Podcasts about american house

Many know it as the platform of choice for people who love to share videos of themselves dancing, or, say, combing the fur of their toy poodles. But, to hear politicians and late night talk show hosts discuss TikTok, lately, you'd think the app was a one-way ticket to political and social chaos.It all kicked off, last week, when the American House of Representatives passed a bill that - should it become law - would require the Chinese company that owns TikTok to sell it to an American interest. Otherwise, the app would face being banned in the United States.Today, Bruce Wolpe, a former American congressional staffer, and now a senior fellow at the United States Studies Centre, on what lit the fuse on this geopolitical explosion. And whether Australia is likely to follow suit, with its own TikTok banSubscribe to The Age & SMH: https://subscribe.smh.com.au/See omnystudio.com/listener for privacy information.

Many know it as the platform of choice for people who love to share videos of themselves dancing, or, say, combing the fur of their toy poodles. But, to hear politicians and late night talk show hosts discuss TikTok, lately, you'd think the app was a one-way ticket to political and social chaos.It all kicked off, last week, when the American House of Representatives passed a bill that - should it become law - would require the Chinese company that owns TikTok to sell it to an American interest. Otherwise, the app would face being banned in the United States.Today, Bruce Wolpe, a former American congressional staffer, and now a senior fellow at the United States Studies Centre, on what lit the fuse on this geopolitical explosion. And whether Australia is likely to follow suit, with its own TikTok banSubscribe to The Age & SMH: https://subscribe.smh.com.au/See omnystudio.com/listener for privacy information.

The American House of Representatives is functioning as designed by our Founders.And the debate, passion and discussion has given rise to an America-First, Make-America-Great-Again candidate for Speaker...Mike Johnson.------------------All content is FREE! Please voluntarily subscribe to my show at www.DougBillings.us to help Doug support his son and produce the show.Click on the “SUPPORT” tab at the top of the website and make a monthly voluntary subscription/donation!Support the show

In this Video I chatted with American House music DJ & Producer Junior Sanchez. We spoke at length about how to use samples creatively, production techniques and how to collab with artists online. His process for signing records to his multiple labels and where he thinks the future of music is heading with NFT's Blockchain Technology and Metaverses.

The highest interest rates in years should lead to a fall in house prices. But peculiarities of America's mortgage market are driving them up. Egg-freezing was supposed to give women more control over childbearing; we look at scant data showing how successful it really is (10:57). And remembering Isabel Crook, an anthropologist who embraced China's communist transformation, warts and all (15:44).  Join our team of audience-research participants and make a bit of cash here. Hosted on Acast. See acast.com/privacy for more information.

The highest interest rates in years should lead to a fall in house prices. But peculiarities of America's mortgage market are driving them up. Egg-freezing was supposed to give women more control over childbearing; we look at scant data showing how successful it really is (10:57). And remembering Isabel Crook, an anthropologist who embraced China's communist transformation, warts and all (15:44). Join our team of audience-research participants and make a bit of cash here. Hosted on Acast. See acast.com/privacy for more information.

In this episode, Cherise is joined by Scott Specht, Founding Partner of Specht Architects. They discuss the New American House in Austin, Texas.You can see the project here as you listen along.This house began as a personal conceptual project – something that wasn't really intended to be built, but a “paper project” that was a comment on the dysfunctional nature of suburban and low-scale urban housing that is currently built in the US, as well as a comment on the changing social qualities of neighborhoods and increased desire for security and privacy.The New American House is windowless (to the exterior), with rooms that face a series of interior private courtyards. It's based on ancient / Roman house models but incorporates provisions for the increased personal privacy and comfort that we expect in a house today.If you enjoy this episode, visit arcat.com/podcast for more. If you're a frequent listener of Detailed, you might enjoy similar content at Gābl Media. Mentioned in this episode:ARCAT Detailed on Youtube

This week, Jake and B-Word of the Bleach Bros Pod join us to fan cast HBO's House of the Dragon with an all American actor cast. We decided to do something a little different with the teams this time. Mike and B-Word faced off against Tab and Jake. Also, Mitch from the Two Guys in a Dart Pod joined in as our special guest moderator. Who would you cast in each role of this show if given the chance?   Be sure to check out both Bleach Bros and Two Guys in a Dart on all of your favorite podcast and social media platforms   For all of our bonus content, visit http://patreon.com/graystaproompod 

