the proper way to get in touch with an agent, what to expect, what not to expect from you know. Once you're submitting to an agent, I just try to, I try to just say the things you know, kind of give the tips that actors need to know. You know what's proper, what's not, what's gonna get you. You know what's gonna get you seen, what's gonna get you heard. You know what makes it easy for me, the agent.  33:24 And I've come to also realize that it works differently from agency to agency. So I can only speak to what works for me, um, at CESD, um, but we'll, you know, I'll talk about that and I'll just talk about my feelings on on what it takes, what tools you're going to need and I mean like literal tools, what kind of demos you're going to need, that sort of stuff. Do a little Q and a and then read some copy, you know and anybody that does come to the class.  33:54 um, it's gotta be commercial copy, because that's that's what I do, you know um. I, I'm, I'm not going to be able to judge you on your animation copy or you know that kind of stuff. That's not really what I do. So we'll, you know, we'll do that and we'll tear it apart and hopefully get to two pieces within the class.  34:14 - Anne (Host) Yeah, I love that. We'll see. Yay, well, I'm very excited for that and, bosses, I'll be putting a link so that you can sign up for it, because I'm quite sure it's going to go quickly. Now my last question is because you said you're in upstate New York and I, you know, I have my own, like my own, nostalgic memories of upstate New York, and so, for me, I'd be riding a horse, you know, in in the countryside. So if you weren't an agent, philly, what would you be doing right now? Oh God, would you have a different career? Would you be retired and riding horses, or?  34:49 - Billy (Host) Yeah, well, you know, I've only had three different jobs in my life, okay, well, you know, other than high school jobs. I was an actor slash waiter, and then I became an agent. You know Like I've been it's you know. So I moved to New York to be an actor and that didn't happen, but I always kind of I was. I had a friend who was a commercial casting director and so I used to go in and help him out at the casting calls.  35:20 That was back in the days of Polaroids and signing up and I really was fascinated by it. And he would you know. And he kept saying there's an opening at this agency. Do you want to go? And I would go and audition, you know, to be an assistant. Sure, and then boom, boom, boom.  35:35 And then, it just so happens, he said CED, because we weren't CESD at that point it was looking to expand the voiceover department and was I interested, and my partner at the time said go and audition. I mean go and audition, apply for the job, cause one of these days you will make more money than me. And so you know. And um and so um, and now, every year, every year. I'm still in touch with him and I call him and I say thank you, greggy, for allowing me to have this job.  36:08 - Anne (Host) Here's my annual income report allowing me to have this job.  36:11 - Billy (Host) Here's my annual income report yes, so anyway, yeah. So I've thought about this. What do I do? I'm too old to be a waiter.  36:23 - Anne (Host) I'm not going to go back, though I think I would be really good at it.  36:25 - Billy (Host) I have these- I agree, actually, you've got the social I think I could do. Yeah, so do I go. But when I retire, whenever that is, I want to social. I think I could do. Yeah, you know, so do I go. But you know, when I retire, you know, whenever that is, I'm on a travel. I just love to travel, that's, that's my thing. So you know. You know, I feel like when this is behind me, that I will, you know, I'll just travel. I'm not going to be on a horse up here, but I always had.  36:50 You know, sometimes I've had, you know, I don't know if I even want another. You know job and I'm at that point now where you know, I'm old and I don't want another career. It's not like I'm. You know, I'm going to be an artist, or you know, I once thought I thought well, maybe I'll just go do community theater somewhere.  37:07 - Speaker 2 (Announcement) I have a friend.  37:08 - Billy (Host) I have a friend, interestingly enough, a little older than I am, lives in Chicago and he started taking an acting class just for the hell of it.  37:16 - Anne (Host) For the hell of it.  37:17 - Billy (Host) And he said, the others they love it because they have somebody to play the old man in all those scenes. And I thought, oh my God, that's great, I could do that. Yeah, I love that. I thought yeah, why not community theater you? Know, if that was it. Now there's no community theater in New York City, so if that's where I retire, you know. But if I was to retire up here, you know that would interest me, and you know because I am a lover of theater, so I do.  37:46 - Anne (Host) Yeah, Well, I feel like you kept yourself in the acting world, you know by being an agent I mean in that you know, it's still like a. It's still you're very much immersed in it, and so I feel like, if that was your one love, you came to New York, by the way. Where did you come from?  38:02 - Billy (Host) I grew up in Waltham Massachusetts, oh okay. Okay yeah, just a little outside of. Boston.  38:07 - Anne (Host) Yeah, very familiar with it. I went.  38:09 - Billy (Host) Yeah, I grew up in Waltham and then I went to UMass, Amherst and then to New York.  38:14 - Anne (Host) That was my. Oh, fantastic, yeah, there you go. Well, my gosh, it has been such a pleasure chatting with you today. I mean, I could go on. I feel like we could go on, but at some point, I do have to quit at some point.  38:32 But yeah, thank you so so much for sharing your wisdom. It's been really a joy talking with you. I'm so excited for November. Guys, bosses, remember November 12th. Get yourself to vobosscom and sign up to work with this gentleman. He's amazing, and I'm going to give a great big shout out to our sponsor, ipdtl. You, too, can connect and network like bosses like Billy and myself, and find out more at IPDTLcom. Guys, have an amazing week and I'll see you next week. Bye, bye.  39:05 - Speaker 3 (Announcement) Join us next week for another edition of VO Boss with your host, Anne Ganguzza, and take your business to the next level. Sign up for our mailing list at vobosscom and receive exclusive content, industry revolutionizing tips and strategies and new ways to rock your business like a boss. Redistribution with permission. Coast to coast connectivity via IPDTL.   

想讓更多人聽見你的故事和關心？​ 想和一群熱血夥伴一起做點不一樣的事？​ 別只是好奇，直接行動！​ 台新青少年志工菁英獎，10月31前開放徵件​ 快點來投稿！把你的熱血變成影響力 https://sofm.pse.is/89hfjx －－－－以上為 SoundOn 動態廣告－－－－ 觀看影片

想讓更多人聽見你的故事和關心？​ 想和一群熱血夥伴一起做點不一樣的事？​ 別只是好奇，直接行動！​ 台新青少年志工菁英獎，10月31前開放徵件​ 快點來投稿！把你的熱血變成影響力 https://sofm.pse.is/89t6jx －－－－以上為 SoundOn 動態廣告－－－－ 觀看影片

Warum hat der Esel heute keine Lust auf Shownotes?  Weil er immer nur iaaah-nfangt, aber nie endet! Er ist schließlich nicht Rainer Mar-iaaah Rilke und außerdem will er seinen Urlaub an der Adr-iaaah genießen und hat keine Zeit. Links zur Folge https://www.stuttgarter-zeitung.de/inhalt.scherzfragen-fuer-kinder-mhsd.556b47db-8e62-48cf-9436-07dcb3ea6080.html https://www.instagram.com/ms_pencilsaway/

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Synopsis This film follows Jane, a lonely librarian who finds a note at her desk with her name on it and a $50 bill, instructing her to play the game. She is helped by Brace, a new friend, in solving the puzzles and getting double the money every time she finds a new envelope. Jane and Brace quickly find out that she is playing a very dangerous game. Her strength, fortitude, and sanity are strained as she finds out just how far she'll go for the cash, and the thrill. Review I found this movie because of some tweet that had a few hundred likes saying it was some sort of hidden gem. I looked it up and could not find much about it, save a couple articles and Letterboxd reviews. I found a rip of it on Youtube through a Reddit post and told the guys, hey this is the movie we're gonna do this week. It was shot on video, never had a wide release or any sort of release at all. It was made by writer-director Clifton Holmes, along with his brother Dwayne producing, and co-written by Richard Laymon, the author of the book this film is based on. From an article on steemit.com, user modernzorker states that the film is incomplete, not in editing or shooting but in ADR and sound mixing, apparently all the sound we hear was the live recordings of each scene.  With all that said, I loved this film. I love finding horror that is so underground that even though this movie was posted for free on Youtube eight years ago, it only has 12k views. It has 1.6k watches on Letterboxd. It basically doesn't exist. While you're watching it, you feel like it shouldn't exist. I don't say that to mean it is a so-called ‘cursed' film, like the movie Antrum claims to be. I mean that it probably shouldn't exist, and it almost doesn't. The only way to watch it is in 240p on Youtube or buy a DVD rip of it from some dude on eBay claiming he's the only one who sells them (and yes, listener, I did buy it for nine Great British pounds). It basically isn't real.  It's hard to watch in 240p, I was begging for at least 480 but you get what you get when you wanna watch something like this. The low quality adds to the uneasiness and uncertainty of the film's vibe, but at some points it just sucks not being able to discern what is happening, mostly when they are shooting at night. All the lore aside, this film is excellent. It reminds me of Blair Witch and Clerks in the way it is shot. With a limited budget, we only see the aftermath of gore instead of the action happening, which I think works in its favor. You feel the dread alongside Jane, but she also is a very unflinching, dedicated protagonist. She is brave, and you know that she is from the start. There's almost no music in this movie, save for a few moments of characters listening to music, and every time we see our antagonist a crescendo of guitars rises to the front. The only other time we hear sound other than voices is when Jane is playing Silent Hill on her PlayStation, we hear the footsteps of Harry Mason running through the endless fog. This film is creepy, wacky, captivating, and so much more fun knowing that you're probably one of the only people in your generation to ever have watched this. It was such a treat and tonally great for spooky season. It's slow at first, but as the tension builds it just goes off the rails in the best possible ways. It's a crazy movie. Look up (aka click here) Richard Laymon's In The Dark on Youtube to watch it, you will not regret it. Score 10/10 Website: http://horrormovietalk.com Linktree: https://linktr.ee/horrormovietalk