This week, Emmy nominated Writer/Producer Jonathan Fener, (American Dad!, iCarly, The Mindy Project, and many more) is on the podcast discussing the importance of having access to industry professionals, getting his footing in the industry, and working in the multi-cam world.Show NotesJonathan Fener on IMDB: https://www.imdb.com/name/nm0271779/Jonathan Fener on Twitter: https://twitter.com/jfenskiMichael's Online Screenwriting Course - https://michaeljamin.com/courseFree Screenwriting Lesson - https://michaeljamin.com/freeJoin My Watchlist - https://michaeljamin.com/watchlistAutogenerated TranscriptMichael Jamin:I always say, you're kissing the wrong asses. Kiss the asses of assistants because they're not go, you know, they don't get their asses kissed. They, they love it. I mean, who wouldn't get, give 'em some attention. They get abused all the time, then they rise up eventually. So, yeah, those are the ones. You gotta be nice to the assistants always, you know.Hey everyone, it's Michael Jamin. Welcome back to Screenwriters. Need to hear this. I have a wonderful guest today. This is a, this is a, I'm gonna tell you the story, how, how we met. So, as you know, the Writers Guild of America's on Strike, and my next guest is a well-known Setcom writer, although we've never worked together over the years. So our paths, you know, we haven't really crossed, but we know all the same people. And then we started, we were on the picket line outside of CBS Radford, and we started chatting and we had a really nice talk. And I was like, well, this, I gotta bring this guy in the podcast. So everyone, if you're driving your car, please pull over, put your hands together. A warm round of applause for Mr. Jonathan Fener. He is, let me just give you some of his credits before I let him talk.You'll notice it's a 45 minute podcast, and I, I do talking for about 44 minutes of it, but I'm gonna talk about your credits. He, he wrote on Bette, the Bette Midler show, Veronica's Closet, do-Over Kid, notorious. It's all relative Method. And Red Father of the Pride, you remember that one with Siegfried and Wright the 78th Annual Academy Awards. I wanna talk about that. American Dad. We know that happy endings, old Soul telenovela, the Mindy Project. How come that wasn't a show? Why was that? Just a project. Trolls Holiday, Elliot to Vegas, American Housewife, trolls, holiday in Harmony. We'll talk about that. And most recently, the iCarly reboot as well as well Mullaney. But guys, this guy's been around the block. John, thank you so much for being on the show.Jonathan Fener:My pleasure. Thanks for having me. Thank.Michael Jamin:So, I wanna find out, I wanna know all about your, your history. Let's take it back from the beginning when your great grandparents met. Let's really do a deep dive into your life. ,Jonathan Fener:Eastern Europe.Michael Jamin:Eastern Europe. Let's justJonathan Fener:Do, yeah, let's go back to Eastern Europe.Michael Jamin:But tell me were you, were okay, so how did you first break into the business and did you always know you wanted to be a, a, a setcom writer?Jonathan Fener:Yeah. I, I, even when I didn't know that's what I wanted to do, I, I look back and I'm like, oh, that's what I wanted to do. You know, I, I feel like I'm part of a, a generation that you know, back to watching television shows, videotaping, you know, Saturday Night Live and Uhhuh and sitcoms and, and like I used to audiotape them toMichael Jamin:StudyJonathan Fener:Them and watch. Yeah. And, and, and like, I would, I would watch Saturday Night Live, even when I was old. It wasn't old enough to like watch it. I would tape it on the VCR that we had, the, the one that popped up Yeah. At the top. And then and then I would have an, and then in the morning I'd watch it all day. And I would, and, and I used to make mixtapes, I guess video mixtapes where I would like, like mix and match different sketches that I liked. And then I and I used to listen to those all the time. And then I would also, I'd watch television shows. I did do that thing where I, I would tape television shows and then I would try and like write out the script. I didn't, I didn't know what the formatting was, so I always was interested in Yes, you'dMichael Jamin:Write it, what kind of word for word? Or you'd write your own,Jonathan Fener:I'd write it word for word. I would transcribe.Michael Jamin:Because that made you a writer then. Did you think that was, what was the point of that?Jonathan Fener:Well,Michael Jamin:,Jonathan Fener:It's like this this, this is gonna sound douchey maybe, but I remember reading this quote, I, I, I think Hunters Thompson once said that he used to just type pages of the Great Gatsby, just to feel oh, what it was like to really, to write those words. Yeah. and so you can draw a direct line between me and Hunter s Thompson and The Great Gatsby. Yeah. And, you know, the Bette Midler show. Like, they're basically one to one.Michael Jamin:But then, and Okay, go on. So then, then as a kid, you,Jonathan Fener:Well, I always was a, I was a huge comedy fan. I was a huge movie, television, e everything fan, standup comedy. I loved standup comedy. Right. So was always too afraid to do it. But yeah, I mean, I always knew I wanted to be part of making that comedy, you know, television, movies, all that stuff. So I went to Fast Forward, I went to usc. I, I I didn't go to the film school, but I, I just was, just wanted to be in la Oh. And I guess sort of the way sort of goes, you, you get outta school and, and I, I knew a guy that I went to school with who worked at a talent agency, and he got me a job as a messenger when they were still inMichael Jamin:Existence as a messenger. And so you were driving around town delivering envelopes.Jonathan Fener:That sounds terrible. Thomas Guide. WithMichael Jamin:Your ThomasJonathan Fener:Guide, right? No yeah. In the heat and the traffic. And howMichael Jamin:Long did you do that for?Jonathan Fener:I was probably a messenger for about, I don't know, matter of months, maybe like 3, 4, 5 months. And then a desk opens up and then you're, you're answering phones, so, oh, soMichael Jamin:You didn't have to go to the mail room, you went from Messenger toJonathan Fener:It really wasn't a mail room. I, it was a very small town agency. Okay. It, it was called the Herb Schechter Company. Sure. I dunno if you ever No, I've heard. And it was like back in the day where, you know, he mostly represented like TV writers. They had a whole below the line department. It was a small agency and they didn't really have a male. One boutique. Yeah. Boutique. Boutique. They had a lot of like, guys that were like supervising producers on Magnum, stuff likeMichael Jamin:That. But that's a good, but then, so how long, cuz you know, I was a, I was an assistant at William Morris for three days. I got fired on my second day and I go, but I stuck out the week. I finished the week . So I, I applaud you for being like, it's just a hard job being an assistant for an agent, because I found it was,Jonathan Fener:Yeah. Yeah. I mean, I was an assistant for a lot of different people. I was, I, and it, I think it helped that it was kind of, I, I don't know if low, I guess low stakes, cuz it wasn't like, I wasn't at caa. I wasn't at, you know, William Morris. I was at this tiny little agency and this woman I worked for was, you know, she represented like stunt coordinators and, and oh, like that. So not that, look, I still had to do the like, rolling calls thing and all thatMichael Jamin:Stuff. But did you, but did that, did that give you context? Like what did that, what what, what was your takeaway from doing that job for howeverJonathan Fener:Long? Honestly, a lot of the jobs I had until I was a writer were, it taught me what I didn't want to do. Yes. I'm like, oh, I work for an agent. I don't wanna be an agent. Right. And then there's like a network of assistances mm-hmm. where, you know, there was another agent there, this really nice woman named Deborah Lee. I still remember her. She she called me in one day. She's like, what do you want to do? What are you doing? I'm like, I don't know. You know, I mean, I, I think I wanna write, but, you know, may maybe I wanna be a creative exec. I just, I wasn't sure. Okay. So she was like, well, I have a friend who works at Fox and they need an assistant. So, you know, if you wanna get outta here and go work there.And I was like, great. So I went to go work for this other woman and then I just met, I would just meet assistants and they would offer me other jobs. I worked for this guy. My biggest assistant job was I worked for this guy John Matian, who was the president of Fox Network. Mm-Hmm. . So that was the first time where I saw an entire television season from pitches, development scripts and shooting all the way through. Right. Cause I was on his desk and I read every script that came across his desk that was like, I don't know if you remember that guy, or even like, that was the year, that was like in the early mid nineties when they were like, maybe gonna try and do like friends. Like they had this show called Partners and Ned and Stacy andMichael Jamin:Ned and Stacy. Yep.Jonathan Fener:It was becoming a little bit more of like, let's try and make a, a friends clone. So like the XFiles was happening then, right? It was just like, it was, I had one year where I had an entire overview of television and I'm like, and then I would read the scripts and I'm like, I think I can, I I can do this. I can. SoMichael Jamin:Did who, where did you learn to write then? What do you, what was the next step?Jonathan Fener:I just figured it out. I mean, I think that what happened was I met my partner who was my friend Josh by Cell. And we were buddies. And he was at UCLA in screenwriting school actually. Okay. And he was actually writing with his dad. He, him and his dad were writing a script together. It was, it was very, and I was, we would just talk about stuff. And, and then, so the story is that we had another friend who was a PA on this show called The Single Guy. Yep. Remember that show with Jonathan Silverman? Yes.Michael Jamin:Jonathan Silverman. Yep.Jonathan Fener:Yeah. The Brad Hall show. And we, he used to bring home scripts every week and we would read them and we were like, I can't remember, one of us pitched an idea, but funny if they did an episode, whatever, like in real time of whatever. And then we're like, we should write it. Let's just write it. We know how to do it. We should just write it. So we sat down and wrote this script and it was, I thought it was pretty good. And , we, we, and, and again, the assistant network was we knew somebody who was an assistant to Richard Whites at the time. Yeah. Who was a young guy. AndMichael Jamin:And young agent. He was I c m probably, right?Jonathan Fener:Yeah, yeah, yeah, yeah, yeah. And, and it was just one of these things where like, after a while I was assistant for three, four years and I had access cuz all the young people that I was working with were now becoming executives or agents. Yeah. So there were people you could actually hand your script to. They would read it as opposed to just throwing it in a pile. Right. And the, the, the long and the short of it was Richard read the script because Brad was a client of his, and I remember he called me at my house and he was like, your friend Mallory gave me your script. I think it's funny and I think that you need to write something else because no one will read a single guy. He's like, I only read it because I represent Brad, but no one will read. He's like, you have to write friends, you have to write Seinfeld, you have to write news, radio, whatever. So Right. That, that was kind of the first thing where we were like, Hey, we can maybe do this. Let's doMichael Jamin:This. That's interesting because this is what I say. Cuz people always sit and they're like, well, do I have to move to Hollywood to break into Hollywood? It's like, well, this is how you do it. You get these jobs, you know, you become an assistant and you network or you get on the network and then that's how you make connections. So that's what you did. I do. I wonder, do you think the assistant network is still strong now? I mean, so everything's changing so much.Jonathan Fener:Yeah. You know, it's a good question. You know, it's like, that's the age old question. Like, how do you break in? And, you know, I feel for years now that like, maybe that's not the way it's done anymore. May maybe I'm just looking at like, stuff as like an older guy where like I look at people and I go, I don't know. Can't you make your own television show on your phone? Or something like, I, but you know, you, you still need some kind of access, I think. And maybe I don't even, maybe I don't, I can't wrap my mind around it a little bit. But like, it just seems like if you do, if you write something, if you make something, someone's gotta watch it. Someone's gotta see it. Mm-Hmm. that can make a decision for you or, or help you. Right. And that's about, that's about that relationships.Michael Jamin:But then how did, so what was your next step? How did you get on staff?Jonathan Fener:We wrote a bunch of specs and we had some friends that were becoming agents. A guy that I, I, I was, I was an assistant with a guy who became an agent and he was a paradigm. We, we kind of, we worked with him for a little bit, but it was, we, cuz like we were friends and like, when things don't go so well sometimes mm-hmm. , it's like it's messing up the relationship. So I think we just were able to get, look, we, we, we, anybody that would read our script, that was a, that was a young agent, we would somehow try and get to them. And everybody passed. One guy at I C m mm-hmm. was signed us. I mean, I, I remember very clearly getting a phone call. I, I, you know, my partner and I, Josh, our birthdays are a week apart. We really were like, you know, we were friends, we were, you know, we, it was like intertwined lives. But we were having like a joint birthday party mm-hmm. . And we got a phone call that, you know, they wanted to sign us. And that was a big, big fuckingMichael Jamin:Deal. And, and what, and they submitted you to which show? What was the first show then?Jonathan Fener:Well, this is funny how things work too. So his one big connection was this woman shit. Her name was Debbie. This is Embarra. I, that's okay. She, she ran Bry, Kaufman Crane. She was like their development person.Michael Jamin:Right.Jonathan Fener:And I feel bad that I don't remember her name cuz she was sweet. And, but that was a good relationship that he had. Mm-Hmm. . So they submitted us for Veronica's Closet. Right. The, it, it was, it had done a year. It did. Well, you know, Christie alley's back to TV and it was, I mean, it was Thursday night. Yeah. Nbc I mean, it was a huge, huge show. AndMichael Jamin:Let's take it back for a second. That used to be a big time slot. Thursday night, n b slate, nbc. Now I don't even know what now. I don't know what they, what they're doing there, but maybe some, it's reality. It's soJonathan Fener:Fire, something fire.Michael Jamin:Is it some dump Dumpster fire? But that's the one. So, but it's, so, but this is something else that you bring up which I think is really interesting. Like, people always say you're kissing, I always say you're kissing the wrong asses. Kiss the asses of assistant because they're not go, you know, they don't get their asses kissed. They didn't, they love it. I mean, who wouldn't get, give 'em some attention. They get abused all the time, then they rise up eventually. Yeah. So those are the ones you gotta be nice to the assistants always, you know,Jonathan Fener:Oh, yeah. Christmas, you know, send them, get the, get the gift card, do the thing. Yeah. I mean, you know, they'll put your call through. I mean, look, I mean, they can do only so much, but yeah, it was, it's just, again, everybody, even if it's the same trajectory, everybody's story is a little bit different, you know? Yeah. And you know, it, it was, I think we were, I think we were lucky, but it was also, it was a, it was, you know, I, I hate to sound like I'm a thousand years old, but it was a very different time. Yeah. And, you know, staffing was like, almost were all seemed like so many opportunities. And it was just like, it almost seemed like, it wasn't like, you know, if I'm gonna get staffed, it was sort of like, where am I gonna get staffed? And, and but, but you know, you sweated out and I never felt like that. I mean, and for every, we, we, I don't think, you know, look, I, I think we were good and, and, but and still are. But you know, I never felt like we were juggling offers . Yeah. You know, it was definitely like, you know, okay, we got this gig and, and you know,Michael Jamin:Yeah. People don't, people don't realize that as well. Like, once you're in, it's great. It, that first job is hard, but you're, then you always gotta worry. You gotta worry about your next job. None of it's, you know, if people think well, you know, it is like you must have it made, but you don't, you never have it made. You're always hustling.Jonathan Fener:Never.Michael Jamin:What did you feel your first season as a staff writer? Did you feel comfortable? Did you feel like, oh, and over your head?Jonathan Fener:Honestly, no. I, I, I can say that with confidence. I felt like I got there and I was like, yeah, this is what I should be doing. Oh, you said I'm not just Yeah. You know, look, we were the youngest guys that, you know, we were the staff writers. Right. The baby writers. It was a very challenging place to work. I mean, you know, Bry, Kaufman Crane, you know, look, we, I could, we could do an entire podcast on just working on b Brianca's Closet and just literally being down the hall from season five of friends. It's like the Beatles. Yes. They, they, their, their dressing room is down the hall. And I'm, you know, with Jerry the Pacemakers or something. Not that, not that. That's, that's a great reference, by the way, for all your younger,Michael Jamin:I don't, I don't know. Listener. Yeah.Jonathan Fener:Just some, but it was like, and the show was, you know, it, it was what it was. It was funny. There were tons of funny people on that show, people I still talk to, to this day. Honestly, but it was like the, the culture of that. And I think it, it's a, it's, it's not a news story in sitcoms. But, you know, we worked, we watched the Sun come up all the time, and it was really, that was my first step. It was like, I had never done it before, but I was like, I knew immediately. I'm like, this is not the way it, this is not the way it should be. Right.Michael Jamin:Was it cause stories were being tossed out? Or notes from the network or what?Jonathan Fener:Yeah, it, it was poor, poor management.Michael Jamin:Oh, time management. It wasJonathan Fener:Poor time management. You know, I would say like, you know, you're, when you work on a, on a show with terrible hours, you're just like, you're a victim of somebody else's badMichael Jamin:Work. Well, there's, there's that. Yeah. Yeah. I always felt very when we were running a show, I was like, I always felt I would crack the whip just because I felt like I want people to go home. I want stop messing around. And, and I was a hard ass in that way. Cause I wanna go home and I think you wanna go home too, don't you? You know, like, let's just work and go home.Jonathan Fener:Those are the ones, the ones that don't want to go home. Those are theMichael Jamin:Worst. Yeah. Those are the worst. Right. Did you, were you on many shows like that, where you felt like a hostage ?Jonathan Fener:No. well, let me think. Not really. That was the worst. And then there were a couple other shows that were rough, but I think that, like, as time went on, I definitely got lucky as time went on that I, I worked for de Decent people.Michael Jamin:Well, you also had another show that was basically the stepchild, which was American Dad compared to Family Guy. I mean, family Guy. Was this behemoth, not that American Dead was any slouch, but you were still in the shadow of a, a family guy, right?Jonathan Fener:That's right. The other one. Yeah. Yeah. The other show. Which, but that Yeah. And that, that was good point. No, but it was, it was and animation was something that I, you know, we got into pretty early on too. And I really, really liked that. And you know, there, there's animation usually is not terrible because the deadlines are, are way far