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In this episode, Colin Rule interviews Nelson Timken, founder of http://www.resolveourdispute.com, about mediating court referred cases and the specific challenges involved with handling litigated cases. This conversation builds on many of the points Nelson made in his mediate.com article Mastering Mediation Advocacy: Essential Skills for the Modern Litigator, co-authored with John Siffert. About Nelson: Nelson is an experienced neutral whose ADR practice is driven by a deep commitment to fair process, empowering parties, fostering understanding, and achieving results by perseverance. He values impartiality, integrity, and professionalism above financial gain.  His approach to dispute resolution is to continue to work on a case until the parties are satisfied that every avenue of resolution has been explored. He has over 30 years of experience resolving cases in litigation, specialized industry knowledge, a high success rate, innovative approaches to problem-solving, and a commitment to client education. He offers a client-centric approach where self-determination is king. Nelson's website is at https://www.timkendisputeresolution.com/ and https://www.resolveourdispute.com/  His mediate.com profile page (with a list of his articles) is at https://mediate.com/mediator-profile/Nelson-Edward-Timken/ 

想讓更多人聽見你的故事和關心？​ 想和一群熱血夥伴一起做點不一樣的事？​ 別只是好奇，直接行動！​ 台新青少年志工菁英獎，10月31前開放徵件​ 快點來投稿！把你的熱血變成影響力 https://sofm.pse.is/899jrh －－－－以上為 SoundOn 動態廣告－－－－ 觀看影片

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Theemen haut: Reaktiounen no AMMD-Annonce, parlamentaresch Rentrée ADR, DHW mam Gilles Roth, Panorma Social, Trump, Gaza an d'Home Expo souwéi Sport.

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Join Mike and Rikki today as we answer your listener questions! We discuss updated to Fort Wilderness, including a new pool coming "in the future!", thoughts on things to do in and around Disney's Aulani Resort, how to tackle Disneyland at Rope Drop for a first-time visitor, some ADR questions and advice on which experiences might be better than others for certain groups, and much more! Come join the BOGP Clubhouse on our Discord channel at www.beourguestpodcast.com/clubhouse!  Thank you so much for your support of our podcast! Become a Patron of the show at www.Patreon.com/BeOurGuestPodcast.  Also, please follow the show on Twitter @BeOurGuestMike and on Facebook at www.facebook.com/beourguestpodcast.   Thanks to our friends at The Magic For Less Travel for sponsoring today's podcast!