apart. Yeah. Like, as far as like, you know, like Multicam is probably the worst because it literally, you gotta rewrite itMichael Jamin:Tonight at four, at four o'clock you start your day basically. Yeah. AfterJonathan Fener:The run Yeah. Run through is it ruins your whole night. And then it's like someone has, like, if you're doing single camera, you know it, you're usually reading a script for the next week. So, you know, you want to get it done by tonight, but, you know, maybe you can leave a couple of jokes and then the next day you can like, sort of clean it up. Right. But like Multicam, they're, they're at rehearsal at 9:00 AM so they need a script.Michael Jamin:Yeah. Yeah. And that was your joint. You were on the Warner Brothers slot. All right. So then, so then what happened? You, I'm gonna, I'm going with your credits over here. So Veronica's closet. And then what about, what was, you were there for, well, how many, well, how many seasons was that? The show was what? Two seasons?Jonathan Fener:They did? Th they three. I was on the last two.Michael Jamin:The last two. And then when it was done, what happened?Jonathan Fener:When it was done, I was like, I, I did it. I, you know, no, I, I was like we, we just got back out in the staffing pool, you know?Michael Jamin:Right. And then you just jumped.Jonathan Fener:We, we, yeah, that was the next, the next season we went to, we got on the Bette Midler show, which at the time was like massive. It was massive. ThatMichael Jamin:Was massive. And then,Jonathan Fener:And that's another, I'm sorry to interrupt. I was gonna say, like, that's an interesting story where, you know, I don't know if you think of 2 26 year old guys as like, yeah, we gotta get those guys on the Bette Midler show. Mm-Hmm. . But our agent submitted us, and at the time we were even thinking to ourselves like, what, what samples can we write that are a little different? So we wrote a Buffy, the Empire Slayer Script, just cuz like, we liked the show and Right. The tone. And so we wrote that and then, and I think we were like, maybe we can look and see about, you know, maybe getting on like an hour or something like that. And then the, it just so happens that Jos Whedon, I think worked for the guy that created that show, Fette.Michael Jamin:So I was gonna say, I wanted to say Cohan and Nik, but no, that, I don't think that's right. Who created it?Jonathan Fener:Jeffrey Lane.Michael Jamin:Jeffrey Lane, of course. Right,Jonathan Fener:Right. Who was a big mad about you, dude.Michael Jamin:Yes. And then, then working for Bette. I mean, that's, that's a whole other thing. You have this oversized star, really a giant star. And she must have had a lot of creative input.Jonathan Fener:Yeah, yeah. You know, she had opinions, but no, she was it was, it was nuts. I mean, you know, they picked that show up for a full season, which even, even then wasn't a thing. And she, she just was like, like such a massive force, you know? Yeah. Almost too big for television. I would even say, like, I remember thinking, she's on the stage and I'm like, and I mean the sound stage. Like I can see her playing Caesars just live or in the movies where she's gigantic. But there's also, there's, there's, I don't know if muting is the right word, but you know what I mean, like, like, there's just something about those mediums that like, sort of, and, and I just think on tv she just was like, massive. Just like, but, but, you know, really funny. And, you know, she did everything. You know, she sang the Rose and she, it was like, pulled out all the stops. It was just, it was almost like, and I don't think she knew what being on a television show entailed. I think when you take people that have never worked on TV and put them on tv, they're like, I have to come back again tomorrow. And Yeah. Tomorrow. And it's a new script today. And like, they're used to shooting films, but even like, it, it's, it's a grind for everybody. Yeah.Michael Jamin:Yeah.Jonathan Fener:SoMichael Jamin:She, she became a little cantankerous. You think ?Jonathan Fener:She, I think, yeah. No, she, she, she, you know, she liked me. she liked me and my partner. We, we wrote this episode actually with Kobe Bryant in it.Michael Jamin:Oh, okay.Jonathan Fener:And I think they were like, get the young guys to write this. And Kobe was, and he agreed to do the show. I think his wife was a huge Bette Midler fan. He, I think he said, I mean, he was nice guy. I remember meeting him and the show, I mean, think about this. We shot the sh we shot our episode in the forum. Like, and, and the, the, the plot of the show is that, that becomes like, she basically accidentally gets onto the court and she starts dancing with the Laker girls. IMichael Jamin:Don't know, but it was a multi happened. It was a Multicam, right?Jonathan Fener:Yeah. But they just, they shot it on the forum, I mean, on form. They, and it was, it was the kind of thing where it was like, whatever it cost, it cost,Michael Jamin:Right.Jonathan Fener:They booked the forum and, and that episode sort of turned out okay. And then I think she felt like, oh, these guys get the show. So they took us out, she took us out to lunch, and she's like, what should, what should the show be? You guys see that? OhMichael Jamin:No. Oh no. And you guys are, you guys are story editors at this point. Right. See, that would be panicked about that. That's not good.Jonathan Fener:Co Cohen was at that lunch too.Michael Jamin:Oh, she took Rob. See, that's the thing. She lovedJonathan Fener:Rob, loved Rob.Michael Jamin:My, my rule of thumb early in my career is don't let the actors know your name cuz only bad things can come of it. . And then, and then, right. So she takes you and now you're, maybe you don't wanna talk about this, but I, that puts you in a difficult position because she should be taking the showrunner and the showrunner should be bouncing you. She should be bouncing the ideas and not, you know,Jonathan Fener:You know. Yeah. It was a Yeah, it was. I mean, I didn't know. We were just like, well, you know, just more do more of this stuff. Right, right. You know, we'll, you know, go to a baseball game. Or, I, I just think she, I, I, look, I think that she was searching for what the show was. I think the showrunner was, I think they just were, and it was a, it was a weird, not a weird premise, but it was like, she, she played a character named Bette, and she played Aer that was a famous Hollywood actress and had been in a movie called The Rose and all these things that were true. Right. But she kept saying, I'm, but I'm not Bette Midler.Michael Jamin:She would say that in the show, but I'm not Bette Midler. She would say, she would say that toJonathan Fener:Us. Oh, okay. Cause we would write jokes and she's like, but I'm not Bette Midler. And we're like, but you were in The Rose. And we're like, okay. Bette Schidler. You're bet. Schidler. Yeah. And, and, and a lot of stuff that happened to her in real life we would try and put into the show. But it was like, it was just one of those things where we were just trying to find our footing and, and, and never really found it.Michael Jamin:Wow. But that's pretty cool though. I mean, hanging out with Bette Midler's pretty cool. SheJonathan Fener:Was something else, man. She was like a, like I said, like a force, like just funny and, and just larger than life. AndMichael Jamin:You know, but we were, we didn't just shoot me. And and George Siegel, of course, in the seventies, there was no bigger actor than George Siegel. And he wasJonathan Fener:Huge. Yeah. Funny.Michael Jamin:And then c just shoot me. And we wrote an episode and he, George could not have been a sweeter guy, such a nice guy and great sense of humor. But there was one episode he, I guess he wasn't happy with what he was playing. Maybe he didn't have enough lines, or maybe he thought his storyline was dumb or whatever. . But I remember he, we were all the writer's rehearsal. And George goes, you know, I was nominated for an Emmy. I'm sorry. He was, you don't have nominated for an Oscar. You know that. Right. And one of the writers goes, yeah, that was a long time ago. George. Get in the dunk tank. . And George thought that was so funny. I mean, he like, to his credit, he just laughed. He thought it was great. .Jonathan Fener:That's so funny.Michael Jamin:That's what's fun about working with some of these, you know, some, some of these old timers are great, some of them are, you know, a little di difficult. Who knows. All right. So then what, at what point did you guys start developing your own shows? Cause that's always a big leap.Jonathan Fener:You know, we, we were kind of like wanting to do that early. And I remember that was another thing that was not encouraged. Yeah.Michael Jamin:Not then itJonathan Fener:Wasn't at all. It was just sort of like, it was the tail end of it, but it was kind of just like, here's the model. Get on staff. Mm-Hmm. work your way up to producer, supervising producer, get a deal. Mm-Hmm. and then you develop. Right. So that was the, that was the the road. But we were like, no, we have some ideas. And you know, if they don't wanna listen to us at, at nbc, then maybe they'll listen to us at mtv. So we had heard that MTV was looking to develop shows. Cheap show. I mean, it's like that thing every, like couple of years. MTV's like, we wanna do scripted. And then they would hardly ever do it, but Right. We had this idea that we would do cuz they wanted to repurpose videos, but somehow do it in a scripted way.So we had this idea that we would do like Dream on, but with music videos. So it was about a kid whose interior monologue was music videos instead of old movies. Right, right. And like, just seemed it was like risky business, but the kid is 16 and he's just that. So we sold that. We actually sold that and wrote it and it never got shot. But that was like, pretty early. That was like a couple years in. And we sold a movie. Like, we were kind of like trying a bunch of stuff. But I think that we early on were like, I feel like we should do our own stuff too. Uhhuh . So I always have said like, like, like I don't, I don't know what it's like to have just like one job. I always feel like I was doing two things at once. So like, eventually if people are always like, they're on staff, like I was always on staff. And then on the weekends I was working on the other thing.Michael Jamin:You see, people don't understand how exhausting that is cuz you're on staff, you're working very long days and then on the weekends you're working more. You know, it's, it's, it's good for you when you're, you know, it's hard. It's hard to do that. Yeah.Jonathan Fener:It was hard. And I think it was the right look. I wasn't, I was, I was, I was married, but I didn't have any kids and mm-hmm. , you know, but it's, it was tough, man. I mean, you know, and, and that was back before you, we were zooming. So like, we would go, I'd go to Josh's house, he'd come to my house, Uhhuh, . I mean, we used to literally meet in the middle and trade.Michael Jamin:Oh. Cause you guys, you guys let, did you live far apart from each other?Jonathan Fener:Yeah, yeah. We, we, we, yeah. UsuallyMichael Jamin:Trade far discs. So I'm, I'm skipping ahead a little bit, but, but I'm curious to know, well first of all, I wanna know how, what was the academy, how did you work on the Academy Awards? How did that come about? That's such an odd term for you thatJonathan Fener:Yeah, that was, that was the connection. There was, that was the year John Stewart hosted, I don't know if that was his first time. I know he did a bunch of times. It was the year of crash crash one. Okay. The best picture. And like Philip er Hoffman one for Capote, but John was Right. Was hosting and he brought out like a bunch of daily show people. And my partner went to college with a guy, Ben Carlin. Yes. Who I kind of became friends with too, because of those guys. So, so Ben was running the Daily Show. He was one of the eps. And so when he came out, he called me and Josh and a couple of other guys and asked if we wanted to be part of the staff of people. Basically they, the, the Daily Show guys wrote the monologue. They asked us the la guys to write like short film parodies of the nominees.Right. So, and then, you know, maybe help out with the, and and, and on on show night we would be part of the joke room cuz they're writing jokes throughout the night. With like, I mean, Bruce Lance was there mm-hmm. and some local school guys were, were there. But so yeah. So we basically pitched like 20 little short filmed things and they picked five or six of 'em and then we got to produce them and, and, and all that. But we were part of that whole thing. That sounds fun. Yeah, it was really fun. It was really, really fun. And like on show night, we literally, they put us down in this basement and we are like watching the show live and it was like instant messaging. If whatever, who, if somebody won something, we would like shoot a bunch of jokes up to them and the wings. ButMichael Jamin:Did you have to wear a tuxedo to do that? Yes. In my mind. You, I knew it in my mind, you have to wear a tuxedo even though you're not gonna be on camera, but you're at the Oscars. Wow. They tell you thatJonathan Fener:Because Yeah. Be because we were, I mean, it was really cool. I mean, we got, went, went to, you know, my, my wife and, and Josh's wife and, and all the wives got to go to the show. Right. They got tickets to the show. We were downstairs and then afterwards we went to the governor's ball. Right. I mean, it was really, I mean, we had access.Michael Jamin:That's a trip.Jonathan Fener:That's, it was, that didn't get a gift back. I was really hoping I'd get like a, because I always, I'm like, there's like a trip to Australia in there or something, but I,Michael Jamin:But you got a nice, you got a nice paycheck that's got that kind of counts for something.Jonathan Fener:I don't remember how much we got paid. I don't know if it was, I, I feel like, I don't knowMichael Jamin:Now what about it was great. What about the Mindy Project? Cuz that was like a big, that must have been a big experience for you.Jonathan Fener:Yeah. Yeah. That was, that was fun. And, and that when we were, we had a deal at Universal mm-hmm. . And we had, we, we were kind of lucky. Like we, that was when I worked on the Malaney show and Right. We did a lot of development when we were there and we supervised and ran a couple of shows there. But that was sort of towards the end where they just asked us to come and help out.Michael Jamin:Okay.Jonathan Fener:Oh, for a season. Yeah. And it was it was like, it it is one of those things though, where it was a very tight, well-oiled machine and we, and it was, it was fine. It, it was, it was kind of funny though cuz it was like, you, this sort of happens where, you know, you, you write pilots, you shoot pilots, you run shows, but then sometimes you're a staff guy again. Yeah. And that was a gig where we were sort of like, alright, we're part of this staff. And, and everybody there was like, really funny, really smart. Like, I think, I think that writer's room literally had like three former Lampoon editors, Uhhuh and just like really, really funny smart guys. Right. And women. And we just were like, okay, we're just pitching jokes.Michael Jamin:You're, oh, okay. And then so that, that's, that's the whole experience. But did Mindy run the show? Was she the showrunner at,Jonathan Fener:I mean, she, I she, she had, there was a guy named Matt War Burton, who was sort of running the room mm-hmm. When she was gone. Because the most impressive thing was that she, she shot all day. Yes. Because it was seeing the camera show. She was the star of the show. But she came in at lunch, Uhhuh . And Matt would pitch her and she very efficiently was like, I love this. I love this. What if this happens? What if this happens? Gotta go. And so she, she had the final say. Right. But she was busy, you know. Yeah. And, and that, I I'm trying to think Melany was that way too, but Melany was really part of the writing and that was also a Multicam. So,Michael Jamin:And that was probably, it's, that Melany show was probably three years too soon. Like, you know, like before he really became huge.Jonathan Fener:Yeah. Yeah. That was, you know, I, I think that, that, this was my opinion and I'm not like making this up. And I remember we used to talk, like John was trying, I feel like John was trying to do something where, you know, everyone just looked at it and at face value and said, oh, it's Seinfeld. He's just doing Seinfeld. But Uhhuh, I think he really, really liked the, the medium. He liked multi-cam, but there was a part of it that I think was a little bit satirical. Mm-Hmm. . But it really, I, I think that if you didn't know that you're just like, oh, he's just, is just a, you know, like I feel like some of the stories that he pitched he felt were funny because it's like, oh, this is kind of a clammy story. But I, but I think it's funny in like, I'm doing it with a wink. Right. But I think people maybe saw it and said, there'sMichael Jamin:No wink. I don'tJonathan Fener:See the wink. Yeah. There's no, yeah. And, and, you know, but it, it was, it's not that it was the wrong vehicle because it was his show. And, and, and he is the funniest guy in the room always, you know? Right. I mean, and NA, see Petra was on the, was in the cast too. She was really funny. There was a great cast. Elliot Gould was on that show. Martin Short was on that show. Yeah. It was like, it was, it was, it was really, really fun. But yeah, maybe it was, I, I think maybe he was trying to like rein, not reinvent the multi-cam, but just like, turn it on 10 a little bit. Right. And it maybe wasn't, no one was like, ready for that.Michael Jamin:Hey, it's Michael Jamen. If you like my videos and you want me to email them to you for free, join my watch list. Every Friday I send out my top three videos. These are for writers, actors, creative types. You can unsubscribe whenever you want. I'm not gonna spam you and it's absolutely free. Just go to michael jamin.com/watchlist.Did you, cause whenever we developed for comics, we, you know, we wound up studying, then we read, we watched the act, we read, listened to their, whatever the audio books or, you know, read their, did you do the same as well forJonathan Fener:I just knew you mean for that show or for,Michael Jamin:Well, for Malaney or, or for any, any comic that you're writing for. Really. Or even like Bette, you know, for example,Jonathan Fener:Well, Bette, I mean, we definitely like combed through her career and her life and mm-hmm. tried to get stories from it. Mm-Hmm. yeah. Whenever, and, and, and, and, you know, the, the Mullany thing, we, we kind of like, we were also, that was a period of time where like, we were on that staff for a period of time, and then we had a pilot picked up and went to go shoot it. Oh. So we were sort of there for a, a specific period of time. But like, that show was all him to me. I mean, he ran that with a guy John Pollock, a good friend who who's also like, he, he's, he's such a good, he's a pro guy. He's a pro and, and can guide things. He's so funny and smart. But so I think that, that they really clicked well. And there were a lot of really funny people on that staff too. But yeah. Yeah. I, I think that to answer your question, it's always good, especially if you're dealing with somebody who's gonna put a little bit of their lives into it, to just mm-hmm. because I mean, frankly, you, you kind of want to like, connect with them too. Like, it's something that they can connect with. Right. Unless they don't wanna do it. Unless they wanna be completely a different person if they're being some version of themselves. Yeah.Michael Jamin:What's so odd is that you and I have never worked together, even though we've worked with so many of the same people, you know? Yeah. It seems, it seems like very odd that, you know, how how did that never happen? But how do you see, like, so okay, we are on strike. How do you see the business now? Like, what do you, like, what's your take on the past, I don't know, three to five years? You knowJonathan Fener:Everything's going great. It's great.Michael Jamin:Everything's perfect.Jonathan Fener: and just getting betterMichael Jamin:.Jonathan Fener:I, everybody knows what's going on. Yeah. no, I I think it, to me it feels like it's a massive sea change. Yeah. It really feels like