How is China redefining wellness travel and reshaping the global spa industry? In this episode of the Starrcast Podcast, host Lisa Starr sits down at the Spa China Summit with Michael Branham, General Manager of the Four Seasons Suzhou, and Jonas Schurman, Board Member of Reformosa and longtime Mandarin Oriental executive. Together, they unpack how wellness has evolved from spa treatments to a lifestyle driver that shapes hospitality strategy, guest experience, and revenue performance. Listeners will gain a first-hand look at how second-tier Chinese cities are setting global wellness trends, why younger Chinese travelers are becoming wellness trendsetters, and what the future of hospitality will look like when AI, sleep science, rehab, and family well-being converge.   What You'll Learn: The shift from “spa treatments” to wellness as a lifestyle in luxury hospitality. Why China's younger generation is leading global wellness demand. The role of spa and wellness in driving ADR and length of stay in hotels. Insights into family wellness, pet-friendly hospitality, and immersive cultural retreats. How **emerging innovations, AI, robotics, sleep programs, and rehab services, **may transform the spa industry. Episode Highlights: 00:00 – How Michael's 28-year Four Seasons journey shaped his wellness perspective 09:15 – What wellness really means beyond spa treatments 18:40 – Inside the Four Seasons Chiang Rai Tented Camp experience 28:05 – Why Suzhou is a “second-tier city” driving first-class wellness 36:55 – The rise of younger Chinese travelers as wellness trendsetters 45:20 – Family-friendly wellness, pet programs, and immersive experiences 52:10 – Jonas Schurman on ADR, profitability, and the business case for wellness 01:00:05 – Future innovations: sleep, rehab, AI, and personalization in hospitality   Meet the Guests Michael Branham – General Manager at Four Seasons Suzhou with nearly three decades in luxury hospitality, spanning Tokyo, Bali, Chiang Mai, and Hangzhou. Known for integrating spa innovation and cultural authenticity into resort experiences. Jonas Schurman – Board Member at Reformosa, a global real estate development company, and former Mandarin Oriental executive. With decades of leadership in luxury hospitality, Jonas is a recognized expert on the financial value of wellness in hotels.   Tools, Frameworks, or Strategies Mentioned Visiting Practitioner Model – rotating healers, teachers, and wellness experts. Wellness-Driven ADR – how spa offerings increase average daily rate and guest loyalty. Family & Pet Wellness – expanding wellness to kids, parents, and even pets. AI & Robotics in Wellness – personalization, wearable tech, and after-hours treatments.   Closing Insight “Wellness is no longer optional; it's the heart of luxury hospitality. The properties bold enough to innovate in sleep, rehab, and family well-being will lead the next wave of global travel.” Looking for expert advice in Spa Consulting, with live training and online learning?   Spa Consulting: wynnebusiness.com/spa-management-consulting Live Training: wynnebusiness.com/live-education Online Learning: wynnebusiness.com/spa-management-courses   Other Links: Learn More About Michael Branham: hthttps://press.fourseasons.com/suzhou/hotel-team/michael-branham.htmltps://my.linkedin.com/in/gerrybodeker Contact Jonas Schuermann: https://www.linkedin.com/in/jonas-schuermann-46b86315/ Follow Lisa on LinkedIn: https://www.linkedin.com/in/lisastarrwynnebusiness, Listen on Apple: https://podcasts.apple.com/at/podcast/starrcast/id1565223226 Listen on Spotify: https://open.spotify.com/show/00tW92ruuwangYoLxR9WDd   Watch the StarrCast on YouTube: https://www.youtube.com/@wynnebusiness Join us on Facebook: facebook.com/wynnebusiness/?ref=bookmarks Join us on Instagram: instagram.com/wynnebusiness

2025 洪佩瑜《開》北流演唱會 ◖ 演出時間：2025 年 12 月 6 日（六）19:30 ◖ 演出地點：台北流行音樂中心 表演廳 ◖ 演出地址：台北市南港區市民大道八段 99 號 ◖ 售票時間：2025 年 10 月 18 日（六）中午 12:00 ◖ 票　　價：NT$3,680 / $3,280 / $2,680 / $2,280 / $1,880 [全區座席] ◖ 主辦單位：KKLIVE、其後音樂、何樂音樂 ◖ 製作單位：KKLIVE ◖ 購票方式：KKTIX、全家便利商店 FamiPort ◖ 購票連結：https://sofm.pse.is/875qlu -- 蘋果愛美獎投票衝啦！ 每天登入FB投票，就能抽iPhone 17、PGO文青機車、萬元LE CREUSET鍋，還有週週禮券大放送！快來選你心中的人氣診所、名醫、療程，投越多中獎率越高！ https://sofm.pse.is/875qly －－－－以上為 SoundOn 動態廣告－－－－ 觀看影片