even having lived through the first strike, like that was streaming was just kind of coming around and, you know, Netflix was a thing and, but now everything has completely been disrupted and mm-hmm. , I just think that I mean look, this is nothing new, but like, you know, to, to me, cable seemed to be working okay. And then streaming came in and it just seemed like there were no parameters. It's like all the streaming services come, came around. And I understood economically that like all the studios are gonna want to have their own thing mm-hmm. and not have to license it to anybody anymore. But without the structure of a, of a schedule, like a nightly schedule, it's just like, it just became a bottomless pit.Yeah. And so there was this five, you know, it, it was the, it was the old, it was the, the Wild West again. And there's a billion shows. And I, I, you know, some of these studios I guess were just like, wait, this is so expensive. Like a full staff for every show and we're making so many shows. We need to, now, now it's like we overspent now we need to back up a little bit. And then, but in the meantime, to me, I just felt like it was, like the rules got changed where there was a somewhat of a model in network television and even cable where it's like, we're gonna pick this show up for X number of episodes. We're gonna have this many people on staff. That's the way it's done. Mm-Hmm. . And then now the, it's like, oh, we have this new area of streaming. We're just gonna do things differently. Now we're gonna hire three people. Mm-Hmm. , or the guy that created the show is just gonna write 'em all and then shoot 'em all. And it, it just, I don't, it's, it's, you know, I mean, all I can know, all I can do is keep doing what I do, but it's, you know, it seems more, it, it really seems, it feels like the ground underneath us is that much more Yeah. Shaky. Really shaky.Michael Jamin:How do you, and what's your take? I don't know if you work a lot with, well you know, young, well, let's see. I actually, I have two questions I wanna ask you cuz your last, your last network show was probably was what The Mindy Project? Cause I haven't worked, I haven't worked in the network for a while. It's all been cable. Right.Jonathan Fener:The last network show I worked on was American HousewifeMichael Jamin:Oh. American House. So it's so interesting. Which wasn't even that long ago. And so you're working with young, there's bigger staffs on network. You're, they're bringing in younger writers. What's it like? What, what are the kids like? Do you think they're different these days on network shows?Michael Jamin:Because we had a hierarchy. We had, there was a pattern. There was a, you know, all broken.Jonathan Fener:Yeah. Yeah. Yeah. I, I, I, I think it's probably better. I mean, I worked, I worked in some rough rooms and then I worked in some more, you know, I certainly, I don't feel like I ran a rough room. What do you mean?Michael Jamin:What do you mean by rough room? What were they like?Jonathan Fener:Just a, that the, the real hierarchy. Like when I was a staff writer, you were not really expected to talk very much. Right. It was kind of like sit and listen. Right. But and then I'd say I'd, I'd pitch something and they'd be like, not now. And I'd say, I'm sorry. And they'd say, don't be sorry. Just be quiet.Michael Jamin:. Don't be sorry. Don't let happenJonathan Fener:Again. Don't be sorry. Just be quiet. I, I, and like, look, that's the, that's the, it was always done with a joke. You know what I mean? Right. And, and like, I don't ever feel like I was treated cruelly. Mm. I mean, I mean, I guess I, I guess it was cruel that, you know, I did feel like I was held hostage and, you know, yeah. Going home at 6 30, 7 o'clock in the morning in, in rush hour traffic the wrong way. Like yeah. My nights and days were mixed up. But like, eventually what I was gonna say was I just feel like there was something to earning it a little bit. You know, I, I just feel like, you know, even even those first jobs, like, especially like Bright Coffman Crane, I remember there were certain things that you, like, they were big on floor pitching Right.On, on, on, on show night. And that's great experience. I mean, look, multi cams aren't around as much as they used to be, but like, I remember learning a ton. Like, I, I can still shoot back to the time we were on show night and a joke bombed, and then you just huddle up mm-hmm. and you're just staring at each other and everyone's thinking, and you gotta come up with an alt. And people are pitching stuff and it's like, and you pitch a joke and everybody laughs and you're like, oh my God, you're theMichael Jamin:Hero.Jonathan Fener:Amazing. And then, yeah. And then, and then they put it in and itMichael Jamin:Dies and it, and it dies. Yeah. That's what a flip joke. People listen. That's what a floor pitch is. I'm showing that on a multicam, you at the last minute throw a joke in after one bombs. SoJonathan Fener:Yeah. Right. And then you finally, you, you give up and you just pitch a joke with the word nipple in it. . And people laugh at that and you're like, ah, I hate myself. Yeah. But no, but, but I, I think that now, you know, ha like being the older guy and, and even, you know, running a show, like, there, there is a, there is a certain level of like, everybody has an equal voice mm-hmm. . And, which I think is good, you know, but I also think that there's, it's not that you are less than at all. To me it was always about like experience. Mm-Hmm. . Like, you, you just gotta, you know what it is, it's about, it's, there's, there's no substitute for being able to read the room. Yeah. And there are people sometimes that are younger and less experienced and they, they pitch an idea and no one says anything, which is like the night, it's, it's, you know, the worst is if someone says, that sucks. Right. But if you pitch a joke or a story and no one really like, jumps on it, no one Yes. Ands it, you know what, let it float away because Yeah. You know, and then if you re-pitch it and then you re-pitch it,Michael Jamin:You're gonna get yelled at, you'reJonathan Fener:Gonna get yelled at. Like, that's just not cool. And I feel like sometimes maybe people don't like that anymore. You know? Yeah. Like, you're not supposed to do.Michael Jamin:Yeah. I hear you. What, what? Surprised It's so hard. There's a huge learning curve on their job. And when someone pitches an idea, if it's a good idea, it really doesn't matter who it comes from, but it's pretty obvious when it's a good idea. The right. Like the, the senior writers are, oh, that's good. Right. And if you're new inexperienced, you just don't know what's, what's a good idea from a bad idea. And I think they sometimes get a little offended or hurt. It's no, it's, it's not, it's not, it's not, it's just the idea. It's not you, you know? Right. The idea didn't land.Jonathan Fener:Sometimes it's them. No. Sometimes it'sMichael Jamin:ThemJonathan Fener:. But yeah, it's, it best idea wins always, always, always. Yeah.Michael Jamin:Best idea. Gets you homework faster and so and so. Yeah. I know. Well, I was gonna ask you something else. Oh. Oh, that's, that's how I was gonna say we met, we met years ago. Cause you were running a show, which is an interesting thing that you did was said you were running a show called Awesome Town, but you were running it. Someone else with less experienced writer wrote it and you guys were brought on to supervisor it. Right,Jonathan Fener:Right, right.Michael Jamin:It was like, so talk about your experience doing that kind of stuff.Jonathan Fener:That was the first time we'd ever done that. We've, and we've done that a bunch just because I feel like my partner and I, that's not really something that a lot of people love to do, like run other people's shows. Everybody wants to, you know, get your own thing. And we were writing our own pilots at the time too. But if you get enough experience, honestly, you know, my feeling is you want to have as many skills as possible in this business because mm-hmm. , you know, you want to just have another arrow in your quiver.Michael Jamin:Yeah.Jonathan Fener:That's the right term. But like, so i, if you can successfully help someone just guide the ship and it's their show and they've never done it before, cuz that's a really hard job.Michael Jamin:Were there creative struggles though, between you and them at all when you do this?Jonathan Fener:No, honestly, no. I really feel like it was this guy, Adam Ste. Hillel, who's like super nice guy. He he's like big feature guy now. I think he wrote Black Adam. Mm-Hmm. , he like, works with the Rock a lot and, and he created Undateable with Bill Lawrence too. Mm-Hmm. . So he's, he's had a bunch of stuff. No, he's very nice guy. Very funny. And it was actually kind of cool that he got this job on, it was basically just about the, these four like early twenties friends and negotiating life afterwards and they threw a lot of stuff. It's funny, I remember they, they picked the show up because I feel like a, b C was looking to do something in the younger space. Right. But it did, it was one of those shows. It wasn't, it was very low concept. And there was a whole opening teaser that we, I I always suspected, this is why it got picked up cuz it was very, it was very American pie.It was like kind of dirty and there was like a couple and somebody had peanut butter on them and a dog was looking and Right. You can imagine. So but I remember thinking like, this is why they picked it up because this is outrageous. There's no way they ever shoot this though. Right. Which is like, that's like an age old story in tv. It's like the thing they love about it. Mm-Hmm. is the thing they cut first. It's exactly right. You know, it's like you, you, you pick up a show called like Immortal because the, the lead character ha has been alive for a thousand years. Uhhuh. And then the first note is, can we make him immortal please? Yes,Michael Jamin:That's exactly right.Jonathan Fener:Yeah. but, and you do it cuz you're like, oh, they just they just picked up the show. They just gave me a budget and Right. But so they, they made a bunch of changes to this show and including changing that entire teaser. But it was, it was just an opportunity that came because again, like I think we had written a pilot for the studio that made it and they needed somebody we, like, we had just gone through, you had a deal,Michael Jamin:You probably had a deal at the time, an overall deal. Right.Jonathan Fener:I don't know if we had it like, you know what we did, I think we had just sold a pilot to like 20th Uhhuh . And it was like a very good experience, but we just, it just was one of those shows that like almost got there but didn't Yeah. But then, then they picked up all their other shows and they're like, oh, we're gonna pick up this show with these guys. And we had a good relationship with the development people that like, you know, maybe John and Josh can help with that. So that was awesome. That was, that was like, and I remember like, we cast whoever we want. Like we changed roles because we found, like I'd never seen Brett Gelman before and he came in and was so funny. We're like, we're putting him in this show somehow. He was easily 10 years older than everybody. Well, was supposed to be a coworker, Uhhuh, , ally Wong came in, we're like, Uhhuh, let's create a intern. But it was like, it, it, it was like, it was the first it was a good gig to get. And then from there we, we got a bunch more of those gigs to sort ofMichael Jamin:Like, see, that's, that's a talent, because a lot of, I think sometimes when you have a no, a young creator will create a show. Then they assign a showrunner, and sometimes the showrunner's like, well, listen, my name's on this too, and I don't want this to have, I don't have a stink on me if this is terrible. So they kind of turn into what they want it to be. It doesn't sound like you did that. It sounds like you were very much trying to realize the vision of the person who created these shows, which is nice of you.Jonathan Fener:Yeah. I mean, I don't, maybe that's just the way that we are. I mean, I just feel like that's the fir like, and I'm, look, by the way, that's probably a good way to get the gig, is to go have lunch with them and go, listen your show, man. We're just here to help you carry the water from here to there. Right. And we know how to do it. And but that it's the truth. I mean, honestly, I like, I don't want it to be bad, but like, you know, and like, I'll tell you what, I think I'll give you my opinion, but also like, again, I don't know anybody that could ever do that, show that job alone. Like, it's, it's miserable and not mis, you know what I mean? And we we owe, and plus, you know, you could relate to this too, just being, I mean, being on a writing staff is collaborative anyway, but being in a writing partnership, you just really learn how to negotiateMichael Jamin:Mm-Hmm. Jonathan Fener:Compromise. Mm-Hmm. and talking it out. And, you know, single writers tend to be really, you knowMichael Jamin:Yeah.Jonathan Fener:Hold onto their stuff cuz there's mm-hmm. Never any other counterpoints. So I feel like we have the right skillset forMichael Jamin:That. Yeah. There's also a sense of, there's so many decisions to be made. If I don't make this one decision, that's okay. I gotta make a million other decisions. So it's okay if I didn't, if I don't make this one decision, you know, there's a lot to do.Jonathan Fener:Yeah. I don't need to be in wardrobe. I always say that. I don't need to be, I don't need, I I you can do rack check. I don't need to do that.Michael Jamin:Yeah, yeah. There's exactly, there's exactly, there's a ton. I, when we ran Marin, we, the the wardrobe people loved us cuz they chose us choices. And I go, what do you think, you know, well this one. And I said, well, why do you think that one, they gimme reason. I go, all right, sounds like you know what you're doing, . Sounds like you got a good idea there, so let's do what you say.Jonathan Fener:Yeah. Yeah. I mean how, how many episodes did you do of Maryland?Michael Jamin:We did four seasons. I, I want, it was probably around 50. Cuz each show, each season was, I don't know, whatever, 12, 13 or something like that. Uhhuh . So, yeah. But that was I c and that was a pleasure because it was low budget. They just leave you alone. It was wonderful. So, yeah.Jonathan Fener:And I mean, did you finally that it was, was it hard to produce? Because I mean, how big was your staffMichael Jamin:The first season? So that was a show that was created by this guy Duncan Birmingham. We didn't create it, but he wrote the pilot. He was a young writer. He wrote the presentation and then with Mark, so that season, the first season when they picked it up, it was Mark Marin, who's very good writer, but had no writing experience for sitcoms. He's a, you know, standup, this guy Duncan Birmingham, who was a, a young guy who they just, they they could exploit. So he had no experience and it was me and my partner, and that was it. So we, the ones with any real sitcom experience. And then, but then as each season one, we picked up a couple more writers and then we rounded it out. But but it was a great, it was a wonderful experience, but the budget was tiny. The budget was, it was like nothing. It was nothing. Yeah. And we shot each episode in two and a half days, soJonathan Fener:Really?Michael Jamin:Yeah, it was, yeah. As long as someone's finger wasn't in front of the lens, we got it. , let's move it on. So yeah, that was, that was such a great experience. And, and, and no one remembers that. No one remembers, you know, like, hey, the show, it wasn't that perfectly lit. Yeah, that's okay. But people liked the writing. They like the acting. That's the important thing, you know. So what if the camera went like this a little bit ?Jonathan Fener:Right. my, yeah, my partner always was like, when you're like, he's like, they're doing laundry. They're paying their, they're paying their bills while they watch this. Like, they like the people. Oh,Michael Jamin:Oh, yeah.Jonathan Fener:Yeah. They're like, they're, they're, they're like, they're listening. They're half, you know, they're, they're not,Michael Jamin:Not even anymore. Now they're on their phones and watch. I mean, now they're really not watching the show. . He's Right. Cause like everyone, you know, Siebert, you say the same thing you'd say. Like Yeah, they're, they're reading People magazine, not any anymore. They're not, now they're on, they're watching the show and on TikTok and getting text messages, , they're not paying attention.Jonathan Fener:They're reading the live tweeting. Yeah. Of other people read, likeMichael Jamin:Watching the show for them, so. Right. It's an odd time, but yeah. So what do you s so what do, what excites you then going forward? What, as we, as we wrap it up, what is your, like what excites you now?Jonathan Fener:In entertainment?Michael Jamin:Yeah. Or just, yeah. As a, as a writer. Yeah.Jonathan Fener:I still, I mean, I like what I always liked, honestly. Like, I feel like right now I want to, the thing that I want to do is I, I want to try new things, but I also, I know this is like, but but, but, but also I feel like as I get older, like you have to, you have to always write what's sort of like, I don't know, is like personal to you. Like, I don't know, this is, because then it sort of seems inauthentic. Right? but having said that, like I think that I, I would really like to get back into animation mm-hmm. , I feel, I feel like I, I know it's like, I feel like features, like, like I feel like weirdly streaming has opened that up. Mm-Hmm. a little bit too, cuz like, you know, it's hard to get a movie out in the theaters. I mean, especially now. Yeah. it's not a Marvel thing or something like that. So like, there might be like avenues to go with with streaming movies and stuff like that. But like, I don't know. That's, I mean, it's, it's, it's, I I feel like I don't have any, a good answer to that question because I still really, like, I, I still feel like I always have ideas, Uhhuh, but and, and honestly like more often than not, like I'm looking to collaborate with more people. Yeah. Different people, you know, becauseMichael Jamin:Not necessarily on air talent, but writers as well.Jonathan Fener:Other writers. Yeah. Yeah. I just feel like, you know, if you're lucky you have a long career and mm-hmm. a lot of different types of careers and, you know, my partner and I always said like we we've sort of had an open marriage a little because mm-hmm. , we started out together, we, and, you know, you work very closely with a writing partner and, and we worked together for many, many years and then we sort of split on staff for a while, and then we came back together mm-hmm. for a while, and then now we're separate again. ButMichael Jamin:Was that hard for you when you're writing after you split to start writing alone? Let's say even on staff, cuz this is the first Okay. You usually, you have somebody to bounce an idea off of. Now you're, you're on, you know, you're looking at that blank page by yourself.Jonathan Fener:Yeah. Yeah. It's hard. Mm-Hmm. , it's hard to be in that. It's, it's, it's definitely hard. And I feel like I'm getting better at like, sort of reaching out to mm-hmm. other writers and just sort of like, can you look at, because it's like my wife can't hear it anymore, you know? Yeah. Like, go walk into the kitchen. It's like, would this character say that? She's like, I don't know, like, what are you talking about? So I have to, I I I just feel like you have to, I guess you, you learn to sort of like mute your ego a little bit mm-hmm. and just sort of like, let o let other, like, sometimes you just have to talk it out and, and that's what a partner was for, you know. Yeah. but I don't even know if I answered your question. That'sMichael Jamin:Okay. We're just, we're we're chatting. What about, what about advice for aspiring writers? What do you, what do you tell them? Either about the craft or about the business?Jonathan Fener:I mean, to get in nowMichael Jamin:Mm-Hmm. .Jonathan Fener:I think that starting out the, the best thing about now to me mm-hmm. , is that it seemed like in the beginning when we started, it was really all about like, what's the speck of the big show.Michael Jamin:Mm-Hmm. ,Jonathan Fener:Which there's a, there's an art to that, you know, beca

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Florida Governor Ron DeSantis quickly responded to news on Thursday that former President Donald Trump has been indicted by a Manhattan grand jury by calling into question the legitimacy of the case and saying that the state will not assist an extradition request. Former President Donald Trump responded on Thursday to being indicted by a Manhattan grand jury by saying that the case was an example of political persecution and election interference. Entrepreneur and 2024 Republican presidential candidate Vivek Ramaswamy slammed the indictment of former President Donald Trump as a “dark moment in American history” and “un-American.” The House passed Republicans' signature legislation, the Lower Energy Costs Act, on Thursday with support from four Democrats and all but one Republican. Manhattan District Attorney Alvin Bragg released a statement Thursday evening confirming that former President Donald Trump has been indicted and that plans are being made for him to surrender. Twitter users who simply expressed concern about a planned “transgender day of vengeance” in the wake of Monday's school shooting by a woman who identified as a man were stunned when the platform punished them.See omnystudio.com/listener for privacy information.

learn how to use the prepositions "over" and "above"

In this weeks solo episode of YayCanDo, Bernie's guest speaker is Dr. Mark Rowe. Mark has been a practicing physician for over 20 years and is a pioneer of Lifestyle Medicine in Ireland, having founded the Waterford Health Park which has become the base for his medical practice as well as the "Lifestyle Medicine Be Well Clinic" and being among the first medical professionals globally to be certified as a Diplomate of the International Board of Lifestyle Medicine. Lifestyle Medicine is defined as an evidence-based ‘lifestyle first' approach to prevention and treatment of chronic disease. Mark has always held a strong desire to change the culture of ‘a pill for every ill'. Instead he advocates lifestyle change as the best medicine for lasting wellbeing. He is the author of two books – ‘A Prescription for Happiness: The Ten Commitments to a Happier, Healthier Life' and ‘The Men's Health Book'. Mark is also a regular contributor for a number of publications including the Farmer's Journal, where he shares his thoughts on positive health and wellbeing practices. As a Keynote speaker, Mark regularly delivers events and workshops for organisations around the world. His TEDx talk titled ‘The Doctor of the Future: Prescribing Lifestyle as Medicine' took place in University College Dublin in 2017. Notable engagements to date have included UCD Smurfit Executive Development, the American House of Representatives and a number of Fortune 500 companies. https://drmarkrowe.com/ Show notes 1. The beginnings - moving from "A Pill for every ill" to enhancing the patient experiences, social interaction and a holistic view of health and wellbeing 2. The importance of hope and possibility as well as new tools 3. From crisis to purpose 4. Cultivating the art of "practice" 5. Embracing the totality of you 6. Practices for living with vitality everyday 7. Every day choices - becoming active agents in our own wellbeing

Governor Holbrook served as Governor for 2 years during the Civil War. He lived on Walnut Street, used the Brattleboro House for his executive offices and rented space in the American House for official correspondence, (the telegraph office was in the American House). He believed he had a warm, influential relationship with Abraham Lincoln...here's the story...

In what can only be classified as a disturbing report, there are over 20 million Americans who are behind on their power bills and who are in jeopardy of having their power shut off as winter approaches. As Americans continue to struggle with sky high inflation, insanely high rent and food prices, the last thing they need is another issue thrown on their already bent backs. Yet here we are. (commercial at 9:06)to contact me:bobbycapucci@protonmail.comsource:https://www.msn.com/en-us/money/markets/record-20-million-americans-are-behind-on-their-power-bills-and-face-cutoffs/ar-AA116LmE?ocid=msedgntp&cvid=bc3f47965b9a13153e755236d06ce3f8

These are unsettling times for the thousands of people who live here in Northern California with ties to Ukraine, including Vlad Skots, Chairman and Co-founder of Ukrainian American House & CEO at USKO Express Inc. Skots. His parents and his five brothers and their families are all still in Ukraine, with two of his brothers and their families still in Kyiv. He says they sleep in bomb shelters ever night.