In this episode of Best in Fest, Emmy-nominated supervising sound editor Bobbi Banks shares her inspiring journey from starting as an assistant with no film background to becoming one of Hollywood's most respected post-production voices. With over 120 film and TV credits—including Desperately Seeking Susan, Poetic Justice, Self Made, Snowfall, and When They See Us—Bobbi reflects on her early mentors, her groundbreaking work with John Singleton, and her path to leadership in the Motion Picture Sound Editors and Editors Guildriverside_leslie_lapage_raw-vid….Bobbi dives deep into the artistry of ADR, the evolving role of technology and AI in sound, and why mentorship is critical for the next generation of filmmakers. She also opens up about navigating Hollywood as a woman of color in a male-dominated field, her perspective on unions, and the creative choices that make sound one of the most powerful storytelling tools in cinemariverside_leslie_lapage_raw-vid….Whether you're a filmmaker, sound enthusiast, or just curious about what makes movies truly come alive, this episode is a masterclass in resilience, creativity, and the craft of sound.

Adrénaline, rencontres et traditions rythment ces belles journées lapones… avec une apparition très chouette du Père Noël.Au programme :Motoneige, raquettes, aquapark et détente au spa ;Immersion dans la culture sami avec Yohan et quelques-uns de ses 4 000 rennes ;Rencontre avec le Père Noël - loin de ce qu'on voit à Rovaniemi !

蘋果愛美獎投票衝啦！ 每天登入FB投票，就能抽iPhone 17、PGO文青機車、萬元LE CREUSET鍋，還有週週禮券大放送！快來選你心中的人氣診所、名醫、療程，投越多中獎率越高！ https://sofm.pse.is/86xr8g －－－－以上為 SoundOn 動態廣告－－－－ 觀看影片

新潤建設機構為北台灣前十大建商，建築與品質嚴格把關，售後服務貼心周到。住戶透過報修App能即時回應，維修快速高效。 社區引進自有品牌 Ruenn Café，打造下樓就能享受美食的便利；同時不定期舉辦互動課程，豐富公設活動。 一起來了解新潤，發現家的更多可能

中國信託聯手統一集團推出uniopen聯名信用卡 2025年12月31日前消費享最高11%回饋 完成指定任務加碼每月免費跨行轉帳10次，ATM存領外幣各1次免手續費 了解詳情> https://sofm.pse.is/86jmp6 謹慎理財 信用至上 -- 世界級蔬食饗宴《果然匯》 匯集豐富蔬果及自然食材 結合在地蕈菇精心打造多道獨家料理 用心選材，只為更好的自己！ 雙北｜桃園｜新竹｜高雄皆有門市 搶先訂位：https://sofm.pse.is/86sygn －－－－以上為 SoundOn 動態廣告－－－－ 觀看影片

LOOK OUT! It's only Films To Be Buried With! Join your host Brett Goldstein as he talks life, death, love and the universe with the glorious writer, producer and director WILL BRIDGES! As the pre-victory lap continues in celebration of the release of All Of You continues, Brett is joined by colleague and friend Will who directed it and worked on the writing side. Naturally you can expect some fabulous behind the scenes gossip from the set (sometimes a studio, sometimes the great wild outdoors), as well as loads to do with the process from all angles, but alongside that we get to hear about ADR grunts, misjudged horrors from Dad, Isle Of Wight repping, what got him into the whole wide world of media, and being a highly tuned beepboop emotion robot. It's a joy from start to end, and for those excited to see / to have seen All Of You, consider this another episode in your podcast companion series! ⁠Video and extra audio available on Brett's Patreon! IMDB ALL OF YOU STRANGER THINGS (The Case Of The Missing Lifeguard) BLACK MIRROR wiki –––––––––– BRETT • X BRETT • INSTAGRAM THE SECOND BEST NIGHT OF YOUR LIFE TED LASSO SHRINKING ALL OF YOU SOULMATES SUPERBOB (Brett's 2015 feature film) Learn more about your ad choices. Visit podcastchoices.com/adchoices

中國信託聯手統一集團推出uniopen聯名信用卡 2025年12月31日前消費享最高11%回饋 完成指定任務加碼每月免費跨行轉帳10次，ATM存領外幣各1次免手續費 了解詳情> https://sofm.pse.is/86p6tt 謹慎理財 信用至上 -- 世界級蔬食饗宴《果然匯》 匯集豐富蔬果及自然食材 結合在地蕈菇精心打造多道獨家料理 用心選材，只為更好的自己！ 雙北｜桃園｜新竹｜高雄皆有門市 搶先訂位：https://sofm.pse.is/86qs5l －－－－以上為 SoundOn 動態廣告－－－－ 觀看影片