Aisha K. Staggers had her first major publication, an album review, in The New Haven Register while just a sophomore in high school. Another series of reviews published in The Hartford Courant followed. By the time she reached college, Aisha was writing for the literary magazine and interning at a local radio station, ABC-affiliate as a writer in the news department and in the A&R department of an independent record company. As a graduate student at Fisk University, Aisha asked Dr. Raymond Winbush to chair her thesis because 1) he was one of the most renowned voices in black culture and academia, and 2) he was a Prince fan. His scholarship and guidance led Aisha to an early career as a professor of social sciences and later an administrator in higher education. Aisha has also served as a director of education and policy research centers and on the staff of legislative commissions. She previously served on the Executive Board of the CT Young Democrats' Women's Caucus, an avid campaigner and has remained active in politics and public policy. Ms. Jones is an activist, feminist, and a former collaborator with Paisley Park. The topics that the ladies will be talking about tonight are: – American House of Representatives pass Joe Biden's spending bill and his infrastructure bill – Takeaways from the 2021 US elections – Travis Scott pauses Astroworld performance after seeing ambulance in crowd – The Ahmad Arbery case Visit The Dr. Vibe Show™ at https://www.thedrvibeshow.com/ You can find more about Ms. Staggers via: Twitter Instagram Authory HuffPost Atlanta Black Star YouTube – I Wish U Heaven – Prince Tribute Playlist Email You can find out more about Ms. Jones via: Twitter Facebook Instagram Soundcloud Please feel free to email us at dr.vibe@thedrvibeshow.com Please feel free to “Like” the “The Dr. Vibe Show” Facebook Fan Page here God bless, peace, be well and keep the faith, Dr. Vibe 2020 Podcast News Award Winner – Canadian Ethnic Media Association 2018 Innovation Award Winner – Canadian Ethnic Media Association The Dr. Vibe Show™ At “The Good Men Project” One of the first Brand Ambassador's – Cuisine Noir Magazine Dr. Vibe – Producer And Co-host of Black Men Talking On WJMS Radio Dr. Vibe on HuffPost Live – August 2, 2013 2013 Black Weblog Awards Finalist (Best Podcast) 2012 Black Weblog Awards Winner (Best International Blog) 2012 Black Weblog Awards Finalist (Best Podcast) 2011 Black Weblog Awards Finalist (Best International Blog and Best Podcast Series) Black Blog Of The Day – Black Bloggers Network – June 23, 2011 Twitter Twitter hashtag: #DrVibe The Dr. Vibe Show™ – iTunes The Dr. Vibe Show™ – Spotify Dr. Vibe Media – You Tube The Dr. Vibe Show™ – Stitcher Radio The Dr. Vibe Show™ – TuneIn Radio The Dr. Vibe Show™ – Google Podcasts The Dr. Vibe Show™ – iHeartRadio The Dr. Vibe Show™ at Anchor Linkedin – The Dr. Vibe Show™ Instagram The Dr. Vibe Show Facebook Fan Page

Jerome Maldonado  Episode 058 SOLVING THE GREAT AMERICAN HOUSING SHORTAGE -The Lockbox Podcast with Jeffrey Brogger  Listen to the insightful Lockbox episode w/ Jerome Maldonado about success in business while helping Americans solve the affordable housing shortage. Being different from most business people, he shared his method and how his concept works despite the changes that we are constantly experiencing. Also, this phenomenal interview gave us an inspiring story from a 26-year road to Jerome's triumph that we will surely learn from. In this episode, we discuss: The story behind buying two little rental homes that led to own a business in the real estate industry  Jerome's biggest pivotal point to his success Peanut in a big world His construction company back in 1998 Way more profitable, way less variables Why is he not afraid to create competition? Business predictions and how you can be successful despite changes Feasible things to do to be able to be successful in life Connect with Jerome: Website: https://jeromemaldonado.com/ YouTube Channel: https://www.youtube.com/channel/UCGwTgAeKquvu5hvVO3n0Kxg LinkedIn: https://www.linkedin.com/in/jerome-maldonado-1018b183 Instagram: https://www.instagram.com/jeromemaldonado1/ Connect with Jeff: https://steezy.digital/ Facebook: https://www.facebook.com/jeffrey.brogger  LinkedIn: https://www.linkedin.com/in/jeffrey-brogger/ Twitter: https://twitter.com/jeffbrogger FREE DOWNLOAD: The Ultimate Real Estate Goal Setting Framework This SMART spreadsheet will automatically breakdown the number of phone calls, appointments, or open houses you need in order to achieve your income goal!!! Click below to download this SMART spreadsheet today! https://steezy.digital/ultimate-real-estate-goal-setting-framework Learn more about your ad choices. Visit megaphone.fm/adchoices

Looking for a hotel in Washington DC? Book one of the luxury rooms at American Guest House and enjoy a comfortable stay, a convenient location, and a delicious gourmet breakfast! Learn more at https://www.americanguesthouse.com (https://www.americanguesthouse.com) 

We build $400 houses primarily for widows taking care of orphans in Kenya, and its been an amazing thing to see how it has transform lives for only $400. And not only that, The $400 meet to humanitarian need but it also meets a spiritual need and that we start home churches in those houses.The Bag Ladies Show is about living a life of service/funding projects to provide assistance to women in need here and abroad through the sale of handbags and purses/and to encourage people to use their gifts and talents to find purpose.Tonight we have some great purses and bags you can buy at thebagladiesshow.com to help us keep building $400 houses in Kenya. You can also help us by Liking our Facebook page, give a review, subscribe, etc. You can also make a donation on our website to build a house; $200/$100This Episode We Cover:• The $400 House – 9:06• American House – 2:10• The Bag Ladies Show – 23:16• I will give my life to you. A song written by Ronna JordanI wrote for Kenya, produced by Arthur Luay, choreographed by Judy Mann,and interpretive ballet by Tiana Winer – 32:44• This week's Raffle Drawing Winner – 25:40• Famous quote of the day by Booker T. Washington – “Those who are happiestare those who do the most for others.”American Houses:• Average square footage of house in U.S. is 1700 square feet.• Average number of people who live in U.S. house is 2.3.• Most homeowners stay in their homes about 6 years.• There are about 300,000 items in American homes.• The average cost of a kitchen remodel is over $10,000• Televisions are usually the centerpiece of living rooms in America• Average cost of home in the U.S. is $287,000.This Week's Drawing Winner is Ginger Roberts from Fort Worth, Texas –CONGRATULATIONS!Join Our Weekly Giveaways: https://thebagladiesshow.comCrush it this week with Compassion! Buy A Bag - Help A Cause - Change A LifePlease visit us at http://thebagladiesshow.com for more information and to shop our wonderful handcrafted bags, fashion bags, and coffee!Please Subscribe & Review Our Show Below and Don't Forget To Share!This Episode:The $400 House | The Bag Ladies Show Special EpisodeIPhone & Apple Listeners - Subscribe and Leave Review Here:https://podcasts.apple.com/us/podcast/the-bag-ladies-show/id1553624471Watch Our Videos And Subscribe Here:YouTube Channel https://www.youtube.com/channel/UCmRi5_nKC0TXQLBanPgbVLAFollow Our Facebook For Giveaways & Updates!Facebook Page https://www.facebook.com/thebagladiesshow

＞さらにコンテンツの活用方法や質疑応答が知りたい方は 【オンライン・ミーティング】へ (月額120円で無料体験2週間あり) https://www.yokohama-higashitotsuka-personal-gym.com/gqol --- Send in a voice message: https://anchor.fm/take-three/message

Occultae Veritatis Podcast   Case #149: The North American House Hippo   Join us as we talk about a unique sub species of Hippopotamus, known for two unique qualities. Being found throughout Canada, and for being tiny compared with their African relatives, far smaller than even a house cat.   Subscribe: https://ovpod.ca/ Support us: https://www.patreon.com/ovpod   Palate Cleanser: The house hippo Concerned Children's Advertisers

Welcome back to another episode of Being Americanized Japanese. This is Reona and this is Abe! A podcast where Reona talks in 日本語 and Abe talks in English. [Timestamps] "What's going on in America” - Power outage in Texas 0:54 Main Topic- 09:02 [English] In this week's episode we will share Japanese house feature and American house feature that we would like to have in our own dream houses. [日本語] 今週のエピソードでは、私たち自身の家にあって欲しい日本の家の特徴とアメリカの家の特徴を共有します。 [Connect with Us] Email: beingamericanizedjapanese@gmail.com Instagram: amejapa_official clubhouse: reona_nmr お待ちしてます!

Now is as good a time as ever to be in an assisted living facility with the vaccine being available and government assistance programs to help with the costs. Kate Begley of American House Senior Living explains.Watch video version here.https://www.youtube.com/watch?v=YyChYbU00uY&feature=youtu.be

Nah we not doing this.

Swanner and Judd talk about American House Wife; Connors; Masked Singer; Mandelorian; Tooty Rudy; Happiest Season; A Nasty Piece of Work; Rudolph; and more! Left Click To Listen, Right Click Here To Download

Swanner and Judd talk about American House Wife; Connors; Masked Singer; Mandelorian; Garfield Thanksgiving; Dolly Parton: Here I Am; Kevin Hart: No Fucks Given; and more! Left Click To Listen, Right Click Here To Download

Join Tina Abbate Marzolf and Katana as they discuss:Why caregivers’ health matters.The rainbow of respite resources.Safe out of home respite options. Tina Abbate Marzolf has dedicated her professional career to the development of programs and services that support older adults, adults with disabilities, and family caregivers. While working as a Community Planner for Area Agency on Aging, she began a partnership with the Founder of American House in 1995, when she spearheaded a federal Department of Housing and Urban Development program called the Michigan Model for Affordable Assisted Housing. Tina continues her work as a Corporate Strategist with American House Senior Living Communities and President of the non-profit American House Foundation.

Swanner and Judd talk about American House Wife; Connors; Masked Singer; Mandelorian; Charlie Brown Thanksgiving; Coneheads; Thanksgiving Dishes; and more! Left Click To Listen, Right Click Here To Download

While there are no excuses for this destructive behavior, there are reasons. We unpack some of the possible spiritual and emotional energies at work in these chaotic moments. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/brian-b-pinter/support

Swanner and Judd talk about American House Wife; Drag Queen Shows; Masked Singer; Songland; Outer Banks; Mrs. America; Cake; Buffalo ’66; Kali Uchis: Isolation; Daði Freyr – Think About Things. Left Click To Listen, Right Click Here To Download

The American House of Magic, Ilvermorny, has sent out its call to all witches and wizards! Come and be sorted into the newly revealed American Houses. The Presson Bros. have answered the call and have dived deep into the new lore behind the American side of the wizarding world. With a special guest, they discuss which houses they were sorted into and the history of the founding of the school. As always, news and rumors and discussed and they also treat the audience with a mini review for both Tarzan and Independence Day. --- Support this podcast: https://anchor.fm/thenerdosphere/support

Americans and Europeans are confused by much about each other, especially their respective governmental systems. Europeans are baffled by American elections, the powers of the president, and most of all, the electoral college (how again is the popular vote winner not the president?). Americans are even more baffled by parliamentary politics, especially how the prime minister and even the entire ruling party can be removed before election time by this mystical tool of government called a “vote of no confidence.” What on earth does that mean? Scott's first encounter with this term was, sadly, in Star Wars Episode I: The Phantom Menace, in which Natalie Portman's Queen Amidala removes the current chancellor for power for his failure to stop the Trade Federation's invasion of Naboo by such a vote. Getting beyond bad filmmaking and Jar Jar Binks, what does a vote of no confidence actually mean? Where does it come from? And how has it been used in the past? This episode goes over much more, especially the main differences with the British House of Commons vs. the American House of Representatives. Moreover, it looks at the differences between politicians being loyal to the nation vs. being loyal to their political party.

Aisha K. Staggers had her first major publication, an album review, in The New Haven Register while just a sophomore in high school. Another series of reviews published in The Hartford Courant followed. By the time she reached college, Aisha was writing for the literary magazine and interning at a local radio station, ABC-affiliate as a writer in the news department and in the A&R department of an independent record company. As a graduate student at Fisk University, Aisha asked Dr. Raymond Winbush to chair her thesis because 1) he was one of the most renowned voices in black culture and academia, and 2) he was a Prince fan. His scholarship and guidance led Aisha to an early career as a professor of social sciences and later an administrator in higher education. Aisha has also served as a director of education and policy research centers and on the staff of legislative commissions. She previously served on the Executive Board of the CT Young Democrats' Women's Caucus, an avid campaigner and has remained active in politics and public policy. Jill Jones is our special guest for this conversation. Ms. Jones is activist, feminist, former collaborator with Paisley Park. On the July 17, 2019 edition of “Staggers State Of Things”, the ladies talked about: – The Squad – The 197 Republican members of the American House of Representatives that did condemn 45's racist tweets – The impeachment resolution vote and why Nancy Pelosi is the biggest obstacle the American Democractic party has to impeachment – Mark Sanford, SC Republican, former US Rep, considers presidential run against Trump – Jerry Foxhoven, the director of Iowa's Department of Human Services, was told to resign for being an outspoken 2Pac fan – Prosecutors say they could not prove NYPD officer acted willfully in Eric Garner's death You can find more about Ms. Staggers via: Twitter Authory HuffPost Atlanta Black Star YouTube – I Wish U Heaven – Prince Tribute Playlist Email You can find out more about Ms. Jones via: Twitter Facebook Instagram Soundcloud Email Visit The Dr. Vibe Show™ at https://www.thedrvibeshow.com/ Please feel free to email The Dr. Vibe Show™ at dr.vibe@thedrvibeshow.com Please feel free to “Like” the “The Dr. Vibe Show” Facebook fan page here God bless, peace, be well and keep the faith, Dr. Vibe

Chicago comedian and filmmaker Chris Trani stops by the studio to discuss his project "An American House", which is a documentary on immigration.