In this episode, we explore how successful individuals make a powerful shift in perspective—from seeing money as an end goal to a tool for unlocking opportunities and building sustainable, long-term wealth. Today's Stocks & Topics: SBSW - Sibanye Stillwater Limited ADR, GOOG - Alphabet Inc., Market Wrap, The Millionaire Mindset: How Successful People Think About Money, ETFs that Pay Weekly Dividend, Stock Support, BIIB - Biogen Inc., Mortgage Rates, BHP - BHP Group Limited ADR, RIO - Rio Tinto plc ADR.Our Sponsors:* Check out Anthropic: https://claude.ai/INVEST* Check out TruDiagnostic and use my code INVEST for a great deal: https://www.trudiagnostic.comAdvertising Inquiries: https://redcircle.com/brands

On today's archive show, we chat about David's weight, being on the set of Afterlife, The Cockfields, Joe's ADR session, Celebrity Big Brother 2005, Needles and who our wives fancy. First posted on 5th May 2021 FOR ALL THINGS CHATABIX'Y FOLLOW/SUBSCRIBE/CONTACT: YouTube: https://www.youtube.com/@chatabixpodcast Insta: https://www.instagram.com/chatabixpodcast/ TikTok: https://www.tiktok.com/@chatabix Twitter: https://twitter.com/chatabix1 Patreon: https://www.patreon.com/chatabix Merch: https://chatabixshop.com/ Contact us: chatabix@yahoo.com Learn more about your ad choices. Visit megaphone.fm/adchoices

AI is rapidly transforming investment strategies and financial services, driving innovation and personalization in wealth management while presenting long-term opportunities that investors must actively monitor. Today's Stocks & Topics: TGS - Transportadora de Gas del Sur ADR, Market Wrap, MKC - McCormick & Co., Inc., Why Investors Shouldn't Ignore AI's Impact, WDH - Waterdrop Inc. ADR, Buying Stocks for a 10-year-old, Gen Z Chasing 90% Yields, LYFT - Lyft Inc., B - Barrick Mining Corp, Target Price to Sell.Our Sponsors:* Check out TruDiagnostic and use my code INVEST for a great deal: https://www.trudiagnostic.com* Check out Upwork: https://upwork.comAdvertising Inquiries: https://redcircle.com/brands

When Lieutenant Ortegas crashes on the wrong side of a wormhole, she finds an injured lady Gorns to play chess with and who's also willing to be big spoon. But after Uhura lies to Pike about a dangerous rescue attempt, La'An ends up shooting Gornette on sight and Ortegas only keeps some of her memories. Where has NuTrek overcorrected? How can a hobo encampment feel instantly more comforting? What don't you get on any other Star Trek podcast? It's the episode that solves its issues with either Metrons or ADR.Support the production of Greatest TrekGet a thing at podshop.biz!Sign up for our mailing list!Greatest Trek is produced by Wynde PriddySocial media is managed by Rob Adler and Bill TilleyMusic by Adam RaguseaFriends of DeSoto for: Labor | Democracy | JusticeDiscuss the show using the hashtag #GreatestTrek and find us on social media:YouTube | Facebook | X | Instagram | TikTok | Mastodon | Bluesky | ThreadsAnd check out these online communities run by FODs: Reddit | USS Hood Discord | Facebook group | Wikia | FriendsOfDeSoto.social

Nate Brooks serves as the Executive Vice President, Chief Financial Officer, and Chief Operating Officer at JAMS, the world's leading provider of private alternative dispute resolution services. With more than 25 years of experience in financial and operational leadership, he has been instrumental in driving transformative change at JAMS, particularly during the challenges of the COVID-19 pandemic. Under his direction, the organization has embraced AI-powered solutions, expanded virtual mediation, and pursued strategic market growth.In this episode of Mr. Biz Radio, Ken “Mr. Biz” Wentworth sits down with Nate Brooks. The conversation highlights how JAMS has embraced innovation—leveraging AI, expanding virtual mediation, and meeting new market demands—while staying true to its core values of neutrality and integrity. Nate shares how he guided the organization through the challenges of the pandemic, oversaw its global expansion, and fostered a culture of adaptability and excellence. This insightful discussion explores the future of ADR, the impact of technology, and the leadership strategies needed to thrive in an ever-evolving business landscape.Key Takeaways:-How JAMS adapted quickly to the virtual world post-pandemic, maintaining high-level service delivery through strategic pivots.-The implementation of AI and advanced technologies at JAMS aids in efficient case management and client service excellence.-The seamless leadership transition at JAMS showcases effective change management and strategic foresight in steering the company forward.-Nate Brooks shares his experienced views on managing hybrid work environments while still driving growth and maintaining a team culture.-Explore the potential trajectory of ADR becoming a more dominant force over traditional litigation, emphasizing accessibility and technological advancements.

Can blockchain make private real estate more accessible? Paul Shannon speaks with Larry Kalis and Tyler Vinson about tokenization for LPs. They cover TRIFs from American Digital Realty, how RE Tokens enables secondary trading after a one year lockup, and what changes for custody, liquidity, and tax reporting. If you know syndications but are new to tokenized assets, this is a simple, practical breakdown. Key Takeaways: What tokenization means for LPs, a digital wrapper of your fund or deal interest on a blockchain Access and diversification with lower minimums and one consolidated K1 Liquidity path using Rule 144 and a secondary marketplace after 12 months Operations and security, KYC and AML, custodied tokens, fiat or USDC distributions, burn and reissue if lost Structure and risks, ADR's fund of funds TRIFs on Stellar vs single asset tokens, tech partner and valuation cadence Disclaimer The content of this podcast is for informational purposes only. All host and participant opinions are their own. Investment in any asset, real estate included, involves risk, so use your best judgment and consult with qualified advisors before investing. You should only risk capital you can afford to lose. Remember that past performance is not indicative of future results. This podcast may contain paid advertisements or other promotional materials for real estate investment advisers, investment funds, and investment opportunities, which should not be interpreted as a recommendation, endorsement, or testimonial by PassivePockets, LLC or any of its affiliates. Viewers must conduct their own due diligence and consider their own financial situations before engaging with any of the advertised offerings, products, or services. PassivePockets, LLC disclaims all liability for direct, indirect, consequential, or other damages arising out of reliance on information and advertisements presented in this podcast.

Join Mike, Scott, and Rikki as we answer your Listener Questions on today's show!  Today we discuss a discussion in the BOGP Clubhouse about a couple that has been at sea with Disney Cruise Line for over 900 days! Would this "burn you out" on DCL? We also talk about the Beak & Barrel reservations happening this evening and what the ideal ADR time could/should be! We help a listener plan their days for a week during the Halloween season down at Walt Disney World, and much more! Come join the BOGP Clubhouse on our Discord channel at www.beourguestpodcast.com/clubhouse!  Thank you so much for your support of our podcast! Become a Patron of the show at www.Patreon.com/BeOurGuestPodcast.  Also, please follow the show on Twitter @BeOurGuestMike and on Facebook at www.facebook.com/beourguestpodcast.   Thanks to our friends at The Magic For Less Travel for sponsoring today's podcast!

A new platform is emerging that will allow investors to trade shares of private tech giants like SpaceX and OpenAI with the ease of crypto, raising new questions about risk and accessibility for retail traders. Today's Stocks & Topics: XLE - The Energy Select Sector SPDR Fund, Market Wrap, TEVA - Teva- Pharmaceutical Industries Ltd. ADR, The New Frontier of Trading: Tokenized Shares of SpaceX and OpenAI, TBIL - F/m US Treasury 3 Month Bill ETF, SGOV - iShares 0-3 Month Treasury Bond ETF, TLRY - Tilray Brands Inc., Private Equity, PLD - Prologis Inc, DVN - Devon Energy Corp.Our Sponsors:* Check out Avocado Green Mattress: https://www.avocadogreenmattress.com* Check out Ka'Chava and use my code INVEST for a great deal: https://www.kachava.com* Check out Mint Mobile: https://mintmobile.com/INVESTTALK* Check out Progressive: https://www.progressive.com* Check out Upwork: https://upwork.comAdvertising Inquiries: https://redcircle.com/brands