The latest episode of the podcast which asks: is there such a thing as a trendy wank? This episode, Pop-Crazed Youngsters, drags us back to the dark  Civil War of the mid-90s, when brother fought against brother over whether Roll With It was slightly less rubbish than Country House, and Oasis-loving loving wives imposed a 'nookie strike' upon their Blur-supporting husbands. Yes, it's the aftermath of the Battle of Britpop, and we fly over the rubble, dropping crates of analysis and sniping at assorted wrongness along the way. If you're expecting non-stop Sons and Daughters of Albion adopting Mockney accents and walking about about monkeys, however, you're going to be sorely disappointed, as there are a lot of - gasp! - Americans on it, and even some Irish people. Dale Winton reaches the pinnacle of the journey he started when he was playing records in a biscuit factory. Berri and De'lacy provide an interesting - sort of - compare-and-contrast of Anglo and American House. Michael Jackson lolls about in a CGI Greek temple with Elvis' daughter. The theme tune from Friends pops up. Fucking Boyzone show up for no reason whatsoever. Montell Jordan arses about in a theme park. Echobelly break up from school forever. Michael Bolton, looking like a giant Womble, asks if he can fondle us. Blur show off. Sarah Bee and Simon Price help Al Needham to walk through the minefield of Britpop like Lady Di, breaking off to discuss the early days of Television X, our shameful careers in pornography, watching Friends whilst ripped to the tits on Leytonstone speed, all the awards we've won and what we do with them, and - finally - Simon gets to talk about Romo. And Oh! what swearing! See acast.com/privacy for privacy and opt-out information.

Josselyn Cool (Great American Housefire, Teacup Gorilla) "I remember like it being my birthday and I'd blow out the birthday candles and I'd wish that I'd wake up a girl the next morning and like, ya know, it'd have to be a thing where...where everyone always knew that I was a girl not that like I instantly changed into being a girl." On this episode of Behind The Scene: Guest: Josselyn Cool (Great American House Fire, Teacup Gorilla) Official Site: facebook.com/GreatAmericanHouseFire The song for this episode is called 'Molotov Coctail Hobbyist' and is a new track off the coming album from Great American House Fire. Listen above and as always, subscribe direct on iTunes and Google This episode brought to you by Breckenridge Brewery and A Small Print Shop

Hallo Freunde pünktlich zum Wochenende kommt ein neuer Beach Podcast.... freue mich sehr das kein geringerer als Dj/ Producer und Remixer Dr.Alfred (Official)aus Madrid,Spanien diesmal für Beach Podcast an den Turntables stand..... Hello friends a new beach podcast comes on the weekend. I'm very happy that no less than Dj /Producer and Remixer Dr.Alfred (Official) from Madrid, Spain this time for Beach Podcast was on the Turntables... ------------------------------------------------------------------------------------------------- LINK : http://dj.beatport.com/dr-alfred soundcloud.com/dr_alfred_official facebook.com/dr.alfred.dj youtube.com/user/doktoralfred ------------------------------------------------------------------------------------------------ INFO : DJ & Producer (Monza Ibiza Records, King Street Sounds, Prison Entertainment, Natura Viva Music, Stereo, Antura Records, Natural Rhythm, Le Club, Ametist...) ------------------------------------------------------------------------------------------------- BIO : Dr. Alfred is Cuban with base in Madrid. He is a doctor by profession and started in music as a radio broadcaster in 1990, he became interested in the electronic scene in Madrid initially influenced by the American House. In the present which combines styles as: Deep-House, Tech-House, Progressive, Techno and Electronic. Producer since 2012, has signed works with Spanish producers like: Ismael Rivas, Javier Gonzalez, Afrobeat, Paul Synth, 2nd Noise, Shocknorte, Alvaro Medina and Henrike. Since 2014 he is working as a solo producer. He has released on labels such as: Clinique Recordings, King Street Sounds (Nite Grooves), Stereo Productions, Prison Entertainment, Natura Viva Music, Monza Ibiza Records, Natural Rhythm, Antura Records, Insist Music, Monique Speciale and many others. Some of their tracks have been remixed by international producers like: Romano Alfieri, Sven Tasnadi, Dizharmonia, Jos & Eli, Danny Serrano, David Herrero, Fernando Campo, Collective Machine, Ismael Rivas, Vincenzo D'Amico, Fabian Argomedo, Okabi, Rudosa, Vidaloca & Piem, GruuvElement's, Milf & Deaf, Javi Colors, Mano Tiro, Gianni Firmaio, Enrico Caruso, Frink, No Hopes, Guti Legatto and others. Their releases have been supported by artists like: Marco Carola, Stacey Pullen, Roger Sanchez, Davide Squillace, Claude Vonstroke, Joseph Capriati, Troy Pierce, Steve Lawler, Agoria, Riva Starr, Paco Osuna, Robert Dietz, Tittsworth, Michel de Hey, Rampa, Wally Lopez, Chus & Ceballos, Hugo, M.A.N.D.Y, Rhadoo, Timo Maas, Gel Abril, Veerus & Maxie Devine, Anil Chawla, Steffen Baumann and many others. He has played at some of the best clubs in Madrid, Barcelona, Ibiza, Amsterdam and It has shared cabin with artists like Uner, Cristian Varela, Wally Lopez, Michel Cleis, Okain, Coyu, Los Suruba, Ismael Rivas, Danny Serrano, Federico Grazzini, David Herrero, Hollen, Kabale und Liebe, Federico Molinari, Livio & Roby and others. It has shared cartel and events with M.A.N.D.Y, Sasha, Marc Antona, Steve Lawler, Leon, Coyu, Mendo, Nima Gorji and others. He is currently like A&R at Monza Ibiza Records. ----------------------------------------------------------------------------------------------- play ☑ like ☑ share with your friends ☑ | THANKS FOR YOUR SUPPORT |

Hallo Freunde pünktlich zum Wochenende kommt ein neuer Beach Podcast.... freue mich sehr das kein geringerer als Dj/ Producer und Remixer Dr.Alfred (Official)aus Madrid,Spanien diesmal für Beach Podcast an den Turntables stand..... Hello friends a new beach podcast comes on the weekend. I'm very happy that no less than Dj /Producer and Remixer Dr.Alfred (Official) from Madrid, Spain this time for Beach Podcast was on the Turntables... ------------------------------------------------------------------------------------------------- LINK : http://dj.beatport.com/dr-alfred soundcloud.com/dr_alfred_official facebook.com/dr.alfred.dj youtube.com/user/doktoralfred ------------------------------------------------------------------------------------------------ INFO : DJ & Producer (Monza Ibiza Records, King Street Sounds, Prison Entertainment, Natura Viva Music, Stereo, Antura Records, Natural Rhythm, Le Club, Ametist...) ------------------------------------------------------------------------------------------------- BIO : Dr. Alfred is Cuban with base in Madrid. He is a doctor by profession and started in music as a radio broadcaster in 1990, he became interested in the electronic scene in Madrid initially influenced by the American House. In the present which combines styles as: Deep-House, Tech-House, Progressive, Techno and Electronic. Producer since 2012, has signed works with Spanish producers like: Ismael Rivas, Javier Gonzalez, Afrobeat, Paul Synth, 2nd Noise, Shocknorte, Alvaro Medina and Henrike. Since 2014 he is working as a solo producer. He has released on labels such as: Clinique Recordings, King Street Sounds (Nite Grooves), Stereo Productions, Prison Entertainment, Natura Viva Music, Monza Ibiza Records, Natural Rhythm, Antura Records, Insist Music, Monique Speciale and many others. Some of their tracks have been remixed by international producers like: Romano Alfieri, Sven Tasnadi, Dizharmonia, Jos & Eli, Danny Serrano, David Herrero, Fernando Campo, Collective Machine, Ismael Rivas, Vincenzo D'Amico, Fabian Argomedo, Okabi, Rudosa, Vidaloca & Piem, GruuvElement's, Milf & Deaf, Javi Colors, Mano Tiro, Gianni Firmaio, Enrico Caruso, Frink, No Hopes, Guti Legatto and others. Their releases have been supported by artists like: Marco Carola, Stacey Pullen, Roger Sanchez, Davide Squillace, Claude Vonstroke, Joseph Capriati, Troy Pierce, Steve Lawler, Agoria, Riva Starr, Paco Osuna, Robert Dietz, Tittsworth, Michel de Hey, Rampa, Wally Lopez, Chus & Ceballos, Hugo, M.A.N.D.Y, Rhadoo, Timo Maas, Gel Abril, Veerus & Maxie Devine, Anil Chawla, Steffen Baumann and many others. He has played at some of the best clubs in Madrid, Barcelona, Ibiza, Amsterdam and It has shared cabin with artists like Uner, Cristian Varela, Wally Lopez, Michel Cleis, Okain, Coyu, Los Suruba, Ismael Rivas, Danny Serrano, Federico Grazzini, David Herrero, Hollen, Kabale und Liebe, Federico Molinari, Livio & Roby and others. It has shared cartel and events with M.A.N.D.Y, Sasha, Marc Antona, Steve Lawler, Leon, Coyu, Mendo, Nima Gorji and others. He is currently like A&R at Monza Ibiza Records. ----------------------------------------------------------------------------------------------- play ☑ like ☑ share with your friends ☑ | THANKS FOR YOUR SUPPORT |

Deep Sessions VIII (Where America meets Europe)   Foreword on the art: I found this little gem whilst looking for the better album cover for the set. This place in Iceland called Þingvellir is on the plate boundary of the tectonic plates of America and Europe. Both plates drifting apart leaving behind cracks in the surface, which are sometimes filled by water. From the inner geek in me, it was like sweet chocolate..   To see the pic in its entire beauty: https://www.flickr.com/photos/lichtmaedel/8528196516/   Deep Sessions VIII: where New York and Chicago meet Manchester and Berlin. Where left-brain meets right-brain. Where Grooves meets Technique. Where inner pain meets self sehnsucht.   Back again, just when I thought I would give Deep a rest for the sake of the genre and my followers sanity !!J   I was playing around with current tunes, trying to work out how to structure, build and put together a decent Deep House set. I was looking at what worked and what didn’t in the previous seven attempts. The thought occurred to me that I’d rather focus on why I love Deep, what brought me to the genre and why I always end up wanting and a tad frustrated with my results when tackling Deep.   Now let’s delve into a LONG digression into my personal Journey into House, which will bring light to the whole Deep Sessions project:   Deep House is intrinsically an American, East Coast, Detroit and Chicago sub-genre. At its best, it has distinct African-American roots. No one does it better.. There is an inherent sadness, groove, pain in the original Deep House tunes, which I am absolutely convinced could not have been found on the West coast nor dreamed up through a white male/female experience.   Just as Blues (which I love as well) is well documented to have started with African-American slave songs but was later embraced by non-ethnic artists, Deep House just had to stem from “deep within” the African soul... But unlike Blues Deep has groove and funk..   Deep is my House first love. But House is definitively not where my musical journey started… As a teenager, I went from Progressive Rock to Electronica. Eventually I dipped into Techno, only to veer towards Balearic Trance. It is when I was still listening to Techno and Trance that I discovered Deep, with tracks that where at the congruence of deep and techno.   If memory serves me right, it is whilst listening to Laurent Garnier and the whole techno Manchester crew that I first encountered House. Deep Tech House..   First US track I can recall listening to and eventually buying was Elements from Danny Tenaglia and some MK track I can’t recall.. Very far away from the soulful house I now love but very much in the vein of Techno..   With an immature hate of disco, I could never have found at the time any interest in funky or soulful house. But through Techno, Deep was the conduct I needed to finally encounter, discover African music and rhythm.  Spoon-fed with classical and pop music, House could never have been my first love.   From US Deep House, I started becoming interested in what was produced in Europe.. With the Global Underground label, some Perfecto tunes, Sasha, German Djs, Armand etc.. It all started to make sense!   In Deep House, I could find a musical, emotional space, which would encompass both the electronica I had loved and the American House sound I was discovering.   It was at around that time that I discovered C&M Productions and Truehouse. With their help, I never looked back.. They introduced me to the fifty shade of Deep, chill-house, soulful house and , god forbid for the disco hater I was, funky house! With them, the journey continued into progressive house and today we are all embarking into the nu-disco indie house journey.   What C&M Productions and truehouse did was to bring all the pieces together. Bring the European electronica I had loved in my younger years with the US and African-American music I had originally missed but was by then hooked on..   Bless Christian Kistler and Marc Zehnder from C&M.   C&M Productions’ Internet resources: https://soundcloud.com/truehouse http://www.truehouse.net https://www.facebook.com/groups/35964829231/ http://www.discogs.com/artist/18825-C-M-Productions http://www.truehouse.ch/social-media.html#.VTyEW-n25lE.twitter   End of the VERY LONG digression, which should frame the whys and whats of this upload.   It was when I reflected on all of the above that I understood that to build a Deep House set I would like, which felt natural and flowed, I would have to bring all those musical influences together.. Be true to what I love and feel.. Can’t just be US Deep, for its not my original journey, nor my true experience, can’t be just European Deep, Progressive House, for it would rob me of those US influences and rhythms I have learned to yearn for.. I have to “mix” the two..   Loop done! Hence the title of the Set “Where America meets Europe”..     Deep House Sessions VIII: a true deep, slightly sexy and techie episode. Sometimes progressive set, sometimes just Deep with both a feel of European Electronica and a sprinkling of East Coast groove.   Playlist:   2012 Can You Feel It (Original Mix). 11 inch & Jesse Lee Davis 2014 Wondrous Place (Pete Oak Remake). Pete Oak feat. Natalie McCool 2015 The Melody (Slow And Salted Mix). Miguel Migs 2015 Falling (Miguel Migs Deluxe Dub). Lisa Shaw 2013 Come Together (Supernova 2013 Remix) [Xtian Added Beats Edit]. DJ Pierre, Felicia 2015 Off The Cuff (Karol XVII & MB Valence Loco Remix) [Xtian Tales of the Deep Edit]. Phasen, Phasen & Refurb feat. Mr.  V 2015 Rendezvous (Spiritlevel Dub) [Xtian Chicago Tribute Edit]. Spiritchaser feat Julius Papp and Mr. V. 2014 Without You (Original Mix). Lane 8 2015 The Warning (Inner Mix - DJ T. Edit) [Xtian Short Radio Edit]. Logic 2015 Jus Dance (Dario D'Attis Remix). Mr. V 2015 Be Free (Chris Deepak Remix vs Original Mix) [Xtian Canon Edit]. Nikos Diamantopoulos feat. Katerina 2014 Feel The Fire (Original Mix). Eli & Fur 2015 Ever Wanted (Original Mix). Juliet Fox, Reno Ka 2014 Deep In My Soul (Original Mix). 16 Bit Lolitas   Highlights:   “Can You Feel It”: A classic deep house tune to headline the set produced in Germany whereas I would have lost a bet thinking this, without a doubt, was an American production. I know that some will not like the overly sexy, macho tone but Deep can be sexy and this track surely is. Chosen because of the lyrics and the fact that its melodic line is basically three faint chords, all supported by beats and a bassline.. The rap-like chorus at the end is pure serendipity.. I needed to catch up with the next tune, which was 6 bpm higher and it just happened!   “Wondrous Place” is a stylish remake from Danish producer Pete Oak, perfect to introduce the haunting dimension of European deep production. An very introspective track with truly amazing vocals from Nathalie Mc Cool. Do not miss this track! Chosen for its atmosphere and its layering, listen how with every break, Pete is adding a percussion, which draws you into the song and the melody. Masterful.   Pete Oak’s and Nathalie McCool Internet resources: https://soundcloud.com/pete-oak https://www.facebook.com/PeteOakMusic http://www.nataliemccool.co.uk/   “The Melody” from Deep House legend and Salted Music label honcho Miguel Migs from San Francisco. Miguel began his career as a guitarist in an Jamaican/African band and went on to become one of the founders of American deep chill house. We all have bought Salted Music CDs, a label known for the absolute perfection of its release. I chose the track because it does force us to “feel the Melody”, not obvious at first but as layers are added throughout, you get the feel. As a listener, you are asked to be active, not passive to get the groove. The basic deep house five chords are also right in my sweet spot.   Following with “Falling” by the same Miguel Migs. Introducing a more challenging track with syncopated beats but very much connected to the previous one. Variations of the same build yet a totally different tune. And as you progress through the tune, you feel the subtle funk/disco keys coming up in the background.   Miguel Migs’ Internet resources:  https://soundcloud.com/miguelmigs1 http://miguelmigs.com https://www.facebook.com/DJMiguelMigs     “Come Together” from Chicago born DJ Pierre, who started in the Acid House sound before fully committing to Deep House. We are now in underground Deep House, a space where beats and tweak sounds rule. Make no mistake EVERYTHING here has been created by the producer, no sample sounds used. The bass, the beats, the hihats, everything is original. Where deep meets techno.. I almost did not include this track, as I know some will find it a bit too raw and challenging but Deep House needs a challenge or two throughout the journey. It can’t be all-smooth, no-edge for it would end up as pure background music. Beyond the tech house feel, I also chose the tune for its message.. “People come together, feel the music, listen to the sound of the underground and make it happen”.   DJ Pierre Internet resources (?): https://soundcloud.com/djpierreafroacid https://www.facebook.com/DJPIERREACIDHOUSE   “Off The Cuff “ from Phasen & Refurb, Florida based producers. I love Karol XVII & MB Valence, 2 polish producers. I have been buying without hesitation all of their releases for a long time. They belong in my top five deep house producers. I chose the track for its distinctive European feel, with immaculate production. Listen to the simple bass beat, the subtle high pitch keys and that deep groove synth coming along and bring the melody together. But wait… after the main break, something that is unmistakably techno. Deep House at its very best! Again DO NOT MISS this track! I could have left the tune as it was, a semi instrumental tune but I felt that on the one hand I might lose some listeners in the techno parts and on the other you know me by now enough to expect some vocal samples… Besides, for once, I think I delivered.   Phase, Refurb and Karol XVII & MB Valence Internet resources: https://soundcloud.com/phasen https://www.facebook.com/pages/Phasen/65046003082 https://soundcloud.com/refurb https://www.facebook.com/refurbedhuman https://soundcloud.com/karolxviimbvalence https://www.facebook.com/KarolXVIIandMBValence   “Rendezvous“ from Spiritchaser duo Mark Bamford & Richard Earnshaw.. UK based Richard Earnshaw would be my favourite living producer. His label, Duffnote, releases pearl after pearl. From Soulful to Deep, what Richard does with his Spiritchaser mate is always perfection   I chose “Rendezvous” because it epitomizes everything I love about Deep House: the groove, the undergroove driven by bassline and keys, the production, the dream-like journey and if you listen carefully, there is even a bit of tech house somewhere in the drops. I added the vocals and I hope I did not denature the fantastic track it already was.. DO NOT MISS this track!   Spiritchaser and Richard Earnshaw Internet resources: https://soundcloud.com/spiritchaser-1 https://www.facebook.com/SpiritchaserOnline http://www.spiritchaser-online.com https://soundcloud.com/earnshawmusic https://www.facebook.com/earnshawmusic http://soundcloud.com/duffnote     Onto “Without You” from Lane 8 from Leipzig, Germany. Another standout track, close to be my favourite of the set. Listen how the track is driven by the little percussions, the producer added after each 16 bars. Pure genius, deep and soulful with a bit of subtle hip hop in the background 3/4 down the track.. I cannot even start to formalize how this groove touches me! A masterpiece of simplicity and feel.   Lane 8 Internet resources: https://soundcloud.com/lane8music https://www.facebook.com/lane8music?_rdr   “The Warning” from Logic.. Originally released in 1990, this cut is a 2015 edit. I could not find much about Eddie Satin and Wayne Gardiner. I just know that Wayne G was one of the original producer of Strictly Rhythm and I believe he is from the US..   I did hesitate to include the track in my final mix. Though I have used the vocal sample countless of times and love the original, this cut was a bit long and went into a jazzy groove with that high pitched sax I have real trouble tolerating. I chopped the remix, doubled the vocal sample and made a user-friendly radio edit.. I am not proud of it considering the tune is one of the pillars of Deep, Tech house but it allowed me to fit the set in the 80 minutes CD format..   “Jus Dance” from Mr. V. Where do I start? You all know I am a slut for Mr V. He could speak up the phone book and I would love it. In fact I think he should adlib the white pages, I would buy it…   Mr. V (aka Viktor Font) grew up (where else could he be from?) NYC..  He dabbled in all genres of music, met Louie Vega and the rest is house music history.. His label “Sole Channel Music” is a stalwart of American house and a synonym of quality. His groove is without equivalent, his voice perfect for Deep House adlib and he brings that oh-so-needed hip-hop swag to House music..   “Jus’ Dance” was originally released in 2004. It is one of my favourite NYC house track and will remain so because it has funk, groove, street cred and is an utterly sexy tune. I chose the 2015 release by Swiss remixer Dario D’Attis, a regular on Jaimie Lewis’ Purple Music label, for its absolute perfection in production (please listen on some good headphones) and its distinct tech house feel. If you think Deep House is not sexy or that one cannot dance to Deep.. Think again and listen to this very tune again.. This is the very track where America meets Europe.. Jus’ DANCE!!   M. V and Dario D’Attis Internet resources: https://www.facebook.com/SOLEchannel https://soundcloud.com/solechannelmusic https://soundcloud.com/dario-dattis-1   “Be Free “ by Nikos Diamantopoulos, top Greek producer from Athens and someone I have recently bought a lot of tunes from. I discovered Nikos through DJ Jask from Thai Soul Music, which is an assurance for talented remixers. I chose the track because at this time in the set, after a few challenging tracks and Xtian’s edits, I thought it was time to throw some sugar around and make sure you would stay with me..   I tried to mash two remixes and bring their choruses together like in a church canon.. Not sure I fully achieved my goal but it sort of works and some talented DJ can bring my idea to full glory. The track itself is deep bordering on funk with in the back an amazing slide funky guitar line.. Deep and Funky, this one will make you want to dance..   Nikos Diamantopoulos’ Internet resources: https://soundcloud.com/nikosdiamantopoulos   After the sugar comes the spice! “Feel The Fire” by Eli and Fur, two female songwriters and producers from London, UK. With 16B Lolitas, Billion, AM2PM, the UK is home of very interesting artists in the Progressive House, deep genre. Another close favourite track of the set for its cheeky melody, outstanding production and tech prog house feel. In love those girls, check their page! DO NOT MISS !!!   Eli and Fur Internet resources: https://soundcloud.com/eliandfur https://www.facebook.com/eliandfurdjs?_rdr   Continuing in the deep and progressive vibe, “Ever Wanted” by Reno K and Juliet Fox. Juliet is originally from South Australia, both DJ and producer, she teamed up with Reno Ka from London to produce this little dark progressive number..   Juliet Fox and Reno Ka Internet resources: https://soundcloud.com/djjulietfox https://soundcloud.com/renoka   To close the set, one of the best track of 2014: “Deep in my Soul” from 16 Bit Lolitas. Ariaan Olieroock and Peter Kriek are two producers from the Netherlands. I have bought countless tracks from them. Stalwarts of the Anjuna Deep label, they represents what Europe does best in the deep Progressive genre. I chose the track as its title was fitting to close the set and because its production is flawless. If anyone wants to lean how to build a track, I suggest you study this one day in day out..   16 Bit Lolitas Internet resources: https://soundcloud.com/16bitlolitas https://www.facebook.com/16bitlolitas?_rdr https://www.facebook.com/16bitlolitas       And...we are done!!! Hope you like the set!   Sorry for the War and Peace blog.. but I do like this set and felt I needed the space..   Next one will be most probably soulful and beach house..   A bientôt!   Xtian

Reviews of BoardingHouse  and American Nightmare plaus lots of "So Bad It's Good" talk.

Pastor Dan Kellogg looks into the desires of society in his American Dream series. Part of the American Dream is the American House. Of course, your house becomes your home and your home means so much more then just a dwelling. How do we run our homes, what do we invest in them and what should our homes look like? Dan looks into what makes a happy, successful home in his final installment of the American Dream Series. Recorded 11-18-2007